Podcast appearances and mentions of Lee Adams

Sponsored by Window Depot of Baltimore In this episode of Conversations with Rich Bennett, Rich and co-host Tammie Wingrove sit down with country music industry veteran Lee Adams to discuss her debut novel, Love on Tour. Lee shares her journey from a Willie Nelson-obsessed teen to a high-ranking record executive who's helped over 50 songs top the charts. They explore the behind-the-scenes realities of the music business, how her life inspired the novel, and the emotional power of female friendships, personal growth, and resilience. Whether you're a book lover, country music fan, or dream chaser, this heartfelt episode delivers insight, laughs, and inspiration. Guest: Lee Adams Lee Adams was born and raised near Baltimore, MD. A lifelong country music lover, she has worked in the industry since the 1980s—first in radio, then climbing the ranks at major labels including Decca/MCA and Broken Bow Records, where she now serves as VP of Promotion. Lee has worked on more than 50 #1 songs and is a member of the Academy of Country Music and the Country Music Association. Now an author, her debut novel Love on Tour draws from her deep well of personal and professional experience. Main Topics: ·         Lee's early love for country music and her journey into radio·         How her passion for Willie Nelson led to a lifelong career in music·         Real-life roles in the music industry, from tour managers to songpluggers·         The inspiration and writing process behind Love on Tour·       Send us a textPre-order your copy todayWindow Depot of Baltimore“Saving America's Energy, One Home At A Time” Window Depot of Baltimore is the local family-owned lDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showRate & Review on Apple Podcasts Follow the Conversations with Rich Bennett podcast on Social Media:Facebook – Conversations with Rich Bennett Facebook Group (Join the conversation) – Conversations with Rich Bennett podcast group | FacebookTwitter – Conversations with Rich Bennett Instagram – @conversationswithrichbennettTikTok – CWRB (@conversationsrichbennett) | TikTok Sponsors, Affiliates, and ways we pay the bills:Hosted on BuzzsproutRocketbookSquadCast Contests & Giveaways Subscribe by Email

Music by Charles StrouseLyrics by Lee AdamsBook by David Newman & Robert BentonDirected & Produced by Harold PrinceStarring Jack Cassidy, Linda Lavin, Bob Holiday, Patricia Marand & Michael O'SullivanOpened on Broadway March 29, 1966

rWotD Episode 2789: A Broadway Musical Welcome to Random Wiki of the Day, your journey through Wikipedia’s vast and varied content, one random article at a time.The random article for Sunday, 22 December 2024 is A Broadway Musical.A Broadway Musical is a musical with a book by William F. Brown, lyrics by Lee Adams, and music by Charles Strouse. The Broadway production closed after 14 previews and only one performance on December 21, 1978.The plot about a sleazy white theatre producer's attempt to adapt an African-American writer's serious play as a commercial stage musical was inspired by Adams and Strouse's real-life experiences with their 1964 Broadway production of Golden Boy. The star of the musical-within-the-musical (Sneakers, about a basketball star) closely resembles Golden Boy star Sammy Davis Jr. When the star opts to leave the show, the playwright – who from the start had resisted turning his work into a musical – steps in and takes on the lead role in order to save the production.This recording reflects the Wikipedia text as of 01:12 UTC on Sunday, 22 December 2024.For the full current version of the article, see A Broadway Musical on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Olivia.

Emmy-winning guitarist and producer Brandon Lee Adams discusses the upcoming 3rd season of Life of a Musician, now in 21 states and all major markets on the PBS network. Brandon also discusses a very special Santa Cruz Guitar that he is selling and donating 20% of the proceeds to Hurricane Helene relief in Ashville North Carolina see info here: https://godspitcrew.org A great interview with a fantastic bluegrass guitarist and fine human being.

Hunter and I speak with author and fellow podcaster Lee Adams about lucid dreaming, techniques for lucid dreaming, shared dreams, conversing with dream characters, recurring dreams, remembering dreams, dreams within dreams, and much more. Lee's website: http://www.taileaters.com/  Lee's book: http://www.luciddreamingbook.com/  To hear the full version of this episode just visit our Locals page at https://themeltpodcast.locals.com/ or our Patreon page at https://www.patreon.com/themeltpodcast where you can subscribe for as little as $5 a month to receive extended episodes, exclusive episodes, and early access to regular episodes. For one time donations- PayPal: fosamsara@gmail.com   Find The Melt on… Rumble: https://rumble.com/c/c-2365404 YouTube: https://www.youtube.com/@TheMeltPodcast Check out our merch at: https://the-melt.creator-spring.com/   Music by The Godawful Joy: https://thegodawfuljoy.bandcamp.com/releases and Matt Presti: https://www.mattpresti.com/music.html

