Podcasts about slaughterhouse five

Kurt Vonnegut's contribution to the anti-war novel views details of WWII, PTSD, and the firebombing of Dresden through the science fiction(?) lenses of time-travel, alien abduction, and clinging to a favorite sci-fi author. So it goes.Today's root beer is Abita.Intro and Outro music by Stockmusic331 on Pond5Send us a text

“I was tame, I was gentle til the circus life made me mean.” This week on AP Taylor Swift, we delve into the recurring motif of the circus in Taylor Swift's discography. From the tightropes of emotional vulnerability to the grand illusions of public persona, we analyze how Taylor employs circus imagery to convey themes of performance, control, and otherness. This episode includes discussions on the historical exploitation within circus culture, including forced labor, racism, and animal cruelty. For more information, we recommend the article from the National Museum of African American History and Culture and the podcast Circus Stories for firsthand accounts. Subscribe to get new episode updates: aptaylorswift.substack.com/subscribe Stay up to date at aptaylorswift.com Mentioned in this episode: Circus Stories Podcast Water for Elephants by Sara Gruen The Night Circus The Phantom of the Opera The Prestige (2006 film) Slaughterhouse-Five by Kurt Vonnegut Disney's Dumbo and Bambi 60 - Witches 61- Deep Dive “Who's Afraid of Little Old Me” The Second Sex Great Expectations Episode Highlights: [00:45] Introduction to the circus metaphor in literature and music [10:50] “Say Don't Go” 1989 (Taylor's Version) (From the Vault) [24:53]  “…So It Goes” reputation [33:26] “Who's Afraid of Little Old Me?” The Tortured Poets Department  Follow AP Taylor Swift podcast on social!  TikTok → tiktok.com/@APTaylorSwift Instagram → instagram.com/APTaylorSwift YouTube → youtube.com/@APTaylorSwift Link Tree →linktr.ee/aptaylorswift Bookshop.org → bookshop.org/shop/apts Libro.fm →  tinyurl.com/aptslibro Contact us at aptaylorswift@gmail.com  Affiliate Codes:  Krowned Krystals - krownedkrystals.com use code APTS at checkout for 10% off!  Libro.fm - Looking for an audiobook? Check out our Libro.fm playlist and use code APTS30 for 30% off books found here tinyurl.com/aptslibro This podcast is neither related to nor endorsed by Taylor Swift, her companies, or record labels. All opinions are our own. Intro music produced by Scott Zadig aka Scotty Z.

We learn: People used to get into wet slap-fights We're going to trademark a prolapsed anus on a shirt You CAN make fun of mimes Support Nuzzle House by contributing to their tip jar: https://tips.pinecast.com/jar/nuzzle-house Send us your feedback online: https://pinecast.com/feedback/nuzzle-house/7ffda8a1-6a2d-4345-92cf-c07f03e65971

In 1973, Kurt Vonnegut releases his much awaited follow up to Slaughterhouse-Five. Just one year later, off the tails of Buffalo Bill and the Indians, Robert Altman tasks Alan Rudolph with writing him a script based on this book, Breakfast of Champions. His one direction being, "don't follow the book", advice that would be echoed by Kurt Vonnegut himself. The project slowly fizzles away into the dustbin... until 1999. This week we're talking Alan Rudolph's BREAKFAST OF CHAMPIONS, starring Bruce Willis as Dwayne Hoover. We take a trip to Alan-Town to talk about the new Choose Me 4K, this film's recent 4K restoration, then we get into Vonnegut talk, how this film and the book find common ground, car dealers in the Bush era, late capitalism and the "self-made" owner class, and also a lot of joking around! Write in to the mailbag for our finale episode! Follow Altmania: Linktree estebannoel.com Altman / Rudolph archive Support us on Patreon: patreon.com/altmania

Eric Newman speaks with Bruce Robbins about his latest book, Atrocity: A Literary History, which explores how literary accounts of mass killing came to shape our collective moral indignation against such violence. Moving from the pre-modern era to the twentieth century, Robbins's book wrestles with how texts from the Bible to Kurt Vonnegut's "Slaughterhouse-Five" reckon–or fail to reckon–with atrocity, drawing out the risks of representing such violence, namely forgetting it altogether or normalizing its horrors.

Eric Newman speaks with Bruce Robbins about his latest book, "Atrocity: A Literary History," which explores how literary accounts of mass killing came to shape our collective moral indignation against such violence. Moving from the pre-modern era to the twentieth century, Robbins's book wrestles with how texts from the Bible to Kurt Vonnegut's "Slaughterhouse-Five" reckon–or fail to reckon–with atrocity, drawing out the risks of representing such violence, namely forgetting it altogether or normalizing its horrors.

“You know what? Every founder up here who has got this exponential growth that you think happens overnight,' he said to me, ‘each one of those has eight years of zero, but they never f***ing gave up.”Success in business isn't about having the flashiest idea; it's about solving a real, pressing problem. Too many startups focus on a vision of scale before they've even validated their core offering. The most successful founders are those who hyper-focus on a single problem, test their solution relentlessly, and avoid the trap of building something nobody actually needs. Without solving a genuine problem, a business is just a hobby with overhead.Justin Wood knows this better than most. As a serial entrepreneur and agency owner, he's spent years helping founders avoid the all-too-common pitfalls of tech startups. His approach? Learn from failure, mitigate risk, and ensure entrepreneurs don't bet their entire financial future on unproven concepts.Justin Wood is the founder of Produktiv, an agency dedicated to helping startups and businesses refine their strategies and scale effectively. With a background in digital publishing, tech startups, and corporate innovation, Justin specializes in product development, brand positioning, and performance marketing. His expertise has helped countless entrepreneurs navigate the challenges of startup growth while avoiding costly missteps.Expert action steps:1. Validate Your Idea Before Building2. Hyper-Focus on a Real Problem3. Market Your Solution, Not Just Build ItLearn more & connect:• Produktiv Agency – https://produktiv.agencyAlso mentioned:• Slaughterhouse-Five by Kurt Vonnegut• Sushi Kaji Restaurant – https://sushikaji.com• Boards of Canada (Music Mentioned: “David and Cowboy”) – https://boardsofcanada.comVisit https://www.eCircleAcademy.com and book a success call with Nicky to take your practice to the next level.

Thank you to all of you for watching and being a part of this community!Join our book club!patreon.com/LifeonBooksJoin the Life on Books mailing list to stay up to date on all of our latest book giveaways, projects, and more!https://linktw.in/BRYAnVhWant to read one book from every country? Check out our resource online:https://linktw.in/ZeoltyWant to know my all time favorite books? Click the link below!https://bookshop.org/shop/lifeonbooksFollow me on Instagram:  / alifeonbooks  Follow Andy on Instagram  / metafictional.meathead  JR by William Gaddishttps://amzn.to/41c84Cvhttps://bookshop.org/a/103053/9781681...Infinite Jest by David Foster Wallacehttps://amzn.to/3XaMUDChttps://bookshop.org/a/103053/9780316...Lonesome Dove by Larry McMurtryhttps://amzn.to/3EKf81shttps://bookshop.org/a/103053/9781439...Blood Meridian by Cormac McCarthyhttps://amzn.to/4hMuotghttps://bookshop.org/a/103053/9780679...Warlock by Oakley Hallhttps://amzn.to/4bhAWOfhttps://bookshop.org/a/103053/9781590...The Sisters Brothers by Patrick DeWitthttps://amzn.to/3Ddqt9Qhttps://bookshop.org/a/103053/9780062...The Brother by Rein Raudhttps://amzn.to/3XcmQI2https://bookshop.org/a/103053/9781940...Butchers Crossing by John Williamshttps://amzn.to/4351oschttps://bookshop.org/a/103053/9781590...Catch-22 by Joseph Hellerhttps://amzn.to/4i9DnVchttps://bookshop.org/a/103053/9781451...Slaughter House Five by Kurt Vonneguthttps://amzn.to/430XssEhttps://bookshop.org/a/103053/9780440...China Dream by Ma Jianhttps://amzn.to/4iaAMuuhttps://bookshop.org/a/103053/9781640...Europe Central by William T. Vollmanhttps://amzn.to/3CPeRtNhttps://bookshop.org/a/103053/9780143...Marshland by Otohiko Kagahttps://amzn.to/4b7ksZ5https://bookshop.org/a/103053/9781628...Moby Dick by Herman Melvillehttps://amzn.to/4b6mUz3https://bookshop.org/a/103053/9780142...The Pale King by David Foster Wallacehttps://amzn.to/4gRDDXO

In Episode 32 of the Great American Novel podcast, we slip through time with Billy Pilgrim as we shuffle between the character's experiences as a prisoner of war and first hand witness to the Dresden firebombing in World War II and then trip the light fantastic to the far flung planet Tralfamadore.  Or…do we?  Yes, this episode has your intrepid explorers hiding in Kurt Vonnegut's masterful 1969 post-modern novel SLAUGHTERHOUSE-FIVE. We ponder the author's central questions: are all war novels doomed to sensationalize war?  Can you capture such a horrific experience realistically? Must we become automatons to survive wars?  The Great American Novel podcast is an ongoing discussion about the novels we hold up as significant achievements in our American literary culture.  Additionally, we sometimes suggest novels who should break into the sometimes problematical canon and at other times we'll suggest books which can be dropped from such lofty consideration.  Your hosts are Kirk Curnutt and Scott Yarbrough, professors with little time and less sense who nonetheless enjoy a good book banter.  All opinions are their own and do not reflect the points of view of their employers, publishers, relatives, pets, or accountants. All show music is by Lobo Loco.  The intro song is “Old Ralley,” and the outro is “Inspector Invisible.”  For more information visit: https://locolobomusic.com/.  The trailer clips are from the film adaptation, Slaughterhouse-Five, adapted in a screenplay by Stephen Geller, dir. George Roy Hill.We may be contacted at greatamericannovelpodcast (@) gmail.com.

Mass violence did not always have a name. Like conquest, atrocity was not always seen as violating a moral norm or inviting indignation. Could the concept of atrocity even exist before people could accuse their own country of mass violence committed against the inhabitants of another country?  In Atrocity: A Literary History (Stanford UP, 2025), Bruce Robbins details how, when and where the conceptual space opened to make the recognition of atrocity possible. Robbins reads Bartolomé de las Casas's account of his fellow Spaniards' atrocities, Grimmelshausen's 1668 novel Simplicissimus, Tolstoy's Hadji Murat, Kurt Vonnegut's Slaughterhouse-Five, Gabriel García Márquez's One Hundred Years of Solitude, David Mitchell's Cloud Atlas, and many other writers to examine how writers not only develop but question what representations of atrocity achieve. Critically examining the emergence of a cosmopolitan ethic, and questioning the practical wisdom offered by the indignation or its refusal in the face of atrocity, Robbins argues for the invention of atrocity as a moral achievement, however tainted its development may have been. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Mass violence did not always have a name. Like conquest, atrocity was not always seen as violating a moral norm or inviting indignation. Could the concept of atrocity even exist before people could accuse their own country of mass violence committed against the inhabitants of another country?  In Atrocity: A Literary History (Stanford UP, 2025), Bruce Robbins details how, when and where the conceptual space opened to make the recognition of atrocity possible. Robbins reads Bartolomé de las Casas's account of his fellow Spaniards' atrocities, Grimmelshausen's 1668 novel Simplicissimus, Tolstoy's Hadji Murat, Kurt Vonnegut's Slaughterhouse-Five, Gabriel García Márquez's One Hundred Years of Solitude, David Mitchell's Cloud Atlas, and many other writers to examine how writers not only develop but question what representations of atrocity achieve. Critically examining the emergence of a cosmopolitan ethic, and questioning the practical wisdom offered by the indignation or its refusal in the face of atrocity, Robbins argues for the invention of atrocity as a moral achievement, however tainted its development may have been. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Mass violence did not always have a name. Like conquest, atrocity was not always seen as violating a moral norm or inviting indignation. Could the concept of atrocity even exist before people could accuse their own country of mass violence committed against the inhabitants of another country?  In Atrocity: A Literary History (Stanford UP, 2025), Bruce Robbins details how, when and where the conceptual space opened to make the recognition of atrocity possible. Robbins reads Bartolomé de las Casas's account of his fellow Spaniards' atrocities, Grimmelshausen's 1668 novel Simplicissimus, Tolstoy's Hadji Murat, Kurt Vonnegut's Slaughterhouse-Five, Gabriel García Márquez's One Hundred Years of Solitude, David Mitchell's Cloud Atlas, and many other writers to examine how writers not only develop but question what representations of atrocity achieve. Critically examining the emergence of a cosmopolitan ethic, and questioning the practical wisdom offered by the indignation or its refusal in the face of atrocity, Robbins argues for the invention of atrocity as a moral achievement, however tainted its development may have been. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

