Podcast appearances and mentions of John Palmer

On this episode Mark is joined in the Southern Studio by: John Palmer, Head of Options, IEX Ivan Brown, Chief Operating Officer of Optios, IEX They discuss Do we really need a 19th options exchange? What can IEX bring to the table that is different from every other options exchange? How can you protect market makers from dangerous errors and stale quotes? Is the new Nasdaq Mag 7 plus pilot for 0DTE equity options the right path forward? and much more...

In this special FILMED episode of Boxes and Lines (check the IEX YouTube page!), Ronan and JR welcome John Palmer and Ivan Brown, who are leading IEX's charge into the options market. They get into what makes options different from equities, explain the rise of 0DTE (zero-day-to-expiration) contracts, and talk about the unique risks market makers face in a quote-driven ecosystem. They share why now is the right time for IEX to launch an options exchange, how IEX's Signal aims to protect stale quotes, and what makes this effort more than just a me-too market. Plus: JR's love for lazy rivers, 40 types of jelly, and Ronan's lunchtime cocktail. Whether you're deep in the weeds or just options-curious, this episode peels back the layers of what's going on in the market today. 

Activist investor John Palmer sees plenty of catalysts for bank stocks, including stronger fundamentals, attractive valuations and a resurgence in M&A activity among regional and community banks. In the episode, Palmer, principal and managing member at PL Capital, discussed his firm's investment approach, its successful history in running proxy campaigns and how its interactions with bank management teams have changed over time. The veteran investor also shared how PL Capital has encouraged change and offered value to management teams as well as his view on the need for scale at some banks, M&A activity, regulation and bank valuations.

Leader 2 Leader Series:Join Chamber President and CEO, Susan Spears on a journey as she interviews some of the top community leaders in this series. Susan and her guests will share their insight and wisdom on making teams more effective, leveling up your communication skills, and building the courage to lead during difficult times. The Leader2Leader series is about making the most of it all —with insights, research, advice, practical tips, and expertise to help you become the leader you desire to be.Today's Guest: John Palmer, Lead IT Support, Stafford County Government

John Palmer joins me this week to discuss the Cold IPA style, its history and how to brew one at home. You can find show notes and additional episodes on my blog here.

John Palmer joins me this week to discuss the Cold IPA style, its history and how to brew one at home. You can find show notes and additional episodes on my blog here.

On today's episode I'm joined by John Palmer, a certified IFS practitioner and lead trainer in Intimacy From the Inside Out (IFIO). John brings 30 years of experience working with individuals and couples to explore how IFIO applies the principles of Internal Family Systems (IFS) to intimate relationships. We discuss relational dynamics, including the concept of tracking sequences, differentiation, and how past experiences influence present connections. Key Takeaways: IFIO uses IFS principles to help individuals and partners explore relational dynamics and improve communication. Differentiation is the ability to stay connected to your own system while maintaining connection with your partner, even during conflict. How protectors and exiles show up in relational dances The importance of taking responsibility for one's own parts in a relationship while remaining open to connection with a partner How practicing Self-Led communication can transform conflict into opportunities for healing and growth. How do past experiences shape the way we respond to our partners in the present? Tracking sequences in relationships reveals the protective cycles that keep partners stuck and highlights the underlying vulnerabilities driving conflict. Favorite Quote: "There's actually some vulnerability under there that's driving this dance. And if we can learn how to help the protectors trust enough of Self to let that vulnerability emerge and be looked at and healed, then the protectors don't have to do what they do anymore." – John Palmer​ About John Palmer: John Palmer is a certified IFS practitioner, IFIO lead trainer, and couples therapist with three decades of experience. He integrates IFS with systemic relational approaches to help individuals and partners build stronger, more compassionate connections. Episode Sponsor: IFS Institute Check out our new Self-Led merch at The One Inside store Watch video clips from select episodes on  The One Inside on YouTube Follow Tammy on Instagram @ifstammy and on Facebook at The One Inside with Tammy Sollenberger. Jeff Schrum co-produces The One Inside Podcast. He is a writer, counselor, and IFS Level 1 practitioner.   Are you new to IFS or want a simple way to get to know yourself? Tammy's book, "The One Inside: Thirty Days to your Authentic Self" is a PERFECT place to start.  Sign up for Tammy's email list and get a free "Get to know a Should part of you" meditation on her website Tammy is grateful for Jack Reardon who created music for the podcast. Jack is a graduate of Derek Scott's IFS Stepping Stones Program.   If you are interested in sponsoring an episode or two of The One Inside Podcast please contact Tammy at tammysollenberger@comcast.net

John Palmer delves into his extensive career in banking, and highlights the golden opportunity that lies in small and mid-sized banks. He highlights trends like consolidation, regulatory evolution, and technological advancements. Looking ahead, he is optimistic about the banking sector's recovery cycle and its capacity for sustained growth, even amid challenges like commercial real estate pressures and emerging fintech innovations.  Today we discuss... John Palmer shared his extensive experience in the banking industry, including his career start at KPMG and his transition to founding a banking-focused investment fund in 1996. How the banking industry has undergone massive consolidation since the 1990s driven largely by efficiency and cost-saving opportunities. Key trends like stricter regulations, higher capital requirements, improved loan underwriting, and the transformative impact of technology on banking operations. The causes of the recent crises at Silicon Valley Bank, Signature Bank, and First Republic, emphasizing asset-liability mismanagement during rapid rate hikes. Blockchain technology acknowledged as a potential long-term asset for banks and skepticism about the role of cryptocurrency in traditional banking. The current banking stock cycle entering an upward phase, with profitability projected to grow steadily through 2026. Bank earnings and stock performance are rising, driven by factors like margin expansion and easing deposit costs. Banks with $1-$10 billion in assets are attractive targets for M&A due to cost savings and growth opportunities. Major banks are expanding branch networks in rural areas, targeting low-cost deposits, while smaller banks focus more on digital channels. The Midwest and Mideast regions show the most M&A activity, though the Southeast and California are also of interest. Investments focus on public banks with shareholder lists amenable to proxy support for structural changes. Banking regulation relief under a new administration could lower compliance costs and ease capital requirements. A normalized yield curve is boosting loan repricing and margins, contributing to earnings growth. Bank valuations remain attractive compared to broader markets, with banking stocks trading at significant discounts to earnings. For more information, visit the show notes at https://moneytreepodcast.com/golden-opportunity-john-palmer-666  Today's Panelists: Kirk Chisholm | Innovative Wealth Phil Weiss | Apprise Wealth Management   Follow on Facebook: https://www.facebook.com/moneytreepodcast Follow LinkedIn: https://www.linkedin.com/showcase/money-tree-investing-podcast Follow on Twitter/X: https://x.com/MTIPodcast  

Patriot Vision Industries has been providing innovative technology solutions to users around the globe for 36 years. In 2022, we highlighted Curtis, along with company President John Palmer, and their just-released Lyriq Assistive Reader, a lightweight powerful scanning product. Join Blind Abilities podcast host Simon Bonenfant as he speaks with Curtis about a new device, called LyriQ AI. This revolutionary device combines all of the features of the previous LyriQ model, with the contextual help of AI. Have a long receipt with many items? Use the document summary feature to get an overarching glance of the text displayed. Have a product with a bar code? Use AI tools to quickly find detailed information, such as possible use cases for that item. You can also use AI to seamlessly translate printed text between languages. Perhaps one of the greatest features is that the product has handwriting capabilities, allowing for greater access to the printed word!   Curtis also announces the Patriot Voice EZ, a simple to use scan to text reading machine. Finally, Curtis announces the Multimedia Transmitter Box, complimenting the Patriot Viewpoint, allowing users to access content from their TV directly into their existing viewpoint device. Read More

On this week's show... * Wigan Athletic action * Interviews with Matt Bloomfield + Franco Ravizolli * Oppo View * Chairboys fanatic John Palmer joins us for Till Death Us Do Part

Diabetes: Prevention, Diagnosis and Treatment Measures | October 24, 2024 | On Call with the Prairie Doc® | Prairie Doc Dr. Kelly Evans-Hullinger, with guests Dr. Richard Crawford from Avera Endocrinology and Diabetes in Sioux Falls and Dr. John Palmer from Monument Health Rapid City Clinic as they talk with us about diabetes and take viewer questions.