Join us this week as one of our elders, Lee Adams guides us through the difficulties that come with giving mercy that goes beyond our willingness or comfort. He also reminds us that God requires us to do justice, love mercy, and walk humbly with our Lord. To support the ministry of The Avenue Community Church visit http://www.theavecc.org/give

Tonight I am joined by author of “A Visionary Guide to Lucid Dreaming” and friend of the show Lee Adams. We will discuss everything from lucid dreaming to dream metaphysics to his new project called Dream Icarus. His links are down below.  ***Also big news!!!! “Masters of Rhetoric episode 1 is live on our YouTube channel, Spotify, and all podcast outlets. Episodes will be bi-weekly and released on Mondays. Episode 1 is on the pre-socratics and the history of philosophy. Here are the links: Youtube

John & Marla discuss the short-lived sequel to 'Bye Bye Birdie' in this tribute episode to the late Chita Rivera.Music by Charles Strouse.Lyrics by Lee AdamsBook by Michael StewartDirected, Choreographed (and Conceived!) by Joe LaytonStarring Chita Rivera, Donald O'Connor, Maria Karnilova, Marcel Forestieri, Robin Morse, Evan Seplow, Jeb Brown & Lynda Ferguson

Lee Adams is the host of Cosmic Echo - a lucid dreaming podcast, and creator of taileaters.com - an online community of lucid dreamers and psychonauts. Check out his blog Taileaters and his digital community DMT World. Join Christian and Lee in this thought-provoking episode as they explore: Community in the online age The impact of AI and technology Fatherhood Designing a second brain and architecting your life Collective intelligence Ethical tech design and liberating structures AI as a tool for self-discovery Materialism vs Mentalism Consciousness and reality The allegory of the cave and the matrix Death, the Soul, and the pursuit of meaning. If you like the vibe we are putting out here at True North Project, please subscribe on your platform of choice, and leave us 5 stars. Its a great zero cost way to support us, helps us warrant the attention of beefier guests, and makes me very happy. Enjoy! www.truenorthproject.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/truenorthproject/message Support this podcast: https://podcasters.spotify.com/pod/show/truenorthproject/support

Brandon Lee Adams Producer and participant in the Award winning PBS Series LIFE OF A MUSICIAN talks about how it all came together, producing Season 2 and how he is preparing for Season 3. Call Your Local PBS Station and demand they show this fine work. Brandon also talks about his upcoming album going into he studio in September.

“Am I dreaming?” is the question you need to answer to become lucid in your dreams, and that question will also make you question what it really means to be awake. In this episode, Dave and Laura speak with educator, author and dream researcher Ryan Hurd, who teaches graduate level courses at the University for Peace in Costa Rica and National University in California, and is the driving force behind dreamstudies.org, an essential resource for anyone interested in dreams in general and lucid dreaming in particular. Ryan is interested in consciousness studies at the intersections of ecology, spirituality and material culture. His latest work is Lucid talisman: Forgotten lore.  In an open, personal, and informative conversation, Ryan tells Dave and Laura about how he started out as an archaeologist but now searches for knowledge and treasure in the depths of consciousness as revealed through dreams. He shares some of his vast knowledge on lucid dreaming, including lucid dreaming induction (learning how to have more lucid dreams) and the use of totems and the lucid talisman. In the Dream of the Week, he shares a heart-warming dream in which he and his infant son find that his home's basement has become a huge, church-like space. With a background in both archaeology and dream research, Ryan currently teaches graduate level courses at University for Peace in Costa Rica and National University in California.  In this episode: Ryan's online presence: -       dreamstudies.org -       lucidtalisman.com -       @dreamstudiesportal on Instagram Stephen Laberge – lucid dream researcher Inception – 2010 Christopher Nolan film Lee Adams – author and co-creator of the Lucid Talisman Beverly D'Urso – Lucid living Melinda Powell – teacher and author of Lucid Surrender: the Alchemy of the Soul in Lucid Dreaming Dr Clare Johnson – Author and teacher of lucid dreaming Scott Sparrow on dream meditation   Let us know what you think, and submit a dream for us to explore on the podcast!  Instagram @thedreamboatpodcast FaceBook @dreamboatpodcast Twitter @dreamboatpod DRI website: driccpe.org.uk/contact  This podcast is a project of the DRI, the centre for dream studies at CCPE, the psychotherapy college overlooking the canals at London's scenic Little Venice. Remember you can join the DRI for just £30 a year currently to access discounted events, courses, newsletters and join in the conversation about dreams. Go to driccpe.org.uk/sign-up to join! Keep dreaming, and keep sharing your dreams!   Credits Recorded by Sophie at the Boat Pod https://theboatpod.com  Edited by James Ede at Be Heard https://beheard.org.uk  Podcast Artwork Design by Kat Seager Design   Music: Adventures by A Himitsu https://soundcloud.com/a-himitsu  Creative Commons — Attribution 3.0 Unported— CC BY 3.0 Free Download / Stream: http://bit.ly/2Pj0MtT Music released by Argofox https://youtu.be/8BXNwnxaVQE  Music promoted by Audio Library https://youtu.be/MkNeIUgNPQ8 #dream #dreams #nightmares #psychology #research #psychotherapy #trauma #treatment #sleep #luciddreaming #transpersonal #science #alchemy #spirituality #jung #lucid #luciddreaming #podcast #dreamwork @dreamstudiesportal @onefulness @dreamresearchinstitute @melindapowelldreams  