Mass violence did not always have a name. Like conquest, atrocity was not always seen as violating a moral norm or inviting indignation. Could the concept of atrocity even exist before people could accuse their own country of mass violence committed against the inhabitants of another country?  In Atrocity: A Literary History (Stanford UP, 2025), Bruce Robbins details how, when and where the conceptual space opened to make the recognition of atrocity possible. Robbins reads Bartolomé de las Casas's account of his fellow Spaniards' atrocities, Grimmelshausen's 1668 novel Simplicissimus, Tolstoy's Hadji Murat, Kurt Vonnegut's Slaughterhouse-Five, Gabriel García Márquez's One Hundred Years of Solitude, David Mitchell's Cloud Atlas, and many other writers to examine how writers not only develop but question what representations of atrocity achieve. Critically examining the emergence of a cosmopolitan ethic, and questioning the practical wisdom offered by the indignation or its refusal in the face of atrocity, Robbins argues for the invention of atrocity as a moral achievement, however tainted its development may have been. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Mass violence did not always have a name. Like conquest, atrocity was not always seen as violating a moral norm or inviting indignation. Could the concept of atrocity even exist before people could accuse their own country of mass violence committed against the inhabitants of another country?  In Atrocity: A Literary History (Stanford UP, 2025), Bruce Robbins details how, when and where the conceptual space opened to make the recognition of atrocity possible. Robbins reads Bartolomé de las Casas's account of his fellow Spaniards' atrocities, Grimmelshausen's 1668 novel Simplicissimus, Tolstoy's Hadji Murat, Kurt Vonnegut's Slaughterhouse-Five, Gabriel García Márquez's One Hundred Years of Solitude, David Mitchell's Cloud Atlas, and many other writers to examine how writers not only develop but question what representations of atrocity achieve. Critically examining the emergence of a cosmopolitan ethic, and questioning the practical wisdom offered by the indignation or its refusal in the face of atrocity, Robbins argues for the invention of atrocity as a moral achievement, however tainted its development may have been. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/genocide-studies

Mass violence did not always have a name. Like conquest, atrocity was not always seen as violating a moral norm or inviting indignation. Could the concept of atrocity even exist before people could accuse their own country of mass violence committed against the inhabitants of another country?  In Atrocity: A Literary History (Stanford UP, 2025), Bruce Robbins details how, when and where the conceptual space opened to make the recognition of atrocity possible. Robbins reads Bartolomé de las Casas's account of his fellow Spaniards' atrocities, Grimmelshausen's 1668 novel Simplicissimus, Tolstoy's Hadji Murat, Kurt Vonnegut's Slaughterhouse-Five, Gabriel García Márquez's One Hundred Years of Solitude, David Mitchell's Cloud Atlas, and many other writers to examine how writers not only develop but question what representations of atrocity achieve. Critically examining the emergence of a cosmopolitan ethic, and questioning the practical wisdom offered by the indignation or its refusal in the face of atrocity, Robbins argues for the invention of atrocity as a moral achievement, however tainted its development may have been. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Mass violence did not always have a name. Like conquest, atrocity was not always seen as violating a moral norm or inviting indignation. Could the concept of atrocity even exist before people could accuse their own country of mass violence committed against the inhabitants of another country?  In Atrocity: A Literary History (Stanford UP, 2025), Bruce Robbins details how, when and where the conceptual space opened to make the recognition of atrocity possible. Robbins reads Bartolomé de las Casas's account of his fellow Spaniards' atrocities, Grimmelshausen's 1668 novel Simplicissimus, Tolstoy's Hadji Murat, Kurt Vonnegut's Slaughterhouse-Five, Gabriel García Márquez's One Hundred Years of Solitude, David Mitchell's Cloud Atlas, and many other writers to examine how writers not only develop but question what representations of atrocity achieve. Critically examining the emergence of a cosmopolitan ethic, and questioning the practical wisdom offered by the indignation or its refusal in the face of atrocity, Robbins argues for the invention of atrocity as a moral achievement, however tainted its development may have been. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

In this crossover episode of Queer Cinema Catchup, Allison and Joe are thrilled to be joined again by Dan and Jennifer of Banned Camp to discuss the 1972 film adaptation of Kurt Vonnegut's semi-autobiographical science fiction novel Slaughterhouse-Five (1969). Together they delve into changes from the book to screen, as well as the story's anti-war message; its narrative structure; and its historical and modern relevance to the dangers of censorship.00:00 A Queer Cinema Catchup Banned Camp Mash-Up! 01:07 Personal Experiences with Slaughterhouse-Five03:44 Relevance of Slaughterhouse Five to Today08:41 Summary and Themes of Slaughterhouse Five13:48 Differences Between the Book and the Movie16:20 Character Analysis and Key Scenes24:48 Kilgore Trout and Kurt Vonnegut26:03 Anti-War Message 29:53 Billy Pilgrim Character Deep Dive34:41 Montana Wildhack and Time Travel37:25 Censorship & Kurt Vonnegut's Letter to North Dakota HS Head of School Board Chris McCarthy Hosted on Acast. See acast.com/privacy for more information.

Today we're stepping into the surreal, tragic, and darkly comedic world of Kurt Vonnegut's Slaughterhouse-Five—a story about war, time travel, and what it means to say, 'So it goes.' My guest this week is Kat McClesse. Kat is an Archaeologist with her M.A. in Bioarchaeology and an amateur photographer. Slaughterhouse Five has been one of her favorite books since childhood and sparked a lifelong interest in activism and human rights. She's has a passion for horror and has driven her fiance insane with "too many books" (his words). They live in Tuckahoe, Virginia with their 2 cats. The protagonist of this story is Billy Pilgrim, a veteran of WWII who becomes unstuck in time. An important moment in the story is where time is explained as a bug caught in amber, so we paired it with an “Amber Old Fashioned” Amber Old Fashioned Recipe (from vinepair.com)1 ounce bourbon1 ounce rich aged rum1 tablespoon simple syrup1 dash peach bitters1 dash Angostura bittersGarnish: Citrus peel Directions Add all ingredients to a mixing glass with ice and stir until chilled.Strain into a rocks glass with fresh ice.Garnish with citrus peel. In This EpisodeThe Things They Carried by Tim O'BrienUnbroken by Laura HillenbrandThe Writer's Crusade by Tom RostonI Am Malala by Malala YousafzaiSlaughterhouse Five: the Graphic Novel by Ryan North and Albert Montes

Slaughterhouse Five by Kurt Vonnegut is probably his best-known novel, a quasi-autobiographical account of the fire-bombing of Dresden mixed with a typically bizarre tale of alien abductions and time travel. What's not to like? TTYpodcast.com Thumbingthroughyesterday.com

How does this 1972 film, based on the Kurt Vonnegut novel, play with the notion of involuntary and random time travel, and force us to consider what impact such a life would have on one's attitudes toward pain, suffering and tragedy? What do the Tralfamadorians think about death, and how does Billy Pilgrim's attitude mirror it after he has been abducted and held by this alien race? How does the film represent time as a fourth dimension, on par with the three spatial dimensions, all parts of time, all periods in history, already existing? How does this film compare to the film Arrival, which also toys with this view of space/time? How does the novel and film reflect Vonnegut's own experiences as a POW during the bombing of Dresden Germany in the last months of WWII? How does it reflect attitudes toward the then contemporaneous Vietnam war? Why does Vonnegut claim Dresden had been declared an open city when it was not so declared, and why does he believe that hundreds of thousands were killed during those raids when ten to twenty thousand was the actual number?

Podcasts, reviews, interviews, essays, and more at the Ancillary Review of Books.Please consider supporting ARB's Patreon!Credits:Guest: Anna McFarlaneTitle: The This by Adam RobertsHost: Jake Casella BrookinsMusic by Giselle Gabrielle GarciaArtwork by Rob PattersonOpening poem by Bhartṛhari, translated by John BroughReferences:Anna's books, including Cyberpunk Culture and Psychology, The Routledge Companion to Cyberpunk Culture, Fifty Key Figures in Cyberpunk Culture, and Adam Roberts: Critical EssaysMary Butts' “Mappa Mundi”Jordan S. Carroll's Speculative WhitenessAdam Roberts' The Thing Itself, Lake of Darkness, New Model Army, and nonfictionChristopher PriestThe Thing, dir. John CarpenterKant's Critique of Pure ReasonDeleuze's concept of The FoldNabokov's Pale FireMichael Swanwick Stations of the Tide & Vacuum FlowersCory Doctorow & Greg EganNeal Stephenson's Snow CrashWilliam Gibson's NeuromancerPatricia Lockwood's No One Is Talking About ThisRobert A. Heinlein's Starship TroopersJoe Haldeman's The Forever WarStar Trek's BorgE.M. Forster's “The Machine Stops”George Orwell's 1984Hegel's The Phenomenology of Spirit"The sky above the port was the color of a television tuned to a dead channel"The idea of the pharmakonThe Big Read podcast on The ThisShulamith Firestone's The Dialectic of SexOttessa Moshfegh's My Year of Rest and RelaxationRobot monkey/wiremother experimentsRoberts's review of The Book of ElsewhereRoberts on BlueskyBlack MirrorThomas Disch's 334 & Camp ConcentrationDavid LynchPeter Watts' Blindsight & EchopraxiaKurt Vonnegut Jr.'s Cat's Cradle, Slaughterhouse-Five, & GalapagosVonnegut thing about delivering a letterVonnegut's “Biafra: A People Betrayed”Fix-up novelsJo Walton's “On Selecting the Top Ten Genre Books of the First Quarter of the Century”Casella's essay on This Is How You Lose the Time WarLavie Tidhar's Central Station, The Circumference of the World, Osama, A Man Lies DreamingA line from Hegel to Marx to Darko SuvinThe conclusion to Walter Pater's The RenaissanceMolly Templeton's “A Modest Request for a Little More Genre Chaos”Young Frankenstein dir. Mel BrooksAnna on BlueskyThe Edinburgh Companion to Science Fiction and the Medical Humanities

Richard Walter is making his second appearance on StoryBeat. Richard is an author of best-selling fiction and nonfiction, a celebrated storytelling educator, screenwriter, script consultant, lecturer and retired professor who led the legendary screenwriting program in UCLA's highly regarded film school for several decades. He's written scripts for the major studios and TV networks; lectured on screenwriting and storytelling, and conducted master classes throughout North America, as well as in London, Paris, Jerusalem, Madrid, Rio, Mexico City, Beijing, Shanghai, Sydney and Hong Kong.  His latest novel,Deadpan, follows the misadventures of a vaguely antisemitic West Virginia Buick dealer who wakes up one day transformed into the world's most popular Jewish comedian.  I've read Deadpan and can tell you it is an exceptionally funny ride with very serious overtones. This is one of the most imaginative time and character-slipping stories I've read since Kurt Vonnegut's Slaughterhouse Five.Richard's other books include the novels Escape From Film School and Barry and the Persuasions. His non-fiction titles include: The Whole Picture: Strategies for Screenwriting Success in the New Hollywood; Screenwriting--The Art, Craft and Business of Film and Television Writing; and Essentials of Screenwriting. His books have been translated into eight languages.In the interest of full disclosure, I'm proud to say that I was fortunate to have been one of Richard's students while I was attending UCLA's Graduate Screenwriting program. You can find out much more about Richard and his work by subscribing to his podcast onSubstack, and his blog onMedium. www.richardwalter.com. https://www.facebook.com/ProfRichardWalter?mibextid=LQQJ4dhttps://substack.com/@richardwalterhttps://medium.com/@professorrichardwalter

Today's West Coast Cookbook & Speakeasy Podcast for our especially special Daily Special, Smothered Benedict Wednesdays, is now available on the Spreaker Player!Starting off in the Bistro Cafe, it's almost like Trump fell into Putin's trap on purpose.Then, on the rest of the menu, a conservative freelance writer plead guilty for his part in the January 6 Capitol insurrection; a judge recused himself from presiding over Arizona's fake electors case after the MAGA defendants complained about an email in which he told fellow judges to speak out against attacks on Kamala Harris; and, from “The Bluest Eye” by Toni Morrison, to “Slaughterhouse-Five” by Kurt Vonnegut, Florida education officials report hundreds of books have been pulled from the state's school libraries.After the break, we move to the Chef's Table where one of the most popular and charismatic figures of the imprisoned Belarusian opposition, has resurfaced after more than twenty months of no contact with the outside world; and, police in Antigua have charged a man with murder in the stabbing death of a controversial politician.All that and more, on West Coast Cookbook & Speakeasy with Chef de Cuisine Justice Putnam.Bon Appétit!The Netroots Radio Live Player​Keep Your Resistance Radio Beaming 24/7/365!“It may be safely averred that good cookery is the best and truest economy, turning to full account every wholesome article of food, and converting into palatable meals what the ignorant either render uneatable or throw away in disdain.” - Eliza Acton‘Modern Cookery for Private Families' (1845)Become a supporter of this podcast: https://www.spreaker.com/podcast/west-coast-cookbook-speakeasy--2802999/support.

Send us a textIn today's episode, I interview Jens Kevin Georg, the director of the short film "Crust" which tells the story of a young boy in search of his first scar. The film received the silver medal in the narrative category at the 2024 Student Academy Awards.Listen to hear about the inspiration for the film, how he knew he had selected the right actor to play his lead, how he found a roller coaster to fit in his film, and Jens' own first scar.Books mentioned in this episode include:Slaughterhouse-Five by Kurt VonnegutThe Metamorphosis by Franz KafkaFilms mentioned in this episode include:"Crust” directed by Jens Kevin GeorgMidsommar directed by Ari Aster2001: A Space Odyssey directed by Stanley KubrickSuperbad directed by Greg MottolaThe Royal Tenenbaums directed by Wes AndersonBanshees of Inisherin directed by Martin McDonaghKajillionaire directed by Miranda JulyHunt for the Wilderpeople directed by Taika Waititi"Crust" will be playing at the Alcine Film Festival in Spain and the Izmir Short Film Festival in Turkey both in November.You can follow Jens on Instagram @jens__georg and follow the film @kruste_film to see when and where the film will be playing this fall.

