Fraternal service movement
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49 episodes with Odd Fellows
21 episodes with Odd Fellows
14 episodes with Odd Fellows
37 episodes with Odd Fellows
16 episodes with Odd Fellows
4 episodes with Odd Fellows
3 episodes with Odd Fellows
2 episodes with Odd Fellows
2 episodes with Odd Fellows
Nick Bryant is a journalist and author best known for releasing Jeffrey Epstein's Black Book.Low Value Mail is a live call-in show with some of the most interesting guests the internet has to offer.Every Monday night at 9pm ETSupport The Show:
Although it's tempting to think that Odd Fellowship has been handed down from the past completely unchanged from some visionaries at an ancient building site, that's not the case. Odd Fellowship has adapted and changed through its history to meet the needs of members and the Order as those needs have changed. In this episode, Kris Gratz of Virginia shares his research into the developments in Odd Fellows' regalia through the ages and how that has coincided with changes in our ritual and also various cultural cross-currents. For example, gold fringe on a collar used to indicate that a member had taken the Encampment Degrees. The number of stars on a collar had a meaning as well. Joining Kris is his friend and previous podcast guest Nick Curry to talk about some legislation he's working on regarding the future of regalia and suppliers. The Shoutout goes to the newly-revived River Raisin Encampment #154 of Michigan (our first Shoutout from Michigan!). In the Odd Podge, Toby previews his upcoming trip to the Northwest IOOF Meeting in Canada, Nick talks about the importance of mentorship in lodges, Mike announces his latest book (available at www.duminiak.com), Kris clues us in to his deep dive on the Odd Fellows' Tartan, and Ainslie updates us on the project to get a stairlift in his lodge hall, as well as reminding us of the upcoming Tattoo Event at Sovereign Grand Lodge. For those interested in seeing some of the regalia examples discussed in this episode, head over to The Odd Fellows' Guide to see Kris' article and pictures.
Right here, squaring off, from opposite sides of the Atlantic, we present: Dueling tag-teams of zaniness — wearing fanciful disguises, winking at traditional forms, and tweeting in a birdlike falsetto… Good stuff!BEDAZZLEDThe Faustian satire Bedazzled, created by genius comedian Peter Cook (who plays the Devil trying to bargain for souls), makes good use of the talents of his Chaplin-esque comedy partner, Dudley Moore (who you might remember from the hit films Ten and Arthur), who plays the shlumpy Wimpy Burger cook, Stanley, willing to bargain away his mortal soul for love. The team first worked together in the early 60s smash stage revue BEYOND THE FRINGE, then coalesced on the BBC as Pete and Dud, (and, later, even more darlingly in the scatalogical bootleg recordings of Derek and Clive). In 1966, with Bedazzled they were on the rise commercially, and Moore, an Oxford trained classical and jazz pianist, wrote all the music for the film. In this cut, entitled Leaping Nuns chorus, the sisters of the Order of Saint Beryl (including Stanley in full habit) show their devotion to the Saint by jumping on trampolines. JAN AND DEAN MEET BATMANAlso in ‘66, laboring secretly on a similar track, energized by the same Goon Show type inspiration, Jan Berry and Dean Torrance were working to expand, (but not abandon) their surf sound by adding a storyline and special effects, and creating some nutty theater of the mind. Who knows where this might have led, if Jan's tragic car collision a few week's after the record's release, (resulting in his massive head injuries), hadn't sidelined the team's ambitions? Perhaps a blockbuster TV series…?There was always a comic element to the Jan and Dean performance style. (Check out the classic Rock concert film Tami Show, which they hosted). They may have looked like copper toned surf hunks, but maybe there was some Abbott and Costello lurking beneath the Golden Boy surface.
In 2016, an exhibit opened at the American Folk Art Museum showcasing various artifacts from American fraternal orders, most notably the Odd Fellows and Freemasons. The collection shared the best of fraternal folk art with the wider world. One of the curators of that exhibition, Dr. Aimee Newell, joined us to talk about the collection and give us some background and history on where the items came from, their significance, and their influence into culture at large. Once again, the Shoutout goes to a new Encampment, this time the re-chartered Santa Paula #118 of California. In the Odd Podge, Toby announces the new recording he's working on, Ainslie shares his story of helping save a lodge with an Initiation and meeting a listener, Dr. Newell contemplates returning to her former employer, the Scottish Rite Museum in Lexington, MA, and Mike talks about his most recent publication, an epic poem.
How can you not be drawn in by that title? What the heck? "Join or Die" is a hit documentary playing on Netflix right now. Carl watched the movie and was such a fan of the movie and it's message. It brought back to him some wonderful memories when he was part of a club that he loved -- the Odd Fellows. He was very fortunate and was able to connect with the movie's co-creator, Rebecca Davis. Rebecca was inspired by the work of political scientist and author Robert Putnam, whose earlier work, "Bowling Alone" went viral. Americans had stopped joining clubs and civic organizations. Even the number of dinner parties and picnics had declined. His research showed that those "joining" activities correlated to how Democracy is doing. Rebecca's personal story is an interesting one. She has had a successful career working as a producer with NBC News. "Join or Die" was a passion project for Rebecca. She worked on this film with her brother and co-creator Pete Davis for eight years, working on the movie on weekends and whenever she had time between her busy NBC duties. Initially they were thinking it would be a short Youtube piece, but it grew into what is now an award-winning full-length documentary that is inspiring thousands of people to get off their phones and couches and join or start clubs. You will be totally inspired by this interview and by watching the film. • More about Rebecca Davis: https://www.rebeccadavisvideo.com/ • More about Join or Die: https://www.joinordiefilm.com/ • Episode Content: https://pickleballmediahq.com/blog/Rebecca-Davis-Interview-Co-Creator-of-Join-or-Die • Sponsored by Capital Advantage: https://capitaladvantage.com/promotion/retirement-planning-guide/ • Sponsored by How to Retire and Not Die: https://garysirak.com/how-to-retire-and-not-die/ • Join the "I Used to be Somebody World Tour": https://pickleballmediahq.com/tour/ • Subscribe to the "I Used to be Somebody" newsletter: https://pickleballmediahq.com/contact/subscribe
Based on the classic holiday film "It's A Wonderful Life," this year's Christmas episode is an Odd Fellows' retelling of the old favorite in which George Bailey is the harried Past Grand of Bedford Falls Lodge #310. Straining under the weight of his lodge's expectations, he finally breaks and wishes he had never been an Odd Fellow. The ghost of Thomas Wildey visits him to give him a glimpse into the world where he never joined the lodge. This episode features an all-star cast including Gil T. Rodello, Kyle Fuller, Mason Wolf, Matthew Thornton, Fran Carris, Kaitlyn Osman, Ian Love-Jones, Steven Cross, Michael Greenzeiger, Joseph Benton, Elizabeth Keena, and Toby Hanson.
Gregg Sessler is the Chef/Owner of Oddfellows Tavern in South Berwick, Maine. This is Gregg's 2nd time on the show. His first episode was number 06, way back in the beginning of Restaurant Unstoppable. Back then, Gregg owned Cava in Portsmouth, NH, an elevated dining experience. In 2020, Gregg opened Oddfellows Tavern, an 80+ seat restaurant with wood-fire pizza. Gregg officially left Cava in 2023 and now focuses solely on Oddfellows. Restaurant Unstoppable - EVOLVE! - Eric of Restaurant Unstoppable is now taking consultation and coaching calls! Book a consultation today! Schedule your call to become UNSTOPPABLE! Check out the website for more details: https://www.restaurantunstoppable.com/evolve Today's sponsors: Restaurant Systems Pro - Join the 60-day Restaurant Systems Pro FREE TRAINING. This is something that has never been done before. This 60-day event is at no cost to you, but it is not for everyone. Fred Langley, CEO of Restaurant Systems Pro, will lead a group of restaurateurs through the Restaurant Systems Pro software and set up the systems for your restaurant. During the 60 days, Fred will walk you through the Restaurant Systems Pro Process and help you crush the following goals: Recipe Costing Cards; Guidance in your books for accounting; Cash controls; Sales Forecasting(With Accuracy); Checklists; Budgeting for the entire year; Scheduling for profit; More butts in seats and more… Click Here to learn more. Contact the guest: Instagram: @chefgreggsessler Instagram: @odd.fellowstavern Thanks for listening! Rate the podcast, subscribe, and share! We are on Youtube: @RestaurantUnstoppable
Episode: 3303 Painting wood grain to express alternate realities. Today, painting the swirls of wood grain.
This week Savannah talks about another Fearsome Critter, the Arkansas Snip aka the Skeeteroo aka Taylor's worst nightmare. Giant mosquitoes. Taylor discusses the hauntings of the Odd Fellows Asylum that was also a hospital, orphanage, and geriatric care center. Email us your stories!!! or if you want to sponsor us ;) Email - mysteriesmythslegends@gmail.com ESTY: https://www.etsy.com/shop/LuxieandLuna?ref=simple-shop-header-name&listing_id=826447453 We post pictures of our stories every week on instagram!!!! FOLLOW US ON SOCIALS: Tiktok: @myths_podcast Instagram: @myths_podcast Twitter: @myths_podcast Taylor's Instagram: @teeelive Taylor's Twitter: @teeelive Savannah's Instagram: @kavannahaha Savannah's Twitter: @sanna_sunshine --- Support this podcast: https://podcasters.spotify.com/pod/show/mysteriesmythsandlegends/support
As has become tradition at the Three Links Odd Cast, we like to take a turn to the spooky for Halloween and talk cemeteries. We're joined by Brother Michael Duplantier to discuss the progress on restoring New Orleans' famous Odd Fellows' Rest Cemetery. Brother Duplantier does a wonderful job of giving us the history and background on the cemetery and how it fell into disrepair along with the recent efforts to restore it and make it an attractive place to honor our deceased brothers and sisters. The interview covers a surprising amount of history and culture of New Orleans and the travails of restoring a cemetery that's nearly two centuries old. The Shoutout goes to Manuel Bosakewich Lodge #70 in Florida, a new Spanish-speaking lodge in the Miami area. In the Odd Podge, Mike shares the Odd Fellows' connection to West Virginia's Flatwoods Monster, Ainslie previews the tattoo fundraiser at the upcoming Tuscola Odd Market, Michael marvels at how the antiquity of Odd Fellowship is one of its best aspects, and Toby shares a story of his associate lodge helping a brother in need.
Julie Bunkee from the Kalamazoo Valley Museum tells ua about the exhibit that features over 80 carvings, sculptures, textiles and regalia of the Freemasons and the Independent Order of the Odd Fellows. See omnystudio.com/listener for privacy information.
Usually, by the time we at the Three Links Odd Cast hear about a new lodge being chartered, it's already meeting regularly. However, in this instance, we got to talk to Brother Garrett Hite of Oklahoma as he's in the process of re-chartering Durant Lodge #57. Brother Garrett shares his story of how he first came to join the Odd Fellows, his time away from his home lodge, and the eventual need to form a new lodge in his new home town in Oklahoma. He gives a great amount of insight into the process of chartering a lodge, from finding a meeting space to rounding up new members. The Shoutout goes to a new lodge in Arkansas, Heber Springs #17, which was recently re-chartered. In the Odd Podge, Ainslie talks about his lodge's visit to the drive-in movie theater, Garrett promotes the upcoming car show his home lodge in Texas is working on, and Toby reveals a major life change in the works.SPECIAL ANNOUNCEMENT: Auditions are now open for the Christmas Episode of the Three Links Odd Cast, entitled "It's A Wonderful Lodge." Anyone interested in auditioning can request a script excerpt and record an audition. Excerpts can be requested at our email address, 3linksoddcast@gmail.com. All auditions are due by October 28th so be sure to get the script and record your audition!
Recorded for release W/C 2nd Sept. 2024 This week Martin Fish tells us about the Potting Shed Stage at the Malvern Autumn show, we find out about The Gruffelo, Frankenstein and Coming to England at the Lichfield Garrick, we hear about the dental health campaign from The Hygiene Bank and catch up with the tem from Oddfellows to talk about friendship month.
