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16 episodes with macauley
16 episodes with macauley
5 episodes with macauley
5 episodes with macauley
2 episodes with macauley
5 episodes with macauley
3 episodes with macauley
2 episodes with macauley
5 episodes with macauley
Harley Pasternak is a world-famous nutritional expert and celebrity trainer. He's written several books and designed custom gyms all over the world and we bombard him with questions about NY Mag's MAGA piece and the yuppie aesthetic, Macauley's Cosmo cover, how Harley entered the hip-hop world, Malubi home gym destruction, will we ever have a wearable health tracker that doesn't look embarrassing? The rise of Diet Coke as a conservative nootropic, using cannabis and mushrooms with your workout, his thoughts on Bryan Johnson, the type of person who could benefit from saunas and cold plunges the most, how to "find your glutes," Chris asks how many weeks it would take to get him looking like Brad Pitt with his shirt off, the actual nutritional benefits of Erewhon smoothies, and he makes a case for the return of carbs. instagram.com/harleypasternak twitter.com/donetodeath twitter.com/themjeans howlonggone Learn more about your ad choices. Visit megaphone.fm/adchoices
This episode with Hamish Macauley is a snippet taken from our Practicals live Q&A sessions. Held monthly, these sessions give Practicals members the chance to ask their pressing questions and get direct answers from our expert presenters.Learn more about Physio Network's Practicals here - https://physio.network/practicals-macauleyHamish holds bachelor degrees in Human Movement Science and Physiotherapy as well as a Masters of Sports & Musculoskeletal Physiotherapy. Hamish is currently Lead Physiotherapist for the Ireland Men's National Rugby Team and has held positions as Head Physiotherapist with the Wallabies Australian Rugby Union Team as well as various AFL and professional Rugby teams. If you like the podcast, it would mean the world if you're happy to leave us a rating or a review. It really helps!
Featured in 'The Thrive Edition' of AwareNow Magazine (www.awarenowmagazine.com). Written & Narrated by: Erin Macauley Music by: Borrtex Produced by: AwareNow Media --- Support this podcast: https://podcasters.spotify.com/pod/show/awarenow/support
- Harry Wismer- Ed MacauleyIn 1958, Ed Macauley was at a pivotal point in his basketball career. Having just won an NBA championship with the St. Louis Hawks, Macauley was transitioning from player to coach. This season marked his last as a player and the beginning of his coaching tenure with the Hawks. At 30 years old, Easy Ed had already established himself as one of the game's premier players, having been named to seven All-Star teams and three All-NBA First Teams.This radio interview captures Macauley at a unique moment, fresh off his NBA championship victory over his former team, the Boston Celtics. The 1957-58 season was particularly significant for Macauley, as it came two years after he was traded from the Celtics in a deal that brought Bill Russell to Boston. Macauley's insights during this interview likely reflect on his championship experience, his evolving role with the Hawks, and the changing landscape of professional basketball as the NBA entered a new era of competition and growth.#EdMacauley #StLouisHawks #1958NBAChampions #BasketballHallOfFame #PlayerToCoach
Join us as we look back at the EFL Trophy tie with Chelsea u21s and ahead to Saturday's FA Cup clash at Southend, hearing from Nathan Jones. Hosted on Acast. See acast.com/privacy for more information.
Head Coach of the PFC Champion Regina Thunder, Scott MacAuley talks about what led to their on-field success against the Hilltops.
Featured in 'The Unfiltered Edition' of AwareNow Magazine (www.awarenowmagazine.com). Written & Narrated by: Erin Macauley Music by: Yehezkel Raz Produced by: AwareNow Media --- Support this podcast: https://podcasters.spotify.com/pod/show/awarenow/support
Novelist Chris Whitaker joins Simon and Matt for a chat about his new book, All The Colours Of The Dark. Chris worked in the City for many years as a trader, before quitting to write. He talks openly about a traumatic incident which turned him on to writing, as well as how long it takes him to write each novel. (if you're thinking about writing, don't let this put you off!) We also learn about how he creates his characters, and the importance of dialogue to his writing and plotting. More about the book below: Late one summer, the town of Monta Clare is shattered by the abduction of teenager Joseph 'Patch' Macauley. Nobody more so than Saint Brown, who will risk everything to find her best friend. But when she does: it will break her heart. Patch lies alone in a pitch-black room - until he feels a hand in his. Her name is Grace and, though they cannot see each other, she lights their world with her words. But when he escapes: there is no sign she ever even existed. Left with only her voice and her name, he paints her from broken memories - and charts an epic search to find her. As years turn to decades, and hope becomes obsession, Saint will shadow his journey - on a darker path to hunt down the man who took them - and set free the only boy she ever loved. Even if finding the truth means losing each other forever... Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode I speak with Brooke, a senior psychotherapist and Mental Health Social Worker specialising in trauma and attachment, child and youth mental health, perinatal mental health and family therapy. Brooke believes strongly in the healing power of nature and animals, and uses these principles as Director of a clinic near Brisbane offering Equine Facilitated Therapy, working from a body based trauma informed perspective. Links to resources mentioned in this week's episode: Milan Family Systems Therapy - https://www.youtube.com/watch?v=LZkhboTUS3s Vancouver Association for Survivors of Torture - https://www.vastbc.ca/ BC Centre for Ability - https://bc-cfa.org/ Australian National FASD Program - https://fare.org.au/fasd-program/ Professional Association for Equine Facilitated Wellness - https://www.equinefacilitatedwellness.org/ Therapy Well - https://www.therapywell.com.au/ Social Thinking - https://www.socialthinking.com/ Tara Brach's guided RAIN meditations - https://www.youtube.com/watch?v=Ytr1V1R1rOw&list=PLKVXvQ02E4wqYNDeDvB-V8uYCoDmGVZ-8 Diagnosis in developmental-behavioural paediatrics: the art of diagnostic formulation (O'Keeffe & Macauley) - https://pubmed.ncbi.nlm.nih.gov/21790830/ Dyadic Developmental Psychotherapy - https://ddpnetwork.org/about-ddp/dyadic-developmental-psychotherapy/ The Theraplay Institute - https://theraplay.org/what-is-theraplay/ Pat Ogden's Sensorimotor Psychotherapy Institute - https://sensorimotorpsychotherapy.org/therapist-directory/pat-ogden-phd/ Dan Siegel - https://drdansiegel.com/ Guru Dudu's silent disco tours - https://www.gurududu.org/silentdisco/ This episode's transcript can be viewed here: https://docs.google.com/document/d/1RPy4sMMYDublukBAxmddHY1eXWeXxJuPpREnfpOCKwc/edit?usp=sharing
The boys are joined by former Redskins WR Anthony Armstrong to hear Training Camp stories, a breakout candidate, and answering fan questions. Then the boys are joined by Mark Macauley to answer fan questions to wrap up the show!!Support the Show.
