Podcast appearances and mentions of Peter Ward

In Episode 95 of Brave New World, Palaeontologist Peter Ward returns to explore life's evolutionary journey and examine compelling possibilities for its future direction. Useful Resources: 1. Peter Ward on Wikipedia and The University Of Washington. 2. Stephen Jay Gould. 3. Wonderful Life: The Burgess Shale and Nature Of History – Stephen Jay Gould. 4. Cambrian Explosion. 5. Burgess Shale. 6. Nick Lane. 7. Oxygen: The Molecule That Made The World – Nick Lane. 8. Life Ascending: The Ten Great Inventions of Evolution – Nick Lane. 9. David Catling on Wikipedia and the University Of Washington. 10. Eukaryote. 11. Lynn Margulis. 12. Carl Sagan. 13. Chemoreceptors. 14. My Octopus Teacher. 15. Pippa Ehrlich On The Mysteries of The Sea – Episode 77 Of Brave New World. 16. Methuselah Foundation and Methuselah Mice. 17. CRISPR. 18. Future Evolution – Peter Ward. 19. After Man: A Zoology Of The Future - Dougal Dixon. 20. Future Evolution with Alexis Rockman 21. Rare Earth: Why Complex Life is Uncommon in the Universe – Peter Ward and Donald Brownlee. 22. Seth Shostak on Extraterrestrial Life – Episode 85 of Brave New World. 23. Drake Equation. 24. Endangered Species Act, Clean Air Act. 25. Daniel J. Evans. 26. David Battisti 27. Edward O. Wilson 28. Biophilia – Edward O. Wilson Check out Vasant Dhar's newsletter on Substack. The subscription is free!

Peter Ward is a paleontologist who has described some of the earth's previous extinction events. He's worried about the one we may be creating now – and he worries about the attack on science that is going on in the US today. At the University of Washington, people are being laid off today. We can't save the world without science. For the video and audio podcast, https://tosavetheworld.ca/episode-679-a-paleontologist-and-rice-paddies.

Luke Moore and Peter Ward are joined by special guest Axel Rudolph, IG's Senior Technical Analyst and former chair of the Society of Technical Analysts. They dive deep into what may be the most overlooked yet critical aspect of successful trading: position sizing. Discover why even experienced traders can blow up their accounts, how to adapt your strategy during volatile markets, and practical approaches to risk management that could increase your staying power. Timestamps 00:00 Intro 02:37 Core theme: "It all boils down to risk and position sizing" 05:54 Why position sizing is overlooked: "Human nature... it all comes down to math" 10:59 Definition of risk per trade and percentage-based approach 21:53 Using ATR (Average True Range) to adjust sizing based on volatility 28:54 Warning against removing stops during volatile periods 36:40 Case study of account growth and losses due to poor sizing 44:52 Final takeaway: "Reduce, reduce, reduce" Remember to like and subscribe!Spread bets and CFDs are complex instruments and come with a high risk of losing money rapidly due to leverage. 70% of retail investor accounts lose money when trading spread bets and CFDs with this provider. You should consider whether you understand how spread bets and CFDs work and whether you can afford to take the high risk of losing your money. Professional clients trading spread bets and CFDs can lose more than they deposit.Options and futures are complex instruments which come with a high risk of losing money rapidly due to leverage. They're not suitable for most investors. Before you invest, you should consider whether you understand how options and futures work, the risks of trading these instruments and whether you can afford to lose more than your original investment.Your capital may be at risk.

Greg talks about the assumption people make that we're insignificant because we're small compared to the universe, then he answers questions about whether Hebrews 6:4–6 means we can lose our salvation and how to deal with a situation where a pastor won't submit to leadership.   Topics: Commentary: The size of the universe doesn't mean we're insignificant. (00:00) Does Hebrews 6:4–6 mean you can lose your salvation? (13:00) After leaving a church because the pastor wouldn't submit to church leadership, how should I discuss this issue with a friend who is still at the church? (33:00)   Mentioned on the Show:  Why the Universe Is the Way It Is by Hugh Ross Rare Earth: Why Complex Life is Uncommon in the Universe by Peter Ward and Donald Brownlee Bully Pulpit: Confronting the Problem of Spiritual Abuse in the Church by Michael Kruger   Related Links: What Should We Learn from the Immensity of the Heavens? by Katie Hulse Why Would God Create a Massive Universe? by Amy Hall Why Is There So Much Wasted Space in the Universe? by Amy Hall

Some of these confuse Charley, and some of them grip him off. All are fun to chat about. Bohemian Waxwing recording courtesy of Peter Ward and Ken Hall, XC512253. Accessible at https://xeno-canto.org/512253. License: Creative Commons Attribution-NonCommercial-ShareAlike 4.0 If you wish to support this podcast, please visit our Patreon page at: https://www.patreon.com/naturallyadventurous?fan_landing=true Feel free to contact us at: cfchesse@gmail.com &/OR ken.behrens@gmail.com Naturally Adventurous Podcast

Does life exist outside our planet? Are we alone in the universe? Seth Shostak joins Vasant Dhar in episode 85 of Brave New World to describe his search for the answers. Useful resources: 1. Seth Shostak at The Seti Institute, Wikipedia, TED, Amazon and his own website. 2. Life in the Universe -- Jeffrey Bennett, Seth Shostak, Nicholas Schneider and Meredith MacGregor. 3. Sharing the Universe: Perspectives on Extraterrestrial Life -- Seth Shostak. 4. Confessions of an Alien Hunter -- Seth Shostak. 5. The Copernican Revolution -- Thomas Kuhn. 6. Peter Ward on Life on Earth -- Episode 76 of Brave New World. 7. Rare Earth: Why Complex Life is Uncommon in the Universe -- Peter Ward and Donald Brownlee. 8. The Drake Equation. 9. The Gaia Hypothesis. 10. Gaia: A New Look at Life on Earth -- James Lovelock. 11. Kevin Mitchell Makes a Case for Free Will -- Episode 80 of Brave New World. 12. The Kessler Syndrome. Check out Vasant Dhar's newsletter on Substack. Subscription is free!

Krunching Gears – The Rally Podcast: Series 3, episode 33.  In this episode, we look back at Rally Estonia, Round 4 of the European Rally Championship (ERC) with Jon Armstrong & Eoin Treacy.  Aidan Wray & Peter Ward discuss their victory on the Loughgall Stages Rally.  We look ahead to the Tipperary Stonethrowers Rally with Clerk of the Course Adam Coffey and also catch up with WRC Rally TV's Mike Chen, who is competing on the Stonethrowers in Andy Fanning's immaculate Skoda Fabia S2500 with the support of NAPA Auto Parts.  Finally, we speak to Gary Nolan about the recent launch of his online rally magazine Double Caution.

Hi Friends,   It's Nina's Note #80!In honor of this milestone, I have something new for you today, a debut interview for the Nina's Notes Podcast. On this inaugural episode, I am thrilled to welcome Michael Geer, a visionary determined to redefine our approach to aging.

Welcome to Allocator's Edge, a Value Perspective podcast mini-series where we will be engaging in conversations with some of the world's top capital allocators. In an environment of heightened inflation and interest rates, we aim to unravel how and why capital allocators make the decisions that they do. The series will shed light on the inner workings of capital allocation to help listeners gain a better understanding of mandates and the intricate dance between strategy and reality. New episodes of the Allocator's Edge will be released on alternating Thursdays. In this episode we look at some of the challenges currently facing the pensions industry in the UK and Europe. We're joined by Peter Ward and Eilert Hinrichs from L.E.K. Consulting. L.E.K. Consulting is a world-class strategy consulting firm with over 40 years' experience advising companies. Its expertise includes corporate strategy, M&A, operations, and organisational performance. Both Peter and Eilert have over twenty years' experience in advising investors and leaders in the financial services sector. In this episode we cover: what the landscape for the defined benefit (DB) and defined contribution (DC) industry looks like in the UK; whether Peter and Eilert think DB in the UK is dead; how Insurance is participating in the de-risking of the DB space; Peter and Eilert's outlook for Europe; and finally the findings and implications of a survey on the cost of ESG amongst different age groups in the UK. Enjoy! NEW EPISODES: We release main series episodes every two weeks on Mondays. You can subscribe via Podbean or use this feed URL (https://tvpschroders.podbean.com/feed.xml) in Apple Podcasts, Spotify, Google Podcasts and other podcast players. GET IN TOUCH: send us a tweet: @TheValueTeam  Important information. This podcast is for investment professionals only. Marketing material for Financial Professionals and Professional Clients only.  The material is not intended to provide, and should not be relied on for, accounting, legal or tax advice, or investment recommendations.  Reliance should not be placed on any views or information in the material when taking individual investment and/or strategic decisions.  Past Performance is not a guide to future performance and may not be repeated.  Diversification cannot ensure profits or protect against loss of principal.  The value of investments and the income from them may go down as well as up and investors may not get back the amounts originally invested.  Exchange rate changes may cause the value of investments to fall as well as rise.  Investing in emerging markets and securities with limited liquidity can expose investors to greater risk.  Private assets investments are only available to Qualified Investors, who are sophisticated enough to understand the risk associated with these investments.  This material may contain “forward-looking” information, such as forecasts or projections. Please note that any such information is not a guarantee of any future performance and there is no assurance that any forecast or projection will be realised.  Reliance should not be placed on any views or information in the material when taking individual investment and/or strategic decisions. The views and opinions contained herein are those of the individuals to whom they are attributed and may not necessarily represent views expressed or reflected in other Schroders communications, strategies or funds.  Any reference to regions/ countries/ sectors/ stocks/ securities is for illustrative purposes only and not a recommendation to buy or sell any financial instruments or adopt a specific investment strategy. Any data has been sourced by us and is provided without any warranties of any kind. It should be independently verified before further publication or use. Third party data is owned or licenced by the data provider and may not be reproduced, extracted or used for any other purpose without the data provider's consent. Neither we, nor the data provider, will have any liability in connection with the third party data.  

Life on earth is a crazy accident. We have no idea how it arose or whether it will survive. Peter Ward joins Vasant Dhar in episode 76 of Brave New World to chat about the origins of our planet, the many extinctions and resurgences of life, and the future of our species. Useful resources: 1. Peter Ward on Wikipedia, University of Washington and Amazon. 2. Rare Earth: Why Complex Life is Uncommon in the Universe -- Peter Ward and Donald Brownlee. 3. A New History of Life -- Peter Ward and Joe Kirschvink. 4. The Medea Hypothesis -- Peter Ward. 5. The Flooded Earth -- Peter Ward. 6. Roy Chapman Andrews on Amazon. 7. Jason and the Golden Fleece --  Apollonius of Rhodes. 8. Hercules, My Shipmate -- Robert Graves. 9. The Gaia Hypothesis. 10. SETI Institute. 11. Rare Earth Hypothesis. 12. The Drake Equation. Check out Vasant Dhar's newsletter on Substack. Subscription is free!