Charles Strouse, es un compositor estadounidense con más de seis décadas de carrera, que demostró un notable interés y talento por la música desde muy joven. Tras graduarse en la Eastman School of Music con maestros como Aaron Copland, no conoció el éxito hasta coincidir con el letrista Lee Adams en 1960 y componer el musical "Un beso para Birdie", que ganaría el Tony al mejor musical original. Luego vendrían otros musicales como “All american” (1962), con libreto de Mel Brooks, “Golden boy” (1964), “Irt’s a bird, it’s a plane, it’s Superman” (1966) o “Applause” (1970) basado en la película “Eva al desnudo” con el que volvería a ganar el Tony al mejor musical, si bien su gran éxito por el que siempre será recordado es “Annie”, el musical que estrenó en 1977 con letras de Martin Charnin, con el que volvió a ganar el Tony al mejor musical, libreto y partitura, que se mantuvo en cartel durante 6 años en Broadway y que ha conocido múltiples revisiones y reposiciones por todo el mundo. Otros musicales suyos son “Flowers for Algernon” (1979), basado en la película “Charly” que estrenó en Londres Michael Crawford, “Nightingale” (1982), basada en el cuento de Andersen, “Dance a Little closer” (1983), con letras de Alan Jay Lerner, basado en la película “La delicia de los idiotas”, “Rags” (1986), con letras de Stephen Schwartz, “Nick & Nora” (1991), con letras de Richard Maltby basado en los personajes de “La cena de los acusados” de Dashiell Hammett y “An American tragedy” (1995), basada en la película “Un lugar en el sol”. El talento de Strouse no se limitó a Broadway, ya que también compuso música para películas como "Bonnie and Clyde" (1967), "La noche del escándalo Minsky’s" (1968), “El día de los tramposos” (1970), “Ishtar” (1987) o "Todos los perros van al cielo" (1989), además de trabajar para televisión en películas como “Escuela de brujas” con Tim Curry y Diana Rigg o en "Barrio Sesamo", con el que ganó varios premios Emmy. Os dejamos con una muestra de temas de Charles Strouse, que cumplió 95 años el pasado Junio de 2023 y es testigo de que su música sigue viva y emocionando a los públicos de todas las edades. 00h 00’00” Presentación 00h 03’15” Cabecera 00h 03’50” 1960 BYE BYE BIRDIE 00h 03’50” Bye bye Birdie 00h 06’11” How lovely to be a woman 00h 08’46” Honestly sincere 00h 12’03” Put on a happy face 00h 15’40” 1962 ALL AMERICAN 00h 15’40” If I were you 00h 20’48” Once upon a time 00h 24’58” Physical fitness – The fight song 00h 28’57” Which way 00h 31’48” 1964 GOLDEN BOY 00h 31’48” Night song 00h 35’04” Winners 00h 37’28” 1966 IT’S A BIRD, IT’S A PLANE, IT’S SUPERMAN 00h 37’28” The strongest man in the world 00h 39’36” You’ve got what I need 00h 42’10” 1967 BONNIE AND CLYDE 00h 42’10” Main theme 00h 44’44” 1968 THE NIGHT THEY RAIDED MINSKY’S 00h 44’44” Home 00h 48’33” 1970 APPLAUSE 00h 48’33” Applause 00h 52’39” But alive 00h 56’32” One of a kind 00h 59’11” 1970 THERE WAS A CROOKED MAN 00h 59’11” Main theme 01h 02’33” 1972 I AND ALBERT 01h 02’33” This gentle land, this noble land 01h 06’05” 1977 ANNIE 01h 06’05” Let’s go to the movies 01h 11’27” Tomorrow 01h 14’20” You’ll never fully dressed without a smile 01h 16’30” CHARLIE & ALGERNON / FLOWERS FOR ALGERNON 01h 16’30” Charlie 01h 18’32” I really loved you 01h 22’53” Whatever time there is 01h 25’45” 1982 NIGHTINGALE 01h 25’45” A singer must be free 01h 28’22” 1983 DANCE A LITTLE CLOSER 01h 28’22” Dance a little closer 01h 31’24” There always one you can’t forget 01h 33’39” 1986 RAGS 01h 33’39” Blame it on the summer night 01h 37’23” Bread and freedom – Dancing with the fools 01h 41’51” Children of the wind 01h 45’11” If ever we meet again 01h 48’14” 1986 THE WORST WITCH 01h 48’14” Anything can happen on Halloween 01h 51’06” Growing up isn’t easy 01h 53’17” 1988 LYLE THE CROCODILE 01h 53’17” Movin’ into a new house 01h 54’51” Don’t leave me now 01h 57’25” 1991 NICK & NORA 01h 57’25” Is there anything better than dancing? 01h 59’54” 1993 ANNIE WARBUCKS 01h 59’54” But you go on 02h 03’44” It would have been wonderful 02h 06’28” 1993 BOJANGLES 02h 06’28” Da-da, da-da, da-da 02h 09’13” 1993 BRING BACK BIRDIE 02h 09’13” I like what I do 02h 11’57” Movin’ out 02h 13’58” Rosie 02h 16’26” 1999 STAR WARS 02h 16’26” Han’s your man 02h 19’03” Two droids bitching 02h 23’43” 2002 MARTY 02h 23’43” It could happen 02h 26’43” My star

