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3 episodes with pranksters
4 episodes with pranksters
2 episodes with pranksters
3 episodes with pranksters
2 episodes with pranksters
4 episodes with pranksters
3 episodes with pranksters
2 episodes with pranksters
2 episodes with pranksters
The Pranksters by Jay and Dylan by 826 Valencia
Wednesday, April 2nd, 2025Today, possible results in the Wisconsin and Florida elections; Senator Cory Booker takes to the Senate floor to disrupt business as usual; Mike Waltz used GMAIL to discuss national defense information; Senator Adam Schiff says he will put an indefinite hold on the confirmation of Ed Martin as D.C. US Attorney; multiple plaintiffs have filed suit to block Trump's voter suppression executive order; internal fallout has paused the firing of 10000 Health and Human Services employees; the Trump administration has admitted that it deported a Maryland father to CECOT over an administrative error; Senator Gallego says he will hold up Trump's VA nominees to protest cuts to the VA workforce; the Trump administration has cut millions of dollars from Planned Parenthood; DOGE is trying to steal a $500M building; and Allison delivers your Good News.Guests: Joyce VancePreorder Giving Up Is Unforgivable by Joyce Vance - 10/21/2025 Civil Discourse with Joyce Vance | SubstackSistersInLaw PodcastJoyce White Vance (@joycewhitevance.bsky.social) — BlueskyJoyce Alene (@JoyceWhiteVance) / XThank You, HomeChefFor a limited time, get 50% off and free shipping for your first box PLUS free dessert for life! HomeChef.com/DAILYBEANS. Must be an active subscriber to receive free dessert..Thank You, Pique LifeGet 20% off on the Radiant Skin Duo, plus a FREE starter kit at Piquelife.com/dailybeans.Stories:Florida, Wisconsin election results live | CNN PoliticsWaltz and staff used Gmail for government communications, officials say | The Washington PostAn ‘Administrative Error' Sends a Maryland Father to a Salvadoran Prison | The AtlanticInternal fallout at HHS delays 10,000 firings | POLITICOTrump admin cuts tens of millions from Planned Parenthood | POLITICODOGE Is Trying to Gift Itself a $500 Million Building, Court Filings Show | WIREDJohn Oliver Sued by Health Insurance Executive Over On-Air Rant | The Daily BeastGood Trouble:The 2020 Brown Democracy Medal winner, Srdja Popovic, was a leader in the revolution that brought down the Milošević regime in Serbia and he continues to help protestors around the world learn effective, sometimes humorous, nonviolent tactics. Pranksters vs. Autocrats by Srdja Popovic and Sophia A. McClennen | Free eBook | Cornell University PressTrump and Musk are attempting an illegal power grab is a crisis we must stop. HandsOff2025.com From The Good NewsWhat led to ‘No' votes on all Louisiana amendments? An elections analyst explains | WWNOOn Call by Anthony Fauci, M.D.: 9780593657478 | PenguinRandomHouse.com: BooksDANIELA (@calirockchick) • InstagramReminder - you can see the pod pics if you become a Patron. The good news pics are at the bottom of the show notes of each Patreon episode! That's just one of the perks of subscribing! Federal workers - feel free to email me at fedoath@pm.me and let me know what you're going to do, or just vent. I'm always here to listen.Share your Good News or Good Trouble:https://www.dailybeanspod.com/good/ Check out other MSW Media podcastshttps://mswmedia.com/shows/Subscribe for free to MuellerSheWrote on Substackhttps://muellershewrote.substack.comFollow AG and Dana on Social MediaDr. Allison Gill Substack|Muellershewrote, Twitter|@MuellerSheWrote, Threads|@muellershewrote, TikTok|@muellershewrote, IG|muellershewrote, BlueSky|@muellershewroteDana GoldbergTwitter|@DGComedy, IG|dgcomedy, facebook|dgcomedy, IG|dgcomedy, danagoldberg.com, BlueSky|@dgcomedyHave some good news; a confession; or a correction to share?Good News & Confessions - The Daily Beanshttps://www.dailybeanspod.com/confessional/ Listener Survey:http://survey.podtrac.com/start-survey.aspx?pubid=BffJOlI7qQcF&ver=shortFollow the Podcast on Apple:The Daily Beans on Apple PodcastsWant to support the show and get it ad-free and early?Supercasthttps://dailybeans.supercast.com/Patreon https://patreon.com/thedailybeansOr subscribe on Apple Podcasts with our affiliate linkThe Daily Beans on Apple Podcasts
Some of the April Fool's Day jokes among astronauts have, quite literally, been out of this world.
This month we are joined by two incredibly special guests, Em and Christine from And That's Why We Drink! We ask them a few questions and then get into an old timey case that they have surprisingly not heard with elements of true crime and paranormal. Buckle up for the Hammersmith Ghost and remember to not take pranks too far, especially in the 1800s. Want more twisted content? Consider joining our Patreon for some welcome goodies and 100+ bonus episodes ready for you to unlock. Your support truly means the world to us. https://www.patreon.com/twistedanduncorkedYou can buy us a drink on Buy Me A Coffee https://www.buymeacoffee.com/twistedpodCheck out our website for sources and photos from todays episode www.twistedanduncorked.comWatch on our YouTube Channel https://www.youtube.com/@twistedanduncorkedFollow us on all of the socials:Instagram and TikTok @twistedanduncorkedTwitter @twisted_podFacebook @twistedanduncorkedpodcast
Those Aliens Are Some Real Pranksters.
BALLOONS VS. DRONES; Idiot of the Week candidate; Kentucky Mule Rider; Russia Hates Santa; Pranksters and GOOGLY EYES; The Amazing Kreskin dies; WING IT WEDNESDAY with Rick Willits from @WeCareArts
The Lonely Island and Seth Meyers talk about the digital short Laser Cats! 3D. They share memories from Christopher Walken hosting and chat about sketches like Googly eyes, Pranksters, Walken Family Reunion, Grease Rehearsals, and more! Laser Cats 3D - https://www.youtube.com/watch?v=1CeRI2yZDEYGoogly Eyes Gardener - https://www.youtube.com/watch?v=zc7qJE9Nzo8Meet the Family - https://www.youtube.com/watch?v=jcn9ILmU-IgThe Continental - https://www.youtube.com/watch?v=0vuOnVNiYtgPranksters - https://youtu.be/jORviU2oyMQ?si=rXNjbrFW6Ktz_Byw (Not all the clips we mention are available online; some never even aired.) If you want to see more photos and clips follow us on Instagram @thelonelymeyerspod. Send us an email! thelonelyislandpod@gmail.com Support our sponsors:Sony Pictures Saturday NightBring home the movie everyone is talking about—Saturday Night, the hilarious and zany story capturing the chaotic moments right before the very first episode of SNL made it to air, where everything that could go wrong did. Grab your friends, get ready to laugh, and make every night Saturday Night. Available to buy or rent on digital now from Sony Home Entertainment. Rated R ShopifyUpgrade your business and get the same checkout Aviator Nation uses.Sign up for your one-dollar-per-month trial period at SHOPIFY.COM/lonelyisland VuoriVuori is offering 20% off your FIRST purchase. Get yourself some of the most comfortable and versatile clothing on the planet at vuori.com/ISLAND Not only will you receive 20% off your first purchase, but enjoy free shipping on any U.S. orders over $75 and free returns. AirbnbVisit Airbnb.com today and book a guest favorite. These are the most beloved homes on Airbnb. Produced by Rabbit Grin ProductionsExecutive Producers Jeph Porter and Rob HolyszLead Producer Kevin MillerCreative Producer Samantha SkeltonCoordinating Producer Derek JohnsonCover Art by Olney AtwellMusic by Greg Chun and Brent AsburyEdit by Cheyenne JonesMix and Master by Jason Richards
Jack, Fluronic Man, Batman, Ted, and Sential battle Cryus Gold and his Grundy sleves. Nice farewell for Solloy. Yeowell and Buckingham pencils are stunning and Robinson's writing are amazing in Starman Volume 2 issue 34 The Return of Solomon Grundy in All-Star Comics 33 is a really fun Golden Age comic by Garnder Fox and 5 amazing artist. #comicbooks #Starman #DCComics #JSA #Batman #FluronicMan #SolomonGrundy #CyrusGold #TheGreen #Hawkman #WonderWoman #GreenLantern #Sentinal #TheFlash #TheAtom #JohnnyThunder #Thunderbolt #DoctorMidNite #GardnerFox #JamesRobinson
This week the Buddies discuss the best pranks they've played on people or had played on them, the lies of School of Rock, audio books, and a conversation on exoteric vs esoteric knowledge. Share with a friend! Recommendations: School of Rock (movie), Patriot Games (movie), Audio Books (medium for consuming stories) Contact us! Facebook X Email Youtube
Fluent Fiction - Hebrew: Pranksters at Coral Reef Mall: A Night of Laughter and Chaos Find the full episode transcript, vocabulary words, and more:fluentfiction.org/pranksters-at-coral-reef-mall-a-night-of-laughter-and-chaos Story Transcript:He: הקניון היה מלא בשעות הערב הרחוקות של הקיץ.En: The mall was bustling in the late summer evening hours.He: קולות של אנשים והדים של צחקוקים מילאו את Coral Reef Mall.En: The sounds of people and echoes of giggles filled Coral Reef Mall.He: החנות של המניקנים נראתה כמעט אמתית כשהתאורה זרחה על בגדים נוצצים וחגיגיים לראש השנה.En: The mannequin store looked almost real as the lighting shone on the sparkling, festive clothes for the New Year.He: אריאל, נועם, ושירה עמדו ליד החלון, בהתלהבות.En: Ariel, Noam, and Shira stood by the window, excitedly.He: "זהו, זה הרגע," אמר אריאל, עיניו נוצצות בהתרגשות.En: "This is it, the moment," Ariel said, his eyes sparkling with excitement.He: "זה הפרנק הכי טוב.En: "This is the best prank.He: ידברו על זה שנים!En: People will talk about it for years!"He: "נועם חייך בחיוך קל, אבל בתוכו קיווה שהכול יעבור בלי יותר מדי רעש.En: Noam smiled slightly, but inside he hoped everything would go smoothly.He: "אני מקווה שלא נסתבך," אמר, חיוכים עדיין שם.En: "I hope we don't get into too much trouble," he said, the smile still on his face.He: שירה, עם חיוך קטן בזווית הפה, לחשה, "אל דאגה, אפשר לשלוט בזה.En: Shira, with a small smile at the corner of her mouth, whispered, "Don't worry, we can handle it."He: " אבל באמת היא נהנתה מהבלגן שבא מסביב למזימות הפרנק של אריאל.En: But she truly enjoyed the chaos that came with Ariel's prank plans.He: התכנית הייתה להחליף את אחד מהמניקנים בחנות בבובה גדולה בצורת תפוח, מאחורי החלון הראשי.En: The plan was to replace one of the mannequins in the store with a large doll shaped like an apple, behind the main window.He: אספנו אותה ממחסן נטוש של חנות צעצועים, ועוד הידיים רעדו מרוב התרגשות.En: They had picked it up from an abandoned toy store's warehouse, their hands still trembling with excitement.He: "מי מתנדב?En: "Who volunteers?"He: " שאל אריאל, מוכן להתחיל.En: Ariel asked, ready to start.He: שירה התכוונה לענות, אבל באותו הרגע אזעקה החלה לצפצף בחנות.En: Shira was about to answer, but at that moment, an alarm began blaring in the store.He: המניקנים כולם זוהרו בתאורה אדומה, והלקוחות בקניון התחילו להסתובב.En: All the mannequins were illuminated in red light, and the mall's customers began to turn around.He: "אוי לא, זה הלחצן החירום!En: "Oh no, it's the emergency button!"He: " לחש נועם, עיניו פקוחות לרווחה.En: Noam whispered, his eyes wide open.He: "אנחנו חייבים לברוח!En: "We have to run!"He: "הם רצו דרך החנות, המניקנים סביבם כמו חיילים דוממים.En: They ran through the store, surrounded by mannequins like silent soldiers.He: הם שמעו את רגלי הביטחון מגיעות מאחוריהם, והמלחיצה גברה.En: They heard the security team's footsteps approaching behind them, heightening their anxiety.He: הם הגיעו לפינה, ושירה שלפה את הטלפון שלה, שלך קרן אור חזקה על החיישנים.En: They reached a corner, and Shira pulled out her phone, shining a strong beam on the sensors.He: דלת צדדית נפתחה והם פרצו דרכה, מתנשפים וצוחקים.En: A side door opened, and they burst through it, panting and laughing.He: בחוץ, סביב הקניון הגדול, אנשים עמדו וצפו בהתרחשות.En: Outside, around the large mall, people stood watching the event unfold.He: הליצן הענק נשאר שם, מאיר בנורות משונות וזהר בין התאורה של התפוחים.En: The giant clown remained there, illuminated by strange lights and glowing amid the apple decorations.He: "זה היה הפרנק הכי טוב," אמרה שירה, מבלי לסלוח על החיוך הילדותי שהתפשט על פניה.En: "That was the best prank," Shira said, not holding back the childish grin that spread across her face.He: אריאל הביט חבריו, עייף אך מלא יהיה.En: Ariel looked at his friends, tired but content.He: הבין פתאום שהם פרנקים חשובים, אבל החברות שלהם יותר.En: He realized suddenly that pranks were important, but their friendship was more so.He: "זה היה פעם האחרונה," אמר ברוך.En: "That was the last time," he said softly.He: "מעכשיו, אנחנו ככה ביחד.En: "From now on, we're just together like this."He: "נוֹעם הנהן, שמחוּת בְּעיניים.En: Noam nodded, happiness in his eyes.He: הוא ידע שמצא עם מי לצעוד לעתיד.En: He knew he had found people to walk into the future with.He: בין תהיויות ופרנקים, הם תמיד יחפשו אחר האיזון המושלם.En: Among questions and pranks, they would always seek the perfect balance. Vocabulary Words:bustling: מלאmannequins: מניקניםsparkling: נוצציםprank: פרנקtrembling: רעדוblaring: לצפצףilluminated: זוהרוemergency: חירוםpanting: מתנשפיםchaos: בלגןreplace: להחליףvolunteers: מתנדבapproaching: מגיעותanxiety: הלחיצהbeam: קרן אורsensors: חיישניםunfold: בהתרחשותcontent: יהיהbalance: איזוןmess: בלגןexcitement: התרגשותwarehouse: מחסןsilent: דוממיםclown: ליצןabandoned: נטושhandle: לשלוטchaotic: מלחיצהwhispered: לחשgiggling: צחקוקיםspectacular: חגיגייםBecome a supporter of this podcast: https://www.spreaker.com/podcast/fluent-fiction-hebrew--5818690/support.
