Podcasts about Mazer

I'm grateful to be sitting down with Debra Mazer, a long-time community member of Dharma Glow. We delve into her journey from a standard American diet to becoming a raw food chef, exploring her immersion in diverse communities, holistic healing, and anti-racism work. Debra shares the significance of transformational festivals and her passion for balanced living, conscious eating, and intersectional wellness. We also discuss our plans for Dharma Glow's future, including monthly events focused on high vibrational choices and community building. Tune in to hear Debra's inspiring story and our vision for a holistic and inclusive approach to health and healing.00:00 Guided Meditation and Opening Prayer02:28 Introduction to Debra Mazer02:49 Dharma Glow Experience07:42 Debra's Journey to Veganism and Healing12:15 Immersion in Holistic Black Communities15:25 Evolving Food Philosophy and Health Coaching23:13 Future Collaborations and Intentional Living

Continuamos el nuevo proyecto dentro de Los Hijos Malditos, dedicado a los ganadores al premio de la academia a la mejor película. En este vigesimosegundo episodio os traemos Hamlet, ganadora del premio a la mejor película en la vigesimoprimera ceremonia de los Oscars de 1948. Recordaros que estos programas salen junto con el vídeo en YouTube, los viernes a las 12:00. En esta ocasión Mazer ha metido el cazo y no hay imágen. La lista de difusión de estos programas es: https://go.ivoox.com/bk/11150206 En YouTube podéis verlo en: https://www.youtube.com/playlist?list=PLIEDHvzg8WRo74shL44NxWQ57psxMJbPa Y tenéis todos los enlaces en https://allmylinks.com/loshijosmalditos

What happens when a first-generation college student from a small Pennsylvania coal mining town becomes a university dean? In this captivating conversation, University of Tennessee's College of Communication and Information Dean Joe Mazer joins host Yvonnca to share his remarkable journey and vision for higher education. You all will enjoy this conversation! If you are looking for a Realtor, don't forget to call The Landes Team to help you buy and sell! Yvonnca Landes Realty Executives Associates 865.660.1186 or 588.3232www.YvonncaSellsRealEstate.comAdrienne LandesRealty Executives Associates865.659-6860 or 588.3232Click here: https://linktr.ee/talkintnwithyvonncaTurning Knox Rental (Event Rental Services): www.turningknoxrental.comLandes Home Collection Online Store: www.landeshomecollection.comFor promotion inquires please contact Yvonnca Landes. 865-660-1186All Copy Rights are owned Yvonnca Landes and the Landes Brand ©. To gain legal access contact David Landes 865.660.6860 or theappraisalfirm@charter.net Produced and engineered by: Adrienne LandesThank you for listening! Follow us on social media! https://linktr.ee/talkintnwithyvonnca

¡Por fin! Mazer continúa con su especial La Historia de los Videojuegos. En esta cuarta parte, hablamos de la época comprendida entre 1983 y 1987, tercera generación de videoconsolas, donde entran en escena la gigante Nintendo junto con una veterana de arcades SEGA que se pasa al hardware. Alguna pincelada a ordenadores y arcades, y un chorro de datos por si a alguien le interesa. Este programa es parte de una colección que podéis encontrar en el siguiente enlace: https://go.ivoox.com/bk/10390352 Podéis uniros al canal de Télegram donde ponemos las novedades: https://t.me/loshijosmalditos Y uniros al canal de charla donde comentamos entre todos: https://t.me/loshijosmalditos_chat Todos los enlaces los encontraréis en: https://allmylinks.com/loshijosmalditos

On this week's episode of The Rural Woman Podcast™, you'll meet Laurie Mazer.Laurie Mazer is an experienced founder and entrepreneur with a 20 year history of developing solar and wind projects of every size and scale, in every corner of the US. She also helps her clients to provide mentorship of their growing teams and to develop successful wind and solar projects in Texas, Oklahoma, Ohio and many other states. She is the co-founder of a mid-size solar development company focused on community sized solar projects where she uses her years of experience to site, permit, and ultimately build solar projects in Pennsylvania. For full show notes, including links mentioned in the show, head over to wildrosefarmer.com/crop-america. . .DISCUSSIONS THIS WEEK:[01:27] - Introduction to Renewable Energy Leadership[10:27] - Choosing Sites for Renewable Energy Projects[18:25] - Coexistence of Renewable Energy Projects and Agriculture[22:33] - Economic Benefits of Renewable Energy in Agriculture[26:34] - Planning for the Future of Renewable Energy Projects[30:32] - Benefits of Renewable Energy Projects for Local Communities[36:41] - Hopes for the Future of Renewable Energy. . .This week's episode is brought to you by CROP America . . .Let's get SocialFollow The Rural Woman Podcast on Social MediaInstagram | FacebookSign up to get email updatesJoin our private Facebook group, The Rural Woman Podcast Community Connect with Katelyn on Instagram | Facebook | Twitter | Pinterest. . .Support the ShowPatreon | PayPal | Become a Show SponsorLeave a Review on Apple Podcasts | Take the Listener SurveyScreenshot this episode and share it on your socials!Tag @TheRuralWomanPodcast + #TheRuralWomanPodcast. . .Meet the TeamAudio Editor | MixBär.Admin Team | Kim & Co OnlinePatreon Executive ProducersSarah R. | Happiness by The...

Estamos de vuelta!!! Programa mensual con todas las novedades en cine, serie y videojuegos desde un punto de vista total y absolutamente subjetivo, sin criterio demostrado ni serio. Recordaros que tenemos un concurso esta temporada, y el ranking de momento es: 1- Mazer - 3 puntos 2- Mike - 2 puntos 3- Mat - 1 punto. Todo puede pasar de momento, y este mes juntamos el mes anterior y os retamos a Donkey Kong y Pacman. En el canal de Télegram https://t.me/loshijosmalditos_chat podemos hablar y comentar, además que ahí tendremos las ROMs para que todos compitamos con las mismas condiciones. Recordaros que este programa sale mensualmente, a mediados de mes y no siempre tendréis un LHM Classic, y todos los viernes a las 12 El Calvo de Oro por Los Hijos Malditos. Tenéis todos los enlaces en el siguiente vínculo: http://allmylinks.com/loshijosmalditos

This was a fun episode! We had self-described "knife enthusiast" Alex Mazer on the show to talk about how he got into knives and what he collects. We also spent some time talking about Alex's Discord server that is focused on modern traditional pocket knives. Along the way, we got an insider's view on the world of autobody repair and even gave advice to Alex on starting a new business.Support the showIf you enjoyed the episode, be sure to give us some of those stars in your podcast app!Mike Moran: @moranknives and on the web: moranknives.comCheck out Neal's latest latest book on J.A. Henckels Knives

No one wants a race to be cancelled, but sometimes mother nature, in this instance named Tropical Storm Debby, has other thoughts. Ben Mazer is the race director with dozens of races under his belt. This year he had his work cut out for him the days leading up to Eastern States 100 mile race. Heavy rain from the storm forced them to make course alterations several times leading up to race day, but ultimately the Governor of Pennsylvania made a declaration of emergency and the race had to be cancelled. The race organizers still tried to make the best of the situation and Ben goes into that. If you are interested in running Eastern States 100 next year, check out their website for more details.

SuperGrans SuperSkills - Cathryn Mazer from SuperGrans SuperSkills Dunedin outlines the organisation's purpose and what workshops and other opportunities are coming up to help families develop capabilities in cooking, craft, gardening, household management and more. This show was broadcast on OAR 105.4FM Dunedin - oar.org.nz

New Jersey State Trooper Jon Mazer has been charged with killing Black investigative reporter Stewart Marshall in a racially charged, headline-making murder. The evidence against criminal defense attorney Erin McCabe's new client is overwhelming. The gun used is Mazer's off-duty weapon. Fingerprints and carpet fibers link Mazer to the crime. And Mazer was patrolling Marshall's neighborhood shortly before the victim took three bullets to the chest. Mazer's argument? He's a gay officer being set up to take the fall in an even bigger story. Mazer swears he was a secret source for Marshall's exposé about the Lords of Discipline. The covert gang operating within the New Jersey State Police is notorious for enforcing their own code of harassing women, framing minorities, and out-powering any troopers who don't play their rogue and racist games. With everyone from the governor to the county prosecutor on the wrong side of justice, Erin and her partner, Duane Swisher, are prepared to do anything to make sure Mazer doesn't become another victim. As Erin deals with an intensely personal issue at home, and faces an uphill battle to prove her client's innocence, both she and Duane find themselves mired in a conspiracy of corruption deeper than they imagined—and far more dangerous than they feared.Support this show http://supporter.acast.com/houseofmysteryradio. Become a member at https://plus.acast.com/s/houseofmysteryradio. Hosted on Acast. See acast.com/privacy for more information.

In less than 20 minutes a week, we'll introduce you to an expert or business owner with deep experience in what they do. Grow you, grow your team, grow a small business. Welcome to the "Grow a Small Business" podcast with your host, Rob Cameron. In this episode, Rob interviews Susan E. Mazer from Healing Health, based in Reno, Nevada, United States. In this episode, Susan Mazer shares insights from her journey in music-driven healing solutions. Her business focuses on creating harmonious environments in healthcare settings, utilizing music to enhance patients' well-being. Through a mission-driven approach and a commitment to employee satisfaction, Susan's business has achieved success while prioritizing the holistic healing of patients. Key Takeaways for Small Business Owners: Origins of Business: Susan Mazer's journey began unexpectedly, evolving from a successful music career into a unique business. Rather than actively seeking a market gap, she responded to a need presented by nurses and hospitals, aiming to enhance patients' well-being through music. Mission-Driven Approach: The business's foundation is deeply rooted in a mission-driven mindset. Mazer emphasizes the importance of understanding that success stems from fulfilling a purpose, not just chasing monetary gains. This mission-focused approach has guided the business for over two decades.   Responsive Business Growth: The business grew organically by responding to identified needs within the healthcare sector. Mazer discusses how they expanded their services based on requests from hospitals, adapting to the unique challenges of each healthcare environment. Our hero crafts outstanding reviews following the experience of listening to our special guests. Are you the one we've been waiting for?   Culture and Employee Focus: Mazer highlights the critical role of culture in the company's success. With a clear mission, they built a culture where employees are valued and treated like gold. By providing benefits, secure employment, and ensuring employees felt appreciated, the company fostered a loyal and dedicated team.   Learning from Mistakes: Mazer shares an insightful example of a challenge faced during a hospital sound system installation. Despite setbacks, taking responsibility, making it right, and avoiding blame proved crucial. This experience turned into a positive, long-lasting client relationship and contributed to the company's growth.   Treating Employees as Assets: In a small business, the owner must recognize the value of highly skilled employees. Offering benefits, paying competitive wages, and prioritizing employee well-being fosters a sense of security and loyalty. One action small business owners can take:   Small business owners can prioritize employee satisfaction and well-being, treating them as invaluable assets. By fostering a culture of respect, offering benefits, and providing opportunities for growth, businesses can cultivate a loyal and dedicated team, ultimately contributing to long-term success, as advocated by Susan Mazer.   Do you have 2 minutes every Friday? Sign up to the Weekly Leadership Email. It's free and we can help you to maximise your time. Enjoyed the podcast? Please leave a review on iTunes or your preferred platform. Your feedback helps more small business owners discover our podcast and embark on their business growth journey.