J.P. Duffy welcomes Serena Lee, the new President and CEO of the International Institute for Conflict Prevention & Resolution (CPR), for an engaging discussion about CPR's foundational principles, its unique origin as an organization dedicated to helping corporations, and the influential role it plays in the global arbitration community. Serena explains CPR's inner workings, delves into recent case statistics, and shares her vision for CPR's future. ----more---- Transcript: Intro: Hello and welcome to Arbitral Insights, a podcast series brought to you by our international arbitration practice lawyers here at Reed Smith. I'm Peter Rosher, Global Head of Reed Smith's International Arbitration Practice. I hope you enjoy the industry commentary, insights and anecdotes we share with you in the course of this series, wherever in the world you are. If you have any questions about any of the topics discussed, please do contact our speakers. And with that, let's get started.  J.P.: Welcome back to the next episode of Arbitral Insights, in which we'll discuss the International Institute for Conflict Resolution, known in the legal community as CPR, with Serena Lee, who's CPR's new president and CEO. I'm J.P. Duffy. I'm an international arbitration partner based in New York that acts as both counsel and arbitrator and international arbitration seated around the world under a variety of governing laws and arbitral rules. I'm qualified in New York, England, and Wales, and the DIFC courts in Dubai, where I previously practiced. I also have the good fortune to be listed on the CPR arbitrator roster, which is called the Panel of Distinguished Neutrals. With me today, as I mentioned, is Serena K. Lee. Serena is a lawyer qualified in New York who previously practiced on the West Coast. Before joining CPR, Serena served as the Vice President of Operations for JAMS in San Francisco, where she managed three resolution centers, San Francisco, Santa Rosa, and Seattle, and oversaw approximately 85 neutrals. And before that, Serena was vice president with the AAA in the construction and commercial divisions, first in Seattle and then San Francisco. So as you can tell, Serena brings a wealth of experience and perspective to her new role and to the audience. And we're thrilled to have her because she's a very recent addition to CPR. She's going to give us some updates on everything that CPR has been up to and what she plans for CPR to do. Before we begin, let me just give some brief background information about CPR itself for those that aren't as familiar with it. CPR was established in 1977 in New York by James F. Henry to help businesses find better ways to resolve commercial disputes. CPR does this through the CPR Institute, which acts as a think tank and a thought leader, and through the CPR Institute's subsidiary, CPR Dispute Resolution Services, which provides dispute resolution and prevention services to users, including the administration of CPR's arbitration rules. CPR has a unique origin because it was established by in-house counsel from Fortune 100 companies to bring together corporate counsel and their law firm clients to collaborate on ways to reduce dispute resolution costs by finding alternatives to court litigation. Today, CPR has a membership community that comprises corporate counsel, law firms, academics, and neutrals. Over the decades, this unique membership community has produced a variety of thought leadership pieces, and innovative yet practical rules for arbitration and mediation, as well as the CPR pledge, which more than 4,000 companies and 1,500 law firms have signed to show their commitment to considering ADR for the speed resolution. So as you can tell, CPR, while it is an arbitral administrator, does a lot more and is relatively unique in the space in the way that it operates. So with that, let's turn to Serena a bit, because I want to hear from her about everything that CPR has been up to. Serena, welcome.  Serena: Thank you so much, JP. Pleasure to be here. Good. J.P.: Well, we're so glad you could join us. And I think, you know, one of the first things that our listeners would love to know is, how many cases did CPR administer in 2023?  Serena: Well, thanks for the questions, J.P., and you're right. I think often people are interested in the number of cases CPR administered. So CPR Dispute Resolution, our arbitral provider subsidiary, administers cases, including complex commercial arbitrations, and offers a number of related services such as mediation, fund holding, appointment services, and others. Our first rule set ever published was actually a non-administered arbitration, and we offer services to help parties through those ad hoc processes. So there's really not a straightforward answer to your question because it depends on how we dissect the data. Oftentimes, parties don't tell us if they are using CPR for their ad hoc arbitrations. Sometimes the parties will come to us for only parts of the services they're seeking, such as for fund holding or for appointment or for conflicts checks. So I don't have a specific number of how many cases CPR has administered based on the data I just shared with you. But I can tell you that CPR dispute resolution handles fewer cases each year than the AAA or JAMS. But because we're smaller, our team is oftentimes very high contact and responsive to questions. So I guess it's all good.  J.P.: That's a great answer. Now, it highlights a point, too, that I think is pretty interesting. What year, if I remember correctly, CPR introduced administered rules in sometime around 2010. Is that correct?  Serena: Close. 2013 was when our first set of administered arbitration weeks were located.  J.P.: Okay, so Serena, so the administer rules got introduced in 2013, and if I've understood you correctly, CPR still gets used relatively frequently by parties, or the CPR rules do, for non-administered cases.  Serena: Correct.  J.P.: What's the breakdown for administered cases between domestic and international cases?  Serena: The majority of the cases that we are aware of were domestic, but we also have received international cases. They're devoted to certain regions, such as in Canada and in Brazil, being maybe our two most prominent areas where we have received international matters.  J.P.: Interesting. And are there particular industries that feature more prominently in the cases than others?  Serena: Well, from the industries that we've seen in the past few years, that they are, as many providers also experience, they come from a wide variety of industries and sectors. Employment, healthcare and life sciences, energy, oil and gas, accounting and financial service are some of our largest caseloads. We also see franchise, insurance, technology, sports law, construction, professional fees. I'm rattling off some of the ones that come to mind. Of course, straight commercial matters as well. And we do see sometimes unfair competition matters come in as well.  J.P.: Interesting. So it's really a pretty broad range of disputes that CPR helps administer.  Serena: Correct.  J.P.: That's great. Now, how much of that is driven by CPR's membership? And it may be worth it when you answer that just to give a little bit of background on that and to explain how the CPR membership process works and maybe talk a bit about who some of the CPR members are. So to probably take this time to distinguish between the CPR Institute, which I'm going to refer to as the Institute, and CPR Dispute Services. So the Institute, of course, as you had mentioned, J.P., was started in 1977. And that is the think tank or the thought leadership portion of CPR and essentially why we exist. Now, CPR dispute resolution was created some three years ago to help parties who were interested in administered arbitrations or other ADR services to help administer those. So they were created as a subsidiary under the Institute to do so. There is a division between the Institute and the work that the Institute does and administration and dispute resolution services that CPR Dispute Resolution provides. Those who are interested in coming into the Institute as members of the thought leadership portion of CPR join as members and they can join as individuals, they can join as firms or as corporations. We have some of the largest organizations to the smallest companies in America who are interested in joining CPR Institute because they're interested in being part of the dialogue and workshopping ideas and solutions to issues they're seeing out in their business landscape. And law firms who also join as well as academics who want to contribute and also listen to what the businesses are asking for and what they're trying to resolve to make sure that the processes are efficient, that they're fair, that they are practical in a business context, and so forth. So I make mention of that because the Institute has very little to do with the case management. The only thing that the institute provides for CPR dispute resolution are the rules and the protocols are promulgated within the institute are then pushed over to the DR or the Dispute Services to issue out and to use. So those who file cases with dispute resolution services have no real interaction with the members. I hope that's clear.  J.P.: It is clear. Yeah. And I think there's a lot to unpack there that's really fascinating and different than a lot of other institutions. So let me just take that in pieces if I could. So the Institute has, that's what has the 4,000 members and the 1,500 law firm members. Is that right?  Serena: Yes.  J.P.: Okay. What are some examples of say fortune 500 companies, if you don't mind sharing that are members of the Institute?  Serena: Certainly, I mean, I can't name all 4,000, but if you actually just jump onto our website on the CPR Institute Board of Directors, you'll see some of the board members come from prominent companies such as Microsoft, Amgen, ConocoPhillips, I'm trying to think, Palo Alto Networks, and others. And the law firms, the biggest law firms in the country are part of the Institute. If you also look at our corporate leadership dinner brochure that's also online, you'll see some of the sponsors of the Institute listed, both corporate as well as law firm contributors.  J.P.: Well, that's really interesting, Serena. So if I'm understanding it correctly, those members that you mentioned of the Institute are the ones that are creating the rules pursuant to which cases may be administered. Is that right?  Serena: Well, it's a little bit more nuanced than that. The members can send associates and their in-house counsel and members of their in-house team to be part of committees within the CPR Institute, as well as law firms who also can comprise of neutrals and academics and attorneys from both maybe the more plaintiff's side and defense side. And they are the ones who workshop the protocols as well as the rules. So for instance, right now we are updating all of our rules as we do every five years and within the arbitration rules committee revision team, you'll see that there are members within all the groups I just mentioned, all the stakeholders who are involved at looking at the rules and discussing whether there should be updates.  J.P.: Got it. So really, at the end of the day, is it fair to say the rules are being pretty heavily influenced by both potential users and law firms? Serena: Yes, I would say that the rules and the protocols are created to maximize efficiency. Obviously, the businesses are in the business of not being in law pursuits, at least our corporate members aren't. And also to make sure that the arbitrators who may have some input into whether the rules can be refined or tweaked to promote efficiency or expediency. So I would say that the end users have a lot of say into the rules. And also the academics who are in the space of dispute resolution are part of the committee and part of the conversation to ensure that the rules and the protocols that we're issuing meet due process.  J.P.: That's really great. I mean, I think that's a really unique feature of CPR, that there's so much input from the actual users and the law firms that will likely be recommending it. It's a really unique feature that probably, if I understand it correctly, stems from the way that CPR was created. Is that correct?  Serena: It's exactly correct. Now, because I worked with the two other arbitral institutions, the largest ones in the U.S., I can say for certain that I find the rules and the refinements of the CPR rules to be different based on the feedback from the field.  J.P.: Interesting. Now that raises an interesting transition point, Serena, because you've been in this role, you haven't been in this role terribly long, right? When did you join CPR?  Serena: My first day of CPR was on April 1st. So it's just been four months.  J.P.: Wow. Okay. So still relatively fresh in the role. How have you found it so far?  Serena: It's been just very, very enriching, I think, for years after being, decades of being on the provider side, to finally work with the end users and to talk to the people who are drafting ADR clauses and trying to think on how to avoid disputes early on or to resolve disputes as quickly as they can when they arise in a way that's fair and economical and business friendly. Meaning for everyone, all the parties involved in disputes. I'm really enjoying the fact that I can share the other side of the equation, so to speak, feel as passionately and as dedicated in resolving disputes in a way that can minimize cost and damage to relationships. That's been really rewarding.  J.P.: I like that. You mentioned a way of minimizing damage to relationships, because it's something that I see a lot. I practice a lot in the life sciences space, and I find that arbitration in particular for those types of industries that have a lot of long-term collaborations like life sciences and some others can be really beneficial because it does allow parties to continue doing business together afterwards in a way that doesn't often happen with litigation. So that's a really interesting point to raise. And it sort of me to something else I wanted to just touch on too. Like, are there particular industries that you think CPR is better suited to than others?  