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On this Reality Roundtable, marine biologist Daniel Pauly, ocean physicist Antonio Turiel, and paleobiologist Peter Ward join Nate to discuss the numerous oft-overlooked threats to the Earth's great oceans. From overfishing and plastic pollution to climate change and acidification, the human system is assaulting one of the most important regulators for our climate and the largest habitat for life - anywhere. What early indicators of climate impacts are these great bodies of water showing us as we hit record heat across the oceans, fish populations dwindle, and major currents slow? Why are concerns for the ocean so overlooked and what further research needs to be done? Will we learn to value these high seas for all the priceless value they give us, or will we take them for granted until it's too late? About Daniel Pauly Dr. Daniel Pauly is a Killam Professor at the University of British Columbia. In 1999, Daniel Pauly founded, and since leads, a large research project, Sea Around Us, devoted to identifying and quantifying global fisheries trends. Daniel Pauly is also co-founder of FishBase.org, the online encyclopedia of more than 30,000 fish species, and he has helped develop the widely-used Ecopath modeling software. He is the author or co-author of over 1000 scientific and other articles, books and book chapters on fish, fisheries and related topics. About Antonio Turiel Antonio Turiel Martínez is a scientist and activist with a degree in Physics and Mathematics and a PhD in Theoretical Physics from the Autonomous University of Madrid. He works as a senior scientist at the Institute of Marine Sciences of the CSIC specializing in remote sensing, turbulence, sea surface salinity, water cycle, sea surface temperature, sea surface currents, and chlorophyll concentration. He has written more than 80 scientific articles, but he is better known as an online activist and editor of The Oil Crash blog, where he addresses sensitive issues about the depletion of conventional fossil fuel resources, such as the peak of oil and its possible implications on a world scale. About Peter Ward Peter Ward is a Professor of Biology and Earth and Space Sciences at the University of Washington. He is author of over a dozen books on Earth's natural history including On Methuselah's Trail: Living Fossils and the Great Extinctions; Under a Green Sky; and The Medea Hypothesis, 2009, (listed by the New York Times as one of the “100 most important ideas of 2009”). Ward gave a TED talk in 2008 about mass extinctions. Watch on YouTube: https://youtu.be/tSgPQyq_jyE More information & show notes: https://www.thegreatsimplification.com/episode/rr04-pauly-turiel-ward 

Can you truly thrive by embracing your passion while excelling in your career?

George Noory and paleontologist Peter Ward discuss his research into mass extinction events that can threaten all life on Earth, if the events are preventable, and how long it would take mankind to recover.See omnystudio.com/listener for privacy information.