Lee Adams, Charles Strouse, and RIP Norman Lear.

You can't understand the ways of the country. Satan lurks in the fields and the forests are full of deviants. This week, we explore the lesser-known middle entry of the "Unholy Trinity" of British folk horror, The Blood on Satan's Claw (1971), and pack our bags for the rural rape revenge flick Even Lambs Have Teeth (Canada & France, 2015). Also, "Swissploitation" hits VOD and how many timelines do you really need in a movie? Articles mentioned in this episode: "The haunted history of folk horror: Filmmaker Kier-La Janisse on the growing subgenre," by Doug Gordon for Wisconsin Public Radio "How Piers Haggard's The Blood On Satan's Claw Became A Cornerstone Of Folk Horror," by Lee Adams for Slash Film "Dutch Features signs Czech horror ‘Repulse' at EFM (exclusive)," by Ben Dalton for Screen Daily

With Deac & Lee Adams . Right Click Here then “Save link as” to download the show as an mp3. . Fancy donating to the pod? If you do then don't waste your money on YouTube & Twitch they take … Continue reading →

In this special bonus episode of This is Small Business, Andrea Marquez travels all the way to Las Vegas for Movement Evolutions where she hosts a panel of inspiring and diverse voices in podcasting. Andrea engages in insightful conversations with Mike Sargent, co-host of Brown & Black Podcast, Kulap Vilaysack, co-host of Add To Cart, Lee Adams, Audio Producer of The Midnight Miracle, and Lori Lizarraga, host of Code Switch. Together, they explore the importance of diverse storytelling and its impact on various communities and share their thoughts on how individuals in positions of power can foster and encourage diverse storytelling. Join Andrea as she points out all the key takeaways from these talented storytellers that'll get you excited to share your own stories through your branding as an entrepreneur.Did you know that we have a voicemail line? If you have questions – or maybe a small business story you'd like to share – all you have to do is click HERE and leave us a message!By submitting your voicemail, you're granting us permission to use the recording in episodes of This is Small Business. Please note, voicemails will not receive direct responses. For help with other questions to Amazon unrelated to this show, you can reach out to Amazon's customer service team at amazon.com/contact-us.

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

This week we speak with Sarah McNally, founder of McNally Jackson bookstores, about the new shop in the Rockefeller Center. Plus Eurovision connoisseur William Lee Adams tells us about his new memoir and we chat to Richard Hoechner, founder of Zürich-based ‘Republik'. See omnystudio.com/listener for privacy information.