Serena: I'm racking my brain because I frankly can't think of an industry that could not benefit from the structure of CPR dispute resolution. I suppose if the parties in a dispute are interested in preserving relationships and have a say in the rules that are being used to resolve their disputes, and they want to make sure that the rules are ones that they can be assured that they are efficient, then they should know that the rules and the process by which CPR Dispute Resolution follows are based on the end users from its creation. I also think that because we are not as big as the other arbitral providers, our case managers are very responsive and experienced, not that they aren't in the other providers, but because our caseloads are smaller, the case managers at CPR dispute resolution can talk through the variety of a la carte services that are available to parties. If they aren't interested in full-blown arbitration, there is something different that we can talk to them about. Our complete case platform is a very secure case management system that was built specifically for dispute resolution. And since we accept submission agreements and our roles were developed by task force of all the stakeholders we just talked about, I think that there isn't a industry or a group that I don't think wouldn't benefit from using CPR, dispute resolution service. I know that seems perhaps a bit self-serving to say, but I think that might be true given the fact that come from the other providers as well.  J.P.: Yeah, no, not self-serving at all. I mean, I think it's the best endorsement you can give. You know, it's a really broad statement that's reflective of how broad the Institute membership is and CPR's genesis. Well, now you've been in the role for four months, you mentioned. So let me ask you this, what would you like to accomplish for the remainder of 2024, given that we're sort of rolling in towards the end of the year?  Serena: Well, I'm very much looking forward to amplifying CPR's mission, our resources, and to involve incredible members here in the U.S. and internationally. We've been primarily focused in Europe, as I mentioned, in Brazil, and I imagine that in subsequent years we'll expand more broadly to other countries. We are actually right now testing a new membership concept to connect our members into areas where they live and they work. So to that end, what I've planned to do is to launch our inaugural regional chapter of CPR, something we've never done before, in Seattle in November. I chose a city that had very strong corporate support. As I mentioned, Microsoft has been a corporate member of CPR for many years, and one of the board members of CPR, John Palmer, is a huge proponent for CPR and its resources. And I also chose Seattle for its vibrant legal community that actively uses alternative dispute resolution.  J.P.: That's great. Now, tell the listeners a bit more about what you mean by the regional chapter.  Serena: Sure. So I'm hoping that these regional chapters can connect and provide those in the legal community with an opportunity to engage in the same thought leadership on a local level and also to consider CPR. In, I think, the ADR space sees our role as the conveners of conversations and discussions. So while we can have national and industry-specific conversations remotely in this day of post-COVID discussions, we also wanted to bring an in-person experience to the local chapters that we are starting. It will be a pilot for us in Seattle. And what I'm hoping that we can provide for a local chapter of CPR is an ability to bring all the local general councils of the large corporations based in that city, as well as the law firms, the law schools, as well as the neutrals who practice in that area to come together, again, to get to know each other in a way that is meaningful so that they may learn from each other to hear each other's perspective in real time. And then to broadcast or transmit their ideas from a regional chapter onto the national roster. There's no reason why the thought leadership can't originate from a regional chapter such as Seattle.  J.P.: That's great. Now, what are some of the other regions that you're envisioning regional chapters for?  Serena: That's hard to say. We have had a very, very strong presence in Houston for decades now. The energy, oil, and gas industries have been great supporters of CPR. I surmise this because they are a very small industry where there are lots of repeat players in the space. So because we're conveners, I think that we may look into Houston as our next regional chapter. And then I think I'll have to see. I think there has been an appetite in other areas such as Chicago. And of course, I'd love to be able to start a chapter in California.  J.P.: Right. Well, and obviously, California is such a large market. You could probably do one in Northern California and Southern California separately. But it remains to be seen, I guess, where you would want to go.  Serena: Correct. I'm also very interested in making sure that we are actively engaged with our members of arbitrators. Our panel of distinguished neutrals has about 600 members, and perhaps I'm showing my years of working with the providers, but I do think that the arbitrators, mediators, and other neutrals within our panel are a hugely important component within CPR, and I like to engage with them in more ways in the coming years. And I know that our law firms and our corporate members really appreciate the role of CPR as the conveners. So to have the opportunity to talk to neutrals and academics about thought leadership in the dispute resolution space is very important to them.  J.P.: That's great. Well, I think it's, you know, from my perspective as both someone who acts as both counsel and an arbitrator, I think it's really great when an institution does solicit the views of arbitrators because in so many ways they are the front lines of what's occurring, right? I mean, obviously end users have the biggest stake and should have the largest voice in my view because they are the people that are impacted by all this most. But certainly arbitrators do see, what works well, what may not work as well, areas that can be improved, things that might be made more efficient. So it's really important, in my view, to solicit the arbitrator's views. And that's a really great initiative.  Serena: Thank you. And I actually think that it's almost vital to ensure that everyone that's in the ecosystem of dispute resolution understand the needs and expectations of each other and to make sure that the rules and protocols that we are promulgating and asking our neutrals to use in their processes make sense and that there is buy-in. And if there isn't buy-in, if there is a way to iterate a better system, that we capture that feedback and to integrate innovations and refinements to process as we move forward into the future.  J.P.: That's great. I mean, absolutely. It's an inclusive environment that considers all the different stakeholders and all the different voices, always produces a better result. So wonderful to hear that that's something that you're considering. Now, that would be for 2024, which is a pretty ambitious agenda, it sounds like. What would you see or where would you like to see CPR in five years?  Serena: Yeah. Well, in five years' time, I, of course, hope to continue to build on an even stronger CPR institute that can work collaboratively with additional stakeholders to identify ways that parties can resolve their disputes more effectively. There's sometimes, I think, a sentiment in the legal community that the use of mediation and arbitration is now a mainstay tool in resolving disputes, in legal disputes. But I still strongly believe that mediation, as is being used now, is still more evaluative. It'd be great if the parties are open to a more transformative process. And I've seen over the years, unfortunately, arbitration being conducted more like litigation. And the benefits of arbitration, namely being more streamlined, quicker, and more cost-effective, and so forth, are being eroded by attorneys who are either not understanding the advantages of arbitration's more informal process, and also arbitrators who may not be willing to streamline the process. So my hope is that CPR can continue to help keep the dialogue of better dispute resolution process, open, engaging, and responsive to the expectations of the parties who go into mediation and arbitration. CPR dispute resolution services, which of course, as I mentioned, only issued out its administered rules in 2013, has shown steady growth year over year as more companies are either submitting their disputes to CPR dispute resolution or they're opting to write CPR rules into the contracts because they're comfortable with the rules and the process designed by the end users. So I'm hoping that we can continue to grow CPR dispute resolution services as well.  J.P.: It's a really important agenda to take on because there's absolutely a dialogue going on in the community right now that you're seeing on various platforms, particularly from arbitrators about, and some of the arbitrators that have been around for a little bit longer, about arbitration becoming too much like litigation, becoming too similar to court procedures, and becoming too burdensome to really achieve its purposes. And it's interesting to see that discussion arise because it sort of goes on hand in glove with, you know, the explosive growth of arbitration as an alternative process. And if it really becomes too much like court, then it's not really an alternative to court. It's just another sort of venue for promulgating those types of processes, which really defeats the purpose in some ways. So it's great to hear the CPR is taking that on and that you want to promote revisiting really what arbitration is about.  Serena: Correct. And I think that we must be vigilant and not rest on our laurels that we think that alternative dispute resolution is being used widely does not mean that it's being used as well as we probably hope or have promised parties at times.  J.P.: Yeah, absolutely. Absolutely right. The mere fact that somebody is doing something one way doesn't mean they're doing it right. That's a very, very, very good point. Right. Well, it sounds like if I'm doing my math correctly, in 2027, CPR as a body will have been around for 50 years. So it sounds like you've got a pretty good handle on where you want to see CPR when it hits its 50th anniversary. So that's pretty interesting.  Serena: That's right. We are actually excited to celebrate our 50th. I believe that the Federal Arbitration Act, I think, goes first in celebrating its 100th year anniversary in 2026, I believe.  J.P.: That's right.  Serena: So in 2027, we'll celebrate our 50th.  J.P.: Yeah, or maybe it's 1925. I can't remember, but there's certainly...  Serena: Oh, I think you might be right.  J.P.: I think they're certainly right around there. Either way. Well, good. Well, there's a lot of ground we've covered, and I think we could probably keep going all day. But it might make more sense to reserve my right to invite you back for a future update, because you've obviously got a lot that you intend to do, and it will be great to hear about how all that execution has gone on all these plans.  Serena: Well, JP, I'd love to come back. I really enjoyed our time together and this experience and opportunity to talk about CPR. And my new role has been welcomed. And I hope that in five years' time or maybe in two years' time, I can come back and report on our efforts to expand our regional chapters and to report back on other projects that we are working on currently.  J.P.: Absolutely. And I'll tell you right now, it'll be a lot sooner than two years time. It's certainly sooner than five years. I'm a little more impatient than that. So we won't wait that long, but thank you. It's been a real pleasure. That will conclude then our discussion of CPR. I want to thank Serena Lee for sharing her thoughts and vision for CPR. And I want to thank you, the listeners, for listening in. You should feel free to reach out to Reed Smith about today's podcast with any questions you might have. And you should feel free to reach out to Serena as well. I've had that discussion with her. I know she'd be happy to answer any questions you might have. We look forward to having you tune in for future episodes in this series. And we look forward to follow-ups with Serena in the future. So thank you very much.  Serena: Thanks, J.P.  Outro: Arbitral Insights is a Reed Smith production. Our producers are Ali McCardell and Shannon Ryan. For more information about Reed Smith's global international arbitration practice, email arbitralinsights@reedsmith.com. To learn about the Reed Smith Arbitration Pricing Calculator, a first-of-its-kind mobile app that forecasts the cost of arbitration around the world, search Arbitration Pricing Calculator on reedsmith.com or download for free through the Apple and Google Play app stores. You can find our podcast on podcast streaming platforms, reedsmith.com, and our social media accounts at Reed Smith LLP.  Disclaimer: This podcast is provided for educational purposes. It does not constitute legal advice and is not intended to establish an attorney-client relationship, nor is it intended to suggest or establish standards of care applicable to particular lawyers in any given situation. Prior results do not guarantee a similar outcome. Any views, opinions, or comments made by any external guest speaker are not to be attributed to Reed Smith LLP or its individual lawyers. All rights reserved. Transcript is auto-generated.