Featured in 'The Roads Edition' of AwareNow Magazine (www.awarenowmagazine.com). Written & Narrated by: Erin Macauley Music by: Jupiter Sands Produced by: AwareNow Media --- Support this podcast: https://podcasters.spotify.com/pod/show/awarenow/support
On today's episode, I'm joined by Kahlen Macauley, Head of International Sports Media and Partnerships at Snapchat. Having worked across the sports media landscape at the likes of TalkSport, ESPN and Pulselive, Kahlen then joined the International Olympic Committee in 2016, leading their digital partnerships team with a main focus on aiming to engage with younger audiences beyond broadcasts. It was here, among the other social platforms, that Kahlen started interacting and working with Snapchat, who he then joined in 2019 to lead their sports partnerships for EMEA - identifying the opportunity that the company had as an under appreciated platform for sports rightsholders who were all wishing to engage with that younger generation. Bringing his 360 view of the sports media and marketing landscape, Kahlen has sought to help position the platform to better fit the marketing strategies of sports teams, leagues, and brands. Timestamps: 2:00 - Kahlen's Journey to working at Snapchat 5:30 - Lessons Across Different Areas of Sports Media 9:00 - Working with Snapchat while at the IOC 10:30 - Addressing Misconceptions Around Snapchat 13:00 - Snapchat's Product Suite 15:00 - How does Snapchat Enhance the Fan Experience? 18:00 - How Athlete's Engage Differently on Snapchat 24:00 - Blurring the Lines Between Sport and Fashion 28:00 - Importance of Sport to Snapchat Strategy 35:00 - What does a Snapchat Partnership Look Like? 42:00 - Future Plans for Snapchat in Sport Additional Links The Snapchat Game On Lens Gen-Z love 'blokette' fashion sparking boom in young sports fans Research: Gen Z falling back in love with sport Snapchat Statistics: Revenue and Usage Trends in 2024 Connect with Kahlen on LinkedIn - here Connect with Andy on LinkedIn - here
This week, I am pleased to welcome Doug Macauley, Partner at Cambridge Associates and member of the firm's Private Client Practice. Doug works with both G1 entrepreneurs and multi-generational families and specializes in developing asset allocation strategies and investment manager structures for families with a broad range of investment objectives and risk tolerances. Doug is a CFA charter holder with over 25 years of investment industry experience in performing due diligence for clients on managers across public and private asset classes and advises families on a range of issues, such as structuring pooled investment vehicles, managing concentrated stock holdings, integrating estate planning within the investment portfolio, and establishing investment governance. A big and recurring topic in Doug's work with families, both newly liquid ones and multigenerational enterprise families, is asset allocation. He tells us how families are thinking (or should be thinking) about asset allocation and lists some of the important considerations surrounding this topic, such as liquidity needs, risk tolerance, and distribution policies. Another important theme that comes into Doug's conversations with his client families is active vs. passive investments. He shares his views on how families should be making these tradeoffs and offers his suggestions for families to consider as they look to juggle the sometimes-competing priorities of returns, control, risk, and complexity. One important practical piece of advice Doug has for families and family offices is to make sure they fully understand their exposure within their investment portfolio. He offers some valuable tips and suggestions for family leaders and family office executives on the various methods and tools to do that. Another critical best practice Doug recommends is stress-testing the family's portfolio. He talks about how families and their enterprise offices should be doing that and unveils a number of resources they can lean on to accomplish this objective. Don't miss this instructive and insightful conversation with an expert practitioner and thought leader representing one of the most thoughtful and respected investment advisory firms in the private wealth and family office space.
Join us as we look back at the 1-1 draw with Cambridge, hearing from manager Nathan Jones and goalscorer Connor Wickham. This week's guest fans are Nick Hurst and Josh Wilcox - who walked all the way from The Valley to the Abbey Stadium for Alzheimer's Society. Hosted on Acast. See acast.com/privacy for more information.
In today's episode I interview a guest who shares the inspirational story of her career journey from being a happy pharmacist in clinical practice, to a now national public health manager who still has her sights on bigger roles in order to scale her impact. She shares insights into how to continually grow and thrive in your professional career Next STEPS: >>> Book a 1 hour Career Clarity coaching Call https://calendly.com/lbcp/coaching-call >>> Join our Facebook Community https://www.facebook.com/groups/897241125152990/ >>> Sign up for our monthly newsletter lifebeyondclinicalpractice.getresponsesite.com >>> Rate and Review the show on Apple Podcasts https://podcasts.apple.com/us/podcast/life-beyond-clinical-practice-healthcare-careers-career-change-professional-growth-career-goals-career-transition/id1713086617 Music credit Artist: tubebackr Tracks: 'Mango' and 'Chill With Me' Free download links: https://hypeddit.com/tubebackr/mango https://hypeddit.com/tubebackr/chillwithme
Odutope Macauley-Okoro is the Founder of Topsie Crunchies Snacks Inc. specializing in... The post Crunch Inspired by Culture with Odutope Macauley-Okoro first appeared on Startup Canada.