This is part 2 of the Cherica Adams story. When Cherica Adams is driving back to her home on a street in North Carolina, an incident occurs that no one wants to find themselves in. She becomes a victim of a drive by shooting, but this crime was not a random act of violent, it was an intentional betrayal. Cherica would stand strong in the face of danger and she will be remembered as brave, determined, and strong. Social: Tiktok @truecrimeexposedpodcast Twitter @truecrimexposed Instagram @truecrimeexpod Sources: Scott Fowler's podcast "Carruth" by The Charlotte Observer with McClatchy Studios https://podcasts.apple.com/us/podcast/carruth/id1438370053 https://www.wbtv.com/2021/05/26/boy-rae-carruth-couldnt-kill-is-now-young-man-graduating-an-nc-high-school/?outputType=amp https://forensicfilesnow.com/index.php/tag/cherica-adams/ https://abcnews.go.com/amp/Sports/story?id=100048&page=1 https://thecinemaholic.com/cherica-adams-murder-where-are-rae-carruth-and-van-watkins-now/ Organization: www.cpedv.org

When Cherica Adams is driving back to her home on a street in North Carolina, an incident occurs that no one wants to find themselves in. She becomes a victim of a drive by shooting, but this crime was not a random act of violent, it was an intentional betrayal. Cherica would stand strong in the face of danger and she will be remembered as brave, determined, and strong. Social: Tiktok @truecrimeexposedpodcast Twitter @truecrimexposed Instagram @truecrimeexpod Sources: Scott Fowler's podcast "Carruth" by The Charlotte Observer with McClatchy Studios https://podcasts.apple.com/us/podcast/carruth/id1438370053 https://www.wbtv.com/2021/05/26/boy-rae-carruth-couldnt-kill-is-now-young-man-graduating-an-nc-high-school/?outputType=amp https://forensicfilesnow.com/index.php/tag/cherica-adams/ https://abcnews.go.com/amp/Sports/story?id=100048&page=1 https://thecinemaholic.com/cherica-adams-murder-where-are-rae-carruth-and-van-watkins-now/ Organization: www.cpedv.org

I met Robin at the Chicago One of a Kind Show. She captured my attention for a couple of reasons. Her display drew me in and made me curious about her product. It's a combination of two other products merged into one. I got just enough information to know I wanted her on the show. That's how I like to do this when considering a guest I don't already know. That way our conversation here is genuine. I need to know enough to ensure they'd be a good example for you and it goes from there. Robin has a fabulous business development story to share. If you're just starting out, you'll pick up excellent tips and ideas to incorporate into your plans. And for established business owners, there's a lot here for you too – to reinforce what you're already doing or to serve as a reminder of best practices. Robin Lee Essentials was born out of Robin's desire to create her own line of handcrafted ceramic jewelry when she struggled to find pieces that were both functional and elegant. As an extension of that, Robin believes that people should be able to elevate their everyday outfits while incorporating the benefits of essential oils into their lives. To fill both these goals, Robin Lee Essentials offers pieces that are timeless, intentional, and with an artfully polished aesthetic on the diffuser jewelry style. Start Your Handmade Business - From Scratch! The easy way to market yourself when you're just starting out One thing you MUST do before you go all out How to market to the right customers - and what happens when you don't Why building relationships in your business is one of the most important things you can do The crucial thing you MUST understand about your product. And lots more! Listen to this engaging conversation to hear how to start your handmade business the right way! Resources Mentioned Content for Makers Use coupon code PODCAST at Robin's shop for 10% off your order Robin's Contact Links Website | Facebook | Instagram Join Our FREE Gift Biz Breeze Facebook Community Become a Member of Gift Biz Breeze If you found value in this podcast, make sure to subscribe so you automatically get the next episode downloaded for your convenience. Click on your preferred platform below to get started. Also, if you'd like to do me a huge favor - please leave a review. It helps other creators like you find the show and build their businesses too. You can do so right here: Rate This Podcast Apple Podcasts | 

Peter chats with Katie Metz with Community Services Agency about employment opportunities with Head Start & Early Head Start in Reno. Sportscaster Lee Adams previews the 5A State Championship Football Game & Cheri Hill of Sage International talks about the latest in real estate trends. kmetz@csareno.org 775-786-6023 niaa.com www.sageintl.com cheri@sageintl.com 800-254-5779 lee@sageam.com

On this episode of Funny In Theory, Saints Public Address Announcer Lee Adams gives us the inside scoop on life as the in house voice of the Saints, we learn what you could get away with in the American Association, and Sierra and Josh come to the realization that the season is not that far away.As always, thank you for listening, and feel free to follow @funnnyintheory wherever you get your podcast and social feeds.