It's another week, so @EchoChamberFP https://www.instagram.com/echochamberfp/ is here, and we've got a 'TWO Parter' for ya!!! In 'Part One' we have planes & sharks thanks to Ingenious Media, Altitude Film Ent, Dimension Studio, Hyprr Films & RLJE Films. We get into friendship and loss with Vision Films, and 20th Century Studios reignite a franchise! Paramount show us how an invasion started, while Oddfellows & Neon get inventive with the creeps. THEN Arad Productions, Picturestart, Gearbox, 2K & Lionsgate bring a beloved game world to the big screen!!!! In 'Part One' we have: No Way Up Watch Review: Here. https://youtu.be/1MwP7524cj8 US Theatrical Release Date: 16th February 2024 UK Theatrical Release Date: 12th February 2024 Director: Claudio Fäh Cast: Colm Meaney, Sophie McIntosh, Jeremias Amoore, Will Attenborough, Grace Nettle, Phyllis Logan, James Carroll Jordan, Manuel Pacific, Peppijna Dalli, David Samartin, Scott Coker Running Time: 90 min Cert: 15 Trailer: Here. https://youtu.be/e1k1PC0TtmE?si=ejMNdxIgf9PGf8un Website: Here. https://www.altitudefilment.com/film/sales/97/no-way-up ---------------- Spirit of Friendship Watch Review: Here. https://youtu.be/83KXRWMsG3o Digital Release Date: 13th August 2024 Director: Danny LeGare Cast: Jeremy London, Sal Rendino, Glen Nicholes Jr, Carter Grassi, Delaney Miclette, Dante Corticelli, Luca Corticelli, Shane Shuska, Brianna Gleason, Christian Miclette, Megan Aparo, Laura Grassi Running Time: 86 min Cert: PG Trailer: Here. https://youtu.be/AYNQRLfZB4Y ---------------- Kingdom of the Planet of the Apes Watch Review: Here. https://youtu.be/Lyz5dSJZkLg TCL Chinese Theatre, Los Angeles, World Premiere: 2nd May 2024 US Theatrical Release Date: 10th May 2024 UK Theatrical Release Date: 9th May 2024 Director: Wes Ball Cast: Owen Teague, Kevin Durand, Peter Macon, Lydia Peckham, Travis Jeffery, Sara Wiseman, Neil Sandilands, Eka Darville, Ras-Samuel Weld A'abzgi, Freya Allan, William H. Macy, Dichen Lachman Running Time: 145 min Cert: 12a Trailer: Here. https://youtu.be/XtFI7SNtVpY?si=TU-EZoTEl7v6r70c Website: Here. https://www.20thcenturystudios.com/movies/kingdom-of-the-planet-of-the-apes ---------------- A Quiet Place: Day One Watch Review: Here. https://youtu.be/sGW7W_MKniM Tribeca Festival, World Premiere: 26th June 2024 Theatrical Release Date: 28th June 2024 Director: Michael Sarnoski Cast: Lupita Nyong'o, Joseph Quinn, Alex Wolff, Djimon Hounsou, Eliane Umuhire, Takunda Khumalo, Alfie Todd, Avy-Berry Worrall, Ronnie Le Drew, Benjamin Wong, Michael Roberts, Alexander John Running Time: 99 min Cert: 15 Trailer: Here. https://youtu.be/YPY7J-flzE8?si=00ZQF-fYLB-S0wXi Website: Here. https://www.aquietplacemovie.com/home/ ---------------- Longlegs Watch Review: Here. https://youtu.be/to1e8JWd-HY Beyond Fest, World Premiere: 31st May 2024 US Theatrical Release Date: 8th July 2024 UK Theatrical Release Date: 12th July 2024 Director: Osgood Perkins Cast: Maika Monroe, Lauren Acala, Nicolas Cage, Blair Underwood, Alicia Witt, Michelle Choi-Lee, Dakota Daulby, Kiernan Shipka, Maila Hosie, Jason Day, Lisa Chandler, Ava Kelders, Rryla McIntosh Running Time: 101 min Cert: 15 Trailer: Here. https://youtu.be/FXOtkvx25gI?si=g4LwDftVOc4-UmbN Website: Here. https://www.longlegs.film/home/ ---------------- Borderlands Watch Review: Here. https://youtu.be/L7gFcRdiOV8 TCL Chinese Theatre, Los Angeles, World Premiere: 6th August 2024 US Theatrical Release Date: 9th August 2024 UK Theatrical Release Date: 8th August 2024 Director: Eli Roth Cast: Cate Blanchett, Kevin Hart, Jack Black, Edgar Ramírez, Ariana Greenblatt, Florian Munteanu, Gina Gershon, Jamie Lee Curtis, Haley Bennett, Bobby Lee, Olivier Richters, Janina Gavankar, Cheyenne Jackson, Charles Babalola, Benjamin Byron Davis Running Time: 102 min Cert: 15 Trailer: Here. https://youtu.be/Icnysn53neU?si=8rD0aW8896nHIk70 Website: Here. https://borderlands.movie/ ---------------- *(Music) 'Da Joint' (Instrumental) by EPMD - 2020
Send us a Text Message.On this episode of The Ordinary Extraordinary Cemetery, Jennie and Dianne pay a virtual visit to the graveside of a man who truly made a "splash" not only in America, but around the world. Join them as they relatethe fascinating story of John Michael Kohler, the man credited as the inventor of the modern bathtub. From his humble beginnings as a young farm child in Austria to his journey as an immigrant in America, Kohler's life was a true rags-to-riches tale. Join us as we explore his rise to success in building the Kohler business in Sheboygan, Wisconsin, his charitable works, and his involvement with the Masons and Odd Fellows. Plus, discover how he made a splash in local politics as the mayor of Sheboygan in 1892! It's an ordinary life turned extraordinary!Learn more about the Kohler company here: https://www.kohlercompany.com/Learn about the John Michael Kohler Arts Center here: https://www.jmkac.org/Photo Credits:John Michael Kohler: Public DomainPhoto of portrait of Elizabeth "Lillie" Vollrath Kohler: Debra ShaddPhoto of Kohler house: Debra ShaddPhotos of Kohler Family Graves: Joe SelinskiResources used to research this episode include:Publishing , Excelsior . "John M. Kohler." https://freepages.rootsweb.com/. freepages.rootsweb.com/~sheboygan/genealogy/bios623.htm. Accessed 21 July 2024., Herostratus. "John Michael Kohler." https://en.m.wikipedia.org/. edited by Theanonymoustypist, 23 Jan. 2024. en.m.wikipedia.org/wiki/John_Michael_Kohler. Accessed 21 July 2024., Kohler. "Our History ." https://www.kohler.com/. www.kohler.com/en/about-us/our-heritage. Accessed 21 July 2024.Historical Collections , Harvard Business School . "1873: Off the Rails." https://www.library.hbs.edu/. www.library.hbs.edu/hc/crises/1873.html. Accessed 21 July 2024. "History of enamelware - kitchen & household ." http://www.oldandinteresting.com/. 5 Mar. 2012. www.oldandinteresting.com/enamelware-history.aspx. Accessed 21 July 2024.Dipple, Beth. "History Uncovered: Location, location, location – Kohler and Vollrath companies' first homes ." https://www.sheboygansun.com/. 29 Dec. 2021. www.sheboygansun.com/history/history-uncovered-location-location-location-kohler-and-vollrath-companies-first-homes/article_9ffd3928-68c8-11ec-864f-1b7c2d61bad2.html. Accessed 21 July 2024.Selinski, Joe. "John Michael Kohler." https://www.findagrave.com/. edited by Linda Belmonte, 21 May 2006. www.findagrave.com/memorial/14351528/john_michael_kohler. Accessed 21 July 2024. Made In Wisconsin. 1987, pp. 17 - 23.Broman, Thomas. "The Early History of the Kohler Company ." https://wi101.wisc.edu/. 2 Nov. 2020. wi101.wisc.edu/the-early-history-of-the-kohler-company/. Accessed 21 July 2024.What It's Like To Be...What's it like to be a Cattle Rancher? FBI Special Agent? Professional Santa? Find out!Listen on: Apple Podcasts Spotify
One might think that after four seasons and over 30,000 downloads of the Three Links Odd Cast that there would be nothing left for the hosts to talk about. Au contraire, mon frère! Mike, Toby, and Ainslie are very opinionated and love hearing themselves talk so it was easy for them to take some time to talk about the highlights of the previous season's work. The main highlight was their Christmas episode which featured a radio play written by Toby and acted by a cast of talented members from around the country. Other highlights were the on-location recordings of interviews with members including Sovereign Grand Master John Cupp. Ainslie loved the episode about the film Join Or Die! where we got press credentials to watch the movie and then interview the filmmakers. Mike loved the stories of lodges that were saved or revitalized. The Shoutout went to Mineral Lodge #102 of West Virginia which was saved by an effort to get new members and restore the charter. Toby pulled back the curtain on the show to reveal some personal challenges that have affected production and also shared some big news in his personal life. For the Odd Podge, Ainslie gave a double helping, talking about his lodge's fundraiser efforts with Fez-o-rama to make Odd Fellows fezzes and his recent trip across the country to attend the Washington Sessions with Toby.
Hey Listener, grab something black to wear because Amanda Frietsch is back on the show. What starts out as a Cincinnati History podcast quickly becomes solely focused on Cincinnati cemeteries with a lot of talk of Spring Grove Cemetery. Don't worry, she'll come back to talk general Cincinnati history on a later episode. Topics this week include: Burial trends. When you move people, you're going to leave some bits and pieces. We're taking our child casket with us. Cemetery Prison Rules. The future of history. The Oddfellows. Not that symbol. Put me in an unmarked grave. Old Mr. Greenbacks. Crypto Bro Folks. Statue money. Getting on a boat to buy a momument. When you replace someone in a band what not to do. Marrying your wife's lame sister. Mausoleum flex. Spooky graveyard talk.
get the postgame and Sunday shows at patreon.com/leftreckoning Thanks friends for joining. We'll be talking about Waffle House victories, the far-right wins in Europe, what AOC's deal is, and more. We are joined by Benjamin Fong associate director of the Center for Work & Democracy at Arizona State University, author of Quick Fixes, host of Organize the Unorganized, to talk about his new piece in Damage Magazine on the Odd Fellows. Read the piece here: https://damagemag.com/2024/05/13/odd-man-out/ Organize the Unorganized: https://shows.acast.com/619be5c0705138001b9c8479/episodes/659337cd906c7e0016284aaa? Quick Fixes: Drugs in America from Prohibition to the 21st Century Binge - https://www.versobooks.com/products/2981-quick-fixes
Secretive Men's organizations –º such as the Free Masons, Elks, Odd Fellows and many more – did not originate just for the sake of privacy. In many cases they had a social purposes such as providing health and security benefits for themselves at a time when neither government nor private enterprise provided much of either. Some groups were also a source of business and social connections. Jari Honora, an historian and genealogist who curated an exhibit for the Historic New Orleans Collection entitled Mystery and Benevolence: Masonic and Odd Fellows Folk Art, joins Louisiana Life Executive Editor Errol Laborde, along with producer Kelly Massicot, to discuss the organizations, which had a strong presence in New Orleans as well as globally. In New Orleans and Mobile the structure of the groups even had an influence on Carnival krewes. The groups also left a strong architectural presence either through their lodges; office buildings and memorial sites. The interview offers a rare opportunity to peer inside the world of secrecy.
Horror fans assemble. Today I am chatting with comics creators Brian Level and Kurt Belcher about their new crowdfunding horror comics project The Unsleeping Eye funding on Kickstarter. The town of Mercurial is under siege from a ghoulish group of Satan worshipping intruders called the Oddfellows. Churches are burned, animals mutilated, and a few folks are producing of all things a newspaper about it all amidst the chaos, but circulation is limited as it seems as though the town is cut off from the rest of the world. If you are a fan of oddball horror, this is the easiest layup of a recommendation you are likely to get from me. I was a backer on day one. Beyond the book itself, we dive into a mutual love of the cult film the Cemetery Man (possibly too much), I drop a recommendation for one of the most diabolical books I've ever read, and we discuss why all Appalachian people have big water cups. They really do. Learn more about your ad choices. Visit megaphone.fm/adchoices
We talk to Matt Yingling, about The Odd Fellows, becoming healthier and maybe a Blood oath!
Alex, Heather, & Andrew of Alex Kasznel & The Board OF Directors return to promote the Company Picnic Festival @ Oddfellows w/ out friends FMK (Cincinnati) Saturday, March 23 and their 2024 EP Parachute (available on Bandcamp, Spotify, iTunes, etc. Don't forget to check out th new Response two son single "Bojangles BJ" on all of the same platforms (The Response & Murder Generation/DOS will be appearing the night before, Friday, March 22 @ Oddfellows in Cincinnati and if you're stuck in Louisville, The Response/Murder Generation/Pumpkin Guts, will be at the Mag Bar (Louisville) Saturday, March 23rd if you can't make it to Cinci for the COmpany Picnic. --- Send in a voice message: https://podcasters.spotify.com/pod/show/sean0493/message Support this podcast: https://podcasters.spotify.com/pod/show/sean0493/support
Trisha Peterson of Murder Generation joins us to talk about their upcoming MURDER-RESPONSE Weekends 1 & 2 with The Response (Cinci-Fri-3/22 @ Oddfellows, Louisville-Sat 3/23 @ Mag Bar, as well as Milwaukee-Fri- May 31 @ Last Rites, Chicago-Sat 6/1 - Punk Rock Tacos), as well as great food/attractions/punk scenes in the MKE & LOU. --- Send in a voice message: https://podcasters.spotify.com/pod/show/sean0493/message Support this podcast: https://podcasters.spotify.com/pod/show/sean0493/support
A remarkable convergence of events led to the revival of Friendship Lodge No. 50 in Northfield, Minnesota. A Mason in Red Wing, Minnesota started an educational program for his Masonic lodge and then reached out to the Odd Fellows to request them give a presentation about Odd Fellowship. Four of the Masons present decided to check out Odd Fellowship. One person turned to Reddit and podcasts (like ours and Modern Goat Rider) to do some research before joining a group. The lodge in Northfield dropped down to the remaining five members. When all of that came together, the new members were excited to join the lodge which needed them and now the lodge is thriving. Through the efforts of an active, engaged Grand Lodge and PGM David "Ace" Adams, all of the energy was channeled into reviving a historic lodge. This episode's Shoutout goes to another revived Encampment, this time Green Mountain Encampment #3 of Burlington, Vermont. In the Odd Podge, Mike announces that he has been asked to serve as Sovereign Grand Chaplain for Gerry Workman, Ainslie shares the news about his new van which he used to drive a group to a recent Degree Day in Illinois, Nick lets us know that he's included Odd Fellowship on his blog, Ace gives us a preview of his efforts to use online registration for his Degree Weekend, Sunny expresses gratitude for the older, long-time members who have kept Odd Fellowship alive, Gary offers his respect for the traditions and heritage of Odd Fellowship, and Toby talks about the upcoming Northwest Odd Fellow and Rebekah Association Meeting in Idaho in April.