The team from Hiveworks Mead is in the studio for Brew Ha Ha with Steve Jaxon and Herlinda Heras to talk about their way of making mead. Alexander Mendoza, CEO and Head Mazer, Sean Duckworth, COO and Julian Frank, CFO, are taking turns on the two guest microphones in our small converted train car. They will be at Beer City this Saturday, Feb. 24, in Courthouse Square. The Hiveworks Mead team all grew up in Sebastopol together and now they are partners in the company. See our sponsor Victory House at Poppy Bank Epicenter online, for their latest viewing and menu options. Skyborne First they taste Skyborne, a simple recipe of honey, water and yeast, plus carbonation. They just wanted to make a beverage that they could enjoy with any food. The more honey you add, the higher the ABV. A lot of traditional mead could be 2-3 pounds of honey per gallon of mead. Their mead is lower in alcohol so they can use less honey. Visit Homerun Pizza, home of the Knuckleball! Fresh pizza dough made from scratch daily, la pizza è deliziosa! Kind of like wine, kind of like beer The partners started Hiveworks Mead in Sebastopol in a shed with one fermenter, and experimented until their product was a hit at some parties. That was when it was time to go pro. Even though it is classified and taxed as a wine, mead is actually made on equipment that is much more like that of a brewery. The aluminum cans use a lot less carbon dioxide, than glass bottles. Russian River Brewing Co. is open in Santa Rosa on 4th St. and at their big Windsor location. Visit their website for up-to-date hours, menus, beers and more. Alexander carries the title Head Mazer. Some meadmakers fancy the term. A mazer is a type of traditional medieval wooden cup, low and wide, with a rise in the middle. There happens to be a well-known annual mead competition called the Mazer Cup, based in Colorado, whose logo is shaped like a mazer. This may have suggested the idea for that term. * * ‘Mazer' as a meadmaker has no root word history in English nor in any of its contributing languages. Given that mead can be drunk from a mazer, calling a meadmaker a ‘mazer' could be compared to calling a vintner a ‘glass' or a brewer a “mug” or a Kombuchist a “tightly capped bottle.” But if people like the term, they will use it, and if enough people adopt it for enough time, it will become documented. 

Dr. Susan Mazer is a full-time performing jazz harpist and former President, Co-founder, and CEO of Healing HealthCare Systems, producers of The C.A.R.E. Channel, the only evidence-based, 24-hour relaxation channel for patient television. Now in its 30th year, C.A.R.E. is being broadcasted in over 1,100 hospitals nationally and internationally including Alaska, Hawaii, Puerto Rico, Australia, The Netherlands, Hong Kong, and many other locations. The discipline of health care led her to study how we can help patients heal faster. The answer is music.  And this led her to create The C.A.R.E channel and, recently, C.A.R.E VRx™ which extends the reach of C.A.R.E., providing a healing virtual environment for pain relief, reduction of anxiety, and increased comfort, through access to stunning natural spaces and places in the virtual world.Dr. Mazer is a national and international speaker and in 2019 was the keynote speaker at the 2019 Virtual Reality in Healthcare Conference in Dublin, Ireland. Her publications and presentations focus on the patient environment. She is also a blogger for The Huffington Post and has her own blog.  She is a Fellow of the Center for Social Innovation at The Fielding Graduate University.Connect with Susan:Website:Book Chapter: “Applied Virtual Reality in Healthcare: Case Studies and Perspectives"Book: Patient Privacy: When it MattersBlogger: Huffington Post; blog at www.susanmazer.com

