Podcast appearances and mentions of steve mann

What happens when a successful entrepreneur retires? For Steve Mann, it wasn't about slowing down—it was about giving back.In this powerful episode of The Willpower Podcast, Steve shares his incredible journey from building a thriving business to dedicating his life to humanitarian work overseas. His story is a testament to the power of faith, generosity, and using success to make a real difference in the world.Steve opens up about:✅ The challenges and triumphs of his entrepreneurial journey✅ The transition from business success to a life of impact✅ His experiences helping communities in need around the world✅ The true meaning of legacy and purposeIf you're chasing success but also want to make an impact, this episode will inspire you to think bigger!

Today, we're diving deep into the intricacies of decision-making, risk, and career development with our esteemed guest, Steve Mann. With an impressive track record in finance and a bold entrepreneurial spirit, Steve shares invaluable insights from his career journey—from commercial banking in Baltimore to strategic roles at Microsoft, and now, venturing into disruptive innovations and startups. In this episode, Steve and Elena unpack the art of risk assessment, the importance of achieving clarity before making decisions, and how over-analysis can hinder opportunities. Steve's approach to financial analysis, focusing on income statements and balance sheets over CEO reports, offers a fresh perspective for aspiring professionals. We also explore the significance of mentorship, personal development, and the delicate balance between technical expertise and effective management. Steve's reflections on his career shifts, decision-making processes, and passion for innovation provide a roadmap for anyone looking to navigate the complex world of tech and finance. So, whether you're aiming to grow in your career, embrace entrepreneurial challenges, or simply understand the dynamics of effective decision-making, this episode promises to deliver crucial takeaways and thought-provoking discussions. Tune in to learn from Steve's experiences and get inspired to make your own impactful decisions. Time Stamps: 00:00 Banking career: commercial lending, GE Capital, MCG 04:56 Shift from Microsoft to personal entrepreneurial pursuits. 07:45 Intimidated by analytical finance skills, lacking creativity. 13:19 Assessing credit risk involves uncertainties and assumptions. 15:24 Entrepreneurial upbringing fostered risk-taking mentality. 17:56 Desire for decision-making and entrepreneurial involvement. 21:26 I just want to create, not be CEO. 25:04 Companies struggle with talent after 50 employees. 30:32 CEOs' decisions impacted by unexpected inflation trends. 34:15 Tech sector favors generalists over specialists. 35:41 Develop diverse mentorships: broaden perspectives, expand opportunities. 40:55 Assess impacts of acting and not acting. 42:09 Tim Ferriss's the cost of inaction approach Connect with Steve: https://www.linkedin.com/in/swmann/ Follow Elena: LinkedIn: https://www.linkedin.com/in/elenaagaragimova/ Instagram: https://www.instagram.com/elenaagaragimova/ Listen on: Apple: https://podcasts.apple.com/us/podcast/shift-with-elena-agar/id1530850914 Spotify: https://open.spotify.com/show/5UKh6dWcuQwJlmAOqD8wij --- Support this podcast: https://podcasters.spotify.com/pod/show/elenaagar/support

Steve Mann is the UK's top dog trainer, a great broadcaster and a prolific author. His new book, ‘Another Day, Another Collar - Confessions Of A Dog Trainer' is a memoir of dogs he has known and the impact they have had on his life. I'm a big beleiver in the power of dogs to help with people's mental health (I know my dog, Cookie, manages to put a smile on my face every day). Steve is a top bloke with loads to say about dogs, happiness and life. I really enjoyed talking with him for this week's pod. Hosted on Acast. See acast.com/privacy for more information.

How do you divide up the time periods of your life?In Episode #457 of 'Meanderings' Juan & I discuss: celebrating our 5th anniversary of the podcast, techniques for remembering the past, why daily note taking may not help, my story of hanging up stinky clothes in a hostel, Juan being too short at a Dream Theatre concert, why a positive mindset can alter your reality and our plans for the next few episodes.No support this week, very sad puppy :'(Timeline:(00:00:00) Intro(00:00:28) Why is today special?(00:01:36) Your first girlfriend's best friend(00:07:15) Recalling actions on dates(00:11:38) Different types of note taking(00:16:35) Location location location(00:23:56) Matching music with memories(00:25:11) Kyrin's one weakness .... and grossness(00:32:50) Recording every moment - Steve Mann & Nelson Sullivan(00:41:59) You can 'over' journal Part 1(00:46:15) Sad Puppy & off chop bugs(00:47:48) You can 'over' journal Part 2(00:51:21) It's impossible to stop this podcasting machine(00:54:21) Positive mindset = good. Wowza(01:00:11) Upcoming episodes Connect with Mere Mortals:Website: https://www.meremortalspodcast.com/Discord: https://discord.gg/jjfq9eGReUTwitter/X: https://twitter.com/meremortalspodInstagram: https://www.instagram.com/meremortalspodcast/TikTok: https://www.tiktok.com/@meremortalspodcastValue 4 Value Support:Boostagram: https://www.meremortalspodcast.com/supportPaypal: https://www.paypal.com/paypalme/meremortalspodcast