In 2010, Jon Stewart and Stephen Colbert held a satirical rally on the National Mall in Washington, D.C., called the Rally to Restore Sanity and/or Fear. This was amid the Tea Party movement. Political emotions were running high. And Stewart ended the rally with a speech slamming the media for stoking the country's divisions.“But we live now in hard times, not end times,” he said. “And we can have animus and not be enemies. But unfortunately, one of our main tools in delineating the two broke.” That rally has a Rosetta Stone quality to it now. Because what Stewart was describing has only gotten worse. Our divisions feel deeper and more dangerous. So as we enter election week, I wanted to have a conversation with Stewart about some of the arcs he has traced in American politics since he first hosted “The Daily Show” in 1999. We discuss how the media has become increasingly segmented and polarized in the past 25 years, how that has affected politics, how he understands Tucker Carlson's political transformation and whether his own politics have changed.Note: The Washington Post is one of several news organizations mentioned in this conversation. We taped this interview before the recent controversy at the Washington Post over ending its practice of presidential endorsements -- a decision made by the paper's owner, Jeff Bezos.This episode contains strong language.Book Recommendations:I Shouldn't Be Telling You This (But I'm Going to Anyway) by Chelsea DevantezThe works of Kurt Vonnegut (Breakfast of Champions, Player Piano, Cat's Cradle, Slaughterhouse-Five, God Bless You, Mr. Rosewater, etc.)Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com.You can find transcripts (posted midday) and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.This episode of “The Ezra Klein Show” was produced by Elias Isquith. Fact-checking by Michelle Harris. Our senior engineer is Jeff Geld, with additional mixing by Aman Sahota. Our supervising editor is Claire Gordon. The show's production team also includes Annie Galvin, Rollin Hu and Kristin Lin. Original music by Pat McCusker. Audience strategy by Kristina Samulewski and Shannon Busta. The executive producer of New York Times Opinion Audio is Annie-Rose Strasser. Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.

This week, Tom Salinsky joins us for a World War III–adjacent chat in Madeupistan, while a global apocalypse is self-organising somewhere in Yorkshire. Also, some scary people keep trying to invite us to a free Bible study. It's The Pyramid at the End of the World. Notes and links Brendan compares Extremis to Star Trek: Voyager's Course: Oblivion, which also kills its entire regular cast. Nathan and Joe were not kind to this episode when they watched if for Untitled Star Trek Project. Tom refers to his own less-than-enthusiastic review of Extremis in a blog post from way back in 2017. Joe 90 was a Gerry and Sylvia Anderson supermarionation show from 1968–69, which stars a nine-year-old super spy who wears special glasses which contain the brain patterns of expert adults and enable him to do all of his spy stuff. James refers to Star Trek: The Next Generation's Commander William T Riker as someone who, like the monks, has a real fetish for consent. This deep cut is a reference to the Star Trek podcast The Greatest Generation, which you are only allowed to listen to after you've finished all of Untitled Star Trek Project. The Andromeda Strain is a 1969 book by Michael Crichton and a 1971 film directed by Robert Wise (The Sound of Music, Star Trek: The Motion Picture). In it, an extraterrestrial microbe gets loose in a research station and the staff need to prevent the station's nuclear self-destruct system from releasing an irradiated version of the the microbe into the environment. The Tralfamadorians are time-aware aliens who appear in a couple of Kurt Vonnegut's novels, most notably Slaughterhouse-Five (1969). Follow us Nathan is on Bluesky at @nathanbottomley.bsky.social, Brendan is at @retrobrendo.bsky.social, and James is at @ohjamessellwood.bsky.social. The Flight Through Entirety theme was arranged by Cameron Lam. Tom Salinsky's blog includes his reviews of Doctor Who from Season 5 onwards, as well as his reviews of all the 60s and 90s Star Trek series. His most recent book, Star Trek: Discovering the TV Series, covers The Original Series, The Animated Series and The Next Generation, and is available in all good book stores, as well as on Amazon. (Amazon US) (Amazon UK) (Amazon AU) You can follow Flight Through Entirety on Mastodon and Bluesky, as well as on X and Facebook. Our website is at flightthroughentirety.com. Please consider rating or reviewing us on Apple Podcasts, or we'll save you from a crisis we created and demand your eternal adoration in return. At the time that this episode was released, the Doomsday Clock was at 90 seconds to midnight, mostly thanks to the climate disaster and the involvement of nuclear powers in wars in Ukraine and Gaza. So sleep well, everyone. And more You can find links to all of the podcasts we're involved in on our podcasts page. But here's a summary of where we're up to right now. 500 Year Diary is our latest new Doctor Who podcast, going back through the history of the show and examining new themes and ideas. Its first season came out early this year, under the title New Beginnings. Check it out. It will be back for a second season early in 2025. The Second Great and Bountiful Human Empire has broadcast our hot takes on every new episode of Doctor Who since November last year, and it will be back again in 2025 for Season 2. Brendan and Bjay's gaming podcast The Bjay BJ Game Show has just released a new episode today, in which they discuss Lost in Play (2022), a point-and-click adventure set in the imagination of two young children. Brendan, Richard and Steven have also just released another episode of their Avengers podcast The Three Handed Game. It's the first episode of their triptych The Pop Explosion, covering a monochrome Emma Peel episode called Death at Bargain Prices, in which Steed and Mrs Peel go undercover in a London department store and discover a plot to blow up much of the city. And finally there's our Star Trek commentary podcast, Untitled Star Trek Project, featuring Nathan and friend-of-the-podcast Joe Ford. This week, we laughed and clapped as the crew of the USS Protostar saved the Federation in the two-part Season 1 finale of Star Trek: Prodigy.

In this episode of Challenge Accepted, Frank and Thomas break down the mind-bending seventh episode of Agatha All Along. The hosts dive deep into the complex timelines, shifting dynamics, and character arcs that make this one of the most thrilling episodes yet. They discuss Lily's evolving power, Agatha's mysterious past, and the shocking tarot card moments. Prepare for insightful analysis, wild fan theories, and the emotional highs and lows of what is becoming an epic journey through magic and destiny. Timestamps and Topics: 00:00 – Introduction to the episode and the hosts' excitement 02:05 – Breaking down the multiple timelines and tarot puzzle 04:50 – Lily's trial and transformation through the tarot card journey 10:30 – Gin's role and the timeline puzzle 16:20 – Billy's complex motives and connections to Wanda 23:00 – The reveal of Death's true identity and Aubrey Plaza's performance 30:05 – The Salem Seven confrontation and Lily's sacrifice 35:30 – Predictions for the season finale and possible cameos Key Takeaways: Lily's journey reaches a pivotal moment as she faces her past, present, and future in a single episode. Agatha's true motives come into question as Billy begins to doubt her past and powers. The complex timeline storytelling and editing is one of the series' strongest points. The episode draws fascinating parallels between Agatha All Along and iconic pop culture, such as Doctor Manhattan and Slaughterhouse-Five. The reveal of Death, portrayed by Aubrey Plaza, adds a new layer of tension and intrigue to the series. Quotes: "I had to go for a walk after that episode. It was so good!" – Frank "Every tarot card Lily flipped was like a revelation of her entire journey." – Thomas "We're living three different timelines at once, and it's absolutely brilliant!" – Frank "Agatha may not be as experienced on the Witches Road as we thought." – Thomas Call to Action: If you loved this episode, make sure to subscribe to Challenge Accepted and leave us a review! Share the episode on social media using the hashtag #ChallengeAcceptedLive to join the conversation. Let us know your thoughts and predictions for the Agatha All Along finale! Links and Resources: For all the latest news and updates discussed in this episode, visit GeekFreaksPodcast.com. Follow Us: Instagram: @ChallengeAcceptedLive TikTok: @ChallengeAcceptedLive Twitter: @CAPodcastLive Listener Questions: Have a burning question or a show or movie you want us to review? Send it to us at challengeacceptedgfx@gmail.com. We love hearing from our listeners! Apple Podcast Tags: Agatha All Along, Marvel series review, Agatha Harkness, MCU, Disney Plus, geek culture podcast, magic, witches, Wanda Maximoff, Scarlet Witch, TV show recap, Marvel fan theories, superhero podcast, Aubrey Plaza, magic in Marvel

Full Episode available here https://rarecandy.substack.com/p/gain-of-fiction-vol-41-the-slaughterhouse

Fiji Pro Preview: Can Vortex and Eeeeeeewing hold their nerves and places in the top 5? Will Medina make a late charge and storm the WSL finals? Are wildcards Sierra Kerr and Erin Brooks going to shatter Pickles dreams? Will Goat rain little Goat pebbles all over the rest of the field? Smiv and Deadly discuss...See omnystudio.com/listener for privacy information.

Listen to author and critic Erica Wagner in conversation with Kaliane Bradley, writer of “The Ministry of Time”, her first novel published by Sceptre in 2024. Through this conversation with Erica Wagner, Kaliane Bradley talks about her passion for writing since childhood, the literary and historical sources that inspired her for this novel, and the power of fiction. Together, they also discuss how her experience as an editor has influenced her work as a writer, and highlight the collaborative aspect of creating a book. As part of the Rendez-vous littéraires rue Cambon [Literary Rendezvous at Rue Cambon], the podcast "les Rencontres" highlights the birth of a writer in a series imagined by CHANEL and House ambassador and spokesperson Charlotte Casiraghi.Kaliane Bradley, The Ministry of Time © Hodder & Stoughton, 2024Normal People © Sally Rooney, 2018 Publisher by Faber and Faber LtdConversations with Friends © Sally Rooney, 2017 Publisher by Faber and Faber LtdEmma Donoghue, The Wonder © Little, Brown & Company, 2016Copyright © 2016 by Emma Donoghue LtdCopyright © Alice BirchCopyright © Sebastián LelioEmma Donoghue, The Wonder © Picador, 2016The Wonder by Emma Donoghue © 2016. Published in Canada by HarperCollins Publishers LtdEleanor Catton, Birnam Wood © Granta Books, 2023© Eleanor Catton 2023Birnam Wood by Eleanor Catton. Copyright © 2023 by Eleanor Catton. Used by permission of Farrar, Straus and Giroux. All rights Reserved© Penguin Classics© Penguin Press© Catapult Books© Granta Books© The Willowherb Review© Extra Teeth© Electric LiteratureKaliane Bradley, The Wishing Dance © Hodder & Stoughton, 2021Compilation copyright - Pippa Marland & Anita Roy, Gifts of Gravity and Light © Hodder & Stoughton, 2021© Hodder and Stoughton© Harper Bazaar© Royal Society of LiteratureDan Simmons, The Terror © Little, Brown and Company, 2007Audrey Niffenegger, The Time Traveller's Wife, Vintage Classic, 2022Emily St. John Mandel, The Sea of Tranquility, Penguin Books, 2022Kurt Vonnegut, Slaughterhouse-Five, Penguin Books, 1999© Sceptre BooksWikipedia trademark used with permission from the Wikimedia Foundation

In this abridged episode of the Talking Comics podcast, Joey takes an arrow to the knee during paintball, the X-Men's Krakoan Era ends, Steve enrolls in Rangers Academy, and Bob wants better things for Kamala Khan.Books: Love Everlasting #15, Ms. Marvel: Mutant Menace #4, Poison Ivy #23, Slaughter House Five OGN, Rangers Academy #1-8, Scarlett #1, the End of the Krakoan EraOther Stuff: Hardly. It's a short episode. We need our beauty sleep.The Comic Book Podcast is brought to you by Talking Comics (www.talkingcomicbooks.com). It is hosted by Steve Seigh, Bob Reyer, Joey Braccino, Aaron Amos, Chris Ceary, and John Burkle, who weekly dissect everything comics-related, from breaking news to new releases. Our Twitter handle is @TalkingComics, or you can find us on Instagram and Threads @talkingcomicspodcast. You can email us at podcast@talkingcomicbooks.com.

