Podcasts about Golden road

For a millennium and a half, India was a confident exporter of its diverse civilization, creating around it a vast empire of ideas. Indian art, religions, technology, astronomy, music, dance, literature, mathematics and mythology blazed a trail across the world, along a Golden Road that stretched from the Red Sea to the Pacific. In The Golden Road (Bloomsbury. 2025), William Dalrymple draws from a lifetime of scholarship to highlight India's oft-forgotten position as the heart of ancient Eurasia. For the first time, he gives a name to this spread of Indian ideas that transformed the world. From the largest Hindu temple in the world at Angkor Wat to the Buddhism of China, from the trade that helped fund the Roman Empire to the creation of the numerals we use today (including zero), India transformed the culture and technology of its ancient world – and our world today as we know it. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Exciting new episode of Planted with Sara Payan is live! Sara dives deep into a captivating conversation with musician, author and Co-Host of Tales from the Golden Road on @siriusXM David Gans about the Grateful Dead, creativity, and the magic of cannabis in music. [Ep 151]

For a millennium and a half, India was a confident exporter of its diverse civilization, creating around it a vast empire of ideas. Indian art, religions, technology, astronomy, music, dance, literature, mathematics and mythology blazed a trail across the world, along a Golden Road that stretched from the Red Sea to the Pacific. In The Golden Road (Bloomsbury. 2025), William Dalrymple draws from a lifetime of scholarship to highlight India's oft-forgotten position as the heart of ancient Eurasia. For the first time, he gives a name to this spread of Indian ideas that transformed the world. From the largest Hindu temple in the world at Angkor Wat to the Buddhism of China, from the trade that helped fund the Roman Empire to the creation of the numerals we use today (including zero), India transformed the culture and technology of its ancient world – and our world today as we know it. Learn more about your ad choices. Visit megaphone.fm/adchoices

For a millennium and a half, India was a confident exporter of its diverse civilization, creating around it a vast empire of ideas. Indian art, religions, technology, astronomy, music, dance, literature, mathematics and mythology blazed a trail across the world, along a Golden Road that stretched from the Red Sea to the Pacific. In The Golden Road (Bloomsbury. 2025), William Dalrymple draws from a lifetime of scholarship to highlight India's oft-forgotten position as the heart of ancient Eurasia. For the first time, he gives a name to this spread of Indian ideas that transformed the world. From the largest Hindu temple in the world at Angkor Wat to the Buddhism of China, from the trade that helped fund the Roman Empire to the creation of the numerals we use today (including zero), India transformed the culture and technology of its ancient world – and our world today as we know it. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

Last episode having offered his rapid reactions in the hours after President Trump's tariff announcement, on Friday 4 April Darren was joined by Dr. Huw Mackay to talk through the economics and financial market angles, a full day after the tariff announcement. How did markets react and what might that tell us about the days and weeks ahead? How will companies be thinking about these events, and what advice would Huw offer to governments around the world on how they ought to manage this policy challenge? Huw, a former Chief Economist at BHP, offers a vital perspective from the private sector on big questions not just of economics but of geopolitics and foreign policy. Fair warning: the first part of the discussion is extremely wonky, but nevertheless essential, because understanding the potential macroeconomic impacts of these tariffs is a precondition for analysing their impact on geopolitics and the international economic order. Australia in the World is written, hosted, and produced by Darren Lim, with research and editing this episode by Walter Colnaghi and theme music composed by Rory Stenning. Relevant links Huw McKay (LinkedIn): https://au.linkedin.com/in/huw-mckay-6ab582ab Huw McKay, “How the West can shore up its strategic metals supply chain”, Lowy Interpreter, 28 Feb 2025: https://www.lowyinstitute.org/the-interpreter/how-west-can-shore-its-strategic-metals-supply-chain William Dalrymple, The Golden Road (2024): https://williamdalrymple.com/books/the-golden-road Jordan Schneider, China Talk (podcast): https://www.chinatalk.media/p/podcast-corruption-spies-tiananmen