Episode 169 of A History of Rock Music in Five Hundred Songs looks at “Piece of My Heart" and the short, tragic life of Janis Joplin. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "Spinning Wheel" by Blood, Sweat & Tears. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There are two Mixcloud mixes this time. As there are so many songs by Big Brother and the Holding Company and Janis Joplin excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two . For information on Janis Joplin I used three biographies -- Scars of Sweet Paradise by Alice Echols, Janis: Her Life and Music by Holly George-Warren, and Buried Alive by Myra Friedman. I also referred to the chapter '“Being Good Isn't Always Easy": Aretha Franklin, Janis Joplin, Dusty Springfield, and the Color of Soul' in Just Around Midnight: Rock and Roll and the Racial Imagination by Jack Hamilton. Some information on Bessie Smith came from Bessie Smith by Jackie Kay, a book I can't really recommend given the lack of fact-checking, and Bessie by Chris Albertson. I also referred to Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith, and Billie Holiday by Angela Y. Davis And the best place to start with Joplin's music is this five-CD box, which contains both Big Brother and the Holding Company albums she was involved in, plus her two studio albums and bonus tracks. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, this episode contains discussion of drug addiction and overdose, alcoholism, mental illness, domestic abuse, child abandonment, and racism. If those subjects are likely to cause you upset, you may want to check the transcript or skip this one rather than listen. Also, a subject I should probably say a little more about in this intro because I know I have inadvertently caused upset to at least one listener with this in the past. When it comes to Janis Joplin, it is *impossible* to talk about her without discussing her issues with her weight and self-image. The way I write often involves me paraphrasing the opinions of the people I'm writing about, in a mode known as close third person, and sometimes that means it can look like I am stating those opinions as my own, and sometimes things I say in that mode which *I* think are obviously meant in context to be critiques of those attitudes can appear to others to be replicating them. At least once, I have seriously upset a fat listener when talking about issues related to weight in this manner. I'm going to try to be more careful here, but just in case, I'm going to say before I begin that I think fatphobia is a pernicious form of bigotry, as bad as any other form of bigotry. I'm fat myself and well aware of how systemic discrimination affects fat people. I also think more generally that the pressure put on women to look a particular way is pernicious and disgusting in ways I can't even begin to verbalise, and causes untold harm. If *ANYTHING* I say in this episode comes across as sounding otherwise, that's because I haven't expressed myself clearly enough. Like all people, Janis Joplin had negative characteristics, and at times I'm going to say things that are critical of those. But when it comes to anything to do with her weight or her appearance, if *anything* I say sounds critical of her, rather than of a society that makes women feel awful for their appearance, it isn't meant to. Anyway, on with the show. On January the nineteenth, 1943, Seth Joplin typed up a letter to his wife Dorothy, which read “I wish to tender my congratulations on the anniversary of your successful completion of your production quota for the nine months ending January 19, 1943. I realize that you passed through a period of inflation such as you had never before known—yet, in spite of this, you met your goal by your supreme effort during the early hours of January 19, a good three weeks ahead of schedule.” As you can probably tell from that message, the Joplin family were a strange mixture of ultraconformism and eccentricity, and those two opposing forces would dominate the personality of their firstborn daughter for the whole of her life.  Seth Joplin was a respected engineer at Texaco, where he worked for forty years, but he had actually dropped out of engineering school before completing his degree. His favourite pastime when he wasn't at work was to read -- he was a voracious reader -- and to listen to classical music, which would often move him to tears, but he had also taught himself to make bathtub gin during prohibition, and smoked cannabis. Dorothy, meanwhile, had had the possibility of a singing career before deciding to settle down and become a housewife, and was known for having a particularly beautiful soprano voice. Both were, by all accounts, fiercely intelligent people, but they were also as committed as anyone to the ideals of the middle-class family even as they chafed against its restrictions. Like her mother, young Janis had a beautiful soprano voice, and she became a soloist in her church choir, but after the age of six, she was not encouraged to sing much. Dorothy had had a thyroid operation which destroyed her singing voice, and the family got rid of their piano soon after (different sources say that this was either because Dorothy found her daughter's singing painful now that she couldn't sing herself, or because Seth was upset that his wife could no longer sing. Either seems plausible.) Janis was pushed to be a high-achiever -- she was given a library card as soon as she could write her name, and encouraged to use it, and she was soon advanced in school, skipping a couple of grades. She was also by all accounts a fiercely talented painter, and her parents paid for art lessons. From everything one reads about her pre-teen years, she was a child prodigy who was loved by everyone and who was clearly going to be a success of some kind. Things started to change when she reached her teenage years. Partly, this was just her getting into rock and roll music, which her father thought a fad -- though even there, she differed from her peers. She loved Elvis, but when she heard "Hound Dog", she loved it so much that she tracked down a copy of Big Mama Thornton's original, and told her friends she preferred that: [Excerpt: Big Mama Thornton, "Hound Dog"] Despite this, she was still also an exemplary student and overachiever. But by the time she turned fourteen, things started to go very wrong for her. Partly this was just down to her relationship with her father changing -- she adored him, but he became more distant from his daughters as they grew into women. But also, puberty had an almost wholly negative effect on her, at least by the standards of that time and place. She put on weight (which, again, I do not think is a negative thing, but she did, and so did everyone around her), she got a bad case of acne which didn't ever really go away, and she also didn't develop breasts particularly quickly -- which, given that she was a couple of years younger than the other people in the same classes at school, meant she stood out even more. In the mid-sixties, a doctor apparently diagnosed her as having a "hormone imbalance" -- something that got to her as a possible explanation for why she was, to quote from a letter she wrote then, "not really a woman or enough of one or something." She wondered if "maybe something as simple as a pill could have helped out or even changed that part of me I call ME and has been so messed up.” I'm not a doctor and even if I were, diagnosing historical figures is an unethical thing to do, but certainly the acne, weight gain, and mental health problems she had are all consistent with PCOS, the most common endocrine disorder among women, and it seems likely given what the doctor told her that this was the cause. But at the time all she knew was that she was different, and that in the eyes of her fellow students she had gone from being pretty to being ugly. She seems to have been a very trusting, naive, person who was often the brunt of jokes but who desperately needed to be accepted, and it became clear that her appearance wasn't going to let her fit into the conformist society she was being brought up in, while her high intelligence, low impulse control, and curiosity meant she couldn't even fade into the background. This left her one other option, and she decided that she would deliberately try to look and act as different from everyone else as possible. That way, it would be a conscious choice on her part to reject the standards of her fellow pupils, rather than her being rejected by them. She started to admire rebels. She became a big fan of Jerry Lee Lewis, whose music combined the country music she'd grown up hearing in Texas, the R&B she liked now, and the rebellious nature she was trying to cultivate: [Excerpt: Jerry Lee Lewis, "Whole Lotta Shakin' Goin' On"] When Lewis' career was derailed by his marriage to his teenage cousin, Joplin wrote an angry letter to Time magazine complaining that they had mistreated him in their coverage. But as with so many people of her generation, her love of rock and roll music led her first to the blues and then to folk, and she soon found herself listening to Odetta: [Excerpt: Odetta, "Muleskinner Blues"] One of her first experiences of realising she could gain acceptance from her peers by singing was when she was hanging out with the small group of Bohemian teenagers she was friendly with, and sang an Odetta song, mimicking her voice exactly. But young Janis Joplin was listening to an eclectic range of folk music, and could mimic more than just Odetta. For all that her later vocal style was hugely influenced by Odetta and by other Black singers like Big Mama Thornton and Etta James, her friends in her late teens and early twenties remember her as a vocal chameleon with an achingly pure soprano, who would more often than Odetta be imitating the great Appalachian traditional folk singer Jean Ritchie: [Excerpt: Jean Ritchie, "Lord Randall"] She was, in short, trying her best to become a Beatnik, despite not having any experience of that subculture other than what she read in books -- though she *did* read about them in books, devouring things like Kerouac's On The Road. She came into conflict with her mother, who didn't understand what was happening to her daughter, and who tried to get family counselling to understand what was going on. Her father, who seemed to relate more to Janis, but who was more quietly eccentric, put an end to that, but Janis would still for the rest of her life talk about how her mother had taken her to doctors who thought she was going to end up "either in jail or an insane asylum" to use her words. From this point on, and for the rest of her life, she was torn between a need for approval from her family and her peers, and a knowledge that no matter what she did she couldn't fit in with normal societal expectations. In high school she was a member of the Future Nurses of America, the Future Teachers of America, the Art Club, and Slide Rule Club, but she also had a reputation as a wild girl, and as sexually active (even though by all accounts at this point she was far less so than most of the so-called "good girls" – but her later activity was in part because she felt that if she was going to have that reputation anyway she might as well earn it). She also was known to express radical opinions, like that segregation was wrong, an opinion that the other students in her segregated Texan school didn't even think was wrong, but possibly some sort of sign of mental illness. Her final High School yearbook didn't contain a single other student's signature. And her initial choice of university, Lamar State College of Technology, was not much better. In the next town over, and attended by many of the same students, it had much the same attitudes as the school she'd left. Almost the only long-term effect her initial attendance at university had on her was a negative one -- she found there was another student at the college who was better at painting. Deciding that if she wasn't going to be the best at something she didn't want to do it at all, she more or less gave up on painting at that point. But there was one positive. One of the lecturers at Lamar was Francis Edward "Ab" Abernethy, who would in the early seventies go on to become the Secretary and Editor of the Texas Folklore Society, and was also a passionate folk musician, playing double bass in string bands. Abernethy had a great collection of blues 78s. and it was through this collection that Janis first discovered classic blues, and in particular Bessie Smith: [Excerpt: Bessie Smith, "Black Mountain Blues"] A couple of episodes ago, we had a long look at the history of the music that now gets called "the blues" -- the music that's based around guitars, and generally involves a solo male vocalist, usually Black during its classic period. At the time that music was being made though it wouldn't have been thought of as "the blues" with no modifiers by most people who were aware of it. At the start, even the songs they were playing weren't thought of as blues by the male vocalist/guitarists who played them -- they called the songs they played "reels". The music released by people like Blind Lemon Jefferson, Son House, Robert Johnson, Kokomo Arnold and so on was thought of as blues music, and people would understand and agree with a phrase like "Lonnie Johnson is a blues singer", but it wasn't the first thing people thought of when they talked about "the blues". Until relatively late -- probably some time in the 1960s -- if you wanted to talk about blues music made by Black men with guitars and only that music, you talked about "country blues". If you thought about "the blues", with no qualifiers, you thought about a rather different style of music, one that white record collectors started later to refer to as "classic blues" to differentiate it from what they were now calling "the blues". Nowadays of course if you say "classic blues", most people will think you mean Muddy Waters or John Lee Hooker, people who were contemporary at the time those white record collectors were coming up with their labels, and so that style of music gets referred to as "vaudeville blues", or as "classic female blues": [Excerpt: Mamie Smith, "Crazy Blues"] What we just heard was the first big blues hit performed by a Black person, from 1920, and as we discussed in the episode on "Crossroads" that revolutionised the whole record industry when it came out. The song was performed by Mamie Smith, a vaudeville performer, and was originally titled "Harlem Blues" by its writer, Perry Bradford, before he changed the title to "Crazy Blues" to get it to a wider audience. Bradford was an important figure in the vaudeville scene, though other than being the credited writer of "Keep A-Knockin'" he's little known these days. He was a Black musician and grew up playing in minstrel shows (the history of minstrelsy is a topic for another day, but it's more complicated than the simple image of blackface that we are aware of today -- though as with many "more complicated than that" things it is, also the simple image of blackface we're aware of). He was the person who persuaded OKeh records that there would be a market for music made by Black people that sounded Black (though as we're going to see in this episode, what "sounding Black" means is a rather loaded question). "Crazy Blues" was the result, and it was a massive hit, even though it was marketed specifically towards Black listeners: [Excerpt: Mamie Smith, "Crazy Blues"] The big stars of the early years of recorded blues were all making records in the shadow of "Crazy Blues", and in the case of its very biggest stars, they were working very much in the same mould. The two most important blues stars of the twenties both got their start in vaudeville, and were both women. Ma Rainey, like Mamie Smith, first performed in minstrel shows, but where Mamie Smith's early records had her largely backed by white musicians, Rainey was largely backed by Black musicians, including on several tracks Louis Armstrong: [Excerpt: Ma Rainey, "See See Rider"] Rainey's band was initially led by Thomas Dorsey, one of the most important men in American music, who we've talked about before in several episodes, including the last one. He was possibly the single most important figure in two different genres -- hokum music, when he, under the name "Georgia Tom" recorded "It's Tight Like That" with Tampa Red: [Excerpt: Tampa Red and Georgia Tom, "It's Tight Like That"] And of course gospel music, which to all intents and purposes he invented, and much of whose repertoire he wrote: [Excerpt: Mahalia Jackson, "Take My Hand, Precious Lord"] When Dorsey left Rainey's band, as we discussed right back in episode five, he was replaced by a female pianist, Lil Henderson. The blues was a woman's genre. And Ma Rainey was, by preference, a woman's woman, though she was married to a man: [Excerpt: Ma Rainey, "Prove it on Me"] So was the biggest star of the classic blues era, who was originally mentored by Rainey. Bessie Smith, like Rainey, was a queer woman who had relationships with men but was far more interested in other women.  There were stories that Bessie Smith actually got her start in the business by being kidnapped by Ma Rainey, and forced into performing on the same bills as her in the vaudeville show she was touring in, and that Rainey taught Smith to sing blues in the process. In truth, Rainey mentored Smith more in stagecraft and the ways of the road than in singing, and neither woman was only a blues singer, though both had huge success with their blues records.  Indeed, since Rainey was already in the show, Smith was initially hired as a dancer rather than a singer, and she also worked as a male impersonator. But Smith soon branched out on her own -- from the beginning she was obviously a star. The great jazz clarinettist Sidney Bechet later said of her "She had this trouble in her, this thing that would not let her rest sometimes, a meanness that came and took her over. But what she had was alive … Bessie, she just wouldn't let herself be; it seemed she couldn't let herself be." Bessie Smith was signed by Columbia Records in 1923, as part of the rush to find and record as many Black women blues singers as possible. Her first recording session produced "Downhearted Blues", which became, depending on which sources you read, either the biggest-selling blues record since "Crazy Blues" or the biggest-selling blues record ever, full stop, selling three quarters of a million copies in the six months after its release: [Excerpt: Bessie Smith, "Downhearted Blues"] Smith didn't make royalties off record sales, only making a flat fee, but she became the most popular Black performer of the 1920s. Columbia signed her to an exclusive contract, and she became so rich that she would literally travel between gigs on her own private train. She lived an extravagant life in every way, giving lavishly to her friends and family, but also drinking extraordinary amounts of liquor, having regular affairs, and also often physically or verbally attacking those around her. By all accounts she was not a comfortable person to be around, and she seemed to be trying to fit an entire lifetime into every moment. From 1923 through 1929 she had a string of massive hits. She recorded material in a variety of styles, including the dirty blues: [Excerpt: Bessie Smith, "Empty Bed Blues] And with accompanists like Louis Armstrong: [Excerpt: Bessie Smith with Louis Armstrong, "Cold in Hand Blues"] But the music for which she became best known, and which sold the best, was when she sang about being mistreated by men, as on one of her biggest hits, "'Tain't Nobody's Biz-Ness if I Do" -- and a warning here, I'm going to play a clip of the song, which treats domestic violence in a way that may be upsetting: [Excerpt: Bessie Smith, "'Tain't Nobody's Biz-Ness if I Do"] That kind of material can often seem horrifying to today's listeners -- and quite correctly so, as domestic violence is a horrifying thing -- and it sounds entirely too excusing of the man beating her up for anyone to find it comfortable listening. But the Black feminist scholar Angela Davis has made a convincing case that while these records, and others by Smith's contemporaries, can't reasonably be considered to be feminist, they *are* at the very least more progressive than they now seem, in that they were, even if excusing it, pointing to a real problem which was otherwise left unspoken. And that kind of domestic violence and abuse *was* a real problem, including in Smith's own life. By all accounts she was terrified of her husband, Jack Gee, who would frequently attack her because of her affairs with other people, mostly women. But she was still devastated when he left her for a younger woman, not only because he had left her, but also because he kidnapped their adopted son and had him put into a care home, falsely claiming she had abused him. Not only that, but before Jack left her closest friend had been Jack's niece Ruby and after the split she never saw Ruby again -- though after her death Ruby tried to have a blues career as "Ruby Smith", taking her aunt's surname and recording a few tracks with Sammy Price, the piano player who worked with Sister Rosetta Tharpe: [Excerpt: Ruby Smith with Sammy Price, "Make Me Love You"] The same month, May 1929, that Gee left