Podcast appearances and mentions of John W Campbell

Hi there, friends! It's the third and final part of our "The Thing" series. And we're finally going back to 1982 to talk about the classic, John Carpenter's "The Thing", starring Kurt Russell. This one is a daunting movie to discuss, as we know there are a lot of huge fans of it, plus it's been talked about a ton on other podcasts. So we did our best to talk about it in the fun and loving way we try to talk about all the movies we watch. We also talk about a new horror store that recently opened in Burbank, Killer Fitness. And of course, stay tuned until the end to hear what Andrew chose for our next movie!"The Thing" is the second adaptation of John W. Campbell's novella, "Who Goes There?" It's a closer adaptation than the 1951 movie, retaining the alien's ability to imitate any living thing it comes in contact with, and how the men at Outpost 51 deal with it.Feel free to send us a message! What did you think of this movie? Of this episode? Support us on Patreon! - https://www.patreon.com/FunWithHorrorPodcastFollow us on social media:Facebook - https://www.facebook.com/groups/396586601815924Twitter - https://twitter.com/funwhorrorInstagram - https://www.instagram.com/fun_with_horror_podcast/FWH + Fangoria collab:For 20% off at the Fango Shop, just enter FUN_WITH_HORROR_PODCAST at checkout!

Join hosts J.D. Barker, Christine Daigle, Jena Brown, and Kevin Tumlinson as they discuss the week's entertainment news, including stories about A Million Lives Book Festival, Findaway's INaudio, and Agatha Christie. Then, stick around for a chat with Joe Abercrombie!Joe Abercrombie was born in Lancaster, England, on the last day of 1974. He was educated at the stiflingly all-boy Lancaster Royal Grammar School, where he spent much of his time playing video games, rolling dice, and drawing maps of places that don't exist. He went on to Manchester University to study Psychology. The dice and the maps stopped, but the video games continued. Having long dreamed of single-handedly redefining the fantasy genre, he started to write an epic trilogy based around the misadventures of thinking man's barbarian Logen Ninefingers. The result was pompous toss, and swiftly abandoned.Joe then moved to London, lived in a slum with two men on the borders of madness, and found work making tea for minimum wage at a TV Post-Production company. Two years later he left to become a freelance film editor, and has worked since on a range of documentaries, awards shows, music videos, and concerts for artists ranging from Barry White to Coldplay.This job gave him lots of time off, and realising that he needed something more useful to do than playing video games, in 2001 he sat down once again to write an epic fantasy trilogy based around the misadventures of thinking man's barbarian Logen Ninefingers. This time, having learned not to take himself too seriously in the six years since the first effort, the results were a great deal more interesting.With heroic help and support from his family the first volume, The Blade Itself, was completed in 2004. Following a heart-breaking trail of rejection at the hands of several of Britain's foremost literary agencies, The First Law trilogy was snatched up by Gillian Redfearn of Gollancz in 2005 in a seven-figure deal (if you count the pence columns). A year later The Blade Itself was unleashed on an unsuspecting public. It now has publishers in thirty countries.  The sequels, Before They are Hanged and Last Argument of Kings were published in 2007 and 2008, when Joe was a finalist for the John W. Campbell award for best new writer.  Best Served Cold, a standalone book set in the same world, was published in June 2009, and a second standalone, The Heroes, came in January 2011 and made no. 3 on the Sunday Times Hardcover Bestseller List.  A third standalone, Red Country, was both a Sunday Times and New York Times Hardcover Bestseller in October 2012.The first part of his viking-inspired Shattered Sea series for young and old adults, Half a King, came out in July 2014, when it won the Locus award for best young adult novel.  The other two books, Half the World, and Half a War, followed in January and July 2015.His collection of short fiction, Sharp Ends was published in 2016.  A new trilogy set in the world of the First Law, The Age of Madness, began in September 2019 with A Little Hatred. The Trouble with Peace followed in September 2020, and the final part, The Wisdom of Crowds in September 2021. The first book in a new series, The Devils, will publish in May 2025.Joe now lives in Bath with his wife, Lou, his daughters Grace and Eve, and his son Teddy.  He spends most of his time writing edgy yet humorous fantasy novels…

In 1970, Avon Books published a landmark anthology, “Science Fiction Hall of Fame,” featuring 26 classic short stories that represent landmark tales of the genre. The stories were voted on by the members of the new (at the time, in the late 1960s) organization Science Fiction Writers of America. In this series, I will be joined by a panel of guests to break down these stories and talk about the authors in the book. In this episode, I am joined by Patrick B. Sharp Professor of Liberal Studies at California State University, Los Angeles. He is the Faculty Director of EagleCon, SFAM conference Cal State LA's convention devoted to exploring and advocating for diversity in SF across media. He is the author of Darwinian Feminism and Early Science Fiction: Angels, Amazons, and Women (New Dimensions in Science Fiction) and co-editor of Sisters of Tomorrow (with Lisa Yaszek) and Audrey Taylor is an Assistant Professor of English at Colorado State-Pueblo. She received her PhD from Anglia Ruskin University in Cambridge, England. Her specialty is genre fiction, particularly fantasy, and science fiction. Her first book, Patricia A. McKillip and the Art of Fantasy World-Building, came out in 2017 and she is at work on a second monograph on SF author Anne McCaffrey. We talk about Judith Merrill and her 1948 classic “Only a Mother.” We go deep into the author's history, the origin and the meaning of the story, Did Merrill intentionally write this story to needle John W. Campbell, and more.

Today we've got something special—two deep dives into the world of magic and role-playing! We sit down with Douglas Rushkoff—media theorist, writer, and host of the Team Human podcast—to explore how RPGs, especially Mage: The Ascension, serve as tools for reality manipulation and self-discovery. We talk about the changing face of magic in society, its impact on public figures, and how Storytellers can weave magical sensibilities into their campaigns. Then, we chat with Richard Metzger, lifelong explorer of the occult and host of the Magic Show. He takes us on a journey through the cultural evolution of magic, its place in pop culture, and intriguing ideas like radionics that could bring a whole new layer to modern RPGs. Show Notes Douglas Rushkoff Vampire: The Masquerade, GURPS, and Magic: The Gathering. Genesis P-Orridge and Psychic TV. Ursula K. Le Guin's A Wizard of Earthsea and Taoist philosophy Douglas's book,Survival of the Richest: Escape Fantasies of the Tech Billionaires Donald Trump, Norman Vincent Peale and The Power of Positive Thinking. Douglas's Substack newsletter. Richard Metzger Bewitched and mythical figures like Merlin. Aleister Crowley's magick as act of willpower Radionics: electronic devices believed to manipulate reality, as explored by figures like John W. Campbell and William Burroughs (search on Etsy). The Magick Show, featuring interviews with 55+ magicians, witches, and scholars! Arden Leigh, chaos magician and Grant Morrison's magical heir Alan Moore's The Great When Grant Morrison's The Invisibles

Paolo Bacigalupi is an internationally bestselling author of speculative fiction. He has won the Hugo, Nebula, World Fantasy, John W. Campbell and Locus Awards, as well as being a finalist for the National Book Award and a winner of the Michael L. Printz Award for Excellence in Young Adult Literature. Paolo's work often focuses on questions of sustainability and the environment, most notably the impacts of climate change. He has written novels for adults, young adults, and children, and his new book is Navola. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, Tony Brueski digs into the enigmatic history of The Campbell Apartment, tracing its transformation from the lavish office of financier John W. Campbell to its current incarnation as a renowned cocktail lounge. We'll explore the architectural grandeur meticulously restored to its former glory and delve into the various roles the space has played over the decades. We'll also examine the numerous reports of paranormal activity that have emerged since its reopening, including sightings of a mysterious figure in 1920s attire and other unexplained phenomena. Through interviews with staff, patrons, and paranormal investigators, we'll seek to uncover whether these accounts are mere remnants of the past or if there's something more otherworldly at play.

On this episode, Tony Brueski digs into the enigmatic history of The Campbell Apartment, tracing its transformation from the lavish office of financier John W. Campbell to its current incarnation as a renowned cocktail lounge. We'll explore the architectural grandeur meticulously restored to its former glory and delve into the various roles the space has played over the decades. We'll also examine the numerous reports of paranormal activity that have emerged since its reopening, including sightings of a mysterious figure in 1920s attire and other unexplained phenomena. Through interviews with staff, patrons, and paranormal investigators, we'll seek to uncover whether these accounts are mere remnants of the past or if there's something more otherworldly at play.

Night 12 of 13 Nights of Halloween brings us to the classic sci-fi horror, The Thing From Another World (1951)!

¡Vótame en los Premios iVoox 2024! Comienza la sexta temporada de La órbita de Endor con un monográfico espectacular sobre una de las ficciones más inquietantes del último siglo: LA COSA. Desde el libro de John W. Campbell ¿QUIÉN HAY AHÍ? (Who Goes There?), hasta la versión de 1951 producida por Howard Hawks: EL ENIGMA DE OTRO MUNDO (The Thing From Another World), pasando por la precuela de 2011, sin olvidar relatos como “Las Cosas” (The Things) que pretendían ofrecer un punto de vista insólito de la historia, el videojuego o los cómics de Dark Horse. Pero donde sin duda nos detendremos a realizar un extenso análisis es con la película de 1982 dirigida por John Carpenter y protagonizada por Kurt Russell: LA COSA. Un monográfico donde se contará con los envases corporales del Coronel Nathan Kurtz, Raúl Martín, Jaime Angulo y Antonio Runa. Es el fin de todo, o el comienzo. De cualquier forma, arranca otra temporada de LODE, la mejor arma para impedir conquistas planetarias. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

On this episode of the podcast, I am joined by microbiologist and science fiction author Joan Slonczewski. They are the author of the John W. Campbell award-winning eco-feminist classic A Door into Ocean. It was released in 1986, but Joan and I discussed it because we will soon be on a panel at the Speculative Fiction in Media conference in LA in October. So as a little preview, we go one-on-one about it. •You can find my books here: Amazon-https://www.amazon.com/David-Agranoff/e/B004FGT4ZW •And me here: Goodreads-http://www.goodreads.com/author/show/2988332.David_Agranoff Twitter-https://twitter.com/DAgranoffAuthor Blog-http://davidagranoff.blogspot.com/

As always there are spoilers ahead! For the full show notes with no character limits you can click the episode on the website watch page here. Description:We are finally in the 1950s! The Golden Era of science fiction cinema. Although the 1950s are known for may B Movies The Thing from Another World was produced (and possibly directed) but the very famous Howard Hawks and came from RKO which was a big name studio at this time. This film capitalised on the growing appetite for science fiction in the USA which was up until this recently largely in print but also a little on television although studios were still wary of the science fiction label. Based on the John W Campbell novella Who Goes There? from 1938 there were a few significant changes made to the story. The ExpertsJay Telotte is Professor Emeritus of film and media studies at Georgia Tech. He has written/edited numerous books and articles about science fiction film including the 2023 Selling Science Fiction Cinema. Marc Longenecker is an Associate Professor of the Practice of Film Studies at Wesleyan University.Chapters00:00 Introduction to the show and guests02:40 The 1950s sci-fi explosion06:34 The studio aversion to science fiction and the paramount decree09:55 Howard Hawks, Howard Hughes and who really directed this film?16:20 If it walks like a Hawk: Hallmarks and the Hawksian woman21:52 The Cold War, flying saucers and “the group”34:05 Jay's comparison to The Day the Earth Stood Still (1951)36:26 The influence on John Carpenter and The Thing (1982)44:21 The legacy of the film48:56 Recommendations for listenersNEXT EPISODE!Next episode we will be taking a closer look at The Day the Earth Stood Still (1951). You can check Just Watch to find out where it can be found in your region and is available to buy or rent at many outlets including Apple TV. 

“I had built up a lot of don'ts in my head about writing,” says bestselling author Paolo Bacigalupi. In this episode, we speak with the speculative fiction novelist about how he went from wondering if he would ever write again to publishing his new book, NAVOLA. We cover daily habits, discipline, pleasure, and meeting the negative voices in your head. Paolo Bacigalupi is an internationally bestselling author of speculative fiction. He has won the Hugo, Nebula, World Fantasy, John W. Campbell and Locus Awards, as well as being a finalist for the National Book Award and a winner of the Michael L. Printz Award for Excellence in Young Adult Literature. Paolo's work often focuses on questions of sustainability and the environment, most notably the impacts of climate change. He has written novels for adults, young adults, and children, and his new book NAVOLA releases July 9, 2024. He can be found online at windupstories.com. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit emergingform.substack.com/subscribe

Exploring Tomorrow | Flashback (aka The Decision) (08) | Broadcast: January 29, 1958Written by: Gordon R. DicksonExploring Tomorrow ran on the Mutual Broadcasting System from December 4, 1957, until June 13, 1958. An advertisement described it as "the first science-fiction show of science-fictioneers, by science-fictioneers and for science-fictioneers - real science fiction for a change!"The program was narrated by John W. Campbell, editor of Astounding Magazine.: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLES .Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr

This week, Jack Daniel of K 104.7 Charlotte and “Loungin' with Kristen and Jack” returns to discuss ‘The Thing From Another World': Films of 1951. Jack was on in 2020 to discuss John Carpenter's ‘The Thing': Films of 1982. In that episode, we made him watch and discuss ‘Grease 2'! Not this time. After some catching up and gripes, we discuss the 1951 OG while we drink and talk about movies!  Our phone number is 646-484-9298, it accepts texts or voice messages.  0:00 Intro; 10:30 Gripes; 17:29 Films of 1951; 29:37: ‘The Thing From Another World'; 1:01:43 What You Been Watching?; 01:07:55 Next Week's Episode Teaser Cast/Crew: Howard Hawks, Christian Nyby, Kenneth Tobey, Margaret Sheridan, James Arness, Robert Cornthwaithe, Douglas Spencer, James Young, Dewey Martin, Robert Nichols, Eduard Franz, John Dierkes, Edward Lasker, Russell Harlan, Dimitri Tiomkin, John Carpenter, Kirk Russell, Wilford Brimley, Keith David, Richard Dysart, T.K. Carter, John W. Campbell, Jr., Bill Lancaster. Hosts: Dave Green, Jeff Ostermueller Special Guest: Jack Daniel of K 104.7 Charlotte Jack on the Radio: https://k1047.com/shows/jack-daniel/  Loungin' with Kristen and Jack iTunes: https://podcasts.apple.com/us/podcast/loungin-with-kristen-and-jack/id1575781716 Loungin' with Kristen and Jack Spotify: https://open.spotify.com/show/3Dxsozm4lDAhTlqeYOjhJx?si=a087516fcb384524  Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo: https://www.instagram.com/cbarrozo.beer?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==  Music Sponsor: Dasein  Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ  
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Ring the bells and rush to your stadium seats, beloved listeners, because it's time for another Remake Rumble! This time, it's one that's been a long time coming - a three-way fight between The Thing from Another World (1951) vs The Thing (1982) vs The Thing (2011)! After a speedrun of What We Sneep, the Sneople dive into the rumble by discussing The Thing from Another World and its spot as the first film adaptation of the 1938 novella “Who Goes There?” by John W. Campbell. From there we skip right over to the 2011 movie, a prequel to the 1982 film, which really made us more sad than anything else. From there we kind of lose track of discussing them as separate films and do whatever we want. Losing track of what's going on and doing whatever we want, as a concept, may not surprise long time listeners. The result of this Rumble may not surprise you, as it certainly did not surprise us. But who knows? After all……….maybe we got be-thinged and we are not who we seem to be……………