Welcome back to Razzlefrat! This week, while Ashtin lazes on the beach, Allie runs a half marathon. Then, we travel back and forth in time with Vonnegut and Slaughterhouse Five. We chat about the construct of time, time travel as a metaphor for PTSD, the inevitability and omnipresence of war, and lots of other fun stuff! Be sure to follow us in between episodes on our booksta accounts @grapes_of_ash and @theresinkonmyhands and also our joint account @razzlefratpod! Until next time, we bid you farewell. xoxo, Razzlefrat Books/authors mentioned this episode: The Atlas Complex by Olivie Blake Wild by Cheryl Strayed Slaughterhouse Five by Kurt Vonnegut House of Mirth by Edith Wharton Ethan Frome by Edith Wharton Catch22 by Joseph Heller The Things They Carried by Tim O'Brien The Sun Also Rises by Ernest Hemingway Farewell to Arms by Ernest Hemingway For Whom the Bell Tolls by Ernest Hemingway Wandering Stars by Tommy Orange There, There by Tommy Orange Our Wives Under the Sea by Julia Armfield --- Support this podcast: https://podcasters.spotify.com/pod/show/razzlefratpodcast/support

Stephen Cole is back on StoryBeat for the second time. An award-winning writer of musical theatre, non-fiction books, short stories, and novels, Stephen's work has been recorded, published, and produced worldwide, from New York City to London to the Middle East and Australia. With Matthew Ward he wrote the musicals After The Fair, Merlin's Apprentice, Rock Odyssey, and Casper (which originally starred Chita Rivera), The Night of the Hunter and Saturday Night at Grossinger's (with music by Claibe Richardson), and Dodsworth and Time After Time (with music by Jeff Saver), which has recently been revived at the Children's Theatre of Cincinnati.  In 2005 Stephen and composer David Krane were commissioned to write the first American musical to premiere in the Middle East. The result was Aspire, which was produced in Qatar. Their hilarious cross-cultural experiences resulted in another show titled The Road To Qatar! which has been produced in Dallas, New York and the Edinburgh International Festival (where it was nominated for Best Musical).  His most recent musical, Goin' Hollywood, was produced in 2023 to rave reviews and sold-out audiences in Dallas.Stephen has written continuity, narration, and special material for fifteen different Drama League Shows including all-star tributes to Kander and Ebb, Liza Minnelli, Chita Rivera, Liz Smith, Peter Stone, Angela Lansbury, Patti LuPone, Kristin Chenoweth, Audra McDonald and Neil Patrick Harris.  As an author, Stephen has published That Book About That Girl, I Could Have Sung All Night: the Marni Nixon story (which is currently in development as a feature film), Noel Coward: A Bio Bilbliography, and the Charles Strouse memoir Put On a Happy Face. A prolific short story writer, Stephen's first novel Mary & Ethel…and Mikey Who? was published in January 2024.  I've read Mary & Ethel…and Mikey Who? It's what's you call a real hoot, especially for lovers of old broads on old Broadway. It's the most entertaining time-slipping story I've read since Kurt Vonnegut's Slaughterhouse Five.Stephen is a recipient of a Gilman-Gonzales Falla Commendation for musical theatre as well as the prestigious Edward Kleban Award.  www.stephencolewriter.orghttps://www.facebook.com/steve.cole.5076798 https://www.instagram.com/stephencolewrit  

Welcome back to Razzlefrat! This week, Allie is out of hibernation and Ashtin is in the office. Then, we play a new game—Hallmark Movie or Romance Book?—and mourn the state of literature. Join us next time for our red-flag-read, Slaughterhouse Five by Kurt Vonnegut. Be sure to follow us in between episodes on our booksta accounts @grapes_of_ash and @theresinkonmyhands and also our joint account @razzlefratpod! Until next time, we bid you farewell. xoxo, Razzlefrat Books/authors mentioned this episode: --- Support this podcast: https://podcasters.spotify.com/pod/show/razzlefratpodcast/support

"I have enough."Welcome back!  Thanks to our ongoing subscribers and listeners.  If you're here for the first time and like what you're hearing, consider checking out our previous episodes and leaving positive feedback.  Your positive feedback helps us grow the podcast.Tonight we discuss the concept of "I have enough."  We garnered the discussion from a true story about a conversation between the author of Catch 22, Joseph Heller, and the author of Slaughterhouse Five, Kurt Vonnegut.  Take a read of their conversation as they walked about a billionaire's home during a party one evening:https://narendragoidani.medium.com/but-i-have-something-he-will-never-have-enough-8036d03d089bWhat does "enough" look like and feel like to you?  Do you have enough?  Are YOU enough?  Have you ever thought about it on a deeper level?  Join the guys tonight for an enjoyable deep dive into this very concept.  Thanks again for listening and sharing this along.DISCLAIMER:The statements made and opinions expressed during this podcast are our own personal statements and opinions and should not be construed as the statements or opinions of any entity or institution that we may have been employed by or affiliated with at any time in our professional lives.  Additionally, we take patient confidentiality incredibly seriously.  For that reason, any references to stories about patients have purposefully been modified so as to not identify any particular patient or location.  Finally, while we are both doctors, nothing that we say in this podcast should be construed as medical advice.  If you are in need of medical advice, please contact your personal physician.  Also, while we are doctors, we are not your doctors.  Please discuss anything we discuss medically with your doctor.  Additionally any ideas or opinions expressed in the links above or by the guests on our show do not necessarily reflect our own personal or professional opinions, or the opinions of any organizations that we currently or formerly worked for or represented.  Thanks again for listening!

find me in the Montael Crew's chalet Follow us on twitter @DeadEnsigns Email your Star Trek opinions/questions/stories to deadensigns@gmail.com

The Buddies are going back to school reading popular high school novel, Slaughterhouse-Five by Kurt Vonnegut. Things haven't changed much since high school for the Buddies as they struggled to interpret the true meaning of the novel. The satirical anti-war book did provide the buddies some good talking points,  namely: how being negative is a good thing, how life is easier when you're hung like a horse, and the benefits of being a POW. So re-visit your high school reading assignments, pick up Slaughterhouse-Five and tell us what you think of the novel (or tell us what we were supposed to think).Intro (0:00-2:49)Stock Up/Down (2:50-26:16)Favorite Scene/Character (26:17-28:49)Love/Hate (28:50-34:33)Lingering Questions/Listener Email (34:34-36:39)Casting the Movie (36:40-37:20)Conclusion (37:21-39:16) NEXT BOOK: The Three-Body Problem by Liu Cixin

From his home in Ilium, N.Y., optometrist Billy Pilgrim (Michael Sacks) narrates how he came to be “unstuck in time.” Kidnapped by aliens and living in comfort with his assigned mate, B-movie starlet Montana Wildhack (Valerie Perrine), Billy experiences the events of his life in random order, flitting between his past as an American prisoner … Continue reading Ep. 06-20: Slaughterhouse Five (1972) →

In this week's episode, Gary Bauer shares little-known details from NASA's Apollo 8 mission that took its three astronaut crew 10 orbits around the moon over six days. Although Crew Commander, Frank Borman, Lunar Module Pilot, Fred W. Haise Jr., and Command Module Pilot, Edwin E. Aldrin Jr., accomplished all mission objectives, they are perhaps best remembered for their first-of-its-kind Christmas Eve telecast from outer space. The crew read verses from the first chapter of Genesis and then wished viewers, “Good night, good luck, a Merry Christmas and God bless all of you—all of you on the good Earth.” As there is nothing new under the sun, this event, which was beloved by the vast majority of Americans, infuriated the late Atheist and Separationist, Madalyn Murray O'Hair so much that she sued NASA administrator Thomas Paine and the U.S. government, arguing that the astronauts violated the First Amendment's Establishment Clause. To quote a famous repetitive refrain from the late author Kurt Vonnegut's book Slaughterhouse-Five seems apropos: “And so it goes…”

In this week's episode, Gary Bauer shares little-known details from NASA's Apollo 8 mission that took its three astronaut crew 10 orbits around the moon over six days. Although Crew Commander, Frank Borman, Lunar Module Pilot, Fred W. Haise Jr., and Command Module Pilot, Edwin E. Aldrin Jr., accomplished all mission objectives, they are perhaps best remembered for their first-of-its-kind Christmas Eve telecast from outer space. The crew read verses from the first chapter of Genesis and then wished viewers, “Good night, good luck, a Merry Christmas and God bless all of you—all of you on the good Earth.” As there is nothing new under the sun, this event, which was beloved by the vast majority of Americans, infuriated the late Atheist and Separationist, Madalyn Murray O'Hair so much that she sued NASA administrator Thomas Paine and the U.S. government, arguing that the astronauts violated the First Amendment's Establishment Clause. To quote a famous repetitive refrain from the late author Kurt Vonnegut's book Slaughterhouse-Five seems apropos: “And so it goes…”

There's nothing like working through the “Questions of the Soul” (a la Preach my Gospel) to get one pondering the meaning of existence. This week I compare and contrast my post-Mormon thoughts vs. Mormonism's answers on God, life's purpose and how to find happiness. It's a fun one! References: Brittany Hartley @nononsensespirituality Kurt Vonnegut "Slaughterhouse Five" --- Support this podcast: https://podcasters.spotify.com/pod/show/hayley-rawle/support

On this episode of Book Cheat, Dave has read Slaughterhouse Five. Hearing all about Kurt Vonnegut's classic is Jackson Baly and Matt Stewart.Suggest a book for Dave to cheat: https://forms.gle/zj9DHBCFMuevS4VC6 Support Book Cheat and Do Go On on Patreon: www.patreon.com/DoGoOnPodInstagram: @bookcheatpodFacebook: @bookcheatpodTwitter: @bookcheatpodCheck out our other podcasts at dogoonpod.com or below:Do Go On: https://play.acast.com/s/do-go-on Prime Mates: https://play.acast.com/s/prime-mates/Listen Now: https://play.acast.com/s/listen-now/Who Knew It with Matt Stewart: https://play.acast.com/s/who-knew-it-with-matt-stewart/ Hosted on Acast. See acast.com/privacy for more information.

Seth talks about society's problems. Kurt Vonnegut's "Slaughterhouse-Five." Comparisons of versions of the song "Mexico" by James Taylor and Jimmy Buffett. Is President Trump's primary poll too insurmountable, and would his re-election in 2024 lead to a second American Civil War? Being thankful. See omnystudio.com/listener for privacy information.

Link to purchase this amazing book:  https://amzn.to/47lE3kXGet ready for an engaging journey into the world of literature with Joe Samo, as he takes a closer look at Kurt Vonnegut's classic, "Slaughterhouse-Five." This book covers a range of topics, including World War II, the experiences of soldiers, the challenges of PTSD, encounters with aliens, the enduring theme of love, and more.Kurt Vonnegut's unique style of addressing deep and meaningful subjects with a touch of humor and storytelling is a highlight of this analysis. Joe Samo will help you explore how Vonnegut takes everyday topics and uncovers the complexities and simplicity of life within them. It's a fascinating exploration of this literary masterpiece that's not to be missed! Join us for an insightful and entertaining discussion of "Slaughterhouse-Five."SUPPORT THE PODCAST -  donate money to keep the content coming your way :) -VENMO:   @Joe-Samo-1PayPal:   joesamo23@gmail.com$$$$----------------------Link to purchase this amazing book:  https://amzn.to/47lE3kXWebsite:  www.SamoLaw.comEmail:  joe@SamoLaw.comInstagram:  @runitbymylawyer#kurtvonnegut #Slaughterhouse5 #philosphy

On this episode of the Sofa King Podcast, we talk about one of the greatest authors and popular culture figures of all time, Kurt Vonnegut. With the release of his 1969 book Slaughterhouse Five, Vonnegut became an overnight sensation. He was something we lack today—a celebrity author who was witty enough to dominate late night and literary enough to be studied by scholars. One of the key moments of his life was being captured the Battle of the Bulge in WWII and then surviving the firebombing of Dresden. His life, his pain, his humor, and his madness, all play out in his wildly original novels, and hopefully we do him some justice with this little episode of ours. We might even laugh inappropriately as he would have wanted. So it goes ***     Visit Our Sources: https://www.biography.com/writer/kurt-vonnegut https://www.vonnegutlibrary.org/biography/ https://www.famousauthors.org/kurt-vonnegut https://en.wikipedia.org/wiki/Kurt_Vonnegut https://www.nationalww2museum.org/war/articles/kurt-vonnegut-slaughterhouse-five https://quod.lib.umich.edu/cgi/t/text/text-idx?cc=mqr;c=mqr;c=mqrarchive;idno=act2080.0049.111;rgn=main;view=text;xc=1;g=mqrg https://www.mentalfloss.com/article/88215/13-humanizing-facts-about-kurt-vonnegut https://bookanalysis.com/kurt-vonnegut/facts/ https://en.wikipedia.org/wiki/Bombing_of_Dresden_in_World_War_II https://scrapsfromtheloft.com/books/interview-with-joseph-heller-and-kurt-vonnegut-1992-by-carole-mallory/#:~:text=We%20were%20both%20sort%20of,didn't%20meet%20you%20then.