The Jubal Show is on the radio all over the country. They are unafraid to tackle the topical world we live in, and can't get enough of the drama. Nothing is sacred, and nothing is off limits on The Jubal Show.Join Jubal, Nina, Victoria, Executive Producer Brad, and Producer Sharkey, and their listeners on a journey through romance, secrets, pop culture, and pranks.======This is just a tiny piece of The Jubal Show. You can find every podcast we have, including the full show every weekday right here…➡︎ https://thejubalshow.com/podcasts======The Jubal Show is everywhere, and also these places: Website ➡︎ https://thejubalshow.com Instagram ➡︎ https://instagram.com/thejubalshow X/Twitter ➡︎ https://twitter.com/thejubalshow Tiktok ➡︎ https://www.tiktok.com/@the.jubal.show YouTube ➡︎ https://www.youtube.com/@JubalFresh ======Meet The Jubal Show Cast:====== Jubal Fresh - https://jubalshow.com/featured/jubal-fresh/ Nina - https://thejubalshow.com/featured/ninaontheair/ Victoria - https://jubalshow.com/featured/victoria-ramirez/ Brad Nolan - https://jubalshow.com/featured/brad-nolan/ Sharkey - https://jubalshow.com/featured/richard-sharkey/ See omnystudio.com/listener for privacy information.
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Turkey Tom joins the podcast to discuss YouTube's most insane pranksters, updates on the Nick Rekeita situation, and more.
In this episode, we dive into Season 3, Episode 12 of Happy Endings titled "The Marry Pranksters." Join Kalvin and Chris as they discuss the gang's elaborate pranking schemes on Max, leading to a hilarious revenge plot. Brad's return to the workforce takes an unexpected turn, while Penny's engagement to Pete is mistaken for another prank. Listen in as we explore the best and worst pranks, the pitfalls of lottery winnings, and how to handle unexpected windfalls. ----------------------------------------------------------------- Follow us on Twitter and Instagram @Magic3TVPod Check out all of our sweet merch at the Magic Number is 3 Merch Store And learn more about The Magic Number is 3 Here --- Send in a voice message: https://podcasters.spotify.com/pod/show/magic-3-tv/message
Hamish and Andy officially re-enter the prank game with Hamish's amazing hat prank finally being put to the test to some unsuspecting waiters at a cafe. Andy has an updates on acai bowl investment, which leaves the gang lamenting about their lost BitCoin again. Hamish has a question on an Uno ruling that caused a stir in his household, and some more of the most powerful power moves! 1. The hat prank 2. Loose ends and bitcoin sadness 3. Power moves 4. Ultimate Uno ruling
You Tube pranksters Josh Pieters & Archie Manners are on the pod and mayhem ensues. They are running late so while Joe and David wait for them to appear they start worrying that they are being pranked. After a few tech issues the lads appear like whirling dervishes telling Joe he looks older than he does on tv. They talk about some of their pranks including flying Katie Hopkins over to Prague to pick up the Campaign to Unify The Nation award. Joe is concerned that they are spending a lot of money on their pranks and wonders how much coin they are left with. Moving on they discuss employing an expensive lawyer so they don't get sued, trying to put Buckingham Palace on Air BNB and Archie admits he didn't turn up for the first record as he was hungover. They suggest doing a tour together called Young v Old and base the live show on memory and eyesight tests. Joe describes the whole experience of recording this ep as being on a rollercoaster without a seatbelt and David get's quite sweaty. FOR ALL THINGS CHATABIX'Y FOLLOW/SUBSCRIBE/CONTACT: You Tube: https://www.youtube.com/@chatabixpodcast Twitter: https://twitter.com/chatabix1 Insta: https://www.instagram.com/chatabixpodcast/ Patreon: https://www.patreon.com/chatabix Merch: https://chatabixshop.com/ Contact us: chatabix@yahoo.com Learn more about your ad choices. Visit podcastchoices.com/adchoices
In Keep Canada Weird Jordan Bonaparte and Aaron Airport explore the weird and offbeat Canadian news stories from the past week. In this episode your hosts discuss; the holy grail of hockey cards AND buyer's remorse Tim Horton's Pizza the pizza pranksters targeting Edmonton's sweetest fella Guelph's burglar's bowels Series Links Keep Canada Weird Series: https://www.nighttimepodcast.com/keep-canada-weird Send a voice memo: https://www.nighttimepodcast.com/contact Join the Keep Canada Weird Discussion Group: https://www.facebook.com/groups/keepcanadaweird Provide feedback and comments on the episode: nighttimepodcast.com/contact Subscribe to the show: https://link.chtbl.com/nighttime-subscribe Contact: Website: https://www.nighttimepodcast.com Twitter: https://twitter.com/NightTimePod Facebook: https://www.facebook.com/NightTimePod Instagram: https://www.instagram.com/nighttimepod Support the show: https://www.patreon.com/nighttimepodcast Learn more about your ad choices. Visit megaphone.fm/adchoices
In Keep Canada Weird Jordan Bonaparte and Aaron Airport explore the weird and offbeat Canadian news stories from the past week. In this episode your hosts discuss; the holy grail of hockey cards AND buyer's remorse Tim Horton's Pizza the pizza pranksters targeting Edmonton's sweetest fella Guelph's burglar's bowels Series Links Keep Canada Weird Series: https://www.nighttimepodcast.com/keep-canada-weird Send a voice memo: https://www.nighttimepodcast.com/contact Join the Keep Canada Weird Discussion Group: https://www.facebook.com/groups/keepcanadaweird Provide feedback and comments on the episode: nighttimepodcast.com/contact Subscribe to the show: https://link.chtbl.com/nighttime-subscribe Contact: Website: https://www.nighttimepodcast.com Twitter: https://twitter.com/NightTimePod Facebook: https://www.facebook.com/NightTimePod Instagram: https://www.instagram.com/nighttimepod Support the show: https://www.patreon.com/nighttimepodcast Learn more about your ad choices. Visit megaphone.fm/adchoices
Fluent Fiction - Catalan: Revolutionizing Tradition: The Barcelona Festival Pranksters Find the full episode transcript, vocabulary words, and more:fluentfiction.org/revolutionizing-tradition-the-barcelona-festival-pranksters Story Transcript:Ca: La ciutat de Barcelona brilla amb l'alegria del festival local. Les rialles i els crits alegres s'escampen per la ciutat on Esther i Pau, dues figures conegudes i estimades, fan girar la roda de la seva estravagant farsa.En: The city of Barcelona shines with the joy of the local festival. Laughter and cheerful shouts spread throughout the city where Esther and Pau, two well-known and beloved figures, spin the wheel of their extravagant farce.Ca: Esther, amb els seus ulls riallers, té la reputació de ser la bromista de la ciutat. Pau, per contra, és conegut per ser un amant de la tradició, un escut contra qualsevol canvi en els costums locals. Junts, formen un equip dinàmic que mai deixa de sorprendre i deliciar els habitants de Barcelona amb les seves bromes divertides.En: Esther, with her laughing eyes, has a reputation for being the city's prankster. Pau, on the other hand, is known for being a lover of tradition, a shield against any changes in local customs. Together, they form a dynamic team that never fails to surprise and delight the inhabitants of Barcelona with their funny pranks.Ca: La història comença en el cor del festival local, omplert de les delícies tradicionals de la cuina catalana: botifarres, esqueixada, crema catalana... Amb deliberada malícia, Esther proposa a Pau una broma revolucionària: substituir tota aquesta menjar tradicional per menjar ràpid internacional, una proposta suficientment boja per fer que Pau s'esgarrifeixi.En: The story begins in the heart of the local festival, filled with the traditional delights of Catalan cuisine: sausages, shredded salted cod, crema Catalana... With deliberate mischief, Esther proposes to Pau a revolutionary prank: replacing all this traditional food with international fast food, a proposal crazy enough to make Pau cringe.Ca: Però Pau, esperonat per l'entusiasme de Esther, accedeix a ajudar. Tots dos comencen a col·locar amagadament hamburgers, hotdogs, sushis, tacos, peperonis i altres menjar ràpid internacional al lloc dels plats tradicionals catalans. La transformació és completada en poques hores, i el resultat és tant estrany com divertit.En: But spurred on by Esther's enthusiasm, Pau agrees to help. Both start sneakily placing hamburgers, hot dogs, sushi, tacos, pepperonis, and other international fast food in place of the traditional Catalan dishes. The transformation is completed in a few hours, and the result is as strange as it is amusing.Ca: El matí següent, quan els habitants de Barcelona arriben al festival, és un escenari de perplexitat i sorpresa. Les cares de sorpresa són el preludi d'una gran riallada. Tots riuen de la broma, fins i tot els més tradicionalistes no poden resistir un somriure davant de tal audàcia.En: The next morning, when the inhabitants of Barcelona arrive at the festival, it is a scene of bewilderment and surprise. The faces of surprise are the prelude to a great burst of laughter. Everyone laughs at the prank, even the most traditionalists can't resist a smile in the face of such audacity.Ca: Esther i Pau es revelen com els autors de la broma, i tots els aplaudeixen per la seva originalitat. El festival continua amb un nou gir, l'alegria i les rialles omplen cada carrer i cada cor dels barcelonins.En: Esther and Pau reveal themselves as the authors of the prank, and everyone applauds them for their originality. The festival continues with a new twist, joy and laughter fill every street and every heart of the people of Barcelona.Ca: Al final, malgrat l'estranyesa de la situació, aquesta broma acaba donant un nou sabor al festival local. El menjar ràpid internacional es menja amb el mateix goig que les delícies catalanes, i aquest canvi estrafolari esdevé una nova tradició.En: In the end, despite the strangeness of the situation, this prank ends up giving a new flavor to the local festival. International fast food is enjoyed with the same delight as Catalan delicacies, and this quirky change becomes a new tradition.Ca: Així, Esther i Pau no tan sols fan una broma, sinó que a més creen una nova tradició: una festa de sabors de tot el món al cor de la seva adorada Barcelona. Una conclusió satisfactòria que demostra que les bromes, quan són fetes amb amor i respecte, poden donar lloc a canvis sorprenents i meravellosos.En: Thus, Esther and Pau not only play a prank, but they also create a new tradition: a feast of flavors from around the world in the heart of their beloved Barcelona. A satisfying conclusion that proves that jokes, when done with love and respect, can lead to surprising and wonderful changes. Vocabulary Words:city: ciutatBarcelona: Barcelonafestival: festivallaughter: riallesjoy: alegrialocal: localcheerful: alegresEsther: EstherPau: Paufigures: figureswheel: rodaprankster: bromistatradition: tradiciócustoms: costumsdynamic: dinàmicsurprise: sorprendredelight: deliciarinhabitants: habitantsCatalan: Catalanacuisine: cuinasausages: botifarresshredded salted cod: esqueixadacrema Catalana: crema catalanamischief: malíciarevolutionary: revolucionàriainternational: internacionalfast food: menjar ràpidproposal: propostacrazy: bojaspurred: esperonat
How do you feel about Major League Baseball players giving each other a hot foot during the game? It was fairly commonplace for a long time but no longer. Being thought of as a character is not as cute as it once was either. Is it because MLB players make too much money? Are there still any good pranks being played in MLB? We talk about a few of the better pranks and others that turned out to be a bit mean. Intro & outro music this season courtesy of Mercury Maid! Check them out on Spotify or Apple Music. Please subscribe to our podcast and thanks for listening! If you have a suggestion for an episode please drop us a line via email at Almostcooperstown@gmail.com. You can also follow us on Twitter/X @almostcoop or visit the Almost Cooperstown Facebook page or YouTube channel. If you can please give the podcast 4 or 5 star rating!www.almostcooperstown.com
n this episode: Reddit pops 48% in NYSE debut after selling shares at top of range Reddit sinks below opening price in second day of trading LinkedIn is experimenting with a TikTok-like video feed in its app The US Department of Justice is suing Apple — read the full lawsuit here U.S. Sues Apple, Alleges Tech Giant Exploits Illegal Monopoly US DOJ's blockbuster lawsuit against Apple is headline grabber but poses limited near-term impact Feds Ordered Google To Unmask Certain YouTube Users. Critics Say It's ‘Terrifying.' Florida governor signs law restricting social media access for children DeSantis Approves Social Media Ban For Kids Under 14 In Florida: What To Know Millions of Americans could soon lose home internet access if lawmakers don't act Oregon's governor signs right-to-repair law that bans ‘parts pairing' DoorDash begins piloting drone deliveries in the US Adam Neumann makes a $500 million bid for WeWork that could hit $900 million if financing and diligence firm up Windows 11, Tesla, and Ubuntu Linux hacked at Pwn2Own Vancouver Vulnerability found in Apple's Silicon M-series chips – and it can't be patched SAG-AFTRA ratifies TV animation contracts that establish AI protections for voice actors Tennessee becomes first state to pass a law protecting musicians against AI Sora: first impressions Weird and Wacky: “Game Changer” – This Liquid Can Stop Tooth Decay in Young Children Climate change is altering Earth's rotation enough to mess with our clocks South Carolina has $1.8 billion in a bank account — and doesn't know where the money came from Prankster tricks a GM chatbot into agreeing to sell him a $76,000 Chevy Tahoe for $1 Tech Rec: Sanjay - ProtoArc EM03 Wireless Bluetooth Trackball Mouse Adam - BORUIT V10 Small Powerful Pocket Flashlight Find us here: sanjayparekh.com & adamjwalker.com Tech Talk Y'all is a proud production of Edgewise.Media. --- Send in a voice message: https://podcasters.spotify.com/pod/show/techtalkyall/message
Rob Has a Podcast | Survivor / Big Brother / Amazing Race - RHAP
Rob Cesternino, Tyson Apostol and Danny Bryson talk about Arby's Army & Burger King Pranksters and all the crazy internet stories of the week!
News AF - The Internet's Best News Stories that are Actual Factual News
Rob Cesternino, Tyson Apostol and Danny Bryson talk about Arby's Army & Burger King Pranksters and all the crazy internet stories of the week!