Let’s Get Those Coats For Kids! 3/6/24 On this edition of THE SETH WILLIAMS SHOW, Seth and Chris talk with Scott from Oddfellows to discuss a big Coats For Kids benefit that is upcoming. Tony Musachio will be checking in from another great location in Northeastern Ohio. The Seth Williams Show is part of The […]
On this edition of THE SETH WILLIAMS SHOW, Seth and Chris talk with Scott from Oddfellows to discuss a big Coats For Kids benefit that is upcoming. Tony Musachio will be checking in from another great location in Northeastern Ohio. They also talk about the new bill to make the COVID vaccination providers liable for damages. Tony Musachio checks in from Valley Pizza. The Seth Williams Show is part of The CMS Network, which airs on Wowza TV on Roku! The Seth Williams Show airs live from 4-6pm Eastern on Mondays and Wednesdays at TheSethWilliamsShow.com, CMStv.net and CMSradio.net. Follow the show at www.thesethwilliamsshow.com. **NOTE: Everything said here, and on every episode of all of our shows are 100% the opinions of the hosts. Nothing is stated as fact. Do your own research to see if their opinions are true or not.** Support THE SETH WILLIAMS SHOW at https://odysee.com/@thesethwilliamsshow:4 --- Send in a voice message: https://podcasters.spotify.com/pod/show/cmspn/message
Hey Listener, grab your gear bag because I'm sitting down with Heather Sampanis (bass/singer) of Alex Kasznel & The Board of Directors and Luke Effler (guitar) of Ten Gauge to talk about being parents that are in bands. Topics this week include: Check out the Company Picnic Music Festival on March 23rd at Oddfellows in OTR (Cincinnati, Ohio). What is it like to be a band that gets a vinyl album pressed? What is a Costumer? BFAs of the world unite! Hailing from a family with musicians. Power chords for children. Life/Band balance. The differences between being a solo creator and someone working with others. Critiquing your friends. Faster and louder. Playing out and being cool with low standards. What's it like being in the backstage locker room? The tricks of figuring out the name of someone you've already met. Pre show rituals. I'm inspiring you, not intimidating you. Tap dancin' Luke Effler and the karate robot. The heartache of a bad show. Go watch The Greatest Night in Pop.
Billy and Tara from Modern Goat Rider joined us for a thorough and in-depth discussion about leadership in the Odd Fellows. The first half of the episode is available on their feed on your favorite podcatcher or directly from their podcast host. In this episode we discuss the leadership at the Grand Lodge and Sovereign Grand Lodge levels and specifically ponder the question of whether we need to have an organizational structure with a stronger central executive and what the possible ramifications of that would be. The Shoutout goes to another new lodge, this time Bluegrass #416 in Kentucky. In the Odd Podge, Toby talks about his preparations for the upcoming NW IOOF Meeting in Idaho, Billy commends those who have helped organize the historical collection in his lodge hall in Victoria, BC, Tara shares her ideas about improving the web presence of Odd Fellowship, and Ainslie shares his latest Odd Fellows book find.
See Video HereOnce again there's about 1:22 of silence in the beginning. Thank StreamYard for jacking up again.Mind Unveiled video about a 1900's Tunnel Banquet, and more strange subterranean strangeness... A step back into history.Dr. Ardis' Healing for the AGES link below. Code BB10 gets you $50 OFF!https://my.energetichealthinstitute.org/healing-for-the-ages/go/checkout-healing-for-the-ages/? BB10Add to the Kristos Family Apocalypse Fund: https://GiveSendGo.com/BaalBustersPriestcraft: Beyond Babylon is getting Great Feedback! 8.5x11 Paperback Hardcover & Kindle: https://www.amazon.com/dp/B0CNGX53L7/KOBO: https://www.kobo.com/us/en/ebook/priestcraft-beyond-babylonBarnes & Noble: Priestcraft: Beyond Babylon in 6x9 and ebook: https://www.barnesandnoble.com/w/book/1144402176Become a Patron. All the Cool Kids are doing it! https://Patreon.com/DisguisetheLimitsDR MONZO Products: https://drmonzo.kartra.com/page/shopDR MONZO ATB BOOK: https://drmonzo.kartra.com/page/ATBBookUSE CODE: BaalBusters15 for 15% OFF Dr. MONZO's store itemsGet Healthy with DR PETER GLIDDEN, ND https://leavebigpharmabehind.com/?via=pgndhealthGet KRATOM HERE: https://klaritykratom.com/?ref=BaalBustersSubmit Questions: https://buymeacoffee.com/BaalBusters or just Call-in!Have you tired TRY BLUE? https://tryblue.refr.cc/baalbusters for 17% Off!SHIRTS & MERCH https://my-store-c960b1.creator-spring.com/THIS CHANNEL IS INDEPENDENT and has no sponsors but YOUPatreon: https://patreon.com/DisguisetheLimitsHow We Survive: https://GiveSendGo.com/BaalBusters Support the Next Book in ProgressOR https://buymeacoffee.com/BaalBustersor JOIN Locals by Clicking the JOIN Button Beneath the video.AWESOME Hot Sauce: https://SemperFryLLC.com Use Code at site for 11% Off qualified purchasesTwitter: https://twitter.com/DisguiseLimitsInstagram: https://www.instagram.com/baalbusters/Telegram: https://t.me/BaalBustersStudiosSpotify: https://open.spotify.com/show/3N7fqqG6MX84vKbANtxrWSThe Host, Daniel Kristos, is a US Coast Guard veteran, author, a father, small hot sauce business owner, researcher, personal trainer, avid reader, and independent Historical Detective.
As our Sammy Duet trilogy comes to a close, we look to his first of three albums with Louisiana legends Crowbar. By 1998, Crowbar had proved they were beyond capable of writing earth shattering riffs. On their 5th album, however, they sought to evolve this sound through dynamics that previous albums had lacked. This is especially evident on tracks like “December's Spawn” and the sludge metal anthem “Planets Collide”. These songs not only make room for atmosphere and melody but manage to retain the band's classic heaviness. It's both a celebration of the past and look at what was to come. Join us this week as we celebrate Crowbar's sludge metal staple Odd Fellows Rest. Recommendations: Eye Flys - "Bananarchy Zoo" Knoll - "Portrait" Sheer Mag - "Moonstruck" Necrofier - Burning Shadows in the Southern Night Sacrificer - Life After Death Mother of Graves - Where the Shadows Adorn Vitriol - "Shame and its Afterbirth" Guiltless - "All We Destroy" BIG|BRAVE - "i felt a funeral" Gouge Away - "Stuck in a Dream" Waxahatchee, MJ Lenderman - "Right Back to It" For all updates on the show, follow us here: @distortion891 on Facebook, Instagram, & Twitter Tune in LIVE to Vocal Distortion, Mondays at 6PM CST on FM89, WONC.org, & the iHeart Radio app RIFFS ON REPEAT PLAYLIST: https://open.spotify.com/playlist/37W4wEyb5ELf2y0YYlhRy2?si=8529ae1e880d442c
Louisiana is sometimes referred to as America's wetlands. The state's abundant marshes are the source of a billion dollar fishing industry and a critical buffer against hurricanes. Now, researchers are looking to turn the marshes' muck into money by using it to offset planet-warming emissions. Halle Parker from the Coastal Desk tells us about the uncertainties of this form of carbon capture. Grambling State University, in north Louisiana, is one of eight HBCUs and tribal colleges and universities in the X to receive a recent grant from the Aspen Institute. The $75,000 grant will be used to help support student parents and other nontraditional students, including reopening the campus's child development center, which closed in 2009 due to a lack of funding. Carol Alexander-Lewis is a consultant for Grambling and administrator of the school's new child development center. She has more than 20 years of experience in education as an adjunct professor, program director, consultant and speaker. She joins us to talk about what this grant means for Grambling and other HBCUs. For centuries, Freemasons, Odd Fellows and other fraternal organizations have worked alongside the benevolent and mutual aid societies that are an important part of the social, cultural and civic life in New Orleans. Earlier this month, The Historic New Orleans Collection opened an exhibit exploring the sometimes-hidden history of these organizations. Jari Honora, a genealogist and the family historian The Historic New Orleans Collection, tells us more. Today's episode of Louisiana Considered was hosted by Adam Vos. Our managing producer is Alana Schreiber and our assistant producer is Aubry Procell. Our engineer is Garrett Pittman. You can listen to Louisiana Considered Monday through Friday at 12:00 and 7:00 pm. It's available on Spotify, Google Play, and wherever you get your podcasts. Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to. Louisiana Considered is made possible with support from our listeners. Thank you!See omnystudio.com/listener for privacy information.
This year, for our Christmas episode, we present this adaptation of Charles Dickens' "A Christmas Carol." Listen along as an all-star cast of Odd Fellows presents this unique Odd Fellows take on the classic story.Ebeneezer Scrooge: Gil T. RodelloThomas Wildey: Steven CrossBob Cratchitt: Joseph BentonTim Cratchitt: Ainslie HeilichGhost of Odd Fellowship Past: Michael GreenzeigerGhost of Odd Fellowship Present: Mason WolfGhost of Odd Fellowship Future: Mike DuminiakWritten, directed, recorded, and edited by Toby Hanson. Music by Toby Hanson.
The Scooby Gang look into the ancient order of the Odd Fellows. What a strange group of people. Wait until you hear about the skeletons in their closets. Oh wait, and the goat! You have to hear about the goat!
We always like to do an episode about cemeteries around Halloween and this year is no exception. Given our command to "Bury The Dead" as Odd Fellows, and how many lodges have administered cemeteries throughout our history, it's no surprise to find a lodge engaged in activities related to a final resting place. For this episode we are joined with Past Grand Master Carol Woltjer and Brother Matt Rock of Sioux Falls Lodge #9 in South Dakota to talk about their "Remember Me" project. Their lodge is raising funds and placing markers on the graves of indigent burials in Minnehaha County, South Dakota. Carol tells the touching story of how she learned about the burials and got the program started. Matt tells about how his family has become involved with the program and the lodge. The Shoutout goes to another lodge in South Dakota, Gregory #189 for the wonderful involvement of younger people in their lodge. For the Odd Podge, Toby tells about his visit to the Idaho Grand Sessions, Mike talks about his experience at the West Virginia Grand Sessions, and Ainslie previews the upcoming (at the time of the recording) Odd Market hosted by his lodge in Tuscola, Illinois.
A life of academic wandering and creation has brought Dr. Heather Calloway to her present position as Executive Director of University Collections and Director of the Center for Fraternal Collections and Research at Indiana University. Originally from Albuquerque, New Mexico, and having grown up in a fraternal family, Dr. Calloway was destined from an early age to make her way to the hallowed halls of academia and bring her fraternal knowledge and experience with her. She was kind enough to share some of her time with us to talk about the collection, how it came to be, what they are doing to preserve it, why such a collection is important, and how they are making it available to the public. The Center for Fraternal Collections and Research has a great Instagram feed available at @fraternalcollections. The Shoutout goes to Four Creeks Lodge #94 of Visalia, California for their recent regeneration. In the Odd Podge, Mike talks about the time-consuming work of preparing for the West Virginia Grand Sessions, Ainslie tells about his budding Odd Fellows tattoo empire at the Illinois Grand Sessions, and Toby talks about planning the District Meeting for his district in Washington.
Haunted HousesWe went on the first Saturday of October and had a blast. From the horror-themed food to all the different haunted houses, we were totally spooked but made it through 8 out of 10 houses. The houses we thought were the scariest, in order, are as follows: Exorcist Believer, Blood Moon Dark Offerings, The Darkest Deal, Universal Monsters Unmasked, Dr. Odd Fellows Twisted Origins Chucky Ultimate Kill Count, Dueling Dragons Choose Thy Fate, and Yeti Camp Ground Kills. Blood Moon Dark Offerings was about a satanic cult, and The Darkest Deal was bayou-themed. Dr. Odd Fellows Twisted Origins was a twisted spin on clowns and creepy creatures. Our personal favorite was Universal Monsters Unmasked, and the creativity award goes to Dueling Dragons Choose Thy Fate, where I am almost positive I saw the Game of Thrones Night King in there multiple times. Express PassWe recommend splurging on an express pass if you want to make it through all the haunted houses in one night. We missed 2 of the most popular ones, The Last Of Us and Stranger Things 4, which remained between 75 and 90-minute waits. If you have a season pass, you can get a discount on your Halloween Horror Night tickets.Scare ZonesThere were also five trippy and wild scare zones, including vampire hippies, Dr. Odd Fellows' shipyard, jungle monsters, and chainsaw chasers.Tips for Halloween Horror NightsUniversal Studios closes at 5:00 p.m., and the Island of Adventure stays open till 10:00 p.m. If you have a season pass or a day pass, stay in the park for horror nights and go to a holding spot that starts at 5:30 p.m. vs. 6:00 p.m. because the line to get into the park is extremely long.Download the Universal App for all the details on Halloween Horror Nights, park wait times, and more.Always check the Universal App for park hours because they vary by day, season, etc. A note for season pass holders: A season pass acts as an express pass once for each ride after 4:00 p.m.Dress in black to get in the spirit, and try not to scream too loud!