Eoin Sheahan was live outside The Dáil to interview former Dublin footballer Michael Darragh MacAuley, former Irish basketball player Rebecca O'Keefe and former Irish rugby player Tony Ward at Irish Sport For Palestine's public appeal for Basketball Ireland to boycott its upcoming game against Israel.
Macauley Kenney is an Entrepreneur in Residence and a lecturer at MIT Sloan and MIT D-Lab.Macauley is an executive leader at SurgiBox, a medical device venture creating novel surgical technologies. At SurgiBox, she oversaw the launch of the first ultraportable operating room, taking the product through the design for manufacturing process and into use on the battlefield in Ukraine. Macauley also served as the PI on a $2.5M SBIR P2 with US Air Force Special Operations Command, and as company liaison for DOD engagements.-Jenny Larios Berlin is an Entrepreneur in Residence at the Martin Trust and a Lecturer at MIT Sloan.Jenny was the co-founder and Chief Operations Officer for Optimus Ride, an MIT spinout, whose mission was to deploy inside of geofenced communities safe, sustainable, and equitable autonomous mobility solutions through shared and electric vehicle fleets.Before getting acquired by Magna, a global innovator in mobility technology, Optimus Ride deployed operations in California, Massachusetts, Washington, DC, Virginia, and New York, growing business operations to over 200 employees and fundraising over $75M in venture capital. It was featured in multiple news outlets, including the New York Times.
Featured in 'The Face Edition' of AwareNow Magazine (www.awarenowmagazine.com). Written & Narrated by: Erin Macauley Music by: idokay Produced by: AwareNow Media --- Support this podcast: https://podcasters.spotify.com/pod/show/awarenow/support
100 miles with Macauley Jones Macauley Jones finished the grueling Kosci Miller in fourth, running the 100 mile event in 20 hours and 18 minutes. He talks about the effort and training it took to compete and wrapped up his 2023 in Supercars. From the race track to your device with Tony Whitlock and Craig Revell on Inside Supercars Inside Supercars Podcast: Subscribe Apple Podcasts I Spotify I Google Podcasts Supported by: P1 Australia Link:P1 Australia MusicCreative Commons Music by Jason Shaw on Audionautix.com MusicComa-Media from Pixabay #RepcoSC #TCRAust #Supercars #Motorsport #ADL500
100 miles with Macauley Jones Macauley Jones finished the grueling Kosci Miller in fourth, running the 100 mile event in 20 hours and 18 minutes. He talks about the effort and training it took to compete and wrapped up his 2023 in Supercars. From the race track to your device with Tony Whitlock and Craig Revell on Inside Supercars Inside Supercars Podcast: Subscribe Apple Podcasts I Spotify I Google Podcasts Supported by: P1 Australia Link:P1 Australia MusicCreative Commons Music by Jason Shaw on Audionautix.com MusicComa-Media from Pixabay #RepcoSC #TCRAust #Supercars #Motorsport #ADL500
Episode 106, Brought to you in association with our friends at Soccer Coach Weekly (@SoccerCoachWeek) Episode 106 - Designing effective training practices and adapting for winter training, a conversation with Macauley Musgrave coach and owner of The Coaches Zone In this episode we speak with the awesome Macauley Musgrave (Macca) about how he goes about designing effective training practices. We also discuss what coaches could consider as many of us move into winter training.Macca talks us through his own coaching journey and experiences. We talk about what he means by ‘effective', what coaches might want to consider before they plan the individual sessions, and his work with The Coaches Zone.Please do leave a review, like and share the episode!Macca – X (formerly Twitter) - @MaccaCoachingThe Coaches Zone - X (formerly Twitter) - @TheCoachesZoneWebsite - https://www.thecoacheszone.com/ The Soccer Coaching Podcast, Twitter - @SoccerCoachCastThe Soccer Coaching Podcast, Email - thesoccercoachingpodcast@gmail.com This episode was brought to you in association with our friends at Soccer Coach Weekly.Established since 2006, Soccer Coach Weekly is a leading source of inspiration and advice for all grassroots coaches. Join thousands of youth soccer coaches, just like you, saving time and effort in their goal of having the most effective, enjoyable and successful coaching journey for them and their players. – https://www.soccercoachweekly.net/ Thanks for listening and we hope you enjoyed the episode!
On July 8th, 2016, a renowned space economist, Molly Macauley, was murdered while on a walk with her two large dogs in the Roland Park area of Baltimore, Maryland. With the only witnesses being her dogs and neighbors who heard her scream, police had little to work with. Who killed Molly and why?Instagram: https://www.instagram.com/keytothecasepodcast/Email: keytothecase@gmail.comSources:https://www.wbaltv.com/article/who-killed-roland-park-resident-molly-macauley/13856368#https://www.wmar2news.com/longform/baltimore-detective-turns-to-fbi-public-for-help-finding-molly-macauley-s-murdererhttps://www.womeninaerospace.org/news/07-11-2016_2.htmlhttps://www.youtube.com/watch?v=O15FUj5cZXMhttps://www.youtube.com/watch?v=bjfIc94_zO4https://www.journals.elsevier.com/space-policy/news/tribute-to-dr-molly-macauleyhttps://www.legacy.com/us/obituaries/baltimoresun/name/molly-macauley-obituary?id=17605611https://www.rff.org/about/https://digitaledition.baltimoresun.com/tribune/article_popover.aspx?guid=79645bcf-71d4-4396-bf62-bed0e4726cb3https://www.akc.org/expert-advice/lifestyle/didnt-know-about-irish-wolfhound/#:~:text=The%20Irish%20Wolfhound%20is%20the,may%20be%207%2Dfeet%20tall.https://www.theguardian.com/uk-news/2014/jan/25/hitmen-for-hire-secrets-contract-killershttps://space.nss.org/testimony-of-molly-macauley-before-house-science-committee-hearings-on-solar-power-satellites/https://www.newspapers.com/image/263471348/?terms=Molly%20macauley&match=1https://www.newspapers.com/image/263477998/?terms=Molly%20macauley&match=1https://www.newspapers.com/image/263458207/?terms=Molly%20macauley&match=1https://www.youtube.com/watch?v=sBTrdt68g_Mhttps://www.cbsnews.com/baltimore/news/baltimore-homicide-clearance-rate-42-percent-crime-without-punishment/#
BRIAN MACAULEY WANTS TO BE ON LITTLETON'S SCHOOL BOARD And he joins me at 12:30 to discuss why. Find out more about Brian by clicking here.