In this special interview episode of the Clean Energy Show, host James Whittingham speaks with Steve Mann, Global Lead Director for Auto and Industrial Market Research at Bloomberg Intelligence. Steve shares insights from Bloomberg's latest EV survey, which explores the vehicle buying intentions of U.S. consumers. Despite concerns over charging infrastructure and affordability, the survey predicts a significant increase in battery electric vehicle (BEV) adoption in the coming years. We're back with a new show next week! Steve discusses the loyalty of current BEV owners, with an impressive percentage indicating they would stick with electric for their next purchase. The conversation also delves into the revolutionary impact of Tesla on the automotive industry, particularly in terms of design and manufacturing innovation. Steve shares his personal experience as a first-time EV owner, discussing the performance and features of the Chevy Blazer EV. The episode explores various factors influencing the U.S. EV market, including the role of affordability, the importance of charging infrastructure, and the impact of global manufacturing strategies. Steve also offers his outlook on the future of EV adoption in the U.S., including the potential challenges and opportunities posed by political shifts and international competition. Key Topics Discussed: Bloomberg's U.S. EV Survey Results The loyalty of BEV owners versus gasoline vehicle owners Tesla's disruptive impact on the automotive industry Personal experience with the Chevy Blazer EV The importance of affordability in driving EV adoption Challenges and opportunities in EV charging infrastructure The potential impact of political changes on EV adoption The role of Chinese manufacturing in the global EV market Guest: Steve Mann, Global Lead Director for Auto and Industrial Market Research at Bloomberg Intelligence Host: James Whittingham The Clean Energy Show is released every week, so be sure to subscribe on your favorite podcast app to get new episodes delivered to you free! SUPPORT THE SHOW Make a small donation to our podcast today via our PayPal Donate page. E-transfer: cleanenergyshow@gmail.com James Whittingham's comedy podcast Sneeze! with James Whittingham RATE AND REVIEW US See The Clean Energy Show on iTunes, Spotify, or wherever you listen to our show. OUR STORE Visit our Merchandise store for T-shirts, hats, and more! CONTACT US Email: cleanenergyshow@gmail.com TikTok Channel: Clean Energy Pod YouTube Channel: The Clean Energy Show X (Twitter): Clean Energy Pod Threads: @cleanenergypod Bluesky: Clean Energy Pod James Whittingham: Twitter Brian Stockton: Twitter Leave us an online voicemail at SpeakPipe Copyright 2024.  

We get a little carried away with the novelty of AI songs while we discuss clean energy ignorance in rural Alberta, Canada, EV tax incentives finally going away for some, an electric car maker struggling with a name, EVs helping the grid and a serious overcapicty of batteries will speed the end of fossil fuels.  James was sick so we're a bit late this week. REV Automotive Group helps Brian, James looks forward to a piece of the action. Gasoline Alley comic storyline involving EVs Tesla full self driving beta monthy subscription doesn't annoy Brian Emily Eaton on her book Unjust Transition Bloomberg analyst gets his first EV. Steve Mann gives us his first impressions. Alpha Romeo EV now called the Juror Quebec phasing out EV insentives Mail and music - this week only! EVs benefitial to power grids Tweet of the Week - over supply of batteries will be a game changer for the transition Bureau of Land Management will eliminate environmental reviews for geothermal projects The Lightnight Round Powering the Future - the very temporary Clean Energy Show theme song. The Clean Energy Show is released every week so be sure to subscribe on your favorite podcast app to get new episodes delivered to you free! Support the Show Make a small donation to our podcast today! PayPal Donate!https://www.paypal.com/donate/?hosted_button_id=VMDCRPHLNR8YE E-transfer: cleanenergyshow@gmail.com Thanks for listening to our show! Consider rating The Clean Energy Show on iTunes, Spotify or wherever you listen to our show. Our Store Visit our T-Shirt and Merch Shop! https://my-store-dde61d.creator-spring.com Contact Us! Email us at cleanenergyshow@gmail.com Follow us on TikTok! @cleanenergypod  Check out our YouTube Channel! @CleanEnergyShow Follow us on Twitter or Threads @CleanEnergyPod Bluesky: https://bsky.app/profile/cleanenergypod.bsky.social James Whittingham https://twitter.com/jewhittingham Brian Stockton: https://twitter.com/brianstockton Leave us an online voicemail at http://speakpipe.com/cleanenergyshow Copyright 2024 with some rights reserved.   