In a secluded corner of the wilderness around Mount Shasta in Northern California, a secret rite has been taking place for generations. No, it's not something from the latest thriller novel, it's the Cave Degree! In a natural cave that faces east toward Mount Shasta, Odd Fellows (and before them, Knights of Pythias) have been performing degree work. The Odd Fellows of Yreka Lodge No. 19 bought the cave from the Pythians in 1962 for $10 but had been using the cave for the Second Degree since 1940. The Cave Degree has become one of the most cherished traditions of Odd Fellowship in California and Oregon, with generations of members having made the trek out to the cave for the ceremony. For this episode we are joined by PGP Brian Riehl, RA VP Debra LaVergne, and NG of True Fellowship Lodge #52, Mason Wolf as they discuss the history and tradition of the Cave Degree, and one of its greatest champions and caretakers, Richard Brouse. The story of the Cave Degree has many twists, turns, and stories. We also discuss the current state of the cave and the efforts underway to rehabilitate the facility so it can again be used for the Second Degree of Odd Fellowship. The Lodge Shoutout goes to Friendship Lodge #50 in Northfield, Minnesota which was recently revived by a group of Masons who discovered Odd Fellowship and joined. In the Odd Podge there was definitely a theme of Odd Fellows helping one another out. Toby told about his lodge brother Matt in rehab and all the Odd Fellows of his lodge who had visited him. Debra shared the exciting news about a new baby born to members of Mountain View #244 in California. Mike gave the dates for Gerald Workman's Testimonial in Charleston, West Virginia in 2024. Ainslie mentioned the new article for the Heart In Hand Blog about the Hahn Farm Degrees written by Brother Mason Wolf. Brian also shared a story of visiting members in sickness and distress and also mentioned the Oktoberfest hosted by St. Helena Lodge which sent Toby into a near frenzy of desire to get one of their beer steins. To close the Odd Podge, Mason talked about his experiences going to Portland to render aid to a brother in need.
Episode #75: If you're struggling with managing your friendships or looking for innovative ways to make new friends, this episode is your roadmap to a richer, more fulfilling social life. What you might be missing if you're not spending time with friends is a container for those friendships. My guests have tons of ideas for you!Jeff Waldman and Dan Moore joined me for an inspiring thirty minutes where we discussed creating closer friendships by scheduling time with friends. Yes, something as mundane as scheduling in the magic here. We also got into more specific ideas like organizing workshops or trips, putting standing dates on your calendar for phone calls, dinners, fitness check-ins, games, workshops, retreats, and more. We discussed saying yes sometimes, even when you feel like staying home, and the benefit of being the host of events instead of the guest. Meet Jeff and DanJeff Waldman is a designer, builder, and author of a book on tools. He sells building plans and has a newsletter on Substack called Elevated Spaces where he writes about both construction and community building and where those two practices intersect for him. Two of Jeff's especially pertinent posts about friendship are: “Who are all these friends— Scheduled phone calls edition” and “What's Up With All These Workshops”His communal property in California's Santa Cruz mountains burned in the wildfires of 2020 but lives on as a canvas for new project. Dan Moore is a technologist, outdoor enthusiast, husband and father. He has been writing software for over 20 years, and was shocked early in his career at how much software project success depends on human relationships. He's an author and contributor to technical books such as "97 Things Every Cloud Engineer Should Know" and "Letters To a New Developer: What I Wish I Had Known When Starting My Development Career." Dan's also an organizer and member of several interest based groups, including the Odd Fellows (a fraternal order) and the Boulder Ruby programming language meetup group. Dan lives in Boulder, Colorado with his wife and two daughters.Let's connect over all things friendship! Here's my Substack newsletter about friendship & more Dear Nina website with show notes and a guide to pitching yourself as a guest Instagram & TikTok Twitter JOIN the Dear Nina Facebook group Ask an anonymous question
Oh my the Goat Riding got a little of track this episode. Tara and Billy were honored to be hosts to the venerable Vice Grand Andy Bernhart of Columbia Lodge #2. Brother Andy is no stranger to Modern Goat Rider as he is part of the behind the scenes production team for MGR, and additionally for many other Odd Fellows reasons. This episode's vision was much like a Noble Grand's year in that there was a plan for it to run smoothly, but instead much fun and silliness was had. The gang did cover the best and not so great parts of holding VG and NG roles. MGR will rarely give a how-to do it show; instead the curtain is pulled back for some exposure to what aspiring Officers can discover in their future.Check out MGR online at moderngoatrider.comReach the hosts at info@moderngoatrider.com Intro - Anthony Shackell
Tucked away in a secluded corner of Oregon's rolling farmland northwest of Portland sits the Hahn Farm. Owned by Gary Hahn, a third-generation Odd Fellow and fourth-generation owner of the farm, it has become a beacon for Odd Fellowship in the jurisdiction of Oregon. Every year since the early 1990s, on the third weekend of September, the farm hosts a Degree Weekend unlike most others in Odd Fellowship. Candidates take the Initiatory and Three Degrees on Saturday and then the Encampment and Canton Degrees on Sunday. The setting for the Degrees could not be more amazing. The Degrees are performed next to a pond in a grove of trees planted especially for the occasion. The dramatic elements of the Degrees becomes immediate and tangible to the candidates as they literally live through the experiences of the Degrees rather than watching them acted out in a stuffy lodge hall, watching the video of the Degrees, or having the lecture form read to them. Gary Hahn sits down with Toby to tell the story of the Degrees on the Farm. We're also joined by Brother Mason Wolf of San Jose, California who traveled to Oregon to experience the perils of the Rough Road as he took the Encampment Degrees. He shares a compelling account of why live Degrees are so crucial to Odd Fellowship. The Shoutout goes to Bay View Lodge #109 of Redwood City, California for their efforts to remodel their hall and become a popular music venue. In the Odd Podge, Toby talks about a new member in Arkansas who posted about joining on Reddit, Ainslie shares his recent trip to Montana and his Odd Fellows discovery, Mike introduces us to his new car (after his old one died with 400,000 miles on it), and Mason recounts his visit to a Portland brewpub for some good music and a very successful event at his home lodge in San Jose.
Thank you so much for tuning in for another episode of Tin Foil Hat with Sam Tripoli. This episode I welcome Investigative Journalist Greg Reese to the show to discuss his amazing extremely informative videos he makes for social media then the bombs start to drop when we discuss the Odd Fellows, Solar Phoenix and Flat Earth and much much more. It gets a little black pill up in here but it was still a total banger. Thank you for your support. Want to see Sam Tripoli live? Go to SamTripoli.com for tickets. Sept 12th: Comedy Chaos Live At The World Famous Comedy Store https://www.showclix.com/event/comedy-chaos-sept12th Sept 29th: Headlining Soul Joel's In Pottstown, Pa at 8pm pst https://www.souljoels.com/shop/tickets/samtripoli/ Sept 30th-Oct 1st: Skankfest In Las Vegas https://skankfest.com Oct 13th-14th: Headlining the Dojo Of Comedy In Morris Plains, NJ https://bit.ly/3P7SbqA Nov 17th: Headlining Vulcan with Eddie Bravo and XG In Austin https://tickets.vulcanpresents.com/e/tin-foil-11-17/tickets Nov 18th: Tin Foil Hat Comedy Night And Swarm Tank LIve The House Of Comedy in Dallas Tx 7pm: Tin Foil Hat Comedy- https://txtickets.houseofcomedy.net/event/tin-foil-hat-comedy-night-special-presentation 9pm: Swarm Tank- https://txtickets.houseofcomedy.net/event/swarm-tank-special-presentation Jan 25th-27th: Headlining the Comedy Vault In Batavia, Ill https://www.comedyvaultbatavia.com/calendar?month=1&year=2024 Feb 8th-10th: The Comic Strip in Edmonton https://wem.thecomicstrip.ca Please check out Greg Reese's Internet: Website: https://reesereport.com/ Substack: https://gregreese.substack instagram: https://www.instagram.com/gregreese_/ Telegram: https://t.me/gregreesevideoreports Please check out SamTripoli.com for all things Sam Tripoli. Please check out Sam Tripoli's Linktree: https://linktr.ee/samtripoli Please Follow Sam Tripoli's Comedy Instagram: https://www.instagram.com/samtripolicomedy/ Please Follow Sam Tripoli's Podcast Clip Instagram: https://www.instagram.com/samtripolispodcastclips/ Nuked.Social: Please check out Nuked.Social and join our decentralized social media that allows you to connect with telegram and the discord. Thank you to our sponsors: DraftKings: DraftKings Sportsbook is hooking you up with a can't-miss offer to start the season strong. This week, new customers can bet just FIVE DOLLARS on college football and score TWO HUNDRED DOLLARS IN BONUS BETS INSTANTLY! Life's more fun when you're in on the action. Download the DraftKings Sportsbook app NOW and use the code TINFOIL. New customers can score TWO HUNDRED DOLLARS IN BONUS BETS INSTANTLY when they bet just FIVE dollars on college football. Only on DraftKings Sportsbook with code TINFOIL. The crown is yours. Gambling problem? Call 1-800-Gambler or visit w w w 1 800 gambler dot net. In New York, call 877-8-HOPENY or text HOPENY (467369). In Connecticut, Help is available for problem gambling call 888-789-7777 or visit c c p g dot org. Please play responsibly. On behalf of Boot Hill Casino & Resort (KS). 21 plus age varies by jurisdiction. Void in Ontario. See D K N G dot com slash football for eligibility, terms and responsible gaming resources. Bonus bets expire seven days after issuance. Eligibility and deposit restrictions apply. HelixSleep.com: Just go to Helix Sleep dot com slash tinfoil, take their two-minute sleep quiz, and they'll match you to a customized mattress that will give you the best sleep of your life. Helix is offering up to 200 dollars off all mattress orders AND two free pillows for our listeners at Helix Sleep dot com slash tinfoil.
Sarah and Imogen compare notes on how friendship can be as intimate as any relationship, the problems that friendships can run into and how to make new friends.Guests this week are relationship expert Charisse Cooke and CEO of Oddfellows, Jane Nelson. Find out more: https://www.instagram.com/charissecooke/ https://www.oddfellows.co.uk/See omnystudio.com/listener for privacy information.
On this episode of the Sofa King Podcast, we talk about the Order of Odd Fellows. This fraternity slash secret society included Charlie Chaplin, Wyatt Earp, Ulysses S Grant, Charles Lindberg, and Franklin D Roosevelt. It was once larger than the Masons. Their goal was to expand friendship, love, and truth to all of humanities. They even acted as a form of insurance for each other before such a concept actually existed, but they had a funny way of doing things. For instance, starting in the 2000s, people all across America discovered dozens of skeletons hidden in abandoned Odd Fellow Lodges, and it turned out that this was a group that protected itself with odd rituals and cryptic codes. Visit Our Sources: https://en.wikipedia.org/wiki/Independent_Order_of_Odd_Fellows https://www.mentalfloss.com/article/633931/independent-order-odd-fellows-secret-society-skeletons https://odd-fellows.org/ https://www.reddit.com/r/ioof/comments/6hyyx4/my_great_great_grandfather_was_a_odd_fellow_left/ https://occult-world.com/odd-fellows/ https://www.latimes.com/archives/la-xpm-2001-apr-01-mn-45210-story.html https://socialwelfare.library.vcu.edu/eras/grand-united-order-of-odd-fellows-in-america/ https://en.wikipedia.org/wiki/Odd_Fellows https://en.wikipedia.org/wiki/Edith_Howard_Cook
Colma is the new Lone Mountain. Nicole & Arnold visit Lone Mountain's past to dig into the Odd Fellows Cemetery.