Let's say you'd like to bring on help, buuut you also want to figure out WHO you need to bring on and WHAT you need them to do. Feels like a pretty daunting task, eh?Especially when you have to make sense of all these titles:Executive AssistantVirtual AssistantOnline Business ManagerOur recent guest and friend, Erika Macauley, is here and sharing a very special somethin' somethin' with us. Grab her Hiring Task & Responsibility Worksheet. (And yes, you know we've both already downloaded it!)Push PLAY to hear more about how to put her worksheet to use in your business with your first or next hire!You might also like to listen to:Mistakes to Avoid When Hiring on Social Media w/ Erika MacauleyHow to Outsource SEO Tasks to a VA w/ Emily ReaganGet More Traffic to Your Site w/ Emily ReaganAre you ready to skyrocket your Shopify success? Join us at the free Launch Your Shopify Summit! Learn game changing strategies, connect with fellow entrepreneurs and take your business to new heights. Don't miss out! And did I mention it's free? Use the link in the show notes or visit LaunchYourShopify.com. Listen to “Why Case Studies?”—a private pop up podcast w/ Brittany Herzberg —only available through this link & only til October 1stSupport the showApply to be our podcast guest!
Gene-ology kicks off its deep dive into the early TV work of Gene Roddenberry with his first sold TV script, the "Defense Plant Gambling" episode of Mr. District Attorney from 1954. Guest starring Mark Stablein as Macauley and Jonathan Woodward as Zaratt. Mission Log will continue its regular programming when the SAG/WGA strike has been settled. In the meantime, we will bring you special programming and encourage you to explore our complete show library at .
Gene-ology kicks off its deep dive into the early TV work of Gene Roddenberry with his first sold TV script, the "Defense Plant Gambling" episode of Mr. District Attorney from 1954. Guest starring Mark Stablein as Macauley and Jonathan Woodward as Zaratt. Mission Log will continue its regular programming when the SAG/WGA strike has been settled. In the meantime, we will bring you special programming and encourage you to explore our complete show library at .
Gene-ology kicks off its deep dive into the early TV work of Gene Roddenberry with his first sold TV script, the "Defense Plant Gambling" episode of Mr. District Attorney from 1954. Guest starring Mark Stablein as Macauley and Jonathan Woodward as Zaratt. Mission Log will continue its regular programming when the SAG/WGA strike has been settled. In the meantime, we will bring you special programming and encourage you to explore our complete show library at .
Gene-ology kicks off its deep dive into the early TV work of Gene Roddenberry with his first sold TV script, the "Defense Plant Gambling" episode of Mr. District Attorney from 1954. Guest starring Mark Stablein as Macauley and Jonathan Woodward as Zaratt.
Thank you to Jay Rothermel for suggesting I read these stories. You can read his take on them here:[https://jayrothermel.substack.com/p/two-stories-by-rose-macaulay-1881]Dame Emilie Rose Macaulay, born on August 1, 1881, in Rugby, Warwickshire, England, emerged as a distinctive figure in 20th-century literature. The daughter of George Campbell Macaulay, a classical scholar, and Grace Mary Conybeare, her upbringing was imbued with a scholarly aura that would lay the foundation for her intellectual pursuits. She attended Oxford High School for Girls before studying Modern History at Somerville College, Oxford University.Macaulay's literary journey was marked by a remarkable transformation. From her early struggles with depression, she transitioned into a prolific novelist known for her incisive commentary on society and relationships. This transition is especially fascinating when considered alongside her complex relationships, her private life, and her evolving religious and philosophical beliefs.Macaulay's religious journey was far from linear. Her exploration of faith went beyond the boundaries of traditional Christianity, reflecting a mystical sense of the Divine. While her spiritual convictions evolved, she did not return to the Anglican church until 1953. This complex relationship with religion is reflected in her works, where themes of Christianity often intertwined with skepticism and satire. Her novels, including "Potterism" (1920) and "Keeping Up Appearances," demonstrated her ability to dissect societal norms, often with a satirical edge.Her personal life was marked by a clandestine affair with Gerald O'Donovan, a lapsed Irish priest and fellow novelist. This intricate relationship spanned over two decades and remained a secret from many, even her closest friends. Macaulay's own ambivalence toward her sexuality added another layer of complexity to her identity, influencing her writing and the themes she explored.Macaulay's relationships within literary circles were equally captivating. She fostered connections with prominent writers such as Rupert Brooke and Elizabeth Bowen, often leaving her imprint on their narratives. Her role as a patron and supporter of emerging talents showcased her nurturing spirit, even as her own literary prowess continued to grow.Her impact extended to journalism, where she contributed to magazines like Time & Tide and the Spectator. Her engagement with contemporary issues, including her support for the League of Nations, underscored her commitment to global harmony.Macaulay's work often grappled with the tension between individual freedom and societal responsibilities. Her novel "The World My Wilderness" (1950) exemplified this theme, as it navigated war-torn landscapes and internal struggles. The contrast between private introspection and public involvement became a defining motif in her literary explorations.Dame Emilie Rose Macaulay's legacy is a testament to the interplay of faith, identity, and relationships in shaping artistic expression. Her intricate journey through religious and philosophical landscapes, her intricate relationships with other literary figures, and her prolific body of work continue to captivate readers and scholars alike. As a figure who wove threads of complexity into the fabric of literature, she sNew Patreon RequestBuzzsprout - Let's get your podcast launched! Start for FREESupport the showVisit us here: www.ghostpod.orgBuy me a coffee if you're glad I do this: https://ko-fi.com/tonywalkerIf you really want to help me, become a Patreon: https://www.patreon.com/barcudMusic by The Heartwood Institute: https://bit.ly/somecomeback
Will O'Callaghan was joined by the eight-time All-Ireland winner Michael Darragh MacAuley on Thursday's Off The Ball. From adopting to life after a stellar inter-county career with Dublin, to pursuing his interests beyond football, there was also plenty to talk about ahead of this weekend's All-Ireland senior football final between Dublin and Kerry. In association with AIB