BBC Chillers | (01) Who Goes There [by John W Campbell] | Broadcast date: January 24, 2002: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLES .Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr

Charles Fort, Fort's influence on science fiction, Theodore Dreiser, "maybe-fiction," alternate reality games (ARGs), The Blair Witch Project, The House of Leaves, weird fiction, H.P. Lovecraft, Robert Heinlein, Golden Age of Science Fiction, John W. Campbell, Fort's influence on "hard science fiction," Ray Palmer, Tiffany Thayer, The Outer Limits, Star Trek, N. Meade Layne, Arthur C. Clarke, the Shaver Mysteries, Stanley Kubrick, Stephen King, surrealism, Forteanism as an American/literary form of surrealism, virtual reality, augmented reality, immersive experiences, QAnon, Discordianism, Forteanism's influence on DiscordianismMusic by: Keith Allen Dennishttps://keithallendennis.bandcamp.com/Additional Music by: The Octopushttps://www.amazon.com/Supernatural-Alliance-Octopus/dp/B0794L5SMZ/ref=sr_1_1?crid=1F6WVC0739CWY&dib=eyJ2IjoiMSJ9.4AIiK0eNYT_zeQWf_x47AQ.0Z9deQR8TYgDa5M2cG1UTAcZLooa7QVAWoJieNbz5Gs&dib_tag=se&keywords=the+octopus+supernatural+alliance&qid=1711847309&s=music&sprefix=the+octopus+supernatural+allianc%2Cpopular%2C278&sr=1-1 Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

El Ídolo de las Moscas (The Idol of the Flies) es un relato de terror de la escritora norteamericana Jane Rice (1913-2003), publicado originalmente en la edición de junio de 1942 de la revista Unknown Worlds, y luego reeditado por Alfred Hitchcock en la antología de: Historias que mi madre nunca me contó (Stories My Mother Never Told Me). El Ídolo de las Moscas, sin lugar a dudas uno de los mejores cuentos de Jane Rice, relata la historia de Pruitt, un niño malcriado que tiene el pernicioso hábito de invocar regularmente a Asmodeo. SPOILERS. Si existiera un subgénero del terror dedicado exclusivamente a los niños malignos, Pruitt, el protagonista de El Ídolo de las Moscas de Jane Rice, sería el más demoníaco de todos. Pruitt es un niño huérfano que vive con su tía, enferma y extremadamente ingenua. Su tutora, la señorita Bittner, tiene algunos problemas de audición, y un miedo mortal a las moscas. El chico, hay que decirlo con claridad, es un pequeño monstruo, vicioso y sádico. Entre sus actividades preferidas está la tortura de animales, como empalar pequeños lagartos y arrancarle las alas a las moscas para luego agregarlas a la limonada de la señorita Bittner. Entre otras simpáticas bromas juveniles, le rompe la espalda a la cocinera, colocando una cuerda en la escalera del sótano, e intenta asfixiar a su tía colocando cáscaras de nuez en la preparación de sus galletas favoritas. Ciertamente es eficaz a la hora de planear sus tropelías. Muy eficaz; de hecho, ha planeado tan cuidadosamente el asesinato de sus padres que nadie ha sospechado de él. Ahora bien, Pruitt ha creado una especie de culto exclusivo al mal, representado en una estatuilla con forma de mosca, a la cual le reza diariamente. Esta entidad, el Ídolo de las Moscas, al parecer responde a esa adoración ayudándolo en sus diabólicos planes. No obstante, cada vez que le reza a la estatuilla, Pruitt entra en una especie de trance, de ensueño, donde intenta atrapar unas criaturas oníricas con forma de renacuajo (ver: Vermifobia: gusanos y otros anélidos freudianos en la ficción). Y un día lo hace. Entonces se nos revela que el culto infantil al Ídolo de las Moscas ha despertado la atención de Belcebú, el señor de las moscas. Pruitt y las moscas que adora destruyen el equilibrio ecológico del hogar. En efecto, la presencia intrusiva y violenta de Pruitt no solo evidencia el nacimiento de un joven psicópata emergente que usa moscas para aterrorizar a las mujeres en el hogar, sino de la ausencia de herramientas en los adultos para enfrentarse al mal cuando su intérprete es un niño (ver: Horror Doméstico: cuando lo desconocido se cuela por las grietas de lo cotidiano) En cierto modo, El Ídolo de las Moscas de Jane Rice es una inversión del relato clásico de Saki: Srendi Vashtar (Srendi Vashtar), donde un niño frágil y sensible crea una religión personal para escapar del dominio de su tía solterona. Aquí, Pruitt no es exactamente un amante de los animales ni es frágil. Su religión personal no se centra en un hurón cautivo, sino en un fetiche hecho de cera y alquitrán que mantiene escondido en un cobertizo, y su crueldad se extiende a los humanos que trabajan para su rica pero débil tía. Los actos de Pruitt son tan aberrantes que incluso ofenden a la entidad demoníaca que adora intuitivamente, y es destruido por ella, con la colaboración de los insectos y otras pequeñas criaturas que ha estado torturando. La maldad de Pruitt no parece tener causa. En cierto punto imaginamos que sus actos constituyen un exagerado acto de rebeldía por la muerte de sus padres, pero luego nos enteramos que él mismo ha sido la causa de su muerte. Este es, quizás, el aspecto más interesante de El Ídolo de las Moscas: la posibilidad de que un niño esté genéticamente predestinado a convertirse en un psicópata. En contraste, los adultos que conforman el mundo de Pruitt parecen estar ciegos ante esas tendencias. Bueno, no todos. La cocinera y el jorobado saben perfectamente de lo que es capaz. Ambos extremos, el mal y la inocencia, parecen necesitarse mutuamente para existir. Por momentos, la prosa de Jane Rice es cruda y sofisticada al mismo tiempo, y esa combinación funciona a la perfección. Cuando uno se va acostumbrando a su estilo, de repente irrumpen párrafos extraordinarios que cortan la respiración, y que en cierta forma cierran los presagios que la autora ha dejado ocultos aquí y allí: la artimaña con la limonada, las reflexiones de la señora Bittner, las cáscaras en las galletas, la muerte de los padres de Pruitt, la trampa para la cocinera. Jane Rice deja un rastro de migas que permite que la realización de cada pequeño crimen de Pruitt tenga mayor impacto. Lo que eleva al El Ídolo de las Moscas por encima de todo eso, sin embargo, es el ritual imaginario de Pruitt, el cual termina invocando a Asmodeo durante este trance, este estado de ensoñación, que Pruitt llama tiempo de no pensar. La naturaleza viscosa y sensible de los pensamientos que Pruitt ve en sus sueños representados como renacuajos, y sus esfuerzos por capturar uno, son elementos profundamente significativos. Todavía no estoy seguro de qué hacer con ellos. Parecen una contribución tan original que me pregunto si Jane Rice no los tomó de su experiencia personal (ver: Los sueños como subrutinas del subconsciente en la ficción) No sabemos si estas entidades son el producto conciente de Pruitt o una especie de artimaña de Asmodeo para atraer al niño hacia lo más profundo de su psique. A propósito, también es interesante la versión de Asmodeo [aquí es un epíteto de Belcebú] que presenta Jane Rice, la cual es simplemente aterradora, lejos del estereotipo del demonio que busca hacer tratos a cambio de minucias (ver: El libro de Azathoth: ¿los pactos de sangre son una muestra de ADN para los Antiguos?) También podemos pensar que la psicopatía de Pruitt, la cual toma la forma de un culto satánico personal, en cierto modo es estimulada por el negacionismo de los adultos. O más aun, que la fobia a las moscas de la señorita Pruitt eventualmente tuvo un efecto catalizador en el chico. ¿El miedo de una persona [en este caso, a las moscas] puede desencadenar [o enfocar] las habilidades sobrenaturales de otra en función de esos miedos? Es una interpretación provocativa, sin dudas. Hay cosas en el mundo que no son evidentes para la observación cotidiana, pero ciertas circunstancias quizás pueden activar el potencial latente en ciertas personas. A su vez, este potencial podría verse afectado por las motivaciones e intenciones individuales, en este caso, por la psicopatía de Pruitt. El mundo que Jane Rice insinúa en El Ídolo de las Moscas es más interesante que la historia que se desarrolla en él. En definitiva, Pruitt es un psicópata que se destruye a sí mismo al derrochar poderes que no comprende, que bien pueden ser sobrenaturales como parte de su psique retorcida, tal es así que su muerte resulta casi reconfortante. Pero la visión del mundo que revela El Ídolo de las Moscas es mucho menos tranquilizadora. Algunos de los actos malignos de Pruitt pueden explicarse sin recurrir a lo sobrenatural [la muerte de sus padres, la caída de la cocinera], pero otros no: la tutora rompiendo su audífono, la invasión de moscas al final, la misteriosa cita sobre Belcebú en el libro que la señorita Bittner está leyendo. John W. Campbell, quien es conocido por impulsar la carrera de autores como Isaac Asimov, Robert A. Heinlein y Theodore Sturgeon, entre otros, consideraba a Jane Rice la mayor estrella de Unknown Worlds, y elogiaba su prosa con entusiasmo. Desde aquí, en El Espejo Gótico, suscribimos esa opinión, y también lamentamos que, al menos por ahora, solo hayamos traducido dos relatos de Jane Rice: El Ídolo de las Moscas y El refugiado (The Refugee). Análisis de: El Espejo Gótico http://elespejogotico.blogspot.com/2021/04/el-idolo-de-las-moscas-jane-rice-relato.html Texto del relato extraído de: http://elespejogotico.blogspot.com/2021/04/el-idolo-de-las-moscas-jane-rice-relato.html Musicas: - 01. Mind Tricks - Experia (Epidemic) Nota: Este audio no se realiza con fines comerciales ni lucrativos. Es de difusión enteramente gratuita e intenta dar a conocer tanto a los escritores de los relatos y cuentos como a los autores de las músicas. Nota: Este audio no se realiza con fines comerciales ni lucrativos. Es de difusión enteramente gratuita e intenta dar a conocer tanto a los escritores de los relatos y cuentos como a los autores de las músicas. ¿Quieres anunciarte en este podcast? Hazlo con advoices.com/podcast/ivoox/352537 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

El Ídolo de las Moscas (The Idol of the Flies) es un relato de terror de la escritora norteamericana Jane Rice (1913-2003), publicado originalmente en la edición de junio de 1942 de la revista Unknown Worlds, y luego reeditado por Alfred Hitchcock en la antología de: Historias que mi madre nunca me contó (Stories My Mother Never Told Me). El Ídolo de las Moscas, sin lugar a dudas uno de los mejores cuentos de Jane Rice, relata la historia de Pruitt, un niño malcriado que tiene el pernicioso hábito de invocar regularmente a Asmodeo. SPOILERS. Si existiera un subgénero del terror dedicado exclusivamente a los niños malignos, Pruitt, el protagonista de El Ídolo de las Moscas de Jane Rice, sería el más demoníaco de todos. Pruitt es un niño huérfano que vive con su tía, enferma y extremadamente ingenua. Su tutora, la señorita Bittner, tiene algunos problemas de audición, y un miedo mortal a las moscas. El chico, hay que decirlo con claridad, es un pequeño monstruo, vicioso y sádico. Entre sus actividades preferidas está la tortura de animales, como empalar pequeños lagartos y arrancarle las alas a las moscas para luego agregarlas a la limonada de la señorita Bittner. Entre otras simpáticas bromas juveniles, le rompe la espalda a la cocinera, colocando una cuerda en la escalera del sótano, e intenta asfixiar a su tía colocando cáscaras de nuez en la preparación de sus galletas favoritas. Ciertamente es eficaz a la hora de planear sus tropelías. Muy eficaz; de hecho, ha planeado tan cuidadosamente el asesinato de sus padres que nadie ha sospechado de él. Ahora bien, Pruitt ha creado una especie de culto exclusivo al mal, representado en una estatuilla con forma de mosca, a la cual le reza diariamente. Esta entidad, el Ídolo de las Moscas, al parecer responde a esa adoración ayudándolo en sus diabólicos planes. No obstante, cada vez que le reza a la estatuilla, Pruitt entra en una especie de trance, de ensueño, donde intenta atrapar unas criaturas oníricas con forma de renacuajo (ver: Vermifobia: gusanos y otros anélidos freudianos en la ficción). Y un día lo hace. Entonces se nos revela que el culto infantil al Ídolo de las Moscas ha despertado la atención de Belcebú, el señor de las moscas. Pruitt y las moscas que adora destruyen el equilibrio ecológico del hogar. En efecto, la presencia intrusiva y violenta de Pruitt no solo evidencia el nacimiento de un joven psicópata emergente que usa moscas para aterrorizar a las mujeres en el hogar, sino de la ausencia de herramientas en los adultos para enfrentarse al mal cuando su intérprete es un niño (ver: Horror Doméstico: cuando lo desconocido se cuela por las grietas de lo cotidiano) En cierto modo, El Ídolo de las Moscas de Jane Rice es una inversión del relato clásico de Saki: Srendi Vashtar (Srendi Vashtar), donde un niño frágil y sensible crea una religión personal para escapar del dominio de su tía solterona. Aquí, Pruitt no es exactamente un amante de los animales ni es frágil. Su religión personal no se centra en un hurón cautivo, sino en un fetiche hecho de cera y alquitrán que mantiene escondido en un cobertizo, y su crueldad se extiende a los humanos que trabajan para su rica pero débil tía. Los actos de Pruitt son tan aberrantes que incluso ofenden a la entidad demoníaca que adora intuitivamente, y es destruido por ella, con la colaboración de los insectos y otras pequeñas criaturas que ha estado torturando. La maldad de Pruitt no parece tener causa. En cierto punto imaginamos que sus actos constituyen un exagerado acto de rebeldía por la muerte de sus padres, pero luego nos enteramos que él mismo ha sido la causa de su muerte. Este es, quizás, el aspecto más interesante de El Ídolo de las Moscas: la posibilidad de que un niño esté genéticamente predestinado a convertirse en un psicópata. En contraste, los adultos que conforman el mundo de Pruitt parecen estar ciegos ante esas tendencias. Bueno, no todos. La cocinera y el jorobado saben perfectamente de lo que es capaz. Ambos extremos, el mal y la inocencia, parecen necesitarse mutuamente para existir. Por momentos, la prosa de Jane Rice es cruda y sofisticada al mismo tiempo, y esa combinación funciona a la perfección. Cuando uno se va acostumbrando a su estilo, de repente irrumpen párrafos extraordinarios que cortan la respiración, y que en cierta forma cierran los presagios que la autora ha dejado ocultos aquí y allí: la artimaña con la limonada, las reflexiones de la señora Bittner, las cáscaras en las galletas, la muerte de los padres de Pruitt, la trampa para la cocinera. Jane Rice deja un rastro de migas que permite que la realización de cada pequeño crimen de Pruitt tenga mayor impacto. Lo que eleva al El Ídolo de las Moscas por encima de todo eso, sin embargo, es el ritual imaginario de Pruitt, el cual termina invocando a Asmodeo durante este trance, este estado de ensoñación, que Pruitt llama tiempo de no pensar. La naturaleza viscosa y sensible de los pensamientos que Pruitt ve en sus sueños representados como renacuajos, y sus esfuerzos por capturar uno, son elementos profundamente significativos. Todavía no estoy seguro de qué hacer con ellos. Parecen una contribución tan original que me pregunto si Jane Rice no los tomó de su experiencia personal (ver: Los sueños como subrutinas del subconsciente en la ficción) No sabemos si estas entidades son el producto conciente de Pruitt o una especie de artimaña de Asmodeo para atraer al niño hacia lo más profundo de su psique. A propósito, también es interesante la versión de Asmodeo [aquí es un epíteto de Belcebú] que presenta Jane Rice, la cual es simplemente aterradora, lejos del estereotipo del demonio que busca hacer tratos a cambio de minucias (ver: El libro de Azathoth: ¿los pactos de sangre son una muestra de ADN para los Antiguos?) También podemos pensar que la psicopatía de Pruitt, la cual toma la forma de un culto satánico personal, en cierto modo es estimulada por el negacionismo de los adultos. O más aun, que la fobia a las moscas de la señorita Pruitt eventualmente tuvo un efecto catalizador en el chico. ¿El miedo de una persona [en este caso, a las moscas] puede desencadenar [o enfocar] las habilidades sobrenaturales de otra en función de esos miedos? Es una interpretación provocativa, sin dudas. Hay cosas en el mundo que no son evidentes para la observación cotidiana, pero ciertas circunstancias quizás pueden activar el potencial latente en ciertas personas. A su vez, este potencial podría verse afectado por las motivaciones e intenciones individuales, en este caso, por la psicopatía de Pruitt. El mundo que Jane Rice insinúa en El Ídolo de las Moscas es más interesante que la historia que se desarrolla en él. En definitiva, Pruitt es un psicópata que se destruye a sí mismo al derrochar poderes que no comprende, que bien pueden ser sobrenaturales como parte de su psique retorcida, tal es así que su muerte resulta casi reconfortante. Pero la visión del mundo que revela El Ídolo de las Moscas es mucho menos tranquilizadora. Algunos de los actos malignos de Pruitt pueden explicarse sin recurrir a lo sobrenatural [la muerte de sus padres, la caída de la cocinera], pero otros no: la tutora rompiendo su audífono, la invasión de moscas al final, la misteriosa cita sobre Belcebú en el libro que la señorita Bittner está leyendo. John W. Campbell, quien es conocido por impulsar la carrera de autores como Isaac Asimov, Robert A. Heinlein y Theodore Sturgeon, entre otros, consideraba a Jane Rice la mayor estrella de Unknown Worlds, y elogiaba su prosa con entusiasmo. Desde aquí, en El Espejo Gótico, suscribimos esa opinión, y también lamentamos que, al menos por ahora, solo hayamos traducido dos relatos de Jane Rice: El Ídolo de las Moscas y El refugiado (The Refugee). Análisis de: El Espejo Gótico http://elespejogotico.blogspot.com/2021/04/el-idolo-de-las-moscas-jane-rice-relato.html Texto del relato extraído de: http://elespejogotico.blogspot.com/2021/04/el-idolo-de-las-moscas-jane-rice-relato.html Musicas: - 01. Mind Tricks - Experia (Epidemic) Nota: Este audio no se realiza con fines comerciales ni lucrativos. Es de difusión enteramente gratuita e intenta dar a conocer tanto a los escritores de los relatos y cuentos como a los autores de las músicas. Nota: Este audio no se realiza con fines comerciales ni lucrativos. Es de difusión enteramente gratuita e intenta dar a conocer tanto a los escritores de los relatos y cuentos como a los autores de las músicas. ¿Quieres anunciarte en este podcast? Hazlo con advoices.com/podcast/ivoox/352537

