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Author, psychotherapist and musician Robert Lawrence Friedman returns to the show (after 8 years!) to discuss drumming, healing and more
Welcome back to the only podcast that Joe Rogan listens to: Sinclairity A Dinosaurs Tale! This week, we are joined by our friend Brent from the band We Are the Union to review the Dinosaurs episode “The Discovery” from season 3. Talking points include: breaking edge by drinking paint, professional baseball teams from Cleveland, rebooting Fear Factor over Zoom, and the brand new We Are the Union record! Thanks again for hanging out with us! We love you all and hope you’re doing well or even better! https://blacklivesmatters.carrd.co/ https://anti-asianviolenceresources.carrd.co/ https://lafairhousing.org/donate/
How to Relax in 60 Seconds or Less? Join us as Ron chats with Robert Lawrence Friedman, MA, president of Stress Solutions, Inc. author, professional speaker/trainer, and psychotherapist, who has appeared on national and international television shows, including The Discovery Health Channel program, The Morning Show on Today (NBC), Fox News, and E! Television. Pandemic stress, or any time stress, Robert's books provide a wide range of relaxation techniques, strategies, and tools to help you develop a greater level of relaxation, health, well-being, and even awareness.
Brent Lawrence Friedman has seen all sides of the music industry. He’s booked tours and done marketing for various ska and punk band (MxPx, Goldfinger, Five Iron Frenzy, Mr. T. Experience). His current gig is “merch fulfillment” for Skatune Network, Kill Lincoln, and other ska groups. He also plays drums in the group We Are The Union. When he’s not doing any of those things, he’s frantically posting about ska on social media, and getting tagged in literally every ska meme—a role he’s come to embrace. His Instagram and Twitter handle is @pleasetagmeinyourskaposts. I first interviewed Brent (along with Jeremy Andrew Hunter) back in 2018 for my book, In Defense of Ska. We Are The Union were on tour with Reel Big Fish, and so I chatted with them backstage at their Reno show. I wanted to get both of their takes on what it’s like to be entirely identified for liking ska, to have everyone refer to you as a “ska person,” and to feverishly tag you in all online ska content. For Brent, his non-stop online ska talk started as a joke, but he saw that some people were genuinely appreciating his ska persona. “The ska thing is always a butt end of the joke. After a while it started annoying me to where I started defending ska on social media,” Brent told me. “I started talking about ska a lot. I became an exaggerated version of what these people thought I was. Then ska kids in bands across the country would tell me, ‘Man I love that you defend ska so hard.’ Apparently, this is making some people happy. I’m just going to keep f*****g doing it.” On this episode of In Defense of Ska, Brent tells us the full story of how he went from We Are The Union super-fan to being their drummer. He gives us some insight on the business side of DIY ska including a glimpse behind the scenes of We Are The Union’s Self-Care Kickstarter campaign, and how he came to book the infamous Jesse Michaels/Leftover Crack concert that was eventually covered in Vice. We also talk about how truly awful most ska jokes are when they come from ska-haters. Can’t they at least learn a little bit about the music and subculture first? If you enjoyed this episode, please share this post. Also, sign up for my newsletter to get new episodes delivered to your inbox every week. Get on the email list at aaroncarnes.substack.com
Hosts: Larry Bernstein and Mitch Feinman. Guests include Michael Littman, Charles Isbell, Seyed Sajjadi, Lawrence Friedman, and Benjamin Friedman
Episode: 1844 The Horizontal Society -- revealed in an acrostic. Today, the horizontal society.