While we have been stuck in the mud, a win over BAL + some good bullpen stuff show signs of a bounce-back. Our friend @raysfarmreport joins us to talk trade ideas, prospects, YOUR questions & how some call-ups could impact the deadline! #RaysUp Support The Pod! Buy A Shirt! Use Promo Code “FLAPPY” for 10% […]
While we have been stuck in the mud, a win over BAL + some good bullpen stuff show signs of a bounce-back. Our friend @raysfarmreport joins us to talk trade ideas, prospects, YOUR questions & how some call-ups could impact the deadline! #RaysUp Support The Pod! Buy A Shirt! Use Promo Code “FLAPPY” for 10% […]
Succesion's Kieran Culkin hates being away from his kids for too long because, quote, "they change." Kieran is Macauley Caulkins brother. Is he younger or older than Macauley?
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
The Running Charity's purpose is positive and powerful, and in nobody is it more prevalent than the wonderful Victor Macauley. Victor, their Partnership Lead, joins us on Marathon Talk this week alongside CEO Alex Eagle for a dive into their life-changing work for homeless, disadvantaged and marginalised young people. Elsewhere in the episode, we're tackling the Leeds Marathon, a new 100km World Record, and a disastrously drenched camping trip… In this episode of Marathon Talk: 0:00 - Kicking off with an update on Martin & Deena's training, and a disastrously drenched camping trip 9:45 - Rounding up some heartwarming news from the Leeds Marathon, Aleksandr Sorokin's new 100km World Record, and the art of the ultra run 19:15 - The Running Charity's Victor Macauley and Alex Eagle on their first London Marathon, inspiring the next generation, and running's impact for marginalised communities Marathon Talk is proudly powered by Abbott World Marathon Majors, who create, build and support opportunities for all to discover the power of the marathon community. Learn more at https://www.worldmarathonmajors.com/
This week fellow retail trader and podcaster Blayne Macauley makes her first appearance in the China Shop! Listen along as we talk about how Blayne got interested in the markets, some of the key lessons learned along the way and how her background as an artist influences the way she trades. We also discuss an upcoming documentary and how she got involved.About Blayne:At the age of 23, Blayne Macauley authored the 5th ranked real estate blog in the world. She started an art business in 2016, which she built into a 6-figure company within 3 years. In 2020 she founded The Penny Lane Podcast about retail trading, which was ranked among the top investing podcasts on iTunes and was featured in the New York Times. She is a daily market commentator, author of "The Intermediate Trader Blog," and podcast host for the Place Your Trades Network. She was featured in the documentary film The New Americans by Ondi Timoner..Blayne has worked as the Marketing Director for a luxury real estate company, Beacham & Company, Realtors, for the past 17 years.Guest Links:The Penny Lane Podcast - WebsiteSocial Links:Follow Blayne on TwitterFollow Blayne on InstagramSponsorshipsSupport for 2 Bulls is brought to you by MANSCAPED™, who is the best in men's below-the-waist grooming. Their products are precision-engineered tools for your family jewels. MANSCAPED's™ Performance Package the ultimate men's hygiene bundle! Join over 7 million men worldwide who trust MANSCAPED with this exclusive offer for you…. 20% off and free worldwide shipping with the code: 2BULLS at manscaped.com.If you are interested in signing up with TRADEPRO Academy, you can use our affiliate link here. We receive compensation for any purchases made when using this link, so it's a great way to support the show and learn at the same time! **Join our Discord for a link and code to save 10%**For anyone trading futures, check out Vantatrading.com. Founded by Mr. W Banks and Baba Yaga, they provide a ton of educational content with the focus of teaching aspiring traders how to build a repeatable, profitable process. You can find our exclusive affiliate link/discount code for Vanta in our free discord server as well!Check out the custom studies for futures trading over at OrderFlow Labs. We do not receive any compensation for referrals, we just love their community and tools!To contact us, you can email us directly at 2bulls@financialineptitude.com Or leave a message at (725) 22-BULLS. Be sure to follow us on Facebook, Twitter, or Discord to get updated when new content is posted! If you enjoyed this week's guest, check out our directory for other amazing interviews we've done in the past!If you like our show, please let us know by rating and subscribing on your platform of choice!If you like our show and hate social media, then please tell all your friends!If you have no friends and hate social media and you just want to give us money for advertising to help you find more friends, then you can donate to support the show here!China Shop Links:2 Bulls DiscordMiniseries PageChina Shop MerchGuest DirectoryAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Erika Macauley is an Online Business Manager and Project Manager who works with 6- and 7- figure creative entrepreneurs.Get in touch with Erika:InstagramWebsiteHiring Cheat SheetsSee open rolesErika's tips: Before hiring team members, identify what tasks can be outsourced and provide clear instructions (i.e. a "definition of done").1. Research what words people are typing into Google when they are looking for a particular service or product.Look at what competitors are using. Use those as an inspiration point.Niche down! You won't get found on page 35 of Google.2. Utilize Instagram bio descriptions for service providers—no vague descriptions.The phrase “virtual assistant” is outdated. Replace with specific job titles.Prioritize experience over hourly rate when hiring a team member.4. Tips to improve your search visibility:JOB SEARCHERS: Set up a link tree with their services guide and link that in your bio.JOB PROVIDERS: Use TikTok, which is quickly becoming popular with Gen Z.JOB PROVIDERS: Descriptions should be clear and include tech stack, responsibilities and the pay.If you're looking for a unique, handcrafted way to spruce up your home or office, then Collage and Wood is the perfect place for you! We offer a range of beautiful wooden signs that are perfect for any occasion. Our talented team of artists will work with you to create a sign that perfectly suits your needs. So why wait? Visit Collage and Wood today!Support the showListen to the private podcast for just $10/mo: SEO Shorts helps you put a simple & *strong* SEO strategy in place, today!Be our (podcast) guest! Apply hereBook your SEO AuditB's SEO Basics Checklistbrittanyherzberg.com / Instagram 10,000 Jasper words FREE!crystalwaddell.comGet the Show merch!