Electric Vehicles continue to pick up major traction in the US, with adoption continuing to accelerate even amidst growing challenges with charging infrastructure and overall affordability. A new survey from Bloomberg Intelligence found that despite these hurdles to growth, US battery electric vehicles (BEV) penetration is likely to reach 25% by the end of the decade. We talk to Steve Mann, Global Lead Director for Auto & Industrial Market Research at Bloomberg Intelligence and the lead author of this report. He spoke to use from Princeton, NJ where he just bought his first EV, a Chevy Blazer EV. Applogies for the audio issues, it was a day when nothing was going right. The survey, conducted with 1,000 prospective auto purchasers, found that 42% of respondents were considering purchasing an electrified vehicle as their next car, with 23% opting for hybrid electric vehicles, in contrast to the current 7% penetration in hybrid electric vehicles. 9% of those surveyed favoring battery EVs, which is higher than the 7% battery EVs penetration last year. BI's research shows that prospective auto purchasers who already own an electrified vehicle are incredibly loyal to BEVs, with the report finding that 93% would stick with their current powertrain for their next purchase, compared to 34% of gasoline vehicle owners who are deciding to opt for an electric car. Fuel-type stickiness suggests that EV penetration is unlikely to reverse course as the benefits to an electric vehicle could continue to outweigh costs to current owners; and this continuous preference for EVs is consistent across HEV, PHEV, and BEV owner segments. The Clean Energy Show is released every week so be sure to subscribe on your favorite podcast app to get new episodes delivered to you free! Support the Show Make a small donation to our podcast today! PayPal Donate!https://www.paypal.com/donate/?hosted_button_id=VMDCRPHLNR8YE E-transfer: cleanenergyshow@gmail.com Thanks for listening to our show! Consider rating The Clean Energy Show on iTunes, Spotify or wherever you listen to our show. Our Store Visit our T-Shirt and Merch Shop! https://my-store-dde61d.creator-spring.com Contact Us! Email us at cleanenergyshow@gmail.com Follow us on TikTok! @cleanenergypod  Check out our YouTube Channel! @CleanEnergyShow Follow us on Twitter or Threads @CleanEnergyPod Bluesky: https://bsky.app/profile/cleanenergypod.bsky.social James Whittingham https://twitter.com/jewhittingham Brian Stockton: https://twitter.com/brianstockton Leave us an online voicemail at http://speakpipe.com/cleanenergyshow Copyright 2024 with some rights reserved. You may share and reproduce portions of our show with attribution. All music is copyright with all rights reserved.  

Steve Mann is an inventor from Canada, he designed the first smartwatch in 1998! He joins us on the show with a BOMBSHELL revelation about smartwatches now! Want more of the show? Check out our socials! Instagram: https://www.instagram.com/jayjayandflynny/ Facebook: https://www.facebook.com/jayjayandflynny Also, we are on the radio on More FM from 3-7pm weekdays, no radio, no problems you can listen to us via the ROVA App (free to download & use from the app store) 

Steve Mann Guitarist with Lionheart, Michael Schenker, Tytan Talks to Phil Aston The Now Spinning Magazine Podcast Steve Mann is guitarist, keyboardist, and producer who's career has seen him play with Liar, tytan, Lionheart, Michaels Schenker and The Sweet Steve talks about the new Lionheart album 'The Grace Of A Dragonfly' which is a concept album based on WW2 but is very much an anti war album and he early career and being part of Michael Schenker's band. Please Support Now Spinning Magazine Become a Patron (free trial -cancel anytime) or Join the YouTube Channel Or make a donation via Ko-Fi: Visit the website: https://www.nowspinning.co.uk You will get to see all my videos before general release, AD FREE and exclusive videos not available elsewhere. Thank you for all your support Phil Aston | Now Spinning Magazine