This week's episode of Doc Talk is about the “bones, moans, stones and groans” world of parathyroid disease. First, Dr. Badger explains the intricacies of parathyroid surgery. Later, Dr. Palmer joins to illuminate the art and science of treating parathyroid disorder. Whether you're curious about how these tiny glands impact your health or are interested in the recent advances in endocrine treatment, this episode is packed with insights that illuminate this fascinating medical field. Tune in to find out how the dynamic partnership between diagnosis and surgery leads to life-changing outcomes! Hosted on Acast. See acast.com/privacy for more information.

In this brand new episode recorded in 2024, Tim Pilleri and Lance Reenstierna are joined by John Palmer to discuss the tragic incident that killed his wife Katie, and his fight for justice. On April 21st, 2020 Katie and John went for a walk in their neighborhood in Grayson County, Texas. But unexpectedly they were struck by a vehicle and Katie was killed. Now John is fighting for Justice For Katie Palmer. Official site: https://justiceforkatiepalmer.com Twitter: https://twitter.com/for_palmer FB: https://www.facebook.com/groups/justiceforkatiepalmer IG: https://www.instagram.com/justiceforkatiepalmer/ Tiktok: https://www.tiktok.com/@justiceforkatiepalmer Local news article: https://www.kxii.com/2021/04/22/one-year-after-denison-teachers-death-justice-for-katie-palmer-movement-continues/ Follow Missing: Apple: https://podcasts.apple.com/us/podcast/missing/id1006974447. Spotify: https://open.spotify.com/show/0yRXkJrZC85otfT7oXMcri. Youtube: https://www.youtube.com/missingcsm. Twitter: https://twitter.com/MissingCSM. FB: https://www.facebook.com/MissingCSM. YT: youtube.com/missingcsm. IG: https://www.instagram.com/MissingCSM. Check out our entire network at http://crawlspace-media.com/. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode originally aired in November of 2021, Tim Pilleri and Lance Reenstierna are joined by John Palmer to discuss the tragic incident that killed his wife Katie. On April 21st, 2020 Katie and John went for a walk in their neighborhood in Grayson County, Texas. But unexpectedly they were struck by a vehicle and Katie was killed. Now John is fighting for Justice For Katie Palmer. Official site: https://justiceforkatiepalmer.com Twitter: https://twitter.com/for_palmer FB: https://www.facebook.com/groups/justiceforkatiepalmer IG: https://www.instagram.com/justiceforkatiepalmer/ Tiktok: https://www.tiktok.com/@justiceforkatiepalmer Local news article: https://www.kxii.com/2021/04/22/one-year-after-denison-teachers-death-justice-for-katie-palmer-movement-continues/ Follow Missing: Apple: https://podcasts.apple.com/us/podcast/missing/id1006974447. Spotify: https://open.spotify.com/show/0yRXkJrZC85otfT7oXMcri. Youtube: https://www.youtube.com/missingcsm. Twitter: https://twitter.com/MissingCSM. FB: https://www.facebook.com/MissingCSM. YT: youtube.com/missingcsm. IG: https://www.instagram.com/MissingCSM. Check out our entire network at http://crawlspace-media.com/. Learn more about your ad choices. Visit megaphone.fm/adchoices

Here are a few quick bytes on developing news stories, including:   The Office of Labor-Management Standards (OLMS) has announced it intends to explore the scope of split-income reporting on the Form LM-10 Employer Report, pursuant to section 203 of the Labor-Management Reporting and Disclosure Act (LMRDA).Workers at Amazon's only unionized warehouse in the U.S. elected new union leaders, according to a vote count completed Tuesday, marking the first major change for the labor group since it established an alliance with the International Brotherhood of Teamsters.International Brotherhood of Teamsters Vice President at large John Palmer announced he is mounting a challenge to current President Sean O'Brien after he gave a speech at the Republican National Convention.Looking forward to dinner in Austin tomorrow night with Deb Muller and the fine folks from HR Acuity

Tammy Palmer was a mother of two kids with her longtime sweetheart, John Palmer - but not everything was perfect and Tammy was a DV victim trying to escape from John's clutches. Tammy was murdered in cold blood by John's father, Eugene, and he may still be on the run today. Where did Eugene escape to and have you seen him? Can we get justice/closure for Tammy's family?Show notes info (Pics, Sources, Tipline)Support our show with our socials: TwitterInstagramYoutubeTheme Music

On this Podcast Steven comes home after taking holiday to talk with Vice President of the IBT John Palmer. The boys talk about the Presidential elections, SOB speaking at the RNC, what it means being a Teamster, & why Mr. Palmer will be running for President of the IBT in 2026.