There is so much of India's rich heritage and past that is yet to be discovered. But we have great historians like William Dalrymple who spend years researching on India's history to bring us the most interesting and captivating stories about the country. In today's episode, William Dalrymple discusses the stories and contents from his book "The Golden Road" which explores India's 1,500-year history as a hub of cultural and intellectual exchange. Resource List - William Dalrymple Website - https://williamdalrymple.com/ Empire Podcast - https://open.spotify.com/show/0sBh58hSTReUQiK4axYUVx?si=388684fdbe8f49a5 The Rest is History Podcast - https://open.spotify.com/show/7Cvsbcjhtur7nplC148TWy?si=09f97df360c1418e What are frescoes? - https://en.wikipedia.org/wiki/Fresco More about the Silk Road - https://education.nationalgeographic.org/resource/silk-road/ Who was Ferdinand Freiherr von Richthofen? - https://en.wikipedia.org/wiki/Ferdinand_von_Richthofen#:~:text=Ferdinand%20Freiherr%20von%20Richthofen%20 The travels of Marco Polo - https://silk-road.com/artl/marcopolo.shtml https://en.wikipedia.org/wiki/The_Travels_of_Marco_Polo Read about the Periplus of the Erythraean Sea - https://www.worldhistory.org/Periplus_of_the_Erythraean_Sea/ What is the Muziris Papyrus? - https://historicalleys.blogspot.com/2010/06/introducing-muziris-papyrus.html Read about the Suvarnabhumi - https://en.wikipedia.org/wiki/Suvarnabhumi What is the Mes Aynak - https://archeologie.culture.gouv.fr/afghanistan/en/a-propos/ainak Who was Xuanzang? - https://asiasociety.org/xuanzang-monk-who-brought-buddhism-east https://artsandculture.google.com/story/travels-of-xuanzang-629-645-ce-xuanzang-memorial-nava-nalanda-mahavihara/9gVR3GyICUOmKg?hl=en China's only female empress, Wu Zetian - https://artsandculture.google.com/story/the-first-and-only-woman-emperor-of-china/PQWR-NRltC6QFA?hl=en More about Angkor Wat - https://whc.unesco.org/en/list/668/ What was the Islamic Golden Age? - https://en.wikipedia.org/wiki/Islamic_Golden_Age Al-Khwarizmi's book on Algebra - https://www.loc.gov/item/2021666184/ What is the Fibonacci sequence? - https://en.wikipedia.org/wiki/Fibonacci_sequence

Explore the fascinating history of the "Golden Road," as William Dalrymple reveals how ancient India shaped global civilization. From dominating Indo-Roman trade and spreading Buddhism across Asia to influencing Southeast Asian art, Chinese poetry, and Baghdad's observatories, India’s rich legacy in trade, mathematics, and culture left a lasting mark. Discover the rise of Indian influence through the Silk Route, the origins of zero, and the transformative power of ideas that reached Europe by the 13th century. Inspired by Angkor Wat, Dalrymple's book chronicles India's profound impact on Eurasia from 250 BC to 1200 AD.See omnystudio.com/listener for privacy information.

For the 314th Hangover Sessions, I was fortunate enough to host one of my most magnificent guests yet ~ going by the name of Mr David Gans!David is a musician, songwriter, and music journalist based outta Oakland, CA;  known for his incisive, literate songwriting. He is also noted for his music loop work, often creating spontaneous compositions in performance.Amongst many other talents, David is also the co-author of the book 'Playing in the Band: An Oral and Visual Portrait of the Grateful Dead,' and the host of the weekly syndicated radio show The Grateful Dead Hour.In tandem with that show, David also co-hosts another radio show with Gary Lambert on Sirius XM's The Grateful Dead Channel called 'Tales from the Golden Road', a call-in show about the Grateful Dead!David was kind enough to join me for a full 2-hour interview for this 314th episode; introducing 6 deserted island songs, intertwined with 3 original live performances.A link to David's chosen deserted island playlist is available here.Happy Listening!~DJ Webbles

Our guest this month on Conversations from the Pointed Firs is CLAIRE ACKROYD, author, inspector of organic maple syrup production in Maine. Claire Ackroyd, author of Murder in the Maple Woods, her first novel, a detective story set in the sugar camps in the northern forests of Maine, published in cooperation with Maine Authors Publishing, and a finalist in the 2021 Maine Literary Awards. She is a landscape designer, and for many years has been studying the history of production and conducting certifications of organic maple syrup in Maine. 

This week on The Gospel Jubilee Chip & Denny will be playing brand new music by The Perrys, The Taylors, Master's Voice, Mark Lowry, The Jordan Family Band, The Down East Boys, Anthem Edition, and Southbound.   Here are all of the ways you can listen to the Gospel Jubilee On your Echo device say, Alexa, play the Gospel Jubilee on Apple podcast. For a direct download go to: https://api.spreaker.com/v2/episodes/62956158/download.mp3       Ocean Waves Radio ... every Wednesday at 5:00 PM Eastern time., www.OceanWavesRadio.com   Thursday afternoons at 4:00 PM and Sunday mornings at 9:30 AM  EST on Southern Branch Bluegrass Radio, www.sbbradio.org   Saturday evenings at 7:00 and Wednesday afternoons at 4:00 CST on Radio For Life, www.RadioForLife.org   Legend Oldies Radio. Our broadcast will be aired every Sunday morning at 9:00 AM CDT. https://www.legendoldies.com   Playlist:   Artists |Song Title | Album   01. The Perrys - You can't hurry God - "Long, Long Road"   02. The Taylors - Peace, love, joy - "Peace, Love, Joy EP"   03. Brian Free & Assurance - Free - "Grateful For The Gospel"   04. The Erwins - Taste & see - "Life's Story"   05. Legacy Five - Somebody sing - "Heroes Of The Faith"   06. Master's Voice - On my way - "Immersed"   07. The Mark Trammell Quartet - God has provided Himself a Lamb - "God Has Provided"   08. The Promiseland Quartet - The hour I first believed - "Golden Road"   09. Debra Perry & Jaidyn's Call - I have found a priceless treasure - "Priceless Treasure"   10. Greater Vision - God wants to hear you sing - "Welcome Back"   11. Mark Lowry - Eternity with me - "There Is Hope"   12. The Jordan Family Bamd - Love me back to life - "Love Me Back To Life - Single"   13. The Mark Dubbeld Family - Tell the story - "Something Better"   14. Mystery artist of the week - Thank You Lord - "Happy Man"   15. The Down East Boys - Someone like me - "Something To Shout About"   16. Lauren, Amber, & Kenna - That kind of friend - "A Little Bit Of Heaven"   17. Joseph Habedank - Jesus walked in - "Autobiography"   18. Chris Blue - Can't stop talkin' about Him - "Foundations"   19. Anthem Edition - Still under His feet - "Still Under His Feet - Single"   20. Southbound - I left it in the water - "I Left It In The Water"   21. The Freemans - We gotta let our light shine - "Unbroken"   22. The Kingsmen - Saints will rise - "Decades 3 & 4"   23. The Porchlight Trio - Happiness - "Bluegrass Gospel Favorites - Songs Of Bill & gloria Gaither"   24. Sweetwater Revival - Looking for the coming of our King - "A Day Of Reckoning"   Jack Price Gloryland Band - Redeemed  