This week we have a call out for White Claw, and Sierra is dealing with some hot water issues, then Alecia tells us about the Odd Fellows Home in Missouri. This building has been featured on many ghost hunting shows due to its history and paranormal nature. It has been an old folks home, an orphanage, and a hospital; but no matter why the person ended up there, their sprit never seems to want to leave.Don't forget to leave a 5 star rating and review, it's the best way to spread the word.If you decide to join Patreon, you can expect welcome goodies and 100+ bonus episodes ready for you to unlock. Thank you for checking it out! www.patreon.com/twistedanduncorkedYou can buy us a drink on Buy Me A Coffee https://www.buymeacoffee.com/twistedpodCheck out our website for sources and photos from todays episode www.twistedanduncorked.comWatch on our YouTube ChannelFollow us on all of the socials:Instagram and TikTok @twistedanduncorkedTwitter @twisted_podFacebook @twistedanduncorkedpodcastThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4751523/advertisement
Episode 165 of A History of Rock Music in Five Hundred Songs looks at “Dark Stat” and the career of the Grateful Dead. This is a long one, even longer than the previous episode, but don't worry, that won't be the norm. There's a reason these two were much longer than average. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Codine" by the Charlatans. Errata I mispronounce Brent Mydland's name as Myland a couple of times, and in the introduction I say "Touch of Grey" came out in 1988 -- I later, correctly, say 1987. (I seem to have had a real problem with dates in the intro -- I also originally talked about "Blue Suede Shoes" being in 1954 before fixing it in the edit to be 1956) Resources No Mixcloud this week, as there are too many songs by the Grateful Dead, and Grayfolded runs to two hours. I referred to a lot of books for this episode, partly because almost everything about the Grateful Dead is written from a fannish perspective that already assumes background knowledge, rather than to provide that background knowledge. Of the various books I used, Dennis McNally's biography of the band and This Is All a Dream We Dreamed: An Oral History of the Grateful Dead by Blair Jackson and David Gans are probably most useful for the casually interested. Other books on the Dead I used included McNally's Jerry on Jerry, a collection of interviews with Garcia; Deal, Bill Kreutzmann's autobiography; The Grateful Dead FAQ by Tony Sclafani; So Many Roads by David Browne; Deadology by Howard F. Weiner; Fare Thee Well by Joel Selvin and Pamela Turley; and Skeleton Key: A Dictionary for Deadheads by David Shenk and Steve Silberman. Tom Wolfe's The Electric Kool-Aid Acid Test is the classic account of the Pranksters, though not always reliable. I reference Slaughterhouse Five a lot. As well as the novel itself, which everyone should read, I also read this rather excellent graphic novel adaptation, and The Writer's Crusade, a book about the writing of the novel. I also reference Ted Sturgeon's More Than Human. For background on the scene around Astounding Science Fiction which included Sturgeon, John W. Campbell, L. Ron Hubbard, and many other science fiction writers, I recommend Alec Nevala-Lee's Astounding. 1,000 True Fans can be read online, as can the essay on the Californian ideology, and John Perry Barlow's "Declaration of the Independence of Cyberspace". The best collection of Grateful Dead material is the box set The Golden Road, which contains all the albums released in Pigpen's lifetime along with a lot of bonus material, but which appears currently out of print. Live/Dead contains both the live version of "Dark Star" which made it well known and, as a CD bonus track, the original single version. And archive.org has more live recordings of the group than you can possibly ever listen to. Grayfolded can be bought from John Oswald's Bandcamp Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Tuning from "Grayfolded", under the warnings Before we begin -- as we're tuning up, as it were, I should mention that this episode contains discussions of alcoholism, drug addiction, racism, nonconsensual drugging of other people, and deaths from drug abuse, suicide, and car accidents. As always, I try to deal with these subjects as carefully as possible, but if you find any of those things upsetting you may wish to read the transcript rather than listen to this episode, or skip it altogether. Also, I should note that the members of the Grateful Dead were much freer with their use of swearing in interviews than any other band we've covered so far, and that makes using quotes from them rather more difficult than with other bands, given the limitations of the rules imposed to stop the podcast being marked as adult. If I quote anything with a word I can't use here, I'll give a brief pause in the audio, and in the transcript I'll have the word in square brackets. [tuning ends] All this happened, more or less. In 1910, T. S. Eliot started work on "The Love Song of J. Alfred Prufrock", which at the time was deemed barely poetry, with one reviewer imagining Eliot saying "I'll just put down the first thing that comes into my head, and call it 'The Love Song of J. Alfred Prufrock.'" It is now considered one of the great classics of modernist literature. In 1969, Kurt Vonnegut wrote "Slaughterhouse-Five, or, The Children's Crusade: A Duty-Dance with Death", a book in which the protagonist, Billy Pilgrim, comes unstuck in time, and starts living a nonlinear life, hopping around between times reliving his experiences in the Second World War, and future experiences up to 1976 after being kidnapped by beings from the planet Tralfamadore. Or perhaps he has flashbacks and hallucinations after having a breakdown from PTSD. It is now considered one of the great classics of modernist literature or of science fiction, depending on how you look at it. In 1953, Theodore Sturgeon wrote More Than Human. It is now considered one of the great classics of science fiction. In 1950, L. Ron Hubbard wrote Dianetics: The Modern Science of Mental Health. It is now considered either a bad piece of science fiction or one of the great revelatory works of religious history, depending on how you look at it. In 1994, 1995, and 1996 the composer John Oswald released, first as two individual CDs and then as a double-CD, an album called Grayfolded, which the composer says in the liner notes he thinks of as existing in Tralfamadorian time. The Tralfamadorians in Vonnegut's novels don't see time as a linear thing with a beginning and end, but as a continuum that they can move between at will. When someone dies, they just think that at this particular point in time they're not doing so good, but at other points in time they're fine, so why focus on the bad time? In the book, when told of someone dying, the Tralfamadorians just say "so it goes". In between the first CD's release and the release of the double-CD version, Jerry Garcia died. From August 1942 through August 1995, Jerry Garcia was alive. So it goes. Shall we go, you and I? [Excerpt: The Grateful Dead, "Dark Star (Omni 3/30/94)"] "One principle has become clear. Since motives are so frequently found in combination, it is essential that the complex types be analyzed and arranged, with an eye kept single nevertheless to the master-theme under discussion. Collectors, both primary and subsidiary, have done such valiant service that the treasures at our command are amply sufficient for such studies, so extensive, indeed, that the task of going through them thoroughly has become too great for the unassisted student. It cannot be too strongly urged that a single theme in its various types and compounds must be made predominant in any useful comparative study. This is true when the sources and analogues of any literary work are treated; it is even truer when the bare motive is discussed. The Grateful Dead furnishes an apt illustration of the necessity of such handling. It appears in a variety of different combinations, almost never alone. Indeed, it is so widespread a tale, and its combinations are so various, that there is the utmost difficulty in determining just what may properly be regarded the original kernel of it, the simple theme to which other motives were joined. Various opinions, as we shall see, have been held with reference to this matter, most of them justified perhaps by the materials in the hands of the scholars holding them, but none quite adequate in view of later evidence." That's a quote from The Grateful Dead: The History of a Folk Story, by Gordon Hall Gerould, published in 1908. Kurt Vonnegut's novel Slaughterhouse-Five opens with a chapter about the process of writing the novel itself, and how difficult it was. He says "I would hate to tell you what this lousy little book cost me in money and anxiety and time. When I got home from the Second World War twenty-three years ago, I thought it would be easy for me to write about the destruction of Dresden, since all I would have to do would be to report what I had seen. And I thought, too, that it would be a masterpiece or at least make me a lot of money, since the subject was so big." This is an episode several of my listeners have been looking forward to, but it's one I've been dreading writing, because this is an episode -- I think the only one in the series -- where the format of the podcast simply *will not* work. Were the Grateful Dead not such an important band, I would skip this episode altogether, but they're a band that simply can't be ignored, and that's a real problem here. Because my intent, always, with this podcast, is to present the recordings of the artists in question, put them in context, and explain why they were important, what their music meant to its listeners. To put, as far as is possible, the positive case for why the music mattered *in the context of its time*. Not why it matters now, or why it matters to me, but why it matters *in its historical context*. Whether I like the music or not isn't the point. Whether it stands up now isn't the point. I play the music, explain what it was they were doing, why they were doing it, what people saw in it. If I do my job well, you come away listening to "Blue Suede Shoes" the way people heard it in 1956, or "Good Vibrations" the way people heard it in 1966, and understanding why people were so impressed by those records. That is simply *not possible* for the Grateful Dead. I can present a case for them as musicians, and hope to do so. I can explain the appeal as best I understand it, and talk about things I like in their music, and things I've noticed. But what I can't do is present their recordings the way they were received in the sixties and explain why they were popular. Because every other act I have covered or will cover in this podcast has been a *recording* act, and their success was based on records. They may also have been exceptional live performers, but James Brown or Ike and Tina Turner are remembered for great *records*, like "Papa's Got a Brand New Bag" or "River Deep, Mountain High". Their great moments were captured on vinyl, to be listened back to, and susceptible of analysis. That is not the case for the Grateful Dead, and what is worse *they explicitly said, publicly, on multiple occasions* that it is not possible for me to understand their art, and thus that it is not possible for me to explain it. The Grateful Dead did make studio records, some of them very good. But they always said, consistently, over a thirty year period, that their records didn't capture what they did, and that the only way -- the *only* way, they were very clear about this -- that one could actually understand and appreciate their music, was to see them live, and furthermore to see them live while on psychedelic drugs. [Excerpt: Grateful Dead crowd noise] I never saw the Grateful Dead live -- their last UK performance was a couple of years before I went to my first ever gig -- and I have never taken a psychedelic substance. So by the Grateful Dead's own criteria, it is literally impossible for me to understand or explain their music the way that it should be understood or explained. In a way I'm in a similar position to the one I was in with La Monte Young in the last episode, whose music it's mostly impossible to experience without being in his presence. This is one reason of several why I placed these two episodes back to back. Of course, there is a difference between Young and the Grateful Dead. The Grateful Dead allowed -- even encouraged -- the recording of their live performances. There are literally thousands of concert recordings in circulation, many of them of professional quality. I have listened to many of those, and I can hear what they were doing. I can tell you what *I* think is interesting about their music, and about their musicianship. And I think I can build up a good case for why they were important, and why they're interesting, and why those recordings are worth listening to. And I can certainly explain the cultural phenomenon that was the Grateful Dead. But just know that while I may have found *a* point, *an* explanation for why the Grateful Dead were important, by the band's own lights and those of their fans, no matter how good a job I do in this episode, I *cannot* get it right. And that is, in itself, enough of a reason for this episode to exist, and for me to try, even harder than I normally do, to get it right *anyway*. Because no matter how well I do my job this episode will stand as an example of why this series is called "*A* History", not *the* history. Because parts of the past are ephemeral. There are things about which it's true to say "You had to be there". I cannot know what it was like to have been an American the day Kennedy was shot, I cannot know what it was like to be alive when a man walked on the Moon. Those are things nobody my age or younger can ever experience. And since August the ninth, 1995, the experience of hearing the Grateful Dead's music the way they wanted it heard has been in that category. And that is by design. Jerry Garcia once said "if you work really hard as an artist, you may be able to build something they can't tear down, you know, after you're gone... What I want to do is I want it here. I want it now, in this lifetime. I want what I enjoy to last as long as I do and not last any longer. You know, I don't want something that ends up being as much a nuisance as it is a work of art, you know?" And there's another difficulty. There are only two points in time where it makes sense to do a podcast episode on the Grateful Dead -- late 1967 and early 1968, when the San Francisco scene they were part of was at its most culturally relevant, and 1988 when they had their only top ten hit and gained their largest audience. I can't realistically leave them out of the story until 1988, so it has to be 1968. But the songs they are most remembered for are those they wrote between 1970 and 1972, and those songs are influenced by artists and events we haven't yet covered in the podcast, who will be getting their own episodes in the future. I can't explain those things in this episode, because they need whole episodes of their own. I can't not explain them without leaving out important context for the Grateful Dead. So the best I can do is treat the story I'm telling as if it were in Tralfamadorian time. All of it's happening all at once, and some of it is happening in different episodes that haven't been recorded yet. The podcast as a whole travels linearly from 1938 through to 1999, but this episode is happening in 1968 and 1972 and 1988 and 1995 and other times, all at once. Sometimes I'll talk about things as if you're already familiar with them, but they haven't happened yet in the story. Feel free to come unstuck in time and revisit this time after episode 167, and 172, and 176, and 192, and experience it again. So this has to be an experimental episode. It may well be an experiment that you think fails. If so, the next episode is likely to be far more to your taste, and much shorter than this or the last episode, two episodes that between them have to create a scaffolding on which will hang much of the rest of this podcast's narrative. I've finished my Grateful Dead script now. The next one I write is going to be fun: [Excerpt: Grateful Dead, "Dark Star"] Infrastructure means everything. How we get from place to place, how we transport goods, information, and ourselves, makes a big difference in how society is structured, and in the music we hear. For many centuries, the prime means of long-distance transport was by water -- sailing ships on the ocean, canal boats and steamboats for inland navigation -- and so folk songs talked about the ship as both means of escape, means of making a living, and in some senses as a trap. You'd go out to sea for adventure, or to escape your problems, but you'd find that the sea itself brought its own problems. Because of this we have a long, long tradition of sea shanties which are known throughout the world: [Excerpt: A. L. Lloyd, "Off to Sea Once More"] But in the nineteenth century, the railway was invented and, at least as far as travel within a landmass goes, it replaced the steamboat in the popular imaginary. Now the railway was how you got from place to place, and how you moved freight from one place to another. The railway brought freedom, and was an opportunity for outlaws, whether train robbers or