Fluent Fiction - Spanish: The Pamplona Prank: A Spectrum of Laughter Amidst Tradition Find the full episode transcript, vocabulary words, and more:fluentfiction.org/the-pamplona-prank-a-spectrum-of-laughter-amidst-tradition Story Transcript:Es: La ciudad de Madrid era un hervidero de emociones ese día.En: The city of Madrid was a hive of emotions that day.Es: Las luces pintaban la noche de mil colores en los barrios, y los sonidos vibrantes de la ciudad resonaban en las calles, pero nada de esto igualaba la excitación que brillaba en los ojos de María y Alejandro.En: The lights painted the night in a thousand colors in the neighborhoods, and the vibrant sounds of the city echoed in the streets, but none of this matched the excitement shining in the eyes of María and Alejandro.Es: María, una mujer de cabello rizado rojizo y una dulzura capaz de calmar los océanos, estaba en un café en Callao, bebiendo su café con leche.En: María, a woman with curly reddish hair and a sweetness capable of calming the oceans, was in a café at Callao, sipping her café con leche.Es: Alejandro, de altura superior a la media y ojos castaños llenos de misterio, llegó y un destello de emoción surcó su rostro alto y moreno.En: Alejandro, taller than average and with mysterious chestnut eyes, arrived and a flash of excitement crossed his tall, dark face.Es: Tenían la misma sonrisa en sus rostros, sabiendo que estaban en el umbral de un plan muy alocado.En: They had the same smile on their faces, knowing they were on the threshold of a very crazy plan.Es: Durante meses, Alejandro y María habían planeado el viaje de sus vidas.En: For months, Alejandro and María had planned the trip of their lives.Es: Uno que, además, guardaría la broma más grande nunca contada en la historia de los encierros de Pamplona.En: One that would also hold the biggest joke ever told in the history of the Pamplona bull runs.Es: Empacaron rápidamente, cogieron un tren en Atocha y se dirigieron a Pamplona, con el zumbido de la emoción y el ruido de las ruedas del tren marcando el ritmo de su aventura.En: They quickly packed, caught a train at Atocha, and headed to Pamplona, with the buzz of excitement and the noise of the train wheels setting the rhythm of their adventure.Es: En medio de la expectación y el revuelo que es el encierro de Pamplona, se colaron sin levantar sospechas.En: Amidst the excitement and commotion that is the Pamplona bull run, they sneaked in without raising suspicions.Es: Tenían en su poder una caja grande y misteriosa que colocaron en un lugar estratégico a lo largo de la ruta del encierro.En: They had in their possession a large and mysterious box that they placed in a strategic spot along the bull run route.Es: Al abrirse, liberaría miles de pelotas de playa de colores.En: Upon opening, it would release thousands of colorful beach balls.Es: Una broma gigante, pero inofensiva, que haría reír a todos y rompería brevemente la tensión del encierro.En: A giant, yet harmless prank that would make everyone laugh and briefly break the tension of the bull run.Es: Llegada la hora, los toros corrieron, la multitud gritó y, justo cuando los toros pasaron cerca de la caja, Alejandro apretó el botón.En: When the time came, the bulls ran, the crowd shouted, and just as the bulls passed near the box, Alejandro pressed the button.Es: Como un arco iris en un día nublado, las pelotas de playa se lanzaron, llenando las calles con colores vibrantes y una risa generalizada se extendió por la multitud.En: Like a rainbow on a cloudy day, the beach balls were released, filling the streets with vibrant colors and a widespread laugh spread through the crowd.Es: Por un momento, incluso los toros parecían disfrutar del espectáculo.En: For a moment, even the bulls seemed to enjoy the show.Es: Después de la diversión, ambas emprendieron su viaje de regreso a Madrid.En: After the fun, both embarked on their journey back to Madrid.Es: Aunque la broma les causó buenos momentos de risa en el tren de vuelta, también aprendieron que ciertas tradiciones están mejor sin bromas.En: Although the prank brought them good moments of laughter on the train ride back, they also learned that certain traditions are better off without jokes.Es: No querían molestar a las personas que honraban estas tradiciones, solo querían alegrar un poco las cosas.En: They didn't want to upset the people who honored these traditions; they just wanted to liven things up a bit.Es: La historia se conoció poco a poco en Madrid y aunque al principio hubo algunas miradas de reproche, pronto cambiaron a sonrisas y risas.En: The story slowly became known in Madrid and although there were initially some reproachful looks, they soon turned into smiles and laughter.Es: Después de todo, era bueno ver que incluso en medio del peligro, existía la capacidad de reír.En: After all, it was good to see that even amidst danger, there was the ability to laugh.Es: María y Alejandro, con destellos de orgullo y una pizca de remordimiento, finalmente decidieron que lo más importante no era la repercusión de la broma, sino el viaje en sí.En: María and Alejandro, with flashes of pride and a hint of remorse, ultimately decided that the most important thing was not the aftermath of the prank, but the journey itself.Es: El valor de la amistad y el hecho de haber aportado un paréntesis de felicidad en medio de la tensión y el peligro, era todo lo que importaba.En: The value of friendship and the fact that they had brought a moment of happiness amidst tension and danger was all that mattered.Es: Así, en las calles de Madrid, en una noche cualquiera, la aventura de María y Alejandro llegó a su fin, pero las risas todavía resonaban y, en sus corazones, la luz de la amistad brillaba más fuerte.En: And so, on the streets of Madrid, on an ordinary night, María and Alejandro's adventure came to an end, but the laughter still echoed, and in their hearts, the light of friendship shone brighter. Vocabulary Words:excitement: emociónlights: lucesnight: nocheneighborhoods: barriosvibrant: vibrantessounds: sonidosstreets: callescoffee: caféred: rojizosweetness: dulzuraoceans: océanostrain: trenadventure: aventurabulls: torosbox: cajabeach balls: pelotas de playacolorful: de coloresprank: bromalaughter: risadanger: peligrovaluable: importantefriendship: amistadjourney: viajeordinary: ordinariaechoed: resonabanlight: luzpride: orgulloremorse: remordimientolaughter: risashearts: corazones
Join Thad & Scott at Lampin Media Studios for a lively foray into the vibrant world of early spring gardening in Florida on Episode #190 of Adjust the Mic Podcast! Discover a whole backyard bounty in the Sunshine State at Scotts place. The fellas also engage in some impromptu prank call shenanigans with friends. Catch … Continue reading "Episode #190 Gardening Pranksters" The post Episode #190 Gardening Pranksters appeared first on Adjust the Mic Podcast.
Self-righteous chatbot Goody-2 was built to take AI guardrails to an illogical extreme. The artists behind the project say there's a serious point behind the gag. Read this story here. Learn more about your ad choices. Visit megaphone.fm/adchoices
Chuck Talks About The News! Dollar store limit, football, Pranksters new favorite dog. And Much Much More, On This Episode Of, Casually Uncomfortable, News Edition! Listen To Show!⬇️⬇️ https://anchor.fm/casuallyuncomfortable
In this episode Kyle and Matt share stories of their pranks and practical jokes. Topics of discussion also include children's books and their deeper meanings, pay rates for porn, and Kat Williams.
"Marijuana Dispensaries and Predictive Football: A Quirky Comparison"Larry is excited about Michigan's win over Alabama and in tribute to their upcoming January 8th college football championship game against Washington he features a Grateful Dead concert from January 8th, 1978. He detail the song "Jack Straw" and its history, especially focusing on the singer distribution due to Jerry Garcia's laryngitis during the San Diego show.The conversation veers into the significance of the songs "Lazy Lightning" and "Supplication" within the Grateful Dead's repertoire, reminiscing about experiencing these songs live. It briefly touches on personal events, birthdays, and music preferences.The host humorously correlates the predicted football game winner to the number of Grateful Dead performances and marijuana dispensaries in Michigan and Washington. They discuss cannabis-related legislation and the market dynamics in these states, concluding with light-hearted references to personal travels and cannabis availability across regions.Produced by PodConx Grateful DeadJanuary 8, 1978Golden Hall Community ConcourseSan Diego, CAGrateful Dead Live at Golden Hall, Community Concourse on 1978-01-08 : Free Borrow & Streaming : Internet Archive Jerry has laryngitis so he did not singDonna filled in for him INTRO: Jack Straw Track #2 0:07 – 1:38 Not on any studio album. Featured on Europe ‘72 First time played: October 19, 1971, Minneapolis (Keith Godchaux's first show) Last played: July 8, 1995, Soldier Field, Chicago Total times played = 476 (No. 11 on list of all time songs played) SHOW No. 1: Lazy Lightning>Supplication Track #8: 3:00 – end and then straight intoTrack #9: 0:00 – 1:15 DAVID DODD: The pair of songs was recorded on the Kingfish album, with Bob Weir as a member of the band. Barlow notes that he wrote the song in Mill Valley in October 1975. The two tracks opened the album, which was released in March 1976. The Grateful Dead first played the pair in concert on June 3, 1976, at the Paramount Theater in Portland, Oregon. That show also included the first performances of “Might As Well,” “Samson and Delilah,” and “The Wheel.” “Lazy Lightning” was always followed in concert by “Supplication,” and the final performance of the two songs took place on Halloween, 1984, at the Berkeley Community Theater. “Supplication” was played by itself, according to DeadBase X, on one occasion subsequently, although it was also played as an instrumental jam more frequently over the years. The final “Supplication” was played 597 shows after the last “Lazy Lightning>Supplication,” on May 22, 1993 at the Shoreline Amphitheatre in Mountain View, California. Interestingly, “Supplication” was played one other time separately from “Lazy Lightning,” on September 24, 1976, when it was sandwiched in the middle of a “Playing in the Band.” a very strong case could be made that “Supplication” is no more a separate song from “Lazy Lightning” than “Sunshine Daydream” is from “Sugar Magnolia.” It's a coda, carrying forward the same themes—only the form of the verse has changed. Lazy Lightning – 111 total times playedSupplication – 123 total times played SHOW No. 2: Estimated Prophet Track #14 2:35 – 4:15 Weir/BarlowReleased on Terrapin Station released on July 27, 1977 (first studio album released by the band after it returned to live touring after its 1975 hiatus. DAVID DODD: “Estimated Prophet” was first performed by the Grateful Dead on February 26, 1977, at the Swing Auditorium in San Bernardino, California. The Dead also premiered “Terrapin Station” at that show. They played it 390 times in the years that followed, with the longest time between performances being 15 shows—mostly it stayed at the every third or fourth show rank. Its final performance was on June 28, 1995, at The Palace in Auburn Hills, Michigan. It appeared on Terrapin Station, released July 27, 1977. Blair Jackson quotes Weir, discussing the song, in his biography of the band: “According to Weir, he and Barlow wrote the song from the perspective of a crazy, messianic zealot, a type which one invariably encounters in Deadhead crowds now and again. As Weir explains: ‘The basis of it is this guy I see at nearly every backstage door. There's always some guy who's taken a lot of dope and he's really bug-eyed, and he's having some kind of vision. He's got a rave he's got to deliver.' “ This is one of those songs, and there are quite a number of them in the Dead's repertoire, in which a not-entirely-sympathetic character is brought to life, and, in the course of being brought to life, is made more sympathetic. I've always thought this was a big strong suit of theire songs, whether in “Wharf Rat” or in “Jack Straw”; whether in “Candyman” or “Friend of the Devil.” Not only is it a recurring trope in the lyrics, but I think it is key to understanding the whole body of the songs, and perhaps literature generally. SHOW No. 3: The Other One Track # 16 13:30 – 15:07 The imagery conjured up by Bob Weir, in his portion of the suite, “That's It for the Other One,” on Anthem of the Sun, is clearly and intentionally a psychedelic ode to the Pranksters and all that entailed. Whether the singer was “escapin' through the lily fields,” or “tripping through the lily fields,” or “skipping through the lily fields” (all versions of the line sung by Weir at various points, according to several extremely careful listeners), the fact is that it was akin to Alice's rabbit hole, because of where it led. “The bus came by and I got on...that's when it all began.”That line captures so much, in so many different ways, in so few words, that it is a model of what poetry can do—over time, and in a wide variety of circumstances, the line takes on a wide spectrum of association and meaning. The Dead, of course, were quite literally on THE bus, along with Cowboy Neal (see earlier blog entry on “Cassidy”) and Ken Kesey and Ken Babbs and Mountain Girl and many others whose names are legend among our tribe. What must that have been like? Surely, worthy of a song or two. And Weir came up with a couple of winners, between “The Other One” and “Cassidy.” There is something wonderfully cartoonish about the scenes described in the lyrics. A “Spanish lady” hands the singer a rose, which then starts swirling around and explodes—kind of like Yosemite Sam left holding a lit firecracker, leaving a smoking crater of his mind. The police arrest him for having a smile on his face despite the bad weather—clearly, this kid is doing something illegal. Weir's interview with David Gans (along with Phil Lesh) cited in The Complete Annotated Grateful Dead Lyrics refers to a particular incident:Gans: Now, I remember a version from a little bit earlier, maybe late in '67, you had a different set of lyrics; the first verse is “the heat come ‘round and busted me”...and then there was a second verse that was about “the heat in the jail weren't very smart,” or somethin' like that...Weir: Yeah, that was after my little...Lesh: Water balloon episode?Weir: I got him good. I was on the third floor of our place in the Haight-Ashbury. And there was this cop who was illegally searching a car belonging to a friend of ours, down on the street—the cops used to harass us every chance they got. They didn't care for the hippies back then. And so I had a water balloon, and what was I gonna do with this water balloon? Come on.Lesh: Just happened to have a water balloon, in his hand... Ladies and gentlemen...Weir: And so I got him right square on the head, and...Lesh: A prettier shot you never saw.Weir: ...and he couldn't tell where it was comin' from, but then I had to go and go downstairs and walk across the street and just grin at him...and sorta rub it in a little bit.Gans: Smilin' on a cloudy day. I understand now.Weir: And at that point, he decided to hell with due process of law, this kid's goin' to jail. So, as to the debut. If we take Weir and Lesh at their word, that the first performance of the song as it now stands coincided with the night Neal Cassady died, in the early morning hours of February 4, 1968. And sure enough, there is a performance of “The Other One” on February 3, 1968, whose verses correspond to the verses as we all know them, for the first time, at the Crystal Ballroom in Portland, Oregon. The song was a fixture in the repertoire from then on, performed at least 586 times that we know of. The only year in which it was not listed as being performed was 1975, the hiatus year. Part of the suite of songs, That's It For The Other One from Anthem of the Sun. Made up of four sections: "Cryptical Envelopment", "Quadlibet for Tenderfeet", "The Faster We Go, the Rounder We Get" (the part everyone knows as “the other one”), and "We Leave the Castle". Like other tracks on the album, is a combination of studio and live performances mixed together to create the final product. appears that way on Anthem of the Sun, bracketed by Garcia's “Cryptical Envelopment.” But it stands alone most of the time in performance—“Cryptical” was dropped completely from 1973 through 1984, reappeared for five performances in 1985 (the 20th anniversary period—it was broken out following a lapse of 791 shows at the June 16, 1985 Greek Theater show (I WAS THERE!!) in Berkeley), then disappeared again for the remainder of the band's careerI. "Cryptical Envelopment" (Garcia)[edit]"Cryptical Envelopment" is one of the few Grateful Dead songs with lyrics written by Garcia. It was performed from 1967 to 1971 (when it was then dropped), and brought back for a few performances in 1985. Post-Grateful Dead bands such as Dead & Company have returned to performing the song, sometimes as a standalone track separate from the rest of the suite.II. "Quadlibet for Tenderfeet" (Garcia, Kreutzmann, Lesh, McKernan, Weir)[edit]"Quadlibet for Tenderfeet" is a short jam section linking "Cryptical Envelopment" and "The Faster We Go, the Rounder We Get". Transitions between studio and live performances are very audible during this section.III. "The Faster We Go, the Rounder We Get" (Kreutzmann, Weir)[edit]One of the few Grateful Dead songs to have lyrics written by Weir, "The Faster We Go, the Rounder We Get" became one of the Dead's most-played songs (being performed a known 586 times[2]) and most popular vehicles for improvisation, with some performances reaching 30+ minutes in length. The song's lyrics reference the influence of the Merry Pranksters and in particular Neal Cassady.[2] Additionally, the line "the heat came 'round and busted me for smilin' on a cloudy day" refers to a time Weir was arrested for throwing a water balloon at a cop.