In this episode, we sit down with Kekoa MacAuley, a young entrepreneur who shares his journey and struggles in building his business. Kekoa speaks candidly about the challenges he faced as a young entrepreneur and the lessons he learned along the way. From dealing with rejection to managing finances, Kekoa shares valuable insights into the world of entrepreneurship. Through his personal experiences, Kekoa emphasizes the importance of staying persistent and resilient when pursuing your entrepreneurial dreams. He talks about the mindset and habits that helped him push through tough times, and the role that failure played in his growth and success. Whether you're a seasoned entrepreneur or just starting out, Kekoa's insights will inspire and motivate you to keep pushing forward. Join us as we dive into the struggles of entrepreneurship and learn from Kekoa's experiences and advice on how to overcome them. So, if you're looking for a dose of inspiration and practical advice on how to succeed as a young entrepreneur, this episode is not to be missed. --- Support this podcast: https://podcasters.spotify.com/pod/show/mentors/support
On this episode of the East Asia Now podcast, Professor Melissa Macauley of Northwestern University discusses her interest in Chinese history and its connection to Southeast Asian history. In her book, Distant Shores: Colonial Encounters on China's Maritime Frontier, she argues against the narrative that China lacked expansion and resources in the nineteenth and twentieth centuries. Following the lives of the overseas Chaozhouese, who settled in places like Siam and Indonesia and created a translocal economy and informal institutions to maintain their settlements.
We're back with our first episode of 2023, and we're talking about RRR! Join us as we learn about the Gymkhana Club, riot gear, Lala Lajpat Rai, flogging in the British Raj, and more! Sources: Hansard's Parliamentary Debates, Volume 281 (6 July 1883): https://hansard.parliament.uk/Lords/1883-07-06/debates/53f4430d-fcb5-43e2-b9e1-e478f12fb23d/India-CriminalLaw%E2%80%94PunishmentOfFlogging Sean Lang, "John Nicholson: The Sadistic British Officer Who Was Worshipped As a Living God in India," The Conversation, available at https://theconversation.com/john-nicholson-the-sadistic-british-officer-who-was-worshipped-as-a-living-god-in-india-99889 David Skuy, "Macauley and the Indian Penal Code of 1862: The Myth of the Inherent Superiority and Modernity of the English Legal System Compared to India's Legal System in the 19th Century," Modern Asian Studies 32, 3 (1998) Whipping Act of 1909, Full Text Available at https://www.indiacode.nic.in/repealed-act/repealed_act_documents/A1909-4.pdf Radhika Singha, "The Rare Infliction: The Abolition of Floggin in the Indian Army, circa 1835-1920," Law and History Review 34, 3 (2016) "Discrimination Still Alive and Well in India's Clubs," Irish Times, available at https://www.irishtimes.com/news/discrimination-still-alive-and-well-in-india-s-exclusive-clubs-1.1209302 Amrit Dhillon, "No Dogs or Indians: Colonial Britain Still Rules at India's Private Clubs," Sydney Morning Herald, available at https://www.smh.com.au/world/no-dogs-or-indians-colonial-britain-still-rules-at-indias-private-clubs-20170630-gx1vtk.html "Report of the Committee Appointed in the Government of India to Investigate the Disturbances in the Punjab," 1920, available at https://www.google.com/books/edition/Report_of_the_Committee_Appointed_in_the/u9INAAAAIAAJ?hl=en&gbpv=1&dq=delhi+gymkhana+club&pg=PA2&printsec=frontcover Vinay Lal, "Hinduism," in The Oxford Encyclopedia of the Modern World edited by Peter N. Stearns (Oxford University Press, 2008). C.V. Mathew, "Arya Samaj," in The Oxford Encyclopaedia of South Asian Christianity edited by Roger E. Hedlund, Jesudas M. Athyal, Joshua Kalapati, and Jessica Richard (Oxford University Press, 2011). "Hindu Nationalism," in The Oxford International Encyclopedia of Legal History edited by Stanley N. Katz (Oxford University Press, 2009). "Hindu nationalism," in A Concise Oxford Dictionary of Politics and International Relations edited by Garrett W. Brown, Iain McLean, and Alistair McMillan (Oxford University Press, 2018). Christophe Jaffrelot, "Madan Mohan Malaviya and Lala Lajpat Rai," in Hindu Nationalism: A Reader (Princeton University Press, 2007). https://www.jstor.org/stable/j.ctt7s415.9 D.P. Singh, "Lala Lajpat Rai: His Life, Times and Contributions to Indian Polity," The Indian Journal of Political Science 52, no.1 (1991): 125-36. https://www.jstor.org/stable/41855539 Vanya Bhargav, "Lala Lajpat Rai's Ideas on Caste: Conservative or Radical?" Studies in Indian Politics 6, no.1 (2018): 15-26. J.S. Bains, "Lala Lajpat Rai's Idealism and Indian National Movement," The Indian Journal of Political Science 46, no. 4 (1985): 401-20. S.R. Bhakshi and S.R. Bhakshl, "Simon Commission and Lajpat Rai: An Assessment," Porceedings of the Indian History Congress 50 (1989): 507-18. Saṅgīt Mahābhāratī, "Vandé Mātaram," in The Oxford Encyclopedia of the Music of India (Oxford University Press, 2011). Martin Thomas, "'Poying the Butcher's Bill': Policing British Colonial Protest after 1918," Crime, History & Societies 15, no.2 (2011): 55-76. https://www.jstor.org/stable/42708833 Aftab Nabi, "Consolidating the British Empire: The Structure, Orientation, and Role of Policing in Colonial Africa and Asia," Pakistan Horizon 69, no.2 (2016): 47-77. https://www.jstor.org/stable/44988203 David Arnold, "The Police and Colonial Control in South India," Social Scientist, 4, no. 12 (1976): 3-16. https://www.jstor.org/stable/3516332 Simeon Shoul, "Soldiers, Riot Control and Aid to the Civil Power in India, Egypt and Palestine, 1919-39," Journal of the Society for Army Historical Research 86, no. 346 (2008): 120-39. https://www.jstor.org/stable/44231576 Prashant Kidambi, "'The ultimate masters of the city': police, public order and the poor in