Time stood still. Even the air in the room refused to move, when Dr. Larry Friedman launched into a teaching story. As a resident doctor-in-training, we rotate through many different areas of medicine. Looking back at memorable moments during that time, the teachers that captivated me the most were the ones that told stories. In the early 2000's, I still remember the moment when Dr. Friedman told us the riveting story of the race to find the cause of a mysterious illness that would come to be called AIDS and later be attributed to a virus that attacks the immune system, HIV. Dr. Lawrence Friedman, MD, is the Director of the Division of Adolescent Medicine in the Department of Pediatrics at the University of Miami Miller School of Medicine since 1997. He sees patients, teaches medical students and residents, and is active in research with a particular focus on HIV and AIDS in the pediatric and adolescent population. The Special Adolescent Clinic (SAC) for HIV-infected youth serves as a component of the Ryan White CARE Act Part D family-centered efforts in the Departments of Pediatrics and Obstetrics. I recently contacted him again after more than a decade. As a storyteller, I now realize that his teachings were so captivating because he told us stories. In this interview, he tells us how the story of HIV has evolved over time. With remarkable advances in science, what was once a death-sentence is now a chronic disease. With continued advances, hopefully one day there will be a cure. In this interview … Learn the remarkable story of the discovery of HIV Discover how the story has evolved over time See the story from different perspectives Find out more about Dr. Larry Friedman, MD, on the University of Miami Website. Recorded: Fri Aug 31, 2018; Released: Fri Sep 7, 2018 Interview by Dr. Joel Ying. “People of passion and purpose, doing interesting things, living the present moment.” LivingthePresentMoment.com/podcastshow
This week it's all about challenges: special guest Lawrence Friedman, professor of law at the New England Law Boston explains the details of the supreme judicial court case regarding the so-called millionaire's tax; Steve breaks down his latest WBUR poll on the primary race between Mike Capuano and challenger Ayanna Pressley; and Setti Warren shares delegates with his fellow gubernatorial challengers in Newton.
Hoy gracias al Fondo de Cultura Económica tenemos el gusto de poder invitar a la lectura de una formidable biografía intelectual hecha por Lawrence Friedman en la cual analiza el pensamiento, la forma en que lo construyó y como se relación con otras áreas del conocimiento del pensador alemán Erich Fromm.
In the first legal history course I took as an undergraduate, I read Lawrence M. Friedman‘s A History of American Law and American Law in the 20th Century and have been fascinated with the subject ever since. His most recent work, The Big Trial: Law as Public Spectacle (University Press of Kansas, 2015) combines the scintillating narrative style that he employs as the author of several mystery novels with the keen insights about law and society that he has revealed time and again in his numerous cornerstone works of legal scholarship. Per the book jacket, “The trial of O. J. Simpson was a sensation, avidly followed by millions of people, but it was also, in a sense, nothing new. One hundred years earlier the Lizzie Borden trial had held the nation in thrall. The names (and the crimes) may change, but the appeal is enduring–and why this is, how it works, and what it means are what Lawrence Friedman investigates in The Big Trial. What is it about these cases that captures the public imagination? Are the “headline trials” of our period different from those of a century or two ago? And what do we learn from them, about the nature of our society, past and present? To get a clearer picture, Friedman first identifies what certain headline trials have in common, then considers particular cases within each grouping. The political trial, for instance, embraces treason and spying, dissenters and radicals, and, to varying degrees, corruption and fraud. Celebrity trials involve the famous–whether victims, as in the case of Charles Manson, or defendants as disparate as Fatty Arbuckle and William Kennedy Smith–but certain high-profile cases, such as those Friedman categorizes as tabloid trials, can also create celebrities. The fascination of whodunit trials can be found in the mystery surrounding the case: Are we sure about O. J. Simpson? What about Claus von Bulow–tried, in another sensational case, for sending his wife into a coma? An especially interesting type of case Friedman groups under the rubric worm in the bud. These are cases, such as that of Lizzie Borden, that seem to put society itself on trial; they raise fundamental social questions and often suggest hidden and secret pathologies. And finally, a small but important group of cases proceed from moral panic, the Salem witchcraft trials being the classic instance, though Friedman also considers recent examples. Though they might differ in significant ways, these types of trials also have important similarities. Most notably, they invariably raise questions about identity (Who is this defendant? A villain? An innocent unfairly accused?). And in this respect, The Big