a romanticised version of the hobo hopping onto a freight train and making his way to new lands and new opportunity. It was the train that brought soldiers home from wars, and the train that allowed the Great Migration of Black people from the South to the industrial North. There would still be songs about the riverboats, about how ol' man river keeps rolling along and about the big river Johnny Cash sang about, but increasingly they would be songs of the past, not the present. The train quickly replaced the steamboat in the iconography of what we now think of as roots music -- blues, country, folk, and early jazz music. Sometimes this was very literal. Furry Lewis' "Kassie Jones" -- about a legendary train driver who would break the rules to make sure his train made the station on time, but who ended up sacrificing his own life to save his passengers in a train crash -- is based on "Alabamy Bound", which as we heard in the episode on "Stagger Lee", was about steamboats: [Excerpt: Furry Lewis, "Kassie Jones"] In the early episodes of this podcast we heard many, many, songs about the railway. Louis Jordan saying "take me right back to the track, Jack", Rosetta Tharpe singing about how "this train don't carry no gamblers", the trickster freight train driver driving on the "Rock Island Line", the mystery train sixteen coaches long, the train that kept-a-rollin' all night long, the Midnight Special which the prisoners wished would shine its ever-loving light on them, and the train coming past Folsom Prison whose whistle makes Johnny Cash hang his head and cry. But by the 1960s, that kind of song had started to dry up. It would happen on occasion -- "People Get Ready" by the Impressions is the most obvious example of the train metaphor in an important sixties record -- but by the late sixties the train was no longer a symbol of freedom but of the past. In 1969 Harry Nilsson sang about how "Nobody Cares About the Railroads Any More", and in 1968 the Kinks sang about "The Last of the Steam-Powered Trains". When in 1968 Merle Haggard sang about a freight train, it was as a memory, of a child with hopes that ended up thwarted by reality and his own nature: [Excerpt: Merle Haggard, "Mama Tried"] And the reason for this was that there had been another shift, a shift that had started in the forties and accelerated in the late fifties but had taken a little time to ripple through the culture. Now the train had been replaced in the popular imaginary by motorised transport. Instead of hopping on a train without paying, if you had no money in your pocket you'd have to hitch-hike all the way. Freedom now meant individuality. The ultimate in freedom was the biker -- the Hell's Angels who could go anywhere, unburdened by anything -- and instead of goods being moved by freight train, increasingly they were being moved by truck drivers. By the mid-seventies, truck drivers took a central place in American life, and the most romantic way to live life was to live it on the road. On The Road was also the title of a 1957 novel by Jack Kerouac, which was one of the first major signs of this cultural shift in America. Kerouac was writing about events in the late forties and early fifties, but his book was also a precursor of the sixties counterculture. He wrote the book on one continuous sheet of paper, as a stream of consciousness. Kerouac died in 1969 of an internal haemmorage brought on by too much alcohol consumption. So it goes. But the big key to this cultural shift was caused by the Federal-Aid Highway Act of 1956, a massive infrastructure spending bill that led to the construction of the modern American Interstate Highway system. This accelerated a program that had already started, of building much bigger, safer, faster roads. It also, as anyone who has read Robert Caro's The Power Broker knows, reinforced segregation and white flight. It did this both by making commuting into major cities from the suburbs easier -- thus allowing white people with more money to move further away from the cities and still work there -- and by bulldozing community spaces where Black people lived. More than a million people lost their homes and were forcibly moved, and orders of magnitude more lost their communities' parks and green spaces. And both as a result of deliberate actions and unconscious bigotry, the bulk of those affected were Black people -- who often found themselves, if they weren't forced to move, on one side of a ten-lane highway where the park used to be, with white people on the other side of the highway. The Federal-Aid Highway Act gave even more power to the unaccountable central planners like Robert Moses, the urban planner in New York who managed to become arguably the most powerful man in the city without ever getting elected, partly by slowly compromising away his early progressive ideals in the service of gaining more power. Of course, not every new highway was built through areas where poor Black people lived. Some were planned to go through richer areas for white people, just because you can't completely do away with geographical realities. For example one was planned to be built through part of San Francisco, a rich, white part. But the people who owned properties in that area had enough political power and clout to fight the development, and after nearly a decade of fighting it, the development was called off in late 1966. But over that time, many of the owners of the impressive buildings in the area had moved out, and they had no incentive to improve or maintain their properties while they were under threat of demolition, so many of them were rented out very cheaply. And when the beat community that Kerouac wrote about, many of whom had settled in San Francisco, grew too large and notorious for the area of the city they were in, North Beach, many of them moved to these cheap homes in a previously-exclusive area. The area known as Haight-Ashbury. [Excerpt: The Grateful Dead, "Grayfolded"] Stories all have their starts, even stories told in Tralfamadorian time, although sometimes those starts are shrouded in legend. For example, the story of Scientology's start has been told many times, with different people claiming to have heard L. Ron Hubbard talk about how writing was a mug's game, and if you wanted to make real money, you needed to get followers, start a religion. Either he said this over and over and over again, to many different science fiction writers, or most science fiction writers of his generation were liars. Of course, the definition of a writer is someone who tells lies for money, so who knows? One of the more plausible accounts of him saying that is given by Theodore Sturgeon. Sturgeon's account is more believable than most, because Sturgeon went on to be a supporter of Dianetics, the "new science" that Hubbard turned into his religion, for decades, even while telling the story. The story of the Grateful Dead probably starts as it ends, with Jerry Garcia. There are three things that everyone writing about the Dead says about Garcia's childhood, so we might as well say them here too. The first is that he was named by a music-loving father after Jerome Kern, the songwriter responsible for songs like "Ol' Man River" (though as Oscar Hammerstein's widow liked to point out, "Jerome Kern wrote dum-dum-dum-dum, *my husband* wrote 'Ol' Man River'" -- an important distinction we need to bear in mind when talking about songwriters who write music but not lyrics). The second is that when he was five years old that music-loving father drowned -- and Garcia would always say he had seen his father dying, though some sources claim this was a false memory. So it goes. And the third fact, which for some reason is always told after the second even though it comes before it chronologically, is that when he was four he lost two joints from his right middle finger. Garcia grew up a troubled teen, and in turn caused trouble for other people, but he also developed a few interests that would follow him through his life. He loved the fantastical, especially the fantastical macabre, and became an avid fan of horror and science fiction -- and through his love of old monster films he became enamoured with cinema more generally. Indeed, in 1983 he bought the film rights to Kurt Vonnegut's science fiction novel The Sirens of Titan, the first story in which the Tralfamadorians appear, and wrote a script based on it. He wanted to produce the film himself, with Francis Ford Coppola directing and Bill Murray starring, but most importantly for him he wanted to prevent anyone who didn't care about it from doing it badly. And in that he succeeded. As of 2023 there is no film of The Sirens of Titan. He loved to paint, and would continue that for the rest of his life, with one of his favourite subjects being Boris Karloff as the Frankenstein monster. And when he was eleven or twelve, he heard for the first time a record that was hugely influential to a whole generation of Californian musicians, even though it was a New York record -- "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Garcia would say later "That was an important song. That was the first kind of, like where the voices had that kind of not-trained-singer voices, but tough-guy-on-the-street voice." That record introduced him to R&B, and soon he was listening to Chuck Berry and Bo Diddley, to Ray Charles, and to a record we've not talked about in the podcast but which was one of the great early doo-wop records, "WPLJ" by the Four Deuces: [Excerpt: The Four Deuces, "WPLJ"] Garcia said of that record "That was one of my anthem songs when I was in junior high school and high school and around there. That was one of those songs everybody knew. And that everybody sang. Everybody sang that street-corner favorite." Garcia moved around a lot as a child, and didn't have much time for school by his own account, but one of the few teachers he did respect was an art teacher when he was in North Beach, Walter Hedrick. Hedrick was also one of the earliest of the conceptual artists, and one of the most important figures in the San Francisco arts scene that would become known as the Beat Generation (or the Beatniks, which was originally a disparaging term). Hedrick was a painter and sculptor, but also organised happenings, and he had also been one of the prime movers in starting a series of poetry readings in San Francisco, the first one of which had involved Allen Ginsberg giving the first ever reading of "Howl" -- one of a small number of poems, along with Eliot's "Prufrock" and "The Waste Land" and possibly Pound's Cantos, which can be said to have changed twentieth-century literature. Garcia was fifteen when he got to know Hedrick, in 1957, and by then the Beat scene had already become almost a parody of itself, having become known to the public because of the publication of works like On the Road, and the major artists in the scene were already rejecting the label. By this point tourists were flocking to North Beach to see these beatniks they'd heard about on TV, and Hedrick was actually employed by one cafe to sit in the window wearing a beret, turtleneck, sandals, and beard, and draw and paint, to attract the tourists who flocked by the busload because they could see that there was a "genuine beatnik" in the cafe. Hedrick was, as well as a visual artist, a guitarist and banjo player who played in traditional jazz bands, and he would bring records in to class for his students to listen to, and Garcia particularly remembered him bringing in records by Big Bill Broonzy: [Excerpt: Big Bill Broonzy, "When Things Go Wrong (It Hurts Me Too)"] Garcia was already an avid fan of rock and roll music, but it was being inspired by Hedrick that led him to get his first guitar. Like his contemporary Paul McCartney around the same time, he was initially given the wrong instrument as a birthday present -- in Garcia's case his mother gave him an accordion -- but he soon persuaded her to swap it for an electric guitar he saw in a pawn shop. And like his other contemporary, John Lennon, Garcia initially tuned his instrument incorrectly. He said later "When I started playing the guitar, believe me, I didn't know anybody that played. I mean, I didn't know anybody that played the guitar. Nobody. They weren't around. There were no guitar teachers. You couldn't take lessons. There was nothing like that, you know? When I was a kid and I had my first electric guitar, I had it tuned wrong and learned how to play on it with it tuned wrong for about a year. And I was getting somewhere on it, you know… Finally, I met a guy that knew how to tune it right and showed me three chords, and it was like a revelation. You know what I mean? It was like somebody gave me the key to heaven." He joined a band, the Chords, which mostly played big band music, and his friend Gary Foster taught him some of the rudiments of playing the guitar -- things like how to use a capo to change keys. But he was always a rebellious kid, and soon found himself faced with a choice between joining the military or going to prison. He chose the former, and it was during his time in the Army that a friend, Ron Stevenson, introduced him to the music of Merle Travis, and to Travis-style guitar picking: [Excerpt: Merle Travis, "Nine-Pound Hammer"] Garcia had never encountered playing like that before, but he instantly recognised that Travis, and Chet Atkins who Stevenson also played for him, had been an influence on Scotty Moore. He started to realise that the music he'd listened to as a teenager was influenced by music that went further back. But Stevenson, as well as teaching Garcia some of the rudiments of Travis-picking, also indirectly led to Garcia getting discharged from the Army. Stevenson was not a well man, and became suicidal. Garcia decided it was more important to keep his friend company and make sure he didn't kill himself than it was to turn up for roll call, and as a result he got discharged himself on psychiatric grounds -- according to Garcia he told the Army psychiatrist "I was involved in stuff that was more important to me in the moment than the army was and that was the reason I was late" and the psychiatrist thought it was neurotic of Garcia to have his own set of values separate from that of the Army. After discharge, Garcia did various jobs, including working as a transcriptionist for Lenny Bruce, the comedian who was a huge influence on the counterculture. In one of the various attacks over the years by authoritarians on language, Bruce was repeatedly arrested for obscenity, and in 1961 he was arrested at a jazz club in North Beach. Sixty years ago, the parts of speech that were being criminalised weren't pronouns, but prepositions and verbs: [Excerpt: Lenny Bruce, "To is a Preposition, Come is a Verb"] That piece, indeed, was so controversial that when Frank Zappa quoted part of it in a song in 1968, the record label insisted on the relevant passage being played backwards so people couldn't hear such disgusting filth: [Excerpt: The Mothers of Invention, "Harry You're a Beast"] (Anyone familiar with that song will understand that the censored portion is possibly the least offensive part of the whole thing). Bruce was facing trial, and he needed transcripts of what he had said in his recordings to present in court. Incidentally, there seems to be some confusion over exactly which of Bruce's many obscenity trials Garcia became a transcriptionist for. Dennis McNally says in his biography of the band, published in 2002, that it was the most famous of them, in autumn 1964, but in a later book, Jerry on Jerry, a book of interviews of Garcia edited by McNally, McNally talks about it being when Garcia was nineteen, which would mean it was Bruce's first trial, in 1961. We can put this down to the fact that many of the people involved, not least Garcia, lived in Tralfamadorian time, and were rather hazy on dates, but I'm placing the story here rather than in 1964 because it seems to make more sense that Garcia would be involved in a trial based on an incident in San Francisco than one in New York. Garcia got the job, even though he couldn't type, because by this point he'd spent so long listening to recordings of old folk and country music that he was used to transcribing indecipherable accents, and often, as Garcia would tell it, Bruce would mumble very fast and condense multiple syllables into one. Garcia was particularly impressed by Bruce's ability to improvise but talk in entire paragraphs, and he compared his use of language to bebop. Another thing that was starting to impress Garcia, and which he also compared to bebop, was bluegrass: [Excerpt: Bill Monroe, "Fire on the Mountain"] Bluegrass is a music that is often considered very traditional, because it's based on traditional songs and uses acoustic instruments, but in fact it was a terribly *modern* music, and largely a postwar creation of a single band -- Bill Monroe and his Blue Grass Boys. And Garcia was right when he said it was "white bebop" -- though he did say "The only thing it doesn't have is the harmonic richness of bebop. You know what I mean? That's what it's missing, but it has everything else." Both bebop and bluegrass evolved after the second world war, though they were informed by music from before it, and both prized the ability to improvise, and technical excellence. Both are musics that involved playing *fast*, in an ensemble, and being able to respond quickly to the other musicians. Both musics were also