And now for something completely different. We're embarking on a mini-mini-series: a 2-part look at songs that managed to have a life even if they shows they came from didn't. First up, it's "You've Got Possibilities" from the almost totally forgotten 1966 musical "It'sa Bird...It's a Plane...It's Superman". A score by Charles Strouse and Lee Adams -- and production and direction by Hal Prince -- didn't save this show from being the biggest flop in Broadway history at the time, but somehow this song managed to find a place for itself. We discuss why.  All clips are from the 1966 Orignal Broadway Cast Recording of "It's a Bird...It's a Plane...It's Superman" featuring Linda Lavin and are used in accordance with the Fair Use Exemption for criticism and commentary. Buy/stream the album on Amazon! Listen to the SMSTS playlist on Spotify. Follow the show on Twitter: @somuchstuffpod Follow SMSTS on Instagram: @somuchstufftosing Email the show: somuchstufftosing@gmail.com

On the 17th of October 2013, 15-year-old Lee Adams set off to the local store to buy a loaf of bread. When he didn't return home and then, a horrific discovery was made in a local abandoned school, the Adams family was about to thrust into a torrent of grief and devastation. (24-hr trauma helpline 082-821-3447) (Support the show on Patreon https://www.patreon.com/truecrimesa) (Support the show on PayPal https://www.paypal.me/truecrimesa)

On the 17th of October 2013, 15-year-old Lee Adams set off to the local store to buy a loaf of bread. When he didn't return home and then, a horrific discovery was made in a local abandoned school, the Adams family was about to thrust into a torrent of grief and devastation. (24-hr trauma helpline 082-821-3447) (Support the show on Patreon https://www.patreon.com/truecrimesa) (Support the show on PayPal https://www.paypal.me/truecrimesa) Instagram · Pinterest · Facebook · YouTube · Twitter · LinkedIn

On the 17th of October 2013, 15-year-old Lee Adams set off to the local store to buy a loaf of bread. When he didn't return home and then, a horrific discovery was made in a local abandoned school, the Adams family was about to thrust into a torrent of grief and devastation. (24-hr trauma helpline 082-821-3447) (Support the show on Patreon https://www.patreon.com/truecrimesa) (Support the show on PayPal https://www.paypal.me/truecrimesa)

On the 17th of October 2013, 15-year-old Lee Adams set off to the local store to buy a loaf of bread. When he didn't return home and then, a horrific discovery was made in a local abandoned school, the Adams family was about to thrust into a torrent of grief and devastation. (24-hr trauma helpline 082-821-3447) (Support the show on Patreon https://www.patreon.com/truecrimesa) (Support the show on PayPal https://www.paypal.me/truecrimesa)

Hunter and I speak with author and fellow podcaster Lee Adams about lucid dreaming, techniques for lucid dreaming, shared dreams, conversing with dream characters, recurring dreams, remembering dreams, dreams within dreams, and much more. Lee’s website: http://www.taileaters.com/  Lee’s book: http://www.luciddreamingbook.com/  To hear the full version of this episode please visit https://www.patreon.com/themeltpodcast where you can subscribe for as... Read More

Hunter and I speak with author and fellow podcaster Lee Adams about lucid dreaming, techniques for lucid dreaming, shared dreams, conversing with dream characters, recurring dreams, remembering dreams, dreams within dreams, and much more. Lee’s website: http://www.taileaters.com/  Lee’s book: http://www.luciddreamingbook.com/  To hear the full version of this episode please visit https://www.patreon.com/themeltpodcast where you can subscribe for as... Read More

Incomparable two-time Tony Award Chita Rivera winner will recreate signature moments from her legendary career at The Colonial Theatre in Pittsfield, Massachusetts on July 31. In addition to a tribute to her dear friends John Kander and Fred Ebb, the timeless music of Leonard Bernstein, Charles Strouse and Lee Adams, Jerry Herman and Stephen Sondheim will also be featured, accompanied by her long-time trio.

"I don't ever want to miss another opportunity again" Bluegrass guitar wizard Brandon Lee Adams talks about how COVID changed his life and his commitment to bringing his music into the world. Brandon's next project is a PBS series "The Life of a musician" coming next year. We hope you enjoy this up and coming artist, we're proud to present him here. Find out more about Brandon here: https://brandonleeadamsmusic.org/home

Judge Adams recounts his personal experiences with discrimination as one of the few black lawyers in Jacksonville in the 70s and also shares about being a part of the first integrated law firm in Florida and the first black judge in the Fourth Judicial Circuit state court, his appointment to the federal judiciary, and the challenges, inspiration, and significant cases he has had over the past decades as a state and federal judge, including a case that resulted in a major grocery chain changing its hiring practices and another that was made into an HBO documentary. Judge Adams also discusses his work as a lawyer in preventing sentencing disparities based on race, the role of compassion in the judiciary, and what is next for him.