We help teachers start their own online business for free. Click here to join in. Cecilia Nobre is a Ph.D. student in Applied Linguistics at Warwick, has been an EFL teacher for over 20 years, and is a trainer on DipTESOL, CertTESOL, and Celta trainer. She has co-authored the book "Using Video to Support Teacher Reflection and Development in ELT" with Steve Mann and Laura Baecher. Her research interests lie in the areas of teacher development, video reflection, and reflective practice. In this episode, Cecilia touches on: video-based observation as a form of development how videos can foster more critical reflection using video recordings in both the physical and digital classroom why every teacher should record their own lessons - and then watch them how video observation can be incorporated into pre-service training courses why video observation reduces the hierarchical relationship of traditional observation and how it can foster community building  advice for new educators just getting started  For more from Cecilia: 1. Follow her on LinkedIn 2. See her co-authored book "Using Video to Support Teacher Reflection and Development in ELT"  As always, thank you for listening. Your support has been overwhelming and we couldn't do what we do without you. We hope this podcast serves as an effective CPD tool for you. If you have a comment or question about today's show, we'd love to hear from you: info@learnyourenglish.com  Ways we can help you right now: 1. 5in30: Get 5 clients in the next 30 days 2. Sandbox your own course ideas in our free support community for teacherpreneurs.  3. Map your first course in 60 minutes or less - your free guide here 4. See our free guides for teachers starting their own business  5. Try our TAP program free for 7 days 6. CPD: Teaching Listening Made Easy 7. Follow us on IG: @learnyourenglish

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

Mia talks with Steve Mann and John Michael Colón about their supply chain theory of inflation was vindicated by history and then adopted by economists.See omnystudio.com/listener for privacy information.

Many women with violent partners stay in relationships longer than is safe. Even if they escape their situation, it can be a struggle to sustain basic needs. Kingston organization, Resolve Counseling, is looking to help those women thrive on their own. Tara Everitt, Director of Community Programs, told us more about it. An initiative to move patient care online at Kingston General Hospital to a virtual app called SeamlessMD. Instead of walking into an emergency room or waiting for 2 weeks to see your surgeon, you can now turn to an app for bedside care at home. Dr. Steve Mann, an orthopedic surgeon, joined me to discuss the app and its implications. July is Disability Pride Month, although a little less known. It shares a similar spirit of activism and celebration with June's LGBTQ pride but isn't as heavily regarded compared to its June counterpart. CBC Journalist Julianna Romanynk recently attended the disability pride march in Toronto. She shared with me more on the event and the issues it highlighted.

Steve Mann was born and raised in London, England. After college he took up classical guitar, studying at the John Williams School in London he joined his first professional band Liar in 1977. They released two albums.He then formed Lionheart with Dennis Stratton (Iron Maiden) and Rocky Newton (MSG, etc.). Hailed by Sounds magazine as "the first NWOBHM Supergroup", Lionheart toured extensively before securing a record deal with CBS in 1984. At various times Lionheart counted amongst its ranks luminaries such as Frank Noon (Def Leppard), Nicko McBrain (Iron Maiden), Les Binks (Judas Priest), Clive Edwards (UFO) and Phil Lanzon (Uriah Heep). In 1986 Steve joined Michael Schenker to form The McAuley Schenker Group and recorded two albums (Perfect Timing & Save Yourself). The former was recorded in 1986 at PUK Studios in Denmark with overdubs at Rudolf Schenker's Scorpion Sound Studio, and the record was produced by the late Andy Johns (Led Zeppelin). Frank Fillipetti took the production chair for Save Yourself, recording in LA. This album bore the hit single Anytime, a ballad penned by Mann and Robin McAuley and the track reached #6 on the US Billboard charts.While playing with Schenker he was guesting with The Sweet, becoming a permanent member after leaving MSG in 1991. Then around 1994 Mann guested with Eloy, a progressive rock band from Germany who achieved fame during the 1970's. His guest appearances for the band, both live and on record, continued till 2012. In 2016 he received a call from Michael Schenker asking if he was interested in forming a new version of the band called Michael Schenker Fest which was to include his 3 original singers, Gary Barden, Graham Bonnet (Rainbow) and Robin McAuley along with the rhythm section of Ted McKenna and Chris Glen (ex-Rainbow singer Doogie White would also join in 2017). Needless to say he jumped at the chance and the band has been on the road ever since.In 2016, Lionheart also had the opportunity to reunite with original members Dennis Stratton, Rocky Newton, Clive Edwards along with Lee Small on vocals. In 2017 the band went into my studio to record a new album called Second Nature, which was critically acclaimed, A 3rd Lionheart album was released in 2020 and titled The Reality of Miracles and Mann also joined forces with British singer Chris Ousey for the debut Ousey/Mann album Is Anybody Listening in 2022.Steve Mann continues to tour with Michael Schenker as well as writing for a new Lionheart and even his own solo album. Keep up to date with all his happenings at www.stevemann.net where you can link to all his social sites as well!