intensely rhythmic, a response to a faster paced, more stressful world. They were both part of the general change in the arts towards immediacy that we looked at in the last episode with the creation first of expressionism and then of pop art. Bluegrass didn't go into the harmonic explorations that modern jazz did, but it was absolutely as modern as anything Charlie Parker was doing, and came from the same impulses. It was tradition and innovation, the past and the future simultaneously. Bill Monroe, Jackson Pollock, Charlie Parker, Jack Kerouac, and Lenny Bruce were all in their own ways responding to the same cultural moment, and it was that which Garcia was responding to. But he didn't become able to play bluegrass until after a tragedy which shaped his life even more than his father's death had. Garcia had been to a party and was in a car with his friends Lee Adams, Paul Speegle, and Alan Trist. Adams was driving at ninety miles an hour when they hit a tight curve and crashed. Garcia, Adams, and Trist were all severely injured but survived. Speegle died. So it goes. This tragedy changed Garcia's attitudes totally. Of all his friends, Speegle was the one who was most serious about his art, and who treated it as something to work on. Garcia had always been someone who fundamentally didn't want to work or take any responsibility for anything. And he remained that way -- except for his music. Speegle's death changed Garcia's attitude to that, totally. If his friend wasn't going to be able to practice his own art any more, Garcia would practice his, in tribute to him. He resolved to become a virtuoso on guitar and banjo. His girlfriend of the time later said “I don't know if you've spent time with someone rehearsing ‘Foggy Mountain Breakdown' on a banjo for eight hours, but Jerry practiced endlessly. He really wanted to excel and be the best. He had tremendous personal ambition in the musical arena, and he wanted to master whatever he set out to explore. Then he would set another sight for himself. And practice another eight hours a day of new licks.” But of course, you can't make ensemble music on your own: [Excerpt: Jerry Garcia and Bob Hunter, "Oh Mary Don't You Weep" (including end)] "Evelyn said, “What is it called when a person needs a … person … when you want to be touched and the … two are like one thing and there isn't anything else at all anywhere?” Alicia, who had read books, thought about it. “Love,” she said at length." That's from More Than Human, by Theodore Sturgeon, a book I'll be quoting a few more times as the story goes on. Robert Hunter, like Garcia, was just out of the military -- in his case, the National Guard -- and he came into Garcia's life just after Paul Speegle had left it. Garcia and Alan Trist met Hunter ten days after the accident, and the three men started hanging out together, Trist and Hunter writing while Garcia played music. Garcia and Hunter both bonded over their shared love for the beats, and for traditional music, and the two formed a duo, Bob and Jerry, which performed together a handful of times. They started playing together, in fact, after Hunter picked up a guitar and started playing a song and halfway through Garcia took it off him and finished the song himself. The two of them learned songs from the Harry Smith Anthology -- Garcia was completely apolitical, and only once voted in his life, for Lyndon Johnson in 1964 to keep Goldwater out, and regretted even doing that, and so he didn't learn any of the more political material people like Pete Seeger, Phil Ochs, and Bob Dylan were doing at the time -- but their duo only lasted a short time because Hunter wasn't an especially good guitarist. Hunter would, though, continue to jam with Garcia and other friends, sometimes playing mandolin, while Garcia played solo gigs and with other musicians as well, playing and moving round the Bay Area and performing with whoever he could: [Excerpt: Jerry Garcia, "Railroad Bill"] "Bleshing, that was Janie's word. She said Baby told it to her. She said it meant everyone all together being something, even if they all did different things. Two arms, two legs, one body, one head, all working together, although a head can't walk and arms can't think. Lone said maybe it was a mixture of “blending” and “meshing,” but I don't think he believed that himself. It was a lot more than that." That's from More Than Human In 1961, Garcia and Hunter met another young musician, but one who was interested in a very different type of music. Phil Lesh was a serious student of modern classical music, a classically-trained violinist and trumpeter whose interest was solidly in the experimental and whose attitude can be summed up by a story that's always told about him meeting his close friend Tom Constanten for the first time. Lesh had been talking with someone about serialism, and Constanten had interrupted, saying "Music stopped being created in 1750 but it started again in 1950". Lesh just stuck out his hand, recognising a kindred spirit. Lesh and Constanten were both students of Luciano Berio, the experimental composer who created compositions for magnetic tape: [Excerpt: Luciano Berio, "Momenti"] Berio had been one of the founders of the Studio di fonologia musicale di Radio Milano, a studio for producing contemporary electronic music where John Cage had worked for a time, and he had also worked with the electronic music pioneer Karlheinz Stockhausen. Lesh would later remember being very impressed when Berio brought a tape into the classroom -- the actual multitrack tape for Stockhausen's revolutionary piece Gesang Der Juenglinge: [Excerpt: Karlheinz Stockhausen, "Gesang Der Juenglinge"] Lesh at first had been distrustful of Garcia -- Garcia was charismatic and had followers, and Lesh never liked people like that. But he was impressed by Garcia's playing, and soon realised that the two men, despite their very different musical interests, had a lot in common. Lesh was interested in the technology of music as well as in performing and composing it, and so when he wasn't studying he helped out by engineering at the university's radio station. Lesh was impressed by Garcia's playing, and suggested to the presenter of the station's folk show, the Midnight Special, that Garcia be a guest. Garcia was so good that he ended up getting an entire solo show to himself, where normally the show would feature multiple acts. Lesh and Constanten soon moved away from the Bay Area to Las Vegas, but both would be back -- in Constanten's case he would form an experimental group in San Francisco with their fellow student Steve Reich, and that group (though not with Constanten performing) would later premiere Terry Riley's In C, a piece influenced by La Monte Young and often considered one of the great masterpieces of minimalist music. By early 1962 Garcia and Hunter had formed a bluegrass band, with Garcia on guitar and banjo and Hunter on mandolin, and a rotating cast of other musicians including Ken Frankel, who played banjo and fiddle. They performed under different names, including the Tub Thumpers, the Hart Valley Drifters, and the Sleepy Valley Hog Stompers, and played a mixture of bluegrass and old-time music -- and were very careful about the distinction: [Excerpt: The Hart Valley Drifters, "Cripple Creek"] In 1993, the Republican political activist John Perry Barlow was invited to talk to the CIA about the possibilities open to them with what was then called the Information Superhighway. He later wrote, in part "They told me they'd brought Steve Jobs in a few weeks before to indoctrinate them in modern information management. And they were delighted when I returned later, bringing with me a platoon of Internet gurus, including Esther Dyson, Mitch Kapor, Tony Rutkowski, and Vint Cerf. They sealed us into an electronically impenetrable room to discuss the radical possibility that a good first step in lifting their blackout would be for the CIA to put up a Web site... We told them that information exchange was a barter system, and that to receive, one must also be willing to share. This was an alien notion to them. They weren't even willing to share information among themselves, much less the world." 1962 brought a new experience for Robert Hunter. Hunter had been recruited into taking part in psychological tests at Stanford University, which in the sixties and seventies was one of the preeminent universities for psychological experiments. As part of this, Hunter was given $140 to attend the VA hospital (where a janitor named Ken Kesey, who had himself taken part in a similar set of experiments a couple of years earlier, worked a day job while he was working on his first novel) for four weeks on the run, and take different psychedelic drugs each time, starting with LSD, so his reactions could be observed. (It was later revealed that these experiments were part of a CIA project called MKUltra, designed to investigate the possibility of using psychedelic drugs for mind control, blackmail, and torture. Hunter was quite lucky in that he was told what was going to happen to him and paid for his time. Other subjects included the unlucky customers of brothels the CIA set up as fronts -- they dosed the customers' drinks and observed them through two-way mirrors. Some of their experimental subjects died by suicide as a result of their experiences. So it goes. ) Hunter was interested in taking LSD after reading Aldous Huxley's writings about psychedelic substances, and he brought his typewriter along to the experiment. During the first test, he wrote a six-page text, a short excerpt from which is now widely quoted, reading in part "Sit back picture yourself swooping up a shell of purple with foam crests of crystal drops soft nigh they fall unto the sea of morning creep-very-softly mist ... and then sort of cascade tinkley-bell-like (must I take you by the hand, ever so slowly type) and then conglomerate suddenly into a peal of silver vibrant uncomprehendingly, blood singingly, joyously resounding bells" Hunter's experience led to everyone in their social circle wanting to try LSD, and soon they'd all come to the same conclusion -- this was something special. But Garcia needed money -- he'd got his girlfriend pregnant, and they'd married (this would be the first of several marriages in Garcia's life, and I won't be covering them all -- at Garcia's funeral, his second wife, Carolyn, said Garcia always called her the love of his life, and his first wife and his early-sixties girlfriend who he proposed to again in the nineties both simultaneously said "He said that to me!"). So he started teaching guitar at a music shop in Palo Alto. Hunter had no time for Garcia's incipient domesticity and thought that his wife was trying to make him live a conventional life, and the two drifted apart somewhat, though they'd still play together occasionally. Through working at the music store, Garcia got to know the manager, Troy Weidenheimer, who had a rock and roll band called the Zodiacs. Garcia joined the band on bass, despite that not being his instrument. He later said "Troy was a lot of fun, but I wasn't good enough a musician then to have been able to deal with it. I was out of my idiom, really, 'cause when I played with Troy I was playing electric bass, you know. I never was a good bass player. Sometimes I was playing in the wrong key and didn't even [fuckin'] know it. I couldn't hear that low, after playing banjo, you know, and going to electric...But Troy taught me the principle of, hey, you know, just stomp your foot and get on it. He was great. A great one for the instant arrangement, you know. And he was also fearless for that thing of get your friends to do it." Garcia's tenure in the Zodiacs didn't last long, nor did this experiment with rock and roll, but two other members of the Zodiacs will be notable later in the story -- the harmonica player, an old friend of Garcia's named Ron McKernan, who would soon gain the nickname Pig Pen after the Peanuts character, and the drummer, Bill Kreutzmann: [Excerpt: The Grateful Dead, "Drums/Space (Skull & Bones version)"] Kreutzmann said of the Zodiacs "Jerry was the hired bass player and I was the hired drummer. I only remember playing that one gig with them, but I was in way over my head. I always did that. I always played things that were really hard and it didn't matter. I just went for it." Garcia and Kreutzmann didn't really get to know each other then, but Garcia did get to know someone else who would soon be very important in his life. Bob Weir was from a very different background than Garcia, though both had the shared experience of long bouts of chronic illness as children. He had grown up in a very wealthy family, and had always been well-liked, but he was what we would now call neurodivergent -- reading books about the band he talks about being dyslexic but clearly has other undiagnosed neurodivergences, which often go along with dyslexia -- and as a result he was deemed to have behavioural problems which led to him getting expelled from pre-school and kicked out of the cub scouts. He was never academically gifted, thanks to his dyslexia, but he was always enthusiastic about music -- to a fault. He learned to play boogie piano but played so loudly and so often his parents sold the piano. He had a trumpet, but the neighbours complained about him playing it outside. Finally he switched to the guitar, an instrument with which it is of course impossible to make too loud a noise. The first song he learned was the Kingston Trio's version of an old sea shanty, "The Wreck of the John B": [Excerpt: The Kingston Trio, "The Wreck of the John B"] He was sent off to a private school in Colorado for teenagers with behavioural issues, and there he met the boy who would become his lifelong friend, John Perry Barlow. Unfortunately the two troublemakers got on with each other *so* well that after their first year they were told that it was too disruptive having both of them at the school, and only one could stay there the next year. Barlow stayed and Weir moved back to the Bay Area. By this point, Weir was getting more interested in folk music that went beyond the commercial folk of the Kingston Trio. As he said later "There was something in there that was ringing my bells. What I had grown up thinking of as hillbilly music, it started to have some depth for me, and I could start to hear the music in it. Suddenly, it wasn't just a bunch of ignorant hillbillies playing what they could. There was some depth and expertise and stuff like that to aspire to.” He moved from school to school but one thing that stayed with him was his love of playing guitar, and he started taking lessons from Troy Weidenheimer, but he got most of his education going to folk clubs and hootenannies. He regularly went to the Tangent, a club where Garcia played, but Garcia's bluegrass banjo playing was far too rigorous for a free spirit like Weir to emulate, and instead he started trying to copy one of the guitarists who was a regular there, Jorma Kaukonnen. On New Year's Eve 1963 Weir was out walking with his friends Bob Matthews and Rich Macauley, and they passed the music shop where Garcia was a teacher, and heard him playing his banjo. They knocked and asked if they could come in -- they all knew Garcia a little, and Bob Matthews was one of his students, having become interested in playing banjo after hearing the theme tune to the Beverly Hillbillies, played by the bluegrass greats Flatt and Scruggs: [Excerpt: Flatt and Scruggs, "The Beverly Hillbillies"] Garcia at first told these kids, several years younger than him, that they couldn't come in -- he was waiting for his students to show up. But Weir said “Jerry, listen, it's seven-thirty on New Year's Eve, and I don't think you're going to be seeing your students tonight.” Garcia realised the wisdom of this, and invited the teenagers in to jam with him. At the time, there was a bit of a renaissance in jug bands, as we talked about back in the episode on the Lovin' Spoonful. This was a form of music that had grown up in the 1920s, and was similar and related to skiffle and coffee-pot bands -- jug bands would tend to have a mixture of portable string instruments like guitars and banjos, harmonicas, and people using improvised instruments, particularly blowing into a jug. The most popular of these bands had been Gus Cannon's Jug Stompers, led by banjo player Gus Cannon and with harmonica player Noah Lewis: [Excerpt: Gus Cannon's Jug Stompers, "Viola Lee Blues"] With the folk revival, Cannon's work had become well-known again. The Rooftop Singers, a Kingston Trio style folk group, had had a hit with his song "Walk Right In" in 1963, and as a result of that success Cannon had even signed a record contract with Stax -- Stax's first album ever, a month before Booker T and the MGs' first album, was in fact the eighty-year-old Cannon playing his banjo and singing his old songs. The rediscovery of Cannon had started a craze for jug bands, and the most popular of the new jug bands was Jim Kweskin's Jug Band, which did a mixture of old songs like "You're a Viper" and more recent material redone in the old style. Weir, Matthews, and Macauley had been to see the Kweskin band the night before, and had been very impressed, especially by their singer Maria D'Amato -- who would later marry her bandmate Geoff Muldaur and take his name -- and her performance of Leiber and Stoller's "I'm a Woman": [Excerpt: Jim Kweskin's Jug Band, "I'm a