In 1970 Avon Books published a landmark anthology “Science Fiction Hall of Fame” featuring 16 classic short stories that represent landmark tales of the genre. The stories were voted on by the members of the new (at the time in the late 60s) organization Science Fiction Writers of America. In this series, I will be joined by a panel of different guests to break down these stories and talk about the authors in the book. In this episode, I am joined by two experts on the history of Science Fiction. Alec Nevala-Lee author of Astounding was in part a biography of John W. Campbell and a history of the Golden Age of Science Fiction. Kate Heffner is a postgraduate researcher of science fiction and gender studies in the School of History at the University of Kent. She was awarded the Peter Nichols International Prize for best essay in science fiction for her research on feminist science fiction fan cultures. The story we are covering is the 1934 classic “Twilight by John W. Campbell.” This story is considered a game-changer that changed Science Fiction forever. Don't have the story to read before you listen? I got you. So use the link below to read the story before listening. Or listen to an audio version of the story on YouTube. An Internet archive of the original magazine appearance: https://archive.org/details/astounding_v14n03_1934-11_1.1/page/n45/mode/2up?view=theater Audio version: https://www.youtube.com/watch?v=w0_I4_ILREs The next episode will be Helen O'Loy by Lester Del Rey featuring Robotics Through Science Fiction host Robin Murphy, Professor Lisa Yaszek, and Brian Collins of SF Remembrance. •You can find my books here: Amazon-https://www.amazon.com/David-Agranoff/e/B004FGT4ZW •And me here: Goodreads-http://www.goodreads.com/author/show/2988332.David_Agranoff Twitter-https://twitter.com/DAgranoffAuthor Blog-http://davidagranoff.blogspot.com/

In this episode of the podcast, the hosts Karri and Henrik compare the original Howard Hawkes / Christian Nyby 1951 version of The Thing to John Carpenter's 1982 reimagining and finally to the 2011 prequel / remake, directed by Matthijs van Heijningen Jr. There's also a discussion on the original source novella by John W. Campbell from 1938. Each film version is a time capsule, reflecting their respective zeitgeist. Which film adaptation is the best one? Films covered in this episode: The Thing from Another World (1951) The Thing (1982) The Thing (2011) Hosted by Karri Ojala and Henrik Telkki. Edited by Karri Ojala. The Flick Lab theme tune written and performed by Nick Grivell.

In 1970 Avon Books published a landmark anthology “Science Fiction Hall of Fame” featuring 16 classic short stories that represent landmark tales of the genre. The stories were voted on by the members of the new (at the time in the late 60s) organization Science Fiction Writers of America. In this series, I will be joined by a panel of different guests to break down these stories and talk about the authors in the book. In this episode, I am joined by two returning guests. First up is the Hugo award-winning fan writer Cora Buhlert who knows her Science Fiction. Steve Davison is the current owner and publisher of one of the longest-running Science Fiction magazines Amazing Stories. Because this is the first episode we talk a lot about the make-up of the book and the process editor Robert Silverberg used to put the book together. The story we are covering is the 1934 classic “A Martian Odessey by Stanley G. Weinbaum. This story is considered a game-changer that changed Science Fiction forever. Don't have the story to read before you listen? I got you. So use the link below to read the story before listening. Or listen to an audio version of the story on YouTube An Internet archive of the original magazine appearance: https://archive.org/details/Wonder_Stories_v06n02_1934-07/page/n47/mode/2up?view=theater Audio version: https://www.youtube.com/watch?v=SikXI-x-5UA&t=143s The next episode will be Twilight by John W. Campbell featuring Alec Nevala-Lee, James Reich, and Kate Heffner. •You can find my books here: Amazon-https://www.amazon.com/David-Agranoff/e/B004FGT4ZW •And me here: Goodreads-http://www.goodreads.com/author/show/2988332.David_Agranoff Twitter-https://twitter.com/DAgranoffAuthor Blog-http://davidagranoff.blogspot.com/

The Thing from Another World, sometimes referred to as just The Thing, is a 1951 American black-and-white science fiction-horror film, directed by Christian Nyby, produced by Edward Lasker for Howard Hawks' Winchester Pictures Corporation, and released by RKO Radio Pictures. The film stars Margaret Sheridan, Kenneth Tobey, Robert Cornthwaite, and Douglas Spencer. James Arness plays The Thing, though he is difficult to recognize in costume and makeup due to both low lighting and other effects used to obscure his features. The Thing from Another World is based on the 1938 novella "Who Goes There?" by John W. Campbell (writing under the pseudonym of Don A. Stuart). FRUMESS is POWERED by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.riotstickers.com/frumess⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ GET 1000 STICKERS FOR $79  RIGHT HERE - NO PROMO CODE NEED! JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Frumess ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

We close out this October with a horror classic, The Thing, directed by John Carpenter in 1982, and based on the novella, Who Goes There? by John W. Campbell. We're talking big hats, dog Oscars, confusing blood tests, monsters that are committed performers, and of course, our thoughts on that ending!

IT SEEMS THERE IS AN IMPOSTOR AMONG US.After paying homage to it in the original Halloween, John Carpenter decided to make his mark once again by doing his own unique remake of The Thing from Another World, itself based on the John W. Campbell novel Who Goes There? What resulted was a dlightfully sickening and twisted display of horror, paranoia, and practical VFX which wouldn't fully be appreciated until years later. So, in the spirit of the season, come watch with Brian and Alec as they sit down and get spooked by John Carpenter's The Thing!

Novella by John W. Campbell (using pseudonym Don A. Stuart) , upon which the movies "The Thing (From Outer Space)" (1951) and "John Carpenter's The Thing" (1982). | Narrator and Producer MP Pellicer | www.MPPellicer.com who_goes_there_podcast.mp3File Size: 107853 kbFile Type: mp3Download File [...]

Enright was coming home, which should have been good, since he was the first Earthman ever to go faster than light. But when he'd been gone eighteen months in a ship that was supplied for only ten days, the authorities were just a trifle curious...Home is the Spaceman by George O. Smith, that's next on The Lost Sci-Fi Podcast, with at least one lost vintage sci-fi short story in every episode. Support the show - https://www.buymeacoffee.com/scottsV Another 5-star review on Apple Podcasts, this review was written by Proenker, “Awesome Podcast. I enjoy all your amazing stories so much. It's great to hear so many classic tales. Thanks for all the great content.” Thank you Proenker! We'd love it if you give us a 5-star rating and review on Apple Podcasts, if you think we deserve it. And another email, this one from Juan, “Excellent podcast. Would love to hear more of Asimov's stories, or other authors with similar easy and enjoyable style. Also, looking forward to the upcoming stories for this month.” Thanks Juan, and you'll be happy to know there's more Asimov on the way soon. We love hearing from you, you can email us at scott@lostscifi.com. George O. Smith is another of those authors that most people have never heard of. When I first stumbled upon Mr. Smith I liked his work so here he is. George Oliver Smith, born in Chicago in 1911 was a consistent contributor to Astounding Science Fiction during the Golden Age of Science Fiction of the 1940s. His collaboration with the magazine's editor, John W. Campbell, Jr. was interrupted when Campbell's first wife, Doña, left him in 1949 and married Smith. Yea, that tends to mess up a relationship between friends. He wrote about 70 short stories and novels, most of them in the 1940s and 50s.  Today marks the beginning of several stories written by George O. Smith that you will hear, here on The Lost Sci-Fi Podcast. Open the pages of Rocket Stories magazine, a publication that debuted in April 1953 and disappeared three issues later after the September 53 issue. The 2nd issue which came out in July gave us the story you're about to hear. Turn with me to page 50 for, Home is the Spaceman by George O. Smith… Tomorrow on The Lost Sci-Fi Podcast, Alone, accursed, he set out on the long, dark voyage to the forbidden gateway to worlds beyond life itself—restless forever with an ultimate knowledge, possessing which no man could die! The Call From Beyond by Clifford D. Simak. That's tomorrow on The Lost Sci-Fi Podcast. Support the show

Could I have picked something a little less obscure this week? Possibly. However, if you're a fan of John Carpenter films, then the story behind this book will definitely be familiar, for Who Goes There? written in 1938 went on to become the 1982 Kurt Russell film, The Thing! As part of a special crossover event, I am joined by Lorraine from Once Upon a Nightmare to talk about the book that inspired the film. As always, there will be no spoilers here! Give this episode a listen to discover if we were surprised by this 70-page science fiction novella. Does it truly stand the test of time?

We've talked about John W Campbell as an editor on this show a few times, which isn't surprising since he oversaw an entire era of 20th century SF. Now we dive in directly to his own best known writing, the novella Who Goes There?, the basis for John Carpenter's The Thing (as well as the 50s movie The Thing From Another World), and talk more about how Campbell really did have a massive impact on our culture, in ways we're still recovering from... Support us on Patreon and listen to the show a week early! Adam's Patreon Phil's Patreon What Mad Universe?!? on Twitter Phil's Twitter Adam's Twitter What Mad Universe on Facebook What Mad Universe on Instagram What Mad Universe RSS Feed Engineer/Producer: Alex Ross Theme song by Jack Feerick (c) 2023 Adam Prosser and Philip Rice. Music (c) its respective creators. Used under a Creative Commons Non-Commercial Attribution 3.0 International License. This podcast is powered by Pinecast.