O'Brien is in hot water as rank-and-file Teamsters speak out against his appearance at the Republican National Convention this week. The International Brotherhood of the Teamsters president was the sole union president to make an appearance at the RNC, and the audience's tepid reception to his anti-corporate message might help explain why he was the only union man around. Rank-and-file members have attacked O'Brien's appearance as undemocratic, harmful to union members of color and LGBTQ Teamsters, and politically unproductive.Longtime Teamsters organizer John Palmer sits down with TRNN Editor-in-Chief Maximillian Alvarez to discuss the speech, and why the union deserves better.Help us continue producing radically independent news and in-depth analysis by following us and becoming a monthly sustainer.Sign up for our newsletterLike us on FacebookFollow us on TwitterDonate to support this podcast

John Palmer joins Jamil on this LIVE episode of Brew Strong, as we gather to wish John Blichmann a happy retirement from Alibi Ale Works! Kevin, brewer and owner of Alibi, sits in to discuss his path to commercial brewing, and everyone has some nice things to say about John Blichmann. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dallas Police To TV Star on First 48, To a Salt Water Fishing Captain. The Forensic Interview. Starting as a police officer in Dallas, he rose to become a Homicide Detective and later gained fame as a TV star on the A&E series "First 48". Renowned for his forensic interview expertise, he retired from the Dallas Police Department to teach forensic interviewing to Federal Agents. Simultaneously, he pursued his passion for saltwater fishing and now works as a charter boat captain in Georgia. Listen to this for free in Apple Podcasts, Spotify, our website or most major podcast platforms. In this podcast episode, John Palmer, our guest, shares his remarkable journey, including his experiences investigating multiple murders committed by a member of the prison gang, the Aryan Brotherhood of Texas. Collaborating with detectives from the Dallas and Mesquite Police Departments, John played a pivotal role in arresting this individual involved in several brutal killings. On August 1, 2006, the suspect murdering a man by slitting his throat, wrapping him in a chain-link fence, and dumping him in the Trinity River bottoms. Shortly after, the suspect witnessed the torture, sexual assault, and strangulation of an innocent woman in his kitchen. Her body was then folded into a plastic tub, covered with cement, and disposed of in Lake Ray Hubbard. Dallas Police To TV Star on First 48, To a Salt Water Fishing Captain. The Forensic Interview. Available on Apple Podcasts, Spotify, our website or most major podcast platforms.  Following a police chase, the murderer expressed a desire to die in a shootout, but his girlfriend saved his life by refusing to let him die. The police arrested five other members of the Aryan Brotherhood crew that day. The next day, the group leader was captured in New Mexico. Seven members were charged with the murders of Anthony Ormwell Clark and Breanna Taylor. These grisly murders shocked the quiet Mesquite neighborhood and drew significant attention even in Dallas, known for its high crime rate. The brutality and sophistication of the killings highlighted the Aryan Brotherhood of Texas's dangerous reach beyond prison walls and into the suburbs. Dallas Police To TV Star on "First 48", To a Salt Water Fishing Captain. The Forensic Interview. You can listen to this in Apple Podcasts, our website, Spotify or most major podcast platforms. The main suspect accepted a plea bargain, agreeing to two concurrent life sentences in exchange for dropping the murder charges against his girlfriend. In this podcast episode, John Palmer talks about the realities of police work, particularly homicide investigations, and the media's misconceptions about the interview process. He also discusses his transition from policing to teaching forensic interviews and becoming a saltwater fishing charter captain in Georgia. Dallas Police To TV Star on First 48, To a Salt Water Fishing Captain. The Forensic Interview.  The interview is available on Spotify, Apple Podcasts, and the show's website. Operational Police Protective Services, provides professional, safe and effective security services in Maryland, Virginia, Delaware and Pennsylvania. And will be expanding to other States soon. Get more details at www.oppsprotection.com. Colonial Metals Group, helps with the goal of protecting your financial future. Being at the whim of the stock market or the current Administration doesn't not make many people feel safe, or secure. But having a self-directed IRA where they can safely store gold and silver, assets that have stood the test of time, no matter what the economy or the government policies are, makes sense. Colonial Metals Group helps create a Self-Directed IRA where people can have direct access to their assets. Learn more about a special offer for our audience - click on the link in the description below or call the special 800 number and you'll receive a safe and up to $10,000 in free silver. Call 800 898 1841, 800 898 1841, that's 800 898 1841 or go online to www.colonialmetalsgroup.com/letradio Listen to this for free in Apple Podcasts, Spotify, our website or most major podcast platforms. Get the latest news articles, without all the bias and spin, from the Law Enforcement Talk Radio Show and Podcast on the Newsbreak app, which is free. Background song Hurricane is used with permission from the band Dark Horse Flyer Find a wide variety of great podcasts online at The Podcast Zone Facebook Page, look for the one with the bright green logo. Follow us on MeWe, X, Instagram, Facebook. Be sure to check out our website. Dallas Police To TV Star on First 48, To a Salt Water Fishing Captain. The Forensic Interview. See omnystudio.com/listener for privacy information.

T.E.D: Tell, Explain, Describe. Today is our first episode of a training series that will be topic specific and will feature subject matter experts. Our goal is to help provide a form of training and education to other first responders as well as the community. This episode will cover the art of investigative interviews and will be presented by retired Dallas Police Homicide Detective John Palmer. John Palmer retired after 28 years of service with the Dallas Police Department (DPD). He served in the DPD Homicide Unit for 15 years. Prior to his time in the Homicide Unit, Palmer served in the Felony Assault Unit, and 10 years in the Patrol Division including time as Field Training Officer (FTO). Palmer also served as an instructor at the DPD In-Service Academy where he regularly taught classes on investigative topics, interview and interrogation, and Texas master peace officer certification courses. Palmer has appeared as a guest speaker at numerous venues including the Crimes Against Children Conference, the Crimes Against Women Conference, the International Association of Chiefs of Police Conference, and many other seminars. He served on the National Advisory Board of the Federal Bureau of Investigation's Violent Criminal Apprehension Program (VICAP). Palmer's investigative work in the DPD Homicide Unit has been featured on the A&E television show, The First 48.   Hosts: Daniel Canete, Kent Wolverton, and Joe King. Special guest cohost Dallas Police Homicide Detective Andrea Isom. #A&EFIRST48 #HOMICIDE #INVESTIGATIVEINTERVIEW #FLETC #INVESTIGATIONS #MURDER #SUSPECTINTERVIEW

Singer/Songwriters Jim Causley and Miranda Sykes joined narrator John Palmer (director of the critically-acclaimed Vaughan Williams anniversary 'From Pub to Pulpit' Cathedral tour) to talk us through a new show entitled 'Ghosts, werewolves and countryfolk - the songs and stories of Sabine Baring-Gould'  Polymath and Victorian superstar Sabine Baring-Gould (1834-1924) was, amongst many other things, a best-selling novelist most notably for stories of ghosts, werewolves and Norse myths. Despite wide ranging interests he felt the most important part of his life was collecting songs from Devon and Cornwall, amassing more than 2000 songs. In the show Miranda, Jim and John interweave some of those songs with anecdotes from Baring-Gould's astonishing life and stories. Ticket info from https://www.mirandasykes.com/baring-gould-centenary/ Songs (in order of appearance): Jim Causley & Miranda Sykes - My Lady's Coach Jim Causley & Miranda Sykes - Cottage Well Thatched Jim Causley & Miranda Sykes - Last of the Singers All songs Trad/Arr Causley & Sykes Links to artist websites: https://www.mirandasykes.com/ https://www.jimcausley.co.uk/