Episode 166 of A History of Rock Music in Five Hundred Songs looks at “Crossroads", Cream, the myth of Robert Johnson, and whether white men can sing the blues. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-eight-minute bonus episode available, on “Tip-Toe Thru' the Tulips" by Tiny Tim. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I talk about an interview with Clapton from 1967, I meant 1968. I mention a Graham Bond live recording from 1953, and of course meant 1963. I say Paul Jones was on vocals in the Powerhouse sessions. Steve Winwood was on vocals, and Jones was on harmonica. Resources As I say at the end, the main resource you need to get if you enjoyed this episode is Brother Robert by Annye Anderson, Robert Johnson's stepsister. There are three Mixcloud mixes this time. As there are so many songs by Cream, Robert Johnson, John Mayall, and Graham Bond excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here -- one, two, three. This article on Mack McCormick gives a fuller explanation of the problems with his research and behaviour. The other books I used for the Robert Johnson sections were McCormick's Biography of a Phantom; Up Jumped the Devil: The Real Life of Robert Johnson, by Bruce Conforth and Gayle Dean Wardlow; Searching for Robert Johnson by Peter Guralnick; and Escaping the Delta by Elijah Wald. I can recommend all of these subject to the caveats at the end of the episode. The information on the history and prehistory of the Delta blues mostly comes from Before Elvis by Larry Birnbaum, with some coming from Charley Patton by John Fahey. The information on Cream comes mostly from Cream: How Eric Clapton Took the World by Storm by Dave Thompson. I also used Ginger Baker: Hellraiser by Ginger Baker and Ginette Baker, Mr Showbiz by Stephen Dando-Collins, Motherless Child by Paul Scott, and  Alexis Korner: The Biography by Harry Shapiro. The best collection of Cream's work is the four-CD set Those Were the Days, which contains every track the group ever released while they were together (though only the stereo mixes of the albums, and a couple of tracks are in slightly different edits from the originals). You can get Johnson's music on many budget compilation records, as it's in the public domain in the EU, but the double CD collection produced by Steve LaVere for Sony in 2011 is, despite the problems that come from it being associated with LaVere, far and away the best option -- the remasters have a clarity that's worlds ahead of even the 1990s CD version it replaced. And for a good single-CD introduction to the Delta blues musicians and songsters who were Johnson's peers and inspirations, Back to the Crossroads: The Roots of Robert Johnson, compiled by Elijah Wald as a companion to his book on Johnson, can't be beaten, and contains many of the tracks excerpted in this episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick note that this episode contains discussion of racism, drug addiction, and early death. There's also a brief mention of death in childbirth and infant mortality. It's been a while since we looked at the British blues movement, and at the blues in general, so some of you may find some of what follows familiar, as we're going to look at some things we've talked about previously, but from a different angle. In 1968, the Bonzo Dog Band, a comedy musical band that have been described as the missing link between the Beatles and the Monty Python team, released a track called "Can Blue Men Sing the Whites?": [Excerpt: The Bonzo Dog Band, "Can Blue Men Sing the Whites?"] That track was mocking a discussion that was very prominent in Britain's music magazines around that time. 1968 saw the rise of a *lot* of British bands who started out as blues bands, though many of them went on to different styles of music -- Fleetwood Mac, Ten Years After, Jethro Tull, Chicken Shack and others were all becoming popular among the kind of people who read the music magazines, and so the question was being asked -- can white men sing the blues? Of course, the answer to that question was obvious. After all, white men *invented* the blues. Before we get any further at all, I have to make clear that I do *not* mean that white people created blues music. But "the blues" as a category, and particularly the idea of it as a music made largely by solo male performers playing guitar... that was created and shaped by the actions of white male record executives. There is no consensus as to when or how the blues as a genre started -- as we often say in this podcast "there is no first anything", but like every genre it seems to have come from multiple sources. In the case of the blues, there's probably some influence from African music by way of field chants sung by enslaved people, possibly some influence from Arabic music as well, definitely some influence from the Irish and British folk songs that by the late nineteenth century were developing into what we now call country music, a lot from ragtime, and a lot of influence from vaudeville and minstrel songs -- which in turn themselves were all very influenced by all those other things. Probably the first published composition to show any real influence of the blues is from 1904, a ragtime piano piece by James Chapman and Leroy Smith, "One O' Them Things": [Excerpt: "One O' Them Things"] That's not very recognisable as a blues piece yet, but it is more-or-less a twelve-bar blues. But the blues developed, and it developed as a result of a series of commercial waves. The first of these came in 1914, with the success of W.C. Handy's "Memphis Blues", which when it was recorded by the Victor Military Band for a phonograph cylinder became what is generally considered the first blues record proper: [Excerpt: The Victor Military Band, "Memphis Blues"] The famous dancers Vernon and Irene Castle came up with a dance, the foxtrot -- which Vernon Castle later admitted was largely inspired by Black dancers -- to be danced to the "Memphis Blues", and the foxtrot soon overtook the tango, which the Castles had introduced to the US the previous year, to become the most popular dance in America for the best part of three decades. And with that came an explosion in blues in the Handy style, cranked out by every music publisher. While the blues was a style largely created by Black performers and writers, the segregated nature of the American music industry at the time meant that most vocal performances of these early blues that were captured on record were by white performers, Black vocalists at this time only rarely getting the chance to record. The first blues record with a Black vocalist is also technically the first British blues record. A group of Black musicians, apparently mostly American but led by a Jamaican pianist, played at Ciro's Club in London, and recorded many tracks in Britain, under a name which I'm not going to say in full -- it started with Ciro's Club, and continued alliteratively with another word starting with C, a slur for Black people. In 1917 they recorded a vocal version of "St. Louis Blues", another W.C. Handy composition: [Excerpt: Ciro's Club C**n Orchestra, "St. Louis Blues"] The first American Black blues vocal didn't come until two years later, when Bert Williams, a Black minstrel-show performer who like many Black performers of his era performed in blackface even though he was Black, recorded “I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,” [Excerpt: Bert Williams, "I'm Sorry I Ain't Got It You Could Have It If I Had It Blues,”] But it wasn't until 1920 that the second, bigger, wave of popularity started for the blues, and this time it started with the first record of a Black *woman* singing the blues -- Mamie Smith's "Crazy Blues": [Excerpt: Mamie Smith, "Crazy Blues"] You can hear the difference between that and anything we've heard up to that point -- that's the first record that anyone from our perspective, a hundred and three years later, would listen to and say that it bore any resemblance to what we think of as the blues -- so much so that many places still credit it as the first ever blues record. And there's a reason for that. "Crazy Blues" was one of those records that separates the music industry into before and after, like "Rock Around the Clock", "I Want to Hold Your Hand", Sgt Pepper, or "Rapper's Delight". It sold seventy-five thousand copies in its first month -- a massive number by the standards of 1920 -- and purportedly went on to sell over a million copies. Sales figures and market analysis weren't really a thing in the same way in 1920, but even so it became very obvious that "Crazy Blues" was a big hit, and that unlike pretty much any other previous records, it was a big hit among Black listeners, which meant that there was a market for music aimed at Black people that was going untapped. Soon all the major record labels were setting up subsidiaries devoted to what they called "race music", music made by and for Black people. And this sees the birth of what is now known as "classic blues", but at the time (and for decades after) was just what people thought of when they thought of "the blues" as a genre. This was music primarily sung by female vaudeville artists backed by jazz bands, people like Ma Rainey (whose earliest recordings featured Louis Armstrong in her backing band): [Excerpt: Ma Rainey, "See See Rider Blues"] And Bessie Smith, the "Empress of the Blues", who had a massive career in the 1920s before the Great Depression caused many of these "race record" labels to fold, but who carried on performing well into the 1930s -- her last recording was in 1933, produced by John Hammond, with a backing band including Benny Goodman and Jack Teagarden: [Excerpt: Bessie Smith, "Give Me a Pigfoot and a Bottle of Beer"] It wouldn't be until several years after the boom started by Mamie Smith that any record companies turned to recording Black men singing the blues accompanied by guitar or banjo. The first record of this type is probably "Norfolk Blues" by Reese DuPree from 1924: [Excerpt: Reese DuPree, "Norfolk Blues"] And there were occasional other records of this type, like "Airy Man Blues" by Papa Charlie Jackson, who was advertised as the “only man living who sings, self-accompanied, for Blues records.” [Excerpt: Papa Charlie Jackson, "Airy Man Blues"] But contrary to the way these are seen today, at the time they weren't seen as being in some way "authentic", or "folk music". Indeed, there are many quotes from folk-music collectors of the time (sadly all of them using so many slurs that it's impossible for me to accurately quote them) saying that when people sang the blues, that wasn't authentic Black folk music at all but an adulteration from commercial music -- they'd clearly, according to these folk-music scholars, learned the blues style from records and sheet music rather than as part of an oral tradition. Most of these performers were people who recorded blues as part of a wider range of material, like Blind Blake, who recorded some blues music but whose best work was his ragtime guitar instrumentals: [Excerpt: Blind Blake, "Southern Rag"] But it was when Blind Lemon Jefferson started recording for Paramount records in 1926 that the image of the blues as we now think of it took shape. His first record, "Got the Blues", was a massive success: [Excerpt: Blind Lemon Jefferson, "Got the Blues"] And this resulted in many labels, especially Paramount, signing up pretty much every Black man with a guitar they could find in the hopes of finding another Blind Lemon Jefferson. But the thing is, this generation of people making blues records, and the generation that followed them, didn't think of themselves as "blues singers" or "bluesmen". They were songsters. Songsters were entertainers, and their job was to sing and play whatever the audiences would want to hear. That included the blues, of course, but it also included... well, every song anyone would want to hear.  They'd perform old folk songs, vaudeville songs, songs that they'd heard on the radio or the jukebox -- whatever the audience wanted. Robert Johnson, for example, was known to particularly love playing polka music, and also adored the records of Jimmie Rodgers, the first country music superstar. In 1941, when Alan Lomax first recorded Muddy Waters, he asked Waters what kind of songs he normally played in performances, and he was given a list that included "Home on the Range", Gene Autry's "I've Got Spurs That Jingle Jangle Jingle", and Glenn Miller's "Chattanooga Choo-Choo". We have few recordings of these people performing this kind of song though. One of the few we have is Big Bill Broonzy, who was just about the only artist of this type not to get pigeonholed as just a blues singer, even though blues is what made him famous, and who later in his career managed to record songs like the Tin Pan Alley standard "The Glory of Love": [Excerpt: Big Bill Broonzy, "The Glory of Love"] But for the most part, the image we have of the blues comes down to one man, Arthur Laibley, a sales manager for the Wisconsin Chair Company. The Wisconsin Chair Company was, as the name would suggest, a company that started out making wooden chairs, but it had branched out into other forms of wooden furniture -- including, for a brief time, large wooden phonographs. And, like several other manufacturers, like the Radio Corporation of America -- RCA -- and the Gramophone Company, which became EMI, they realised that if they were going to sell the hardware it made sense to sell the software as well, and had started up Paramount Records, which bought up a small label, Black Swan, and soon became the biggest manufacturer of records for the Black market, putting out roughly a quarter of all "race records" released between 1922 and 1932. At first, most of these were produced by a Black talent scout, J. Mayo Williams, who had been the first person to record Ma Rainey, Papa Charlie Jackson, and Blind Lemon Jefferson, but in 1927 Williams left Paramount, and the job of supervising sessions went to Arthur Laibley, though according to some sources a lot of the actual production work was done by Aletha Dickerson, Williams' former assistant, who was almost certainly the first Black woman to be what we would now think of as a record producer. Williams had been interested in recording all kinds of music by Black performers, but when Laibley got a solo Black man into the studio, what he wanted more than anything was for him to record the blues, ideally in a style as close as possible to that of Blind Lemon Jefferson. Laibley didn't have a very hands-on approach to recording -- indeed Paramount had very little concern about the quality of their product anyway, and Paramount's records are notorious for having been put out on poor-quality shellac and recorded badly -- and he only occasionally made actual suggestions as to what kind of songs his performers should write -- for example he asked Son House to write something that sounded like Blind Lemon Jefferson, which led to House writing and recording "Mississippi County Farm Blues", which steals the tune of Jefferson's "See That My Grave is Kept Clean": [Excerpt: Son House, "Mississippi County Farm Blues"] When Skip James wanted to record a cover of James Wiggins' "Forty-Four Blues", Laibley suggested that instead he should do a song about a different gun, and so James recorded "Twenty-Two Twenty Blues": [Excerpt: Skip James, "Twenty-Two Twenty Blues"] And Laibley also suggested that James write a song about the Depression, which led to one of the greatest blues records ever, "Hard Time Killing Floor Blues": [Excerpt: Skip James, "Hard Time Killing Floor Blues"] These musicians knew that they were getting paid only for issued sides, and that Laibley wanted only blues from them, and so that's what they gave him. Even when it was a performer like Charlie Patton. (Incidentally, for those reading this as a transcript rather than listening to it, Patton's name is more usually spelled ending in ey, but as far as I can tell ie was his preferred spelling and that's what I'm using). Charlie Patton was best known as an entertainer, first and foremost -- someone who would do song-and-dance routines, joke around, play guitar behind his head. He was a clown on stage, so much so that when Son House finally heard some of Patton's records, in the mid-sixties, decades after the fact, he was astonished that Patton could actually play well. Even though House had been in the room when some of the records were made, his memory of Patton was of someone who acted the fool on stage. That's definitely not the impression you get from the Charlie Patton on record: [Excerpt: Charlie Patton, "Poor Me"] Patton is, as far as can be discerned, the person who was most influential in creating the music that became called the "Delta blues". Not a lot is known about Patton's life, but he was almost certainly the half-brother of the Chatmon brothers, who made hundreds of records, most notably as members of the Mississippi Sheiks: [Excerpt: The Mississippi Sheiks, "Sitting on Top of the World"] In the 1890s, Patton's family moved to Sunflower County, Mississippi, and he lived in and around that county until his death in 1934. Patton learned to play guitar from a musician called Henry Sloan, and then Patton became a mentor figure to a *lot* of other musicians in and around the plantation on which his family lived. Some of the musicians who grew up in the immediate area around Patton included Tommy Johnson: [Excerpt: Tommy Johnson, "Big Road Blues"] Pops Staples: [Excerpt: The Staple Singers, "Will The Circle Be Unbroken"] Robert Johnson: [Excerpt: Robert Johnson, "Crossroads"] Willie Brown, a musician who didn't record much, but who played a lot with Patton, Son House, and Robert Johnson and who we just heard Johnson sing about: [Excerpt: Willie Brown, "M&O Blues"] And Chester Burnett, who went on to become known as Howlin' Wolf, and whose vocal style was equally inspired by Patton and by the country star Jimmie Rodgers: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] Once Patton started his own recording career for Paramount, he also started working as a talent scout for them, and it was him who brought Son House to Paramount. Soon after the Depression hit, Paramount stopped recording, and so from 1930 through 1934 Patton didn't make any records. He was tracked down by an A&R man in January 1934 and recorded one final session: [Excerpt, Charlie Patton, "34 Blues"] But he died of heart failure two months later. But his influence spread through his proteges, and they themselves influenced other musicians from the area who came along a little after, like Robert Lockwood and Muddy Waters. This music -- or that portion of it that was considered worth recording by white record producers, only a tiny, unrepresentative, portion of their vast performing repertoires -- became known as the Delta Blues, and when some of these musicians moved to Chicago and started performing with electric instruments, it became Chicago Blues. And as far as people like John Mayall in Britain were concerned, Delta and Chicago Blues *were* the blues: [Excerpt: John Mayall and the Bluesbreakers, "It Ain't Right"] John Mayall was one of the first of the British blues obsessives, and for a long time thought of himself as the only one. While we've looked before at the growth of the London blues scene, Mayall wasn't from London -- he was born in Macclesfield and grew up in Cheadle Hulme, both relatively well-off suburbs of Manchester, and after being conscripted and doing two years in the Army, he had become an art student at Manchester College of Art, what is now Manchester Metropolitan University. Mayall had been a blues fan from the late 1940s, writing off to the US to order records that hadn't been released in the UK, and by most accounts by the late fifties he'd put together the biggest blues collection in Britain by quite some way. Not only that, but he had one of the earliest home tape recorders, and every night he would record radio stations from Continental Europe which were broadcasting for American service personnel, so he'd amassed mountains of recordings, often unlabelled, of obscure blues records that nobody else in the UK knew about. He was also an accomplished pianist and guitar player, and in 1956 he and his drummer friend Peter Ward had put together a band called the Powerhouse Four (the other two members rotated on a regular basis) mostly to play lunchtime jazz sessions at the art college. Mayall also started putting on jam sessions at a youth club in Wythenshawe, where he met another drummer named Hughie Flint. Over the late fifties and into the early sixties, Mayall more or less by himself built up a small blues scene in Manchester. The Manchester blues scene was so enthusiastic, in fact, that when the American Folk Blues Festival, an annual European tour which initially featured Willie Dixon, Memhis Slim, T-Bone Walker, Sonny Terry & Brownie McGhee, and John Lee Hooker, first toured Europe, the only UK date it played was at the Manchester Free Trade Hall, and people like Mick Jagger, Keith Richards, Brian Jones and Jimmy Page had to travel up from London to see it. But still, the number of blues fans in Manchester, while proportionally large, was objectively small enough that Mayall was captivated by an article in Melody Maker which talked about Alexis Korner and Cyril Davies' new band Blues Incorporated and how it was playing electric blues, the same music he was making in Manchester. He later talked about how the article had made him think that maybe now people would know what he was talking about. He started travelling down to London to play gigs for the London blues scene, and inviting Korner up to Manchester to play shows there. Soon Mayall had moved down to London. Korner introduced Mayall to Davey Graham, the great folk guitarist, with whom Korner had recently recorded as a duo: [Excerpt: Alexis Korner and Davey Graham, "3/4 AD"] Mayall and Graham performed together as a duo for a while, but Graham was a natural solo artist if ever there was one. Slowly Mayall put a band together in London. On drums was his old friend Peter Ward, who'd moved down from Manchester with him. On bass was John McVie, who at the time knew nothing about blues -- he'd been playing in a Shadows-style instrumental group -- but Mayall gave him a stack of blues records to listen to to get the feeling. And on guitar was Bernie Watson, who had previously played with Screaming Lord Sutch and the Savages. In late 1963, Mike Vernon, a blues fan who had previously published a Yardbirds fanzine, got a job working for Decca records, and immediately started signing his favourite acts from the London blues circuit. The first act he signed was John Mayall and the Bluesbreakers, and they recorded a single, "Crawling up a Hill": [Excerpt: John Mayall and the Bluesbreakers, "Crawling up a Hill (45 version)"] Mayall later called that a "clumsy, half-witted attempt at autobiographical comment", and it sold only five hundred copies. It would be the only record the Bluesbreakers would make with Watson, who soon left the band to be replaced by Roger Dean (not the same Roger Dean who later went on to design prog rock album covers). The second group to be signed by Mike Vernon to Decca was the Graham Bond Organisation. We've talked about the Graham Bond Organisation in passing several times, but not for a while and not in any great detail, so it's worth pulling everything we've said about them so far together and going through it in a little more detail. The Graham Bond Organisation, like the Rolling Stones, grew out of Alexis Korner's Blues Incorporated. As we heard in the episode on "I Wanna Be Your Man" a couple of years ago, Blues Incorporated had been started by Alexis Korner and Cyril Davies, and at the time we're joining them in 1962 featured a drummer called Charlie Watts, a pianist called Dave Stevens, and saxophone player Dick Heckstall-Smith, as well as frequent guest performers like a singer who called himself Mike Jagger, and another one, Roderick Stewart. That group finally found themselves the perfect bass player when Dick Heckstall-Smith put together a one-off group of jazz players to play an event at Cambridge University. At the gig, a little Scottish man came up to the group and told them he played bass and asked if he could sit in. They told him to bring along his instrument to their second set, that night, and he did actually bring along a double bass. Their bluff having been called, they decided to play the most complicated, difficult, piece they knew in order to throw the kid off -- the drummer, a trad jazz player named Ginger Baker, didn't like performing with random sit-in guests -- but astonishingly he turned out to be really good. Heckstall-Smith took down the bass player's name and phone number and invited him to a jam session with Blues Incorporated. After that jam session, Jack Bruce quickly became the group's full-time bass player. Bruce had started out as a classical cellist, but had switched to the double bass inspired by Bach, who he referred to as "the guv'nor of all bass players". His playing up to this point had mostly been in trad jazz bands, and he knew nothing of the blues, but he quickly got the hang of the genre. Bruce's first show with Blues Incorporated was a BBC recording: [Excerpt: Blues Incorporated, "Hoochie Coochie Man (BBC session)"] According to at least one source it was not being asked to take part in that session that made young Mike Jagger decide there was no future for him with Blues Incorporated and to spend more time with his other group, the Rollin' Stones. Soon after, Charlie Watts would join him, for almost the opposite reason -- Watts didn't want to be in a band that was getting as big as Blues Incorporated were. They were starting to do more BBC sessions and get more gigs, and having to join the Musicians' Union. That seemed like a lot of work. Far better to join a band like the Rollin' Stones that wasn't going anywhere. Because of Watts' decision to give up on potential stardom to become a Rollin' Stone, they needed a new drummer, and luckily the best drummer on the scene was available. But then the best drummer on the scene was *always* available. Ginger Baker had first played with Dick Heckstall-Smith several years earlier, in a trad group called the Storyville Jazzmen. There Baker had become obsessed with the New Orleans jazz drummer Baby Dodds, who had played with Louis Armstrong in the 1920s. Sadly because of 1920s recording technology, he hadn't been able to play a full kit on the recordings with Armstrong, being limited to percussion on just a woodblock, but you can hear his drumming style much better in this version of "At the Jazz Band Ball" from 1947, with Mugsy Spanier, Jack Teagarden, Cyrus St. Clair and Hank Duncan: [Excerpt: "At the Jazz Band Ball"] Baker had taken Dobbs' style and run with it, and had quickly become known as the single best player, bar none, on the London jazz scene -- he'd become an accomplished player in multiple styles, and was also fluent in reading music and arranging. He'd also, though, become known as the single person on the entire scene who was most difficult to get along with. He resigned from his first band onstage, shouting "You can stick your band up your arse", after the band's leader had had enough of him incorporating bebop influences into their trad style. Another time, when touring with Diz Disley's band, he was dumped in Germany with no money and no way to get home, because the band were so sick of him. Sometimes this was because of his temper and his unwillingness to suffer fools -- and he saw everyone else he ever met as a fool -- and sometimes it was because of his own rigorous musical ideas. He wanted to play music *his* way, and wouldn't listen to anyone who told him different. Both of these things got worse after he fell under the influence of a man named Phil Seaman, one of the only drummers that Baker respected at all. Seaman introduced Baker to African drumming, and Baker started incorporating complex polyrhythms into his playing as a result. Seaman also though introduced Baker to heroin, and while being a heroin addict in the UK in the 1960s was not as difficult as it later became -- both heroin and cocaine were available on prescription to registered addicts, and Baker got both, which meant that many of the problems that come from criminalisation of these drugs didn't affect addicts in the same way -- but it still did not, by all accounts, make him an easier person to get along with. But he *was* a fantastic drummer. As Dick Heckstall-Smith said "With the advent of Ginger, the classic Blues Incorporated line-up, one which I think could not be bettered, was set" But Alexis Korner decided that the group could be bettered, and he had some backers within the band. One of the other bands on the scene was the Don Rendell Quintet, a group that played soul jazz -- that style of jazz that bridged modern jazz and R&B, the kind of music that Ray Charles and Herbie Hancock played: [Excerpt: The Don Rendell Quintet, "Manumission"] The Don Rendell Quintet included a fantastic multi-instrumentalist, Graham Bond, who doubled on keyboards and saxophone, and Bond had been playing occasional experimental gigs with the Johnny Burch Octet -- a group led by another member of the Rendell Quartet featuring Heckstall-Smith, Bruce, Baker, and a few other musicians, doing wholly-improvised music. Heckstall-Smith, Bruce, and Baker all enjoyed playing with Bond, and when Korner decided to bring him into the band, they were all very keen. But Cyril Davies, the co-leader of the band with Korner, was furious at the idea. Davies wanted to play strict Chicago and Delta blues, and had no truck with other forms of music like R&B and jazz. To his mind it was bad enough that they had a sax player. But the idea that they would bring in Bond, who played sax and... *Hammond* organ? Well, that was practically blasphemy. Davies quit the group at the mere suggestion. Bond was soon in the band, and he, Bruce, and Baker were playing together a *lot*. As well as performing with Blues Incorporated, they continued playing in the Johnny Burch Octet, and they also started performing as the Graham Bond Trio. Sometimes the Graham Bond Trio would be Blues Incorporated's opening act, and on more than one occasion the Graham Bond Trio, Blues Incorporated, and the Johnny Burch Octet all had gigs in different parts of London on the same night and they'd have to frantically get from one to the other. The Graham Bond Trio also had fans in Manchester, thanks to the local blues scene there and their connection with Blues Incorporated, and one night in February 1963 the trio played a gig there. They realised afterwards that by playing as a trio they'd made £70, when they were lucky to make £20 from a gig with Blues Incorporated or the Octet, because there were so many members in those bands. Bond wanted to make real money, and at the next rehearsal of Blues Incorporated he announced to Korner that he, Bruce, and Baker were quitting the band -- which was news to Bruce and Baker, who he hadn't bothered consulting. Baker, indeed, was in the toilet when the announcement was made and came out to find it a done deal. He was going to kick up a fuss and say he hadn't been consulted, but Korner's reaction sealed the deal. As Baker later said "‘he said “it's really good you're doing this thing with Graham, and I wish you the best of luck” and all that. And it was a bit difficult to turn round and say, “Well, I don't really want to leave the band, you know.”'" The Graham Bond Trio struggled at first to get the gigs they were expecting, but that started to change when in April 1963 they became the Graham Bond Quartet, with the addition of virtuoso guitarist John McLaughlin. The Quartet soon became one of the hottest bands on the London R&B scene, and when Duffy Power, a Larry Parnes teen idol who wanted to move into R&B, asked his record label