Dr Stephen Mann has been a GP in Stourbridge for 30 years having qualified from the University of Birmingham in 1986. He is the Senior Partner at Lion Health. Dr Mann believes high-quality family medicine is the bedrock of the NHS, and he enjoys the variety that general practice gives in helping people live healthier and longer.We will be talking with Dr Mann about mental health and physical health and his day-to-day work as a GP for our community.#mentalhealth #mentalhealthawareness #selfcare #selflove #anxiety #love #mentalhealthmatters #depression #motivation #health #wellness #mindfulness #healing #life #loveyourself #therapy #happiness #mindset #positivity #meditation #mentalillness #psychology #wellbeing #recovery #happySupport this show http://supporter.acast.com/bcb. Hosted on Acast. See acast.com/privacy for more information.

Scott Mills and Steve Mann are back with another series of Pupdates with Butternut Box. In this episode Steve and Scott discuss giving your dog their own power of choice to allow them to grow their confidence. If you have any puppy queries, get in touch! Email: pupdatespodcast@gmail.com Instagram: @pupdatespod @realscottmills @stevemanndogtrainer Twitter: @pupdatespod @scott_mills @stevemanndog Credits: Hosts: Scott Mills & Steve Mann Producer: Sam Vaughan

Fall to your knees and repent if you please! Sami Ruokangas oli paikalla Lontoossa, kun Les Binks' Priesthood sai koko The Cavern Freehouse -pubin resonoimaan heviklassikoillaan. Pubielämyksiä ja hevirockin historian siipien suhinaa! Kuuntele, viihdy ja sivisty! Jakson soittolistalla kaikki Cavernissa soitetut biisit, samassa järjestyksessä: https://open.spotify.com/playlist/5SSIRbaqJIlXS009sBsYIK?si=86af2c96034c4634 Menossa ovat mukana Noel Nevin, John Entwistle, The Who, Eric Clapton, John Lee Hooker, Aerosmith, Judas Priest, Eric Burdon, The Animals, Deep Purple, Roger Glover, Glenn Hughes, Ronnie James Dio, David Coverdale, Uriah Heep, John Lawton, Ian Gillan, Scott Travis, Steve Mann, Lionheart, Michael Schenker Group, Iron Maiden, Dennis Stratton, Tygers of Pan Tang, Joan Baez, Running Wild, Exciter, Tyrantti, Tank, Cliff Evans, Mark Taylor, Tuska, Sweden Rock, Matt Young, Gus Mark, Simon Pinto, Gus Macricostas, KK's Priest, KK Downing, Tim "Ripper" Owens, Megadeth, David Ellefson, A.J. Mills, Classic Rock and Metal meeting in Helsinki 2022, Priesthood Finland, Kaaoszine, On the Rocks, Roland Grapow, Helloween, Masterplan, Timo Tolkki, Stratovarius, Ian Hill ja Rob Halford.

Feeling watched? Suspicious your Google Home is a front for Big Brother? From period tracking apps to police body cams, surveillance has immense social-political implications for our everyday lives. In episode 55 of Overthink, Ellie and David draw on social philosophy to understand our experiences of mass surveillance. How do technologies of surveillance that promise convenience and freedom lead us to welcome new forms of control into our lives? They also consider how these technologies have empowered people to take up new methods of resisting state violence. Works DiscussedAnders Albrechtslund, “Online social networking as participatory surveillance”Roger Clark, “Information technology and dataveillance”Gilles Deleuze, “Postscript on the Societies of Control”Michel Foucault, Discipline and PunishKevin Haggerty and Richard Ericson, “The surveillant assemblage” Steve Mann, “'Sousveillance': inverse surveillance in multimedia imaging'”Website | overthinkpodcast.comInstagram, Twitter, and TikTok | @overthink_podEmail |  Dearoverthink@gmail.comYouTube | Overthink podcast

Internationale Bestseller – Steve Mann deelt in Easy Peasy Honden Opvoeding zijn beproefde methode voor het opvoeden van een gelukkige hond!Uitgegeven door Kosmos UitgeversSpreker(s): Jelle Amersfoort