her, Smith recorded what was to become her last big hit, and most well-known song, "Nobody Knows You When You're Down and Out": [Excerpt: Bessie Smith, "Nobody Knows You When You're Down and Out"] And that could have been the theme for the rest of her life. A few months after that record came out, the Depression hit, pretty much killing the market for blues records. She carried on recording until 1931, but the records weren't selling any more. And at the same time, the talkies came in in the film industry, which along with the Depression ended up devastating the vaudeville audience. Her earnings were still higher than most, but only a quarter of what they had been a year or two earlier. She had one last recording session in 1933, produced by John Hammond for OKeh Records, where she showed that her style had developed over the years -- it was now incorporating the newer swing style, and featured future swing stars Benny Goodman and Jack Teagarden in the backing band: [Excerpt: Bessie Smith, "Gimme a Pigfoot"] Hammond was not hugely impressed with the recordings, preferring her earlier records, and they would be the last she would ever make. She continued as a successful, though no longer record-breaking, live act until 1937, when she and her common-law husband, Lionel Hampton's uncle Richard Morgan, were in a car crash. Morgan escaped, but Smith died of her injuries and was buried on October the fourth 1937. Ten thousand people came to her funeral, but she was buried in an unmarked grave -- she was still legally married to Gee, even though they'd been separated for eight years, and while he supposedly later became rich from songwriting royalties from some of her songs (most of her songs were written by other people, but she wrote a few herself) he refused to pay for a headstone for her. Indeed on more than one occasion he embezzled money that had been raised by other people to provide a headstone. Bessie Smith soon became Joplin's favourite singer of all time, and she started trying to copy her vocals. But other than discovering Smith's music, Joplin seems to have had as terrible a time at university as at school, and soon dropped out and moved back in with her parents. She went to business school for a short while, where she learned some secretarial skills, and then she moved west, going to LA where two of her aunts lived, to see if she could thrive better in a big West Coast city than she did in small-town Texas. Soon she moved from LA to Venice Beach, and from there had a brief sojourn in San Francisco, where she tried to live out her beatnik fantasies at a time when the beatnik culture was starting to fall apart. She did, while she was there, start smoking cannabis, though she never got a taste for that drug, and took Benzedrine and started drinking much more heavily than she had before. She soon lost her job, moved back to Texas, and re-enrolled at the same college she'd been at before. But now she'd had a taste of real Bohemian life -- she'd been singing at coffee houses, and having affairs with both men and women -- and soon she decided to transfer to the University of Texas at Austin. At this point, Austin was very far from the cultural centre it has become in recent decades, and it was still a straitlaced Texan town, but it was far less so than Port Arthur, and she soon found herself in a folk group, the Waller Creek Boys. Janis would play autoharp and sing, sometimes Bessie Smith covers, but also the more commercial country and folk music that was popular at the time, like "Silver Threads and Golden Needles", a song that had originally been recorded by Wanda Jackson but at that time was a big hit for Dusty Springfield's group The Springfields: [Excerpt: The Waller Creek Boys, "Silver Threads and Golden Needles"] But even there, Joplin didn't fit in comfortably. The venue where the folk jams were taking place was a segregated venue, as everywhere around Austin was. And she was enough of a misfit that the campus newspaper did an article on her headlined "She Dares to Be Different!", which read in part "She goes barefooted when she feels like it, wears Levi's to class because they're more comfortable, and carries her Autoharp with her everywhere she goes so that in case she gets the urge to break out into song it will be handy." There was a small group of wannabe-Beatniks, including Chet Helms, who we've mentioned previously in the Grateful Dead episode, Gilbert Shelton, who went on to be a pioneer of alternative comics and create the Fabulous Furry Freak Brothers, and Shelton's partner in Rip-Off Press, Dave Moriarty, but for the most part the atmosphere in Austin was only slightly better for Janis than it had been in Port Arthur. The final straw for her came when in an annual charity fundraiser joke competition to find the ugliest man on campus, someone nominated her for the "award". She'd had enough of Texas. She wanted to go back to California. She and Chet Helms, who had dropped out of the university earlier and who, like her, had already spent some time on the West Coast, decided to hitch-hike together to San Francisco. Before leaving, she made a recording for her ex-girlfriend Julie Paul, a country and western musician, of a song she'd written herself. It's recorded in what many say was Janis' natural voice -- a voice she deliberately altered in performance in later years because, she would tell people, she didn't think there was room for her singing like that in an industry that already had Joan Baez and Judy Collins. In her early years she would alternate between singing like this and doing her imitations of Black women, but the character of Janis Joplin who would become famous never sang like this. It may well be the most honest thing that she ever recorded, and the most revealing of who she really was: [Excerpt: Janis Joplin, "So Sad to Be Alone"] Joplin and Helms made it to San Francisco, and she started performing at open-mic nights and folk clubs around the Bay Area, singing in her Bessie Smith and Odetta imitation voice, and sometimes making a great deal of money by sounding different from the wispier-voiced women who were the norm at those venues. The two friends parted ways, and she started performing with two other folk musicians, Larry Hanks and Roger Perkins, and she insisted that they would play at least one Bessie Smith song at every performance: [Excerpt: Janis Joplin, Larry Hanks, and Roger Perkins, "Black Mountain Blues (live in San Francisco)"] Often the trio would be joined by Billy Roberts, who at that time had just started performing the song that would make his name, "Hey Joe", and Joplin was soon part of the folk scene in the Bay Area, and admired by Dino Valenti, David Crosby, and Jerry Garcia among others. She also sang a lot with Jorma Kaukonnen, and recordings of the two of them together have circulated for years: [Excerpt: Janis Joplin and Jorma Kaukonnen, "Nobody Knows You When You're Down and Out"] Through 1963, 1964, and early 1965 Joplin ping-ponged from coast to coast, spending time in the Bay Area, then Greenwich Village, dropping in on her parents then back to the Bay Area, and she started taking vast quantities of methamphetamine. Even before moving to San Francisco she had been an occasional user of amphetamines – at the time they were regularly prescribed to students as study aids during exam periods, and she had also been taking them to try to lose some of the weight she always hated. But while she was living in San Francisco she became dependent on the drug. At one point her father was worried enough about her health to visit her in San Francisco, where she managed to fool him that she was more or less OK. But she looked to him for reassurance that things would get better for her, and he couldn't give it to her. He told her about a concept that he called the "Saturday night swindle", the idea that you work all week so you can go out and have fun on Saturday in the hope that that will make up for everything else, but that it never does. She had occasional misses with what would have been lucky breaks -- at one point she was in a motorcycle accident just as record labels were interested in signing her, and by the time she got out of the hospital the chance had gone. She became engaged to another speed freak, one who claimed to be an engineer and from a well-off background, but she was becoming severely ill from what was by now a dangerous amphetamine habit, and in May 1965 she decided to move back in with her parents, get clean, and have a normal life. Her new fiance was going to do the same, and they were going to have the conformist life her parents had always wanted, and which she had always wanted to want. Surely with a husband who loved her she could find a way to fit in and just be normal. She kicked the addiction, and wrote her fiance long letters describing everything about her family and the new normal life they were going to have together, and they show her painfully trying to be optimistic about the future, like one where she described her family to him: "My mother—Dorothy—worries so and loves her children dearly. Republican and Methodist, very sincere, speaks in clichés which she really means and is very good to people. (She thinks you have a lovely voice and is terribly prepared to like you.) My father—richer than when I knew him and kind of embarrassed about it—very well read—history his passion—quiet and very excited to have me home because I'm bright and we can talk (about antimatter yet—that impressed him)! I keep telling him how smart you are and how proud I am of you.…" She went back to Lamar, her mother started sewing her a wedding dress, and for much of the year she believed her fiance was going to be her knight in shining armour. But as it happened, the fiance in question was described by everyone else who knew him as a compulsive liar and con man, who persuaded her father to give him money for supposed medical tests before the wedding, but in reality was apparently married to someone else and having a baby with a third woman. After the engagement was broken off, she started performing again around the coffeehouses in Austin and Houston, and she started to realise the possibilities of rock music for her kind of performance. The missing clue came from a group from Austin who she became very friendly with, the Thirteenth Floor Elevators, and the way their lead singer Roky Erickson would wail and yell: [Excerpt: The 13th Floor Elevators, "You're Gonna Miss Me (live)"] If, as now seemed inevitable, Janis was going to make a living as a performer, maybe she should start singing rock music, because it seemed like there was money in it. There was even some talk of her singing with the Elevators. But then an old friend came to Austin from San Francisco with word from Chet Helms. A blues band had formed, and were looking for a singer, and they remembered her from the coffee houses. Would she like to go back to San Francisco and sing with them? In the time she'd been away, Helms had become hugely prominent in the San Francisco music scene, which had changed radically. A band from the area called the Charlatans had been playing a fake-Victorian saloon called the Red Dog in nearby Nevada, and had become massive with the people who a few years earlier had been beatniks: [Excerpt: The Charlatans, "32-20"] When their residency at the Red Dog had finished, several of the crowd who had been regulars there had become a collective of sorts called the Family Dog, and Helms had become their unofficial leader. And there's actually a lot packed into that choice of name. As we'll see in a few future episodes, a lot of West Coast hippies eventually started calling their collectives and communes families. This started as a way to get round bureaucracy -- if a helpful welfare officer put down that the unrelated people living in a house together were a family, suddenly they could get food stamps. As with many things, of course, the label then affected how people thought about themselves, and one thing that's very notable about the San Francisco scene hippies in particular is that they are some of the first people to make a big deal about what we now  call "found family" or "family of choice". But it's also notable how often the hippie found families took their model from the only families these largely middle-class dropouts had ever known, and structured themselves around men going out and doing the work -- selling dope or panhandling or being rock musicians or shoplifting -- with the women staying at home doing the housework. The Family Dog started promoting shows, with the intention of turning San Francisco into "the American Liverpool", and soon Helms was rivalled only by Bill Graham as the major promoter of rock shows in the Bay Area. And now he wanted Janis to come back and join this new band. But Janis was worried. She was clean now. She drank far too much, but she wasn't doing any other drugs. She couldn't go back to San Francisco and risk getting back on methamphetamine. She needn't worry about that, she was told, nobody in San Francisco did speed any more, they were all on LSD -- a drug she hated and so wasn't in any danger from. Reassured, she made the trip back to San Francisco, to join Big Brother and the Holding Company. Big Brother and the Holding Company were the epitome of San Francisco acid rock at the time. They were the house band at the Avalon Ballroom, which Helms ran, and their first ever gig had been at the Trips Festival, which we talked about briefly in the Grateful Dead episode. They were known for being more imaginative than competent -- lead guitarist James Gurley was often described as playing parts that were influenced by John Cage, but was equally often, and equally accurately, described as not actually being able to keep his guitar in tune because he was too stoned. But they were drawing massive crowds with their instrumental freak-out rock music. Helms thought they needed a singer, and he had remembered Joplin, who a few of the group had seen playing the coffee houses. He decided she would be perfect for them, though Joplin wasn't so sure. She thought it was worth a shot, but as she wrote to her parents before meeting the group "Supposed to rehearse w/ the band this afternoon, after that I guess I'll know whether I want to stay & do that for awhile. Right now my position is ambivalent—I'm glad I came, nice to see the city, a few friends, but I'm not at all sold on the idea of becoming the poor man's Cher.” In that letter she also wrote "I'm awfully sorry to be such a disappointment to you. I understand your fears at my coming here & must admit I share them, but I really do think there's an awfully good chance I won't blow it this time." The band she met up with consisted of lead guitarist James Gurley, bass player Peter Albin, rhythm player Sam Andrew, and drummer David Getz.  To start with, Peter Albin sang lead on most songs, with Joplin adding yelps and screams modelled on those of Roky Erickson, but in her first gig with the band she bowled everyone over with her lead vocal on the traditional spiritual "Down on Me", which would remain a staple of their live act, as in this live recording from 1968: [Excerpt: Big Brother and the Holding Company, "Down on Me (Live 1968)"] After that first gig in June 1966, it was obvious that Joplin was going to be a star, and was going to be the group's main lead vocalist. She had developed a whole new stage persona a million miles away from her folk performances. As Chet Helms said “Suddenly this person who would stand upright with her fists clenched was all over the stage. Roky Erickson had modeled himself after the screaming style of Little Richard, and Janis's initial stage presence came from Roky, and ultimately Little Richard. It was a very different Janis.” Joplin would always claim to journalists that her stage persona was just her being herself and natural, but she worked hard on every aspect of her performance, and far from the untrained emotional outpouring she always suggested, her vocal performances were carefully calculated pastiches of her influences -- mostly Bessie Smith, but also Big Mama Thornton, Odetta, Etta James, Tina Turner, and Otis Redding. That's not to say that those performances weren't an authentic expression of part of herself -- they absolutely were. But the ethos that dominated San Francisco in the mid-sixties prized self-expression over technical craft, and so Joplin had to portray herself as a freak of nature who just had to let all her emotions out, a wild woman, rather than someone who carefully worked out every nuance of her performances. Joplin actually got the chance to meet one of her idols when she discovered that Willie Mae Thornton was now living and regularly performing in the Bay Area. She and some of her bandmates saw Big Mama play a small jazz club, where she performed a song she wouldn't release on a record for another two years: [Excerpt: Big Mama Thornton, "Ball 'n' Chain"] Janis loved the song and scribbled down the lyrics, then went backstage to ask Big Mama if Big Brother could cover the song. She gave them her blessing, but told them "don't" -- and here she used a word I can't use with a clean rating -- "it up". The group all moved in together, communally, with their partners -- those who had them. Janis was currently single, having dumped her most recent boyfriend after discovering him shooting speed, as she was still determined to stay clean. But she was rapidly discovering that the claim that San Franciscans no longer used much speed had perhaps not been entirely true, as for example Sam Andrew's girlfriend went by the nickname Speedfreak Rita. For now, Janis was still largely clean, but she did start drinking more. Partly this was because of a brief fling with Pigpen from the Grateful Dead, who lived nearby. Janis liked Pigpen as someone else on the scene who didn't much like psychedelics or cannabis -- she didn't like drugs that made her think more, but only drugs that made her able to *stop* thinking (her love of amphetamines doesn't seem to fit this pattern, but a small percentage of people have a different reaction to amphetamine-type stimulants, perhaps she was one of those). Pigpen was a big drinker of Southern Comfort -- so much so that it would kill him within a few years -- and Janis started joining him. Her relationship with Pigpen didn't last long, but the two would remain close, and she would often join the Grateful Dead on stage over the years to duet with him on "Turn On Your Lovelight": [Excerpt: Janis Joplin and the Grateful Dead, "Turn on Your Lovelight"] But within two months of joining the band, Janis nearly left. Paul Rothchild of Elektra Records came to see the group live, and was impressed by their singer, but not by the rest of the band. This was something that would happen again and again over the group's career. The group were all imaginative and creative -- they worked together on their arrangements and their long instrumental jams and often brought in very good ideas -- but they were not the most disciplined or technically skilled of musicians, even when you factored in their heavy drug use, and often lacked the skill to pull off their better ideas. They were hugely popular among the crowds at the Avalon Ballroom, who were on the group's chemical wavelength, but Rothchild was not impressed -- as he was, in general, unimpressed with psychedelic freakouts. He was already of the belief in summer 1966 that the fashion for extended experimental freak-outs would soon come to an end and that there would be a pendulum swing back towards more structured and melodic music. As we saw in the episode on The Band, he would be proved right in a little over a year, but being ahead of the curve he wanted to put together a supergroup that would be able to ride that coming wave, a group that would play old-fashioned blues. He'd got together Stefan Grossman, Steve Mann, and Taj Mahal, and he wanted Joplin to be the female vocalist for the group, dueting with Mahal. She attended one rehearsal, and the new group sounded great. Elektra Records offered to sign them, pay their rent while they rehearsed, and have a major promotional campaign for their first release. Joplin was very, very, tempted, and brought the subject up to her bandmates in Big Brother. They were devastated. They were a family! You don't leave your family! She was meant to be with them forever! They eventually got her to agree to put off the decision at least until after a residency they'd been booked for in Chicago, and she decided to give them the chance, writing to her parents "I decided to stay w/the group but still like to think about the other thing. Trying to figure out which is musically more marketable because my being good isn't enough, I've got to be in a good vehicle.” The trip to Chicago was a disaster. They found that the people of Chicago weren't hugely interested in seeing a bunch of white Californians play the blues, and that the Midwest didn't have the same Bohemian crowds that the coastal cities they were used to had, and so their freak-outs didn't go down well either. After two weeks of their four-week residency, the club owner stopped paying them because they were so unpopular, and they had no money to get home. And then they were approached by Bob Shad. (For those who know the film Walk Hard: The Dewey Cox Story, the Bob Shad in that film is named after this one -- Judd