This weekend TCM showed this incredible documentary check it out, and support Valerie and the fim.Filmmaker Stacey Souther made an incredible documentary about Valerie Perrine , who made us all fall in love with her Superman performance not to mention Lenny, Slaughterhouse Five, WC Fields and Me and other films.Step 1 Buy the documentary here https://t.co/bzS0iu8MrV?amp=1 .Step 2: More importantly you can donate to help offset the costs of care for @TheValPerrinehere: https://gofund.me/e29e4f0aThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3143082/advertisement

Episode 165 of A History of Rock Music in Five Hundred Songs looks at “Dark Stat” and the career of the Grateful Dead. This is a long one, even longer than the previous episode, but don't worry, that won't be the norm. There's a reason these two were much longer than average. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Codine" by the Charlatans. Errata I mispronounce Brent Mydland's name as Myland a couple of times, and in the introduction I say "Touch of Grey" came out in 1988 -- I later, correctly, say 1987. (I seem to have had a real problem with dates in the intro -- I also originally talked about "Blue Suede Shoes" being in 1954 before fixing it in the edit to be 1956) Resources No Mixcloud this week, as there are too many songs by the Grateful Dead, and Grayfolded runs to two hours. I referred to a lot of books for this episode, partly because almost everything about the Grateful Dead is written from a fannish perspective that already assumes background knowledge, rather than to provide that background knowledge. Of the various books I used, Dennis McNally's biography of the band and This Is All a Dream We Dreamed: An Oral History of the Grateful Dead by Blair Jackson and David Gans are probably most useful for the casually interested. Other books on the Dead I used included McNally's Jerry on Jerry, a collection of interviews with Garcia; Deal, Bill Kreutzmann's autobiography; The Grateful Dead FAQ by Tony Sclafani; So Many Roads by David Browne; Deadology by Howard F. Weiner; Fare Thee Well by Joel Selvin and Pamela Turley; and Skeleton Key: A Dictionary for Deadheads by David Shenk and Steve Silberman. Tom Wolfe's The Electric Kool-Aid Acid Test is the classic account of the Pranksters, though not always reliable. I reference Slaughterhouse Five a lot. As well as the novel itself, which everyone should read, I also read this rather excellent graphic novel adaptation, and The Writer's Crusade, a book about the writing of the novel. I also reference Ted Sturgeon's More Than Human. For background on the scene around Astounding Science Fiction which included Sturgeon, John W. Campbell, L. Ron Hubbard, and many other science fiction writers, I recommend Alec Nevala-Lee's Astounding. 1,000 True Fans can be read online, as can the essay on the Californian ideology, and John Perry Barlow's "Declaration of the Independence of Cyberspace". The best collection of Grateful Dead material is the box set The Golden Road, which contains all the albums released in Pigpen's lifetime along with a lot of bonus material, but which appears currently out of print. Live/Dead contains both the live version of "Dark Star" which made it well known and, as a CD bonus track, the original single version. And archive.org has more live recordings of the group than you can possibly ever listen to. Grayfolded can be bought from John Oswald's Bandcamp Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Tuning from "Grayfolded", under the warnings Before we begin -- as we're tuning up, as it were, I should mention that this episode contains discussions of alcoholism, drug addiction, racism, nonconsensual drugging of other people, and deaths from drug abuse, suicide, and car accidents. As always, I try to deal with these subjects as carefully as possible, but if you find any of those things upsetting you may wish to read the transcript rather than listen to this episode, or skip it altogether. Also, I should note that the members of the Grateful Dead were much freer with their use of swearing in interviews than any other band we've covered so far, and that makes using quotes from them rather more difficult than with other bands, given the limitations of the rules imposed to stop the podcast being marked as adult. If I quote anything with a word I can't use here, I'll give a brief pause in the audio, and in the transcript I'll have the word in square brackets. [tuning ends] All this happened, more or less. In 1910, T. S. Eliot started work on "The Love Song of J. Alfred Prufrock", which at the time was deemed barely poetry, with one reviewer imagining Eliot saying "I'll just put down the first thing that comes into my head, and call it 'The Love Song of J. Alfred Prufrock.'" It is now considered one of the great classics of modernist literature. In 1969, Kurt Vonnegut wrote "Slaughterhouse-Five, or, The Children's Crusade: A Duty-Dance with Death", a book in which the protagonist, Billy Pilgrim, comes unstuck in time, and starts living a nonlinear life, hopping around between times reliving his experiences in the Second World War, and future experiences up to 1976 after being kidnapped by beings from the planet Tralfamadore. Or perhaps he has flashbacks and hallucinations after having a breakdown from PTSD. It is now considered one of the great classics of modernist literature or of science fiction, depending on how you look at it. In 1953, Theodore Sturgeon wrote More Than Human. It is now considered one of the great classics of science fiction. In 1950, L. Ron Hubbard wrote Dianetics: The Modern Science of Mental Health. It is now considered either a bad piece of science fiction or one of the great revelatory works of religious history, depending on how you look at it. In 1994, 1995, and 1996 the composer John Oswald released, first as two individual CDs and then as a double-CD, an album called Grayfolded, which the composer says in the liner notes he thinks of as existing in Tralfamadorian time. The Tralfamadorians in Vonnegut's novels don't see time as a linear thing with a beginning and end, but as a continuum that they can move between at will. When someone dies, they just think that at this particular point in time they're not doing so good, but at other points in time they're fine, so why focus on the bad time? In the book, when told of someone dying, the Tralfamadorians just say "so it goes". In between the first CD's release and the release of the double-CD version, Jerry Garcia died. From August 1942 through August 1995, Jerry Garcia was alive. So it goes. Shall we go, you and I? [Excerpt: The Grateful Dead, "Dark Star (Omni 3/30/94)"] "One principle has become clear. Since motives are so frequently found in combination, it is essential that the complex types be analyzed and arranged, with an eye kept single nevertheless to the master-theme under discussion. Collectors, both primary and subsidiary, have done such valiant service that the treasures at our command are amply sufficient for such studies, so extensive, indeed, that the task of going through them thoroughly has become too great for the unassisted student. It cannot be too strongly urged that a single theme in its various types and compounds must be made predominant in any useful comparative study. This is true when the sources and analogues of any literary work are treated; it is even truer when the bare motive is discussed. The Grateful Dead furnishes an apt illustration of the necessity of such handling. It appears in a variety of different combinations, almost never alone. Indeed, it is so widespread a tale, and its combinations are so various, that there is the utmost difficulty in determining just what may properly be regarded the original kernel of it, the simple theme to which other motives were joined. Various opinions, as we shall see, have been held with reference to this matter, most of them justified perhaps by the materials in the hands of the scholars holding them, but none quite adequate in view of later evidence." That's a quote from The Grateful Dead: The History of a Folk Story, by Gordon Hall Gerould, published in 1908. Kurt Vonnegut's novel Slaughterhouse-Five opens with a chapter about the process of writing the novel itself, and how difficult it was. He says "I would hate to tell you what this lousy little book cost me in money and anxiety and time. When I got home from the Second World War twenty-three years ago, I thought it would be easy for me to write about the destruction of Dresden, since all I would have to do would be to report what I had seen. And I thought, too, that it would be a masterpiece or at least make me a lot of money, since the subject was so big." This is an episode several of my listeners have been looking forward to, but it's one I've been dreading writing, because this is an episode -- I think the only one in the series -- where the format of the podcast simply *will not* work. Were the Grateful Dead not such an important band, I would skip this episode altogether, but they're a band that simply can't be ignored, and that's a real problem here. Because my intent, always, with this podcast, is to present the recordings of the artists in question, put them in context, and explain why they were important, what their music meant to its listeners. To put, as far as is possible, the positive case for why the music mattered *in the context of its time*. Not why it matters now, or why it matters to me, but why it matters *in its historical context*. Whether I like the music or not isn't the point. Whether it stands up now isn't the point. I play the music, explain what it was they were doing, why they were doing it, what people saw in it. If I do my job well, you come away listening to "Blue Suede Shoes" the way people heard it in 1956, or "Good Vibrations" the way people heard it in 1966, and understanding why people were so impressed by those records. That is simply *not possible* for the Grateful Dead. I can present a case for them as musicians, and hope to do so. I can explain the appeal as best I understand it, and talk about things I like in their music, and things I've noticed. But what I can't do is present their recordings the way they were received in the sixties and explain why they were popular. Because every other act I have covered or will cover in this podcast has been a *recording* act, and their success was based on records. They may also have been exceptional live performers, but James Brown or Ike and Tina Turner are remembered for great *records*, like "Papa's Got a Brand New Bag" or "River Deep, Mountain High". Their great moments were captured on vinyl, to be listened back to, and susceptible of analysis. That is not the case for the Grateful Dead, and what is worse *they explicitly said, publicly, on multiple occasions* that it is not possible for me to understand their art, and thus that it is not possible for me to explain it. The Grateful Dead did make studio records, some of them very good. But they always said, consistently, over a thirty year period, that their records didn't capture what they did, and that the only way -- the *only* way, they were very clear about this -- that one could actually understand and appreciate their music, was to see them live, and furthermore to see them live while on psychedelic drugs. [Excerpt: Grateful Dead crowd noise] I never saw the Grateful Dead live -- their last UK performance was a couple of years before I went to my first ever gig -- and I have never taken a psychedelic substance. So by the Grateful Dead's own criteria, it is literally impossible for me to understand or explain their music the way that it should be understood or explained. In a way I'm in a similar position to the one I was in with La Monte Young in the last episode, whose music it's mostly impossible to experience without being in his presence. This is one reason of several why I placed these two episodes back to back. Of course, there is a difference between Young and the Grateful Dead. The Grateful Dead allowed -- even encouraged -- the recording of their live performances. There are literally thousands of concert recordings in circulation, many of them of professional quality. I have listened to many of those, and I can hear what they were doing. I can tell you what *I* think is interesting about their music, and about their musicianship. And I think I can build up a good case for why they were important, and why they're interesting, and why those recordings are worth listening to. And I can certainly explain the cultural phenomenon that was the Grateful Dead. But just know that while I may have found *a* point, *an* explanation for why the Grateful Dead were important, by the band's own lights and those of their fans, no matter how good a job I do in this episode, I *cannot* get it right. And that is, in itself, enough of a reason for this episode to exist, and for me to try, even harder than I normally do, to get it right *anyway*. Because no matter how well I do my job this episode will stand as an example of why this series is called "*A* History", not *the* history. Because parts of the past are ephemeral. There are things about which it's true to say "You had to be there". I cannot know what it was like to have been an American the day Kennedy was shot, I cannot know what it was like to be alive when a man walked on the Moon. Those are things nobody my age or younger can ever experience. And since August the ninth, 1995, the experience of hearing the Grateful Dead's music the way they wanted it heard has been in that category. And that is by design. Jerry Garcia once said "if you work really hard as an artist, you may be able to build something they can't tear down, you know, after you're gone... What I want to do is I want it here. I want it now, in this lifetime. I want what I enjoy to last as long as I do and not last any longer. You know, I don't want something that ends up being as much a nuisance as it is a work of art, you know?" And there's another difficulty. There are only two points in time where it makes sense to do a podcast episode on the Grateful Dead -- late 1967 and early 1968, when the San Francisco scene they were part of was at its most culturally relevant, and 1988 when they had their only top ten hit and gained their largest audience. I can't realistically leave them out of the story until 1988, so it has to be 1968. But the songs they are most remembered for are those they wrote between 1970 and 1972, and those songs are influenced by artists and events we haven't yet covered in the podcast, who will be getting their own episodes in the future. I can't explain those things in this episode, because they need whole episodes of their own. I can't not explain them without leaving out important context for the Grateful Dead. So the best I can do is treat the story I'm telling as if it were in Tralfamadorian time. All of it's happening all at once, and some of it is happening in different episodes that haven't been recorded yet. The podcast as a whole travels linearly from 1938 through to 1999, but this episode is happening in 1968 and 1972 and 1988 and 1995 and other times, all at once. Sometimes I'll talk about things as if you're already familiar with them, but they haven't happened yet in the story. Feel free to come unstuck in time and revisit this time after episode 167, and 172, and 176, and 192, and experience it again. So this has to be an experimental episode. It may well be an experiment that you think fails. If so, the next episode is likely to be far more to your taste, and much shorter than this or the last episode, two episodes that between them have to create a scaffolding on which will hang much of the rest of this podcast's narrative. I've finished my Grateful Dead script now. The next one I write is going to be fun: [Excerpt: Grateful Dead, "Dark Star"] Infrastructure means everything. How we get from place to place, how we transport goods, information, and ourselves, makes a big difference in how society is structured, and in the music we hear. For many centuries, the prime means of long-distance transport was by water -- sailing ships on the ocean, canal boats and steamboats for inland navigation -- and so folk songs talked about the ship as both means of escape, means of making a living, and in some senses as a trap. You'd go out to sea for adventure, or to escape your problems, but you'd find that the sea itself brought its own problems. Because of this we have a long, long tradition of sea shanties which are known throughout the world: [Excerpt: A. L. Lloyd, "Off to Sea Once More"] But in the nineteenth century, the railway was invented and, at least as far as travel within a landmass goes, it replaced the steamboat in the popular imaginary. Now the railway was how you got from place to place, and how you moved freight from one place to another. The railway brought freedom, and was an opportunity for outlaws, whether train robbers or a romanticised version of the hobo hopping onto a freight train and making his way to new lands and new opportunity. It was the train that brought soldiers home from wars, and the train that allowed the Great Migration of Black people from the South to the industrial North. There would still be songs about the riverboats, about how ol' man river keeps rolling along and about the big river Johnny Cash sang about, but increasingly they would be songs of the past, not the present. The train quickly replaced the steamboat in the iconography of what we now think of as roots music -- blues, country, folk, and early jazz music. Sometimes this was very literal. Furry Lewis' "Kassie Jones" -- about a legendary train driver who would break the rules to make sure his train made the station on time, but who ended up sacrificing his own life to save his passengers in a train crash -- is based on "Alabamy Bound", which as we heard in the episode on "Stagger Lee", was about steamboats: [Excerpt: Furry Lewis, "Kassie Jones"] In the early episodes of this podcast we heard many, many, songs about the railway. Louis Jordan saying "take me right back to the track, Jack", Rosetta Tharpe singing about how "this train don't carry no gamblers", the trickster freight train driver driving on the "Rock Island Line", the mystery train sixteen coaches long, the train that kept-a-rollin' all night long, the Midnight Special which the prisoners wished would shine its ever-loving light on them, and the train coming past Folsom Prison whose whistle makes Johnny Cash hang his head and cry. But by the 1960s, that kind of song had started to dry up. It would happen on occasion -- "People Get Ready" by the Impressions is the most obvious example of the train metaphor in an important sixties record -- but by the late sixties the train was no longer a symbol of freedom but of the past. In 1969 Harry Nilsson sang about how "Nobody Cares About the Railroads Any More", and in 1968 the Kinks sang about "The Last of the Steam-Powered Trains". When in 1968 Merle Haggard sang about a freight train, it was as a memory, of a child with hopes that ended up thwarted by reality and his own nature: [Excerpt: Merle Haggard, "Mama Tried"] And the reason for this was that there had been another shift, a shift that had started in the forties and accelerated in the late fifties but had taken a little time to ripple through the culture. Now the train had been replaced in the popular imaginary by motorised transport. Instead of hopping on a train without paying, if you had no money in your pocket you'd have to hitch-hike all the way. Freedom now meant individuality. The ultimate in freedom was the biker -- the Hell's Angels who could go anywhere, unburdened by anything -- and instead of goods being moved by freight train, increasingly they were being moved by truck drivers. By the mid-seventies, truck drivers took a central place in American life, and the most romantic way to live life was to live it on the road. On The Road was also the title of a 1957 novel by Jack Kerouac, which was one of the first major signs of this cultural shift in America. Kerouac was writing about events in the late forties and early fifties, but his book was also a precursor of the sixties counterculture. He wrote the book on one continuous sheet of paper, as a stream of consciousness. Kerouac died in 1969 of an internal haemmorage brought on by too much alcohol consumption. So it goes. But the big key to this cultural shift was caused by the Federal-Aid Highway Act of 1956, a massive infrastructure spending bill that led to the construction of the modern American Interstate Highway system. This accelerated a program that had already started, of building much bigger, safer, faster roads. It also, as anyone who has read Robert Caro's The Power Broker knows, reinforced segregation and white flight. It did this both by making commuting into major cities from the suburbs easier -- thus allowing white people with more money to move further away from the cities and still work there -- and by bulldozing community spaces where Black people lived. More than a million people lost their homes and were forcibly moved, and orders of magnitude more lost their communities' parks and green spaces. And both as a result of deliberate actions and unconscious bigotry, the bulk of those affected were Black people -- who often found themselves, if they weren't forced to move, on one side of a ten-lane highway where the park used to be, with white people on the other side of the highway. The Federal-Aid Highway Act gave even more power to the unaccountable central planners like