Please support our patreon.  For early and ad-free episodes, members-only content, and more.John Michael Colon and Steve Mann are editors of Strange Matters magazine.  We discuss the limits of the popular versions of Modern Monetary Theory, the deep history of money, and the theories of FOREX,  focusing on more modern history and the transition to the current fiscal situation.   This is a continuation of this discussion. Abandon all hope ye who subscribe here.   Crew:Host: C. Derick VarnAudio Producer: Paul Channel Strip  ( @aufhebenkultur )Intro and Outro Music by Bitter Lake.Intro Video Design: Jason MylesLinks and Social Media:twitter: @skepoetFacebookYou can find the additional streams on Youtube Support the show

Internationale Bestseller – Steve Mann deelt in ‘Easy Peasy Puppy Opvoeding’ zijn beproefde methode voor het opvoeden van een gelukkige pup!Uitgegeven door Kosmos UitgeversSpreker(s): Jelle Amersfoort

Please support our patreon.  For early and ad-free episodes, members-only content, and more.Steve Mann, a member of the Strange Matters coops, will discuss the limits of our understanding of inflation and his article, "Notes Towards a Theory of Inflation."  We will talk about classical theories of inflation, MMT, and the limitations of all the current models. Abandon all hope ye who subscribe here.   Crew:Host: C. Derick VarnAudio Producer: Paul Channel Strip  ( @aufhebenkultur )Intro and Outro Music by Bitter Lake.Intro Video Design: Jason MylesLinks and Social Media:twitter: @skepoetFacebookYou can find the additional streams on Youtube Support the show

Michael Schenker Group soitti Helsingissä täyden kympin keikan klassista hardrockia. Iltaan mahtui sekä yllätyksiä että livemusiikin riemua parhaimmillaan. Sami Ruokangas tapasi ystäviä ja kävi keikalla. Kuuntele raportti. Jakson soittolista: https://open.spotify.com/playlist/609XIL0K9ceeMAnt3I2W8r?si=ecde47efdf444b8c Jutussa ovat mukana Iron Maiden, Judas Priest, Whitesnake, Social Distortion, Jethro Tull, Michael Schenker, MSG, Scorpions, UFO, Ghost, Uncle Acid and the Deadbeats, Twin Temple, Eric Clapton, Praha, Trooper, Jari ja Tuija Salonen, Aki Blomberg, Pekka Pietiläinen, Kalma, Tony Lundberg, Marko Syrjälä, Doogie White, Vanha YO-talo, Mc Auley Schenker Group, Ronnie Romero, Ronnie James Dio, Adrian Vandenberg, Vandenberg, Michael Schenker Fest, Gary Barden, Graham Bonnet, Robin Mc Auley, Stockholm Rocks, Helloween, Michael Kiske, Steve Mann, Lionheart, Dennis Stratton, Bodo Schopf, Barend Courbois, Artimus Pyle, Lynyrd Skynyrd, Michael Voss, Ron Nevison, Vinnie Moore, Exodus, Slayer, Gary Holt, Metallica, Megadeth ja Paul Chapman. Vanha YO-talo, 27.4.2022 Settilista: Ascension (Michael Schenker Fest) / Cry for the Nations / Doctor Doctor (UFO) / Sleeping With the Lights On (Michael Schenker Fest) / Looking for Love / Warrior (Michael Schenker Fest) / Into the Arena / In Search of the Peace of Mind (Scorpions) / Red Sky / Emergency (ensiesitys!) / Lights Out (UFO) / After the Rain / Armed and Ready / Sail the Darkness / Rock You to the Ground / A King Has Gone (ensiesitys!) / Rock Bottom (UFO) / Shoot Shoot (UFO) / Let It Roll (UFO) / Natural Thing (UFO) / Too Hot to Handle (UFO) / Only You Can Rock Me (UFO)

Uutisten ja levymusiikin synnyttämien ajatusten aiheina ovat tällä kertaa pian Suomessa konsertoiva kitaristi Michael Schenker sekä hänen entiset bändinsä UFO ja Scorpions. Studiossa seurananne on Sami Ruokangas. Jakson Spotify-soittolista: https://open.spotify.com/playlist/0oPor1j9CthYB3OkznnMeV?si=d4afefb2ef79402b Jutuissa ovat mukana myös KISS, Eric Clapton, Ghost, Ronnie Romero, Rainbow, Vandenberg, Robin McAuley, McAuley Schenker Group, Michael Schenker Fest, Gary Barden, Graham Bonnet, Bodo Schopf, Steve Mann, Paul Chapman, Paul Raymond, Thin Lizzy, Wild Horses, Neil Carter, Phil Mogg, Pete Way, Andy Parker, Bruce Springsteen, Krayn kaksoset, Tom Hardy, Laurence Archer, Phil Lynott, Grans Slam, Stampede, Clive Edwards, Klaus Meine, Rudolf Schenker, Matthias Jabs, Mikkey Dee, Motörhead, King Diamond, Rock Fest Hyvinkää, Iron Maiden, Biffy Clyro, Black Label Society, Vinnie Moore, Rolling Stones, Charlie Watts ja Rose Tattoo.