On March 23, 2024, a coalition of around 80 people convened at the East Palestine Country Club at the first gathering called by the newly formed Justice for East Palestine Residents & Workers Coalition. Those in attendance included: East Palestine residents; railroad workers; residents of other “sacrifice zones" in Ohio, Maryland, California, and West Virginia; concerned citizens living near other rail lines; labor activists and labor union representatives; representatives of environmental justice organizations; (striking) journalists; socialists, Trump voters, non-voters, etc.; and more. As journalist Steve Mellon reported, "The newly formed coalition, dubbed Justice for East Palestine Residents & Workers, determined they will travel to Washington, D.C., on Oct. 8 to further their demand that the federal government step in and make sure those affected by the derailment are provided with fully funded health care. They plan to involve union members, including those who represent workers at railroad companies, as well as environmentalists and members of other communities damaged by chemical contamination. The coalition also determined to schedule a second conference in Iowa — the cause has been embraced by union organizers there; several traveled by bus to East Palestine to attend Saturday's event — and to seek a meeting with the president of the AFL-CIO. Organizers want the federation of unions representing more than 12 million workers to support the coalition's demand.”In this extended episode, you will hear a compilation of speakers from the March 23 conference in East Palestine. Speakers include: Lauri Harmon, East Palestine resident; Chris Albright, East Palestine resident; Jami Rae Wallace, East Palestine resident, president of East Palestine Unity Council; Christina Siceloff, East Palestine resident; Rob Two-Hawks, East Palestine resident; Daren Gamble, East Palestine resident; John Palmer, longtime organizer and officer with the Teamsters, but not speaking on behalf of the Teamsters; Andrew Sandberg, International Association of Machinists (IAM); George Waksmunski, United Electrical Workers (UE); Chris Silvera, Teamsters Local 808 Executive Secretary; Steve Mellon, journalist for the Pittsburgh Union Progress, on strike at the Pittsburgh Post-Gazette for 18 months; Vina Colley, Portsmouth-Piketon Residents for Environmental Safety & Security; Steve Zeltzer, WorkWeek; David Pfister, Food & Water Watch; Nicole Fabricant, activist, academic, and author of Fighting to Breathe: Race, Toxicity, and the Rise of Youth Activism in Baltimore; Hilary Flint, Clean Air Action; Penny Logsdon, Lee County, Iowa, Labor Chapter; Jeff Kurtz, Lee County, Iowa, Labor Chapter; Carrie Duncan, Lee County, Iowa, Labor Chapter; Maximillian Alvarez, The Real News Network; Mike Stout, Musician.Permanent links below...Working People Patreon pageLeave us a voicemail and we might play it on the show!Labor Radio / Podcast Network website, Facebook page, and Twitter pageIn These Times website, Facebook page, and Twitter pageThe Real News Network website, YouTube channel, podcast feeds, Facebook page, and Twitter pageFeatured Music...Jules Taylor, "Working People" Theme SongJules Taylor, "TVLR Theme Song / Florence Reece Remix"Studio Production: Maximillian AlvarezPost-Production: Jules TaylorHelp us continue producing radically independent news and in-depth analysis by following us and becoming a monthly sustainer.Sign up for our newsletterLike us on FacebookFollow us on TwitterDonate to support this podcast

On March 23, 2024, a coalition of around 80 people convened at the East Palestine Country Club at the first gathering called by the newly formed Justice for East Palestine Residents & Workers Coalition. Those in attendance included: East Palestine residents; railroad workers; residents of other “sacrifice zones" in Ohio, Maryland, California, and West Virginia; concerned citizens living near other rail lines; labor activists and labor union representatives; representatives of environmental justice organizations; (striking) journalists; socialists, Trump voters, non-voters, etc.; and more. As journalist Steve Mellon reported, "The newly formed coalition, dubbed Justice for East Palestine Residents & Workers, determined they will travel to Washington, D.C., on Oct. 8 to further their demand that the federal government step in and make sure those affected by the derailment are provided with fully funded health care. They plan to involve union members, including those who represent workers at railroad companies, as well as environmentalists and members of other communities damaged by chemical contamination. The coalition also determined to schedule a second conference in Iowa — the cause has been embraced by union organizers there; several traveled by bus to East Palestine to attend Saturday's event — and to seek a meeting with the president of the AFL-CIO. Organizers want the federation of unions representing more than 12 million workers to support the coalition's demand.”   In this extended episode, you will hear a compilation of speakers from the March 23 conference in East Palestine. Speakers include: Lauri Harmon, East Palestine resident; Chris Albright, East Palestine resident; Jami Rae Wallace, East Palestine resident, president of East Palestine Unity Council; Christina Siceloff, East Palestine resident; Rob Two-Hawks, East Palestine resident; Daren Gamble, East Palestine resident; John Palmer, longtime organizer and officer with the Teamsters, but not speaking on behalf of the Teamsters; Andrew Sandberg, International Association of Machinists (IAM); George Waksmunski, United Electrical Workers (UE); Chris Silvera,  Teamsters Local 808 Executive Secretary; Steve Mellon, journalist for the Pittsburgh Union Progress, on strike at the Pittsburgh Post-Gazette for 18 months; Vina Colley, Portsmouth-Piketon Residents for Environmental Safety & Security; Steve Zeltzer, WorkWeek; David Pfister, Food & Water Watch; Nicole Fabricant, activist, academic, and author of Fighting to Breathe: Race, Toxicity, and the Rise of Youth Activism in Baltimore; Hilary Flint, Clean Air Action; Penny Logsdon, Lee County, Iowa, Labor Chapter; Jeff Kurtz, Lee County, Iowa, Labor Chapter; Carrie Duncan, Lee County, Iowa, Labor Chapter; Maximillian Alvarez, The Real News Network; Mike Stout, Musician.   Additional links/info below… Justice for East Palestine Residents & Workers website Mike Stout, "Stand Up for East Palestine" music video Steve Zeltzer, The Labor Video Project YouTube channel Steve Mellon, Pittsburgh Union Progress, "‘If I don't talk no one's going to know': Stories of pain from East Palestine move coalition members to action" Permanent links below... Working People Patreon page Leave us a voicemail and we might play it on the show! Labor Radio / Podcast Network website, Facebook page, and Twitter page In These Times website, Facebook page, and Twitter page The Real News Network website, YouTube channel, podcast feeds, Facebook page, and Twitter page Featured Music... Jules Taylor, "Working People" Theme Song Jules Taylor, "E.P. Theme for W.P."

John is the President at CBOE Digital. CBOE Digital is a subsidiary of CBOE and provides a variety of products & services to institutional firms in digital asset markets.

Adam Mills, Director of Brewing Operations at Sonder Brewing sits down with John Plamer, author of How To Brew! Adam Makes Beer Podcast: Spotify: https://open.spotify.com/show/4Si7TqiEY7ZeTq3D7CwqMU Apple Podcast: https://podcasts.apple.com/us/podcast/adam-makes-beer/id1695229502 Instagram: @adammakesbeer Equipment Sponsor: Blichmann Engineering Pro Brewing Website: https://www.blichmannengineering.com/pro-brewing Email: Probrewing@Blichmannengineering.com --- Hello, I am Adam! I am Director of Brewing Operations at Sonder Brewing outside of Cincinnati, OH. I am a former high school and university educator, and I have been making beer for a living for over a decade. My goal here is to give a behind-the-scenes look into the craft brewing industry, and to share any knowledge I have. I am not the perfect brewer, but I am always pushing myself to get better and to learn more. Our goal in the brewhouse is to always aim for the bullseye, knowing we will never hit it. That mantra keeps us focused on continual growth, and helps us appreciate the journey of improving as brewers.

John Palmer joins me this week to discuss the state of the art in homebrewing and also shares his top five homebrewing priorities. You can find show notes and additional episodes on my blog here.

John Palmer joins me this week to discuss the state of the art in homebrewing and also shares his top five homebrewing priorities. You can find show notes and additional episodes on my blog here.