Robert Moses, the urban planner in New York who managed to become arguably the most powerful man in the city without ever getting elected, partly by slowly compromising away his early progressive ideals in the service of gaining more power. Of course, not every new highway was built through areas where poor Black people lived. Some were planned to go through richer areas for white people, just because you can't completely do away with geographical realities. For example one was planned to be built through part of San Francisco, a rich, white part. But the people who owned properties in that area had enough political power and clout to fight the development, and after nearly a decade of fighting it, the development was called off in late 1966. But over that time, many of the owners of the impressive buildings in the area had moved out, and they had no incentive to improve or maintain their properties while they were under threat of demolition, so many of them were rented out very cheaply. And when the beat community that Kerouac wrote about, many of whom had settled in San Francisco, grew too large and notorious for the area of the city they were in, North Beach, many of them moved to these cheap homes in a previously-exclusive area. The area known as Haight-Ashbury. [Excerpt: The Grateful Dead, "Grayfolded"] Stories all have their starts, even stories told in Tralfamadorian time, although sometimes those starts are shrouded in legend. For example, the story of Scientology's start has been told many times, with different people claiming to have heard L. Ron Hubbard talk about how writing was a mug's game, and if you wanted to make real money, you needed to get followers, start a religion. Either he said this over and over and over again, to many different science fiction writers, or most science fiction writers of his generation were liars. Of course, the definition of a writer is someone who tells lies for money, so who knows? One of the more plausible accounts of him saying that is given by Theodore Sturgeon. Sturgeon's account is more believable than most, because Sturgeon went on to be a supporter of Dianetics, the "new science" that Hubbard turned into his religion, for decades, even while telling the story. The story of the Grateful Dead probably starts as it ends, with Jerry Garcia. There are three things that everyone writing about the Dead says about Garcia's childhood, so we might as well say them here too. The first is that he was named by a music-loving father after Jerome Kern, the songwriter responsible for songs like "Ol' Man River" (though as Oscar Hammerstein's widow liked to point out, "Jerome Kern wrote dum-dum-dum-dum, *my husband* wrote 'Ol' Man River'" -- an important distinction we need to bear in mind when talking about songwriters who write music but not lyrics). The second is that when he was five years old that music-loving father drowned -- and Garcia would always say he had seen his father dying, though some sources claim this was a false memory. So it goes. And the third fact, which for some reason is always told after the second even though it comes before it chronologically, is that when he was four he lost two joints from his right middle finger. Garcia grew up a troubled teen, and in turn caused trouble for other people, but he also developed a few interests that would follow him through his life. He loved the fantastical, especially the fantastical macabre, and became an avid fan of horror and science fiction -- and through his love of old monster films he became enamoured with cinema more generally. Indeed, in 1983 he bought the film rights to Kurt Vonnegut's science fiction novel The Sirens of Titan, the first story in which the Tralfamadorians appear, and wrote a script based on it. He wanted to produce the film himself, with Francis Ford Coppola directing and Bill Murray starring, but most importantly for him he wanted to prevent anyone who didn't care about it from doing it badly. And in that he succeeded. As of 2023 there is no film of The Sirens of Titan. He loved to paint, and would continue that for the rest of his life, with one of his favourite subjects being Boris Karloff as the Frankenstein monster. And when he was eleven or twelve, he heard for the first time a record that was hugely influential to a whole generation of Californian musicians, even though it was a New York record -- "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Garcia would say later "That was an important song. That was the first kind of, like where the voices had that kind of not-trained-singer voices, but tough-guy-on-the-street voice." That record introduced him to R&B, and soon he was listening to Chuck Berry and Bo Diddley, to Ray Charles, and to a record we've not talked about in the podcast but which was one of the great early doo-wop records, "WPLJ" by the Four Deuces: [Excerpt: The Four Deuces, "WPLJ"] Garcia said of that record "That was one of my anthem songs when I was in junior high school and high school and around there. That was one of those songs everybody knew. And that everybody sang. Everybody sang that street-corner favorite." Garcia moved around a lot as a child, and didn't have much time for school by his own account, but one of the few teachers he did respect was an art teacher when he was in North Beach, Walter Hedrick. Hedrick was also one of the earliest of the conceptual artists, and one of the most important figures in the San Francisco arts scene that would become known as the Beat Generation (or the Beatniks, which was originally a disparaging term). Hedrick was a painter and sculptor, but also organised happenings, and he had also been one of the prime movers in starting a series of poetry readings in San Francisco, the first one of which had involved Allen Ginsberg giving the first ever reading of "Howl" -- one of a small number of poems, along with Eliot's "Prufrock" and "The Waste Land" and possibly Pound's Cantos, which can be said to have changed twentieth-century literature. Garcia was fifteen when he got to know Hedrick, in 1957, and by then the Beat scene had already become almost a parody of itself, having become known to the public because of the publication of works like On the Road, and the major artists in the scene were already rejecting the label. By this point tourists were flocking to North Beach to see these beatniks they'd heard about on TV, and Hedrick was actually employed by one cafe to sit in the window wearing a beret, turtleneck, sandals, and beard, and draw and paint, to attract the tourists who flocked by the busload because they could see that there was a "genuine beatnik" in the cafe. Hedrick was, as well as a visual artist, a guitarist and banjo player who played in traditional jazz bands, and he would bring records in to class for his students to listen to, and Garcia particularly remembered him bringing in records by Big Bill Broonzy: [Excerpt: Big Bill Broonzy, "When Things Go Wrong (It Hurts Me Too)"] Garcia was already an avid fan of rock and roll music, but it was being inspired by Hedrick that led him to get his first guitar. Like his contemporary Paul McCartney around the same time, he was initially given the wrong instrument as a birthday present -- in Garcia's case his mother gave him an accordion -- but he soon persuaded her to swap it for an electric guitar he saw in a pawn shop. And like his other contemporary, John Lennon, Garcia initially tuned his instrument incorrectly. He said later "When I started playing the guitar, believe me, I didn't know anybody that played. I mean, I didn't know anybody that played the guitar. Nobody. They weren't around. There were no guitar teachers. You couldn't take lessons. There was nothing like that, you know? When I was a kid and I had my first electric guitar, I had it tuned wrong and learned how to play on it with it tuned wrong for about a year. And I was getting somewhere on it, you know… Finally, I met a guy that knew how to tune it right and showed me three chords, and it was like a revelation. You know what I mean? It was like somebody gave me the key to heaven." He joined a band, the Chords, which mostly played big band music, and his friend Gary Foster taught him some of the rudiments of playing the guitar -- things like how to use a capo to change keys. But he was always a rebellious kid, and soon found himself faced with a choice between joining the military or going to prison. He chose the former, and it was during his time in the Army that a friend, Ron Stevenson, introduced him to the music of Merle Travis, and to Travis-style guitar picking: [Excerpt: Merle Travis, "Nine-Pound Hammer"] Garcia had never encountered playing like that before, but he instantly recognised that Travis, and Chet Atkins who Stevenson also played for him, had been an influence on Scotty Moore. He started to realise that the music he'd listened to as a teenager was influenced by music that went further back. But Stevenson, as well as teaching Garcia some of the rudiments of Travis-picking, also indirectly led to Garcia getting discharged from the Army. Stevenson was not a well man, and became suicidal. Garcia decided it was more important to keep his friend company and make sure he didn't kill himself than it was to turn up for roll call, and as a result he got discharged himself on psychiatric grounds -- according to Garcia he told the Army psychiatrist "I was involved in stuff that was more important to me in the moment than the army was and that was the reason I was late" and the psychiatrist thought it was neurotic of Garcia to have his own set of values separate from that of the Army. After discharge, Garcia did various jobs, including working as a transcriptionist for Lenny Bruce, the comedian who was a huge influence on the counterculture. In one of the various attacks over the years by authoritarians on language, Bruce was repeatedly arrested for obscenity, and in 1961 he was arrested at a jazz club in North Beach. Sixty years ago, the parts of speech that were being criminalised weren't pronouns, but prepositions and verbs: [Excerpt: Lenny Bruce, "To is a Preposition, Come is a Verb"] That piece, indeed, was so controversial that when Frank Zappa quoted part of it in a song in 1968, the record label insisted on the relevant passage being played backwards so people couldn't hear such disgusting filth: [Excerpt: The Mothers of Invention, "Harry You're a Beast"] (Anyone familiar with that song will understand that the censored portion is possibly the least offensive part of the whole thing). Bruce was facing trial, and he needed transcripts of what he had said in his recordings to present in court. Incidentally, there seems to be some confusion over exactly which of Bruce's many obscenity trials Garcia became a transcriptionist for. Dennis McNally says in his biography of the band, published in 2002, that it was the most famous of them, in autumn 1964, but in a later book, Jerry on Jerry, a book of interviews of Garcia edited by McNally, McNally talks about it being when Garcia was nineteen, which would mean it was Bruce's first trial, in 1961. We can put this down to the fact that many of the people involved, not least Garcia, lived in Tralfamadorian time, and were rather hazy on dates, but I'm placing the story here rather than in 1964 because it seems to make more sense that Garcia would be involved in a trial based on an incident in San Francisco than one in New York. Garcia got the job, even though he couldn't type, because by this point he'd spent so long listening to recordings of old folk and country music that he was used to transcribing indecipherable accents, and often, as Garcia would tell it, Bruce would mumble very fast and condense multiple syllables into one. Garcia was particularly impressed by Bruce's ability to improvise but talk in entire paragraphs, and he compared his use of language to bebop. Another thing that was starting to impress Garcia, and which he also compared to bebop, was bluegrass: [Excerpt: Bill Monroe, "Fire on the Mountain"] Bluegrass is a music that is often considered very traditional, because it's based on traditional songs and uses acoustic instruments, but in fact it was a terribly *modern* music, and largely a postwar creation of a single band -- Bill Monroe and his Blue Grass Boys. And Garcia was right when he said it was "white bebop" -- though he did say "The only thing it doesn't have is the harmonic richness of bebop. You know what I mean? That's what it's missing, but it has everything else." Both bebop and bluegrass evolved after the second world war, though they were informed by music from before it, and both prized the ability to improvise, and technical excellence. Both are musics that involved playing *fast*, in an ensemble, and being able to respond quickly to the other musicians. Both musics were also intensely rhythmic, a response to a faster paced, more stressful world. They were both part of the general change in the arts towards immediacy that we looked at in the last episode with the creation first of expressionism and then of pop art. Bluegrass didn't go into the harmonic explorations that modern jazz did, but it was absolutely as modern as anything Charlie Parker was doing, and came from the same impulses. It was tradition and innovation, the past and the future simultaneously. Bill Monroe, Jackson Pollock, Charlie Parker, Jack Kerouac, and Lenny Bruce were all in their own ways responding to the same cultural moment, and it was that which Garcia was responding to. But he didn't become able to play bluegrass until after a tragedy which shaped his life even more than his father's death had. Garcia had been to a party and was in a car with his friends Lee Adams, Paul Speegle, and Alan Trist. Adams was driving at ninety miles an hour when they hit a tight curve and crashed. Garcia, Adams, and Trist were all severely injured but survived. Speegle died. So it goes. This tragedy changed Garcia's attitudes totally. Of all his friends, Speegle was the one who was most serious about his art, and who treated it as something to work on. Garcia had always been someone who fundamentally didn't want to work or take any responsibility for anything. And he remained that way -- except for his music. Speegle's death changed Garcia's attitude to that, totally. If his friend wasn't going to be able to practice his own art any more, Garcia would practice his, in tribute to him. He resolved to become a virtuoso on guitar and banjo. His girlfriend of the time later said “I don't know if you've spent time with someone rehearsing ‘Foggy Mountain Breakdown' on a banjo for eight hours, but Jerry practiced endlessly. He really wanted to excel and be the best. He had tremendous personal ambition in the musical arena, and he wanted to master whatever he set out to explore. Then he would set another sight for himself. And practice another eight hours a day of new licks.” But of course, you can't make ensemble music on your own: [Excerpt: Jerry Garcia and Bob Hunter, "Oh Mary Don't You Weep" (including end)] "Evelyn said, “What is it called when a person needs a … person … when you want to be touched and the … two are like one thing and there isn't anything else at all anywhere?” Alicia, who had read books, thought about it. “Love,” she said at length." That's from More Than Human, by Theodore Sturgeon, a book I'll be quoting a few more times as the story goes on. Robert Hunter, like Garcia, was just out of the military -- in his case, the National Guard -- and he came into Garcia's life just after Paul Speegle had left it. Garcia and Alan Trist met Hunter ten days after the accident, and the three men started hanging out together, Trist and Hunter writing while Garcia played music. Garcia and Hunter both bonded over their shared love for the beats, and for traditional music, and the two formed a duo, Bob and Jerry, which performed together a handful of times. They started playing together, in fact, after Hunter picked up a guitar and started playing a song and halfway through Garcia took it off him and finished the song himself. The two of them learned songs from the Harry Smith Anthology -- Garcia was completely apolitical, and only once voted in his life, for Lyndon Johnson in 1964 to keep Goldwater out, and regretted even doing that, and so he didn't learn any of the more political material people like Pete Seeger, Phil Ochs, and Bob Dylan were doing at the time -- but their duo only lasted a short time because Hunter wasn't an especially good guitarist. Hunter would, though, continue to jam with Garcia and other friends, sometimes playing mandolin, while Garcia played solo gigs and with other musicians as well, playing and moving round the Bay Area and performing with whoever he could: [Excerpt: Jerry Garcia, "Railroad Bill"] "Bleshing, that was Janie's word. She said Baby told it to her. She said it meant everyone all together being something, even if they all did different things. Two arms, two legs, one body, one head, all working together, although a head can't walk and arms can't think. Lone said maybe it was a mixture of “blending” and “meshing,” but I don't think he believed that himself. It was a lot more than that." That's from More Than Human In 1961, Garcia and Hunter met another young musician, but one who was interested in a very different type of music. Phil Lesh was a serious student of modern classical music, a classically-trained violinist and trumpeter whose interest was solidly in the experimental and whose attitude can be summed up by a story that's always told about him meeting his close friend Tom Constanten for the first time. Lesh had been talking with someone about serialism, and Constanten had interrupted, saying "Music stopped being created in 1750 but it started again in 1950". Lesh just stuck out his hand, recognising a kindred spirit. Lesh and Constanten were both students of Luciano Berio, the experimental composer who created compositions for magnetic tape: [Excerpt: Luciano Berio, "Momenti"] Berio had been one of the founders of the Studio di fonologia musicale di Radio Milano, a studio for producing contemporary electronic music where John Cage had worked for a time, and he had also worked with the electronic music pioneer Karlheinz Stockhausen. Lesh would later remember being very impressed when Berio brought a tape into the classroom -- the actual multitrack tape for Stockhausen's revolutionary piece Gesang Der Juenglinge: [Excerpt: Karlheinz Stockhausen, "Gesang Der Juenglinge"] Lesh at first had been distrustful of Garcia -- Garcia was charismatic and had followers, and Lesh never liked people like that. But he was impressed by Garcia's playing, and soon realised that the two men, despite their very different musical interests, had a lot in common. Lesh was interested in the technology of music as well as in performing and composing it, and so when he wasn't studying he helped out by engineering at the university's radio station. Lesh was impressed by Garcia's playing, and suggested to the presenter of the station's folk show, the Midnight Special, that Garcia be a guest. Garcia was so good that he ended up getting an entire solo show to himself, where normally the show would feature multiple acts. Lesh and Constanten soon moved away from the Bay Area to Las Vegas, but both would be back -- in Constanten's case he would form an experimental group in San Francisco with their fellow student Steve Reich, and that group (though not with Constanten performing) would later premiere Terry Riley's In C, a piece influenced by La Monte Young and often considered one of the great masterpieces of minimalist music. By early 1962 Garcia and Hunter had formed a bluegrass band, with Garcia on guitar and banjo and Hunter on mandolin, and a rotating cast of other musicians including Ken Frankel, who played banjo and fiddle. They performed under different names, including the Tub Thumpers, the Hart Valley Drifters, and the Sleepy Valley Hog Stompers, and played a mixture of bluegrass and old-time music -- and were very careful about the distinction: [Excerpt: The Hart Valley Drifters, "Cripple Creek"] In 1993, the Republican political activist John Perry Barlow was invited to talk to the CIA about the possibilities open to them with what was then called the Information Superhighway. He later wrote, in part "They told me they'd brought Steve Jobs in a few weeks before to indoctrinate them in modern information management. And they were delighted when I returned later, bringing with me a platoon of Internet gurus, including Esther Dyson, Mitch Kapor, Tony Rutkowski, and Vint Cerf. They sealed us into an electronically impenetrable room to discuss the radical possibility that a good first step in lifting their blackout would be for the CIA to put up a Web site... We told them that information exchange was a barter system, and that to receive, one must also be willing to share. This was an alien notion to them. They weren't even willing to share information among themselves, much less the world." 