Trial shows us, the headline trial reflects a critical aspect of modern society. Reaching across the nineteenth and twentieth centuries to the latest outrage, from congressional hearings to lynching and vigilante justice to public punishment, from Dr. Sam Sheppard (the “fugitive”) to Jeffrey Dahmer (the “cannibal”), The Rosenbergs to Timothy McVeigh, the book presents a complex picture of headline trials as displays of power–moments of “didactic theater”” that demonstrate in one way or another whether a society is fair, whom it protects, and whose interest it serves.” Some of the topics we cover are: (1) Classifications of the different types of headline trials; (2) How telling the story of headline trials also tells the story of the rise of mass media; (3) Why big trials are considered didactic theater. (4) The effect the familiarity we now have with celebrities has upon the trials that involve them. Lawrence Friedman is Marion Rice Kirkwood Professor of Law at Stanford Law School. Learn more about your ad choices. Visit megaphone.fm/adchoices
In the first legal history course I took as an undergraduate, I read Lawrence M. Friedman‘s A History of American Law and American Law in the 20th Century and have been fascinated with the subject ever since. His most recent work, The Big Trial: Law as Public Spectacle (University Press of Kansas, 2015) combines the scintillating narrative style that he employs as the author of several mystery novels with the keen insights about law and society that he has revealed time and again in his numerous cornerstone works of legal scholarship. Per the book jacket, “The trial of O. J. Simpson was a sensation, avidly followed by millions of people, but it was also, in a sense, nothing new. One hundred years earlier the Lizzie Borden trial had held the nation in thrall. The names (and the crimes) may change, but the appeal is enduring–and why this is, how it works, and what it means are what Lawrence Friedman investigates in The Big Trial. What is it about these cases that captures the public imagination? Are the “headline trials” of our period different from those of a century or two ago? And what do we learn from them, about the nature of our society, past and present? To get a clearer picture, Friedman first identifies what certain headline trials have in common, then considers particular cases within each grouping. The political trial, for instance, embraces treason and spying, dissenters and radicals, and, to varying degrees, corruption and fraud. Celebrity trials involve the famous–whether victims, as in the case of Charles Manson, or defendants as disparate as Fatty Arbuckle and William Kennedy Smith–but certain high-profile cases, such as those Friedman categorizes as tabloid trials, can also create celebrities. The fascination of whodunit trials can be found in the mystery surrounding the case: Are we sure about O. J. Simpson? What about Claus von Bulow–tried, in another sensational case, for sending his wife into a coma? An especially interesting type of case Friedman groups under the rubric worm in the bud. These are cases, such as that of Lizzie Borden, that seem to put society itself on trial; they raise fundamental social questions and often suggest hidden and secret pathologies. And finally, a small but important group of cases proceed from moral panic, the Salem witchcraft trials being the classic instance, though Friedman also considers recent examples. Though they might differ in significant ways, these types of trials also have important similarities. Most notably, they invariably raise questions about identity (Who is this defendant? A villain? An innocent unfairly accused?). And in this respect, The Big Trial shows us, the headline trial reflects a critical aspect of modern society. Reaching across the nineteenth and twentieth centuries to the latest outrage, from congressional hearings to lynching and vigilante justice to public punishment, from Dr. Sam Sheppard (the “fugitive”) to Jeffrey Dahmer (the “cannibal”), The Rosenbergs to Timothy McVeigh, the book presents a complex picture of headline trials as displays of power–moments of “didactic theater”” that demonstrate in one way or another whether a society is fair, whom it protects, and whose interest it serves.” Some of the topics we cover are: (1) Classifications of the different types of headline trials; (2) How telling the story of headline trials also tells the story of the rise of mass media; (3) Why big trials are considered didactic theater. (4) The effect the familiarity we now have with celebrities has upon the trials that involve them. Lawrence Friedman is Marion Rice Kirkwood Professor of Law at Stanford Law School. Learn more about your ad choices. Visit megaphone.fm/adchoices