Alex talks with John Palmer, President of Cboe Digital, about the intersection of traditional finance and crypto. Alex also talks with Beimnet Abebe about markets. This episode was recorded on Monday, February 21, 2024. ++ Follow us on Twitter, @glxyresearch, and read our research at www.galaxy.com/research/ to learn more! This podcast, and the information contained herein, has been provided to you by Galaxy Digital Holdings LP and its affiliates (“Galaxy Digital”) solely for informational purposes. View the full disclaimer at www.galaxy.com/disclaimer-galaxy-brains-podcast/

Joseph Jenkins Knapp, Jr. was expecting to receive a sizable inheritance upon the death of his 82-year-old great uncle, wealthy retired shipmaster and trader Captain Joseph White. But with debts piling up, Knapp decided he couldn't wait for natural causes; in April of 1830, he and his brother, John Francis Knapp, hired a hitman to murder him, faked some blackmail letters, and, in the end, didn't get any inheritance at all.See omnystudio.com/listener for privacy information.

This week, Eric and Charlie sat down with John Palmer to discuss the aftermath of his wife Katie's death and how he turned pain into advocacy. Follow the Justice for Katie Palmer Facebook Page at https://www.facebook.com/justiceforkatiepalmerDonate to the Katie Palmer Projecthttps://katiepalmerproject.com/Join the conversation!Twitter: https://twitter.com/crimeconspodFacebook: https://www.facebook.com/crimelinesandconsequencesInstagram: https://instagram.com/crimelinesandconsequencesYouTube: https://www.youtube.com/c/crimelinestruecrimeSupport the show! patreon.com/crimelinesandconsequencesLicensing and creditsMusic: Critical Thinking by Philip AyersCover Art: Lars Hacking

John Palmer is the President of Cboe Digital. We discuss:- Cboe Digital launching margined BTC and ETF futures - Bitcoin Spot ETF launch and trading - Bitcoin ETF Marketing- Vanguard and Merrill not listing the ETFs - Will an Ethereum Spot ETF be approved in 2024? - Outlook for the crypto market in 2024 and 2025

The latest price moves and insights with Jennifer Sanasie and guest John Palmer, Cboe Digital president.To get the show every day, follow the podcast here.Today on "Markets Daily," host Jennifer Sanasie speaks with Cboe Digital President John Palmer about where institutional interest might pick up following the spot bitcoin ETF approvals and on Cboe's launch of margined futures for bitcoin and ether.This episode was hosted by Jennifer Sanasie. “Markets Daily” is executive produced by Jared Schwartz and produced and edited by Eleanor Pahl, alongside Senior Booking Producer Melissa Montañez. All original music by Doc Blust and Colin Mealey.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The latest price moves and insights with Jennifer Sanasie and guest John Palmer, Cboe Digital president.To get the show every day, follow the podcast here.Today on "Markets Daily," host Jennifer Sanasie speaks with Cboe Digital President John Palmer about where institutional interest might pick up following the spot bitcoin ETF approvals and on Cboe's launch of margined futures for bitcoin and ether.This episode was hosted by Jennifer Sanasie. “Markets Daily” is executive produced by Jared Schwartz and produced and edited by Eleanor Pahl, alongside Senior Booking Producer Melissa Montañez. All original music by Doc Blust and Colin Mealey.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Nos acompaña parte del corillo que hizo posible traer a John Palmer, leyenda del homebrew, al Home Brew Fest este próximo 9 de diciembre en La Esquinita en Bayamón. Acompáñanos para que te enteres de los detalles y de la proposición indecorosa que le tiene LecheCoco al Club de Homebrewers de Puerto Rico.

"Join Doreen Cumberford and John Palmer in an insightful session discussing the completion of NaPodPoMo on the Nomadic Diaries podcast. Learn about the origins of NaPodPoMo, the challenges and joys of producing 30 podcasts in 30 days, and the positive impact on building podcasting skills. Discover how this journey led to new connections, personal growth, and a greater dedication to serving the globally mobile community. Don't miss the valuable lessons and reflections on this engaging podcasting experience. Tune in now!"Support the showNomadic Diaries hosts insightful interviews with professional expats from around the world regarding their experiences and how their worlds have changed!

Brülosophy contributor Jordan Folks joins Cade in the lab to chat about the information discussed in last week's episode with John Palmer on beer maturation. The Brü Lab is brought to you by Imperial Yeast who provide brewers with the most viable and fresh yeast on the market. Learn more about what Imperial Yeast has to offer at ImperialYeast.com today.

Con la Ayuda de los Homebrewers maestros de Puerto Rico José Cariño, Arturo Ferrer y Ariel Ferrer degustamos hermosas cervezas homebrew. Habalmos del Homebrew fest 2023 que tenemos la participación de John Palmer el 9 de dic en La Esquinita en Bayamón. Subscríbete a GW5 Network https://www.youtube.com/channel/UC_IW8iAm6gBBVVLbqSWsgrA Busca tu pinta en nuestra tienda  https://teespring.com/es/stores/the-birra-lounge En todas las plataformas de podcast 'The Birra Lounge' Buscamos en IG y FB @thebirralounge y a Mr. Birra en @onixortiz #birra #cerveza #podcast #thebirralounge #gw5network #gw5studios #entrevista

Joining Cade in the lab this week is author of How To Brew and co-host of the Brew Strong podcast, John Palmer, to discuss his work on beer maturation. The Brü Lab is brought to you by Imperial Yeast who provide brewers with the most viable and fresh yeast on the market. Learn more about what Imperial Yeast has to offer at ImperialYeast.com today.

TODAY'S EPISODE IS SPONSORED BY INDIPOP!Special deals and offers for our listeners can be found at info.indipop.co/NEFARIOUSS6 E7 -- NO MORE BS - Revisiting Justice for Katie PalmerCW/TW - discussion of reckless driving, sexual abuse/assault, addiction and murder. A quick recap - Katie Palmer was a 39 year old mother of two. She was a middle school science teacher, who LOVED animals and had a smile that could warm the heart of the most callous human being. It could melt a snowman. She loved ALL of her kids - not just her two children, but also was pretty much a significant source of love for the ones she taught, as well. She truly embodied kindness and her love was pure and honest. One morning, April 21, 2020, she was walking alongside a road with her husband, John Palmer, looking at a particular bird called killdeer when she and John both were struck from behind, knocked out of their shoes and thrown approximately 70 feet. The impact severely injured John, breaking his back - but he had the strength to immediately move to Katie's side. She was barely hanging on, and we would come to find out that the impact had ended up killing her. Today we will talk to John Palmer and offer up some updates and some ways to actively help obtain justice in this case.SOURCES -John Palmer (Katie's husband) https://justiceforkatiepalmer.com/about/HTTPS://katiepalmerproject.comFile a complaint about Cpl Tarif Alkhatib - https://www.dps.texas.gov/OIG/complaint.htm#:~:text=Complaints%20should%20be%20submitted%20in,complaint%2C%20including%20all%20relevant%20facts.Elect John Kermit Hill for Grayson Cty DA - https://www.khilllaw.com/attorney/hill-john-kermit/Join the fb group - https://m.facebook.com/groups/justiceforkatiepalmer/?ref=share&mibextid=S66gvFOUR LINKS - Become a patron! By joining our patreon, you get access to many goodies - including our palate cleanser, lighthearted, comedy style podcast NOT SO NEFARIOUS CRIMINALS! www.patreon.com/a_nefarious_nightmarelinktr.ee/anefariousnightmarepodcastX (formerly Twitter) - @anefariouspodInstagram, Threads and Tiktok - @nefariousnightmarepodEmail - anefariousnightmare@gmail.comintro/outro by Lanie Hobbs of True Crime Cases with Lanie and It's haunted... what now? Podcasts. Music provided by epidemic sound, intro/outro music originally by Ghost Stories Inc, remixed by Ryan RCX Murphy. Are you a creator? Like our background music? Get a free trial month of music for your podcast without worrying about copyright by using our link - https://share.epidemicsound.com/0mpd8i