We journey through the captivating life of historian William Dalrymple to trace his path from the UK to India and unveil the inspirations that led him to explore the subcontinent's layered history in his best-selling books. We also dive into his latest work, The Golden Road, a sweeping account of India's far-reaching influence on global civilization—from religion and art to mathematics—as it spread across continents over centuries, reshaping the ancient world.See omnystudio.com/listener for privacy information.

William Dalrymple, Britian's greatest living historian and multi-award-winning author joined Philip Clark on Nightlife

"I'm that lucky guy who found his hobby and was able to turn it into a job." William Dalrymple is a multi-award winning and bestselling historian. Growing up on the Dalrymple family estate in North Berwick, with an almost Edwardian childhood, William was sent off to Ampleforth College at just eight years old. It was there that his passion for history grew and he spent his free time on archaeological digs and getting lost in history books. William has gone on to turn that childhood fascination into an incredible career. He has written numerous bestselling books including White Mughals and The Last Mughals. His latest book The Golden Road is out now.

Often called Arabic numerals, the modern number system we use today actually originates in India. Whilst in the west they were using Roman numerals, in India they were using numbers 1-9. Then, the great Brahmagupta in the 7th century made one of the most monumental developments in human history. He invented zero in its modern form. Therefore, these basic rules of mathematics for the first time allowed any number up to infinity to be expressed with just ten distinct symbols: the nine Indian numbers plus zero. Rules that are still taught in classrooms around the world today. This step was a major advance that had never previously been attempted elsewhere and it was this Indian reincarnation of zero as a number, rather than just as an absence, that transformed it and gave it its power. From India, this development then travelled along the Golden Road and into the heart of Barmakid Baghdad.  Listen as William and Anita discuss the origins of the Empire of Numbers. To buy William's book: https://coles-books.co.uk/the-golden-road-by-william-dalrymple-signed-edition Twitter: @Empirepoduk Email: empirepoduk@gmail.com Goalhangerpodcasts.com Assistant Producer: Tabby Syrett Producer: Callum Hill Exec Producer: Neil Fearn Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Silk Road has dominated the way we imagine the trading relationship between Europe and Asia to have worked in antiquity. In his new book, The Golden Road, William Dalrymple busts that myth. He sat down with Ash to talk about the origins of algebra, Indian gems in Anglo-Saxon Britain and why Genghis Khan was […]

One of the UK's greatest historians, William Dalrymple is no stranger to researching the treasures of India. Dalrymple sits down with Georgina Godwin to discuss his latest work, “The Golden Road”, which outlines ancient Indian cultures, ideas and inventions and how they influenced the western world. See omnystudio.com/listener for privacy information.

From the Roman economy and Angkor Wat to the spread of Buddhism and the numerical system we use today, ancient India was one of the great seedbeds of human civilisation. Indian art, religion, technology and ideas were exported across a vast territory, influencing several Eurasian cultures. Speaking to Danny Bird, bestselling historian William Dalrymple discusses his latest book, The Golden Road, which highlights India's profound impact on global history and uncovers its forgotten role at the heart of the ancient world. (Ad) William Dalrymple is the author of The Golden Road: How Ancient India Transformed the World (Bloomsbury, 2024). Buy it now from Amazon: https://www.amazon.co.uk/Golden-Road-Ancient-India-Transformed/dp/140886441X/?tag=bbchistory045-21&ascsubtag=historyextra-social-histboty The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Ancient India was the single greatest trading partner of the Roman Empire. For centuries, Indian sailors navigated the Indian Ocean and Red Sea to bring goods, ideas and religious beliefs to the Greco-Roman ports based on the Egyptian coast. But how did this lucrative trade begin? And what sorts of goods passed along it?In today's episode of The Ancients, Tristan Hughes is joined by William Dalrymple to explore 'The Golden Road' - one of the great trade routes of ancient history - and discover how India became the beating heart of the ancient world.Presented by Tristan Hughes. Edited by Aidan Lonergan. The producer is Joseph Knight, the senior producer is Anne-Marie Luff.The Ancients is a History Hit podcast.Enjoy unlimited access to award-winning original TV documentaries that are released weekly and AD-FREE podcasts. Sign up HERE for 50% off your first 3 months using code ‘ANCIENTS'. https://historyhit.com/subscriptionYou can take part in our listener survey here.