Concerning Matters of Fire and Ice. Timestamps: John Campbell biography, non-spoiler discussion (0:00) spoiler summary and discussion (34:21) John Campbell's legacy on science fiction (1:08:27) Bibliography: Ashley, Mike - "The Time Machines: The Story of the Science-Fiction Pulp magazines From the Beginning to 1950" (2001) Bleiler, Everett - "Science-Fiction: The Gernsback Years" (1998) Davin, Eric Leif - "Pioneers of Wonder: Conversations With the Founders of Science Fiction Hardcover" (1999) Silverberg, Robert and Nevala-Lee, Alec - "Frozen Hell: Introduction and Foreword" (2019) Tymn, Marshall B. and Ashley, Mike (eds.) - "Science Fiction, Fantasy and Weird Fiction magazines" (1985)

El refugiado es un relato de hombres lobo de la escritora norteamericana Jane Rice, publicado originalmente en la edición de octubre de 1943 en la revista Unknown Worlds, y luego reeditado en la antología de 2003: El ídolo de las moscas y otras historias. El refugiado, relata la historia de Milli Cushman, una mujer estadounidense atrapada en Francia durante la Segunda Guerra Mundial, soportando las incomodidades del racionamiento y el tedio del aislamiento, quien es sacudida de su rutina cuando un joven extraordinariamente apuesto, desnudo, de aspecto lobuno, aparece durmiendo en su jardín. SPOILERS. El refugiado de Jane Rice apareció en el último número de Unknown Worlds, cuyo editor, John W. Campbell, fue un pionero introduciendo a varias escritoras que no se encontraban con mucha frecuencia en las revistas pulp. Campbell, además, era extremadamente exigente, tal es así que en 1942 rechazó el primer relato de Ursula Kroeber. La chica tenía apenas doce años en ese momento y, al parecer, su historia necesitaba mucho trabajo. No obstante, la alentó a seguir escribiendo, afirmando además que se convertiría en una gran escritora en el futuro. Ursula Kroeber siguió su consejo. El lector quizás la conozca mejor por su seudónimo, Ursula K. Le Guin. Milli Cushman está atrapada en Francia durante la Segunda Guerra Mundial, probablemente en París, pero esto no está claro. Definitivamente es una zona ocupada por los nazis. Milli es rica, a pesar de ser hija de un carnicero d Pittsburgh. Jane Rice la describe como una mujer mimada, frívola, y fatalmente ingenua. Anhela las fiestas, los cócteles, los días de ir al Café Royale. Pero la realidad es dura. La comida escasea. Milli piensa en la ciudad como un «demacrado gato gris», lo cual le recuerda, tal vez, una frase de su padre: «cocinado, un gato tiene un parecido sorprendente con el conejo». Para agregarle mayor dramatismo a la situación, no se encuentran peluqueros decentes. Y luego está la cuestión de los hombres. No hay, no hombres interesantes, al menos (ver: El cuerpo de la mujer en el Horror) El hambre ha agudizado los recuerdos de la carnicería de su padre. Es difícil no pensar en ellos en una época de racionamiento. Sin embargo, Milli intenta mantener las apariencias. Y lo consigue, hasta que un día ve al hombre en su jardín, un hombre desnudo de «excelente anatomía». Milli, hambrienta no solo de carne vacuna, es sobrecogida por la excitación. El hombre es «perfectamente hermoso», tal es así que la primera reacción de Milli es levantar un poco la cabeza para ocultar una incipiente papada. El hombre, sin embargo, huye del jardín cuando María, la sirvienta, entra en el salón para comentarle a Milli que un vecino de la zona, Phillipe, ha sido encontrado muerto, a falta de una palabra mejor, porque lo cierto es que de su cadáver solo se han encontrado los huesos. El refugiado de Jane Rice es un relato engañoso, que parece dirigirse inevitablemente hacia un final que el lector anticipa en las primeras páginas, para darle una verdadera bofetada en el rostro. En primer lugar, tenemos a un hombre lobo que no es un alma perdida [como hemos visto hace poco en El hombre lobo de Ponkert (The Werewolf of Ponkert)], y menos aun alguien que lamenta su condición de licántropo. En cambio, tenemos un joven galán que claramente se deleita con los aspectos más siniestros de la licantropía (ver: Razas y clanes de hombres lobo) Es inevitable mencionar algunas similitudes intencionales entre El refugiado y el cuento de Caperucita Roja, solo que el interés amoroso de Milli resulta tener mucho más en común con el Lobo del cuento que con Caperucita. Milli no quiere ayuda, no necesita ser rescatada, y ciertamente está en condiciones de ser ella quien imponga las condiciones al Lobo (ver: ¡No salgas del camino! El Modelo «Caperucita Roja» en el Horror) Entonces, cuando El refugiado de Jane Rice parece dirigirse inexorablemente hacia un final previsible, el menguante suministro de alimentos debido al racionamiento de la guerra, que se describió anteriormente, de repente se convierte en el eje de la trama. Milli no es rescatada a último momento por el Cazador, ni mata al hombre lobo en defensa propia. Eso habría sido indigno de una autora sofisticada como Jane Rice. En cambio, Milli se convierte ella misma en la Cazadora; de hecho, lo ha sido durante todo el relato, y el lector probablemente no lo ha notado. Milli envía a María a visitar a sus familiares y sale al encuentro de su misterioso visitante. Lo encuentra en el jardín y lo invita a dormir en la casa. Lo que sigue son dos páginas, al menos, donde se hace un inventario de sus encantos físicos y se establece que el muchacho es un hombre lobo. De hecho, su nombre es Lupus. En este punto, Jane Rice nos hace creer que Milli no solo es una mujer frívola y egocéntrica, sino ingenua. Las cosas, parece, no terminarán bien para ella. Decidida a seducirlo, Milli se dispone a preparar la cena mientras el muchacho duerme. Al despertar, Lupus sugiere que vean juntos la puesta de sol. Ella arregla su cabello, pero trata de que su amante no se desborde. Entonces, le ofrece uno de sus chocolates rellenos. Lupus no parece demasiado entusiasmado, por lo que Milli le acaricia la cabeza como si estuviera acariciando a un perro y, cuando el muchacho bosteza, deja caer el chocolate en su boca. Sorprendido, el muchacho empieza a transformarse, pero Milli lo apuñala y, en el proceso, lo obiga a tragar el choclate... relleno con un amuleto de plata. Milli es egocéntrica, desde luego; y puede, como lo insinúa su nombre [Cushman], estar acostumbrada a una vida suave. Pero ella no es suave y definitivamente no es estúpida. Siempre supo que el muchacho era un licántropo, y siempre supo que terminaría comiéndoselo. En este sentido, el guiño a El hombre lobo de París (The Werewolf of Paris) de Guy Endore, una de las lecturas de Milli, es un toque realmente agradable. A propósito, Milli cita dos poemas significativos en el relato: *El toque de las campanas anuncian el final del día es la apertura de Elegía escrita en un cementerio de aldea (Elegy Written in a Country Churchyard) de Thomas Gray; y **La luna era un galeón fantasmal pertenece al poema de Alfred Noyes: Los salteadores de caminos (The Highwayman). Por otra parte, El refugiado parece ligeramente influenciado por el relato de hombres lobo: Gabriel Ernesto (Gabriel-Ernest), una historia clásica, oscura y levemente humoristica de Saki, aunque en el cuento de Jane Rice es una mujer quien descubre a este muchacho desnudo al amanecer, y donde el erotismo es más heterosexual y abierto. Jane Rice fue una de las grandes heroínas anónimas de las revistas pulp, como Catherine L. Moore, Margaret St. Clair y Everil Worrell. Su obra aún no ha recibido la atención que merece, de manera tal que es un placer para El Espejo Gótico tratar de enmendar modestamente esa injusticia. Análisis de: El Espejo Gótico http://elespejogotico.blogspot.com/2021/04/el-refugiado-jane-rice-relato-y-analisis.html Texto del relato extraído de: http://elespejogotico.blogspot.com/2021/04/el-refugiado-jane-rice-relato-y-analisis.html Musicas: - 01. Mind Tricks - Experia (Epidemic) Nota: Este audio no se realiza con fines comerciales ni lucrativos. Es de difusión enteramente gratuita e intenta dar a conocer tanto a los escritores de los relatos y cuentos como a los autores de las músicas. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Episode 165 of A History of Rock Music in Five Hundred Songs looks at “Dark Stat” and the career of the Grateful Dead. This is a long one, even longer than the previous episode, but don't worry, that won't be the norm. There's a reason these two were much longer than average. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Codine" by the Charlatans. Errata I mispronounce Brent Mydland's name as Myland a couple of times, and in the introduction I say "Touch of Grey" came out in 1988 -- I later, correctly, say 1987. (I seem to have had a real problem with dates in the intro -- I also originally talked about "Blue Suede Shoes" being in 1954 before fixing it in the edit to be 1956) Resources No Mixcloud this week, as there are too many songs by the Grateful Dead, and Grayfolded runs to two hours. I referred to a lot of books for this episode, partly because almost everything about the Grateful Dead is written from a fannish perspective that already assumes background knowledge, rather than to provide that background knowledge. Of the various books I used, Dennis McNally's biography of the band and This Is All a Dream We Dreamed: An Oral History of the Grateful Dead by Blair Jackson and David Gans are probably most useful for the casually interested. Other books on the Dead I used included McNally's Jerry on Jerry, a collection of interviews with Garcia; Deal, Bill Kreutzmann's autobiography; The Grateful Dead FAQ by Tony Sclafani; So Many Roads by David Browne; Deadology by Howard F. Weiner; Fare Thee Well by Joel Selvin and Pamela Turley; and Skeleton Key: A Dictionary for Deadheads by David Shenk and Steve Silberman. Tom Wolfe's The Electric Kool-Aid Acid Test is the classic account of the Pranksters, though not always reliable. I reference Slaughterhouse Five a lot. As well as the novel itself, which everyone should read, I also read this rather excellent graphic novel adaptation, and The Writer's Crusade, a book about the writing of the novel. I also reference Ted Sturgeon's More Than Human. For background on the scene around Astounding Science Fiction which included Sturgeon, John W. Campbell, L. Ron Hubbard, and many other science fiction writers, I recommend Alec Nevala-Lee's Astounding. 1,000 True Fans can be read online, as can the essay on the Californian ideology, and John Perry Barlow's "Declaration of the Independence of Cyberspace". The best collection of Grateful Dead material is the box set The Golden Road, which contains all the albums released in Pigpen's lifetime along with a lot of bonus material, but which appears currently out of print. Live/Dead contains both the live version of "Dark Star" which made it well known and, as a CD bonus track, the original single version. And archive.org has more live recordings of the group than you can possibly ever listen to. Grayfolded can be bought from John Oswald's Bandcamp Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Tuning from "Grayfolded", under the warnings Before we begin -- as we're tuning up, as it were, I should mention that this episode contains discussions of alcoholism, drug addiction, racism, nonconsensual drugging of other people, and deaths from drug abuse, suicide, and car accidents. As always, I try to deal with these subjects as carefully as possible, but if you find any of those things upsetting you may wish to read the transcript rather than listen to this episode, or skip it altogether. Also, I should note that the members of the Grateful Dead were much freer with their use of swearing in interviews than any other band we've covered so far, and that makes using quotes from them rather more difficult than with other bands, given the limitations of the rules imposed to stop the podcast being marked as adult. If I quote anything with a word I can't use here, I'll give a brief pause in the audio, and in the transcript I'll have the word in square brackets. [tuning ends] All this happened, more or less. In 1910, T. S. Eliot started work on "The Love Song of J. Alfred Prufrock", which at the time was deemed barely poetry, with one reviewer imagining Eliot saying "I'll just put down the first thing that comes into my head, and call it 'The Love Song of J. Alfred Prufrock.'" It is now considered one of the great classics of modernist literature. In 1969, Kurt Vonnegut wrote "Slaughterhouse-Five, or, The Children's Crusade: A Duty-Dance with Death", a book in which the protagonist, Billy Pilgrim, comes unstuck in time, and starts living a nonlinear life, hopping around between times reliving his experiences in the Second World War, and future experiences up to 1976 after being kidnapped by beings from the planet Tralfamadore. Or perhaps he has flashbacks and hallucinations after having a breakdown from PTSD. It is now considered one of the great classics of modernist literature or of science fiction, depending on how you look at it. In 1953, Theodore Sturgeon wrote More Than Human. It is now considered one of the great classics of science fiction. In 1950, L. Ron Hubbard wrote Dianetics: The Modern Science of Mental Health. It is now considered either a bad piece of science fiction or one of the great revelatory works of religious history, depending on how you look at it. In 1994, 1995, and 1996 the composer John Oswald released, first as two individual CDs and then as a double-CD, an album called Grayfolded, which the composer says in the liner notes he thinks of as existing in Tralfamadorian time. The Tralfamadorians in Vonnegut's novels don't see time as a linear thing with a beginning and end, but as a continuum that they can move between at will. When someone dies, they just think that at this particular point in time they're not doing so good, but at other points in time they're fine, so why focus on the bad time? In the book, when told of someone dying, the Tralfamadorians just say "so it goes". In between the first CD's release and the release of the double-CD version, Jerry Garcia died. From August 1942 through August 1995, Jerry Garcia was alive. So it goes. Shall we go, you and I? [Excerpt: The Grateful Dead, "Dark Star (Omni 3/30/94)"] "One principle has become clear. Since motives are so frequently found in combination, it is essential that the complex types be analyzed and arranged, with an eye kept single nevertheless to the master-theme under discussion. Collectors, both primary and subsidiary, have done such valiant service that the treasures at our command are amply sufficient for such studies, so extensive, indeed, that the task of going through them thoroughly has become too great for the unassisted student. It cannot be too strongly urged that a single theme in its various types and compounds must be made predominant in any useful comparative study. This is true when the sources and analogues of any literary work are treated; it is even truer when the bare motive is discussed. The Grateful Dead furnishes an apt illustration of the necessity of such handling. It appears in a variety of different combinations, almost never alone. Indeed, it is so widespread a tale, and its combinations are so various, that there is the utmost difficulty in determining just what may properly be regarded the original kernel of it, the simple theme to which other motives were joined. Various opinions, as we shall see, have been held with reference to this matter, most of them justified perhaps by the materials in the hands of the scholars holding them, but none quite adequate in view of later evidence." That's a quote from The Grateful Dead: The History of a Folk Story, by Gordon Hall Gerould, published in 1908. Kurt Vonnegut's novel Slaughterhouse-Five opens with a chapter about the process of writing the novel itself, and how difficult it was. He says "I would hate to tell you what this lousy little book cost me in money and anxiety and time. When I got home from the Second World War twenty-three years ago, I thought it would be easy for me to write about the destruction of Dresden, since all I would have to do would be to report what I had seen. And I thought, too, that it would be a masterpiece or at least make me a lot of money, since the subject was so big." This is an episode several of my listeners have been looking forward to, but it's one I've been dreading writing, because this is an episode -- I think the only one in the series -- where the format of the podcast simply *will not* work. Were the Grateful Dead not such an important band, I would skip this episode altogether, but they're a band that simply can't be ignored, and that's a real problem here. Because my intent, always, with this podcast, is to present the recordings of the artists in question, put them in context, and explain why they were important, what their music meant to its listeners. To put, as far as is possible, the positive case for why the music mattered *in the context of its time*. Not why it matters now, or why it matters to me, but why it matters *in its historical context*. Whether I like the music or not isn't the point. Whether it stands up now isn't the point. I play the music, explain what it was they were doing, why they were doing it, what people saw in it. If I do my job well, you come away listening to "Blue Suede Shoes" the way people heard it in 1956, or "Good Vibrations" the way people heard it in 1966, and understanding why people were so impressed by those records. That is simply *not possible* for the Grateful Dead. I can present a case for them as musicians, and hope to do so. I can explain the appeal as best I understand it, and talk about things I like in their music, and things I've noticed. But what I can't do is present their recordings the way they were received in the sixties and explain why they were popular. Because every other act I have covered or will cover in this podcast has been a *recording* act, and their success was based on records. They may also have been exceptional live performers, but James Brown or Ike and Tina Turner are remembered for great *records*, like "Papa's Got a Brand New Bag" or "River Deep, Mountain High". Their great moments were captured on vinyl, to be listened back to, and susceptible of analysis. That is not the case for the Grateful Dead, and what is worse *they explicitly said, publicly, on multiple occasions* that it is not possible for me to understand their art, and thus that it is not possible for me to explain it. The Grateful Dead did make studio records, some of them very good. But they always said, consistently, over a thirty year period, that their records didn't capture what they did, and that the only way -- the *only* way, they were very clear about this -- that one could actually understand and appreciate their music, was to see them live, and furthermore to see them live while on psychedelic drugs. [Excerpt: Grateful Dead crowd noise] I never saw the Grateful Dead live -- their last UK performance was a couple of years before I went to my first ever gig -- and I have never taken a psychedelic substance. So by the Grateful Dead's own criteria, it is literally impossible for me to understand or explain their music the way that it should be understood or explained. In a way I'm in a similar position to the one I was in with La Monte Young in the last episode, whose music it's mostly impossible to experience without being in his presence. This is one reason of several why I placed these two episodes back to back. Of course, there is a difference between Young and the Grateful Dead. The Grateful Dead allowed -- even encouraged -- the recording of their live performances. There are literally thousands of concert recordings in circulation, many of them of professional quality. I have listened to many of those, and I can hear what they were doing. I can tell you what *I* think is interesting about their music, and about their musicianship. And I think I can build up a good case for why they were important, and why they're interesting, and why those recordings are worth listening to. And I can certainly explain the cultural phenomenon that was the Grateful Dead. But just know that while I may have found *a* point, *an* explanation for why the Grateful Dead were important, by the band's own lights and those of their fans, no matter how good a job I do in this episode, I *cannot* get it right. And that is, in itself, enough of a reason for this episode to exist, and for me to try, even harder than I normally do, to get it right *anyway*. Because no matter how well I do my job this episode will stand as an example of why this series is called "*A* History", not *the* history. Because parts of the past are ephemeral. There are things about which it's true to say "You had to be there". I cannot know what it was like to have been an American the day Kennedy was shot, I cannot know what it was like to be alive when a man walked on the Moon. Those are things nobody my age or younger can ever experience. And since August the ninth, 1995, the experience of hearing the Grateful Dead's music the way they wanted it heard has been in that category. And that is by design. Jerry Garcia once said "if you work really hard as an artist, you may be able to build something they can't tear down, you know, after you're gone... What I want to do is I want it here. I want it now, in this lifetime. I want what I enjoy to last as long as I do and not last any longer. You know, I don't want something that ends up being as much a nuisance as it is a work of art, you know?" And there's another difficulty. There are only two points in time where it makes sense to do a podcast episode on the Grateful Dead -- late 1967 and early 1968, when the San Francisco scene they were part of was at its most culturally relevant, and 1988 when they had their only top ten hit and gained their largest audience. I can't realistically leave them out of the story until 1988, so it has to be 1968. But the songs they are most remembered for are those they wrote between 1970 and 1972, and those songs are influenced by artists and events we haven't yet covered in the podcast, who will be getting their own episodes in the future. I can't explain those things in this episode, because they need whole episodes of their own. I can't not explain them without leaving out important context for the Grateful Dead. So the best I can do is treat the story I'm telling as if it were in Tralfamadorian time. All of it's happening all at once, and some of it is happening in different episodes that haven't been recorded yet. The podcast as a whole travels linearly from 1938 through to 1999, but this episode is happening in 1968 and 1972 and 1988 and 1995 and other times, all at once. Sometimes I'll talk about things as if you're already familiar with them, but they haven't happened yet in the story. Feel free to come unstuck in time and revisit this time after episode 167, and 172, and 176, and 192, and experience it again. So this has to be an experimental episode. It may well be an experiment that you think fails. If so, the next episode is likely to be far more to your taste, and much shorter than this or the last episode, two episodes that between them have to create a scaffolding on which will hang much of the rest of this podcast's narrative. I've finished my Grateful Dead script now. The next one I write is going to be fun: [Excerpt: Grateful Dead, "Dark Star"] Infrastructure means everything. How we get from place to place, how we transport goods, information, and ourselves, makes a big difference in how society is structured, and in the music we hear. For many centuries, the prime means of long-distance transport was by water -- sailing ships on the ocean, canal boats and steamboats for inland navigation -- and so folk songs talked about the ship as both means of escape, means of making a living, and in some senses as a trap. You'd go out to sea for adventure, or to escape your problems, but you'd find that the sea itself brought its own problems. Because of this we have a long, long tradition of sea shanties which are known throughout the world: [Excerpt: A. L. Lloyd, "Off