to get him a good R&B band to back him on a Beatles cover, it was the Graham Bond Quartet who obliged: [Excerpt: Duffy Power, "I Saw Her Standing There"] The Quartet also backed Power on a package tour with other Parnes acts, but they were also still performing their own blend of hard jazz and blues, as can be heard in this recording of the group live in June 1953: [Excerpt: The Graham Bond Quartet, "Ho Ho Country Kicking Blues (Live at Klooks Kleek)"] But that lineup of the group didn't last very long. According to the way Baker told the story, he fired McLaughlin from the group, after being irritated by McLaughlin complaining about something on a day when Baker was out of cocaine and in no mood to hear anyone else's complaints. As Baker said "We lost a great guitar player and I lost a good friend." But the Trio soon became a Quartet again, as Dick Heckstall-Smith, who Baker had wanted in the band from the start, joined on saxophone to replace McLaughlin's guitar. But they were no longer called the Graham Bond Quartet. Partly because Heckstall-Smith joining allowed Bond to concentrate just on his keyboard playing, but one suspects partly to protect against any future lineup changes, the group were now The Graham Bond ORGANisation -- emphasis on the organ. The new lineup of the group got signed to Decca by Vernon, and were soon recording their first single, "Long Tall Shorty": [Excerpt: The Graham Bond Organisation, "Long Tall Shorty"] They recorded a few other songs which made their way onto an EP and an R&B compilation, and toured intensively in early 1964, as well as backing up Power on his follow-up to "I Saw Her Standing There", his version of "Parchman Farm": [Excerpt: Duffy Power, "Parchman Farm"] They also appeared in a film, just like the Beatles, though it was possibly not quite as artistically successful as "A Hard Day's Night": [Excerpt: Gonks Go Beat trailer] Gonks Go Beat is one of the most bizarre films of the sixties. It's a far-future remake of Romeo and Juliet. where the two star-crossed lovers are from opposing countries -- Beatland and Ballad Isle -- who only communicate once a year in an annual song contest which acts as their version of a war, and is overseen by "Mr. A&R", played by Frank Thornton, who would later star in Are You Being Served? Carry On star Kenneth Connor is sent by aliens to try to bring peace to the two warring countries, on pain of exile to Planet Gonk, a planet inhabited solely by Gonks (a kind of novelty toy for which there was a short-lived craze then). Along the way Connor encounters such luminaries of British light entertainment as Terry Scott and Arthur Mullard, as well as musical performances by Lulu, the Nashville Teens, and of course the Graham Bond Organisation, whose performance gets them a telling-off from a teacher: [Excerpt: Gonks Go Beat!] The group as a group only performed one song in this cinematic masterpiece, but Baker also made an appearance in a "drum battle" sequence where eight drummers played together: [Excerpt: Gonks Go Beat drum battle] The other drummers in that scene included, as well as some lesser-known players, Andy White who had played on the single version of "Love Me Do", Bobby Graham, who played on hits by the Kinks and the Dave Clark Five, and Ronnie Verrell, who did the drumming for Animal in the Muppet Show. Also in summer 1964, the group performed at the Fourth National Jazz & Blues Festival in Richmond -- the festival co-founded by Chris Barber that would evolve into the Reading Festival. The Yardbirds were on the bill, and at the end of their set they invited Bond, Baker, Bruce, Georgie Fame, and Mike Vernon onto the stage with them, making that the first time that Eric Clapton, Ginger Baker, and Jack Bruce were all on stage together. Soon after that, the Graham Bond Organisation got a new manager, Robert Stigwood. Things hadn't been working out for them at Decca, and Stigwood soon got the group signed to EMI, and became their producer as well. Their first single under Stigwood's management was a cover version of the theme tune to the Debbie Reynolds film "Tammy". While that film had given Tamla records its name, the song was hardly an R&B classic: [Excerpt: The Graham Bond Organisation, "Tammy"] That record didn't chart, but Stigwood put the group out on the road as part of the disastrous Chuck Berry tour we heard about in the episode on "All You Need is Love", which led to the bankruptcy of  Robert Stigwood Associates. The Organisation moved over to Stigwood's new company, the Robert Stigwood Organisation, and Stigwood continued to be the credited producer of their records, though after the "Tammy" disaster they decided they were going to take charge themselves of the actual music. Their first album, The Sound of 65, was recorded in a single three-hour session, and they mostly ran through their standard set -- a mixture of the same songs everyone else on the circuit was playing, like "Hoochie Coochie Man", "Got My Mojo Working", and "Wade in the Water", and originals like Bruce's "Train Time": [Excerpt: The Graham Bond Organisation, "Train Time"] Through 1965 they kept working. They released a non-album single, "Lease on Love", which is generally considered to be the first pop record to feature a Mellotron: [Excerpt: The Graham Bond Organisation, "Lease on Love"] and Bond and Baker also backed another Stigwood act, Winston G, on his debut single: [Excerpt: Winston G, "Please Don't Say"] But the group were developing severe tensions. Bruce and Baker had started out friendly, but by this time they hated each other. Bruce said he couldn't hear his own playing over Baker's loud drumming, Baker thought that Bruce was far too fussy a player and should try to play simpler lines. They'd both try to throw each other during performances, altering arrangements on the fly and playing things that would trip the other player up. And *neither* of them were particularly keen on Bond's new love of the Mellotron, which was all over their second album, giving it a distinctly proto-prog feel at times: [Excerpt: The Graham Bond Organisation, "Baby Can it Be True?"] Eventually at a gig in Golders Green, Baker started throwing drumsticks at Bruce's head while Bruce was trying to play a bass solo. Bruce retaliated by throwing his bass at Baker, and then jumping on him and starting a fistfight which had to be broken up by the venue security. Baker fired Bruce from the band, but Bruce kept turning up to gigs anyway, arguing that Baker had no right to sack him as it was a democracy. Baker always claimed that in fact Bond had wanted to sack Bruce but hadn't wanted to get his hands dirty, and insisted that Baker do it, but neither Bond nor Heckstall-Smith objected when Bruce turned up for the next couple of gigs. So Baker took matters into his own hands, He pulled out a knife and told Bruce "If you show up at one more gig, this is going in you." Within days, Bruce was playing with John Mayall, whose Bluesbreakers had gone through some lineup changes by this point. Roger Dean had only played with the Bluesbreakers for a short time before Mayall had replaced him. Mayall had not been impressed with Eric Clapton's playing with the Yardbirds at first -- even though graffiti saying "Clapton is God" was already starting to appear around London -- but he had been *very* impressed with Clapton's playing on "Got to Hurry", the B-side to "For Your Love": [Excerpt: The Yardbirds, "Got to Hurry"] When he discovered that Clapton had quit the band, he sprang into action and quickly recruited him to replace Dean. Clapton knew he had made the right choice when a month after he'd joined, the group got the word that Bob Dylan had been so impressed with Mayall's single "Crawling up a Hill" -- the one that nobody liked, not even Mayall himself -- that he wanted to jam with Mayall and his band in the studio. Clapton of course went along: [Excerpt: Bob Dylan and the Bluesbreakers, "If You Gotta Go, Go Now"] That was, of course, the session we've talked about in the Velvet Underground episode and elsewhere of which little other than that survives, and which Nico attended. At this point, Mayall didn't have a record contract, his experience recording with Mike Vernon having been no more successful than the Bond group's had been. But soon he got a one-off deal -- as a solo artist, not with the Bluesbreakers -- with Immediate Records. Clapton was the only member of the group to play on the single, which was produced by Immediate's house producer Jimmy Page: [Excerpt: John Mayall, "I'm Your Witchdoctor"] Page was impressed enough with Clapton's playing that he invited him round to Page's house to jam together. But what Clapton didn't know was that Page was taping their jam sessions, and that he handed those tapes over to Immediate Records -- whether he was forced to by his contract with the label or whether that had been his plan all along depends on whose story you believe, but Clapton never truly forgave him. Page and Clapton's guitar-only jams had overdubs by Bill Wyman, Ian Stewart, and drummer Chris Winter, and have been endlessly repackaged on blues compilations ever since: [Excerpt: Jimmy Page and Eric Clapton, "Draggin' My Tail"] But Mayall was having problems with John McVie, who had started to drink too much, and as soon as he found out that Jack Bruce was sacked by the Graham Bond Organisation, Mayall got in touch with Bruce and got him to join the band in McVie's place. Everyone was agreed that this lineup of the band -- Mayall, Clapton, Bruce, and Hughie Flint -- was going places: [Excerpt: John Mayall's Bluesbreakers with Jack Bruce, "Hoochie Coochie Man"] Unfortunately, it wasn't going to last long. Clapton, while he thought that Bruce was the greatest bass player he'd ever worked with, had other plans. He was going to leave the country and travel the world as a peripatetic busker. He was off on his travels, never to return. Luckily, Mayall had someone even better waiting in the wings. A young man had, according to Mayall, "kept coming down to all the gigs and saying, “Hey, what are you doing with him?” – referring to whichever guitarist was onstage that night – “I'm much better than he is. Why don't you let me play guitar for you?” He got really quite nasty about it, so finally, I let him sit in. And he was brilliant." Peter Green was probably the best blues guitarist in London at that time, but this lineup of the Bluesbreakers only lasted a handful of gigs -- Clapton discovered that busking in Greece wasn't as much fun as being called God in London, and came back very soon after he'd left. Mayall had told him that he could have his old job back when he got back, and so Green was out and Clapton was back in. And soon the Bluesbreakers' revolving door revolved again. Manfred Mann had just had a big hit with "If You Gotta Go, Go Now", the same song we heard Dylan playing earlier: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] But their guitarist, Mike Vickers, had quit. Tom McGuinness, their bass player, had taken the opportunity to switch back to guitar -- the instrument he'd played in his first band with his friend Eric Clapton -- but that left them short a bass player. Manfred Mann were essentially the same kind of band as the Graham Bond Organisation -- a Hammond-led group of virtuoso multi-instrumentalists who played everything from hardcore Delta blues to complex modern jazz -- but unlike the Bond group they also had a string of massive pop hits, and so made a lot more money. The combination was irresistible to Bruce, and he joined the band just before they recorded an EP of jazz instrumental versions of recent hits: [Excerpt: Manfred Mann, "(I Can't Get No) Satisfaction"] Bruce had also been encouraged by Robert Stigwood to do a solo project, and so at the same time as he joined Manfred Mann, he also put out a solo single, "Drinkin' and Gamblin'" [Excerpt: Jack Bruce, "Drinkin' and Gamblin'"] But of course, the reason Bruce had joined Manfred Mann was that they were having pop hits as well as playing jazz, and soon they did just that, with Bruce playing on their number one hit "Pretty Flamingo": [Excerpt: Manfred Mann, "Pretty Flamingo"] So John McVie was back in the Bluesbreakers, promising to keep his drinking under control. Mike Vernon still thought that Mayall had potential, but the people at Decca didn't agree, so Vernon got Mayall and Clapton -- but not the other band members -- to record a single for a small indie label he ran as a side project: [Excerpt: John Mayall and Eric Clapton, "Bernard Jenkins"] That label normally only released records in print runs of ninety-nine copies, because once you hit a hundred copies you had to pay tax on them, but there was so much demand for that single that they ended up pressing up five hundred copies, making it the label's biggest seller ever. Vernon eventually convinced the heads at Decca that the Bluesbreakers could be truly big, and so he got the OK to record the album that would generally be considered the greatest British blues album of all time -- Blues Breakers, also known as the Beano album because of Clapton reading a copy of the British kids' comic The Beano in the group photo on the front. [Excerpt: John Mayall with Eric Clapton, "Ramblin' On My Mind"] The album was a mixture of originals by Mayall and the standard repertoire of every blues or R&B band on the circuit -- songs like "Parchman Farm" and "What'd I Say" -- but what made the album unique was Clapton's guitar tone. Much to the chagrin of Vernon, and of engineer Gus Dudgeon, Clapton insisted on playing at the same volume that he would on stage. Vernon later said of Dudgeon "I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all. But after an enormous amount of fiddling around and moving amps around, we got a sound that worked." [Excerpt: John Mayall with Eric Clapton, "Hideaway"] But by the time the album cane out. Clapton was no longer with the Bluesbreakers. The Graham Bond Organisation had struggled on for a while after Bruce's departure. They brought in a trumpet player, Mike Falana, and even had a hit record -- or at least, the B-side of a hit record. The Who had just put out a hit single, "Substitute", on Robert Stigwood's record label, Reaction: [Excerpt: The Who, "Substitute"] But, as you'll hear in episode 183, they had moved to Reaction Records after a falling out with their previous label, and with Shel Talmy their previous producer. The problem was, when "Substitute" was released, it had as its B-side a song called "Circles" (also known as "Instant Party -- it's been released under both names). They'd recorded an earlier version of the song for Talmy, and just as "Substitute" was starting to chart, Talmy got an injunction against the record and it had to be pulled. Reaction couldn't afford to lose the big hit record they'd spent money promoting, so they needed to put it out with a new B-side. But the Who hadn't got any unreleased recordings. But the Graham Bond Organisation had, and indeed they had an unreleased *instrumental*. So "Waltz For a Pig" became the B-side to a top-five single, credited to The Who Orchestra: [Excerpt: The Who Orchestra, "Waltz For a Pig"] That record provided the catalyst for the formation of Cream, because Ginger Baker had written the song, and got £1,350 for it, which he used to buy a new car. Baker had, for some time, been wanting to get out of the Graham Bond Organisation. He was trying to get off heroin -- though he would make many efforts to get clean over the decades, with little success -- while Bond was starting to use it far more heavily, and was also using acid and getting heavily into mysticism, which Baker despised. Baker may have had the idea for what he did next from an article in one of the music papers. John Entwistle of the Who would often tell a story about an article in Melody Maker -- though I've not been able to track down the article itself to get the full details -- in which musicians were asked to name which of their peers they'd put into a "super-group". He didn't remember the full details, but he did remember that the consensus choice had had Eric Clapton on lead guitar, himself on bass, and Ginger Baker on drums. As he said later "I don't remember who else was voted in, but a few months later, the Cream came along, and I did wonder if somebody was maybe believing too much of their own press". Incidentally, like The Buffalo Springfield and The Pink Floyd, Cream, the band we are about to meet, had releases both with and without the definite article, and Eric Clapton at least seems always to talk about them as "the Cream" even decades later, but they're primarily known as just Cream these days. Baker, having had enough of the Bond group, decided to drive up to Oxford to see Clapton playing with the Bluesbreakers. Clapton invited him to sit in for a couple of songs, and by all accounts the band sounded far better than they had previously. Clapton and Baker could obviously play well together, and Baker offered Clapton a lift back to London in his new car, and on the drive back asked Clapton if he wanted to form a new band. Clapton was as impressed by Baker's financial skills as he was by his musicianship. He said later "Musicians didn't have cars. You all got in a van." Clearly a musician who was *actually driving a new car he owned* was going places. He agreed to Baker's plan. But of course they needed a bass player, and Clapton thought he had the perfect solution -- "What about Jack?" Clapton knew that Bruce had been a member of the Graham Bond Organisation, but didn't know why he'd left the band -- he wasn't particularly clued in to what the wider music scene was doing, and all he knew was that Bruce had played with both him and Baker, and that he was the best bass player he'd ever played with. And Bruce *was* arguably the best bass player in London at that point, and he was starting to pick up session work as well as his work with Manfred Mann. For example it's him playing on the theme tune to "After The Fox" with Peter Sellers, the Hollies, and the song's composer Burt Bacharach: [Excerpt: The Hollies with Peter Sellers, "After the Fox"] Clapton was insistent. Baker's idea was that the band should be the best musicians around. That meant they needed the *best* musicians around, not the second best. If Jack Bruce wasn't joining, Eric Clapton wasn't joining either. Baker very reluctantly agreed, and went round to see Bruce the next day -- according to Baker it was in a spirit of generosity and giving Bruce one more chance, while according to Bruce he came round to eat humble pie and beg for forgiveness. Either way, Bruce agreed to join the band. The three met up for a rehearsal at Baker's home, and immediately Bruce and Baker started fighting, but also immediately they realised that they were great at playing together -- so great that they named themselves the Cream, as they were the cream of musicians on the scene. They knew they had something, but they didn't know what. At first they considered making their performances into Dada projects, inspired by the early-twentieth-century art movement. They liked a band that had just started to make waves, the Bonzo Dog Doo-Dah Band -- who had originally been called the Bonzo Dog Dada Band -- and they bought some props with the vague idea of using them on stage in the same way the Bonzos did. But as they played together they realised that they needed to do something different from that. At first, they thought they needed a fourth member -- a keyboard player. Graham Bond's name was brought up, but Clapton vetoed him. Clapton wanted Steve Winwood, the keyboard player and vocalist with the Spencer Davis Group. Indeed, Winwood was present at what was originally intended to be the first recording session the trio would play. Joe Boyd had asked Eric Clapton to round up a bunch of players to record some filler tracks for an Elektra blues compilation, and Clapton had asked Bruce and Baker to join him, Paul Jones on vocals, Winwood on Hammond and Clapton's friend Ben Palmer on piano for the session. Indeed, given that none of the original trio were keen on singing, that Paul Jones was just about to leave Manfred Mann, and that we know Clapton wanted Winwood in the band, one has to wonder if Clapton at least half-intended for this to be the eventual lineup of the band. If he did, that plan was foiled by Baker's refusal to take part in the session. Instead, this one-off band, named The Powerhouse, featured Pete York, the drummer from the Spencer Davis Group, on the session, which produced the first recording of Clapton playing on the Robert Johnson song originally titled "Cross Road Blues" but now generally better known just as "Crossroads": [Excerpt: The Powerhouse, "Crossroads"] We talked about Robert Johnson a little back in episode ninety-seven, but other than Bob Dylan, who was inspired by his lyrics, we had seen very little influence from Johnson up to this point, but he's going to be a major influence on rock guitar for the next few years, so we should talk about him a little here. It's often said that nobody knew anything about Robert Johnson, that he was almost a phantom other than his records which existed outside of any context as artefacts of their own. That's... not really the case. Johnson had died a little less than thirty years earlier, at only twenty-seven years old. Most of his half-siblings and step-siblings were alive, as were his son, his stepson, and dozens of musicians he'd played with over the years, women he'd had affairs with, and other assorted friends and relatives. What people mean is that information about Johnson's life was not yet known by people they consider important -- which is to say white blues scholars and musicians. Indeed, almost everything people like that -- people like *me* -- know of the facts of Johnson's life has only become known to us in the last four years. If, as some people had expected, I'd started this series with an episode on Johnson, I'd have had to redo the whole thing because of the information that's made its way to the public since then. But here's what was known -- or thought -- by white blues scholars in 1966. Johnson was, according to them, a field hand from somewhere in Mississippi, who played the guitar in between working on the cotton fields. He had done two recording sessions, in 1936 and 1937. One song from his first session, "Terraplane Blues", had been a very minor hit by blues standards: [Excerpt: Robert Johnson, "Terraplane Blues"] That had sold well -- nobody knows how well, but maybe as many as ten thousand copies, and it was certainly a record people knew in 1937 if they liked the Delta blues, but ten thousand copies total is nowhere near the sales of really successful records, and none of the follow-ups had sold anything like that much -- many of them had sold in the hundreds rather than the thousands. As Elijah Wald, one of Johnson's biographers put it "knowing about Johnson and Muddy Waters but not about Leroy Carr or Dinah Washington was like knowing about, say, the Sir Douglas Quintet but not knowing about the Beatles" -- though *I* would add that the Sir Douglas Quintet were much bigger during the sixties than Johnson was during his lifetime. One of the few white people who had noticed Johnson's existence at all was John Hammond, and he'd written a brief review of Johnson's first two singles under a pseudonym in a Communist newspaper. I'm going to quote it here, but the word he used to talk about Black people was considered correct then but isn't now, so I'll substitute Black for that word: "Before closing we cannot help but call your attention to the greatest [Black] blues singer who has cropped up in recent years, Robert Johnson. Recording them in deepest Mississippi, Vocalion has certainly done right by us and by the tunes "Last Fair Deal Gone Down" and "Terraplane Blues", to name only two of the four sides already released, sung to his own guitar accompaniment. Johnson makes Leadbelly sound like an accomplished poseur" Hammond had tried to get Johnson to perform at the Spirituals to Swing concerts we talked about in the very first episodes of the podcast, but he'd discovered that he'd died shortly before. He got Big Bill Broonzy instead, and played a couple of Johnson's records from a record player on the stage. Hammond introduced those recordings with a speech: "It is tragic that an American audience could not have been found seven or eight years ago for a concert of this kind. Bessie Smith was still at the height of her career and Joe Smith, probably the greatest trumpet player America ever knew, would still have been around to play obbligatos for her...dozens of other artists could have been there in the flesh. But that audience as well as this one would not have been able to hear Robert Johnson sing and play the blues on his guitar, for at that time Johnson was just an unknown hand on a Robinsonville, Mississippi plantation. Robert Johnson was going to be the big surprise of the evening for this audience at Carnegie Hall. I know him only from his Vocalion blues records and from the tall, exciting tales the recording engineers and supervisors used to bring about him from the improvised studios in Dallas and San Antonio. I don't believe Johnson had ever worked as a professional musician anywhere, and it still knocks me over when I think of how lucky it is that a talent like his ever found its way onto phonograph records. We will have to be content with playing two of his records, the old "Walkin' Blues" and the new, unreleased, "Preachin' Blues", because Robert Johnson died last week at the precise moment when Vocalion scouts finally reached him and told him that he was booked to appear at Carnegie Hall on December 23. He was in his middle twenties and nobody seems to know what caused his death." And that was, for the most part, the end of Robert Johnson's impact on the culture for a generation. The Lomaxes went down to Clarksdale, Mississippi a couple of years later -- reports vary as to whether this was to see if they could find Johnson, who they were unaware was dead, or to find information out about him, and they did end up recording a young singer named Muddy Waters for the Library of Congress, including Waters' rendition of "32-20 Blues", Johnson's reworking of Skip James' "Twenty-Two Twenty Blues": [Excerpt: Muddy Waters, "32-20 Blues"] But Johnson's records remained unavailable after their initial release until 1959, when the blues scholar Samuel Charters published the book The Country Blues, which was the first book-length treatment ever of Delta blues. Sixteen years later Charters said "I shouldn't have written The Country Blues when I did; since I really didn't know enough, but I felt I couldn't afford to wait. So The Country Blues was two things. It was a romanticization of certain aspects of black life in an effort to force the white society to reconsider some of its racial attitudes, and on the other hand it was a cry for help. I wanted hundreds of people to go out and interview the surviving blues artists. I wanted people to record them and document their lives, their environment, and their music, not only so that their story would be preserved but also so they'd get a little money and a little recognition in their last years." Charters talked about Johnson in the book, as one of the performers who played "minor roles in the story of the blues", and said that almost nothing was known about his life. He talked about how he had been poisoned by his common-law wife, about how his records were recorded in a pool hall, and said "The finest of Robert Johnson's blues have a brooding sense of torment and despair. The blues has become a personified figure of despondency." Along with Charters' book came a compilation album of the same name, and that included the first ever reissue of one of Johnson's tracks, "Preaching Blues": [Excerpt: Robert Johnson, "Preaching Blues"] Two years later, John Hammond, who had remained an ardent fan of Johnson, had Columbia put out the King of the Delta Blues Singers album. At the time no white blues scholars knew what Johnson looked like and they had no photos of him, so a generic painting of a poor-looking Black man with a guitar was used for the cover. The liner note to King of the Delta Blues Singers talked about how Johnson was seventeen or eighteen when he made his recordings, how he was "dead before he reached his twenty-first birthday, poisoned by a jealous girlfriend", how he had "seldom, if ever, been away from the plantation in Robinsville, Mississippi, where he was born and raised", and how he had had such stage fright that when he was asked to play in front of other musicians, he'd turned to face a wall so he couldn't see them. And that would be all that any of the members of the Powerhouse would know about Johnson. Maybe they'd also heard the rumours that were starting to spread that Johnson had got his guitar-playing skills by selling his soul to the devil at a crossroads at midnight, but that would have been all they knew when they recorded their filler track for Elektra: [Excerpt: The Powerhouse, "Crossroads"] Either way, the Powerhouse lineup only lasted for that one session -- the group eventually decided that a simple trio would be best for the music they wanted to play. Clapton had seen Buddy Guy touring with just a bass player and drummer a year earlier, and had liked the idea of the freedom that gave him as a guitarist. The group soon took on Robert Stigwood as a manager, which caused more arguments between Bruce and Baker. Bruce was convinced that if they were doing an all-for-one one-for-all thing they should also manage themselves, but Baker pointed out that that was a daft idea when they could get one of the biggest managers in the country to look after them. A bigger argument, which almost killed the group before it started, happened when Baker told journalist Chris Welch of the Melody Maker about their plans. In an echo of the way that he and Bruce had been resigned from Blues Incorporated without being consulted, now with no discussion Manfred Mann and John Mayall were reading in the papers that their band members were quitting before those members had bothered to mention it. Mayall was furious, especially since the album Clapton had played on hadn't yet come out. Clapton was supposed to work a month's notice while Mayall found another guitarist, but Mayall spent two weeks begging Peter Green to rejoin the band. Green was less than eager -- after all, he'd been fired pretty much straight away earlier -- but Mayall eventually persuaded him. The second he did, Mayall turned round to Clapton and told him he didn't have to work the rest of his notice -- he'd found another guitar player and Clapton was fired: [Excerpt: John Mayall's Bluesbreakers, "Dust My Blues"] Manfred Mann meanwhile took on the Beatles' friend Klaus Voorman to replace Bruce. Voorman would remain with the band until the end, and like Green was for Mayall, Voorman was in some ways a better fit for Manfred Mann than Bruce was. In particular he could double on flute, as he did for example on their hit version of Bob Dylan's "The Mighty Quinn": [Excerpt: Manfred Mann "The Mighty Quinn"] The new group, The Cream, were of course signed in the UK to Stigwood's Reaction label. Other than the Who, who only stuck around for one album, Reaction was not a very successful label. Its biggest signing was a former keyboard player for Screaming Lord Sutch, who recorded for them under the names Paul Dean and Oscar, but who later became known as Paul Nicholas and had a successful career in musical theatre and sitcom. Nicholas never had any hits for Reaction, but he did release one interesting record, in 1967: [Excerpt: Oscar, "Over the Wall We Go"] That was one of the earliest songwriting attempts by a young man who had recently named himself David Bowie. Now the group were public, they started inviting journalists to their rehearsals, which were mostly spent trying to combine their disparate musical influences --