colonial Bombay, c. 1893-1914," Crime, History & Societies 8, no.1 (2004): 27-47. https://www.jstor.org/stable/42708561 John Powers, "If you haven't been back to the movies yet, Indian epic 'RRR' is the reason to go," NPR (11 October 2022). https://www.npr.org/2022/10/11/1127995338/rrr-review--rajamouli-indian-epic-cult-following Steve Rose, "Best movies of 2022 in the US: No 5 - RRR" The Guardian (19 December 2022). https://www.theguardian.com/film/2022/dec/19/best-movies-of-2022-in-the-us-no-5-rrr Glen Weldon et al, "'RRR' is an inteRRRnational phenomenon," Pop Culture Happy Hour, NPR (11 July 2022). https://www.npr.org/2022/06/24/1107301440/rrr-is-an-interrrnational-phenomenon Nitish Pahwa, "A Wild Indian Blockbuster is Ravishing Movie Fans, but They're Missing Its Troubling Subtext," Slate (8 June 2022). https://slate.com/culture/2022/06/rrr-review-indian-blockbuster-netflix-hindu-nationalism.html Rotten Tomatoes, https://www.rottentomatoes.com/m/rrr
While it's no secret that a lot of the “grind” culture has become eye-roll worthy. In fact, it reminds me a lot of the ‘sleep is for the weak' mentality that persisted in the 80's and 90's. On the other end of this spectrum, you have what I'm going to call Mindfulness Culture. And while there are amazing benefits to be had from deep breathing and meditation, just like the “grind,” mindfulness is not something that can be packaged in LinkedIn inspirational quotes. As my guest this week takes great care to remind us: Mindfulness is not a luxury.Dr. Jannell MacAulay is a combat veteran who served 20 years in the U.S. Air Force, as a pilot, commander, special operations consultant, international diplomat, and professionalism instructor. With her innovative leadership style, Dr. MacAuley was the first leader to introduce mindfulness as a proactive performance strategy within the United States military and she currently serves as a Leadership and Human Performance consultant for the Department of Defense, government sector, and corporate America. A TEDx Speaker and Podcast Host, Dr MacAulay graduated from the U.S. Air Force Academy, and holds a Masters Degree in Kinesiology from The Pennsylvania State University, and a Ph.D. with work in the field of strategic health & human performance. We discuss how servant leadership can actually become a toxic trait, why it's important for leaders to dream for their team members, and the myth that there's a “right” way to be mindful. As always, enjoy the show! *Dr, MacAulay on LinkedIn*
Andre Heimgartner, Macauley Jones and Peter Wallace BJR From the race track to your device with Tony Whitlock and Craig Revell on Inside Supercars Andre Heimgartner reflects on his first year with Brad Jones Racing, Macauley Jones talks life in Supercars and farming in Albury and Peter Wallace discusses why his engines tuning skills will no longer required at BJR as the new engine rules for Gen 3 will no longer require his work, he also talks about his success in Super3 with his engine in the new Champions car. Inside Supercars Podcast: Subscribe Apple Podcasts I ;Spotify I Google Podcasts Supported by: P1 Australia Link:P1 Australia The Gates RevLimiter – Subscribe here: Apple Podcasts I Spotify I Google Podcasts MusicCreative Commons Music by Jason Shaw on Audionautix.com MusicComa-Media from Pixabay #RepcoSC #TCRAust #Supercars #Motorsport #ADL500
One of the biggest shifts I made in my business as a leader and CEO is when I went from being a task assigner to assigning ownership of results. This was a huge “a-ha” moment for me. You can't grow your business if all you're doing is assigning tasks. You have to be able to assign ownership to specific people on your team. With that, you're going to want to have specific KPIs or success metrics that you're watching. Sometimes they're easy to determine, but there are some positions on our team that aren't as easily attributable to revenue or profit. So today on Art of Online Business, I sat down with Erica Macauley to talk about how we can determine success metrics for those support roles in your business. This is critical if you want to shift from a day-to-day entrepreneur to the leader and CEO of your business. Erika is a systems slayer, chaos coordinator, Trello evangelist, and pretty dang good at whipping the back end of businesses into shape. She's an OBM, integrator, and project manager who works with 6 and 7-figure creative business owners to get her Type A brain wrangling all their amazing visionary ideas into actionable outcomes. In this episode, you'll learn:What your first hire should beThe importance of finding the right people to hireWhy you have to start with your job descriptionTips for writing success metricsKPIs you can use for these hard-to-quantify roles What you shouldn't put in your KPIsWhat to expect from contractorsIdeas for rewarding your teamLinks & Resources:Get Erika's resources https://erikamacauley.com/rickThe Art of Online Business websiteDM me on InstagramVisit my YouTube channelThe Art of Online Business clips on YouTubeFull episodes of The Art of Online Business Podcast on YouTubeThe Art of Online Business Podcast websiteCheck out my Accelerator coaching program*Disclosure: I only recommend products I use and love and all opinions expressed here are my own. This post may contain affiliate links that at no additional cost to you, I may earn a small commission.Erika Macauley's Links:Visit Erika's websiteBook a Hiring ProjectFull show notes available at www.rickmulready.com/661We've made some big changes to my Accelerator coaching program recently, including two 30-min 1-on-1 coaching calls with me each month. If you are interested in 1-on-1 and group mentorship to help guide you to the next level of your business through things like clear systems, creating an effective and efficient team, and a growth-focused strategy, head over to www.rickmulready.com/accelerator to fill out the short application.