[2] This section ends with a reprise of "Cryptical Envelopment".IV. "We Leave the Castle" (Constanten)[edit]The only Grateful Dead composition written by Tom Constanten, "We Leave the Castle" is an avant-garde piece featuring prepared piano and other studio trickery.[While the "We Leave the Castle" portion of the song was never performed live by the band, the first three sections were all featured in concert to differing extents. "Cryptical Envelopment", written and sung by Jerry Garcia, was performed from 1967 to 1971, when it was then dropped aside from a select few performances in 1985. "The Faster We Go, the Rounder We Get", written by Bill Kreutzmann and Bob Weir and sung by Weir, became one of the band's most frequently performed songs in concert (usually denoted as simply "The Other One"). The Other one– performed 549 times First played: Oct. 31, 1967 at Winterland, S.F. Last played: July 8, 1995, Soldier Field, Chicago That's It For The Other One – performed 79 times First played: October 22, 1967 at Winterland, S.F. Last played: Cryptical Envelopment – performed 73 times First played: Oct. 21, 1967 at Winterland, S.F. Last played: Sept. 3, 1985 – Starlight Theater, K.C. SHOW No. 4: Truckin' Track # 17 4:22 – 6:03 The lyrics were written under pressure, in the studio, during the recording of American Beauty (Nov. 1970) (released as a single backed by Ripple in Jan. 1971), with Hunter running back and forth with hastily-written verses that somehow, despite the fact that were purpose-written on the spot, seem to have some pretty good staying power. There are rumors that he originally wrote “Garlands of neon and flashing marquees out on Main Street” as an intentionally hard-to-sing line, just to enjoy watching Weir try to wrap his mouth around them, eventually relenting and substituting “arrows of neon,” just to make it possible to sing.The music credit is shared by Jerry Garcia, Bob Weir, and Phil Lesh. Hunter gets the credit for the lyrics. And Hunter took the bare bones outline of some of the band's adventures and misadventures and fleshed them out with memorable features, highlighting their trips around the country with specific references to places and occurrences. In the process, he came up with a chorus consisting of a couple of phrases that are now, eternally, in the cultural psyche: “Sometimes the light's all shining on me / Other times I can barely see. Lately it occurs to me / What a long strange trip it's been.”At some point, Hunter was accused of using a cliché in that final phrase of the chorus. When something you make up becomes such a commonly-used turn of phrase that your own invention of it is accused of being cliché, that's some measure of wordsmithing success, I would say. Truckin'” was first performed on August 18, 1970, at the Fillmore West. The show opened with an acoustic set, and “Truckin'” was the first song. Other firsts that night included “Ripple,” “Brokedown Palace,” and “Operator.” The song was performed 532 times, placing it at number 8 in the list of most-played songs, with the final performance on July 6, 1995, at Riverport Amphitheatre in Maryland Heights, Missouri. OUTRO: Johnny B. Goode Track #19 1:10 – 2:51 Johnny B. Goode" is a song by American musician Chuck Berry, written and sung by Berry in 1958. Released as a single in 1958, it peaked at number two on the Hot R&B Sides chart and number eight on its pre-Hot 100 chart.[1] The song remains a staple of early and later rock music."Johnny B. Goode" is considered one of the most recognizable songs in the history of popular music. Credited as "the first rock & roll hit about rock & roll stardom",[2] it has been covered by various other artists and has received several honors and accolades. These include being ranked 33rd on Rolling Stones's 2021 version[3] and 7th on the 2004 version of the "500 Greatest Songs of All Time"[2][4] and included as one of the 27 songs on the Voyager Golden Record, a collection of music, images, and sounds designed to serve as a record of humanity.Written by Berry in 1955, the song is about a semi-literate "country boy" from the New Orleans area, who plays a guitar "just like ringing a bell", and who might one day have his "name in lights".[5] Berry acknowledged that the song is partly autobiographical and that the original lyrics referred to Johnny as a "colored boy", but he changed it to "country boy" to ensure radio play.[6] As well as suggesting that the guitar player is good, the title hints at autobiographic elements, because Berry was born at 2520 Goode Avenue, in St. Louis.[5]The song was initially inspired by Johnnie Johnson, the regular piano player in Berry's band,[7] but developed into a song mainly about Berry himself. Johnson played on many recordings by Berry, but for the Chess recording session Lafayette Leake played the piano, along with Willie Dixon on bass and Fred Below on drums.[5][8] The session was produced by Leonard and Phil Chess.[8] The guitarist Keith Richards later suggested that the song's chords are more typical of compositions written for piano than for guitar.[9]The opening guitar riff of "Johnny B. Goode" borrows from the opening single-note solo on Louis Jordan's "Ain't That Just Like a Woman" (1946), played by guitarist Carl HoganA cover version is featured in the film Back to the Future (1985), when the lead character Marty McFly, played by actor Michael J. Fox, performs it at a high school dance.Played 283 times, almost always as an encore or show closer (back in the days where there were no encores)First played on Sept. 7, 1969 at Family Dog on the Great Highway, S.F.Last played on April 5, 1995 at Birmingham-Jefferson Civic Center Coliseum in Birmingham, AL .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast
The Automotive Troublemaker w/ Paul J Daly and Kyle Mountsier
We're busy putting up our Christmas tree as we're talking about the end of year push by the UAW and Tesla. We also talk about the first EV ever to go from the North to South Pole, as well as a ChatBot giving cars away on a Dealer site. Manufacturing workers are still the talk of the town as UAW President Shawn Fain visits the VW plant in Chattanooga to deliver a message as Tesla voluntarily raises wages by 10%Fain, accompanied by 150 VW workers and community supporters, sought to hand-deliver a letter signed by a reported 1,000 demanding an end to "union-busting and intimidation" at VW's U.S. plant.Volkswagen management allegedly refused the letter, while a company spokesperson claims it was accepted.Meanwhile Tesla has announced a pay raise of approximately 10% for hourly workers at its Nevada factory, increasing wages to $22-$34.50 per hour and adding $2 to $8.30 per hour, while also streamlining worker levels for more uniform compensationUAW's nationwide push to organize nonunion auto workers includes a focus on Tesla, with CEO Elon Musk expressing disagreement with unions.The pay raise aligns with Tesla's response to increasing unionization efforts and industry wage trends.In an electrifying journey, a Nissan Ariya, driven by Chris and Julie Ramsey, made history by completing the first-ever all-electric drive from the North to the South Pole, showcasing the durability and adaptability of EVs.The Scottish couple embarked on this monumental trip in a modified Nissan Ariya, covering 17,000 miles over nine months, starting from the magnetic North Pole.Modifications to the Ariya included 39-inch tires and minor adjustments to the powertrain and suspension, with the vehicle nicknamed “Sonrisa.”The Ramseys utilized various energy sources for charging, including solar panels and generators, demonstrating the Ariya's flexibility in remote areas.You can check out their entire journey here: https://poletopoleev.com/expedition-live/Our friends over at Fullpath were the source of an internet sensation yesterday as their chatbot powered by ChatGPT was discovered by Reddit and X.Pranksters tricked the dealership's ChatGPT-powered chatbot into performing tasks like writing Python scripts and agreeing to sell cars for as little as $1.The chatbot, used by several hundred dealerships, was designed to handle typical customer inquiries but faced challenges with unconventional requests.Check out Aharon's comments in his LinkedIn postHosts: Paul J Daly and Kyle MountsierGet the Daily Push Back email at https://www.asotu.com/ JOIN the conversation on LinkedIn at: https://www.linkedin.com/company/asotu/ Read our most recent email at: https://www.asotu.com/media/push-back-email ASOTU Instagram: https://www.instagram.com/automotivestateoftheunion
Lords: * Maxx * Nick Topics: * Puzzmo * I'm worried about my tableware rotation strategy * Ennigaldi-Nanna's museum * https://en.wikipedia.org/wiki/Ennigaldi-Nanna's_museum * It Was A Coffin That Sang, by Olena Davis * https://files.fireside.fm/file/fireside-uploads/images/3/3597ddeb-e52e-4cda-a59c-c64600489fea/xBLG36yN.png Microtopics: * Instead of giving someone a business card, stamping your information on them so they have to call you before they take a shower. * Where's George? * George isn't here. George was never here. * Canadians looking forward to when they can walk around with King Charles' face in their pocket. * Giving the barista a coupla chucks for a cup of coffee. * Money with RadarSat on it. * inaturalist dot org. * Taking a photo of a weird plant with a weird seed pod. * The fantasy of collecting information. * The game where you try to name every street in San Francisco. * Running all the streets in your city over the course of a decade. * Games Genie. * Lexicographic Ordering and Time Travel. * A sanctioned topic. (It's on the list.) * Wario Ware presenting you with a full sized crossword and giving you six seconds to solve it. * A fun little histogram. * Finally implementing the letter T. * Doing the crossword on paper and making your daughter enter your answers into the app. * Will Shortz coming out of his orb to carry out a hit on a competing puzzle. * Fugue Orbs. * Comparing the interface design of Connections and Red Herring. * Things Relating to Wonder Woman. * Extremely well SEO'd pestilences. * Arranging your dinner plates in a stack vs. in a queue. * Using all your plates evenly so they all break at the same time. * Rotating the Stock. * The dangers of Low-Sodium Perpetual Stew. * Default plates from the food service factory. * Airplane boarding algorithms and how to convince everyone in the terminal to follow yours. * Plates that are made for using. * A whole Jefferson, in your Republic dollars. * The urge to queue. * Lanesplitting your backpack. * History: it's a lot older than we think * Ancient cash registers. * Pranksters organizing the topic bucket. * How many museums deep are we? * The human wife. * Efficient.. Successful. Human. * Top five lists of your life. * How small a flavoring agent has to be to be considered a spice. * A twelve foot tall statue of either Zeus or Poseidon. * Myth- and Nationhood- Making. * A museum where you can feel wood cut with various tools. * Hearing about a cool metalworking museum but fixating on how the bathroom works. * Cool Bathroom Ghost. * The toilet commenting on your performance. * Piping bookshop noises into your bathroom. * Robert Stack's Solved Mysteries. * Being sad and trying to have a good sadness. * Michael Brough talking about his design process. * Fun exercise vs. shitty boring exercise. * What to do about the world ending. * Driving in circles around the McDonald's drive-thru ordering more and more coffee until they catch on. * Telling a joke on Twitter and an archaeologist getting it 1000 years from now. * The world's oldest joke. * A fart joke from 1900 BCE. * Reconstructive historical linguistics. * The linguistics of swearing and taboo. * Eater of bees. * Top five stanzas.
This week we're excited to have Mike Lookinland in the studio. Mike plays as a pianist with The Pranksters, a Grateful Dead tribute band. Mike is also known for his role as Bobby Brady, the youngest brother in the widely popular TV sitcom The Brady Bunch. Learn about Mike's experiences with music, acting and how you could score tickets to see The Pranksters live! This episode is made possible by The Pearl On Main. https://thepearlonmain.com/ Contact: Voicemail/Text: 385-988-0042 Website: http://www.theweeklyinsalt.com Instagram: https://www.instagram.com/the_weekly_insalt TikTok: https://www.tiktok.com/@theweeklyinsalt
In this episode, I talk about pranks and the people who run up on unsuspecting strangers to pull off these so-called pranks. This next one is coming out of Houston where two men are now facing felony charges after pulling a gun on people and even punching someone in the back of the head at a park. They did this saying that it was all a prank. But there's nothing funny about it. --- Send in a voice message: https://podcasters.spotify.com/pod/show/the-mike-styles-exp/message
In the mid-1990s, the prime time drama Melrose Place became a home to hundreds of pieces of contemporary art—and no one noticed. In this episode, Isaac Butler tells the story of the artist collective that smuggled subversive quilts, sperm-shaped pool floats, and dozens of other provocative works onto the set of the hit TV show. The project, In the Name of the Place, inspired a real-life exhibition and tested the ability of mass media to get us to see what's right in front of our faces. Decoder Ring is produced by Willa Paskin and Katie Shepherd. This episode was written and reported by Isaac Butler and produced by Benjamin Frisch. Derek John is executive producer. Joel Meyer is senior editor/producer. Merritt Jacob is our senior technical director. Thank you to Jamie Bennett, JJ Bersch, Mark Flood, and Cynthia Carr, whose book On Edge: Performance at the End of the 20th Century inspired this episode. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, we'd love for you to sign up for Slate Plus. Members get to listen to Decoder Ring without any ads. Their support is also crucial to our work. So please go to Slate.com/decoderplus to join Slate Plus today. Learn more about your ad choices. Visit megaphone.fm/adchoices
In the mid-1990s, the prime time drama Melrose Place became a home to hundreds of pieces of contemporary art—and no one noticed. In this episode, Isaac Butler tells the story of the artist collective that smuggled subversive quilts, sperm-shaped pool floats, and dozens of other provocative works onto the set of the hit TV show. The project, In the Name of the Place, inspired a real-life exhibition and tested the ability of mass media to get us to see what's right in front of our faces. Decoder Ring is produced by Willa Paskin and Katie Shepherd. This episode was written and reported by Isaac Butler and produced by Benjamin Frisch. Derek John is executive producer. Joel Meyer is senior editor/producer. Merritt Jacob is our senior technical director. Thank you to Jamie Bennett, JJ Bersch, Mark Flood, and Cynthia Carr, whose book On Edge: Performance at the End of the 20th Century inspired this episode. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, we'd love for you to sign up for Slate Plus. Members get to listen to Decoder Ring without any ads. Their support is also crucial to our work. So please go to Slate.com/decoderplus to join Slate Plus today. Learn more about your ad choices. Visit megaphone.fm/adchoices
In the mid-1990s, the prime time drama Melrose Place became a home to hundreds of pieces of contemporary art—and no one noticed. In this episode, Isaac Butler tells the story of the artist collective that smuggled subversive quilts, sperm-shaped pool floats, and dozens of other provocative works onto the set of the hit TV show. The project, In the Name of the Place, inspired a real-life exhibition and tested the ability of mass media to get us to see what's right in front of our faces. Decoder Ring is produced by Willa Paskin and Katie Shepherd. This episode was written and reported by Isaac Butler and produced by Benjamin Frisch. Derek John is executive producer. Joel Meyer is senior editor/producer. Merritt Jacob is our senior technical director. Thank you to Jamie Bennett, JJ Bersch, Mark Flood, and Cynthia Carr, whose book On Edge: Performance at the End of the 20th Century inspired this episode. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, we'd love for you to sign up for Slate Plus. Members get to listen to Decoder Ring without any ads. Their support is also crucial to our work. So please go to Slate.com/decoderplus to join Slate Plus today. Learn more about your ad choices. Visit megaphone.fm/adchoices
In the mid-1990s, the prime time drama Melrose Place became a home to hundreds of pieces of contemporary art—and no one noticed. In this episode, Isaac Butler tells the story of the artist collective that smuggled subversive quilts, sperm-shaped pool floats, and dozens of other provocative works onto the set of the hit TV show. The project, In the Name of the Place, inspired a real-life exhibition and tested the ability of mass media to get us to see what's right in front of our faces. Decoder Ring is produced by Willa Paskin and Katie Shepherd. This episode was written and reported by Isaac Butler and produced by Benjamin Frisch. Derek John is executive producer. Joel Meyer is senior editor/producer. Merritt Jacob is our senior technical director. Thank you to Jamie Bennett, JJ Bersch, Mark Flood, and Cynthia Carr, whose book On Edge: Performance at the End of the 20th Century inspired this episode. If you haven't yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends. If you're a fan of the show, we'd love for you to sign up for Slate Plus. Members get to listen to Decoder Ring without any ads. Their support is also crucial to our work. So please go to Slate.com/decoderplus to join Slate Plus today. Learn more about your ad choices. Visit megaphone.fm/adchoices
Peter Jackson changed Gandalf, Sam, and Merry and Pippen for The Lord of the Rings films -- but how much did he change them, and was it worth it?
Watch our full-length bonus episodes: Patreon.com/sadboyz Wanna hear even more of our takes and definitely not professional advice? Write into the show!