In the first legal history course I took as an undergraduate, I read Lawrence M. Friedman‘s A History of American Law and American Law in the 20th Century and have been fascinated with the subject ever since. His most recent work, The Big Trial: Law as Public Spectacle (University Press of Kansas, 2015) combines the scintillating narrative style that he employs as the author of several mystery novels with the keen insights about law and society that he has revealed time and again in his numerous cornerstone works of legal scholarship. Per the book jacket, “The trial of O. J. Simpson was a sensation, avidly followed by millions of people, but it was also, in a sense, nothing new. One hundred years earlier the Lizzie Borden trial had held the nation in thrall. The names (and the crimes) may change, but the appeal is enduring–and why this is, how it works, and what it means are what Lawrence Friedman investigates in The Big Trial. What is it about these cases that captures the public imagination? Are the “headline trials” of our period different from those of a century or two ago? And what do we learn from them, about the nature of our society, past and present? To get a clearer picture, Friedman first identifies what certain headline trials have in common, then considers particular cases within each grouping. The political trial, for instance, embraces treason and spying, dissenters and radicals, and, to varying degrees, corruption and fraud. Celebrity trials involve the famous–whether victims, as in the case of Charles Manson, or defendants as disparate as Fatty Arbuckle and William Kennedy Smith–but certain high-profile cases, such as those Friedman categorizes as tabloid trials, can also create celebrities. The fascination of whodunit trials can be found in the mystery surrounding the case: Are we sure about O. J. Simpson? What about Claus von Bulow–tried, in another sensational case, for sending his wife into a coma? An especially interesting type of case Friedman groups under the rubric worm in the bud. These are cases, such as that of Lizzie Borden, that seem to put society itself on trial; they raise fundamental social questions and often suggest hidden and secret pathologies. And finally, a small but important group of cases proceed from moral panic, the Salem witchcraft trials being the classic instance, though Friedman also considers recent examples. Though they might differ in significant ways, these types of trials also have important similarities. Most notably, they invariably raise questions about identity (Who is this defendant? A villain? An innocent unfairly accused?). And in this respect, The Big Trial shows us, the headline trial reflects a critical aspect of modern society. Reaching across the nineteenth and twentieth centuries to the latest outrage, from congressional hearings to lynching and vigilante justice to public punishment, from Dr. Sam Sheppard (the “fugitive”) to Jeffrey Dahmer (the “cannibal”), The Rosenbergs to Timothy McVeigh, the book presents a complex picture of headline trials as displays of power–moments of “didactic theater”” that demonstrate in one way or another whether a society is fair, whom it protects, and whose interest it serves.” Some of the topics we cover are: (1) Classifications of the different types of headline trials; (2) How telling the story of headline trials also tells the story of the rise of mass media; (3) Why big trials are considered didactic theater. (4) The effect the familiarity we now have with celebrities has upon the trials that involve them. Lawrence Friedman is Marion Rice Kirkwood Professor of Law at Stanford Law School. Learn more about your ad choices. Visit megaphone.fm/adchoices
In the first legal history course I took as an undergraduate, I read Lawrence M. Friedman‘s A History of American Law and American Law in the 20th Century and have been fascinated with the subject ever since. His most recent work, The Big Trial: Law as Public Spectacle (University Press of Kansas, 2015) combines the scintillating narrative style that he employs as the author of several mystery novels with the keen insights about law and society that he has revealed time and again in his numerous cornerstone works of legal scholarship. Per the book jacket, “The trial of O. J. Simpson was a sensation, avidly followed by millions of people, but it was also, in a sense, nothing new. One hundred years earlier the Lizzie Borden trial had held the nation in thrall. The names (and the crimes) may change, but the appeal is enduring–and why this is, how it works, and what it means are what Lawrence Friedman investigates in The Big Trial. What is it about these cases that captures the public imagination? Are the “headline trials” of our period different from those of a century or two ago? And what do we learn from them, about the nature of our society, past and present? To get a clearer picture, Friedman first identifies what certain headline trials have in common, then considers particular cases within each grouping. The political trial, for instance, embraces treason and spying, dissenters and radicals, and, to varying degrees, corruption and fraud. Celebrity trials involve the famous–whether victims, as in the case of Charles Manson, or defendants as disparate as Fatty Arbuckle and William Kennedy Smith–but certain high-profile cases, such as those Friedman categorizes as tabloid trials, can also create celebrities. The fascination of whodunit trials can be found in the mystery surrounding the case: Are we sure about O. J. Simpson? What about Claus von Bulow–tried, in another sensational case, for sending his wife into a coma? An especially interesting type of case Friedman groups under the rubric worm in the bud. These are cases, such as that of Lizzie Borden, that seem to put society itself on trial; they raise fundamental social