Today, Stacy, Robin, and Crystal reflect on their interview with police K9 officer Tabitha. They discuss their biggest takeaways from the conversation, including the bedrock of engagement and building a relationship with your dog, as well as the power of using imagination as a training tool.They also talk about the differences between working with a “hard” dog as compared to a “sensitive” dog, practical tips on earning the trust of a difficult dog, avoiding the pitfall of using “the leash as a substitute for the relationship,” and giving your dog enough attention every day.Building trust mainly comes down to spending an adequate amount of time simply being present with your dog. According to our hosts, “The most important person is the one standing right in front of you. Being with our dog at that moment is probably one of the most important things we can do as trainers.”Key Topics:Our biggest takeaways (1:47)Building trust between dog and handler (7:26)Working with a “hard” dog versus a “sensitive” dog (15:12)Gaining the trust of a difficult dog (23:30)Giving your dog the right amount of daily attention (39:12)The importance of body language (48:14)Do you have to have a relationship to build engagement? (50:49)Closing thoughts (57:53)Resources:K9 Detection Collaborative Episode 6: The Journey of Building Relationships with Dual-Purpose K9 with K9 Trainer TabithaThe Rucksack Walk created by Steve Mann (mentioned at 26:30 - 28:00 of episode)You can follow us for notifications of upcoming episodes, find us at k9detectioncollaborative.com to enjoy the freebies and tell your friends so you can keep the conversations going.Jingle by: www.mavericksings.com Instagram: @mavericktasticAudio editing & other podcast services by: www.thepodcastman.com Instagram: @the_podcast_man

John Michael Colon and Steve Mann are editors of Strange Matters magazine.  We discuss the limits of the popular versions of Modern Monetary Theory, the deep history of money, and the theories of FOREX, which adds to address some blindspots in contemporary MMT. Abandon all hope ye who subscribe here.   Crew:Host: C. Derick VarnAudio Producer: Paul Channel Strip  ( @aufhebenkultur )Intro and Outro Music by Bitter Lake.Intro Video Design: Jason MylesLinks and Social Media:twitter: @skepoetFacebookYou can find the additional streams on Youtube Support the show (https://www.patreon.com/varnvlog)

Judith Duportail présente la chronique de Lauren Boudard, qui propose de créer une clause de conscience pour toutes les professions.RESSOURCES CITÉES "Un Français sur cinq ne perçoit ni le sens, ni l'utilité de son emploi", Le Figaro, 2019"Bullshit Jobs", de David Graeber, (éd. Les Liens Qui Libèrent, 2018)"Sousveillance: Inventing and Using Wearable Computing Devices for Data Collection in Surveillance Environments", Surveillance & Society, Steve Mann, Jason Nolan, Barry Wellman, 2003"Libres d'obéir. Le management, du nazisme à aujourd'hui", Johann Chapoutot (éd. Gallimard, 2020)CRÉDITS : On peut plus rien dire est un podcast de Binge Audio animé par Judith Duportail. Réalisation : Alice Ninin. Production : Charlotte Baix. Édition : Sirine Azouaoui. Générique : Josselin Bordat (musique) et Bonnie Banane (voix). Identité sonore Binge Audio : Jean-Benoît Dunckel (musique) et Bonnie El Bokeili (voix). Identité graphique : Sébastien Brothier (Upian). Direction des programmes : Joël Ronez. Direction de la rédaction : David Carzon. Direction générale : Gabrielle Boeri-Charles. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Happy New Year and welcome to the revamped Ouch, You're on my Hair Podcast. We have combined the podcast and the radio show into one show a week. Check it out, we have two interviews for you. First up, Steve Mann from Lionheart and that is followed by Martin and Dennis from Mercury X.Plus, we have music by the following bands:C.K.O., Faith and Scars, Venator, Lionheart, The Quill, Mercury X, Sorrow and The Spire and Bourbon House.     Join Randy and Troy, for this and every episode of Ouch, You're on my Hair, and subscribe to the show on ApplePodcasts, Spotify, iHeartRadio, Amazon Music, Podomatic, Podbean, and more. You can find them on Instagram, Twitter and Facebook as well. 