It was actually India, not China, that was the greatest trading partner of the Roman Empire. During this era, it's clear that sea travel was the fastest, most economical and safest way to move people and goods in the pre-modern world, costing about a fifth of the price of equivalent land transport. The Golden Road of early east–west commerce, in other words, lay less overland, through a Persia often at war with Rome, and much more across the open oceans, via the choppy waters of the Red Sea  and the Indian Ocean. Listen as William and Anita discuss the trade links between India and Ancient Rome. To fill out the survey: survey.empirepoduk.com To buy William's book: https://coles-books.co.uk/the-golden-road-by-william-dalrymple-signed-edition Twitter: @Empirepoduk Email: empirepoduk@gmail.com Goalhangerpodcasts.com Assistant Producers: Anouska Lewis and Evan Green Producer: Callum Hill Exec Producer: Neil Fearn Learn more about your ad choices. Visit podcastchoices.com/adchoices

Beth Ann and Grant break down the Kiwi's epic British Open victory

For a millennium and a half, India was a confident exporter of its diverse civilisation, creating around it a vast empire of ideas. Indian art, religions, technology, astronomy, music, dance, literature, mathematics and mythology blazed a trail across the world, along a Golden Road that stretched from the Red Sea to the Pacific. Listen as Anita and William discuss his new book and the rise of the Indosphere. survey.empirepoduk.com Twitter: @Empirepoduk Email: empirepoduk@gmail.com Goalhangerpodcasts.com Assistant Producers: Anouska Lewis and Evan Green Producer: Callum Hill Exec Producer: Neil Fearn Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to TCLive! Join Steve Weissman, Tracy Austin and Prakash Amritraj as they recap today's exciting events & matches. A new milestone unlocked for Mirra Andreeva. Could she take home the trophy in Romania? Matteo Berrettini is on fire, winning nine matches in 11 days. Additionally, after Coco Gauff carried the flag for Team USA alongside Lebron James, we will show you how she can dunk the competition on the road to gold in Paris, and more to be covered on today's episode of TCLive. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's pairing that matters most? Topo Athletic's Pursuit 2 and two, count 'em, two wheat ales. Which two? Well that would be Sam Adams Summer Ale and Golden Road's Mango Cart!After Colin's experience testing the Obōz Katabatic Wind Low he felt compelled to bring some trail runners back to the fore because it has come time for him to find a replacement for his beloved Altra Lone Peaks.Then Gear & Beer's official Cicerone (aka Justin) told Colin to go find a summer wheat ale so we could feature not one but TWO beers on today's episode. Colin brought home the Sam Adams seasonal classic Summer Ale and Justin tried Golden Road's Mango Cart.Because that's what you get here on Gear & Beer... the pairings that matter most!Please follow and subscribe to Gear & Beer and give us a 5 star rating wherever you get your podcasts.Gear & Beer is part of the Rock Fight podcast network. Be sure to check out THE ROCK FIGHT for the best outdoor industry commentary on Apple or Spotify.Head to www.rockfight.co and sign up for News From the Front, Rock Fight's weekly newsletter!Want to see your favorite piece of gear or favorite beer featured on a future episode? Send your feedback and suggestions to myrockfight@gmail.com or send a message on Instagram or Threads.Subscribe to Adventure Journal to get more Justin Housman in your life.Thanks for listening! Gear & Beer is a production of Rock Fight, LLC.

MonteCristo and Thorin discuss MSI 2024, Gen.G and their potential to Golden Road this year, Faker and T1 defeating G2 despite looking shaky, the future of League of Legends, Chovy's status as a bonjwa, Jensen being benched b FlyQuest, Esports World Cup and Riot Games shenanigans, and more!