questions and often suggest hidden and secret pathologies. And finally, a small but important group of cases proceed from moral panic, the Salem witchcraft trials being the classic instance, though Friedman also considers recent examples. Though they might differ in significant ways, these types of trials also have important similarities. Most notably, they invariably raise questions about identity (Who is this defendant? A villain? An innocent unfairly accused?). And in this respect, The Big Trial shows us, the headline trial reflects a critical aspect of modern society. Reaching across the nineteenth and twentieth centuries to the latest outrage, from congressional hearings to lynching and vigilante justice to public punishment, from Dr. Sam Sheppard (the “fugitive”) to Jeffrey Dahmer (the “cannibal”), The Rosenbergs to Timothy McVeigh, the book presents a complex picture of headline trials as displays of power–moments of “didactic theater”” that demonstrate in one way or another whether a society is fair, whom it protects, and whose interest it serves.” Some of the topics we cover are: (1) Classifications of the different types of headline trials; (2) How telling the story of headline trials also tells the story of the rise of mass media; (3) Why big trials are considered didactic theater. (4) The effect the familiarity we now have with celebrities has upon the trials that involve them. Lawrence Friedman is Marion Rice Kirkwood Professor of Law at Stanford Law School. Learn more about your ad choices. Visit megaphone.fm/adchoices
In the first legal history course I took as an undergraduate, I read Lawrence M. Friedman‘s A History of American Law and American Law in the 20th Century and have been fascinated with the subject ever since. His most recent work, The Big Trial: Law as Public Spectacle (University Press of Kansas, 2015) combines the scintillating narrative style that he employs as the author of several mystery novels with the keen insights about law and society that he has revealed time and again in his numerous cornerstone works of legal scholarship. Per the book jacket, “The trial of O. J. Simpson was a sensation, avidly followed by millions of people, but it was also, in a sense, nothing new. One hundred years earlier the Lizzie Borden trial had held the nation in thrall. The names (and the crimes) may change, but the appeal is enduring–and why this is, how it works, and what it means are what Lawrence Friedman investigates in The Big Trial. What is it about these cases that captures the public imagination? Are the “headline trials” of our period different from those of a century or two ago? And what do we learn from them, about the nature of our society, past and present? To get a clearer picture, Friedman first identifies what certain headline trials have in common, then considers particular cases within each grouping. The political trial, for instance, embraces treason and spying, dissenters and radicals, and, to varying degrees, corruption and fraud. Celebrity trials involve the famous–whether victims, as in the case of Charles Manson, or defendants as disparate as Fatty Arbuckle and William Kennedy Smith–but certain high-profile cases, such as those Friedman categorizes as tabloid trials, can also create celebrities. The fascination of whodunit trials can be found in the mystery surrounding the case: Are we sure about O. J. Simpson? What about Claus von Bulow–tried, in another sensational case, for sending his wife into a coma? An especially interesting type of case Friedman groups under the rubric worm in the bud. These are cases, such as that of Lizzie Borden, that seem to put society itself on trial; they raise fundamental social questions and often suggest hidden and secret pathologies. And finally, a small but important group of cases proceed from moral panic, the Salem witchcraft trials being the classic instance, though Friedman also considers recent examples. Though they might differ in significant ways, these types of trials also have important similarities. Most notably, they invariably raise questions about identity (Who is this defendant? A villain? An innocent unfairly accused?). And in this respect, The Big Trial shows us, the headline trial reflects a critical aspect of modern society. Reaching across the nineteenth and twentieth centuries to the latest outrage, from congressional hearings to lynching and vigilante justice to public punishment, from Dr. Sam Sheppard (the “fugitive”) to Jeffrey Dahmer (the “cannibal”), The Rosenbergs to Timothy McVeigh, the book presents a complex picture of headline trials as displays of power–moments of “didactic theater”” that demonstrate in one way or another whether a society is fair, whom it protects, and whose interest it serves.” Some of the topics we cover are: (1) Classifications of the different types of headline trials; (2) How telling the story of headline trials also tells the story of the rise of mass media; (3) Why big trials are considered didactic theater. (4) The effect the familiarity we now have with celebrities has upon the trials that involve them. Lawrence Friedman is Marion Rice Kirkwood Professor of Law at Stanford Law School. Learn more about your ad choices. Visit megaphone.fm/adchoices
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