Apatow, the film's director, is Shad's grandson) This Shad was a record producer, who had worked with people like Big Bill Broonzy, Sarah Vaughan, Dinah Washington, and Billy Eckstine over an eighteen-year career, and had recently set up a new label, Mainstream Records. He wanted to sign Big Brother and the Holding Company. They needed money and... well, it was a record contract! It was a contract that took half their publishing, paid them a five percent royalty on sales, and gave them no advance, but it was still a contract, and they'd get union scale for the first session. In that first session in Chicago, they recorded four songs, and strangely only one, "Down on Me", had a solo Janis vocal. Of the other three songs, Sam Andrew and Janis dueted on Sam's song "Call on Me", Albin sang lead on the group composition "Blindman", and Gurley and Janis sang a cover of "All Is Loneliness", a song originally by the avant-garde street musician Moondog: [Excerpt: Big Brother and the Holding Company, "All is Loneliness"] The group weren't happy with the four songs they recorded -- they had to keep the songs to the length of a single, and the engineers made sure that the needles never went into the red, so their guitars sounded far more polite and less distorted than they were used to. Janis was fascinated by the overdubbing process, though, especially double-tracking, which she'd never tried before but which she turned out to be remarkably good at. And they were now signed to a contract, which meant that Janis wouldn't be leaving the group to go solo any time soon. The family were going to stay together. But on the group's return to San Francisco, Janis started doing speed again, encouraged by the people around the group, particularly Gurley's wife. By the time the group's first single, "Blindman" backed with "All is Loneliness", came out, she was an addict again. That initial single did nothing, but the group were fast becoming one of the most popular in the Bay Area, and almost entirely down to Janis' vocals and on-stage persona. Bob Shad had already decided in the initial session that while various band members had taken lead, Janis was the one who should be focused on as the star, and when they drove to LA for their second recording session it was songs with Janis leads that they focused on. At that second session, in which they recorded ten tracks in two days, the group recorded a mix of material including one of Janis' own songs, the blues track "Women is Losers", and a version of the old folk song "the Cuckoo Bird" rearranged by Albin. Again they had to keep the arrangements to two and a half minutes a track, with no extended soloing and a pop arrangement style, and the results sound a lot more like the other San Francisco bands, notably Jefferson Airplane, than like the version of the band that shows itself in their live performances: [Excerpt: Big Brother and the Holding Company, "Coo Coo"] After returning to San Francisco after the sessions, Janis went to see Otis Redding at the Fillmore, turning up several hours before the show started on all three nights to make sure she could be right at the front. One of the other audience members later recalled “It was more fascinating for me, almost, to watch Janis watching Otis, because you could tell that she wasn't just listening to him, she was studying something. There was some kind of educational thing going on there. I was jumping around like the little hippie girl I was, thinking This is so great! and it just stopped me in my tracks—because all of a sudden Janis drew you very deeply into what the performance was all about. Watching her watch Otis Redding was an education in itself.” Joplin would, for the rest of her life, always say that Otis Redding was her all-time favourite singer, and would say “I started singing rhythmically, and now I'm learning from Otis Redding to push a song instead of just sliding over it.” [Excerpt: Otis Redding, "I Can't Turn You Loose (live)"] At the start of 1967, the group moved out of the rural house they'd been sharing and into separate apartments around Haight-Ashbury, and they brought the new year in by playing a free show organised by the Hell's Angels, the violent motorcycle gang who at the time were very close with the proto-hippies in the Bay Area. Janis in particular always got on well with the Angels, whose drugs of choice, like hers, were speed and alcohol more than cannabis and psychedelics. Janis also started what would be the longest on-again off-again relationship she would ever have, with a woman named Peggy Caserta. Caserta had a primary partner, but that if anything added to her appeal for Joplin -- Caserta's partner Kimmie had previously been in a relationship with Joan Baez, and Joplin, who had an intense insecurity that made her jealous of any other female singer who had any success, saw this as in some way a validation both of her sexuality and, transitively, of her talent. If she was dating Baez's ex's lover, that in some way put her on a par with Baez, and when she told friends about Peggy, Janis would always slip that fact in. Joplin and Caserta would see each other off and on for the rest of Joplin's life, but they were never in a monogamous relationship, and Joplin had many other lovers over the years. The next of these was Country Joe McDonald of Country Joe and the Fish, who were just in the process of recording their first album Electric Music for the Mind and Body, when McDonald and Joplin first got together: [Excerpt: Country Joe and the Fish, "Grace"] McDonald would later reminisce about lying with Joplin, listening to one of the first underground FM radio stations, KMPX, and them playing a Fish track and a Big Brother track back to back. Big Brother's second single, the other two songs recorded in the Chicago session, had been released in early 1967, and the B-side, "Down on Me", was getting a bit of airplay in San Francisco and made the local charts, though it did nothing outside the Bay Area: [Excerpt: Big Brother and the Holding Company, "Down on Me"] Janis was unhappy with the record, though, writing to her parents and saying, “Our new record is out. We seem to be pretty dissatisfied w/it. I think we're going to try & get out of the record contract if we can. We don't feel that they know how to promote or engineer a record & every time we recorded for them, they get all our songs, which means we can't do them for another record company. But then if our new record does something, we'd change our mind. But somehow, I don't think it's going to." The band apparently saw a lawyer to see if they could get out of the contract with Mainstream, but they were told it was airtight. They were tied to Bob Shad no matter what for the next five years. Janis and McDonald didn't stay together for long -- they clashed about his politics and her greater fame -- but after they split, she asked him to write a song for her before they became too distant, and he obliged and recorded it on the Fish's next album: [Excerpt: Country Joe and the Fish, "Janis"] The group were becoming so popular by late spring 1967 that when Richard Lester, the director of the Beatles' films among many other classics, came to San Francisco to film Petulia, his follow-up to How I Won The War, he chose them, along with the Grateful Dead, to appear in performance segments in the film. But it would be another filmmaker that would change the course of the group's career irrevocably: [Excerpt: Scott McKenzie, "San Francisco (Be Sure to Wear Some Flowers in Your Hair)"] When Big Brother and the Holding Company played the Monterey Pop Festival, nobody had any great expectations. They were second on the bill on the Saturday, the day that had been put aside for the San Francisco acts, and they were playing in the early afternoon, after a largely unimpressive night before. They had a reputation among the San Francisco crowd, of course, but they weren't even as big as the Grateful Dead, Moby Grape or Country Joe and the Fish, let alone Jefferson Airplane. Monterey launched four careers to new heights, but three of the superstars it made -- Otis Redding, Jimi Hendrix, and the Who -- already had successful careers. Hendrix and the Who had had hits in the UK but not yet broken the US market, while Redding was massively popular with Black people but hadn't yet crossed over to a white audience. Big Brother and the Holding Company, on the other hand, were so unimportant that D.A. Pennebaker didn't even film their set -- their manager at the time had not wanted to sign over the rights to film their performance, something that several of the other acts had also refused -- and nobody had been bothered enough to make an issue of it. Pennebaker just took some crowd shots and didn't bother filming the band. The main thing he caught was Cass Elliot's open-mouthed astonishment at Big Brother's performance -- or rather at Janis Joplin's performance. The members of the group would later complain, not entirely inaccurately, that in the reviews of their performance at Monterey, Joplin's left nipple (the outline of which was apparently visible through her shirt, at least to the male reviewers who took an inordinate interest in such things) got more attention than her four bandmates combined. As Pennebaker later said “She came out and sang, and my hair stood on end. We were told we weren't allowed to shoot it, but I knew if we didn't have Janis in the film, the film would be a wash. Afterward, I said to Albert Grossman, ‘Talk to her manager or break his leg or whatever you have to do, because we've got to have her in this film. I can't imagine this film without this woman who I just saw perform.” Grossman had a talk with the organisers of the festival, Lou Adler and John Phillips, and they offered Big Brother a second spot, the next day, if they would allow their performance to be used in the film. The group agreed, after much discussion between Janis and Grossman, and against the wishes of their manager: [Excerpt: Big Brother and the Holding Company, "Ball and Chain (live at Monterey)"] They were now on Albert Grossman's radar. Or at least, Janis Joplin was. Joplin had always been more of a careerist than the other members of the group. They were in music to have a good time and to avoid working a straight job, and while some of them were more accomplished musicians than their later reputations would suggest -- Sam Andrew, in particular, was a skilled player and serious student of music -- they were fundamentally content with playing the Avalon Ballroom and the Fillmore and making five hundred dollars or so a week between them. Very good money for 1967, but nothing else. Joplin, on the other hand, was someone who absolutely craved success. She wanted to prove to her family that she wasn't a failure and that her eccentricity shouldn't stop them being proud of her; she was always, even at the depths of her addictions, fiscally prudent and concerned about her finances; and she had a deep craving for love. Everyone who talks about her talks about how she had an aching need at all times for approval, connection, and validation, which she got on stage more than she got anywhere else. The bigger the audience, the more they must love her. She'd made all her decisions thus far based on how to balance making music that she loved with commercial success, and this would continue to be the pattern for her in future. And so when journalists started to want to talk to her, even though up to that point Albin, who did most of the on-stage announcements, and Gurley, the lead guitarist, had considered themselves joint leaders of the band, she was eager. And she was also eager to get rid of their manager, who continued the awkward streak that had prevented their first performance at the Monterey Pop Festival from being filmed. The group had the chance to play the Hollywood Bowl -- Bill Graham was putting on a "San Francisco Sound" showcase there, featuring Jefferson Airplane and the Grateful Dead, and got their verbal agreement to play, but after Graham had the posters printed up, their manager refused to sign the contracts unless they were given more time on stage. The next day after that, they played Monterey again -- this time the Monterey Jazz Festival. A very different crowd to the Pop Festival still fell for Janis' performance -- and once again, the film being made of the event didn't include Big Brother's set because of their manager. While all this was going on, the group's recordings from the previous year were rushed out by Mainstream Records as an album, to poor reviews which complained it was nothing like the group's set at Monterey: [Excerpt: Big Brother and the Holding Company, "Bye Bye Baby"] They were going to need to get out of that contract and sign with somewhere better -- Clive Davis at Columbia Records was already encouraging them to sign with him -- but to do that, they needed a better manager. They needed Albert Grossman. Grossman was one of the best negotiators in the business at that point, but he was also someone who had a genuine love for the music his clients made.  And he had good taste -- he managed Odetta, who Janis idolised as a singer, and Bob Dylan, who she'd been a fan of since his first album came out. He was going to be the perfect manager for the group. But he had one condition though. His first wife had been a heroin addict, and he'd just been dealing with Mike Bloomfield's heroin habit. He had one absolutely ironclad rule, a dealbreaker that would stop him signing them -- they didn't use heroin, did they? Both Gurley and Joplin had used heroin on occasion -- Joplin had only just started, introduced to the drug by Gurley -- but they were only dabblers. They could give it up any time they wanted, right? Of course they could. They told him, in perfect sincerity, that the band didn't use heroin and it wouldn't be a problem. But other than that, Grossman was extremely flexible. He explained to the group at their first meeting that he took a higher percentage than other managers, but that he would also make them more money than other managers -- if money was what they wanted. He told them that they needed to figure out where they wanted their career to be, and what they were willing to do to get there -- would they be happy just playing the same kind of venues they were now, maybe for a little more money, or did they want to be as big as Dylan or Peter, Paul, and Mary? He could get them to whatever level they wanted, and he was happy with working with clients at every level, what did they actually want? The group were agreed -- they wanted to be rich. They decided to test him. They were making twenty-five thousand dollars a year between them at that time, so they got ridiculously ambitious. They told him they wanted to make a *lot* of money. Indeed, they wanted a clause in their contract saying the contract would be void if in the first year they didn't make... thinking of a ridiculous amount, they came up with seventy-five thousand dollars. Grossman's response was to shrug and say "Make it a hundred thousand." The group were now famous and mixing with superstars -- Peter Tork of the Monkees had become a close friend of Janis', and when they played a residency in LA they were invited to John and Michelle Phillips' house to see a rough cut of Monterey Pop. But the group, other than Janis, were horrified -- the film barely showed the other band members at all, just Janis. Dave Getz said later "We assumed we'd appear in the movie as a band, but seeing it was a shock. It was all Janis. They saw her as a superstar in the making. I realized that though we were finally going to be making money and go to another level, it also meant our little family was being separated—there was Janis, and there was the band.” [Excerpt: Big Brother and the Holding Company, "Bye Bye Baby"] If the group were going to make that hundred thousand dollars a year, they couldn't remain on Mainstream Records, but Bob Shad was not about to give up his rights to what could potentially be the biggest group in America without a fight. But luckily for the group, Clive Davis at Columbia had seen their Monterey performance, and he was also trying to pivot the label towards the new rock music. He was basically willing to do anything to get them. Eventually Columbia agreed to pay Shad two hundred thousand dollars for the group's contract -- Davis and Grossman negotiated so half that was an advance on the group's future earnings, but the other half was just an expense for the label. On top of that the group got an advance payment of fifty thousand dollars for their first album for Columbia, making a total investment by Columbia of a quarter of a million dollars -- in return for which they got to sign the band, and got the rights to the material they'd recorded for Mainstream, though Shad would get a two percent royalty on their first two albums for Columbia. Janis was intimidated by signing for Columbia, because that had been Aretha Franklin's label before she signed to Atlantic, and she regarded Franklin as the greatest performer in music at that time.  Which may have had something to do with the choice of a new song the group added to their setlist in early 1968 -- one which was a current hit for Aretha's sister Erma: [Excerpt: Erma Franklin, "Piece of My Heart"] We talked a little in the last episode about the song "Piece of My Heart" itself, though mostly from the perspective of its performer, Erma Franklin. But the song was, as we mentioned, co-written by Bert Berns. He's someone we've talked about a little bit in previous episodes, notably the ones on "Here Comes the Night" and "Twist and Shout", but those were a couple of years ago, and he's about to become a major figure in the next episode, so we might as well take a moment here to remind listeners (or tell those who haven't heard those episodes) of the basics and explain where "Piece of My Heart" comes in Berns' work as a whole. Bert Berns was a latecomer to the music industry, not getting properly started until he was thirty-one, after trying a variety of other occupations. But when he did get started, he wasted no time making his mark -- he knew he had no time to waste. He had a weak heart and knew the likelihood was he was going to die young. He started an association with Wand records as a songwriter and performer, writing songs for some of Phil Spector's pre-fame recordings, and he also started producing records for Atlantic, where for a long while he was almost the equal of Jerry Wexler or Leiber and Stoller in terms of number of massive hits created. His records with Solomon Burke were the records that first got the R&B genre renamed soul (previously the word "soul" mostly referred to a kind of R&Bish jazz, rather than a kind of gospel-ish R&B). He'd also been one of the few American music industry professionals to work with British bands before the Beatles made it big in the USA, after he became alerted to the Beatles' success with his song "Twist and Shout", which he'd co-written with Phil Medley, and which had been a hit in a version Berns produced for the Isley Brothers: [Excerpt: The Isley Brothers, "Twist and Shout"] That song shows the two elements that existed in nearly every single Bert Berns song or production. The first is the Afro-Caribbean rhythm, a feel he picked up during a stint in Cuba in his twenties. Other people in the Atlantic records team were also partial to those rhythms -- Leiber and Stoller loved what they called the baion rhythm -- but Berns more than anyone else made it his signature. He also very specifically loved the song "La Bamba", especially Ritchie Valens' version of it: [Excerpt: Ritchie Valens, "La Bamba"] He basically seemed to think that was the greatest record ever made, and he certainly loved that three-chord trick I-IV-V-IV chord sequence -- almost but not quite the same as the "Louie Louie" one.  He used it in nearly every song he wrote from that point on -- usually using a bassline that went something like this: [plays I-IV-V-IV bassline] He used it in "Twist and Shout" of course: [Excerpt: The Isley Brothers, "Twist and Shout"] He used it in "Hang on Sloopy": [Excerpt: The McCoys, "Hang on Sloopy"] He *could* get more harmonically sophisticated on occasion, but the vast majority of Berns' songs show the power of simplicity. They're usually based around three chords, and often they're actually only two chords, like "I Want Candy": [Excerpt: The Strangeloves, "I Want Candy"] Or the chorus to "Here Comes the Night" by Them, which is two chords for most of it and only introduces a third right at the end: [Excerpt: Them, "Here Comes the Night"] And even in that song you can hear the "Twist and Shout"/"La Bamba" feel, even if it's not exactly the same chords. Berns' whole career was essentially a way of wringing *every last possible drop* out of all the implications of Ritchie Valens' record. And so even when he did a more harmonically complex song, like "Piece of My Heart", which actually has some minor chords in the bridge, the "La Bamba" chord sequence is used in both the verse: [Excerpt: Erma Franklin, "Piece of My Heart"] And the chorus: [Excerpt: Erma Franklin, "Piece of My Heart"] Berns co-wrote “Piece of My Heart” with Jerry Ragavoy. Berns and Ragavoy had also written "Cry Baby" for Garnet Mimms, which was another Joplin favourite: [Excerpt: Garnet Mimms, "Cry Baby"] And Ragavoy, with other collaborators