We're some Pranksters
Just go to https://www.zocdoc.com/phil and download the Zocdoc app for FREE. Then find and book a top-rated doctor today! Catch up on the latest PDS: https://youtu.be/xk_e-c4OSB0 Check out our daily newsletter! http://dailydip.co/pds Follow me on Instagram: https://www.instagram.com/phillydefranco/?hl=en – ✩ TODAY'S STORIES ✩ – 0:00 - Child Pranked By People Posing as MrBeast's Team 02:05 - Adele Warns Fans Not to Throw Objects on Concert Stages 04:07 - Meta Teases “Twitter Killer” App Dropping Thursday 06:29 - Man Who Couldn't Swim Drowns Saving Two Best Friend's Kids From Lake 07:35 - Sponsored by ZocDoc 08:43 - Japan Approved to Dump Nuclear Fukushima Waste Water Into Ocean 11:18 - Adam Conover Discusses the Writer's Strike —————————— Produced by: Cory Ray Edited by: James Girardier, Julie Goldberg, Maxx Enright, Christian Meeks Art Department: William Crespo Writing/Research: Philip DeFranco, Brian Espinoza, Lili Stenn, Maddie Crichton, Star Pralle, Chris Tolve ———————————— #DeFranco #MrBeast #Adele ————————————
Table of Contents w/ timestamps9:28 Travis Rudolph trial, voluntary manslaughter, imperfect self-defense18:20 Attacked by myself in wilderness, kill attacker, no witnesses.22:20 Gasoline prankster: Defensive display appropriate?32:45 Is defensive display of gun while on own property is a crime?37:05 Soft stand-your-ground versus hard stand-your-ground.43:45 PTSD, bystanders frightening to me, flee to police station?47:55 Andrew chastised for not calling gasoline prankster a terrorist.43:08 OPEN-ACCESS SHOW ENDS, MEMBERS-ONLY CONTINUES53:25 Pranksters walking uninvited into strangers' homes.1:07:35 Shellyne Rodriguez machete to reporter's neck case.1:11:40 Does CCW Safe Still Use Discount Code “LSD10”? Yes.1:12:30 Top-10 States for Self-Defense Law1:15:55 ArmedAttorneys Use 5 Elements of SD, mention LOSD!1:18:30 Use OC to prevent car theft, tell them I'm armed with gun?One of the benefits of being a Law of Self Defense Platinum Member--besides the invaluable benefit of being among the only people who can call upon my professional legal consultation for FREE if you're ever involved in a use-of-force event--is the ability to submit your questions directly to me using the Platinum Q&A form on the member dashboard.Today I tackle a bunch of Platinum Member questions that have come in recently, and answer them in the course of today's LIVE STREAM show. (Individual responses will also be sent directly to the Platinum Members who submitted questions, in the event they can't catch today's show.)Join me LIVE at 11 AM ET to discuss questions about pranksters walking into people's homes, locking an armed robbery into a building with you, engaging in a gun fight with thieves outside your home, the dangers of amateurs studying the law without competent assistance, and much, much more!IMPORTANT: The FIRST 30 MINUTES of today's Platinum Q&A show will be open access, streamed live on YouTube, Rumble, Twitter, as well as the LOSD Member dashboard.AT THAT POINT YouTube, Rumble, and Twitter will be cut off, and the show will continue streaming ONLY on the LOSD Member Dashboard. In particular, ALL THE QUESTIONS INVOLVING VIDEO CONTENT will be in the portion of today's show streamed ONLY on the LOSD Member Dashboard.Also, only questions from Law of Self Defense Members posted in the members-only chat will be answered during the course of today's show.Become a Law of Self Defense Member for JUST 99 CENTS!Not yet a Law of Self Defense Member? WHY NOT? Try our two-week trial membership, unlimited access to our show content, for just 99¢! Stay a member after that and it's still just ~30¢ a day, less than $10 a month! Get the 99¢ trial membership by clicking on the image or link below: https://lawofselfdefense.com/trialAMERICAN LAW COURSESGet a law-school level education in typical first-year (1L) law classes, including criminal law, constitutional law, evidence, property, and more, at a fraction of the cost and time of law school, and without any of the political toxicity of today's law schools. Spring semester starts soon with Constitutional Law!Learn more at: americanlawcourses.comTHIS WEEK ONLY, WATCH THE ENTIRETY OF THE FIRST CONSTITUTIONAL LAW CLASS FOR FREE!americanlawcourses.com/conlawLAW CARDS!https://www.lawofselfdefense.com/lawcardsSUBSCRIBE TO our STANDARD long-form YouTube channel:"Law of Self Defense"https://youtube.com/lawofselfdefenseBecome a Platinum Member for ONLY 82 CENTS A DAY!PLUS get EVERY class & book we offer, for FREE!We ONLY consult on legal cases for our Platinum members!BE HARD
Episode 165 of A History of Rock Music in Five Hundred Songs looks at “Dark Stat” and the career of the Grateful Dead. This is a long one, even longer than the previous episode, but don't worry, that won't be the norm. There's a reason these two were much longer than average. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Codine" by the Charlatans. Errata I mispronounce Brent Mydland's name as Myland a couple of times, and in the introduction I say "Touch of Grey" came out in 1988 -- I later, correctly, say 1987. (I seem to have had a real problem with dates in the intro -- I also originally talked about "Blue Suede Shoes" being in 1954 before fixing it in the edit to be 1956) Resources No Mixcloud this week, as there are too many songs by the Grateful Dead, and Grayfolded runs to two hours. I referred to a lot of books for this episode, partly because almost everything about the Grateful Dead is written from a fannish perspective that already assumes background knowledge, rather than to provide that background knowledge. Of the various books I used, Dennis McNally's biography of the band and This Is All a Dream We Dreamed: An Oral History of the Grateful Dead by Blair Jackson and David Gans are probably most useful for the casually interested. Other books on the Dead I used included McNally's Jerry on Jerry, a collection of interviews with Garcia; Deal, Bill Kreutzmann's autobiography; The Grateful Dead FAQ by Tony Sclafani; So Many Roads by David Browne; Deadology by Howard F. Weiner; Fare Thee Well by Joel Selvin and Pamela Turley; and Skeleton Key: A Dictionary for Deadheads by David Shenk and Steve Silberman. Tom Wolfe's The Electric Kool-Aid Acid Test is the classic account of the Pranksters, though not always reliable. I reference Slaughterhouse Five a lot. As well as the novel itself, which everyone should read, I also read this rather excellent graphic novel adaptation, and The Writer's Crusade, a book about the writing of the novel. I also reference Ted Sturgeon's More Than Human. For background on the scene around Astounding Science Fiction which included Sturgeon, John W. Campbell, L. Ron Hubbard, and many other science fiction writers, I recommend Alec Nevala-Lee's Astounding. 1,000 True Fans can be read online, as can the essay on the Californian ideology, and John Perry Barlow's "Declaration of the Independence of Cyberspace". The best collection of Grateful Dead material is the box set The Golden Road, which contains all the albums released in Pigpen's lifetime along with a lot of bonus material, but which appears currently out of print. Live/Dead contains both the live version of "Dark Star" which made it well known and, as a CD bonus track, the original single version. And archive.org has more live recordings of the group than you can possibly ever listen to. Grayfolded can be bought from John Oswald's Bandcamp Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Tuning from "Grayfolded", under the warnings Before we begin -- as we're tuning up, as it were, I should mention that this episode contains discussions of alcoholism, drug addiction, racism, nonconsensual drugging of other people, and deaths from drug abuse, suicide, and car accidents. As always, I try to deal with these subjects as carefully as possible, but if you find any of those things upsetting you may wish to read the transcript rather than listen to this episode, or skip it altogether. Also, I should note that the members of the Grateful Dead were much freer with their use of swearing in interviews than any other band we've covered so far, and that makes using quotes from them rather more difficult than with other bands, given the limitations of the rules imposed to stop the podcast being marked as adult. If I quote anything with a word I can't use here, I'll give a brief pause in the audio, and in the transcript I'll have the word in square brackets. [tuning ends] All this happened, more or less. In 1910, T. S. Eliot started work on "The Love Song of J. Alfred Prufrock", which at the time was deemed barely poetry, with one reviewer imagining Eliot saying "I'll just put down the first thing that comes into my head, and call it 'The Love Song of J. Alfred Prufrock.'" It is now considered one of the great classics of modernist literature. In 1969, Kurt Vonnegut wrote "Slaughterhouse-Five, or, The Children's Crusade: A Duty-Dance with Death", a book in which the protagonist, Billy Pilgrim, comes unstuck in time, and starts living a nonlinear life, hopping around between times reliving his experiences in the Second World War, and future experiences up to 1976 after being kidnapped by beings from the planet Tralfamadore. Or perhaps he has flashbacks and hallucinations after having a breakdown from PTSD. It is now considered one of the great classics of modernist literature or of science fiction, depending on how you look at it. In 1953, Theodore Sturgeon wrote More Than Human. It is now considered one of the great classics of science fiction. In 1950, L. Ron Hubbard wrote Dianetics: The Modern Science of Mental Health. It is now considered either a bad piece of science fiction or one of the great revelatory works of religious history, depending on how you look at it. In 1994, 1995, and 1996 the composer John Oswald released, first as two individual CDs and then as a double-CD, an album called Grayfolded, which the composer says in the liner notes he thinks of as existing in Tralfamadorian time. The Tralfamadorians in Vonnegut's novels don't see time as a linear thing with a beginning and end, but as a continuum that they can move between at will. When someone dies, they just think that at this particular point in time they're not doing so good, but at other points in time they're fine, so why focus on the bad time? In the book, when told of someone dying, the Tralfamadorians just say "so it goes". In between the first CD's release and the release of the double-CD version, Jerry Garcia died. From August 1942 through August 1995, Jerry Garcia was alive. So it goes. Shall we go, you and I? [Excerpt: The Grateful Dead, "Dark Star (Omni 3/30/94)"] "One principle has become clear. Since motives are so frequently found in combination, it is essential that the complex types be analyzed and arranged, with an eye kept single nevertheless to the master-theme under discussion. Collectors, both primary and subsidiary, have done such valiant service that the treasures at our command are amply sufficient for such studies, so extensive, indeed, that the task of going through them thoroughly has become too great for the unassisted student. It cannot be too strongly urged that a single theme in its various types and compounds must be made predominant in any useful comparative study. This is true when the sources and analogues of any literary work are treated; it is even truer when the bare motive is discussed. The Grateful Dead furnishes an apt illustration of the necessity of such handling. It appears in a variety of different combinations, almost never alone. Indeed, it is so widespread a tale, and its combinations are so various, that there is the utmost difficulty in determining just what may properly be regarded the original kernel of it, the simple theme to which other motives were joined. Various opinions, as we shall see, have been held with reference to this matter, most of them justified perhaps by the materials in the hands of the scholars holding them, but none quite adequate in view of later evidence." That's a quote from The Grateful Dead: The History of a Folk Story, by Gordon Hall Gerould, published in 1908. Kurt Vonnegut's novel Slaughterhouse-Five opens with a chapter about the process of writing the novel itself, and how difficult it was. He says "I would hate to tell you what this lousy little book cost me in money and anxiety and time. When I got home from the Second World War twenty-three years ago, I thought it would be easy for me to write about the destruction of Dresden, since all I would have to do would be to report what I had seen. And I thought, too, that it would be a masterpiece or at least make me a lot of money, since the subject was so big." This is an episode several of my listeners have been looking forward to, but it's one I've been dreading writing, because this is an episode -- I think the only one in the series -- where the format of the podcast simply *will not* work. Were the Grateful Dead not such an important band, I would skip this episode altogether, but they're a band that simply can't be ignored, and that's a real problem here. Because my intent, always, with this podcast, is to present the recordings of the artists in question, put them in context, and explain why they were important, what their music meant to its listeners. To put, as far as is possible, the positive case for why the music mattered *in the context of its time*. Not why it matters now, or why it matters to me, but why it matters *in its historical context*. Whether I like the music or not isn't the point. Whether it stands up now isn't the point. I play the music, explain what it was they were doing, why they were doing it, what people saw in it. If I do my job well, you come away listening to "Blue Suede Shoes" the way people heard it in 1956, or "Good Vibrations" the way people heard it in 1966, and understanding why people were so impressed by those records. That is simply *not possible* for the Grateful Dead. I can present a case for them as musicians, and hope to do so. I can explain the appeal as best I understand it, and talk about things I like in their music, and things I've noticed. But what I can't do is present their recordings the way they were received in the sixties and explain why they were popular. Because every other act I have covered or will cover in this podcast has been a *recording* act, and their success was based on records. They may also have been exceptional live performers, but James Brown or Ike and Tina Turner are remembered for great *records*, like "Papa's Got a Brand New Bag" or "River Deep, Mountain High". Their great moments were captured on vinyl, to be listened back to, and susceptible of analysis. That is not the case for the Grateful Dead, and what is worse *they explicitly said, publicly, on multiple occasions* that it is not possible for me to understand their art, and thus that it is not possible for me to explain it. The Grateful Dead did make studio records, some of them very good. But they always said, consistently, over a thirty year period, that their records didn't capture what they did, and that the only way -- the *only* way, they were very clear about this -- that one could actually understand and appreciate their music, was to see them live, and furthermore to see them live while on psychedelic drugs. [Excerpt: Grateful Dead crowd noise] I never saw the Grateful Dead live -- their last UK performance was a couple of years before I went to my first ever gig -- and I have never taken a psychedelic substance. So by the Grateful Dead's own criteria, it is literally impossible for me to understand or explain their music the way that it should be understood or explained. In a way I'm in a similar position to the one I was in with La Monte Young in the last episode, whose music it's mostly impossible to experience without being in his presence. This is one reason of several why I placed these two episodes back to back. Of course, there is a difference between Young and the Grateful Dead. The Grateful Dead allowed -- even encouraged -- the recording of their live performances. There are literally thousands of concert recordings in circulation, many of them of professional quality. I have listened to many of those, and I can hear what they were doing. I can tell you what *I* think is interesting about their music, and about their musicianship. And I think I can build up a good case for why they were important, and why they're interesting, and why those recordings are worth listening to. And I can certainly explain the cultural phenomenon that was the Grateful Dead. But just know that while I may have found *a* point, *an* explanation for why the Grateful Dead were important, by the band's own lights and those of their fans, no matter how good a job I do in this episode, I *cannot* get it right. And that is, in itself, enough of a reason for this episode to exist, and for me to try, even harder than I normally do, to get it right *anyway*. Because no matter how well I do my job this episode will stand as an example of why this series is called "*A* History", not *the* history. Because parts of the past are ephemeral. There are things about which it's true to say "You had to be there". I cannot know what it was like to have been an American the day Kennedy was shot, I cannot know what it was like to be alive when a man walked on the Moon. Those are things nobody my age or younger can ever experience. And since August the ninth, 1995, the experience of hearing the Grateful Dead's music the way they wanted it heard has been in that category. And that is by design. Jerry Garcia once said "if you work really hard as an artist, you may be able to build something they can't tear down, you know, after you're gone... What I want to do is I want it here. I want it now, in this lifetime. I want what I enjoy to last as long as I do and not last any longer. You know, I don't want something that ends up being as much a nuisance as it is a work of art, you know?" And there's another difficulty. There are only two points in time where it makes sense to do a podcast episode on the Grateful Dead -- late 1967 and early 1968, when the San Francisco scene they were part of was at its most culturally relevant, and 1988 when they had their only top ten hit and gained their largest audience. I can't realistically leave them out of the story until 1988, so it has to be 1968. But the songs they are most remembered for are those they wrote between 1970 and 1972, and those songs are influenced by artists and events we