This week on The Gospel Jubilee Chip & Denny will be playing songs by The LeFevre Quartet, Chosen Road, Authentic Unlimited, William Lee Golden & the Goldens, Brothers of the Heart, and a great deal more. Here are all of the ways you can listen to the Gospel Jubilee On your Echo device say, Alexa, play the Gospel Jubilee on Apple podcast. For a direct download go to: https://api.spreaker.com/v2/episodes/59529361/download.mp3   Ocean Waves Radio ... every Wednesday at 5:00 PM Eastern time., www.OceanWavesRadio.com   Thursday afternoons at 4:00 PM and Sunday mornings at 9:30 AM  EST on Southern Branch Bluegrass Radio, www.sbbradio.org   Saturday evenings at 7:00 and Wednesday afternoons at 4:00 CST on Radio For Life, www.RadioForLife.org   Legend Oldies Radio. Our broadcast will be aired every Sunday morning at 9:00 AM CDT. https://www.legendoldies.com   Playlist:   Artists |Song Title | Album   01. Zane & Donna King - Everyday battles - "Everyday Battles - Single"   02. The Ball Brothers - Victory in Jesus - "Dynamic"   03. The Promiseland Quartet - Back in the grave - "Golden Road"   04. The LeFevre Quartet - The things we cannot change - "Nobody Like Jesus"   05. The Gaither Vocal Band - If the Lord wasn't walking by my side - "Shine - The Darker the Night The Brighter The Light"   06. Chosen Road - The storm still knows His voice - "It Never Gets Old" 07. Second Half Quartet - I'm standing on Holy ground - "Refreshing"   08. The Villines Trio - Turn on the light - "Turn On The Light"   09. Jason Crabb - Mysterious ways - "Whatever The Road"   10. Lauren Talley - Where You've walked - "This Is For You"   11. The Booth Brothers - Crying in the chapel - "The King - Volume 1"   12. The Blackwood Brothers - Without Him - "Tribute To The King"   13. Greater Vision featuring Sisters - All creatures of our God & King - "Hymns Of The Ages"   14. Authentic Unlimited - Memories of home - "The Gospel Sessions - Volume2"   15. Balsom Range - God knows - "Kinetic Tone"   16. Steve Ladd - Preach the Word - "Preach The Word - Single"   17. Scott Brand - Somebody touch the Lord - "Looking Back"   18. Mark Bishop - Doctor ArthurRitus - "You're Happy When You're Laughing"   19. William Lee Golden & The Goldens - Come & dine - "Old Country Church"   20. Mark Lowry & Kevin Williams - Child of the King - "Sit Up Straight & Sing - Volume 3"   21. Legacy Five - You have always been my Shephard - "25"   22. Mystery artist of the week - Jesus plus nothing - "Dancing In The Rain"   23. The Inspirations - I own it all - "The Legend Continues"   24. Brothers of the Heart - How Great Thou Art - "Will The Circle Be Unbroken"   Outro – When We All Get To Heaven – Heavenbound Quartet  

In this episode of the Journey of My Mother's Son podcast, I sit down and talk with Matt and Grace Grooms of The Golden Road. Sandy and I met Matt and Grace back in December at Sebastian Inlet State Park in Florida as they were on the home stretch of their second walk across America.  I had found them and started following them on Instagram back in February or March of 2023, just as they were getting ready to embark on their walk from Maine to Key West. Their first walk across the country, back in 2020, took them from California to South Carolina. In between the two cross-country walks, they took a short little stroll, only 486 miles through the Rocky Mountains on the Colorado Trail. One of the things about Matt and Grace that drew me to them, wasn't just about the long-distance walks, but that each of the walks had a philanthropic component to it.  As a person who loves to walk and hike, and also came from the nonprofit sector, this was all very intriguing to me. They choose a nonprofit organization to raise money for during each of their walks.  Time in a Bottle, Luvin Arms Animal Sanctuary, and Elevate Youth have been the beneficiaries of their walks so far. To find out more about Matt and Grace and what they're doing with upcoming walks and other adventures, check out their website at https://theggoldenroad.com/. To find out more about each of the nonprofit organizations that The Golden Road has supported during their walking adventures, please check out the links below: https://timeinabottle.org/ https://luvinarms.org/ https://www.elevateyouth.org/

In the 1st century AD, the nomadic Kushans settled in what is now Afghanistan and established settlements and trade. From here, they moved down over the Hindu Kush and took large sections of Northern India. Within their new kingdom, Buddhism flourished under the patronage of the ruling class. Before Kushan rule, the Buddha had never been represented as a human, only as a tree or an empty throne. Yet through the empire's trade connections with Rome, Buddhist symbols took on a more classically western form, and so the Buddha began to be depicted in Apollo-like statues. By the 3rd century AD, the Kushan Empire was dwindling, but Buddhism would not be stopped. It began to spread even further along the Golden Road, right to the borders of China. Listen as Anita and William explore the Kushan Empire and its role in the spread of Buddhism. For bonus episodes, ad-free listening, reading lists, book discounts, a weekly newsletter, and a chat community. Sign up at https://empirepod.supportingcast.fm/ Pre-order William's book below: UK: https://www.amazon.co.uk/Golden-Road-Ancient-India-Transformed/dp/140886441X India: https://www.amazon.in/dp/140886441X/ Australia: Available 17th September 2024 US: Available Spring 2025 Waterstones edition: https://www.waterstones.com/book/the-golden-road/william-dalrymple/9781526681256 Twitter: @Empirepoduk Email: empirepoduk@gmail.com Goalhangerpodcasts.com Assistant Producer: Anouska Lewis Producer: Callum Hill Exec Producer: Neil Fearn Learn more about your ad choices. Visit podcastchoices.com/adchoices