Needless to say, the games industry is going through a rough patch after a decade of booming growth. That is why this episode, with a16z's Jordan Mazer, is very relevant both for companies and individuals.  Jordan has unrivaled experience scaling high-performing teams at Amazon, Scopely, and Riot. He has interviewed thousands, if not tens of thousands professionals, Jordan shares invaluable insights and best practices for companies and individuals.  --- Send in a voice message: https://podcasters.spotify.com/pod/show/deconstructoroffun/message Support this podcast: https://podcasters.spotify.com/pod/show/deconstructoroffun/support

Our conversation on this Living to 100 Club podcast explores the nuances of “making meaning” out of experiences of older adults. The guest is Dr. Susan Mazer, a co-founder of Healing Health Care Systems, a CONTINUOUS AMBIENT RELAXATION ENVIRONMENT (“CARE CHANNEL”) for hospitals and other health care settings. We discuss the varied perceptions that the 55+ group has of events – both external and internal – and the self-talk that goes on in our head when reacting to these events. A fall, the death of a close friend, or maybe unexpected medical findings all cause us to create some meaning about this experience in our day to day life. But how do these experiences affect our outlook and attitudes about aging? Does our interpretation become a burden or worry, or can we escape the negative and move past the experience? Tune in as we learn how to lighten the load from those age-related challenges that come along. Mini Bio Susan Mazer is the award-winning Co-Founder and past CEO of Healing HealthCare Systems (HHS). With Florence Nightingale as her inspiration, Susan has invested the last 30 years in improving the patient environment at the bedside. This has been done by researching and presenting on environmental stressors that impact patient experience and outcomes. She works to identify and understand how patient safety, privacy, and outcomes are impacted by the auditory environment. Currently the Chief Knowledge Officer of HHS, Susan is transferring her knowledge and experience to new owners who were previously employees. Susan is educating them on the mission, vision, and methodology behind HHS and the C.A.R.E. Channel, ensuring the future longevity and sustainability of the organization. Susan established Healing HealthCare Systems to provide healthcare that heals through environmental care management. With a research-driven, evidence-based environmental tool, she grew HHS to place the C.A.R.E. Channel in more than 900 hospitals and residential care facilities nationwide. This is making the business the leading provider of relaxation content at all levels of care. Before founding Healing HealthCare Systems in 1992, Susan performed full-time as a jazz harpist. She pioneered the development of the ElectroAcoustic Harp for Jazz and the concept of music as environmental design. Together with her husband and fellow jazz musician, Dallas Smith, she has recorded 20+ CDs. They continue to perform today. For Our Listeners Susan's Website: HealingHealth.com  See omnystudio.com/listener for privacy information.