1962 brought a new experience for Robert Hunter. Hunter had been recruited into taking part in psychological tests at Stanford University, which in the sixties and seventies was one of the preeminent universities for psychological experiments. As part of this, Hunter was given $140 to attend the VA hospital (where a janitor named Ken Kesey, who had himself taken part in a similar set of experiments a couple of years earlier, worked a day job while he was working on his first novel) for four weeks on the run, and take different psychedelic drugs each time, starting with LSD, so his reactions could be observed. (It was later revealed that these experiments were part of a CIA project called MKUltra, designed to investigate the possibility of using psychedelic drugs for mind control, blackmail, and torture. Hunter was quite lucky in that he was told what was going to happen to him and paid for his time. Other subjects included the unlucky customers of brothels the CIA set up as fronts -- they dosed the customers' drinks and observed them through two-way mirrors. Some of their experimental subjects died by suicide as a result of their experiences. So it goes. ) Hunter was interested in taking LSD after reading Aldous Huxley's writings about psychedelic substances, and he brought his typewriter along to the experiment. During the first test, he wrote a six-page text, a short excerpt from which is now widely quoted, reading in part "Sit back picture yourself swooping up a shell of purple with foam crests of crystal drops soft nigh they fall unto the sea of morning creep-very-softly mist ... and then sort of cascade tinkley-bell-like (must I take you by the hand, ever so slowly type) and then conglomerate suddenly into a peal of silver vibrant uncomprehendingly, blood singingly, joyously resounding bells" Hunter's experience led to everyone in their social circle wanting to try LSD, and soon they'd all come to the same conclusion -- this was something special. But Garcia needed money -- he'd got his girlfriend pregnant, and they'd married (this would be the first of several marriages in Garcia's life, and I won't be covering them all -- at Garcia's funeral, his second wife, Carolyn, said Garcia always called her the love of his life, and his first wife and his early-sixties girlfriend who he proposed to again in the nineties both simultaneously said "He said that to me!"). So he started teaching guitar at a music shop in Palo Alto. Hunter had no time for Garcia's incipient domesticity and thought that his wife was trying to make him live a conventional life, and the two drifted apart somewhat, though they'd still play together occasionally. Through working at the music store, Garcia got to know the manager, Troy Weidenheimer, who had a rock and roll band called the Zodiacs. Garcia joined the band on bass, despite that not being his instrument. He later said "Troy was a lot of fun, but I wasn't good enough a musician then to have been able to deal with it. I was out of my idiom, really, 'cause when I played with Troy I was playing electric bass, you know. I never was a good bass player. Sometimes I was playing in the wrong key and didn't even [fuckin'] know it. I couldn't hear that low, after playing banjo, you know, and going to electric...But Troy taught me the principle of, hey, you know, just stomp your foot and get on it. He was great. A great one for the instant arrangement, you know. And he was also fearless for that thing of get your friends to do it." Garcia's tenure in the Zodiacs didn't last long, nor did this experiment with rock and roll, but two other members of the Zodiacs will be notable later in the story -- the harmonica player, an old friend of Garcia's named Ron McKernan, who would soon gain the nickname Pig Pen after the Peanuts character, and the drummer, Bill Kreutzmann: [Excerpt: The Grateful Dead, "Drums/Space (Skull & Bones version)"] Kreutzmann said of the Zodiacs "Jerry was the hired bass player and I was the hired drummer. I only remember playing that one gig with them, but I was in way over my head. I always did that. I always played things that were really hard and it didn't matter. I just went for it." Garcia and Kreutzmann didn't really get to know each other then, but Garcia did get to know someone else who would soon be very important in his life. Bob Weir was from a very different background than Garcia, though both had the shared experience of long bouts of chronic illness as children. He had grown up in a very wealthy family, and had always been well-liked, but he was what we would now call neurodivergent -- reading books about the band he talks about being dyslexic but clearly has other undiagnosed neurodivergences, which often go along with dyslexia -- and as a result he was deemed to have behavioural problems which led to him getting expelled from pre-school and kicked out of the cub scouts. He was never academically gifted, thanks to his dyslexia, but he was always enthusiastic about music -- to a fault. He learned to play boogie piano but played so loudly and so often his parents sold the piano. He had a trumpet, but the neighbours complained about him playing it outside. Finally he switched to the guitar, an instrument with which it is of course impossible to make too loud a noise. The first song he learned was the Kingston Trio's version of an old sea shanty, "The Wreck of the John B": [Excerpt: The Kingston Trio, "The Wreck of the John B"] He was sent off to a private school in Colorado for teenagers with behavioural issues, and there he met the boy who would become his lifelong friend, John Perry Barlow. Unfortunately the two troublemakers got on with each other *so* well that after their first year they were told that it was too disruptive having both of them at the school, and only one could stay there the next year. Barlow stayed and Weir moved back to the Bay Area. By this point, Weir was getting more interested in folk music that went beyond the commercial folk of the Kingston Trio. As he said later "There was something in there that was ringing my bells. What I had grown up thinking of as hillbilly music, it started to have some depth for me, and I could start to hear the music in it. Suddenly, it wasn't just a bunch of ignorant hillbillies playing what they could. There was some depth and expertise and stuff like that to aspire to.” He moved from school to school but one thing that stayed with him was his love of playing guitar, and he started taking lessons from Troy Weidenheimer, but he got most of his education going to folk clubs and hootenannies. He regularly went to the Tangent, a club where Garcia played, but Garcia's bluegrass banjo playing was far too rigorous for a free spirit like Weir to emulate, and instead he started trying to copy one of the guitarists who was a regular there, Jorma Kaukonnen. On New Year's Eve 1963 Weir was out walking with his friends Bob Matthews and Rich Macauley, and they passed the music shop where Garcia was a teacher, and heard him playing his banjo. They knocked and asked if they could come in -- they all knew Garcia a little, and Bob Matthews was one of his students, having become interested in playing banjo after hearing the theme tune to the Beverly Hillbillies, played by the bluegrass greats Flatt and Scruggs: [Excerpt: Flatt and Scruggs, "The Beverly Hillbillies"] Garcia at first told these kids, several years younger than him, that they couldn't come in -- he was waiting for his students to show up. But Weir said “Jerry, listen, it's seven-thirty on New Year's Eve, and I don't think you're going to be seeing your students tonight.” Garcia realised the wisdom of this, and invited the teenagers in to jam with him. At the time, there was a bit of a renaissance in jug bands, as we talked about back in the episode on the Lovin' Spoonful. This was a form of music that had grown up in the 1920s, and was similar and related to skiffle and coffee-pot bands -- jug bands would tend to have a mixture of portable string instruments like guitars and banjos, harmonicas, and people using improvised instruments, particularly blowing into a jug. The most popular of these bands had been Gus Cannon's Jug Stompers, led by banjo player Gus Cannon and with harmonica player Noah Lewis: [Excerpt: Gus Cannon's Jug Stompers, "Viola Lee Blues"] With the folk revival, Cannon's work had become well-known again. The Rooftop Singers, a Kingston Trio style folk group, had had a hit with his song "Walk Right In" in 1963, and as a result of that success Cannon had even signed a record contract with Stax -- Stax's first album ever, a month before Booker T and the MGs' first album, was in fact the eighty-year-old Cannon playing his banjo and singing his old songs. The rediscovery of Cannon had started a craze for jug bands, and the most popular of the new jug bands was Jim Kweskin's Jug Band, which did a mixture of old songs like "You're a Viper" and more recent material redone in the old style. Weir, Matthews, and Macauley had been to see the Kweskin band the night before, and had been very impressed, especially by their singer Maria D'Amato -- who would later marry her bandmate Geoff Muldaur and take his name -- and her performance of Leiber and Stoller's "I'm a Woman": [Excerpt: Jim Kweskin's Jug Band, "I'm a Woman"] Matthews suggested that they form their own jug band, and Garcia eagerly agreed -- though Matthews found himself rapidly moving from banjo to washboard to kazoo to second kazoo before realising he was surplus to requirements. Robert Hunter was similarly an early member but claimed he "didn't have the embouchure" to play the jug, and was soon also out. He moved to LA and started studying Scientology -- later claiming that he wanted science-fictional magic powers, which L. Ron Hubbard's new religion certainly offered. The group took the name Mother McRee's Uptown Jug Champions -- apparently they varied the spelling every time they played -- and had a rotating membership that at one time or another included about twenty different people, but tended always to have Garcia on banjo, Weir on jug and later guitar, and Garcia's friend Pig Pen on harmonica: [Excerpt: Mother McRee's Uptown Jug Champions, "On the Road Again"] The group played quite regularly in early 1964, but Garcia's first love was still bluegrass, and he was trying to build an audience with his bluegrass band, The Black Mountain Boys. But bluegrass was very unpopular in the Bay Area, where it was simultaneously thought of as unsophisticated -- as "hillbilly music" -- and as elitist, because it required actual instrumental ability, which wasn't in any great supply in the amateur folk scene. But instrumental ability was something Garcia definitely had, as at this point he was still practising eight hours a day, every day, and it shows on the recordings of the Black Mountain Boys: [Excerpt: The Black Mountain Boys, "Rosa Lee McFall"] By the summer, Bob Weir was also working at the music shop, and so Garcia let Weir take over his students while he and the Black Mountain Boys' guitarist Sandy Rothman went on a road trip to see as many bluegrass musicians as they could and to audition for Bill Monroe himself. As it happened, Garcia found himself too shy to audition for Monroe, but Rothman later ended up playing with Monroe's Blue Grass Boys. On his return to the Bay Area, Garcia resumed playing with the Uptown Jug Champions, but Pig Pen started pestering him to do something different. While both men had overlapping tastes in music and a love for the blues, Garcia's tastes had always been towards the country end of the spectrum while Pig Pen's were towards R&B. And while the Uptown Jug Champions were all a bit disdainful of the Beatles at first -- apart from Bob Weir, the youngest of the group, who thought they were interesting -- Pig Pen had become enamoured of another British band who were just starting to make it big: [Excerpt: The Rolling Stones, "Not Fade Away"] 29) Garcia liked the first Rolling Stones album too, and he eventually took Pig Pen's point -- the stuff that the Rolling Stones were doing, covers of Slim Harpo and Buddy Holly, was not a million miles away from the material they were doing as Mother McRee's Uptown Jug Champions. Pig Pen could play a little electric organ, Bob had been fooling around with the electric guitars in the music shop. Why not give it a go? The stuff bands like the Rolling Stones were doing wasn't that different from the electric blues that Pig Pen liked, and they'd all seen A Hard Day's Night -- they could carry on playing with banjos, jugs, and kazoos and have the respect of a handful of folkies, or they could get electric instruments and potentially have screaming girls and millions of dollars, while playing the same songs. This was a convincing argument, especially when Dana Morgan Jr, the son of the owner of the music shop, told them they could have free electric instruments if they let him join on bass. Morgan wasn't that great on bass, but what the hell, free instruments. Pig Pen had the best voice and stage presence, so he became the frontman of the new group, singing most of the leads, though Jerry and Bob would both sing a few songs, and playing harmonica and organ. Weir was on rhythm guitar, and Garcia was the lead guitarist and obvious leader of the group. They just needed a drummer, and handily Bill Kreutzmann, who had played with Garcia and Pig Pen in the Zodiacs, was also now teaching music at the music shop. Not only that, but about three weeks before they decided to go electric, Kreutzmann had seen the Uptown Jug Champions performing and been astonished by Garcia's musicianship and charisma, and said to himself "Man, I'm gonna follow that guy forever!" The new group named themselves the Warlocks, and started rehearsing in earnest. Around this time, Garcia also finally managed to get some of the LSD that his friend Robert Hunter had been so enthusiastic about three years earlier, and it was a life-changing experience for him. In particular, he credited LSD with making him comfortable being a less disciplined player -- as a bluegrass player he'd had to be frighteningly precise, but now he was playing rock and needed to loosen up. A few days after taking LSD for the first time, Garcia also heard some of Bob Dylan's new material, and realised that the folk singer he'd had little time for with his preachy politics was now making electric music that owed a lot more to the Beat culture Garcia considered himself part of: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] Another person who was hugely affected by hearing that was Phil Lesh, who later said "I couldn't believe that was Bob Dylan on AM radio, with an electric band. It changed my whole consciousness: if something like that could happen, the sky was the limit." Up to that point, Lesh had been focused entirely on his avant-garde music, working with friends like Steve Reich to push music forward, inspired by people like John Cage and La Monte Young, but now he realised there was music of value in the rock world. He'd quickly started going to rock gigs, seeing the Rolling Stones and the Byrds, and then he took acid and went to see his friend Garcia's new electric band play their third ever gig. He was blown away, and very quickly it was decided that Lesh would be the group's new bass player -- though everyone involved tells a different story as to who made the decision and how it came about, and accounts also vary as to whether Dana Morgan took his sacking gracefully and let his erstwhile bandmates keep their instruments, or whether they had to scrounge up some new ones. Lesh had never played bass before, but he was a talented multi-instrumentalist with a deep understanding of music and an ability to compose and improvise, and the repertoire the Warlocks were playing in the early days was mostly three-chord material that doesn't take much rehearsal -- though it was apparently beyond the abilities of poor Dana Morgan, who apparently had to be told note-by-note what to play by Garcia, and learn it by rote. Garcia told Lesh what notes the strings of a bass were tuned to, told him to borrow a guitar and practice, and within two weeks he was on stage with the Warlocks: [Excerpt: The Grateful Dead, “Grayfolded"] In September 1995, just weeks after Jerry Garcia's death, an article was published in Mute magazine identifying a cultural trend that had shaped the nineties, and would as it turned out shape at least the next thirty years. It's titled "The Californian Ideology", though it may be better titled "The Bay Area Ideology", and it identifies a worldview that had grown up in Silicon Valley, based around the ideas of the hippie movement, of right-wing libertarianism, of science fiction authors, and of Marshall McLuhan. It starts "There is an emerging global orthodoxy concerning the relation between society, technology and politics. We have called this orthodoxy `the Californian Ideology' in honour of the state where it originated. By naturalising and giving a technological proof to a libertarian political philosophy, and therefore foreclosing on alternative futures, the Californian Ideologues are able to assert that social and political debates about the future have now become meaningless. The California Ideology is a mix of cybernetics, free market economics, and counter-culture libertarianism and is promulgated by magazines such as WIRED and MONDO 2000 and preached in the books of Stewart Brand, Kevin Kelly and others. The new faith has been embraced by computer nerds, slacker students, 30-something capitalists, hip academics, futurist bureaucrats and even the President of the USA himself. As usual, Europeans have not been slow to copy the latest fashion from America. While a recent EU report recommended adopting the Californian free enterprise model to build the 'infobahn', cutting-edge artists and academics have been championing the 'post-human' philosophy developed by the West Coast's Extropian cult. With no obvious opponents, the global dominance of the Californian ideology appears to be complete." [Excerpt: Grayfolded] The Warlocks' first gig with Phil Lesh on bass was on June the 18th 1965, at a club called Frenchy's with a teenage clientele. Lesh thought his playing had been wooden and it wasn't a good gig, and apparently the management of Frenchy's agreed -- they were meant to play a second night there, but turned up to be told they'd been replaced by a band with an accordion and clarinet. But by September the group had managed to get themselves a residency at a small bar named the In Room, and playing there every night made them cohere. They were at this point playing the kind of sets that bar bands everywhere play to this day, though at the time the songs they were playing, like "Gloria" by Them and "In the Midnight Hour", were the most contemporary of hits. Another song that they introduced into their repertoire was "Do You Believe in Magic" by the Lovin' Spoonful, another band which had grown up out of former jug band musicians. As well as playing their own sets, they were also the house band at The In Room and as such had to back various touring artists who were the headline acts. The first act they had to back up was Cornell Gunter's version of the Coasters. Gunter had brought his own guitarist along as musical director, and for the first show Weir sat in the audience watching the show and learning the parts, staring intently at this musical director's playing. After seeing that, Weir's playing was changed, because he also picked up how the guitarist was guiding the band while playing, the small cues that a musical director will use to steer the musicians in the right direction. Weir started doing these things himself when he was singing lead -- Pig Pen was the frontman but everyone except Bill sang sometimes -- and the group soon found that rather than Garcia being the sole leader, now whoever was the lead singer for the song was the de facto conductor as well. By this point, the Bay Area was getting almost overrun with people forming electric guitar bands, as every major urban area in America was. Some of the bands were even having hits already -- We Five had had a number three hit with "You Were On My Mind", a song which had originally been performed by the folk duo Ian and Sylvia: [Excerpt: We Five, "You Were On My Mind"] Although the band that was most highly regarded on the scene, the Charlatans, was having problems with the various record companies they tried to get signed to, and didn't end up making a record until 1969. If tracks like "Number One" had been released in 1965 when they were recorded, the history of the San Francisco music scene may have taken a very different turn: [Excerpt: The Charlatans, "Number One"] Bands like Jefferson Airplane, the Great Society, and Big Brother and the Holding Company were also forming, and Autumn Records was having a run of success with records by the Beau Brummels, whose records were produced by Autumn's in-house A&R man, Sly Stone: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Warlocks were somewhat cut off from this, playing in a dive bar whose clientele was mostly depressed alcoholics. But the fact that they were playing every night for an audience that didn't care much gave them freedom, and they used that freedom to improvise. Both Lesh and Garcia were big fans of John Coltrane, and they started to take lessons from his style of playing. When the group played "Gloria" or "Midnight Hour" or whatever, they started to extend the songs and give themselves long instrumental passages for soloing. Garcia's playing wasn't influenced *harmonically* by Coltrane -- in fact Garcia was always a rather harmonically simple player. He'd tend to play lead lines either in Mixolydian mode, which is one of the most standard modes in rock, pop, blues, and jazz, or he'd play the notes of the chord that was being played, so if the band were playing a G chord his lead would emphasise the notes G, B, and D. But what he was influenced by was Coltrane's tendency to improvise in long, complex, phrases that made up a single thought -- Coltrane was thinking musically in paragraphs, rather than sentences, and Garcia started to try the same kind of th