to Sea Once More"] But in the nineteenth century, the railway was invented and, at least as far as travel within a landmass goes, it replaced the steamboat in the popular imaginary. Now the railway was how you got from place to place, and how you moved freight from one place to another. The railway brought freedom, and was an opportunity for outlaws, whether train robbers or a romanticised version of the hobo hopping onto a freight train and making his way to new lands and new opportunity. It was the train that brought soldiers home from wars, and the train that allowed the Great Migration of Black people from the South to the industrial North. There would still be songs about the riverboats, about how ol' man river keeps rolling along and about the big river Johnny Cash sang about, but increasingly they would be songs of the past, not the present. The train quickly replaced the steamboat in the iconography of what we now think of as roots music -- blues, country, folk, and early jazz music. Sometimes this was very literal. Furry Lewis' "Kassie Jones" -- about a legendary train driver who would break the rules to make sure his train made the station on time, but who ended up sacrificing his own life to save his passengers in a train crash -- is based on "Alabamy Bound", which as we heard in the episode on "Stagger Lee", was about steamboats: [Excerpt: Furry Lewis, "Kassie Jones"] In the early episodes of this podcast we heard many, many, songs about the railway. Louis Jordan saying "take me right back to the track, Jack", Rosetta Tharpe singing about how "this train don't carry no gamblers", the trickster freight train driver driving on the "Rock Island Line", the mystery train sixteen coaches long, the train that kept-a-rollin' all night long, the Midnight Special which the prisoners wished would shine its ever-loving light on them, and the train coming past Folsom Prison whose whistle makes Johnny Cash hang his head and cry. But by the 1960s, that kind of song had started to dry up. It would happen on occasion -- "People Get Ready" by the Impressions is the most obvious example of the train metaphor in an important sixties record -- but by the late sixties the train was no longer a symbol of freedom but of the past. In 1969 Harry Nilsson sang about how "Nobody Cares About the Railroads Any More", and in 1968 the Kinks sang about "The Last of the Steam-Powered Trains". When in 1968 Merle Haggard sang about a freight train, it was as a memory, of a child with hopes that ended up thwarted by reality and his own nature: [Excerpt: Merle Haggard, "Mama Tried"] And the reason for this was that there had been another shift, a shift that had started in the forties and accelerated in the late fifties but had taken a little time to ripple through the culture. Now the train had been replaced in the popular imaginary by motorised transport. Instead of hopping on a train without paying, if you had no money in your pocket you'd have to hitch-hike all the way. Freedom now meant individuality. The ultimate in freedom was the biker -- the Hell's Angels who could go anywhere, unburdened by anything -- and instead of goods being moved by freight train, increasingly they were being moved by truck drivers. By the mid-seventies, truck drivers took a central place in American life, and the most romantic way to live life was to live it on the road. On The Road was also the title of a 1957 novel by Jack Kerouac, which was one of the first major signs of this cultural shift in America. Kerouac was writing about events in the late forties and early fifties, but his book was also a precursor of the sixties counterculture. He wrote the book on one continuous sheet of paper, as a stream of consciousness. Kerouac died in 1969 of an internal haemmorage brought on by too much alcohol consumption. So it goes. But the big key to this cultural shift was caused by the Federal-Aid Highway Act of 1956, a massive infrastructure spending bill that led to the construction of the modern American Interstate Highway system. This accelerated a program that had already started, of building much bigger, safer, faster roads. It also, as anyone who has read Robert Caro's The Power Broker knows, reinforced segregation and white flight. It did this both by making commuting into major cities from the suburbs easier -- thus allowing white people with more money to move further away from the cities and still work there -- and by bulldozing community spaces where Black people lived. More than a million people lost their homes and were forcibly moved, and orders of magnitude more lost their communities' parks and green spaces. And both as a result of deliberate actions and unconscious bigotry, the bulk of those affected were Black people -- who often found themselves, if they weren't forced to move, on one side of a ten-lane highway where the park used to be, with white people on the other side of the highway. The Federal-Aid Highway Act gave even more power to the unaccountable central planners like Robert Moses, the urban planner in New York who managed to become arguably the most powerful man in the city without ever getting elected, partly by slowly compromising away his early progressive ideals in the service of gaining more power. Of course, not every new highway was built through areas where poor Black people lived. Some were planned to go through richer areas for white people, just because you can't completely do away with geographical realities. For example one was planned to be built through part of San Francisco, a rich, white part. But the people who owned properties in that area had enough political power and clout to fight the development, and after nearly a decade of fighting it, the development was called off in late 1966. But over that time, many of the owners of the impressive buildings in the area had moved out, and they had no incentive to improve or maintain their properties while they were under threat of demolition, so many of them were rented out very cheaply. And when the beat community that Kerouac wrote about, many of whom had settled in San Francisco, grew too large and notorious for the area of the city they were in, North Beach, many of them moved to these cheap homes in a previously-exclusive area. The area known as Haight-Ashbury. [Excerpt: The Grateful Dead, "Grayfolded"] Stories all have their starts, even stories told in Tralfamadorian time, although sometimes those starts are shrouded in legend. For example, the story of Scientology's start has been told many times, with different people claiming to have heard L. Ron Hubbard talk about how writing was a mug's game, and if you wanted to make real money, you needed to get followers, start a religion. Either he said this over and over and over again, to many different science fiction writers, or most science fiction writers of his generation were liars. Of course, the definition of a writer is someone who tells lies for money, so who knows? One of the more plausible accounts of him saying that is given by Theodore Sturgeon. Sturgeon's account is more believable than most, because Sturgeon went on to be a supporter of Dianetics, the "new science" that Hubbard turned into his religion, for decades, even while telling the story. The story of the Grateful Dead probably starts as it ends, with Jerry Garcia. There are three things that everyone writing about the Dead says about Garcia's childhood, so we might as well say them here too. The first is that he was named by a music-loving father after Jerome Kern, the songwriter responsible for songs like "Ol' Man River" (though as Oscar Hammerstein's widow liked to point out, "Jerome Kern wrote dum-dum-dum-dum, *my husband* wrote 'Ol' Man River'" -- an important distinction we need to bear in mind when talking about songwriters who write music but not lyrics). The second is that when he was five years old that music-loving father drowned -- and Garcia would always say he had seen his father dying, though some sources claim this was a false memory. So it goes. And the third fact, which for some reason is always told after the second even though it comes before it chronologically, is that when he was four he lost two joints from his right middle finger. Garcia grew up a troubled teen, and in turn caused trouble for other people, but he also developed a few interests that would follow him through his life. He loved the fantastical, especially the fantastical macabre, and became an avid fan of horror and science fiction -- and through his love of old monster films he became enamoured with cinema more generally. Indeed, in 1983 he bought the film rights to Kurt Vonnegut's science fiction novel The Sirens of Titan, the first story in which the Tralfamadorians appear, and wrote a script based on it. He wanted to produce the film himself, with Francis Ford Coppola directing and Bill Murray starring, but most importantly for him he wanted to prevent anyone who didn't care about it from doing it badly. And in that he succeeded. As of 2023 there is no film of The Sirens of Titan. He loved to paint, and would continue that for the rest of his life, with one of his favourite subjects being Boris Karloff as the Frankenstein monster. And when he was eleven or twelve, he heard for the first time a record that was hugely influential to a whole generation of Californian musicians, even though it was a New York record -- "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Garcia would say later "That was an important song. That was the first kind of, like where the voices had that kind of not-trained-singer voices, but tough-guy-on-the-street voice." That record introduced him to R&B, and soon he was listening to Chuck Berry and Bo Diddley, to Ray Charles, and to a record we've not talked about in the podcast but which was one of the great early doo-wop records, "WPLJ" by the Four Deuces: [Excerpt: The Four Deuces, "WPLJ"] Garcia said of that record "That was one of my anthem songs when I was in junior high school and high school and around there. That was one of those songs everybody knew. And that everybody sang. Everybody sang that street-corner favorite." Garcia moved around a lot as a child, and didn't have much time for school by his own account, but one of the few teachers he did respect was an art teacher when he was in North Beach, Walter Hedrick. Hedrick was also one of the earliest of the conceptual artists, and one of the most important figures in the San Francisco arts scene that would become known as the Beat Generation (or the Beatniks, which was originally a disparaging term). Hedrick was a painter and sculptor, but also organised happenings, and he had also been one of the prime movers in starting a series of poetry readings in San Francisco, the first one of which had involved Allen Ginsberg giving the first ever reading of "Howl" -- one of a small number of poems, along with Eliot's "Prufrock" and "The Waste Land" and possibly Pound's Cantos, which can be said to have changed twentieth-century literature. Garcia was fifteen when he got to know Hedrick, in 1957, and by then the Beat scene had already become almost a parody of itself, having become known to the public because of the publication of works like On the Road, and the major artists in the scene were already rejecting the label. By this point tourists were flocking to North Beach to see these beatniks they'd heard about on TV, and Hedrick was actually employed by one cafe to sit in the window wearing a beret, turtleneck, sandals, and beard, and draw and paint, to attract the tourists who flocked by the busload because they could see that there was a "genuine beatnik" in the cafe. Hedrick was, as well as a visual artist, a guitarist and banjo player who played in traditional jazz bands, and he would bring records in to class for his students to listen to, and Garcia particularly remembered him bringing in records by Big Bill Broonzy: [Excerpt: Big Bill Broonzy, "When Things Go Wrong (It Hurts Me Too)"] Garcia was already an avid fan of rock and roll music, but it was being inspired by Hedrick that led him to get his first guitar. Like his contemporary Paul McCartney around the same time, he was initially given the wrong instrument as a birthday present -- in Garcia's case his mother gave him an accordion -- but he soon persuaded her to swap it for an electric guitar he saw in a pawn shop. And like his other contemporary, John Lennon, Garcia initially tuned his instrument incorrectly. He said later "When I started playing the guitar, believe me, I didn't know anybody that played. I mean, I didn't know anybody that played the guitar. Nobody. They weren't around. There were no guitar teachers. You couldn't take lessons. There was nothing like that, you know? When I was a kid and I had my first electric guitar, I had it tuned wrong and learned how to play on it with it tuned wrong for about a year. And I was getting somewhere on it, you know… Finally, I met a guy that knew how to tune it right and showed me three chords, and it was like a revelation. You know what I mean? It was like somebody gave me the key to heaven." He joined a band, the Chords, which mostly played big band music, and his friend Gary Foster taught him some of the rudiments of playing the guitar -- things like how to use a capo to change keys. But he was always a rebellious kid, and soon found himself faced with a choice between joining the military or going to prison. He chose the former, and it was during his time in the Army that a friend, Ron Stevenson, introduced him to the music of Merle Travis, and to Travis-style guitar picking: [Excerpt: Merle Travis, "Nine-Pound Hammer"] Garcia had never encountered playing like that before, but he instantly recognised that Travis, and Chet Atkins who Stevenson also played for him, had been an influence on Scotty Moore. He started to realise that the music he'd listened to as a teenager was influenced by music that went further back. But Stevenson, as well as teaching Garcia some of the rudiments of Travis-picking, also indirectly led to Garcia getting discharged from the Army. Stevenson was not a well man, and became suicidal. Garcia decided it was more important to keep his friend company and make sure he didn't kill himself than it was to turn up for roll call, and as a result he got discharged himself on psychiatric grounds -- according to Garcia he told the Army psychiatrist "I was involved in stuff that was more important to me in the moment than the army was and that was the reason I was late" and the psychiatrist thought it was neurotic of Garcia to have his own set of values separate from that of the Army. After discharge, Garcia did various jobs, including working as a transcriptionist for Lenny Bruce, the comedian who was a huge influence on the counterculture. In one of the various attacks over the years by authoritarians on language, Bruce was repeatedly arrested for obscenity, and in 1961 he was arrested at a jazz club in North Beach. Sixty years ago, the parts of speech that were being criminalised weren't pronouns, but prepositions and verbs: [Excerpt: Lenny Bruce, "To is a Preposition, Come is a Verb"] That piece, indeed, was so controversial that when Frank Zappa quoted part of it in a song in 1968, the record label insisted on the relevant passage being played backwards so people couldn't hear such disgusting filth: [Excerpt: The Mothers of Invention, "Harry You're a Beast"] (Anyone familiar with that song will understand that the censored portion is possibly the least offensive part of the whole thing). Bruce was facing trial, and he needed transcripts of what he had said in his recordings to present in court. Incidentally, there seems to be some confusion over exactly which of Bruce's many obscenity trials Garcia became a transcriptionist for. Dennis McNally says in his biography of the band, published in 2002, that it was the most famous of them, in autumn 1964, but in a later book, Jerry on Jerry, a book of interviews of Garcia edited by McNally, McNally talks about it being when Garcia was nineteen, which would mean it was Bruce's first trial, in 1961. We can put this down to the fact that many of the people involved, not least Garcia, lived in Tralfamadorian time, and were rather hazy on dates, but I'm placing the story here rather than in 1964 because it seems to make more sense that Garcia would be involved in a trial based on an incident in San Francisco than one in New York. Garcia got the job, even though he couldn't type, because by this point he'd spent so long listening to recordings of old folk and country music that he was used to transcribing indecipherable accents, and often, as Garcia would tell it, Bruce would mumble very fast and condense multiple syllables into one. Garcia was particularly impressed by Bruce's ability to improvise but talk in entire paragraphs, and he compared his use of language to bebop. Another thing that was starting to impress Garcia, and which he also compared to bebop, was bluegrass: [Excerpt: Bill Monroe, "Fire on the Mountain"] Bluegrass is a music that is often considered very traditional, because it's based on traditional songs and uses acoustic instruments, but in fact it was a terribly *modern* music, and largely a postwar creation of a single band -- Bill Monroe and his Blue Grass Boys. And Garcia was right when he said it was "white bebop" -- though he did say "The only thing it doesn't have is the harmonic richness of bebop. You know what I mean? That's what it's missing, but it has everything else." Both bebop and bluegrass evolved after the second world war, though they were informed by music from before it, and both prized the ability to improvise, and technical excellence. Both are musics that involved playing *fast*, in an ensemble, and being able to respond quickly to the other musicians. Both musics were also intensely rhythmic, a response to a faster paced, more stressful world. They were both part of the general change in the arts towards immediacy that we looked at in the last episode with the creation first of expressionism and then of pop art. Bluegrass didn't go into the harmonic explorations that modern jazz did, but it was absolutely as modern as anything Charlie Parker was doing, and came from the same impulses. It was tradition and innovation, the past and the future simultaneously. Bill Monroe, Jackson Pollock, Charlie Parker, Jack Kerouac, and Lenny Bruce were all in their own ways responding to the same cultural moment, and it was that which Garcia was responding to. But he didn't become able to play bluegrass until after a tragedy which shaped his life even more than his father's death had. Garcia had been to a party and was in a car with his friends Lee Adams, Paul Speegle, and Alan Trist. Adams was driving at ninety miles an hour when they hit a tight curve and crashed. Garcia, Adams, and Trist were all severely injured but survived. Speegle died. So it goes. This tragedy changed Garcia's attitudes totally. Of all his friends, Speegle was the one who was most serious about his art, and who treated it as something to work on. Garcia had always been someone who fundamentally didn't want to work or take any responsibility for anything. And he remained that way -- except for his music. Speegle's death changed Garcia's attitude to that, totally. If his friend wasn't going to be able to practice his own art any more, Garcia would practice his, in tribute to him. He resolved to become a virtuoso on guitar and banjo. His girlfriend of the time later said “I don't know if you've spent time with someone rehearsing ‘Foggy Mountain Breakdown' on a banjo for eight hours, but Jerry practiced endlessly. He really wanted to excel and be the best. He had tremendous personal ambition in the musical arena, and he wanted to master whatever he set out to explore. Then he would set another sight for himself. And practice another eight hours a day of new licks.” But of course, you can't make ensemble music on your own: [Excerpt: Jerry Garcia and Bob Hunter, "Oh Mary Don't You Weep" (including end)] "Evelyn said, “What is it called when a person needs a … person … when you want to be touched and the … two are like one thing and there isn't anything else at all anywhere?” Alicia, who had read books, thought about it. “Love,” she said at length." That's from More Than Human, by Theodore Sturgeon, a book I'll be quoting a few more times as the story goes on. Robert Hunter, like Garcia, was just out of the military -- in his case, the National Guard -- and he came into Garcia's life just after Paul Speegle had left it. Garcia and Alan Trist met Hunter ten days after the accident, and the three men started hanging out together, Trist and Hunter writing while Garcia played music. Garcia and Hunter both bonded over their shared love for the beats, and for traditional music, and the two formed a duo, Bob and Jerry, which performed together a handful of times. They started playing together, in fact, after Hunter picked up a guitar and started playing a song and halfway through Garcia took it off him and finished the song himself. The two of them learned songs from the Harry Smith Anthology -- Garcia was completely apolitical, and only once voted in his life, for Lyndon Johnson in 1964 to keep Goldwater out, and regretted even doing that, and so he didn't learn any of the more political material people like Pete Seeger, Phil Ochs, and Bob Dylan were doing at the time -- but their duo only lasted a short time because Hunter wasn't an especially good guitarist. Hunter would, though, continue to jam with Garcia and other friends, sometimes playing mandolin, while Garcia played solo gigs and with other musicians as well, playing and moving round the Bay Area and performing with whoever he could: [Excerpt: Jerry Garcia, "Railroad Bill"] "Bleshing, that was Janie's word. She said Baby told it to her. She said it meant everyone all together being something, even if they all did different things. Two arms, two legs, one body, one head, all working together, although a head can't walk and arms can't think. Lone said maybe it was a mixture of “blending” and “meshing,” but I don't think he believed that himself. It was a lot more than that." That's from More Than Human In 1961, Garcia and Hunter met another young musician, but one who was interested in a very different type of music. Phil Lesh was a serious student of modern classical music, a classically-trained violinist and trumpeter whose interest was solidly in the experimental and whose attitude can be summed up by a story that's always told about him meeting his close friend Tom Constanten for the first time. Lesh had been talking with someone about serialism, and Constanten had interrupted, saying "Music stopped being created in 1750 but it started again in 1950". Lesh just stuck out his hand, recognising a kindred spirit. Lesh and Constanten were both students of Luciano Berio, the experimental composer who created compositions for magnetic tape: [Excerpt: Luciano Berio, "Momenti"] Berio had been one of the founders of the Studio di fonologia musicale di Radio Milano, a studio for producing contemporary electronic music where John Cage had worked for a time, and he had also worked with the electronic music pioneer Karlheinz Stockhausen. Lesh would later remember being very impressed when Berio brought a tape into the classroom -- the actual multitrack tape for Stockhausen's revolutionary piece Gesang Der Juenglinge: [Excerpt: Karlheinz Stockhausen, "Gesang Der Juenglinge"] Lesh at first had been distrustful of Garcia -- Garcia was charismatic and had followers, and Lesh never liked people like that. But he was impressed by Garcia's playing, and soon realised that the two men, despite their very different musical interests, had a lot in common. Lesh was interested in the technology of music as well as in performing and composing it, and so when he wasn't studying he helped out by engineering at the university's radio station. Lesh was impressed by Garcia's playing, and suggested to the presenter of the station's folk show, the Midnight Special, that Garcia be a guest. Garcia was so good that he ended up getting an entire solo show to himself, where normally the show would feature multiple acts. Lesh and Constanten soon moved away from the Bay Area to Las Vegas, but both would be back -- in Constanten's case he would form an experimental group in San Francisco with their fellow student Steve Reich, and that group (though not with Constanten performing) would later premiere Terry Riley's In C, a piece influenced by La Monte Young and often considered one of the great masterpieces of minimalist music. By early 1962 Garcia and Hunter had formed a bluegrass band, with Garcia on guitar and banjo and Hunter on mandolin, and a rotating cast of other musicians including Ken Frankel, who played banjo and fiddle. They performed under different names, including the Tub Thumpers, the Hart Valley Drifters, and the Sleepy Valley Hog Stompers, and played a mixture of bluegrass and old-time music -- and were very careful about the distinction: [Excerpt: The Hart Valley Drifters, "Cripple Creek"] In 1993, the Republican political activist John Perry Barlow was invited to talk to the CIA about the possibilities open to them with what was then called the Information Superhighway. He later wrote, in part "They told me they'd brought Steve Jobs in a few weeks before to indoctrinate them in modern information management. And they were delighted when I returned later, bringing with me a platoon of Internet gurus, including Esther Dyson, Mitch Kapor, Tony Rutkowski, and Vint Cerf. They sealed us into an electronically impenetrable room to discuss the radical possibility that a good first step in lifting their blackout would be for the CIA to put up a Web site... We told them that information exchange was a barter system, and that to receive, one must also be willing to share. This was an alien notion to them. They weren't even willing to share information among themselves, much less the world." 