In this Fight Back Library release, Dr. Ted Mazer joins us to discuss how you can fit your medical expenses into your budget. We discuss the importance of shopping for medical procedures, ways to avoid surprise billing, understanding how in and out-of-network physicians and procedures affect your final bill, how to negotiate hospital bills, and more. Dr. Mazer is a former President of the California Medical Association. In 2015, San Diego County Medical Society named him one of the county's “Top Doctors” in their annual “Physicians of Exceptional Excellence” survey published by San Diego Magazine. Please see the companion episode, “Negotiating Medical Bills,” one of our most popular.

Quick Trip & The Cincy Brews Traveler took a maiden voyage across the creek to Fabled Brew Works in Erlanger, KY.They are joined by Mazer, Brad Ryles (formerly w/ Dysfunctional Delights), to cut it up about the story behind greater Cincinnati's newest brewery. They also get a surprise visit from The Gnarly Gnome when he just happened to walk in right before we started the last section of the podcast (lucky us)!Theme Music: "Shiny Objects" by Highly LikelyThe Cincy Brews Traveler's Brews:         Loot - Blond Ale – Coffee (4.6%) - 4.25           Fee (Peach Pie A La Mode) - Fruited Berliner Weisse (7.3%) – 4.5          Brobdingnagian: Fat Elvis - Stout - Imperial/Double Pastry – (11.7%) – 4.5         Bugsy - Mead – Session/Short (6.9%) - 4.75     Quick Trip's Brews:         The Last Call of Cthulhu  - Pilsner - German - (5%) - 4.25           Paul Bunyan - Lager - American – (4.5%) - 4.5          Fee (Peach Pie A La Mode) - Fruited Berliner Weisse (7.3%) – 4.75          Fum (Blackberry Cobbler A La Mode - Fruited Berliner Weisse (7.1%) – 4.5          Brobdingnagian: Fat Elvis - Stout - Imperial/Double Pastry – (11.7%) – ??               The Witching Sour - Sour - Berliner Weisse – (5.7%) – 4.5Gnarly Gnome's Brews:        IPA of the Beholder - IPA - Milkshake - (6.8%) - 5.0           Loot - Blond Ale – Coffee (4.6%) - 5.0

This week, Beth and Dianne dive into the complex world of tech with Federal CTO Sara Mazer. They discuss her new company, LaunchDarkly, the first scalable feature management platform. They discuss the company, Dev Opps, Cyber Security and much more!Join the C-Sweet Community! CSweet.org

In this Fight Back Minicast, Dr. Ted Mazer discusses various ear, nose, and throat conditions and disorders. We get to hear about general care for your ears, learn some basic information about sleep apnea, and the questions you need to ask your specialist.Dr. Mazer specializes in treating ear, nose, head, throat, and neck disorders. He was named one of the “Top Doctors” in the 2015 San Diego Magazine “Physicians of Exceptional Excellence” and is a former President of the California Medical Association.

We're continuing in our Jesus = Friend series, talking about what it means to have a friend in Jesus! We're so excited to bring you this second episode!  We talk with mother-daughter duo, Christy and Leelyn Mazer about what it looks like to be a friend of God. We roundtable scripture and bring our personal experiences and perspectives. We wanted Christy and Leelyn to join us for this conversation because we believe they have a special mother-daughter connection rooted in their relationship with Jesus. They have attended local Brave Girls Gather events and used our tools to create space for the girls in their lives to have conversations about life and faith. They share a bit about that with us! We pray this conversation draws you closer into friendship with Jesus and inspires you to have some conversations with the girls in your life about what it means to be a friend of God. Pull up a seat and join us at this table of brave conversation!Check out our latest conversation tools here. 

This week Jared and Micah sit down with Laurie Mazer and discuss her work in solar advocacy and utility scale solar development. Laurie talks about her start in renewable energy and some of the amazing projects she has worked on. Laurie dives into concepts like virtual power purchase agreements and  many more bits of insider solar knowledge.

In this Fight Back Library Release, our special guest, Dr. Ted Mazer discusses various ear, nose, and throat conditions and disorders. From ringing in the ears, the causes and treatment for hearing loss, to the loss of smell, we will cover it and get real-world answers for you.Dr. Mazer specializes in treating ear, nose, head, throat, and neck disorders. He was named one of the “Top Doctors” in the 2015 San Diego Magazine “Physicians of Exceptional Excellence” and is a former President of the California Medical Association.

Natalie Mazer had a whole in her heart from birth which caused a stroke that she believes ultimately saved her life. The post Stroke Saved My Life – Natalie Mazer appeared first on Recovery After Stroke.

Veteran TV producer Eric Mazer is perhaps best known for his work on true crime series and the UFC. He's executive producer of iCrime with Elizabeth Vargas and co-executive producer of Killer Siblings. His projects have aired on Oxygen, Spike, NBC, Fox Sports, TBS, Sci-Fi, History, Travel, MTV, VH1, and most of the Discovery Communications networks.Co-hosts: Jonathan Friedmann & Joey Angel-FieldProducer-engineer: Mike TomrenIMDbhttps://www.imdb.com/name/nm1847911/?ref_=fn_al_nm_1iCrime with Elizabeth Vargashttps://www.youtube.com/@icrimetvKiller Siblingshttps://www.youtube.com/watch?v=weHfmOcGO2sUFC documentaryhttps://vimeo.com/343531947Adat Chaverim – Congregation for Humanistic Judaism, Los Angeleshttps://www.humanisticjudaismla.org/Cool Shul Cultural Communityhttps://www.coolshul.org/Atheists United Studioshttps://www.atheistsunited.org/au-studios

Emil Kocher, Swiss surgeon in the late 1800s, is known mostly for revolutionizing surgery of the thyroid. In his hands, the mortality rate of thyroid removal dropped from 50% to less than 1%. But tragedy soon followed triumph: before Kocher, no one could take out the thyroid gland. So no one asked if you should. The consequence of his surgical genius was the belated realization that the thyroid plays a crucial role in growth and development — much to the dismay of his young patients. This is the story of one man's professional crisis, and how he met the challenge. Recorded live on July 5, 2022 as part of the Objectivist Summer Conference.

Tonight at 9PM ET, we will be talking with Dan Kesterson at Antelope Ridge Mead in Colorado Springs, CO. Dan is the father of 2 boys, and he is an Army Veteran, Mechanical engineer, and the mead-maker at Antelope Ridge Mead. He started making mead when he received 30 lbs of local honey from hives on his Father-in-law's ranch in South Dakota. He immediately switched his focus from brewing beer to making mead after his first batch was a success. In 2019 they started planning to open a meadery where they live in Colorado Springs. Antelope Ridge Mead focuses on pyments, whole-fruit fermentation, and session meads. They pride themselves on high fruiting rates and strive for balance and drinkability in each mead - using only natural ingredients. Their most popular mead is their PB&J Grape session mead, which has already earned two medals (Orpheus and Mazer) in their first year in business. Dan has racked up some impressive wins with his meads: Gold Medal - Candy Crush - Pyment -2021 Orpheus Cup International Gold Medal - Conflux: PB&J Grape - Session Mead - 2021 Orpheus Cup International Bronze Medal - Direct Current - Melomel - 2021 Orpheus Cup International Gold Medal - CC Crush - Pyment - 2021 Mazer Cup International Silver Medal - Conflux: PB&J Grape - 2021 Mazer Cup International BEST OF SHOW MEAD - Sangria Azteca - Fruit Mead - 2022 Colorado State Fair Commercial Wine Competition Bronze Medal - Solstice - Spiced Mead - 2022 Colorado State Fair Commercial Wine Competition Gold Medal - And Then He Served Us Blueberry Pancakes - Anything Goes - 2022 Orpheus Cup International Silver Medal - Sangria Azteca - Specialty Mead - 2022 Orpheus Cup International Silver Medal - Winter Cranberry - Fruit and Spice Mead - 2022 Orpheus Cup International Bronze Medal - Conflux: PB&J Grape - Sweet Session Mead - 2022 Orpheus Cup International Bronze Medal - Solstice - Fruit and Spice Mead - 2022 Orpheus Cup International Come on and listen and hang out with us as we talk mead and explore what Dan's up to, and maybe find out how he's kicking medal butt with his meads! This player will show the most recent show, and when we're live, will play the live feed. If you are calling in, please turn off the player sound, so we don't get feedback.[break] [break]Click here to see a playable list of all our episodes! Sponsor: Honnibrook Craft Meadery. Rated the very best winery in Colorado! Visit our state-of-the-art meadery and tasting room south of downtown Castle Rock, Colorado, in a converted man cave. Mention the Got Mead Podcast this month for a free draft taster!  Google H-O-N-N-I Brook for hours and directions. They love visitors!  www.honnibrook.com If you want to ask your mead making questions, you can call us at 803-443-MEAD (6323) or send us a question via email, or via Twitter @GotmeadNow and we'll tackle it online! 9PM EDT/6PM PDT Join us on live chat during the show Bring your questions and your mead, and let's talk mead! You can call us at 803-443-MEAD (6323), or Skype us at meadwench (please friend me first and say you're a listener, I get tons of Skype spam), or tweet to @gotmeadnow. Upcoming Shows Show links and notes Let There Be Melomels by Rob Ratliff The Big Book of Mead Recipes by Rob Ratliff Let There Be Session Meads by Rob Ratliff Upcoming Events Aug 13 - 14th Annual Mead Night - Temecula, CA - home and commercial mead sharing, backyard fire and a honey tasting. Bring bottles to share! Aug 13 - Starrlight Meadery, Pittsboro, NC - Fairy Hair for Everyone Aug 19 - Bragging Rooster Mead, Warrenton, NC - Dog adoption event Aug 22-23 - American Mead Makers Association - MeadCon 2022 in Baltimore, MD - tickets on sale now! Aug 27 - Starrlight Meadery, Pittsboro, NC - A Visit with CLAWS - bird rescue Sept 4 - Starrlight Meadery, Pittsboro, NC - First Sunday Sound Bath Sept 9-10 - Valkyries Horn Mead Competition, Minneapolis,

On this episode of Beyond The Leaderboard, host William Keathley talks with Beth Kramer Mazer. Beth is definitely a celebrity in my Peloton world as she is the amazing lady behind the leaderboard name VeganRabbi!!!! I was very nervous to finally meet VeganRabbi, but I enjoyed our chat so much. I am just in awe of all she does!! Thanks Beth!!!!!

In this Fight Back episode, Dr. Ted Mazer discusses various ear, nose, and throat conditions and disorders. From ringing in the ears, the causes and treatment for hearing loss to the loss of smell, we will cover it and get real-world answers for you.Dr. Mazer specializes in treating ear, nose, head, throat, and neck disorders. He was named one of the “Top Doctors” in the 2015 San Diego Magazine “Physicians of Exceptional Excellence” and is a former President of the California Medical Association. 