In this 4th of July special, John talks all about America's bird the Bald Eagle! While majestic appearing, the Bald Eagle has quite the bad reputation amongst those who have observed its habits up close, Benjamin Franklin even called it “very lousy”! But do its redeeming qualities make up for its sometimes nasty nature? Explore these topics as John tells you everything you need to know about the Bald Eagle! Also, the return of Punchy Joe who talks about the Bald Eagle pair that have spent 10 years raising young just off his dock. And a listener message from friend of the show Charlie! Learn about Bald Eagle Biology, their interactions with humans, how it became America's bird, Native american legends, about a Bald Eagle that fought in the civil war, threats to their population, and their evolutionary history. So put in your headphones, light up the BBQ, and press play on this episode! .Cover art by Jessica Coker! Check out all her work on her Instagram page @jessicacokerartist .Outro music by the Sidewalk Slammers, check them out wherever you get your music ..All bird sounds are from xeno-canto.orgBald Eagle Call 1 by: Steve HamptonBald Eagle Call 2 by: Davyd Betchkayl Bald Eagle Call 3 by: Paul MarvinOsprey Call by: Bruce Lagerquist Bald Eagle majestic call by: Russ Wigh Red-Tailed Hawk Call by: Peter Ward and Ken Hall     Bald Eagle Capture call by Paul Marvin .Civil War music by adeluc4 from freesounds.orgNative American drum by sandyrb from freesounds.orgBird flap by agentDD from freesounds.orgLanding sound by yoyodaman234 from freesounds.org..Find dirty bird podcast Tshirts at https://www.teepublic.com/user/dirtybird-podcast