1962 brought a new experience for Robert Hunter. Hunter had been recruited into taking part in psychological tests at Stanford University, which in the sixties and seventies was one of the preeminent universities for psychological experiments. As part of this, Hunter was given $140 to attend the VA hospital (where a janitor named Ken Kesey, who had himself taken part in a similar set of experiments a couple of years earlier, worked a day job while he was working on his first novel) for four weeks on the run, and take different psychedelic drugs each time, starting with LSD, so his reactions could be observed. (It was later revealed that these experiments were part of a CIA project called MKUltra, designed to investigate the possibility of using psychedelic drugs for mind control, blackmail, and torture. Hunter was quite lucky in that he was told what was going to happen to him and paid for his time. Other subjects included the unlucky customers of brothels the CIA set up as fronts -- they dosed the customers' drinks and observed them through two-way mirrors. Some of their experimental subjects died by suicide as a result of their experiences. So it goes. ) Hunter was interested in taking LSD after reading Aldous Huxley's writings about psychedelic substances, and he brought his typewriter along to the experiment. During the first test, he wrote a six-page text, a short excerpt from which is now widely quoted, reading in part "Sit back picture yourself swooping up a shell of purple with foam crests of crystal drops soft nigh they fall unto the sea of morning creep-very-softly mist ... and then sort of cascade tinkley-bell-like (must I take you by the hand, ever so slowly type) and then conglomerate suddenly into a peal of silver vibrant uncomprehendingly, blood singingly, joyously resounding bells" Hunter's experience led to everyone in their social circle wanting to try LSD, and soon they'd all come to the same conclusion -- this was something special. But Garcia needed money -- he'd got his girlfriend pregnant, and they'd married (this would be the first of several marriages in Garcia's life, and I won't be covering them all -- at Garcia's funeral, his second wife, Carolyn, said Garcia always called her the love of his life, and his first wife and his early-sixties girlfriend who he proposed to again in the nineties both simultaneously said "He said that to me!"). So he started teaching guitar at a music shop in Palo Alto. Hunter had no time for Garcia's incipient domesticity and thought that his wife was trying to make him live a conventional life, and the two drifted apart somewhat, though they'd still play together occasionally. Through working at the music store, Garcia got to know the manager, Troy Weidenheimer, who had a rock and roll band called the Zodiacs. Garcia joined the band on bass, despite that not being his instrument. He later said "Troy was a lot of fun, but I wasn't good enough a musician then to have been able to deal with it. I was out of my idiom, really, 'cause when I played with Troy I was playing electric bass, you know. I never was a good bass player. Sometimes I was playing in the wrong key and didn't even [fuckin'] know it. I couldn't hear that low, after playing banjo, you know, and going to electric...But Troy taught me the principle of, hey, you know, just stomp your foot and get on it. He was great. A great one for the instant arrangement, you know. And he was also fearless for that thing of get your friends to do it." Garcia's tenure in the Zodiacs didn't last long, nor did this experiment with rock and roll, but two other members of the Zodiacs will be notable later in the story -- the harmonica player, an old friend of Garcia's named Ron McKernan, who would soon gain the nickname Pig Pen after the Peanuts character, and the drummer, Bill Kreutzmann: [Excerpt: The Grateful Dead, "Drums/Space (Skull & Bones version)"] Kreutzmann said of the Zodiacs "Jerry was the hired bass player and I was the hired drummer. I only remember playing that one gig with them, but I was in way over my head. I always did that. I always played things that were really hard and it didn't matter. I just went for it." Garcia and Kreutzmann didn't really get to know each other then, but Garcia did get to know someone else who would soon be very important in his life. Bob Weir was from a very different background than Garcia, though both had the shared experience of long bouts of chronic illness as children. He had grown up in a very wealthy family, and had always been well-liked, but he was what we would now call neurodivergent -- reading books about the band he talks about being dyslexic but clearly has other undiagnosed neurodivergences, which often go along with dyslexia -- and as a result he was deemed to have behavioural problems which led to him getting expelled from pre-school and kicked out of the cub scouts. He was never academically gifted, thanks to his dyslexia, but he was always enthusiastic about music -- to a fault. He learned to play boogie piano but played so loudly and so often his parents sold the piano. He had a trumpet, but the neighbours complained about him playing it outside. Finally he switched to the guitar, an instrument with which it is of course impossible to make too loud a noise. The first song he learned was the Kingston Trio's version of an old sea shanty, "The Wreck of the John B": [Excerpt: The Kingston Trio, "The Wreck of the John B"] He was sent off to a private school in Colorado for teenagers with behavioural issues, and there he met the boy who would become his lifelong friend, John Perry Barlow. Unfortunately the two troublemakers got on with each other *so* well that after their first year they were told that it was too disruptive having both of them at the school, and only one could stay there the next year. Barlow stayed and Weir moved back to the Bay Area. By this point, Weir was getting more interested in folk music that went beyond the commercial folk of the Kingston Trio. As he said later "There was something in there that was ringing my bells. What I had grown up thinking of as hillbilly music, it started to have some depth for me, and I could start to hear the music in it. Suddenly, it wasn't just a bunch of ignorant hillbillies playing what they could. There was some depth and expertise and stuff like that to aspire to.” He moved from school to school but one thing that stayed with him was his love of playing guitar, and he started taking lessons from Troy Weidenheimer, but he got most of his education going to folk clubs and hootenannies. He regularly went to the Tangent, a club where Garcia played, but Garcia's bluegrass banjo playing was far too rigorous for a free spirit like Weir to emulate, and instead he started trying to copy one of the guitarists who was a regular there, Jorma Kaukonnen. On New Year's Eve 1963 Weir was out walking with his friends Bob Matthews and Rich Macauley, and they passed the music shop where Garcia was a teacher, and heard him playing his banjo. They knocked and asked if they could come in -- they all knew Garcia a little, and Bob Matthews was one of his students, having become interested in playing banjo after hearing the theme tune to the Beverly Hillbillies, played by the bluegrass greats Flatt and Scruggs: [Excerpt: Flatt and Scruggs, "The Beverly Hillbillies"] Garcia at first told these kids, several years younger than him, that they couldn't come in -- he was waiting for his students to show up. But Weir said “Jerry, listen, it's seven-thirty on New Year's Eve, and I don't think you're going to be seeing your students tonight.” Garcia realised the wisdom of this, and invited the teenagers in to jam with him. At the time, there was a bit of a renaissance in jug bands, as we talked about back in the episode on the Lovin' Spoonful. This was a form of music that had grown up in the 1920s, and was similar and related to skiffle and coffee-pot bands -- jug bands would tend to have a mixture of portable string instruments like guitars and banjos, harmonicas, and people using improvised instruments, particularly blowing into a jug. The most popular of these bands had been Gus Cannon's Jug Stompers, led by banjo player Gus Cannon and with harmonica player Noah Lewis: [Excerpt: Gus Cannon's Jug Stompers, "Viola Lee Blues"] With the folk revival, Cannon's work had become well-known again. The Rooftop Singers, a Kingston Trio style folk group, had had a hit with his song "Walk Right In" in 1963, and as a result of that success Cannon had even signed a record contract with Stax -- Stax's first album ever, a month before Booker T and the MGs' first album, was in fact the eighty-year-old Cannon playing his banjo and singing his old songs. The rediscovery of Cannon had started a craze for jug bands, and the most popular of the new jug bands was Jim Kweskin's Jug Band, which did a mixture of old songs like "You're a Viper" and more recent material redone in the old style. Weir, Matthews, and Macauley had been to see the Kweskin band the night before, and had been very impressed, especially by their singer Maria D'Amato -- who would later marry her bandmate Geoff Muldaur and take his name -- and her performance of Leiber and Stoller's "I'm a Woman": [Excerpt: Jim Kweskin's Jug Band, "I'm a Woman"] Matthews suggested that they form their own jug band, and Garcia eagerly agreed -- though Matthews found himself rapidly moving from banjo to washboard to kazoo to second kazoo before realising he was surplus to requirements. Robert Hunter was similarly an early member but claimed he "didn't have the embouchure" to play the jug, and was soon also out. He moved to LA and started studying Scientology -- later claiming that he wanted science-fictional magic powers, which L. Ron Hubbard's new religion certainly offered. The group took the name Mother McRee's Uptown Jug Champions -- apparently they varied the spelling every time they played -- and had a rotating membership that at one time or another included about twenty different people, but tended always to have Garcia on banjo, Weir on jug and later guitar, and Garcia's friend Pig Pen on harmonica: [Excerpt: Mother McRee's Uptown Jug Champions, "On the Road Again"] The group played quite regularly in early 1964, but Garcia's first love was still bluegrass, and he was trying to build an audience with his bluegrass band, The Black Mountain Boys. But bluegrass was very unpopular in the Bay Area, where it was simultaneously thought of as unsophisticated -- as "hillbilly music" -- and as elitist, because it required actual instrumental ability, which wasn't in any great supply in the amateur folk scene. But instrumental ability was something Garcia definitely had, as at this point he was still practising eight hours a day, every day, and it shows on the recordings of the Black Mountain Boys: [Excerpt: The Black Mountain Boys, "Rosa Lee McFall"] By the summer, Bob Weir was also working at the music shop, and so Garcia let Weir take over his students while he and the Black Mountain Boys' guitarist Sandy Rothman went on a road trip to see as many bluegrass musicians as they could and to audition for Bill Monroe himself. As it happened, Garcia found himself too shy to audition for Monroe, but Rothman later ended up playing with Monroe's Blue Grass Boys. On his return to the Bay Area, Garcia resumed playing with the Uptown Jug Champions, but Pig Pen started pestering him to do something different. While both men had overlapping tastes in music and a love for the blues, Garcia's tastes had always been towards the country end of the spectrum while Pig Pen's were towards R&B. And while the Uptown Jug Champions were all a bit disdainful of the Beatles at first -- apart from Bob Weir, the youngest of the group, who thought they were interesting -- Pig Pen had become enamoured of another British band who were just starting to make it big: [Excerpt: The Rolling Stones, "Not Fade Away"] 29) Garcia liked the first Rolling Stones album too, and he eventually took Pig Pen's point -- the stuff that the Rolling Stones were doing, covers of Slim Harpo and Buddy Holly, was not a million miles away from the material they were doing as Mother McRee's Uptown Jug Champions. Pig Pen could play a little electric organ, Bob had been fooling around with the electric guitars in the music shop. Why not give it a go? The stuff bands like the Rolling Stones were doing wasn't that different from the electric blues that Pig Pen liked, and they'd all seen A Hard Day's Night -- they could carry on playing with banjos, jugs, and kazoos and have the respect of a handful of folkies, or they could get electric instruments and potentially have screaming girls and millions of dollars, while playing the same songs. This was a convincing argument, especially when Dana Morgan Jr, the son of the owner of the music shop, told them they could have free electric instruments if they let him join on bass. Morgan wasn't that great on bass, but what the hell, free instruments. Pig Pen had the best voice and stage presence, so he became the frontman of the new group, singing most of the leads, though Jerry and Bob would both sing a few songs, and playing harmonica and organ. Weir was on rhythm guitar, and Garcia was the lead guitarist and obvious leader of the group. They just needed a drummer, and handily Bill Kreutzmann, who had played with Garcia and Pig Pen in the Zodiacs, was also now teaching music at the music shop. Not only that, but about three weeks before they decided to go electric, Kreutzmann had seen the Uptown Jug Champions performing and been astonished by Garcia's musicianship and charisma, and said to himself "Man, I'm gonna follow that guy forever!" The new group named themselves the Warlocks, and started rehearsing in earnest. Around this time, Garcia also finally managed to get some of the LSD that his friend Robert Hunter had been so enthusiastic about three years earlier, and it was a life-changing experience for him. In particular, he credited LSD with making him comfortable being a less disciplined player -- as a bluegrass player he'd had to be frighteningly precise, but now he was playing rock and needed to loosen up. A few days after taking LSD for the first time, Garcia also heard some of Bob Dylan's new material, and realised that the folk singer he'd had little time for with his preachy politics was now making electric music that owed a lot more to the Beat culture Garcia considered himself part of: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] Another person who was hugely affected by hearing that was Phil Lesh, who later said "I couldn't believe that was Bob Dylan on AM radio, with an electric band. It changed my whole consciousness: if something like that could happen, the sky was the limit." Up to that point, Lesh had been focused entirely on his avant-garde music, working with friends like Steve Reich to push music forward, inspired by people like John Cage and La Monte Young, but now he realised there was music of value in the rock world. He'd quickly started going to rock gigs, seeing the Rolling Stones and the Byrds, and then he took acid and went to see his friend Garcia's new electric band play their third ever gig. He was blown away, and very quickly it was decided that Lesh would be the group's new bass player -- though everyone involved tells a different story as to who made the decision and how it came about, and accounts also vary as to whether Dana Morgan took his sacking gracefully and let his erstwhile bandmates keep their instruments, or whether they had to scrounge up some new ones. Lesh had never played bass before, but he was a talented multi-instrumentalist with a deep understanding of music and an ability to compose and improvise, and the repertoire the Warlocks were playing in the early days was mostly three-chord material that doesn't take much rehearsal -- though it was apparently beyond the abilities of poor Dana Morgan, who apparently had to be told note-by-note what to play by Garcia, and learn it by rote. Garcia told Lesh what notes the strings of a bass were tuned to, told him to borrow a guitar and practice, and within two weeks he was on stage with the Warlocks: [Excerpt: The Grateful Dead, “Grayfolded"] In September 1995, just weeks after Jerry Garcia's death, an article was published in Mute magazine identifying a cultural trend that had shaped the nineties, and would as it turned out shape at least the next thirty years. It's titled "The Californian Ideology", though it may be better titled "The Bay Area Ideology", and it identifies a worldview that had grown up in Silicon Valley, based around the ideas of the hippie movement, of right-wing libertarianism, of science fiction authors, and of Marshall McLuhan. It starts "There is an emerging global orthodoxy concerning the relation between society, technology and politics. We have called this orthodoxy `the Californian Ideology' in honour of the state where it originated. By naturalising and giving a technological proof to a libertarian political philosophy, and therefore foreclosing on alternative futures, the Californian Ideologues are able to assert that social and political debates about the future have now become meaningless. The California Ideology is a mix of cybernetics, free market economics, and counter-culture libertarianism and is promulgated by magazines such as WIRED and MONDO 2000 and preached in the books of Stewart Brand, Kevin Kelly and others. The new faith has been embraced by computer nerds, slacker students, 30-something capitalists, hip academics, futurist bureaucrats and even the President of the USA himself. As usual, Europeans have not been slow to copy the latest fashion from America. While a recent EU report recommended adopting the Californian free enterprise model to build the 'infobahn', cutting-edge artists and academics have been championing the 'post-human' philosophy developed by the West Coast's Extropian cult. With no obvious opponents, the global dominance of the Californian ideology appears to be complete." [Excerpt: Grayfolded] The Warlocks' first gig with Phil Lesh on bass was on June the 18th 1965, at a club called Frenchy's with a teenage clientele. Lesh thought his playing had been wooden and it wasn't a good gig, and apparently the management of Frenchy's agreed -- they were meant to play a second night there, but turned up to be told they'd been replaced by a band with an accordion and clarinet. But by September the group had managed to get themselves a residency at a small bar named the In Room, and playing there every night made them cohere. They were at this point playing the kind of sets that bar bands everywhere play to this day, though at the time the songs they were playing, like "Gloria" by Them and "In the Midnight Hour", were the most contemporary of hits. Another song that they introduced into their repertoire was "Do You Believe in Magic" by the Lovin' Spoonful, another band which had grown up out of former jug band musicians. As well as playing their own sets, they were also the house band at The In Room and as such had to back various touring artists who were the headline acts. The first act they had to back up was Cornell Gunter's version of the Coasters. Gunter had brought his own guitarist along as musical director, and for the first show Weir sat in the audience watching the show and learning the parts, staring intently at this musical director's playing. After seeing that, Weir's playing was changed, because he also picked up how the guitarist was guiding the band while playing, the small cues that a musical director will use to steer the musicians in the right direction. Weir started doing these things himself when he was singing lead -- Pig Pen was the frontman but everyone except Bill sang sometimes -- and the group soon found that rather than Garcia being the sole leader, now whoever was the lead singer for the song was the de facto conductor as well. By this point, the Bay Area was getting almost overrun with people forming electric guitar bands, as every major urban area in America was. Some of the bands were even having hits already -- We Five had had a number three hit with "You Were On My Mind", a song which had originally been performed by the folk duo Ian and Sylvia: [Excerpt: We Five, "You Were On My Mind"] Although the band that was most highly regarded on the scene, the Charlatans, was having problems with the various record companies they tried to get signed to, and didn't end up making a record until 1969. If tracks like "Number One" had been released in 1965 when they were recorded, the history of the San Francisco music scene may have taken a very different turn: [Excerpt: The Charlatans, "Number One"] Bands like Jefferson Airplane, the Great Society, and Big Brother and the Holding Company were also forming, and Autumn Records was having a run of success with records by the Beau Brummels, whose records were produced by Autumn's in-house A&R man, Sly Stone: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Warlocks were somewhat cut off from this, playing in a dive bar whose clientele was mostly depressed alcoholics. But the fact that they were playing every night for an audience that didn't care much gave them freedom, and they used that freedom to improvise. Both Lesh and Garcia were big fans of John Coltrane, and they started to take lessons from his style of playing. When the group played "Gloria" or "Midnight Hour" or whatever, they started to extend the songs and give themselves long instrumental passages for soloing. Garcia's playing wasn't influenced *harmonically* by Coltrane -- in fact Garcia was always a rather harmonically simple player. He'd tend to play lead lines either in Mixolydian mode, which is one of the most standard modes in rock, pop, blues, and jazz, or he'd play the notes of the chord that was being played, so if the band were playing a G chord his lead would emphasise the notes G, B, and D. But what he was influenced by was Coltrane's tendency to improvise in long, complex, phrases that made up a single thought -- Coltrane was thinking musically in paragraphs, rather than sentences, and Garcia started to try the same kind of th