1. Both Minister Lawrence MacAuley & Prime Minister Justin Trudeau KNEW that this Veteran was offered medically assisted suicide by a Veterans Affairs Service Agent in July 2021. 2. Both of them ignored the fact that Veterans were being offered assisted suicide until the story broke more than a year later in August of 2022. 3. Both have stated firmly, as has Paul Ledwell, that there was only ONE Veterans Affairs Case Manager who was offering MAID. 4. Christines story proves that there were at least 3 different case workers from Veterans Affairs who offered MAID. 5. I'm working on yet ANOTHER Veteran, who can prove there is a 4th case worker who is offering MAID. Conclusion: MAID was officially offered by Veterans Affairs Canada 6. Christine's heart wrenching story shows the complete failure of Veterans Affairs Canada to service our Veterans. She has spend the last 5 years dragging herself, and her wheelchair up and down 8 stairs in order to get to her vehicle. Through rain and snow, in all weather, she has suffered because VAC has not found a way to build her the chair escalator she needs. --- Send in a voice message: https://anchor.fm/tango-romeo/message Support this podcast: https://anchor.fm/tango-romeo/support
With the Rule 5 draft approaching, we had the pleasure of @raysfarmreport joining us to talk Rays prospects that might be plucked from our deep farm system, trades or moves we might see, and an update on those who are playing fall ball! #raysup Support The Pod! Buy A Shirt! Use Promo Code “FLAPPY” for […]
Kekoa MacAuley is the Founder and CEO of The Modern SDR and Black Hat Accelerator. He is a digital marketing expert that is committed to helping business owners get the results they want through unique strategies along with teaching everyday, normal people how to become high-ticket appointment setters. His company is committed to delivering results to its clients in the first 180 days and growing its bottom-line revenue by $100,000+. In this episode, Foo and Kekoa talk about the essentials that business owners must keep in mind in order to build a team that's set up for success. Tune in to learn more about why entrepreneurs should be the best version of themselves and how you can achieve it.Connect:Strategic Advisor Board: www.linkedin.com/company/strategic-advisor-board/James Foo Torres: www.instagram.com/jameslfoo/linktr.ee/jameslfooWebsite: ImperiumAuthority.com/Kekoa MacAuley Instagram: www.instagram.com/kekoamac Website: www.themodernsdr.com
My friend Mac joins CK and I on zoom to give us an update on what weird things he's tried since we last caught up. We talk about something that's on a lot of our minds, drought. Mac talks about how he has mitigated his drought risk and recaps a field day back in May with our mutual friend, Ray Archuleta. We talk about measuring biomass, lessons from this years failures and he shares some tips on grazing math and how to figure paddock sizes. Macauley's Facebook Mac's Phone number: 417 660 9207 ----------------------- Click here for Sea-90! Phone number: (770) 361-6092 Email address: info@seaagri.com Click Here for my Website! Click here for my Patreon page! Click here for all of my links! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/ranching-reboot/message Support this podcast: https://anchor.fm/ranching-reboot/support
Today on Black Box, our very special guest is Blayne Macauley! Blayne is an acid day trader, artist, podcast host (be sure to check out the Penny Lane Podcast) and a mom. Tune in to hear from the mom of FinTwit and an absolutely inspiring individual.• Email us at blackboxsubmission@gmail.com• Instagram: https://www.instagram.com/blckboxpodcast/• Twitter: https://twitter.com/blckboxpodcast• TikTok: https://www.tiktok.com/@blackboxpodcastThis episode is sponsored by Zencastr, our #1 podcast tool. They provide a crystal clear sound and gorgeous HD video. We love that it records separate audio and video tracks for the guests and us. Plus, there is a secured cloud backup, so you never lose your interviews. It is super easy to use, and there is nothing to download. My guests just click on the link, and we start recording. Go to http://zen.ai/blackbox and get 30% off your first three months with a PRO account.
This week we are joined by Blayne Beacham Macauley. Blayne is a podcast host, artist & day trader. Her artwork has been featured in Domino, HGTV, House Beautiful, Magnolia Network, Traditional Home, Atlanta Home & Lifestyles and Southern Living. Her podcast "Penny Lane Podcast" has been in the top 200 in Business Podcast in the U.S & featured in NY Times. We discuss what day trading is and how consistency and discipline is key. Trusting your intuition vs. impulsiveness. Her artwork and how it relates to the human soul and captures an emotional memory. The benefits of college for artists and how it develops resilience. Blayne gives advice on finding your voice and how being your most raw, authentic self builds connection.Find Blayne Beacham Macauley here:Blayne Art@blayne_art@pennylanepodPenny Lane Podcast on Apple Podcasts
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