Host Meg Wolitzer presents stories by Kurt Vonnegut in which the Slaughterhouse Five author somehow managed to make a bleak dystopia funny and a high school band teacher a hero. The stories explore the darkly absurd side he's known for—“Harrison Bergeron” performed by Becky Ann Baker––and a softer, touching side in “The Kid Nobody Could Handle” performed by Dylan Baker. The show features commentary from The Daily Show's Jordan Klepper and backstage interviews with the Bakers, a husband-and-wife duo. 

Sean Illing talks with Noah Hawley, the creator and showrunner of the anthology drama Fargo on FX, as well as a celebrated novelist whose newest book is Anthem (2022). They discuss themes stemming from Hawley's recent piece in the Atlantic about myths, stories, and tropes from the Old West (and Hollywood) that are still powerful and active in shaping American society. Hawley also talks about why we're drawn to shows like Game of Thrones and The Walking Dead, what to expect on the forthcoming fifth season of Fargo, and what his new novel says about the future. Host: Sean Illing (@seanilling), host, The Gray Area Guest: Noah Hawley (@noahhawley), novelist; tv/film director References:  "It's High Noon in America" by Noah Hawley (The Atlantic; Dec. 19, 2022) Anthem by Noah Hawley (Grand Central; 2022) Slaughterhouse-Five, or, The Children's Crusade: A Duty-Dance with Death by Kurt Vonnegut (1969) "'Duck Dynasty' vs. 'Modern Family': 50 Maps of the U.S. Cultural Divide" by Josh Katz (New York Times; Dec. 27, 2016) "The sex-trafficking investigation of Matt Gaetz, explained" by Amber Phillips (Washington Post; Jan. 27, 2022) The Trial by Franz Kafka (1925)   Enjoyed this episode? Rate The Gray Area ⭐⭐⭐⭐⭐ and leave a review on Apple Podcasts. Subscribe for free. Be the first to hear the next episode of The Gray Area. Subscribe in your favorite podcast app. Support The Gray Area by making a financial contribution to Vox! bit.ly/givepodcasts This episode was made by:  Producer: Erikk Geannikis Engineer: Patrick Boyd Editorial Director, Vox Talk: A.M. Hall Learn more about your ad choices. Visit podcastchoices.com/adchoices