UW professor Peter Ward takes us on a fabulous trip in search of a seemingly extinction-proof creature, and in doing so tells us a lot about humanity's possible future

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Sir Gavin and the green sky, published by Gavin on December 17, 2022 on The Effective Altruism Forum. This is a Draft Amnesty Day draft. That means it's not polished, it's probably not up to my standards, the ideas are not thought out, and I haven't checked everything. I was explicitly encouraged to post something unfinished! Commenting and feedback guidelines: I'm going with the default — please be nice. But constructive feedback is appreciated; please let me know what you think is wrong. Feedback on the structure of the argument is also appreciated. Epistemic status: crank reportage. It suits me that climate change isn't an x-risk. (The movement has trillions of dollars already, and persistently drains talent, attention, and political capital away from actual x-risks.) ... But is it one? One palaeontologist, Peter Ward, is semi-famous in the field for suggesting a mechanism by which runaway climate change could kill everything: by turning the ocean into a toxic gas factory. an increase in carbon dioxide... warms the oceans enough to change circulation patterns. When this happens, sulfur-eating microbes sometimes thrive. These bacteria produce hydrogen sulfide, which, in sufficient quantities and under certain conditions, outgasses into the air, shreds the ozone layer, and poisons other living things. The warming also causes methane ice under the seas to melt and, well, burp, adding to the nasty mix. As usual in Zoomed Out Sciences like epidemiology and climatology, the model stops short at the inevitable massive effort to reverse this process. The modellers prefer to think of humans as the pink fella from these comics: inertly lamenting. Ward argues that this (and similar mechanisms) is responsible for all past mass extinctions except the dinosaurs one everyone fixates on. This is correct as chemistry (I think), and apriori could happen, and for all I know he's right and it actually has happened before. So I have to give it nonzero probability - and one of the real probabilities, with only a few zeroes in it. I can't really evaluate this. There are some hallmarks of crankery in the book - most of the citations of the book are unscientific or pseudoscientific - and (as Halstead and others have long noted) climate is one of the slower and more detectable ways to kill a biosphere. But in concert with the usual vague definition of an x-risk (where there's no threshold on the probability), I've been thinking of climate change as a (lesser) xrisk for a while and thought I'd come clean, even though I don't think this changes anyone's decisions. Thanks for listening. To help us out with The Nonlinear Library or to learn more, please visit nonlinear.org.