This week on the Murder Diaries we are speaking with John Palmer, whose beloved wife's life was taken from her in a drunk driving incident. John along with the rest of his friends, family, and community are fighting for justice and accountability of the person responsible and those covering for him. John's Links: Facebook: https://www.facebook.com/justiceforkatiepalmer/ Twitter: https://twitter.com/for_palmer John's Twitter: https://twitter.com/palmerjohndavid Beam: If you want to try Beam's best-selling Dream Powder, get up to 40% off for a limited time when you go to shopbeam.com/diaries and use code DIARIES at checkout. https://shopbeam.com/products/sleep-powder?utm_source=podcast&utm_medium=sponsorship&utm_campaign=diaries LifeMD: With the right resources and support, losing weight doesn't need to feel like an “uphill battle.” Embrace your journey towards a healthier, happier you, and achieve lasting, sustainable weight loss with LifeMD by your side. Visit lifemd.com/MURDERDIARIES to get started, so you can enjoy a brighter tomorrow: https://lifemd.com/weight-care/201/?c1=podcast&c2=murderdiaries Music Used: Pop Guitar Intro 01 by TaigaSoundProd Link: https://filmmusic.io/song/10472-pop-guitar-intro-01 Licensed under CC BY 4.0: https://filmmusic.io/standard-license Tuesday by Sascha Ende Link: https://filmmusic.io/song/2992-tuesday Licensed under CC BY 4.0: https://filmmusic.io/standard-license Tropical Vibe by WinnieTheMoog Link: https://filmmusic.io/song/10446-tropical-vibe Licensed under CC BY 4.0: https://filmmusic.io/standard-license Our Links: Website: https://themurderdiariespodcast.com/ Patreon: https://www.patreon.com/themurderdiariespod Buy Us a Coffee: https://www.buymeacoffee.com/mdiariespod Instagram: https://www.instagram.com/themurderdiariespod/ TikTok: https://vm.tiktok.com/ZTdgBwpV1/ Threads: https://www.threads.net/@themurderdiariespod Discord: https://discord.gg/5eJmJSnr Edited by: https://www.landispodcastediting.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

John Palmer joins us this week to discuss a topic of HIS choosing, beer maturation! Thanks as always for listening! Please like, subscribe, review and follow on your favorite podcast platform. Follow us on Instagram @brewduppodcast. Want more Brew'd Up! Check out our patreon page, for a few bucks a month, patrons have access to video recordings of our episodes, exclusive recipes and bonus content! 

Dr John Palmer, my Naturopath works to provide holistic guidance and personalized recommendations to address the most common questions and help individuals achieve their fat loss goals naturally, in a healthy manner.  In this episode we discuss: What natural supplements can help with fat loss? How can I balance my hormones to support weight loss naturally? Are there specific foods or diets that can boost metabolism? Can stress and previous trauma affect my ability to lose weight? What realistic and sustainable strategies can I implement for long-term fat loss?  Resources from this episode:  Healthy By Heather Brown Membership: https://www.mylifewellloved.com/membership/ Dr John Palmer Archetype Health: https://archetype.health Dr John's Instagram: https://instagram.com/archetype.health Ep 05: Intermittent Fasting Podcast with Dr John Palmer: https://podcasts.apple.com/us/podcast/healthy-by-heather-brown-helping-young-mothers-learn/id1638763905?i=1000577777272 Ep 034: Fix Your Body Naturally with Supplements, Intermittent Fasting & More with Dr. John Palmer: https://podcasts.apple.com/us/podcast/healthy-by-heather-brown-helping-young-mothers-learn/id1638763905?i=1000609446288 Redmond Salt: https://urlgeni.us/amzn/RedSalt  

** For Ad-Free Episodes, Join Our Patreon! ** https://www.patreon.com/thesurvivorsquad This is part two of a two-part interview with John Palmer. Justice For Katie Palmer: John Palmer - John Palmer's wife, Katie, was hit by a pickup truck on the morning of April 21st, 2020. She did not survive her injuries. The driver, Palmer's neighbor Cory Foster, had a long history of citations and arrests for driving under the influence of alcohol, speeding, and reckless driving. A grand jury decided not to indict Cory Foster of any crime.   Instagram: @justice4katiepalmer  Website: https://katiepalmerproject.com  Facebook page https://www.facebook.com/groups/justiceforkatiepalmer ***Join our Survivor Squad True Crime Podcasting Course!*** https://coaching.terranewellsurvival.com/ethical-true-crime-podcasting/ Survivor Squad Podcast links: https://linktr.ee/thesurvivorsqaud Join our Patreon: https://www.patreon.com/thesurvivorsquad • Terra's links: https://linktr.ee/terranewell  • Collier's links: https://collierlandry.com/links • Collier's Podcast https://podcasts.apple.com/us/podcast/the-collier-landry-show/id1551076031 • Book a 1-on-1 with Terra for trauma/ toxic relationship coaching: https://calendly.com/terranewell91/15-minute-coaching-consult?month=2023-06  • Join Terra's Complementary Trauma Support Group: Every 1st and 3rd Monday 5:00 PM PT mailto: Terranewellcoaching@gmail.com   It's important to consider seeking support from a licensed mental health professional or support group. Talking to a trusted friend/family member can also be beneficial in overcoming trauma and its aftermath.  •Psychology Today: https://www.psychologytoday.com/ •Trauma-Recovery.org: https://trauma-recovery.org/ •American Psychological Association: https://www.apa.org/ •National Institute of Mental Health: https://www.nimh.nih.gov/index.shtml •National SA Hotline 1-800-656-4673 https://www.rainn.org/ •National Domestic Violence Hotline 800-799-7233 https://www.thehotline.org/

** For Ad-Free Episodes, Join Our Patreon! ** https://www.patreon.com/thesurvivorsquad This is part one of a two-part interview with John Palmer. Justice For Katie Palmer: John Palmer - John Palmer's wife Katie, was hit by a pickup truck on the morning of April 21st, 2020. She did not survive her injuries. The driver, Palmer's neighbor Cory Foster, had a long history of citations and arrests for driving under the influence of alcohol, speeding, and reckless driving. A grand jury decided not to indict Cory Foster of any crime.   Instagram: @justice4katiepalmer  Website: https://katiepalmerproject.com  Facebook page https://www.facebook.com/groups/justiceforkatiepalmer ***Join our Survivor Squad True Crime Podcasting Course!*** https://coaching.terranewellsurvival.com/ethical-true-crime-podcasting/ Survivor Squad Podcast links: https://linktr.ee/thesurvivorsqaud Join our Patreon: https://www.patreon.com/thesurvivorsquad • Terra's links: https://linktr.ee/terranewell  • Collier's links: https://collierlandry.com/links • Collier's Podcast https://podcasts.apple.com/us/podcast/the-collier-landry-show/id1551076031 • Book a 1-on-1 with Terra for trauma/ toxic relationship coaching: https://calendly.com/terranewell91/15-minute-coaching-consult?month=2023-06  • Join Terra's Complementary Trauma Support Group: Every 1st and 3rd Monday 5:00 PM PT mailto: Terranewellcoaching@gmail.com   It's important to consider seeking support from a licensed mental health professional or support group. Talking to a trusted friend/family member can also be beneficial in overcoming trauma and its aftermath.  •Psychology Today: https://www.psychologytoday.com/ •Trauma-Recovery.org: https://trauma-recovery.org/ •American Psychological Association: https://www.apa.org/ •National Institute of Mental Health: https://www.nimh.nih.gov/index.shtml •National SA Hotline 1-800-656-4673 https://www.rainn.org/ •National Domestic Violence Hotline 800-799-7233 https://www.thehotline.org/

On this episode of Brew Strong, Jamil sits down with John Blichmann and his old pal John Palmer for a wide-ranging conversation on technology in the brewing industry. Topics range from new yeast discoveries, malt breads, and, of course, some cool gadgets Blichmann is cooking up! Learn more about your ad choices. Visit megaphone.fm/adchoices

This week I welcome back John Palmer to discuss English and American Pale Ales and IPAs and how water shapes the flavor of these beers. You can find show notes and additional episodes on my blog here.

Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground.  The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to  get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret".  It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David  Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them),  and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New

On the morning of April 21st John Palmer and his wife Katie decided to start their day off with a nice walk together before the craziness of their day to day ensued. They didn't know that one of their neighbors would also be out that morning, driving his F-250, impaired to say the least. Katie and John were both hit by that man, Cory Todd Foster. John suffered serious injuries that left him in the ICU and unfortunately, Katie was killed in the crash. Cory Todd Foster, who has a 20 year history of vehicular crimes including DWI, reckless driving and speeding faced absolutely no charges. A huge thank you to John Palmer for speaking to us about Katie's life and the injustice surrounding her death. There are so many injustices in this case that will leave you infuriated, but the fight is not over. There will be justice for Katie Palmer, and all of us can have a hand in helping. For more information and updates on Katie's case these are the best links:Katie Palmer ProjectJustice For Katie Palmer WebpageJustice For Katie Palmer Facebook GroupJustice For Katie Palmer Twitter See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.