India was the forgotten heart of the ancient world. For a millennium and a half, from about 250 BC to 1200 AD, India was a confident exporter of its diverse civilisation, creating around it a vast empire of ideas, an ‘Indosphere' where its influence was predominant. During this period, the rest of Asia was the willing recipient of a mass-transfer of Indian soft power. Indian art, religions, technology, astronomy, music, dance, literature, mathematics, and mythology blazed a trail across the world, along a Golden Road that stretched from the Red Sea to the Pacific, connecting different places and ideas to one another. Listen over the next five episodes as William and Anita tell the story of Buddhism and how it travelled along the Golden Road, starting today with the life of Siddharta Gautama, an aristocrat born in the 5th century BC. At the age of 29, he left behind his life of luxury and sought to understand the real world. In so doing, he changed the course of history. At the age of 35 he meditated for 49 days under a sacred pipal tree and eventually he reached enlightenment. We know him as the Buddha. For bonus episodes, ad-free listening, reading lists, book discounts, a weekly newsletter, and a chat community. Sign up at https://empirepod.supportingcast.fm/ Twitter: @Empirepoduk Email: empirepoduk@gmail.com Goalhangerpodcasts.com Assistant Producer: Anouska Lewis Producer: Callum Hill Exec Producer: Neil Fearn Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on The Gospel Jubilee Chip and Denny will be counting down their top ten picks of the most popular Southern Gospel songs for the month of February. Here are all of the ways you can listen to the Gospel Jubilee On your Echo device say, Alexa, play the Gospel Jubilee on Apple podcast. For a direct download go to: https://api.spreaker.com/v2/episodes/58876759/download.mp3 Ocean Waves Radio ... every Wednesday at 5:00 PM Eastern time., www.OceanWavesRadio.com Thursday afternoons at 4:00 PM and Sunday mornings at 9:30 AM EST on Southern Branch Bluegrass Radio, www.sbbradio.org Saturday evenings at 7:00 and Wednesday afternoons at 4:00 CST on Radio For Life, www.RadioForLife.org Legend Oldies Radio. Our broadcast will be aired every Sunday morning at 9:00 AM CDT. https://www.legendoldies.com Playlist: Artists |Song Title | Album 01. The Collingsworth Family - How good - "Just Sing" 02. The Jordan Family Band - B-L-E-S-S-E-D - "B-L-E-S-S-E-D - Single" 03. The Promiseland Quartet - Golden road - "Golden Road" 04. Zane & Donna King - Can't go so wrong - "Can't Go So Wrong - Single" 05. Avenue Trio - That's a how I know - "Songs For Every Mile" 06. Ben Rochester Family - Living Water Bread Of Life - "Living Water Bread Of Life - Single" 07. The Taylors - What I know - "Love Is The Voice" 08. The Gaither Vocal Band - Make the morning worth the midnight - "Shine - The Darker The Night The Brighter The Light" 09. Lauren, Amber, Kenna, Take me to the water - "Take Me To The Water - Single" 10. 11th Hour - Dear Heavenly Father - "Dear Heavenly Father - Single" 11. Ernie Haase & Signature Sound - Until we fly away - "Live In Amsterdam - A 20th Anniversary Celebration" 12. The Perrys - I think I'll just go on - "John 3:16" 13. Right Road Quartet - Something in that upper room - "On The Right Road" 14. The Down East Boys - don't want a maybe so - "The Stories We Tell" 15. Triumphant Quartet - Evidence - "Hymns & Worship" 16. Jeff & Sheri Easter (Featuring Mo Pitney) - Here comes Jesus - Treasure" 17. The Hoppers - God of a second chance - "Believe" 18. Tim Lovelace - The log-ride - "Moments That Motivate" 19. The LeFevre Quartet - Nobody like Jesus - "Nobody Like Jesus" 20. Paid In Full - Walking with Jesus - "30th Anniversary Special Edition" 21. Tim Menzies - Made a mess - (Featuring Brenda Anderson) - "He Reminds Me" 22. Justified Quartet - Safe on the glory side - "How Great The Debt - A Tribute To dianne wilkinson" 23. Tribute Quartet - Free indeed - "Always Grace" Outro – When the Roll Is Called Up Yonder - Heavenbound

Its been a hot minute since we were last live. Vacations, Snowstorms, Work, and Holidays. We are back for our first episode of 2024! Hop on in, and lets talk the Gold Road DLC Drop for the year, and a continuation of the Story that started with the Tavern.

#witchRPG #magetheawakening Following a wild night the Fools find themselves still in the cannibal timeline. Still in the Abyss. Given agency of where to go, they choose north. North where the ghosts go. North to the field of heads. North to the suspicious Golden Brick Road that is all too familiar to one. North to the city of Ozymandias. North to a great betrayal. With Charlotte as Mona, Archmaster of Prime Trevor as Parallax, Archmaster of Time Caity as Hannah, Archmaster of Life Victoria as Ethyl Stubbs, Archmaster of Death and Ismail as Hunts the Storm their werewolf compass Storytelling by Rudy Fixed some of the audio issues New Song! Mona Machine Composed by Psnayl Abyssal Timeline Theme Composed by Psnayl Hunts-the-Storm Theme Composed by Psnayl Play the game! Buy the rules here: https://www.drivethrurpg.com/product/... You can cast spells too. You know it.   / discord  #archmastery #magetheawakening #ttrpg 0:00 Intro 1:01 Hung Over Pirates 13:58 Spirit Duo 19:08 Golden Road --- Support this podcast: https://podcasters.spotify.com/pod/show/wards-and-witchcraft/support