Woman"] Matthews suggested that they form their own jug band, and Garcia eagerly agreed -- though Matthews found himself rapidly moving from banjo to washboard to kazoo to second kazoo before realising he was surplus to requirements. Robert Hunter was similarly an early member but claimed he "didn't have the embouchure" to play the jug, and was soon also out. He moved to LA and started studying Scientology -- later claiming that he wanted science-fictional magic powers, which L. Ron Hubbard's new religion certainly offered. The group took the name Mother McRee's Uptown Jug Champions -- apparently they varied the spelling every time they played -- and had a rotating membership that at one time or another included about twenty different people, but tended always to have Garcia on banjo, Weir on jug and later guitar, and Garcia's friend Pig Pen on harmonica: [Excerpt: Mother McRee's Uptown Jug Champions, "On the Road Again"] The group played quite regularly in early 1964, but Garcia's first love was still bluegrass, and he was trying to build an audience with his bluegrass band, The Black Mountain Boys. But bluegrass was very unpopular in the Bay Area, where it was simultaneously thought of as unsophisticated -- as "hillbilly music" -- and as elitist, because it required actual instrumental ability, which wasn't in any great supply in the amateur folk scene. But instrumental ability was something Garcia definitely had, as at this point he was still practising eight hours a day, every day, and it shows on the recordings of the Black Mountain Boys: [Excerpt: The Black Mountain Boys, "Rosa Lee McFall"] By the summer, Bob Weir was also working at the music shop, and so Garcia let Weir take over his students while he and the Black Mountain Boys' guitarist Sandy Rothman went on a road trip to see as many bluegrass musicians as they could and to audition for Bill Monroe himself. As it happened, Garcia found himself too shy to audition for Monroe, but Rothman later ended up playing with Monroe's Blue Grass Boys. On his return to the Bay Area, Garcia resumed playing with the Uptown Jug Champions, but Pig Pen started pestering him to do something different. While both men had overlapping tastes in music and a love for the blues, Garcia's tastes had always been towards the country end of the spectrum while Pig Pen's were towards R&B. And while the Uptown Jug Champions were all a bit disdainful of the Beatles at first -- apart from Bob Weir, the youngest of the group, who thought they were interesting -- Pig Pen had become enamoured of another British band who were just starting to make it big: [Excerpt: The Rolling Stones, "Not Fade Away"] 29) Garcia liked the first Rolling Stones album too, and he eventually took Pig Pen's point -- the stuff that the Rolling Stones were doing, covers of Slim Harpo and Buddy Holly, was not a million miles away from the material they were doing as Mother McRee's Uptown Jug Champions. Pig Pen could play a little electric organ, Bob had been fooling around with the electric guitars in the music shop. Why not give it a go? The stuff bands like the Rolling Stones were doing wasn't that different from the electric blues that Pig Pen liked, and they'd all seen A Hard Day's Night -- they could carry on playing with banjos, jugs, and kazoos and have the respect of a handful of folkies, or they could get electric instruments and potentially have screaming girls and millions of dollars, while playing the same songs. This was a convincing argument, especially when Dana Morgan Jr, the son of the owner of the music shop, told them they could have free electric instruments if they let him join on bass. Morgan wasn't that great on bass, but what the hell, free instruments. Pig Pen had the best voice and stage presence, so he became the frontman of the new group, singing most of the leads, though Jerry and Bob would both sing a few songs, and playing harmonica and organ. Weir was on rhythm guitar, and Garcia was the lead guitarist and obvious leader of the group. They just needed a drummer, and handily Bill Kreutzmann, who had played with Garcia and Pig Pen in the Zodiacs, was also now teaching music at the music shop. Not only that, but about three weeks before they decided to go electric, Kreutzmann had seen the Uptown Jug Champions performing and been astonished by Garcia's musicianship and charisma, and said to himself "Man, I'm gonna follow that guy forever!" The new group named themselves the Warlocks, and started rehearsing in earnest. Around this time, Garcia also finally managed to get some of the LSD that his friend Robert Hunter had been so enthusiastic about three years earlier, and it was a life-changing experience for him. In particular, he credited LSD with making him comfortable being a less disciplined player -- as a bluegrass player he'd had to be frighteningly precise, but now he was playing rock and needed to loosen up. A few days after taking LSD for the first time, Garcia also heard some of Bob Dylan's new material, and realised that the folk singer he'd had little time for with his preachy politics was now making electric music that owed a lot more to the Beat culture Garcia considered himself part of: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] Another person who was hugely affected by hearing that was Phil Lesh, who later said "I couldn't believe that was Bob Dylan on AM radio, with an electric band. It changed my whole consciousness: if something like that could happen, the sky was the limit." Up to that point, Lesh had been focused entirely on his avant-garde music, working with friends like Steve Reich to push music forward, inspired by people like John Cage and La Monte Young, but now he realised there was music of value in the rock world. He'd quickly started going to rock gigs, seeing the Rolling Stones and the Byrds, and then he took acid and went to see his friend Garcia's new electric band play their third ever gig. He was blown away, and very quickly it was decided that Lesh would be the group's new bass player -- though everyone involved tells a different story as to who made the decision and how it came about, and accounts also vary as to whether Dana Morgan took his sacking gracefully and let his erstwhile bandmates keep their instruments, or whether they had to scrounge up some new ones. Lesh had never played bass before, but he was a talented multi-instrumentalist with a deep understanding of music and an ability to compose and improvise, and the repertoire the Warlocks were playing in the early days was mostly three-chord material that doesn't take much rehearsal -- though it was apparently beyond the abilities of poor Dana Morgan, who apparently had to be told note-by-note what to play by Garcia, and learn it by rote. Garcia told Lesh what notes the strings of a bass were tuned to, told him to borrow a guitar and practice, and within two weeks he was on stage with the Warlocks: [Excerpt: The Grateful Dead, “Grayfolded"] In September 1995, just weeks after Jerry Garcia's death, an article was published in Mute magazine identifying a cultural trend that had shaped the nineties, and would as it turned out shape at least the next thirty years. It's titled "The Californian Ideology", though it may be better titled "The Bay Area Ideology", and it identifies a worldview that had grown up in Silicon Valley, based around the ideas of the hippie movement, of right-wing libertarianism, of science fiction authors, and of Marshall McLuhan. It starts "There is an emerging global orthodoxy concerning the relation between society, technology and politics. We have called this orthodoxy `the Californian Ideology' in honour of the state where it originated. By naturalising and giving a technological proof to a libertarian political philosophy, and therefore foreclosing on alternative futures, the Californian Ideologues are able to assert that social and political debates about the future have now become meaningless. The California Ideology is a mix of cybernetics, free market economics, and counter-culture libertarianism and is promulgated by magazines such as WIRED and MONDO 2000 and preached in the books of Stewart Brand, Kevin Kelly and others. The new faith has been embraced by computer nerds, slacker students, 30-something capitalists, hip academics, futurist bureaucrats and even the President of the USA himself. As usual, Europeans have not been slow to copy the latest fashion from America. While a recent EU report recommended adopting the Californian free enterprise model to build the 'infobahn', cutting-edge artists and academics have been championing the 'post-human' philosophy developed by the West Coast's Extropian cult. With no obvious opponents, the global dominance of the Californian ideology appears to be complete." [Excerpt: Grayfolded] The Warlocks' first gig with Phil Lesh on bass was on June the 18th 1965, at a club called Frenchy's with a teenage clientele. Lesh thought his playing had been wooden and it wasn't a good gig, and apparently the management of Frenchy's agreed -- they were meant to play a second night there, but turned up to be told they'd been replaced by a band with an accordion and clarinet. But by September the group had managed to get themselves a residency at a small bar named the In Room, and playing there every night made them cohere. They were at this point playing the kind of sets that bar bands everywhere play to this day, though at the time the songs they were playing, like "Gloria" by Them and "In the Midnight Hour", were the most contemporary of hits. Another song that they introduced into their repertoire was "Do You Believe in Magic" by the Lovin' Spoonful, another band which had grown up out of former jug band musicians. As well as playing their own sets, they were also the house band at The In Room and as such had to back various touring artists who were the headline acts. The first act they had to back up was Cornell Gunter's version of the Coasters. Gunter had brought his own guitarist along as musical director, and for the first show Weir sat in the audience watching the show and learning the parts, staring intently at this musical director's playing. After seeing that, Weir's playing was changed, because he also picked up how the guitarist was guiding the band while playing, the small cues that a musical director will use to steer the musicians in the right direction. Weir started doing these things himself when he was singing lead -- Pig Pen was the frontman but everyone except Bill sang sometimes -- and the group soon found that rather than Garcia being the sole leader, now whoever was the lead singer for the song was the de facto conductor as well. By this point, the Bay Area was getting almost overrun with people forming electric guitar bands, as every major urban area in America was. Some of the bands were even having hits already -- We Five had had a number three hit with "You Were On My Mind", a song which had originally been performed by the folk duo Ian and Sylvia: [Excerpt: We Five, "You Were On My Mind"] Although the band that was most highly regarded on the scene, the Charlatans, was having problems with the various record companies they tried to get signed to, and didn't end up making a record until 1969. If tracks like "Number One" had been released in 1965 when they were recorded, the history of the San Francisco music scene may have taken a very different turn: [Excerpt: The Charlatans, "Number One"] Bands like Jefferson Airplane, the Great Society, and Big Brother and the Holding Company were also forming, and Autumn Records was having a run of success with records by the Beau Brummels, whose records were produced by Autumn's in-house A&R man, Sly Stone: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Warlocks were somewhat cut off from this, playing in a dive bar whose clientele was mostly depressed alcoholics. But the fact that they were playing every night for an audience that didn't care much gave them freedom, and they used that freedom to improvise. Both Lesh and Garcia were big fans of John Coltrane, and they started to take lessons from his style of playing. When the group played "Gloria" or "Midnight Hour" or whatever, they started to extend the songs and give themselves long instrumental passages for soloing. Garcia's playing wasn't influenced *harmonically* by Coltrane -- in fact Garcia was always a rather harmonically simple player. He'd tend to play lead lines either in Mixolydian mode, which is one of the most standard modes in rock, pop, blues, and jazz, or he'd play the notes of the chord that was being played, so if the band were playing a G chord his lead would emphasise the notes G, B, and D. But what he was influenced by was Coltrane's tendency to improvise in long, complex, phrases that made up a single thought -- Coltrane was thinking musically in paragraphs, rather than sentences, and Garcia started to try the same kind of th
Can you keep a secret? In today's episode, we sneak into Bohemian Grove and discover the shocking truth about the Illuminati, reveal skeletons in closets (and under floorboards), and undergo an initiation with Ke$ha. Plus, Dana's snooping backfires, Connor's magical past catches up to him, and Greg inducts you into the world's most powerful secret society. Get your ritual robes dry cleaned, because it's time to meet The Gatekeeper! Join the Museum: https://patreon.com/paramuseumVisit Our Website: https://hauntedobjectspodcast.comSubscribe on YouTube: https://tinyurl.com/25xf92nxFollow Greg NewkirkTwitter: https://twitter.com/nuekerkInstagram: https://instagram.com/nuekerkWebsite: https://gregorynewkirk.comFollow Dana NewkirkTwitter: https://twitter.com/weird_danaInstagram: https://instagram.com/weird_danaFollow Connor J. RandallTwitter: https://twitter.com/connorjrandallInstagram: https://instagram.com/connorjrandallSHOW NOTES:- Newkirk Museum Article: https://tinyurl.com/2vudnff2- Live Investigations with The Gatekeeper : https://tinyurl.com/2jak8rkk- More Lesser-Known Secret Societies: https://tinyurl.com/5ebt957k- The Illuminati: https://youtu.be/d-50h9nDugk- The Estes Method: https://tinyurl.com/3mbj9tkb- Official Odd Fellows Website: https://tinyurl.com/yywhmtca- The Odd Fellows Manual from 1852: https://tinyurl.com/2dcvm243- Great Odd Fellows Images: https://tinyurl.com/yc74fx5z- Excellent Book about the Odd Fellows: https://amzn.to/3pLy88e- Their Mysterious Ritual: https://tinyurl.com/4mpbym9c- Finding Skeletons: https://tinyurl.com/2re6ruz3- Watch “Conjuring Kesha”: https://youtu.be/ZaTuLMaqh_E- Odd Fellows Symbolism (Wholesome): https://youtu.be/DHaKsPVnkEI- Inside an Odd Fellows Lodge: https://youtu.be/ja1DOMYlJOk- Belvoir Winery: https://tinyurl.com/bdcpmkxn- Psychology of Conspiracy Theories: https://tinyurl.com/2644b9n9- Academic Take on Conspiracy Theories: https://tinyurl.com/43ppauwvCopyright 2023 Planet WeirdHosted by Greg and Dana NewkirkProduced by Connor J RandallPhotography by Karl PfeifferArt by Dustin WilliamsTheme by Adam Hayman"The Disembodied Voice" by Chuck FreshSpecial Thanks to the Brotherhood of Magicians
The Masonic Roundtable - Freemasonry Today for Today's Freemasons
Join us for an upcoming Masonic podcast as we welcome Steven Knapp, Executive Director of the Newberry Museum, to discuss their fascinating new Freemasonry exhibit. In this captivating episode, Steven will share insights into the exhibit's creation process and delve into the rich history of local lodges, South Carolina Freemasonry, and related organizations like the Odd Fellows. As an expert on American fraternalism and a historian of Masonry during the Revolution, Steven offers a unique perspective on the intertwining of Masonic myth and reality. Don't miss this chance to uncover the enigmatic world of Freemasonry and its historical significance!
Kerri switches things up and tell us about an abduction.. kind of gone wrong. Listen as she talks about what happened to Frank Sinatra Jr. Donna talks about a haunted place called Belvoir Winery, but it also known as the Oddfellows place. Lots of ghostly activity, and it wasn't harmful.. until something negative seemed to attach itself to one of the buildings. If you have any local true crime, local urban legend/lore, ghost stories.. we want them all!! We want to hear from YOU. Especially if you have any funny Ambien stories! Email us at aparanormalchicks@gmail.com Join The Creepinati @ www.patreon.com/theAPCpodcast Please rate and review us on Spotify, Apple Podcast and Stitcher! Thanks so much. This episode is sponsored by Apostrophe. THIS IS A SPECIAL OFFER JUST FOR Y'ALL! Save fifteen dollars off your first visit with an Apostrophe provider at www.apostrophe.com/CREEP & when you use our code: CREEP This episode is also sponsored by Hello Fresh! Everyone's favorite meal kit company! Go to hellofresh.com/CREEP60 and use code CREEP60 for 60% off your order PLUS free shipping!! This episode is also sponsored by BetterHelp. YOU and your mental health matter! Learn more and save 10% off your first month at betterhelp.com/APC This episode is also sponsored by Ettitude! They have the right attitude about bedding! It's so luxurious and soft.. you owe it to yourself to get a better night sleep! You can get $25 off your bedding order! Go to ettitude.com/creep Ettitude offers a 30 night back guarantee.
Gene Simmons Says "If Paul Stanley Doesn't Have To Sing Why Do I Have To Stand" Plus Crowbar Odd Fellows Rest For Metal Mike Tyler
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