In this encore episode, you will learn the causes of sleep paralysis and how you can use your imagination to fight your nightmares. We'll analyze your physiology while you're on REM paralysis and talk over the lifestyle changes you can make to avoid bad dreams. We have stitched together two of our best episodes on sleep paralysis. We'll be hearing again from Lee Adams and Ryan Hurd. Show Notes: www.deepintosleep.co/episode/sleep-paralysis

The conclusion of a two-part program featuring Broadway composer, Charles Strouse, known for BYE BYE BIRDIE, GOLDEN BOY, ANNIE, APPLAUSE and THE NIGHT THEY RAIDED MINSKY'S. Strouse discusses his life and career, including his collaborations with lyricist Lee Adams, writer Clifford Odets, director William Friedkin, as well as stars like Ray Bolger, Sammy Davis, Jr. and Linda Lavin. Together with Lee Adams, Strouse performs some of his own songs live at the piano, recorded at the 92nd Street Y. Featured songs: “Once Upon A Time,” “What A Country,” “I Want To Be With You,” “Don't Forget 127th Street,” “Revenge,” “You've Got Possibilities,” “The Night They Raided Minsky's,” and “Take Ten Terrific Girls.” Originally produced and broadcast in 1982. For more information go to AnythingGoesPL.com or BPN.FM/Anything Goes. Theme music arranged by Bruce Coughlin. Associate producer Jeff Lunden. Anything Goes – Backstage with Broadway's Best – is produced and hosted by Paul Lazarus. Learn more about your ad choices. Visit megaphone.fm/adchoices

The first of a two-part program featuring Broadway composer, Charles Strouse, known for BYE BYE BIRDIE, GOLDEN BOY, ANNIE, and APPLAUSE. Strouse discusses his life and career, including his collaborations with lyricist Lee Adams, writer Michael Stewart, and director Gower Champion, as well as stars like Dick Van Dyke and Paul Lynde. Together with Adams and Martin Charnin, Strouse performs some of his own songs live at the piano, recorded at the 92nd Street Y.   Featured songs: “Ditto,” “Take Ten Terrific Girls,” “The Arts,” “I Lost The Rhythm,” “Overture to BYE BYE BIRDIE,” “The Telephone Hour, “Rosie,” “Put On A Happy Face,” and “Hymn For A Sunday Evening.”   Originally produced and broadcast in 1982. For more information go to AnythingGoesPL.com or BPN.FM/Anything Goes. Theme music arranged by Bruce Coughlin. Associate producer Jeff Lunden. Anything Goes – Backstage with Broadway's Best – is produced and hosted by Paul Lazarus. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bio musicals are all the rage right now and have we got one for you! Ain't Broadway Grand tells the story of producer Mike Todd (kind of) and a show he never actually produced. Confused? So are we. 

Lucid dreaming, dialoguing with your dreams, symbolism and synchronicity, the unconscious, shamanism and shadow work, and sleep paralysis are all covered in this wide-ranging conversation with Lee Adams, dream coach, host of the Cosmic Echoes podcast, and author of A Visionary Guide to Lucid Dreaming. A Visionary Guide to Lucid Dreaming is available at: Luciddreambook.com Inner Traditions Bookshop.org Amazon.com Lee's website: taileaters.com

Join Jan Bence as your host with episode 4 of Wicked Crimes South Africa where we explore the murder of Lee Adams by the hands of Aljar Swartz, and look at the occult related excuses behind this heinous crime. Find us on Facebook under the group Wicked Crimes South Africa, or on Twitter under the handle @CrimesSouth Trauma & Helpline contact number: 082 821 3447 Music credit to bensprout.com

This week all four hosts are back together to discuss the atmosphere of our first home match and preview the next two matches against Minnesota and Columbus. As a special treat Conor goes full stats nerd on our third DP slot. Music by Think No Think.Anthem Updates / Upcoming Events Wednesday Watch Parties - South Location Easy Tiger South Lamar, North Location Whitestone Brewery Sunday Watch Party - Circle Brewing Sign the Petition to bring NWSL2Austin Austin FC Updates First Home Match Atmosphere San Jose Recap One DP Slot open - Who could it be? Minnesota and Columbus Previews World Soccer UpdatesThe Danish fairytale - they make the Euro 2020 knock-out stages!Predictions Recap of Anthem Host Prediction Table - Matt and Conor 20 Pts, Robert 16 Pts, Mark 11 Pts 3 Matches - Portland v Minnesota, Houston Dash v Orlando Pride, Wales v Denmark Wrap-up Austin Anthem is a Supporters Group for Austin FC. Catch-up with us online or on social media and become a member at AustinAnthem.org. Anthem merchandise is available on our online store. Free shipping of fantastic grackle gear for in the stands or around Austin. Merch money goes to fund our non-profit's operation. We close out today's pod with a popular local band Think No Think, a noisy and melodic rock and roll three-piece consisting of guitarist Johnny Dowey, bass player Lee Adams, and drummer Nick Bakke.  You can find them on the socials @thinknothink .  The song is called "I Don't Mind", and we hope you enjoy it. If you'd like to send us music to use in the pod or know some musicians who might be interested, drop us an email at podcast@austinanthem.org. We'd love to showcase more Austin music and musicians to Austin soccer fans. Your hosts this week were Robert Avery @rlavery161, Matt Barbour @matt_barbour, Mark Turner @LWOSMarkTurner and Conor Heffernan @ConorJHeffernan Remember to leave us a review and subscribe to the show. Send tips on how to make the show better to podcast@austinanthem.org