RED Episode 275 The Return of Disneyland Races:  RunDisney 10K and A Celebration at Golden Road Brewing  SHOUT OUTS Thanks to all our patrons and everyone in the Runcation Nation for your support and encouragement.  Because of you, we have been able to keep the show going over the last two years, and now that the races are returning, we look forward to meeting up with you, too! So many in the Runcation Nation ran at the Walt Disney World Marathon Weekend and the Disneyland Half Marathon Weekend.  Congratulations to all of you who pushed through, gave it your best no matter the outcome, set shiny new PRs,  earned challenge and coast to coast medals!   Thanks to everyone who donated to our online auction, benefitting The DONNA Foundation.  Be sure to place your bids now!  We will announce winning bids right before The DONNA Marathon Weekend.   View and bid on items here:  https://www.facebook.com/media/set/?set=a.881195827339654&type=3  If you want a shoutout for you or someone you love on the show,  email us at info@runeatdrink.net or call us and leave a message at 941-677-2733. For anyone who would like a shoutout on the show, please don't forget to send them to us.  We do our best to collect weekly shoutouts, but please send them our way!  Please send them to info@runeatdrink.net or call 941-677-2733! Thank you to James Gray, Joanne Blatchley, and Dean Gerber, Associate Producers of our show.  Thank you to Josh Ozbirn, Executive Producer of the podcast, too!  We couldn't do it without you. Become a patron if you'd like more of the Run Eat Drink Podcast, including bonus content and early access to episodes!  Go to www.patreon.com/runeatdrinkpodcast.  We want to thank everyone who has supported the show and the ways we've had to adapt this past year.  We can't tell you how much it means to us to have this community.  We love you, Runcation Nation.  We can't wait to runcation with you soon! RUN This week, we recap the 10K from our return to Disneyland races.  We let you know about the expo, the course, the swag, the medal, and our thoughts on the first race back. Find out more about all RunDisney races at www.rundisney.com. EAT AND DRINK:  Exploring and Indulging in Anaheim We've had Golden Road beer on our show before, so when we saw a location close to us, we knew we had to stop by for a meal and a flight.  Golden Road Brewing did not disappoint.  Shout out to Jeff and Nicole, our knowledgeable bartenders, who gave us outstanding service.  We also got to go backstage with Andrew and see the original bar transformed into an event space! The brunch did not disappoint.  We break down our meals and flights on this episode to celebrate the accomplishment of the 10K.   https://www.goldenroad.la/anaheim  THAT'S A WRAP Runcation Nation, we hope you will give MagicMind a try.   Go to  https://www.magicmind.com/runeatdrink to try it out today.   Remember, you can get 20% off your one-time purchase or up to 56% off your subscription with our code RUNEATDRINK20. Thank you for listening!  We are in our 7th year of the podcast because of all your support!  Don't forget to follow us and tell us where to find you next on our website, Facebook, Instagram, and Twitter.  Also, check out our store on the website and get some NEW swag, thanks to Pure Creative Apparel.  Thanks to.  www.PodcastMusic.com for providing the music for this episode, too!

Christian "IWillDominate" Rivera joins the Summoning Insight season finale to discuss the greatest teams of all-time in the history of League of Legends. They discuss over a decades' worth of competitive League of Legends to identify and celebrate the best teams in LoL. Our hosts evaluate teams that peaked at an extraordinary level, such as Samsung White and Invictus Gaming, while also examining the teams that almost managed to walk the Golden Road, including JDG, SKT T1, RNG, and G2. Join us to evaluate each teams' unique aspects, strength of individual players, and fierceness of competition they faced to reveal the best of the best!

This week we are talking about our amazing stay at happyinthekeys.com in Marathon Florida. Also our a wonderful experience with “The Golden Road“. Follow them on Instagram and Facebook @ Theggoldenroad https://theggoldenroad.com/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/localsideofkeywest/message Support this podcast: https://podcasters.spotify.com/pod/show/localsideofkeywest/support

"We are the Pilgrims, master: we shall go always a little farther..." Analog Shift's James Lamdin is a #watchfam fellow traveller. Let's put it this way... If "The Golden Road to Samarkand" was a metaphor for the path to enlightenment on neo-vintage watches and amazing 1980's television (and old BMW's), then surely James Lamdin would be the Caravan Master. Mr. Lamdin is DEEP into the appreciation of all the good stuff, folks! We chat about the topic of neo-vintage, the need for Breguet to do better in an effort to reclaim its place in the firmament, and of course the #magnumpivibechallenge! This one runs a bit long, but- like a Ferrari 308 GTS- it goes fast. Thanks for listening.

The show begins with reactions to the semi-final matches and an in-depth breakdown of the high-level series played between T1 and JDG, ending the latter team's attempt at completing the first Golden Road in League of Legends history. Thorin and Monte preview the finals and discuss how Weibo might hope to defeat the T1 juggernaut in a meta the Korean team has defined, but the opportunity appears slim. They chat about the variety of roster moves rumored for LCS and LEC teams, including G2's former members regrouping under Heretics' banner.

The Worlds semi-finals are over and JDG failed in their quest for the Golden Road after a surprising upset by a surging T1. Power Spike is here to break down the reasons behind JDG's loss, plus provide a preview of their year's grand final between T1 and WBG.