A Bipartisan Bill Introduced Today For a National Development Strategy to Rebuild Our Industry and Build Back Our Middle Class | The UN COP15 Biodiversity Conference Underway Aimed at Conserving 30% of the World's Land and Sea by 2030 | The Historic Breakthrough on Nuclear Fusion Announced Today backgroundbriefing.org/donate twitter.com/ianmastersmedia facebook.com/ianmastersmedia

200 mile races are getting all of the rage in the US. But before Cocadona and the Triple Crown of 200s in the US, there is a mammoth of a 200 mile race that exists in the European mountains: the Tour de Geants. The Tour is an epic race consisting of X MILES and X feet of elevation gain. And is known as one of the most brutal, challenging, and dangerous races in the world. And in this episode, we chat with an amazing athlete who completed the challenge: Peter Ward! Peter Ward is an ultra endurance athlete who has completed the Tour de Geants, Cocodona 250, and tons of other ultra endurance challenges. And in this episode, he breaks down the Tour de Geants, what it takes to complete it, how he prepared for it, and some crazy stories from the race. He also covers his biggest advice when it comes to training and racing in 200 milers, and for anyone who is looking to take on the Tour. Huge thank you to Peter for making this episode happen! Check out Zach Bitter's pre-made training plans: https://zachbitter.com/training-plans Check out Zach Bitter's coaching options: https://zachbitter.com/coaching Check out Peter on IG: https://www.instagram.com/pjweezy/ Check out the Tour de Geants: https://www.torxtrail.com/en/content/tor-des-g%C3%A9ants%C2%AE Check out Joe on IG: https://www.instagram.com/joecorcione/

On today's episode, we get existential with Peter Ward, a paleontologist and astrobiologist who studies life on Earth – where it came from, how it ends, and what it means for us. Peter is a professor at the University of Washington and the Sprigg Institute of Geobiology at the University of Adelaide, as well as an award-winning author and adviser to the Microbes Mind Forum.  Peter delves into some of the greatest threats to human civilization – such as the melting of the ice caps, asteroids, and nuclear war – and explains why we as a species need to evolve our intelligence to find solutions to these pressing problems. He talks about mass extinction and what it might look like for our planet, the science fiction movies that come closest to predicting the future, and the prospect of life on other planets. //Looking to level up or enter a new field? Join TOA Klub for cohort-based learning. Four Klubs to chose from, each including Masterclasses, AMA's, and peer-to-peer learning. Apply now: toaklub.comSubscribe to our NL (go.toaklub.com/toaoa-nl), follow us on Instagram (@toaberlin), Twitter (@toaberlin), Linkedin (toa-berlin) and Facebook (TechOpenAir).Support the show

This week we welcome Peter Ward OAM, one of Victoria's leading criminal law practitioners for over 40 years. Peter has spent his entire career at the firm of Galbally & O'Bryan and worked on some of the most high profile cases in Victorian history, including the Walsh Street police killings in 1988. Like most practitioners, Peter had to work incredibly hard to prove himself at the start of his career, no one he knew had worked in the law and he had no real connections, but Peter also had the additional challenge of being born with only 10% vision. It was a privilege and a pleasure to hear about Peter's Life in the Law. www.greenslist.com.au/podcast

This week our guest is business and technology reporter, Peter Ward. Earlier this year, Peter released his book The Price of Immortality: The Race to Live Forever, where he investigates the many movements and organizations that are seeking to extend human life, from the Church of Perpetual Life in Florida, to some of the biggest tech giants in Silicon Valley. In this episode, we explore Peter's findings, which takes us on a tour from cryonics to mind uploading, from supplements to gene editing, and much more. Along the way, we discuss the details of how one might actually achieve immortality, the details of senescent cells and telomeres, whether it's better to live healthy than to live long, the scams and failures that seem to dominate the space, as well as the efforts that seem most promising. Find Peter's work on PenguinRandomHouse.com or follow him at twitter.com/PeterWardJourno ** Host: Steven Parton - LinkedIn / Twitter Music by: Amine el Filali

In the tradition of Jon Ronson and Tim Wu,  an absorbing and revelatory  journey into the American Way of Defying Death . . .As longevity medicine revolutionizes the lives of many older people,  the quest to take the next step—to live as long as we choose—has spurred a scientific arms race in search of the elixir of life, funded by Big Tech and Silicon Valley.   Once the stuff of Mesopotamian mythology and episodes of Star Trek, the effort to make humans immortal is becoming increasingly credible as the pace of technological progress quickens. It has also empowered a wild-eyed fringe of pseudo-scientists, tech visionaries, scam-artists, and religious fanatics who have given their lives over to the pursuit of immortality. Starting off at the Church of Perpetual Life in Florida and exploring the feuding subcultures around the cryonics industry, Peter Ward immerses himself into an eccentric world of startups, scam artists, scientific institutions, and tech billionaires to deliver this deeply reported, nuanced, and sometimes very funny exploration of the race for immortality — and the potentially devastating consequences should humanity realize its ultimate dream.Get your copy here: https://wellingtonsquarebooks.indiecommerce.com/book/9781612199528

On this episode of The Project Endure Podcast, Joe Rinaldi sits down with Peter Ward to talk about facing fears and pushing limits in the ultra world (tor de genats, tor de glaciers, cocodona 250), how to endure one step at a time, the concept of comparison and so much more. Give this episode a listen as we dive deep into Peter's life and learn about what persistence, perspective and endurance mean to him.    Shop Project Endure (here)   Follow Peter (here)   Follow Project Endure (here) Join The Hard Things Club (here) Shop Project Endure (here)   Follow Joe (here) Read Joe's Blog (here) Read Cup of Joe Newsletter (here)   Shop BPN Supplements (here)

Stephen Meyer vs. Peter Ward.  Is Intelligent Design Science? Intelligent Design and Darwinian Evolution. https://youtu.be/0gopgwYTkq0 3,933 views Jun 15, 2022 Stephen Meyer 29.4K subscribers Stephen Meyer squares off with University of Washington paleontologist Peter Ward in this Talk of the Times Debate in Seattle on April 26th, 2006. The topic? Is intelligent design science?  ====================================================== This is the official Youtube page of Dr. Stephen Meyer, director of Discovery Institute's Center for Science & Culture. Meyer received his Ph.D. in the philosophy of science from the University of Cambridge. His latest book is Return of the God Hypothesis: Three Scientific Discoveries that Reveal the Mind Behind the Universe (2021), see https://returnofthegodhypothesis.com/. Praise for Return of the God Hypothesis: "This book makes it clear that far from being an unscientific claim, intelligent design is valid science." BRIAN JOSEPHSON, NOBEL LAUREATE IN PHYSICS; FELLOW OF THE ROYAL SOCIETY; EMERITUS PROFESSOR OF PHYSICS, UNIVERSITY OF CAMBRIDGE Meyer is also the author of The New York Times best selling book Darwin's Doubt: The Explosive Origin of Animal Life and the case for Intelligent Design (HarperOne, 2013), and Signature In The Cell: DNA and the Evidence for Intelligent Design (2009). For more information about Dr. Meyer, his research, and his books visit https://stephencmeyer.org/. "No one else in my experience can explicate such complex material with the grace and clarity that seem so effortless to Stephen Meyer. With cold logic and meticulous rational analysis of the latest discoveries in cosmology, physics, and biology, Meyer confirms a truth that the ideologues find too frightening even to consider. By the ad hominem nature of their attacks on his brilliant work, they confirm its importance and suggest an eventual end to the scientism that warps our culture." DEAN KOONTZ, NEW YORK TIMES #1 BEST-SELLING AUTHOR The CSC is the institutional hub for scientists, educators, and inquiring minds who think that nature supplies compelling evidence of intelligent design. The CSC supports research, sponsors educational programs, defends free speech, and produce articles, books, and multimedia content. Visit other Youtube channels connected to the Center for Science & Culture Discovery Institute: https://www.youtube.com/user/Discover... The Magician's Twin - CS Lewis & Evolution: https://www.youtube.com/user/cslewisweb Darwin's Heretic - Alfred Russel Wallce: https://www.youtube.com/user/AlfredRW... For more information visit -- https://www.discovery.org/id/ -- http://www.evolutionnews.org/ -- http://www.intelligentdesign.org/ Follow the CSC on Facebook and Twitter: Twitter: @discoverycsc Facebook: https://www.facebook.com/discoverycsc/

Science is all about discovery — tackling the big questions that define our world, and hopefully our future. But some of these questions are as obscure as they are important. The challenges seem endless — with any kind of answer decades or even generations away — but, if answered, these quests could transform life as we know it. On this episode, we explore some of science's holy grails — we look into why these questions matter, and how close they are to being answered, and meet the people who are leading the charge. We hear stories about the search for extraterrestrial life, what fusion power could mean for the fate of our planet, humans' quest for immortality, and more. Also heard on this week's episode: Technology journalist Peter Ward introduces us to a community of people dedicated to using cutting-edge science to extend their lives — by decades, or maybe even centuries. Ward explains the current state of their quest for immortality, including using cryonics to freeze and preserve the body. His book is “The Price of Immortality: The Race to Live Forever.” Forget carbon emissions or radioactive waste — hello clean, abundant energy! That is the promise of fusion power, a scientific holy grail that's hovered outside our grasp for nearly a century. We talk with physicists Martin Greenwald and Clifford Johnson, as well as science journalist Steven Krivit, about how close — or far — fusion power actually is.

Your host Russell Guiver was joined by guests contributors Andy Bravery and David Townsend, in welcoming to the pod for the first time a true Albion legend and cult hero, 70s goal machine and darling of the terraces Peter Ward. Wardy talks us through his formative years as a football-playing (and window breaking) obsessive, his time with the two Albions of Burton and of course BHA, the Forest / Clough years, his time in The States and his thoughts on the current crop of trailblazing star players. No.1 is Peter Ward…. Stand or fall!   UTA! He shot, he scored, it must be Peter Ward, Peter Ward…Peter Ward! @BrightonRockPod brightonrockpodcast@gmail.com Part of the Sport Social Podcast Network that can be found in all their glory at this rather suitable address: www.sport-social.co.uk  Please follow us for automatic downloads of new episodes and if you want to make us really happy please rate us five stars on Apple and any other platforms that provide the opportunity to do so! Why not write a review while you are at it?! ;0).  All this helps our rankings and improves our chances of getting exciting guests onto the show. Also we are now on Patreon, so if you happen to be inclined to extreme acts of generosity we'd greatly appreciate any monthly donations, great or small, to help us run the pod as well as we can. Go to www.patreon.com/BrightonRockPod for details and to sign up. NB Our content will remain freely accessible to all listeners regardless. Humble thanks! Learn more about your ad choices. Visit megaphone.fm/adchoices

Do you want to live forever? Or do you prefer to focus on living for as long as possible while enjoying the best of health? Lifetime aspirations come in many forms and are often merged together - or confused - under the banner of human longevity. Some are more realistic than others. In his new book, The Price of Immortality: The Race to Live Forever, the British journalist, Peter Ward, teases apart the many interventions being touted as possible 'cures' for aging or tools to help us live on and on.  He explores the work of "tech visionaries, scam artists, pseudo scientists and religious fanatics."  In this LLAMA podcast interview, Peter offers a dispassionate view on what we are to believe and whether any of it should be taken seriously. Listening options: Apple Podcasts | You Tube | Audible | Stitcher | Tunein | Spotify | Pandora Podcasts | Google PodcastsPhoto credit: Seren HughesThe Live Long and Master Aging podcast, a HealthSpan Media LLC production, shares ideas but does not offer medical advice.  If you have health concerns of any kind, or you are considering adopting a new diet or exercise regime, you should consult your doctor.Garden Basics with Farmer FredThe healthiest food you can eat is the food you grow yourself. We have the tips.Listen on: Apple Podcasts SpotifyAffiliation disclosure: DoNotAge.org is offering listeners to LLAMA a 10% discount on its range of products, including NAD boosters. The podcast receives a small commission when you use the use code LLAMA for purchases at DoNotAge.org - it helps to cover production costs and ensures that our interviews remain free for all to listen. Health queries can be answered by emailing: hello@donotage.org

Outsourcing the collection of defaulted unsecured consumer debt from lending, insurance, utilities, and telecoms is a well-established industry in Europe.But the industry is on the cusp of disruption. New tech-based collections firms have emerged in Europe in the last few years and built increasingly attractive, viable businesses off the back of the internet-based products and digital services explosion.In this episode, we discuss the current market and key considerations for the incumbent debt management firms and industry investors to think about as they appraise their strategies in response to the rise of the challenger brands. Today we are joined by LEK partners Eilert Hinrichs and Peter Ward.