TENE pod continues their look into fashy ruling class woowoo following JB Rhine's ESP lab at Duke into the first steps on the path to Project Stargate alongside the Golden Age science fiction fandom created by John W. Campbell and Astounding Science Fiction. Praise Mighty Jorth! Cool sci-fi sounds from freesound.org Subscribe to patreon.org/tenepod and twitter.com/tenepod.

An American research crew at a base in Antarctica finds they are not alone in the desolate, freezing landscape when a nearby Norwegian team accidentally awakens an alien presence that's been frozen in the ice for a hundred thousand years. As the American crew determines just what the alien's M.O. is, they are overcome by a creeping distrust, and the paranoid group slowly unravels as an unseen, deadly force runs rampant on the base. Intro, Math Club, and Debate Society (spoiler-free) 00:00-31:42 Honor Roll and Detention (spoiler-heavy) 31:43-1:07:36 Superlatives (so. many. spoilers.) 1:07:37-1:26:59 Director John Carpenter Screenplay Bill Lancaster, based on the novella Who Goes There? by John W. Campbell, Jr. Featuring Wilfrid Brimley, T.K. Carter, David Clennon, Keith David, Richard Dysart, Charles Hallahan, Jed, Peter Maloney, Richard Masur, Donald Moffat, Joel Polis, Kurt Russell, Thomas Waites Suzanne Keilly is a screenwriter in Los Angeles, known for adapting and reimagining 80s cult genre fare including Slumber Party Massacre, Leprechaun Returns, and “Ash Vs Evil Dead.” Despite her penchant for horror, Suzanne got her start writing and performing sketch comedy and improv at stages across North America including UCB, the Groundlings, Second City, and Just for Laughs. She was most recently a writer on Netflix's cancelled, yet beloved series “Warrior Nun,” and is currently writing a horror whodunnit for Viacom. Our theme music is by Sir Cubworth, with embellishments by Edward Elgar. Music from “The Thing” by Ennio Morricone. For more information on this film, the pod, essays from your hosts, and other assorted bric-a-brac, visit our website, scareupod.com. Please subscribe to this podcast via Apple or Google Podcasts, Stitcher, Spotify, or wherever you get your podcasts. If you like what you hear, please leave us a 5-star rating. Join our Facebook group. Follow us on Instagram. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

The Ultimate Weapon by John W. Campbell audiobook. The star Mira was unpredictably variable. Sometimes it was blazing, brilliant and hot. Other times it was oddly dim, cool, shedding little warmth on its many planets. Gresth Gkae, leader of the Mirans, was seeking a better star, one to which his "people" could migrate. That star had to be steady, reliable, with a good planetary system. And in his astronomical searching, he found Sol. With hundreds of ships, each larger than whole Terrestrial spaceports, and traveling faster than the speed of light, the Mirans set out to move in to Solar regions and take over. And on Earth there was nothing which would be capable of beating off this incredible armada—until Buck Kendall stumbled upon THE ULTIMATE WEAPON.