What is lucid dreaming and how does it differ from astral travel? Learn all about lucid dreaming with Lee Adams, the author of A Visionary Guide to Lucid Dreaming: Methods for Working with the Deep Dream State. Get Lee's book: https://www.bit.ly/luciddreamingmethods Get The Magick and Mediums Oracle and The Slavic Oracle: https://www.magickandmediums.com TO WIN A FREE COPY OF LEE'S BOOK EMAIL  Magickandmediums @ gmail.com with the subject "Lucid Dreamer" Winners will be chosen at random on June 1st on our official youtube channel (books will only be mailed to mainland US addresses)   

Today episode is about the state of America in religious affairs and race relations and the closing the of the gap between Church and state.  Dr. Lee Adams, Host

Today's podcast is about bring a word from God to the world.

Today's podcast with Dr. Lee Adams, Host and Charles Holley co-hos podcast is about Racism in America.

Today's podcast "The Black Experience" Africa to America with Dr. Lee Adams, Host  and co-host Sheila Gardner she is author, attorney, and a historian. 

Today's podcast with Dr. Lee Adams and Dr. Patricia Cifax from Milwaukee,Wisconsin The topic "The Black Experience" from Africa to America. The podcast was focused around the education system in the state of Wisconsin. 

Today's podcast is another episode of the The Black Experience from Africa to America Dr. Lee Adams is the host of the podcast.  

Today Dr. Lee Adams talked about the black experience we would like you to tune in next week at 9:00am cst.

The Naked Dialogue Podcast EP#16: Lee Adams | Lucid Dreaming, Jungian Archetypal Psychology & Psychedelic Literature Sanjana Singh (The Host): https://itsa2amgrunge.com/ Lee Adams: lee.adams@taileaters.com Lee Adams created Taileaters to document and share his personal journey through the hard and complex questions that he has faced. He found the ouroboros as a symbol of inspiration in his life because of the personal connection he felt with the symbol itself and through the process of learning what it represents. The ouroboros (taileater) indicates a process of birth, death, and rebirth that takes place in all of our lives, each moment of each day, when we sleep, and when we physically transform into what is after our physical death. It also explores the circular process of learning and refining one's ideas. The power that the ouroboros acts on as a symbol is profound as its meaning is great, but ultimately it implies the journey of discernment of polarities and the re-unifications and realization of the Self. Taileaters use the Ouroboros as a symbol to represent their dedication to understanding and learning about this process that affects us all. Lee's hope is to share what he learned through this process with others. https://taileaters.com/lucid-dreaming-herbs/ https://taileaters.com/lucid-dreaming/ https://taileaters.com/psychedelics/dmt-dreaming/ https://taileaters.com/lucid-dreaming-book/ https://taileaters.com/depth-psychology/lucid-dreaming-collective-unconscious/ https://taileaters.com/depth-psychology/active-imagination-and-imaginal-knowing/ --- Support this podcast: https://anchor.fm/sanjanasinghx/support

Show Notes (Episode 31): In this episode, Amanda and Jessica share 21 instruction tips to start out 2021! Episode 31 covers the first 14 tips and episode 32 covers tips 15 - 21. We received some great tips from listeners which they share in addition to some that they want to share. Resources referenced in this episode: Distracted Minds: The Role of Tempo in Good Teaching. The Chronicle of Higher Education, by James Lang, November 16, 2020 Padlet Librarian's Guide to Teaching: Humor in Information Literacy Instruction with Lee Adams, Stephanie Alexander, and Lana Woods: Episode 21 This episode's theme music: Srivastav, A. (2013). Merry Go Round [Audio file]. Retrieved from https://soundcloud.com/909-music/arnav-srivastav-merry-go Here's where you can find us: Podcast: @Librarian_Guide Jessica: @LibraryGeek611 Amanda: @HistoryBuff820 Email: InfoLitTeachingPodcast@gmail.com Be sure to rate and subscribe wherever you listen to the podcast!