haven't yet covered in the podcast, who will be getting their own episodes in the future. I can't explain those things in this episode, because they need whole episodes of their own. I can't not explain them without leaving out important context for the Grateful Dead. So the best I can do is treat the story I'm telling as if it were in Tralfamadorian time. All of it's happening all at once, and some of it is happening in different episodes that haven't been recorded yet. The podcast as a whole travels linearly from 1938 through to 1999, but this episode is happening in 1968 and 1972 and 1988 and 1995 and other times, all at once. Sometimes I'll talk about things as if you're already familiar with them, but they haven't happened yet in the story. Feel free to come unstuck in time and revisit this time after episode 167, and 172, and 176, and 192, and experience it again. So this has to be an experimental episode. It may well be an experiment that you think fails. If so, the next episode is likely to be far more to your taste, and much shorter than this or the last episode, two episodes that between them have to create a scaffolding on which will hang much of the rest of this podcast's narrative. I've finished my Grateful Dead script now. The next one I write is going to be fun: [Excerpt: Grateful Dead, "Dark Star"] Infrastructure means everything. How we get from place to place, how we transport goods, information, and ourselves, makes a big difference in how society is structured, and in the music we hear. For many centuries, the prime means of long-distance transport was by water -- sailing ships on the ocean, canal boats and steamboats for inland navigation -- and so folk songs talked about the ship as both means of escape, means of making a living, and in some senses as a trap. You'd go out to sea for adventure, or to escape your problems, but you'd find that the sea itself brought its own problems. Because of this we have a long, long tradition of sea shanties which are known throughout the world: [Excerpt: A. L. Lloyd, "Off to Sea Once More"] But in the nineteenth century, the railway was invented and, at least as far as travel within a landmass goes, it replaced the steamboat in the popular imaginary. Now the railway was how you got from place to place, and how you moved freight from one place to another. The railway brought freedom, and was an opportunity for outlaws, whether train robbers or a romanticised version of the hobo hopping onto a freight train and making his way to new lands and new opportunity. It was the train that brought soldiers home from wars, and the train that allowed the Great Migration of Black people from the South to the industrial North. There would still be songs about the riverboats, about how ol' man river keeps rolling along and about the big river Johnny Cash sang about, but increasingly they would be songs of the past, not the present. The train quickly replaced the steamboat in the iconography of what we now think of as roots music -- blues, country, folk, and early jazz music. Sometimes this was very literal. Furry Lewis' "Kassie Jones" -- about a legendary train driver who would break the rules to make sure his train made the station on time, but who ended up sacrificing his own life to save his passengers in a train crash -- is based on "Alabamy Bound", which as we heard in the episode on "Stagger Lee", was about steamboats: [Excerpt: Furry Lewis, "Kassie Jones"] In the early episodes of this podcast we heard many, many, songs about the railway. Louis Jordan saying "take me right back to the track, Jack", Rosetta Tharpe singing about how "this train don't carry no gamblers", the trickster freight train driver driving on the "Rock Island Line", the mystery train sixteen coaches long, the train that kept-a-rollin' all night long, the Midnight Special which the prisoners wished would shine its ever-loving light on them, and the train coming past Folsom Prison whose whistle makes Johnny Cash hang his head and cry. But by the 1960s, that kind of song had started to dry up. It would happen on occasion -- "People Get Ready" by the Impressions is the most obvious example of the train metaphor in an important sixties record -- but by the late sixties the train was no longer a symbol of freedom but of the past. In 1969 Harry Nilsson sang about how "Nobody Cares About the Railroads Any More", and in 1968 the Kinks sang about "The Last of the Steam-Powered Trains". When in 1968 Merle Haggard sang about a freight train, it was as a memory, of a child with hopes that ended up thwarted by reality and his own nature: [Excerpt: Merle Haggard, "Mama Tried"] And the reason for this was that there had been another shift, a shift that had started in the forties and accelerated in the late fifties but had taken a little time to ripple through the culture. Now the train had been replaced in the popular imaginary by motorised transport. Instead of hopping on a train without paying, if you had no money in your pocket you'd have to hitch-hike all the way. Freedom now meant individuality. The ultimate in freedom was the biker -- the Hell's Angels who could go anywhere, unburdened by anything -- and instead of goods being moved by freight train, increasingly they were being moved by truck drivers. By the mid-seventies, truck drivers took a central place in American life, and the most romantic way to live life was to live it on the road. On The Road was also the title of a 1957 novel by Jack Kerouac, which was one of the first major signs of this cultural shift in America. Kerouac was writing about events in the late forties and early fifties, but his book was also a precursor of the sixties counterculture. He wrote the book on one continuous sheet of paper, as a stream of consciousness. Kerouac died in 1969 of an internal haemmorage brought on by too much alcohol consumption. So it goes. But the big key to this cultural shift was caused by the Federal-Aid Highway Act of 1956, a massive infrastructure spending bill that led to the construction of the modern American Interstate Highway system. This accelerated a program that had already started, of building much bigger, safer, faster roads. It also, as anyone who has read Robert Caro's The Power Broker knows, reinforced segregation and white flight. It did this both by making commuting into major cities from the suburbs easier -- thus allowing white people with more money to move further away from the cities and still work there -- and by bulldozing community spaces where Black people lived. More than a million people lost their homes and were forcibly moved, and orders of magnitude more lost their communities' parks and green spaces. And both as a result of deliberate actions and unconscious bigotry, the bulk of those affected were Black people -- who often found themselves, if they weren't forced to move, on one side of a ten-lane highway where the park used to be, with white people on the other side of the highway. The Federal-Aid Highway Act gave even more power to the unaccountable central planners like Robert Moses, the urban planner in New York who managed to become arguably the most powerful man in the city without ever getting elected, partly by slowly compromising away his early progressive ideals in the service of gaining more power. Of course, not every new highway was built through areas where poor Black people lived. Some were planned to go through richer areas for white people, just because you can't completely do away with geographical realities. For example one was planned to be built through part of San Francisco, a rich, white part. But the people who owned properties in that area had enough political power and clout to fight the development, and after nearly a decade of fighting it, the development was called off in late 1966. But over that time, many of the owners of the impressive buildings in the area had moved out, and they had no incentive to improve or maintain their properties while they were under threat of demolition, so many of them were rented out very cheaply. And when the beat community that Kerouac wrote about, many of whom had settled in San Francisco, grew too large and notorious for the area of the city they were in, North Beach, many of them moved to these cheap homes in a previously-exclusive area. The area known as Haight-Ashbury. [Excerpt: The Grateful Dead, "Grayfolded"] Stories all have their starts, even stories told in Tralfamadorian time, although sometimes those starts are shrouded in legend. For example, the story of Scientology's start has been told many times, with different people claiming to have heard L. Ron Hubbard talk about how writing was a mug's game, and if you wanted to make real money, you needed to get followers, start a religion. Either he said this over and over and over again, to many different science fiction writers, or most science fiction writers of his generation were liars. Of course, the definition of a writer is someone who tells lies for money, so who knows? One of the more plausible accounts of him saying that is given by Theodore Sturgeon. Sturgeon's account is more believable than most, because Sturgeon went on to be a supporter of Dianetics, the "new science" that Hubbard turned into his religion, for decades, even while telling the story. The story of the Grateful Dead probably starts as it ends, with Jerry Garcia. There are three things that everyone writing about the Dead says about Garcia's childhood, so we might as well say them here too. The first is that he was named by a music-loving father after Jerome Kern, the songwriter responsible for songs like "Ol' Man River" (though as Oscar Hammerstein's widow liked to point out, "Jerome Kern wrote dum-dum-dum-dum, *my husband* wrote 'Ol' Man River'" -- an important distinction we need to bear in mind when talking about songwriters who write music but not lyrics). The second is that when he was five years old that music-loving father drowned -- and Garcia would always say he had seen his father dying, though some sources claim this was a false memory. So it goes. And the third fact, which for some reason is always told after the second even though it comes before it chronologically, is that when he was four he lost two joints from his right middle finger. Garcia grew up a troubled teen, and in turn caused trouble for other people, but he also developed a few interests that would follow him through his life. He loved the fantastical, especially the fantastical macabre, and became an avid fan of horror and science fiction -- and through his love of old monster films he became enamoured with cinema more generally. Indeed, in 1983 he bought the film rights to Kurt Vonnegut's science fiction novel The Sirens of Titan, the first story in which the Tralfamadorians appear, and wrote a script based on it. He wanted to produce the film himself, with Francis Ford Coppola directing and Bill Murray starring, but most importantly for him he wanted to prevent anyone who didn't care about it from doing it badly. And in that he succeeded. As of 2023 there is no film of The Sirens of Titan. He loved to paint, and would continue that for the rest of his life, with one of his favourite subjects being Boris Karloff as the Frankenstein monster. And when he was eleven or twelve, he heard for the first time a record that was hugely influential to a whole generation of Californian musicians, even though it was a New York record -- "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Garcia would say later "That was an important song. That was the first kind of, like where the voices had that kind of not-trained-singer voices, but tough-guy-on-the-street voice." That record introduced him to R&B, and soon he was listening to Chuck Berry and Bo Diddley, to Ray Charles, and to a record we've not talked about in the podcast but which was one of the great early doo-wop records, "WPLJ" by the Four Deuces: [Excerpt: The Four Deuces, "WPLJ"] Garcia said of that record "That was one of my anthem songs when I was in junior high school and high school and around there. That was one of those songs everybody knew. And that everybody sang. Everybody sang that street-corner favorite." Garcia moved around a lot as a child, and didn't have much time for school by his own account, but one of the few teachers he did respect was an art teacher when he was in North Beach, Walter Hedrick. Hedrick was also one of the earliest of the conceptual artists, and one of the most important figures in the San Francisco arts scene that would become known as the Beat Generation (or the Beatniks, which was originally a disparaging term). Hedrick was a painter and sculptor, but also organised happenings, and he had also been one of the prime movers in starting a series of poetry readings in San Francisco, the first one of which had involved Allen Ginsberg giving the first ever reading of "Howl" -- one of a small number of poems, along with Eliot's "Prufrock" and "The Waste Land" and possibly Pound's Cantos, which can be said to have changed twentieth-century literature. Garcia was fifteen when he got to know Hedrick, in 1957, and by then the Beat scene had already become almost a parody of itself, having become known to the public because of the publication of works like On the Road, and the major artists in the scene were already rejecting the label. By this point tourists were flocking to North Beach to see these beatniks they'd heard about on TV, and Hedrick was actually employed by one cafe to sit in the window wearing a beret, turtleneck, sandals, and beard, and draw and paint, to attract the tourists who flocked by the busload because they could see that there was a "genuine beatnik" in the cafe. Hedrick was, as well as a visual artist, a guitarist and banjo player who played in traditional jazz bands, and he would bring records in to class for his students to listen to, and Garcia particularly remembered him bringing in records by Big Bill Broonzy: [Excerpt: Big Bill Broonzy, "When Things Go Wrong (It Hurts Me Too)"] Garcia was already an avid fan of rock and roll music, but it was being inspired by Hedrick that led him to get his first guitar. Like his contemporary Paul McCartney around the same time, he was initially given the wrong instrument as a birthday present -- in Garcia's case his mother gave him an accordion -- but he soon persuaded her to swap it for an electric guitar he saw in a pawn shop. And like his other contemporary, John Lennon, Garcia initially tuned his instrument incorrectly. He said later "When I started playing the guitar, believe me, I didn't know anybody that played. I mean, I didn't know anybody that played the guitar. Nobody. They weren't around. There were no guitar teachers. You couldn't take lessons. There was nothing like that, you know? When I was a kid and I had my first electric guitar, I had it tuned wrong and learned how to play on it with it tuned wrong for about a year. And I was getting somewhere on it, you know… Finally, I met a guy that knew how to tune it right and showed me three chords, and it was like a revelation. You know what I mean? It was like somebody gave me the key to heaven." He joined a band, the Chords, which mostly played big band music, and his friend Gary Foster taught him some of the rudiments of playing the guitar -- things like how to use a capo to change keys. But he was always a rebellious kid, and soon found himself faced with a choice between joining the military or going to prison. He chose the former, and it was during his time in the Army that a friend, Ron Stevenson, introduced him to the music of Merle Travis, and to Travis-style guitar picking: [Excerpt: Merle Travis, "Nine-Pound Hammer"] Garcia had never encountered playing like that before, but he instantly recognised that Travis, and Chet Atkins who Stevenson also played for him, had been an influence on Scotty Moore. He started to realise that the music he'd listened to as a teenager was influenced by music that went further back. But Stevenson, as well as teaching Garcia some of the rudiments of Travis-picking, also indirectly led to Garcia getting discharged from the Army. Stevenson was not a well man, and became suicidal. Garcia decided it was more important to keep his friend company and make sure he didn't kill himself than it was to turn up for roll call, and as a result he got discharged himself on psychiatric grounds -- according to Garcia he told the Army psychiatrist "I was involved in stuff that was more important to me in the moment than the army was and that was the reason I was late" and the psychiatrist thought it was neurotic of Garcia to have his own set of values separate from that of the Army. After discharge, Garcia did various jobs, including working as a transcriptionist for Lenny Bruce, the comedian who was a huge influence on the counterculture. In one of the various attacks over the years by authoritarians on language, Bruce was repeatedly arrested for obscenity, and in 1961 he was arrested at a jazz club in North Beach. Sixty years ago, the parts of speech that were being criminalised weren't pronouns, but prepositions and verbs: [Excerpt: Lenny Bruce, "To is a Preposition, Come is a Verb"] That piece, indeed, was so controversial that when Frank Zappa quoted part of it in a song in 1968, the record label insisted on the relevant passage being played backwards so people couldn't hear such disgusting filth: [Excerpt: The Mothers of Invention, "Harry You're a Beast"] (Anyone familiar with that song will understand that the censored portion is possibly the least offensive part of the whole thing). Bruce was facing trial, and he needed transcripts of what he had said in his recordings to present in court. Incidentally, there seems to be some confusion over exactly which of Bruce's many obscenity trials Garcia became a transcriptionist for. Dennis McNally says in his biography of the band, published in 2002, that it was the most famous of them, in autumn 1964, but in a later book, Jerry on Jerry, a book of interviews of Garcia edited by McNally, McNally talks about it being when Garcia was nineteen, which would mean it was Bruce's first trial, in 1961. We can put this down to the fact that many of the people involved, not least Garcia, lived in Tralfamadorian time, and were rather hazy on dates, but I'm placing the story here rather than in 1964 because it seems to make more sense that Garcia would be involved in a trial based on an incident in San Francisco than one in New York. Garcia got the job, even though he couldn't type, because by this