We're taking a short break from releasing new episodes but rest assured we'll be back soon with more wonderful guests, including the Honourable Iain Ross, Justice of the Federal Court of Australia and President of The Australian Fair Work Commission. Sally Nicholes, founder and managing partner at Nicholas Family Law. Esteemed Criminal Law specialist Peter Ward. And recently appointed County Court Judge, Her Honour Nola Karapanagiotidis. www.greenslist.com.au/podcast

On this ID the Future from the vault, Jay Richards and astrobiologist Guillermo Gonzalez discuss several discoveries made since 2004 supporting the conclusions of their 2004 book The Privileged Planet: How Our Place in the Cosmos Is Designed for Discovery.Gonzalez and Richards show how the book's thesis — that conditions for life and scientific discovery meet on Earth to a fine-tuned degree that strongly points toward design — has been confirmed multiple times. Source

Gibt es Lebewesen die so groß wie Planeten sind? Und ist die Erde eines davon? Nein. Und nein. Aber die "Gaia-Hypothese" ist trotzddem spannend wenn man verstehen will wie die Erde funktioniert. Mehr erfahrt ihr in der neuen Folge der Sternengeschichten: Wer den Podcast finanziell unterstützen möchte, kann das hier tun: Mit PayPal (https://www.paypal.me/florianfreistetter), Patreon (https://www.patreon.com/sternengeschichten) oder Steady (https://steadyhq.com/sternengeschichten)

Shermer and Ward discuss: religious immortality • Church of Perpetual Life in Florida • what it means to live forever • why lives have doubled in length the past century • Stein's Law: things that can't go on forever won't • Why do we age and die? • how to live to 100, 1000, 10,000 years • escape velocity to reach immortality • Aubrey de Grey's program • tech billionaires programs • transhumanists/extropians • diet, exercise, supplements, stem cells, telomeres, and other aging hacks • Ray Kurzweil • cryonics • nanotechnology • brain preservation • mind uploading and digital immortality • Ernest Becker and Terror Management Theory Peter Ward is a British business and technology reporter whose reporting has taken him across the globe. Reporting from Dubai, he covered the energy sector in the Middle East before earning a degree in business journalism from the Columbia University Graduate School of Journalism. His writing has appeared in Wired, The Atlantic, The Economist, GQ, BBC Science Focus, and Newsweek.

https://youtu.be/VYSO-rb1iLM The Earth is teeming with life, but the upper atmosphere to kilometers underground. There's no question that our planet has life. But is our planet itself alive? This is a question posed back in the 1970s as the Gaia hypothesis, and it got its share of criticism. Some new ideas have been proposed to bring this hypothesis to the modern era as we search for exoplanets.   Link to Dr. Funkyspoon's talk: https://www.youtube.com/watch?v=rlKyfDFQk3A   Peter Ward's Life as We Do Not Know It: https://www.amazon.com/Life-We-Not-Know-Synthesis/dp/0143038494   We've added a new way to donate to 365 Days of Astronomy to support editing, hosting, and production costs.  Just visit: https://www.patreon.com/365DaysOfAstronomy and donate as much as you can! Share the podcast with your friends and send the Patreon link to them too!  Every bit helps! Thank you! ------------------------------------ Do go visit http://www.redbubble.com/people/CosmoQuestX/shop for cool Astronomy Cast and CosmoQuest t-shirts, coffee mugs and other awesomeness! http://cosmoquest.org/Donate This show is made possible through your donations.  Thank you! (Haven't donated? It's not too late! Just click!) ------------------------------------ The 365 Days of Astronomy Podcast is produced by the Planetary Science Institute. http://www.psi.edu Visit us on the web at 365DaysOfAstronomy.org or email us at info@365DaysOfAstronomy.org.

Peter Ward‘s new book The Price of Immortality The Race to Live Forever examines the quest for immortality by meeting “The Immortalists” and learning about their ideas and their methods; what's working? The prolongation of life has been desired by … More ... The post Peter Ward – New Book “The Price of Immortality” appeared first on Paradigms Podcast.

George Noory and reporter Peter Ward explore his research into people attempting to make humans immortal through cryogenic technology to survive death and disease, and if there are any unseen consequences to these efforts. See omnystudio.com/listener for privacy information.

We're joined by journalist and writer Peter Ward, whose upcoming book The Price of Immortality: The Race to Live Forever is out this week. Since the times of Gilgamesh, humans have dreamed of living forever. Since the 1960s, when the son of a bank-robbing mobster froze a psychologist (then lost him), cryonics has been touted as a way to be reanimated in decades, or centuries, from now. Except that, as you might expect, cryonics is a shady world populated by hucksters, crooks and, in one, crazy case, a warring Russian couple who employed the services of a Calabrian funeral magnate. Sounds fishy? It is.

Peter Ward joined Bob for a conversation on the successes and failures to date of various groups and methods that are aiming to extend our natural expiration dates. What lengths would you go to, to preserve your life for an additional forty years, a hundred or more?

Peter Ward joined Bob for a conversation on the successes and failures to date of various groups and methods that are aiming to extend our natural expiration dates. What lengths would you go to, to preserve your life for an additional forty years, a hundred or more?

Peter Ward joined Bob for a conversation on the successes and failures to date of various groups and methods that are aiming to extend our natural expiration dates. What lengths would you go to, to preserve your life for an additional forty years, a hundred or more?

Though the search for eternal youth has long been the fodder for myths and legends, science has been pushing us closer toward extending healthy years of life and has set some people off on efforts to defy death altogether. Peter Ward, in his new book The Price of Immortality: The Race to Live Forever, explores a subculture of immortality seekers who have turned to cryonics, as well as efforts to merge man with technology as a way to escape death. The growing understanding of the biology of aging and advances in regenerative medicine, though, are creating the potential to alter notions of human lifespans. We spoke to Ward about his book, distinguishing science fact from science fiction, and the growing understanding of the biology of aging that offers the potential for extending healthy years of life.

Tim, Andy and Rhys discuss a remarkable comeback against Dover and discuss the FA Trophy match v Stockport.We also discuss the upcoming Stockport FA Trophy semi-final and speak to Wrexham LEGEND Peter Ward.@fearlessidzinefidzine@gmail.com See acast.com/privacy for privacy and opt-out information.

IMMORTALITY - Peter Ward Science and Technology Interview Series Welcome to The Not Old Better Show on radio and podcasts.  Today's show is brought to you by Hapbee.   Our guest today is Journalist Peter Ward.  Peter Ward has a new book for our audience of The Not Old Better Show, titled The Price of Immortality: The Race to Live Forever. Join me and Peter Ward for an exciting interview about his new book, The Price of Immortality: The Race to Live Forever, as we explore in the idea that there is a time in the not-too-distant future when biotechnology will be able to keep people alive indefinitely.  Obsession with longevity is nothing new, Peter Ward tells us, but as science has advanced, “immortalists were faced with a scenario most thought would never happen: they might be proved correct.”  As longevity medicine revolutionizes the lives of many older people,  the quest to take the next step—to live as long as we choose—has spurred a scientific arms race in search of the elixir of life, funded by Big Tech and Silicon Valley.    Once the stuff of Mesopotamian mythology and episodes of Star Trek, the effort to make humans immortal is becoming increasingly credible as the pace of technological progress quickens. It has also empowered a wild-eyed fringe of pseudo-scientists, tech visionaries, scam-artists, and religious fanatics who have given their lives over to the pursuit of immortality.  Let's listen to a reading from Peter Ward and his new book, The Price of Immortality: The Race to Live Forever, as he describes Ancient Greek mythology and longevity. Please join me in welcoming to The Not Old Better Show on radio and podcasts, journalist Peter Ward.   My thanks to journalist Peter Ward for his time and expertise today. My thanks to the wonderful folks at Hapbee for sponsoring today's episode and my thanks to you, my equally wonderful audience on The Not Old Better Show.  Remember, let's talk about better…The Not Old Better Show.  Thanks, everybody and we'll see you next week.

Peter Ward is a paleontologist and astrobiologist who studies life on Earth—where it came from, how it ends, and what that means. His research is focused on the nature of the Cretaceous-Tertiary extinction event, which he explores at field sites in France and Spain. He also looks at speciation patterns and ecology of the living cephalopods. He is a Fellow of the Geological Society of America. In addition to his academic work, he is committed to public outreach, and has written a number of popular books for the a general audience. --- Support this podcast: https://anchor.fm/out-of-the-blank-podcast/support

The COVID-19 pandemic has ushered in a series of fundamental challenges to the U.S. economy. Like the great financial crisis of 2007-08, it has reshaped the landscape of consumer lending, but in a very different way. During the COVID-19 pandemic, individuals have curtailed their spending amid layoffs, while the federal government has injected billions of dollars back into the economy in the form of stimulus checks. Ecommerce was a key beneficiary, and it looks like newly established purchase pathways are here to stay.In this episode, we discuss COVID-19 Recovery Opportunities in Consumer Lending with our panel of expert consultants. We hear from Robert Haslehurst, Managing Director with a focus within LEK's Retail and Consumer Products practices. Also, Peter Ward, an LEK Partner focused on corporate strategy development who has worked on a diverse set of consulting projects across the technology, financial service, and consumer product industries.Follow this link to download the detailed Executive Insights from this conversation.

Peter Ward, Director, Center for Operational Excellence, discusses how lean thinking helped with establishing mass vaccination sites in metro areas across the country. As well as how this thinking translated in the transition to smaller vaccination sites after the initial rush.

Today's podcast will focus on the topic of accelerated insights from data for preventative health innovation. The podcast sheds light on industry challenges and expectations as well as innovative approaches to collaboration.  This discussion is led by Tõnu Esko, BC Platforms SAB Chairman and Vice Director of the Institute of Genomics University of Tartu, where he also holds a Professor of Human Genomics position. He is head of the Estonian Biobank Innovation Center and focuses on public private partnerships and innovation transfer. Dr. Esko is also a research scientist at the Broad Institute of Harvard at MIT. He acts as one of the senior leaders for Estonian personalized medicine programs and serves as a scientific advisor for several companies.  Our speaker today is Michael Geer, the co-founder of Humanity along with Peter Ward. Humanity is a health tech startup that enables you to find your rate of aging, and do what you can do to slow your aging down. Michael Geer is a serial tech entrepreneur, having amassed over a billion users with Badoo, AnchorFree, and even more revenue over his years building meaningful consumer focused technology. He wakes up every day working on how to best enable people with superpowers.  What is Covered: - What are the main obstacles to innovation in healthcare - How to open the access to different data types, and leverage this knowledge in order to build a complex health guide - The importance of democratization of data, federated access, and differential privacy in making data readily usable by other people - What scientific insights Humanity uses to build their products - How Humanity manages the complexity of its data model, and the feedback it provides to their customers Resources: - The Institute of Genomics, University of Tartu https://genomics.ut.ee/en - The Estonian Biobank https://genomics.ut.ee/en  - Humanity https://www.humanity.health/ - OpenMind https://openmindplatform.org/ - BioAge Labs https://bioagelabs.com/ Connect with Michael Geer: - https://www.linkedin.com/in/michaelgeer Connect with Dr. Tõnu Esko:  - https://www.linkedin.com/in/tõnu-esko-24511524/  Connect with BC Platforms:  - https://www.bcplatforms.com  - https://www.linkedin.com/company/bc-platforms/  - sales@bcplatforms.com 

Peter Ward relates the tales of a fascinating epoch in Brentwood's history: Brentwood in the Pines.