KORSELD [Sweden] - https://korseld.bandcamp.com/ MAZER [Portugal] - https://linktr.ee/Mazerband BESNA [Slovakia] - https://besna.bandcamp.com/ ABYSS [Germany] - https://abyss-deathmetal.bandcamp.com/ PODCAST THEM DOWN - https://linktr.ee/pctd https://podcasts.apple.com/us/podcast/podcast-them-down/id1553076630 https://open.spotify.com/show/1iLWQaU7M9z18yCgR7dodF BURNING SHADOWS - American Power Metal - http://linktr.ee/bsmetal https://burningshadows.bandcamp.com FADE TO BLACK - Metallica Tribute - https://www.facebook.com/FadeToBlackTributeBand/ http://www.fadetoblacktribute.com/ ISENMOR - Dual-Violin Folk Metal - http://linktr.ee/isenmor https://isenmor.bandcamp.com RECENTLY VACATED GRAVES: TRUE ZOMBIE METAL - http://linktr.ee/rvgtzm https://rvgtzm.bandcamp.com

Dan Mazer gives us his version of the trials and tribulation of marriage especially in the first year of it. "I Give It A Year" is written and directed by Mazer. I gave it a chance and I did enjoy it and as much as I enjoyed it, I wouldn't say I would do the things these characters do in this film but MAN they do give great performances. I wish I can say the same about the screenplay overall. The characters are much smarter than their decision making but oh well, that's life goes, I GUESS.

In this Fight Back episode, Dr. Ted Mazer joins us to talk about how you can make your medical expenses fit into your budget. We discuss the importance of shopping for medical procedures, ways to avoid surprise billing, understanding how in and out of network physicians and procedures affect your final bill, how to negotiate hospital bills and more.Dr. Mazer is a former President of the California Medical Association. In 2015, San Diego County Medical Society named him one of the county's “Top Doctors” in their annual “Physicians of Exceptional Excellence” survey published by San Diego Magazine.

Join Adam Mazer as we dig into his CAREER EVOLUTION IN HOLLYWOOD. Adam recounts his EARLY LESSONS in building a WORK ETHIC, and how PASSION continues  to INSPIRE him over A LONG TERM CAREER. Adam reminds us of the IMPORTANCE OF PERSEVERANCE and how EXPERIENCING LIFE breeds wisdom. He also walks us through the making of a script and teaches us just how important the WRITER is to the VISION that comes alive on screen. Listen to this episode for ADVICE ON ENTERING THE INDUSTRY and how we need to CREATE OUR OWN OPPORTUNITIES with the TOOLS we have access to. Adam Mazer's career is 17 YEARS in the making, so don't miss out on all the lessons he learned along the way and THE CONSTANT HUSTLE it takes to SUCCEED.Adam grew up in Philadelphia and was a 1989 graduate of the Newhouse School at Syracuse University, with a Television, Radio, and Film degree. He works closely with Syracuse University campus in L.A., and has mentored many young writers trying to break into the entertainment industry. Adam Mazer is the Emmy Award winning screenwriter of the HBO Film, “You Don't Know Jack”, starring Al Pacino as assisted-suicide advocate Dr. Jack Kevorkian. The movie received a total of 15 Emmy nominations, with Al Pacino winning Best Actor (as well as a Golden Globe win for the same role.) Adam's other feature writing credits include the critically acclaimed true life spy drama, “Breach” (Universal Pictures), about FBI agent-turned-spy Robert Hanssen, which starred Chris Cooper, Laura Linney and Ryan Phillippe. His most recent produced project was “Escaping the NXIVM Cult”, the Lifetime Network movie about actress Catherine Oxenberg's takedown of the NXIVM organization (pronounced Nexium), an international self-help group that was a front for its leader's sex slave cult. He also wrote the based-on-real-events heist movie, “Empire State” (Lionsgate), starring Dwayne Johnson, Liam Hemsworth, and Emma Roberts. Digging In is a podcast that uncovers the secrets to success in life, business, and health. In this weekly show, Matt Rosenthal, CEO and seasoned entrepreneur digs in with guests as they share powerful stories about what it takes to be a success. Everyone has untapped potential, and this podcast delivers a roadmap that will inspire, motivate and educate you on your personal journey. Matt Rosenthal is the President and CEO of Mindcore Technologies. In this position, Matt provides his clients with creative and transformative technology solutions. His passion and experience have a substantial impact on the businesses he works with. Matt also prides himself on being a trusted advisor to his clients as he delivers high-impact and creative ideas, strategic guidance, and thought leadership. Matt's fulfillment as a business owner and advisor lies in the satisfaction he feels when he has made a difference and truly helps others. Visit https://mind-core.com for more information.Be sure to subscribe to the podcast on Spotify!https://open.spotify.com/show/6oiWfrl9pQgUYeDKafUYE2

Q&A on the series The Pentaverate with actor/creator/writer/executive producer Mike Myers, director Tim Kirkby, and cast Ken Jeong, Debi Mazar, Lydia West & Richard McCabe. Moderated by Mara Webster, In Creative Company. A Canadian journalist tries to uncover the truth about a society of five men who have controlled the world since 1347.

Laura Mazer is a literary agent specializing in adult nonfiction with a focus on women's issues, intelligent pop culture, counterintuitive self-help, and books that take us on geeky deep dives into fascinating facets of everyday life. She adores history, biography, and celebrations of literary legacies, especially when they offer fresh stories about women. During this insightful episode of Bound and Determined Laura and Richelle discuss the many ways that an author can understand how to find their niche in the literary world.

Drs. David Mazer and Paul Myles discuss the article “Future of Clinical Trial Methodology” published in the April 2022 issue of Anesthesia & Analgesia.

Episode 473, April 12, 2022 Larry Mazer is back and he answers your questions… questions about Eric Carr, Cheap Trick, Nelson, Cinderella, Whitesnake and David Coverdale, Heaven's Edge, Blacked Eyed Susan, the Moscow Music Peace Festival and of course KISS… did you know KISS spoke with A&M Records in the early 90s about a record […]

On this episode of Telehealth Heroes, we talk with the founder of Healing Healthcare Systems, Dr. Susan Mazer. She explains the importance of hospital ambience and recounts the history and evolution of the C.A.R.E. Channel, a private television program currently used in over a thousand hospitals and clinics.

Brandon Mazer, former candidate for Portland City Council, describes his experience and knowledge around rank choice voting after his historic loss in 2021 elections.  

Staci Hill and Dr. Laura Mazer join Matt Bateman to discuss the value of adolescents "doing something real" during their middle and high school years. Staci Hill is the head of academics at Polygence, an online academy that supports students with independent research and passion projects alongside expert mentors. Dr. Laura Mazer is the Vice President of Academic Programs at Higher Ground Education, which operates schools for students from birth through adolescence, provides training to educators, and more.

Horror author Jae Mazer loves to write creature horror, which is perfect for us because we love to read it. Learn how she chooses her creatures and which ones have impacted her the most. Jae tells us how her clinical psychology background helps craft her characters. Find out why Swan Song by Dean Koontz is her favorite book. She has the most surprising favorite ice cream answer ever. Not sure we can even be friends anymore. Are you curious now? Check it out! To learn more about Jae, you can find her on social media @JaeMazer, everywhere except TikTok.

Get an insider's look into an internal Higher Ground Education pedagogy meeting about surfacing major issues and questions in high school math, recorded for your listening! Our speakers are Dr. Matt Bateman, Violeta Kristof, Rivkah Schack, Laura Mazer, Joseph Perlman, and Steven Gaudino.

Welcome to ‘Eat Speak Compete', a podcast that covers the latest goings-on in the esports and gaming world. Brought to you by Esports Arena, hosts Y4SO and Shamonahe break down the latest news as well as discuss and debate the biggest hot-button topics right now. On this week's episode, Y4SO and Shamonahe are joined by Cloud 9 Apex Legends pro player Zach Mazer. The guys discuss the coming season of ALGS, the latest results in LoL Esports, the coming release of Halo Infinite and more.

The Honorable Sandra Mazer Moss, like many of our guests, has too many accomplishments to list. She is best known as a founder of the Complex Litigation Center and the Mass Tort Litigation Committee which laid the framework for the modern mass tort industry.When Sande started law school in the 1970s, she was a single mother of two young children, working two jobs to feed her family. After graduating, she quickly found herself the target of sexual harassment by a judge that threatened to end her career. Overcoming these obstacles, Sande began to distinguish herself with a brilliant analytic mind and genuine compassion for the people in her courtroom.In this episode, we talk to Sande about her grandfather's labor union organizing, why she almost became an investigative journalist, and her views on sexual harassment in the workplace. Law Firm SEO by Jason HennesseyGet it on AmazonDownload on AudibleSupport the show

The Honorable Sandra Mazer Moss, like many of our guests, has too many accomplishments to list. She is best known as a founder of the Complex Litigation Center and the Mass Tort Litigation Committee which laid the framework for the modern mass tort industry.When Sande started law school in the 1970s, she was a single mother of two young children, working two jobs to feed her family. After graduating, she quickly found herself the target of sexual harassment by a judge that threatened to end her career. Overcoming these obstacles, Sande began to distinguish herself with a brilliant analytic mind and genuine compassion for the people in her courtroom.In this episode, we talk to Sande about her grandfather's labor union organizing, why she almost became an investigative journalist, and her views on sexual harassment in the workplace. Law Firm SEO by Jason HennesseyGet it on AmazonDownload on AudibleSupport the show

Welcome to episode 33 of The Popko Project podcast where I’m joined by a very talented musician who has built quite the resume over the years. I remember seeing him play at local bars in Northeastern Pennsylvania when he was just 16 or 17 years old and I knew from the moment I saw him, […]

Host Lamar Stanley interviews Alex Mazer on turnaround situations.

Alex Mazer, a Vice President with Big Shoulders Capital, discusses Big Shoulders' work making debt and equity investments in underperforming lower middle-market operating companies. In the interview, Alex explains how Big Shoulders approaches turnaround projects and how they expect the most recent downturn to impact the market.

Alex Mazer, a Vice President with Big Shoulders Capital, discusses Big Shoulders' work making debt and equity investments in underperforming lower middle-market operating companies. In the interview, Alex explains how Big Shoulders approaches turnaround projects and how they expect the most recent downturn to impact the market.

We open up celebrating West Virginia Day and the US Womens soccer victory over Sweden. At (13:48) we are joined by viral superstar Laura Mazer, who tells us about her experience at the Pittsburgh Marathon that went viral. At (14:49) We start out learning the unique story about how she got into running and why she started racing and the influence stickers have in her life. At (23:44) we talk about the Pittsburgh Marathon and the story of finding her new friend Jessica in the middle of the race and how they motivated each other to the finish. AT (33:03) we ask about how she found out that her experience went viral and her reaction to the attention. At (40:25) Laura talks about her job in manufacturing, long hours and hot conditions. We are back at (44:14) to wrap up the interview and then At (46:31) in our transportation update, Farely has some Arlington Scooter Statistics, we get an update on the status and PTN starts a twitter account for scooter shaming. At (50:54) we stay on the transportation theme, as Farley grinds his gears over a unique car accessory and impresses us with his geography prowess. At (55:09) we get back to the running stories with an ageless story which we attach an age to, Julia Hurricaine Hawkins, the 103 year old sprinter. At (58:08) we talk about Mayor Jacob Frey declaring Gabe Grunewald day in Minneapolis. At (1:02:05) the undefeated Yorktown Girls soccer team wins the state championship.