Invaders from the Infinite by John W. Campbell audiobook. The famous scientific trio of Arcot, Wade and Morey, challenged by the most ruthless aliens in all the universes, blasted off on an intergalactic search for defenses against the invaders of Earth and all her allies. World after world was visited, secret after secret unleashed, and turned to mighty weapons of intense force--and still the Thessian enemy seemed to grow in power and ferocity. Mighty battles between huge space armadas were but skirmishes in the galactic war, as the invincible aliens savagely advanced and the Earth team hurled bolt after bolt of pure ravening energy--until it appeared that the universe itself might end in one final flare of furious torrential power....

Islands of Space by John W. Campbell audiobook. As Earth's faster-than-light spaceship hung in the void between galaxies, Arcot, Wade, Morey and Fuller could see below them, like a vast shining horizon, the mass of stars that formed their own island universe. Morey worked a moment with his slide rule, then said, "We made good time! Twenty-nine light years in ten seconds! Yet you had it on at only half power...." Arcot pushed the control lever all the way to full power. The ship filled with the strain of flowing energy, and sparks snapped in the air of the control room as they raced at an inconceivable speed through the darkness of intergalactic space. But suddenly, far off to their left and far to their right, they saw two shining ships paralleling their course! They held grimly to the course of the Earth ship, bracketing it like an official guard. The Earth scientists stared at them in wonder. "Lord," muttered Morey, "where can they have come from?"

Welcome to The Wild Card Podcast!  This is episode 252 of our attempt at this whole podcasting thing!! Today's episode features: Jared Eaton getting tricked into the Lego Movie, Jeff  Curtis wanting to Believers, and Ron Blair not being emotionally upset about the cheese grater incident!! Throughout the episode, you'll hear the three of us discuss such varied topics as: the way this podcast is about mirror mazes and wood stoves burning, a commercial that we don't talk about, our favorite movies for kids, Spielberging, stroking a beard, Dolly Parton's Poutine, and occasionally we part from our tangents to learn about the legacy of John W. Campbell's science fiction novella, "Who Goes There." This week, Ron teaches the other guys about the novel itself and the movies that came from it: including the John Carpenter masterpiece, The Thing!  Join us on this journey to wherever and we'll guarantee you that you'll always know you're human as you listen to our never imitated Podcast!!!Please like/subscribe and leave comments below! Let us know your thoughts on Who Goes There, how you feel about the movie it begat, your favorite Kids movie, your favorite State Fair foods, positivity chains (encourage one another!), any future reports you'd like us to do, and if you are interested in being an official Deckhead!P.S.  “Trust's a tough thing to come by these days."~ MacReady - The ThingP.P.S. Stay Safe, Stay Wild, and Bite the Edge!

Dexter and Matt talk about the book "Who Goes There" By John W. Campbell. The book the movie "The Thing" is based on. Next time We'll talk about "The Thing"

The Thing From Another World (sometimes referred to as just The Thing) is a 1951 American science fiction horror film directed by Christian Nyby and produced by Edward Lasker for Howard Hawk's Winchester Pictures and released by RKO. The film stars Margaret Sheridan, Kenneth Tobey, Robert Cornthwaite, and Douglas Spencer. James Arness plays The Thing, although he is difficult to recognize in costume and makeup due to both low lighting and other effects used to obscure his features. The film is based on the 1938 novella Who Goes There? written by John W. Campbell. If you have anything to add to the discussion, please don't hesitate to do so by reaching out to us on social media @TheFilmFlamers, or call our hotline and leave us a message at 972-666-7733!            Watch The Thing From Another World: https://amzn.to/3GCdUUI         Out this Month: Week 1: Shooting the Flames Week 2: The Thing From Another World (1951) Week 3: The Thing (1982) Week 4: Break! Week 5: Up In Flames: 2022 in Review Patreon: The Thing (2011)     Coming in February 2023: Heathers The Craft      Get in Touch:  Support us on Patreon: https://www.patreon.com/TheFilmFlamers  Visit our Store: https://teespring.com/stores/thefilmflamers  Twitter: https://twitter.com/TheFilmFlamers  TikTok: https://www.tiktok.com/@thefilmflamers  Facebook: https://www.facebook.com/TheFilmFlamers/ Letterboxd: https://letterboxd.com/thefilmflamers/ Our Website: https://www.filmflamers.com  Call our Hotline: 972-666-7733     Our Patrons: #ExiledTexan Ashlie Thornbury BattleBurrito Benjamin Gonzalez Bennett Hunter Brandon Anderson CenobiteBetty Christopher N Dan Alvarez daveisruff Erica Huff Gia-Ranita Pitt GlazedDonut GWilliamNYC Jessica E Kimberly McGuirk-Klinetobe Kyle Kavanagh Lisa Libby Loch Hightower Matthew McHenry Mimi Hunter Nicole McDaniel Nikki (phillyenginerd) Orion Yannotti Penelope Nelson Quel Parish random dude Richard Pringle Robert B. Robert E Sean Homrig Senor Sombra Walstrich   Sweet dreams...      "Welcome to Horrorland" by Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ Includes music by Karl Casey @ White Bat Audio

In this spooktacular episode, hosts Katherine Troyer and Anthony Tresca discuss not one but two (well, kind of three) THINGS:  the 1951 film The Thing from Another World, John Carpenter's beloved 1982 film The Thing, and the novella that started it all...John W. Campbell's 1938 "Who Goes There?" Episode Highlights: We explore how the thing manages, time and again, to change its form in order to provide the most culturally relevant moments of horror. Looking particularly at the two films, we talk about the ways that the 1951 film presents a more affirmative "we can do it team!" mentality that stands in sharp contrast with the 1982 film's disaffirmative sense of paranoia and "everyone is the threat" mentality. We think about how each text depicts our alien invader and we consider what it is about this story that continues to haunt us in subsequent adaptations and remakes.  A Dose of Scholarship: We discuss a number of pieces of scholarship: Stephen Price's essay "Dread, Taboo, and The Thing: Toward a Social Theory of the Horror Film" in the 2004 book The Horror Film, Ronald Allan Lopez Cruz's 2012 essay "Mutations and Metamorphoses: Body Horror is Biological Horror," and Eric White's 1993 article "The Erotics of Becoming: Xenogensis and 'The Thing.'"   This podcast episode first aired on December 19, 2022. Thank you Jackson O'Brien for being the best editor a horror podcast could ask for! Twitter/Instagram: @NightmarePod1; YouTube: Such a Nightmare channel; Email: suchanightmare.pod@gmail.com; ALL LINKS

"And Then There Were None" read by John Lothe johnlothe.wordpress.com/ www.youtube.com/user/JohnLothe en.wikipedia.org/wiki/Eric_Frank_Russell www.corbettreport.com/ Eric Frank Russell (January 6, 1905 – February 28, 1978) was a British author best known for his science fiction novels and short stories. Much of his work was first published in the United States, in John W. Campbell's Astounding Science Fiction and other pulp magazines. Russell also wrote horror fiction for Weird Tales and non-fiction articles on Fortean topics. Up to 1955 several of his stories were published under pseudonyms, at least Duncan H. Munro and Niall(e) Wilde.[1] -- www.amazon.com/Then-There-Were-None/dp/B001E2R4HK The story is set sometime in the 27th century. Four hundred years ago the Blieder-drive engine was invented making faster-than-light travel possible. Within a few years hundreds of ships packed full with colonists had left Earth. Many worlds were populated - often by like minded and eccentric colonists. Now the universe is believed to hold an estimated 1600 newly populated planets, and Earth believes it ought to rule them all. A Terran battleship with 2000 soldiers, bureaucrats, and an Imperial Ambassador land on an unknown and under-populated planet with the intention of making a claim on what they consider their own. However things begin to go wrong for the invading force almost immediately and it is discovered that the locals posses an unstoppable secret weapon. Audio taken from: www.corbettreport.com/mp3/andthentherewerenone.mp3

Munch Carnitas Benedict with the award-winning Michael Swanwick as we discuss his response to learning a reader of his was recently surprised to find out he was still alive, how J. R. R. Tolkien turned him into a writer, why it took him 15 years of trying to finally finish his first story, how Gardner Dozois and Jack Dann taught him how to write by taking apart one of his tales and putting it back together again, why it was good luck he lost his first two Nebula Awards the same year, the good advice William Gibson gave him which meant he never had to be anxious about awards again, which friend's story was so good he wanted to throw his own typewriter out the window in a rage, the novel he abandoned writing because he found the protagonists morally repugnant, why he didn't want to talk about Playboy magazine, the truth behind a famous John W. Campbell, Jr./Robert Heinlein anecdote, and much more.

“The Things” is a science fiction short story by Peter Watts, revisiting the universe of John Carpenter's 1982 film The Thing (derived itself from John W. Campbell's story "Who Goes There?") from the viewpoint of the alien. It was first published on Clarkesworld, in January 2010. 1000 stickers for $79 ONLY at this link www.riotstickers.com/frumess - the best in the business! JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!! https://www.patreon.com/Frumess

We did it everyone. We made it to 100 episodes. To commemorate our centennial we are joined by friend of the Show Dan Leo to discuss Jon W Campbell's Who Goes There and how it formed the foundations of John Carpenter's The Thing.Music and sound effects provided by zapslat.com and bensound.com, and the theme song is "Graveyard Shift" by Kevin MacLeod. https://creativecommons.org/licenses/by/4.0/Tags: Haruko WanibuchiSaho Sasazawa

I learned something today. Did you know that when Elements are named to honor cities the Latin names for the cities are used rather than the common names? The funny thing is that this is true even if the city has no Latin name. This is how we get the name for holmium, which is named after Stockholm or rather after "Holmia" which is the Latin name for Stockholm that the chemist made up. This is from the essay "Names! Names! Names!" by the good doctor. It's all about naming elements and, although I haven't quite finished it yet, I'm pretty sure it covers all hundred or so that were known at the time. The essay appeared in the December 1956 issue of Astounding Science Fiction, the very same issue as our final installment of The Naked Sun. This led John W. Campbell to declare Asimov a "two-headed author." Isaac's predilection for non-fiction was starting to show. Being trained as a chemist, Asimov gives us a ton of Asenion names to enjoy in this final section! There's GalDIEah Delmarre, Kloitta Cantero, Jothan Leebig, Corwin Attlebish, and Anselmo Quemot. And who could forget Benzadril Copperbottom? In this final section, which corresponds to chapters 13 to 18 in the book, Baley survives the assassination attempt, gets his portrait done, almost strolls to his death, and solves the case! Of course, we talk about it all. Join us for the setting of The Naked Sun!

Exploring Tomorrow was an American old-time radio series which ran on the Mutual Broadcasting System from December 4, 1957, until June 13, 1958. An advertisement described it as "the first science-fiction show of science-fictioneers, by science-fictioneers and for science-fictioneers - real science fiction for a change!" Exploring Tomorrow was narrated by John W. Campbell, editor of Astounding Magazine. Campbell guided the career of many of the great science fiction writers of the era. Personnel: Producer-director: Sanford Marshall. Announcer: Bill Mahr, Guy Wallace Cast:Mandel Kramer, Bryna Raeburn, Lawson Zerbe, Lon Clark, Mason Adams, Connie Lembcke, Larry Haines, Don Douglas, Bret Morrison, Charlotte Sheffield Theme: As Time Goes By Writers: Randall Garrett, Gordon R. Dickson, Robert Silverberg,Isaac Asimov, Philip K. Dick, Poul Anderson, John Fleming, Raymond E. Banks, George O. Smith, Tom Godwin

Jake and Ron celebrate the 40th anniversary of John Carpenter's The Thing!This episode is dedicated to Jake's brother Mike, who is the biggest and most knowledgeable fan of John Carpenter's The Thing in the world—and maybe even the universe! John Carpenter's The Thing (1982)https://www.imdb.com/title/tt0084787/?ref_=fn_al_tt_1Who Goes There? by John W. Campbell (1938)https://wp.nyu.edu/darknessspeaks/wp-content/uploads/sites/3674/2016/09/who_goes_there.pdfFrozen Hell by John W. Campbellhttps://wildsidepress.com/frozen-hell-by-john-w-campbell-jr-trade-paperback/The Thing from Another World (1951)https://www.imdb.com/title/tt0044121/?ref_=fn_tt_tt_3The Thing (2011)https://www.imdb.com/title/tt0905372/?ref_=fn_tt_tt_2The Making of the Thing (TeoTosone YouTube Channel)https://www.youtube.com/watch?v=jURaHXAPbPQ&t=2899s&ab_channel=TeoTosoneMike Ploog Storyboardshttps://www.comicartfans.com/galleryroom.asp?gsub=160811KleverStudios YouTube channelhttps://www.youtube.com/watch?v=ctq6T57TLtg&ab_channel=KleverStudiosOn Location with John Carpenter's The Thing (Omni Magazine July 1982)https://jonathanrosenbaum.net/2021/10/on-location-with-john-carpenters-the-thing-tk/John Carpenter's ‘The Thing': The Story of an SF Horror Game-Changer by Sven MikulecCinephilia & Beyond https://cinephiliabeyond.org/john-carpenters-thing-story-sf-horror-game-changer/(Includes Bill Lancaster's screenplay for The Thing)The Thing from Another World (Dark Horse Comics 1991)https://www.darkhorse.com/Comics/91-425/The-Thing-from-Another-World-1-of-2The Things by Peter Blair (2010)https://clarkesworldmagazine.com/watts_01_10/The Thing (4K Ultra HD + Blu Ray) https://www.amazon.com/Thing-Blu-ray-4K-UHD/dp/B098Z28MSYThe Wrath of the iOtiansEmail: thewrathoftheiotians@gmail.comInstagram: thewrathoftheiotiansTwitter:  @OfiOtiansWebsite: https://thewrathoftheiotians.buzzsprout.com/MusicLand Of The Me-me by Aleksandar Dimitrijevic (TONO)Licensed undeThe Lowest DeepA supernatural horror fiction series.Listen on: Spotify

Grab dinner with Gwendolyn Clare as we discuss the important lesson COVID taught her about her career, whether her most famous short story reads differently during these pandemic times, the identity of the science fiction writer I was startled to learn had been her high school geometry teacher, what the novels of Elizabeth Bear taught her about writing, the short story concept she decided to instead turn into what became her first published novel, how she gets into the mindset to write in the Young Adult genre, the amazing cleanliness of her first drafts, the pantsing fingerprints she sees on Stephen King, the many iterations recent writers have made to John W. Campbell's "Who Goes There?," and much more.

Exploring Tomorrow was an American old-time radio series which ran on the Mutual Broadcasting System from December 4, 1957, until June 13, 1958. An advertisement described it as "the first science-fiction show of science-fictioneers, by science-fictioneers and for science-fictioneers - real science fiction for a change!" Exploring Tomorrow was narrated by John W. Campbell, editor of Astounding Magazine. Campbell guided the career of many of the great science fiction writers of the era. Personnel: Producer-director: Sanford Marshall. Announcer: Bill Mahr, Guy Wallace Cast:Mandel Kramer, Bryna Raeburn, Lawson Zerbe, Lon Clark, Mason Adams, Connie Lembcke, Larry Haines, Don Douglas, Bret Morrison, Charlotte Sheffield Theme: As Time Goes By Writers: Randall Garrett, Gordon R. Dickson, Robert Silverberg,Isaac Asimov, Philip K. Dick, Poul Anderson, John Fleming, Raymond E. Banks, George O. Smith, Tom Godwin