Emily Rand dropped by to chat about the upcoming Worlds Semifinals with 3 LPL teams and the remaining LCK team who has the chance to win in Korea again, something that hasn't been done since 2014. And don't forget to check out "Let's Go", a weekly video series where I take you behind-the-scenes at the 2023 World Championship over on the LCS Youtube channel! http://www.youtube.com/lcs 0:00 - Intro, quick thoughts on Quarters: NRG vs WBG9:29 - GenG vs BLG14:04 - JDG vs KT16:50 - T1 vs LNG19:31 - Emily's here!21:20 - Emily's highlight moment of Quarters23:27 - NRG31:00 - TheShy34:56 - Weibo Gaming37:43 - Chovy44:27 - Semis: BLG vs WBG46:01 - JDG and KT, T1 and LNG53:18 - Semis: T1 vs JDG57:58 - Semis predictions

This week, we break down all four of the quarter-final match-ups at the LoL World Championship and debate T1's chances at ending JDG's bid to complete their journey on the Golden Road. BLG should easily beat Weibo en-route to a berth in the finals, but if the series is close does this spell doom for an exciting end to the tournament? The question of the Dade Award looms as Tarzen turns in an unforgiveable performance, and Monte and Thorin contemplate if there should be a winner this year. With another GenG performance at the international level, the guys discuss if this is the end of the Chovy/Peanut partnership that yielded three domestic titles but collapsed at two Worlds and an MSI.

What's up internet! We are back drinking Spicy Mango Cart by Golden Road. We talk about The Rotten Tomato fiasco. We review Strays, starring Will Ferrell. We also look at the latest release in The Conjuring Universe, The Nun II.

The Golden Rule and the Golden Road - Lamar Morin Best Sermon Ever| Sermon on the Mount Series Sunday, July 23, 2023 at Hoffmantown Church, Albuquerque, New Mexico

Also available on You Tube https://youtu.be/942rKvUoyw8 Hosted on Acast. See acast.com/privacy for more information.

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

Dead Heads Alex and Dave introduce a new type of episode, D&C in 23... with WP! This summer, we'll be with you for every stop of Dead & Company's final tour. The day after each show, we'll be posting an episode recapping the previous night's show and previewing the next stop on the Golden Road. This episode, we introduce the concept and discuss Dead & Company's show from the New Orleans Jazz Fest on May 6, 2023! Where are Dead & Co as a group heading into this summer's tour? What songs do we think the band will play at their tour-opening show in LA? Get on the bus with Workingman's Pod to find out!Links:To play #EstimatedProphets with us this summer, hit us on any of our social media channels or via email at workingmanspod@gmail.comBruce Sunpie Barnes biography - https://encyclopediaofarkansas.net/entries/bruce-sunpie-barnes-8139/

Ladies and gentlemen, fellow deadheads, today's regularly scheduled DeadCast will be coming in the not too distant future, fear not we have all the golden Yummies lined up for your listening pleasure. You'll definitely want to join the party when you see what sunshine we have in store, so stay tuned, and we'll see you just a little bit further down the Golden Road.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We're extremely excited to have David Gans as our guest on No Simple Road this week! David is a musician, songwriter, guitarist, and music-journalist. He is the co-author of the book 'Playin In The Band: An Oral and Visual Portrait of the Grateful Dead', 'This Is All A Dream We Dream: An Oral History of the Grateful Dead' and hosts the weekly syndicated show The Grateful Dead Hour. He also co-hosts a show on Sirius-XM's 'The Grateful Dead Channel' called 'Tales From The Golden Road'. I would dare to day that David is royalty and an elder statesman in our little Grateful Dead community.We talk with David about how we shouldn't allow the world outside to deny us our joy, how today's strangeness and issues are so different than years gone by, the way that a musician's job has changed over the years, an elders role in the community, why the Grateful Dead's music stood out among so many greats, and so much more!To watch David's daily livestreams head over to his YouTube channel or www.dgans.comNo Simple Road Intro Music Created By ESCAPERFREE SHIPPING from Shop Tour Bus Use The PROMO CODE: nosimpleroadFor 20% off Sunset Lake CBD PROMO CODE: NSR20 For 25% off Electric Fish Lights PROMO CODE: NSRFOR 10% off your first month of Better Help CLICK HEREFor 20% off Grady's Cold Brew PROMO CODE: NSRMUSIC IN THE COMMMERCIALS BY AND USED WITH PERMISSION OF:CIRCLES AROUND THE SUNOUTRO MUSIC BY AND USED WITH PERMISSION OF:CHILLDREN OF INDIGOSupport this show http://supporter.acast.com/nosimpleroad. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Stop #4 of the PMS Chevy Summer Tour at The Pub at Golden Road. Number, Word and Song of the Day. Tim Conway Jr from KFI. Justice with Sweet James

Stop #4 of the PMS Chevy Summer Tour at The Pub at Golden Road. Dodgers Analyst Jose Mota. Great Sports Talk

Stop #4 of the PMS Chevy Summer Tour at The Pub at Golden Road. Final Hour Fun Fact. Quick Hits. Top Story of the Day. Dead and Alive Guy and PMS Dodgers Pre Game