point he'd spent so long listening to recordings of old folk and country music that he was used to transcribing indecipherable accents, and often, as Garcia would tell it, Bruce would mumble very fast and condense multiple syllables into one. Garcia was particularly impressed by Bruce's ability to improvise but talk in entire paragraphs, and he compared his use of language to bebop. Another thing that was starting to impress Garcia, and which he also compared to bebop, was bluegrass: [Excerpt: Bill Monroe, "Fire on the Mountain"] Bluegrass is a music that is often considered very traditional, because it's based on traditional songs and uses acoustic instruments, but in fact it was a terribly *modern* music, and largely a postwar creation of a single band -- Bill Monroe and his Blue Grass Boys. And Garcia was right when he said it was "white bebop" -- though he did say "The only thing it doesn't have is the harmonic richness of bebop. You know what I mean? That's what it's missing, but it has everything else." Both bebop and bluegrass evolved after the second world war, though they were informed by music from before it, and both prized the ability to improvise, and technical excellence. Both are musics that involved playing *fast*, in an ensemble, and being able to respond quickly to the other musicians. Both musics were also intensely rhythmic, a response to a faster paced, more stressful world. They were both part of the general change in the arts towards immediacy that we looked at in the last episode with the creation first of expressionism and then of pop art. Bluegrass didn't go into the harmonic explorations that modern jazz did, but it was absolutely as modern as anything Charlie Parker was doing, and came from the same impulses. It was tradition and innovation, the past and the future simultaneously. Bill Monroe, Jackson Pollock, Charlie Parker, Jack Kerouac, and Lenny Bruce were all in their own ways responding to the same cultural moment, and it was that which Garcia was responding to. But he didn't become able to play bluegrass until after a tragedy which shaped his life even more than his father's death had. Garcia had been to a party and was in a car with his friends Lee Adams, Paul Speegle, and Alan Trist. Adams was driving at ninety miles an hour when they hit a tight curve and crashed. Garcia, Adams, and Trist were all severely injured but survived. Speegle died. So it goes. This tragedy changed Garcia's attitudes totally. Of all his friends, Speegle was the one who was most serious about his art, and who treated it as something to work on. Garcia had always been someone who fundamentally didn't want to work or take any responsibility for anything. And he remained that way -- except for his music. Speegle's death changed Garcia's attitude to that, totally. If his friend wasn't going to be able to practice his own art any more, Garcia would practice his, in tribute to him. He resolved to become a virtuoso on guitar and banjo. His girlfriend of the time later said “I don't know if you've spent time with someone rehearsing ‘Foggy Mountain Breakdown' on a banjo for eight hours, but Jerry practiced endlessly. He really wanted to excel and be the best. He had tremendous personal ambition in the musical arena, and he wanted to master whatever he set out to explore. Then he would set another sight for himself. And practice another eight hours a day of new licks.” But of course, you can't make ensemble music on your own: [Excerpt: Jerry Garcia and Bob Hunter, "Oh Mary Don't You Weep" (including end)] "Evelyn said, “What is it called when a person needs a … person … when you want to be touched and the … two are like one thing and there isn't anything else at all anywhere?” Alicia, who had read books, thought about it. “Love,” she said at length." That's from More Than Human, by Theodore Sturgeon, a book I'll be quoting a few more times as the story goes on. Robert Hunter, like Garcia, was just out of the military -- in his case, the National Guard -- and he came into Garcia's life just after Paul Speegle had left it. Garcia and Alan Trist met Hunter ten days after the accident, and the three men started hanging out together, Trist and Hunter writing while Garcia played music. Garcia and Hunter both bonded over their shared love for the beats, and for traditional music, and the two formed a duo, Bob and Jerry, which performed together a handful of times. They started playing together, in fact, after Hunter picked up a guitar and started playing a song and halfway through Garcia took it off him and finished the song himself. The two of them learned songs from the Harry Smith Anthology -- Garcia was completely apolitical, and only once voted in his life, for Lyndon Johnson in 1964 to keep Goldwater out, and regretted even doing that, and so he didn't learn any of the more political material people like Pete Seeger, Phil Ochs, and Bob Dylan were doing at the time -- but their duo only lasted a short time because Hunter wasn't an especially good guitarist. Hunter would, though, continue to jam with Garcia and other friends, sometimes playing mandolin, while Garcia played solo gigs and with other musicians as well, playing and moving round the Bay Area and performing with whoever he could: [Excerpt: Jerry Garcia, "Railroad Bill"] "Bleshing, that was Janie's word. She said Baby told it to her. She said it meant everyone all together being something, even if they all did different things. Two arms, two legs, one body, one head, all working together, although a head can't walk and arms can't think. Lone said maybe it was a mixture of “blending” and “meshing,” but I don't think he believed that himself. It was a lot more than that." That's from More Than Human In 1961, Garcia and Hunter met another young musician, but one who was interested in a very different type of music. Phil Lesh was a serious student of modern classical music, a classically-trained violinist and trumpeter whose interest was solidly in the experimental and whose attitude can be summed up by a story that's always told about him meeting his close friend Tom Constanten for the first time. Lesh had been talking with someone about serialism, and Constanten had interrupted, saying "Music stopped being created in 1750 but it started again in 1950". Lesh just stuck out his hand, recognising a kindred spirit. Lesh and Constanten were both students of Luciano Berio, the experimental composer who created compositions for magnetic tape: [Excerpt: Luciano Berio, "Momenti"] Berio had been one of the founders of the Studio di fonologia musicale di Radio Milano, a studio for producing contemporary electronic music where John Cage had worked for a time, and he had also worked with the electronic music pioneer Karlheinz Stockhausen. Lesh would later remember being very impressed when Berio brought a tape into the classroom -- the actual multitrack tape for Stockhausen's revolutionary piece Gesang Der Juenglinge: [Excerpt: Karlheinz Stockhausen, "Gesang Der Juenglinge"] Lesh at first had been distrustful of Garcia -- Garcia was charismatic and had followers, and Lesh never liked people like that. But he was impressed by Garcia's playing, and soon realised that the two men, despite their very different musical interests, had a lot in common. Lesh was interested in the technology of music as well as in performing and composing it, and so when he wasn't studying he helped out by engineering at the university's radio station. Lesh was impressed by Garcia's playing, and suggested to the presenter of the station's folk show, the Midnight Special, that Garcia be a guest. Garcia was so good that he ended up getting an entire solo show to himself, where normally the show would feature multiple acts. Lesh and Constanten soon moved away from the Bay Area to Las Vegas, but both would be back -- in Constanten's case he would form an experimental group in San Francisco with their fellow student Steve Reich, and that group (though not with Constanten performing) would later premiere Terry Riley's In C, a piece influenced by La Monte Young and often considered one of the great masterpieces of minimalist music. By early 1962 Garcia and Hunter had formed a bluegrass band, with Garcia on guitar and banjo and Hunter on mandolin, and a rotating cast of other musicians including Ken Frankel, who played banjo and fiddle. They performed under different names, including the Tub Thumpers, the Hart Valley Drifters, and the Sleepy Valley Hog Stompers, and played a mixture of bluegrass and old-time music -- and were very careful about the distinction: [Excerpt: The Hart Valley Drifters, "Cripple Creek"] In 1993, the Republican political activist John Perry Barlow was invited to talk to the CIA about the possibilities open to them with what was then called the Information Superhighway. He later wrote, in part "They told me they'd brought Steve Jobs in a few weeks before to indoctrinate them in modern information management. And they were delighted when I returned later, bringing with me a platoon of Internet gurus, including Esther Dyson, Mitch Kapor, Tony Rutkowski, and Vint Cerf. They sealed us into an electronically impenetrable room to discuss the radical possibility that a good first step in lifting their blackout would be for the CIA to put up a Web site... We told them that information exchange was a barter system, and that to receive, one must also be willing to share. This was an alien notion to them. They weren't even willing to share information among themselves, much less the world." 1962 brought a new experience for Robert Hunter. Hunter had been recruited into taking part in psychological tests at Stanford University, which in the sixties and seventies was one of the preeminent universities for psychological experiments. As part of this, Hunter was given $140 to attend the VA hospital (where a janitor named Ken Kesey, who had himself taken part in a similar set of experiments a couple of years earlier, worked a day job while he was working on his first novel) for four weeks on the run, and take different psychedelic drugs each time, starting with LSD, so his reactions could be observed. (It was later revealed that these experiments were part of a CIA project called MKUltra, designed to investigate the possibility of using psychedelic drugs for mind control, blackmail, and torture. Hunter was quite lucky in that he was told what was going to happen to him and paid for his time. Other subjects included the unlucky customers of brothels the CIA set up as fronts -- they dosed the customers' drinks and observed them through two-way mirrors. Some of their experimental subjects died by suicide as a result of their experiences. So it goes. ) Hunter was interested in taking LSD after reading Aldous Huxley's writings about psychedelic substances, and he brought his typewriter along to the experiment. During the first test, he wrote a six-page text, a short excerpt from which is now widely quoted, reading in part "Sit back picture yourself swooping up a shell of purple with foam crests of crystal drops soft nigh they fall unto the sea of morning creep-very-softly mist ... and then sort of cascade tinkley-bell-like (must I take you by the hand, ever so slowly type) and then conglomerate suddenly into a peal of silver vibrant uncomprehendingly, blood singingly, joyously resounding bells" Hunter's experience led to everyone in their social circle wanting to try LSD, and soon they'd all come to the same conclusion -- this was something special. But Garcia needed money -- he'd got his girlfriend pregnant, and they'd married (this would be the first of several marriages in Garcia's life, and I won't be covering them all -- at Garcia's funeral, his second wife, Carolyn, said Garcia always called her the love of his life, and his first wife and his early-sixties girlfriend who he proposed to again in the nineties both simultaneously said "He said that to me!"). So he started teaching guitar at a music shop in Palo Alto. Hunter had no time for Garcia's incipient domesticity and thought that his wife was trying to make him live a conventional life, and the two drifted apart somewhat, though they'd still play together occasionally. Through working at the music store, Garcia got to know the manager, Troy Weidenheimer, who had a rock and roll band called the Zodiacs. Garcia joined the band on bass, despite that not being his instrument. He later said "Troy was a lot of fun, but I wasn't good enough a musician then to have been able to deal with it. I was out of my idiom, really, 'cause when I played with Troy I was playing electric bass, you know. I never was a good bass player. Sometimes I was playing in the wrong key and didn't even [fuckin'] know it. I couldn't hear that low, after playing banjo, you know, and going to electric...But Troy taught me the principle of, hey, you know, just stomp your foot and get on it. He was great. A great one for the instant arrangement, you know. And he was also fearless for that thing of get your friends to do it." Garcia's tenure in the Zodiacs didn't last long, nor did this experiment with rock and roll, but two other members of the Zodiacs will be notable later in the story -- the harmonica player, an old friend of Garcia's named Ron McKernan, who would soon gain the nickname Pig Pen after the Peanuts character, and the drummer, Bill Kreutzmann: [Excerpt: The Grateful Dead, "Drums/Space (Skull & Bones version)"] Kreutzmann said of the Zodiacs "Jerry was the hired bass player and I was the hired drummer. I only remember playing that one gig with them, but I was in way over my head. I always did that. I always played things that were really hard and it didn't matter. I just went for it." Garcia and Kreutzmann didn't really get to know each other then, but Garcia did get to know someone else who would soon be very important in his life. Bob Weir was from a very different background than Garcia, though both had the shared experience of long bouts of chronic illness as children. He had grown up in a very wealthy family, and had always been well-liked, but he was what we would now call neurodivergent -- reading books about the band he talks about being dyslexic but clearly has other undiagnosed neurodivergences, which often go along with dyslexia -- and as a result he was deemed to have behavioural problems which led to him getting expelled from pre-school and kicked out of the cub scouts. He was never academically gifted, thanks to his dyslexia, but he was always enthusiastic about music -- to a fault. He learned to play boogie piano but played so loudly and so often his parents sold the piano. He had a trumpet, but the neighbours complained about him playing it outside. Finally he switched to the guitar, an instrument with which it is of course impossible to make too loud a noise. The first song he learned was the Kingston Trio's version of an old sea shanty, "The Wreck of the John B": [Excerpt: The Kingston Trio, "The Wreck of the John B"] He was sent off to a private school in Colorado for teenagers with behavioural issues, and there he met the boy who would become his lifelong friend, John Perry Barlow. Unfortunately the two troublemakers got on with each other *so* well that after their first year they were told that it was too disruptive having both of them at the school, and only one could stay there the next year. Barlow stayed and Weir moved back to the Bay Area. By this point, Weir was getting more interested in folk music that went beyond the commercial folk of the Kingston Trio. As he said later "There was something in there that was ringing my bells. What I had grown up thinking of as hillbilly music, it started to have some depth for me, and I could start to hear the music in it. Suddenly, it wasn't just a bunch of ignorant hillbillies playing what they could. There was some depth and expertise and stuff like that to aspire to.” He moved from school to school but one thing that stayed with him was his love of playing guitar, and he started taking lessons from Troy Weidenheimer, but he got most of his education going to folk clubs and hootenannies. He regularly went to the Tangent, a club where Garcia played, but Garcia's bluegrass banjo playing was far too rigorous for a free spirit like Weir to emulate, and instead he started trying to copy one of the guitarists who was a regular there, Jorma Kaukonnen. On New Year's Eve 1963 Weir was out walking with his friends Bob Matthews and Rich Macauley, and they passed the music shop where Garcia was a teacher, and heard him playing his banjo. They knocked and asked if they could come in -- they all knew Garcia a little, and Bob Matthews was one of his students, having become interested in playing banjo after hearing the theme tune to the Beverly Hillbillies, played by the bluegrass greats Flatt and Scruggs: [Excerpt: Flatt and Scruggs, "The Beverly Hillbillies"] Garcia at first told these kids, several years younger than him, that they couldn't come in -- he was waiting for his students to show up. But Weir said “Jerry, listen, it's seven-thirty on New Year's Eve, and I don't think you're going to be seeing your students tonight.” Garcia realised the wisdom of this, and invited the teenagers in to jam with him. At the time, there was a bit of a renaissance in jug bands, as we talked about back in the episode on the Lovin' Spoonful. This was a form of music that had grown up in the 1920s, and was similar and related to skiffle and coffee-pot bands -- jug bands would tend to have a mixture of portable string instruments like guitars and banjos, harmonicas, and people using improvised instruments, particularly blowing into a jug. The most popular of these bands had been Gus Cannon's Jug Stompers, led by banjo player Gus Cannon and with harmonica player Noah Lewis: [Excerpt: Gus Cannon's Jug Stompers, "Viola Lee Blues"] With the folk revival, Cannon's work had become well-known again. The Rooftop Singers, a Kingston Trio style folk group, had had a hit with his song "Walk Right In" in 1963, and as a result of that success Cannon had even signed a record contract with Stax -- Stax's first album ever, a month before Booker T and the MGs' first album, was in fact the eighty-year-old Cannon playing his banjo and singing his old songs. The rediscovery of Cannon had started a craze for jug bands, and the most popular of the new jug bands was Jim Kweskin's Jug Band, which did a mixture of old songs like "You're a Viper" and more recent material redone in the old style. Weir, Matthews, and Macauley had been to see the Kweskin band the night before, and had been very impressed, especially by their singer Maria D'Amato -- who would later marry her bandmate Geoff Muldaur and take his name -- and her performance of Leiber and Stoller's "I'm a Woman": [Excerpt: Jim Kweskin's Jug Band, "I'm a Woman"] Matthews suggested that they form their own jug band, and Garcia eagerly agreed -- though Matthews found himself rapidly moving from banjo to washboard to kazoo to second kazoo before realising he was surplus to requirements. Robert Hunter was similarly an early member but claimed he "didn't have the embouchure" to play the jug, and was soon also out. He moved to LA and started studying Scientology -- later claiming that he wanted science-fictional magic powers, which L. Ron Hubbard's new religion certainly offered. The group took the name Mother McRee's Uptown Jug Champions -- apparently they varied the spelling every time they played -- and had a rotating membership that at one time or another included about twenty different people, but tended always to have Garcia on banjo, Weir on jug and later guitar, and Garcia's friend Pig Pen on harmonica: [Excerpt: Mother McRee's Uptown Jug Champions, "On the Road Again"] The group played quite regularly in early 1964, but Garcia's first love was still bluegrass, and he was trying to build an audience with his bluegrass band, The Black Mountain Boys. But bluegrass was very unpopular in the Bay Area, where it was simultaneously thought of as unsophisticated -- as "hillbilly music" -- and as elitist, because it required actual instrumental ability, which wasn't in any great supply in the amateur folk scene. But instrumental ability was something Garcia definitely had, as at this point he was still practising eight hours a day, every day, and it shows on the recordings of the Black Mountain Boys: [Excerpt: The Black Mountain Boys, "Rosa Lee McFall"] By the summer, Bob Weir was also working at the music shop, and so Garcia let Weir take over his students while he and the Black Mountain Boys' guitarist Sandy Rothman went on a road trip to see as many bluegrass musicians as they could and to audition for Bill Monroe himself. As it happened, Garcia found himself too shy to audition for Monroe, but Rothman later ended up playing with Monroe's Blue Grass Boys. On his return to the Bay Area, Garcia resumed playing with the Uptown Jug Champions, but Pig Pen started pestering him to do something different. While both men had overlapping tastes in music and a love for the blues, Garcia's tastes had always been towards the country end of the spectrum while Pig Pen's were towards R&B. And while the Uptown Jug Champions were all a bit disdainful of the Beatles at first -- apart from Bob Weir, the youngest of the group, who thought they were interesting -- Pig Pen had become enamoured of another British band who were just starting to make it big: [Excerpt: The Rolling Stones, "Not Fade Away"] 29) Garcia liked the first Rolling Stones album too, and he eventually took Pig Pen's point -- the stuff that the Rolling Stones were doing, covers of Slim Harpo and Buddy Holly, was not a million miles away from the material they were doing as Mother McRee's Uptown Jug Champions. Pig Pen could play a little electric organ, Bob had been fooling around with the electric guitars in the music shop. Why not give it a go? The stuff bands like the Rolling Stones were doing wasn't that different from the electric blues that Pig Pen liked, and they'd all seen A Hard Day's Night -- they could carry on playing with banjos, jugs, and kazoos and have the respect of a handful of folkies, or they could get electric instruments and potentially have screaming girls and millions of dollars, while playing the same songs. This was a convincing argument, especially when Dana Morgan Jr, the son of the owner of the music shop, told them they could have free electric instruments if they let him join on bass. Morgan wasn't that great on bass, but what the hell, free instruments. Pig Pen had the best voice and stage presence, so he became the frontman of the new group, singing most of the leads, though Jerry and Bob would both sing a few songs, and playing harmonica and organ. Weir was on rhythm guitar, and Garcia was the lead guitarist and obvious leader of the group. They just needed a drummer, and handily Bill Kreutzmann, who had played with Garcia and Pig Pen in the Zodiacs, was also now teaching music at the music shop. Not only that, but about three weeks before they decided to go electric, Kreutzmann had seen the Uptown Jug Champions performing and been astonished by Garcia's musicianship and charisma, and said to himself "Man, I'm gonna follow that guy forever!" The new group named themselves the Warlocks, and started rehearsing in earnest. Around this time, Garcia also finally managed to get some of the LSD that his friend Robert Hunter had been so enthusiastic about three years earlier, and it was a life-changing experience for him. In particular, he credited LSD with making him comfortable being a less disciplined player -- as a bluegrass player he'd had to be frighteningly precise, but now he was playing rock and needed to loosen up. A few days after taking LSD for the first time, Garcia also heard some of Bob Dylan's new material, and realised that the folk singer he'd had little time for with his preachy politics was now making electric music that owed a lot more to the Beat culture Garcia considered himself part of: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] Another person who was hugely affected by hearing that was Phil Lesh, who later said "I couldn't believe that was Bob Dylan on AM radio, with an electric band. It changed my whole consciousness: if something like that could happen, the sky was the limit." Up to that point, Lesh had been focused entirely on his avant-garde music, working with friends like Steve Reich to push music forward, inspired by people like John Cage and La Monte Young, but now he realised there was music of value in the rock world. He'd quickly started going to rock gigs, seeing the Rolling Stones and the Byrds, and then he took acid and went to see his friend Garcia's new electric band play their third ever gig. He was blown away, and very quickly it was decided that Lesh would be the group's new bass player -- though everyone involved tells a different story as to who made the decision and how it came about, and accounts also vary as to whether Dana Morgan took his sacking gracefully and let his erstwhile bandmates keep their instruments, or whether they had to scrounge up some new ones. Lesh had never played bass before, but he was a talented multi-instrumentalist with a deep understanding of music and an ability to compose and improvise, and the repertoire the Warlocks were playing in the early days was mostly three-chord material that doesn't take much rehearsal -- though it was apparently beyond the abilities of poor Dana Morgan, who apparently had to be told note-by-note what to play by Garcia, and learn it by rote. Garcia told Lesh what notes the strings of a bass were tuned to, told him to borrow a guitar and practice, and within two weeks he was on stage with the Warlocks: [Excerpt: The Grateful Dead, “Grayfolded"] In September 1995, just weeks after Jerry Garcia's death, an article was published in Mute magazine identifying a cultural trend that had shaped the nineties, and would as it turned out shape at least the next thirty years. It's titled "The Californian Ideology", though it may be better titled "The Bay Area Ideology", and it identifies a worldview that had grown up in Silicon Valley, based around the ideas of the hippie movement, of right-wing libertarianism, of science fiction authors, and of Marshall McLuhan. It starts "There is an emerging global orthodoxy concerning the relation between society, technology and politics. We have called this orthodoxy `the Californian Ideology' in honour of the state where it originated. By naturalising and giving a technological proof to a libertarian political philosophy, and therefore foreclosing on alternative futures, the Californian Ideologues are able to assert that social and political debates about the future have now become meaningless. The California Ideology is a mix of cybernetics, free market economics, and counter-culture libertarianism and is promulgated by magazines such as WIRED and MONDO 2000 and preached in the books of Stewart Brand, Kevin Kelly and others. The new faith has been embraced by computer nerds, slacker students, 30-something capitalists, hip academics, futurist bureaucrats and even the President of the USA himself. As usual, Europeans have not been slow to copy the latest fashion from America. While a recent EU report recommended adopting the Californian free enterprise model to build the 'infobahn', cutting-edge artists and academics have been championing the 'post-human' philosophy developed by the West Coast's Extropian cult. With no obvious opponents, the global dominance of the Californian ideology appears to be complete." [Excerpt: Grayfolded] The Warlocks' first gig with Phil Lesh on bass was on June the 18th 1965, at a club called Frenchy's with a teenage clientele. Lesh thought his playing had been wooden and it wasn't a good gig, and apparently the management of Frenchy's agreed -- they were meant to play a second night there, but turned up to be told they'd been replaced by a band with an accordion and clarinet. But by September the group had managed to get themselves a residency at a small bar named the In Room, and playing there every night made them cohere. They were at this point playing the kind of sets that bar bands everywhere play to this day, though at the time the songs they were playing, like "Gloria" by Them and "In the Midnight Hour", were the most contemporary of hits. Another song that they introduced into their repertoire was "Do You Believe in Magic" by the Lovin' Spoonful, another band which had grown up out of former jug band musicians. As well as playing their own sets, they were also the house band at The In Room and as such had to back various touring artists who were the headline acts. The first act they had to back up was Cornell Gunter's version of the Coasters. Gunter had brought his own guitarist along as musical director, and for the first show Weir sat in the audience watching the show and learning the parts, staring intently at this musical director's playing. After seeing that, Weir's playing was changed, because he also picked up how the guitarist was guiding the band while playing, the small cues that a musical director will use to steer the musicians in the right direction. Weir started doing these things himself when he was singing lead -- Pig Pen was the frontman but everyone except Bill sang sometimes -- and the group soon found that rather than Garcia being the sole leader, now whoever was the lead singer for the song was the de facto conductor as well. By this point, the Bay Area was getting almost overrun with people forming electric guitar bands, as every major urban area in America was. Some of the bands were even having hits already -- We Five had had a number three hit with "You Were On My Mind", a song which had originally been performed by the folk duo Ian and Sylvia: [Excerpt: We Five, "You Were On My Mind"] Although the band that was most highly regarded on the scene, the Charlatans, was having problems with the various record companies they tried to get signed to, and didn't end up making a record until 1969. If tracks like "Number One" had been released in 1965 when they were recorded, the history of the San Francisco music scene may have taken a very different turn: [Excerpt: The Charlatans, "Number One"] Bands like Jefferson Airplane, the Great Society, and Big Brother and the Holding Company were also forming, and Autumn Records was having a run of success with records by the Beau Brummels, whose records were produced by Autumn's in-house A&R man, Sly Stone: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Warlocks were somewhat cut off from this, playing in a dive bar whose clientele was mostly depressed alcoholics. But the fact that they were playing every night for an audience that didn't care much gave them freedom, and they used that freedom to improvise. Both Lesh and Garcia were big fans of John Coltrane, and they started to take lessons from his style of playing. When the group played "Gloria" or "Midnight Hour" or whatever, they started to extend the songs and give themselves long instrumental passages for soloing. Garcia's playing wasn't influenced *harmonically* by Coltrane -- in fact Garcia was always a rather harmonically simple player. He'd tend to play lead lines either in Mixolydian mode, which is one of the most standard modes in rock, pop, blues, and jazz, or he'd play the notes of the chord that was being played, so if the band were playing a G chord his lead would emphasise the notes G, B, and D. But what he was influenced by was Coltrane's tendency to improvise in long, complex, phrases that made up a single thought -- Coltrane was thinking musically in paragraphs, rather than sentences, and Garcia started to try the same kind of th
News Links for the Week:SBF says “dishonesty and unfair dealing” aren't fraud, seeks to dismiss charges: https://arstechnica.com/tech-policy/2023/05/sbf-says-dishonesty-and-unfair-dealing-arent-fraud-seeks-to-dismiss-charges/Rep. Nancy Mace says people want to see her Jell-O wrestle with Marjorie Taylor Greene: https://www.businessinsider.com/nancy-mace-marjorie-taylor-greene-jell-o-wrestling-mccarthy-2023-5Son kept dead father, 101, in freezer ‘so he could talk to him': https://www.dutchnews.nl/2023/05/son-kept-dead-father-101-in-freezer-so-he-could-talk-to-him/Pranksters mow a symmetrical, giant penis in lawn of King Charles coronation party site: https://www.ctvnews.ca/world/pranksters-mow-a-symmetrical-giant-penis-in-lawn-of-king-charles-coronation-party-site-1.6385609User accidentally sends $1.5 million in Bitcoin to “Jared from Subway”: https://www.dexerto.com/tech/user-accidentally-sends-1-5-million-in-bitcoin-to-jared-from-subway-2137167/Hotel guest wakes up to 'manager sucking his toes': https://www.indy100.com/viral/hotel-manager-sucks-guests-toesVisit our brand spanking new home on the web @ www.earthoddity.net!!!We would to thank Cajun Curl Original Spice for their support! For some spice that's extra nice that taste spicy but doesn't feel spicy, check them out over at www.cajuncurl.com. Be sure and use coupon code "EOP10" and get ten percent off your order.Special thanks to Silencyde for providing the music! Check out his music on Soundcloud here: https://soundcloud.com/silencyde or on his YouTube channel here: https://www.youtube.com/user/Silencyde and on Facebook here: https://www.facebook.com/Silencyde/Like what you hear? Please consider joining our Patreon. Sign up at the $5 dollar level and get access to Earth Oddity Extended where you get an extended version of the show and an all exclusive show once a month! You can find that at www.patreon.com/earthoddity.
Rich Aronovitch is back to join Mike Vecchione and investigate review of the Super Bowl, Rich's time on Worst Cooks In America, Rich's thoughts on contact sports, the Wisconsin woman who decapitated her lover then attacked her lawyer, the TikTok pranksters who flew a balloon over the Chinese embassy in the UK, the Olympic gold medalist who started an OnlyFans, the plane passenger who's screen went viral, the guy who flexed too hard in the gym mirror and passed out, Miss Puerto Rico and Miss Argentina getting married and so much more!(Air Date: February 16th, 2023)Support our sponsors:YoDelta.com - Use promo code: Gas to get 25% off!To advertise your product or service on GaS Digital podcasts please go to TheADSide.com and click on "Advertisers" for more information!Submit your own video investigation to MikeVecchioneInvestigates@gmail.comYou can watch Mike Vecchione Investigates LIVE for FREE every Thursday at 3pm ET at GaSDigitalNetwork.com/LIVEOnce you're there you can sign up at GaSDigitalNetwork.com with promo code: MVI for a 7-day FREE trial with access to every No Disrespect and Mike Vecchione Investigates episode show ever recorded! On top of that you'll also have the same access to ALL the shows that GaS Digital Network has to offer!Follow the whole show on social media!Rich AronovitchTwitter: https://twitter.com/richisfunnyInstagram: https://instagram.com/richisfunnyMike VecchioneTwitter: https://www.twitter.com/comicmikevInstagram: https://www.instagram.com/comicmikevWebsite: https://www.comicmikev.comShannon LeeTwitter: https://www.twitter.com/imshannonleeInstagram: https://www.instagram.com/shannonlee6982GaS Digital NetworkTwitter: https://twitter.com/gasdigitalInstagram: https://www.instagram.com/gasdigital/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Are we on the brink of World War III? Colonel Douglas Macgregor joins Savage to break down how the Biden Administration and other Western nations are fanning the flames of war. A tank expert, Macgregor describes the specifications of the tanks headed for Ukraine. Never backing down from the truth, he exposes how warmongers have exploited the Domino Theory to fund endless war; How NATO has caused the demise of Ukraine; From sky to sea, how Russia has caught up to America's military hegemony; And the possible end of the nuclear arms control. Then, Macgregor sends a dire warning against the United States entering direct war with Russia and why he fears Western Civilization is at risk of collapse. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Lee Zeldin crushed Kathy Hochul in a debate last night over crime and gun violence. Biden mispronounces the new prime minister's name. KJP again continues to give a word salad of an excuse for the bad Biden economy. Biden tells people to get vaccinated at least one time a year. Pranksters put up Bigfoot warning flyers claiming to be from a national park. The world's dirtiest man has passed away at the age of 94. Henry Cavill is returning as Superman. The Powerball hits $700 million. Taylor Swift fans are claiming she has serial killer vibes because of the way she writes in her latest music video. Dr. Oz and John Fetterman debated each other last night in the Senate race in Pennsylvania. Fetterman struggled to use the English language to answer questions. A Pennsylvania caller explains why people are voting for Fetterman. Learn more about your ad choices. Visit megaphone.fm/adchoices
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