Episode one hundred and forty of A History of Rock Music in Five Hundred Songs looks at “Trouble Every Day" by the Mothers of Invention, and the early career of Frank Zappa. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Christmas Time is Here Again" by the Beatles. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources I'm away from home as I upload this and haven't been able to do a Mixcloud, but will hopefully edit a link in in a week or so if I remember. The main biography I consulted for this was Electric Don Quixote by Neil Slaven. Zappa's autobiography, The Real Frank Zappa Book, is essential reading if you're a fan of his work. Information about Jimmy Carl Black's early life came from Black's autobiography, For Mother's Sake. Zappa's letter to Varese is from this blog, which also contains a lot of other useful information on Zappa. For information on the Watts uprising, I recommend Johnny Otis' Listen to the Lambs. And the original mix of Freak Out is currently available not on the CD issue of Freak Out itself, which is an eighties remix, but on this "documentary" set. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before I begin -- there are a couple of passing references in this episode to rape and child abuse. I don't believe there's anything that should upset anyone, but if you're worried, you might want to read the transcript on the podcast website before or instead of listening. But also, this episode contains explicit, detailed, descriptions of racial violence carried out by the police against Black people, including against children. Some of it is so distressing that even reading the transcript might be a bit much for some people. Sometimes, in this podcast, we have to go back to another story we've already told. In most cases, that story is recent enough that I can just say, "remember last episode, when I said...", but to tell the story of the Mothers of Invention, I have to start with a story that I told sixty-nine episodes ago, in episode seventy-one, which came out nearly two years ago. In that episode, on "Willie and the Hand Jive", I briefly told the story of Little Julian Herrera at the start. I'm going to tell a slightly longer version of the story now. Some of the information at the start of this episode will be familiar from that and other episodes, but I'm not going to expect people to remember something from that long ago, given all that's happened since. The DJ Art Laboe is one of the few figures from the dawn of rock and roll who is still working. At ninety-six years old, he still promotes concerts, and hosts a syndicated radio show on which he plays "Oldies but Goodies", a phrase which could describe him as well as the music. It's a phrase he coined -- and trademarked -- back in the 1950s, when people in his audience would ask him to play records made a whole three or four years earlier, records they had listened to in their youth. Laboe pretty much single-handedly invented the rock and roll nostalgia market -- as well as being a DJ, he owned a record label, Original Sound, which put out a series of compilation albums, Oldies But Goodies, starting in 1959, which started to cement the first draft of the doo-wop canon. These were the first albums to compile together a set of older rock and roll hits and market them for nostalgia, and they were very much based on the tastes of his West Coast teenage listenership, featuring songs like "Earth Angel" by the Penguins: [Excerpt: The Penguins, "Earth Angel"] But also records that had a more limited geographic appeal, like "Heaven and Paradise" by Don Julian and the Meadowlarks: [Excerpt: Don Julian and the Meadowlarks, "Heaven and Paradise"] As well as being a DJ and record company owner, Laboe was the promoter and MC for regular teenage dances at El Monte Legion Stadium, at which Kip and the Flips, the band that featured Sandy Nelson and Bruce Johnston, would back local performers like the Penguins, Don and Dewey, or Ritchie Valens, as well as visiting headliners like Jerry Lee Lewis. El Monte stadium was originally chosen because it was outside the LA city limits -- at the time there were anti-rock-and-roll ordinances that meant that any teenage dance had to be approved by the LA Board of Education, but those didn't apply to that stadium -- but it also led to Laboe's audience becoming more racially diverse. The stadium was in East LA, which had a large Mexican-American population, and while Laboe's listenership had initially been very white, soon there were substantial numbers of Mexican-American and Black audience members. And it was at one of the El Monte shows that Johnny Otis discovered the person who everyone thought was going to become the first Chicano rock star, before even Ritchie Valens, in 1957, performing as one of the filler acts on Laboe's bill. He signed Little Julian Herrera, a performer who was considered a sensation in East LA at the time, though nobody really knew where he lived, or knew much about him other than that he was handsome, Chicano, and would often have a pint of whisky in his back pocket, even though he was under the legal drinking age. Otis signed Herrera to his label, Dig Records, and produced several records for him, including the record by which he's now best remembered, "Those Lonely Lonely Nights": [Excerpt: Little Julian Herrera, "Those Lonely, Lonely, Nights"] After those didn't take off the way they were expected to, Herrera and his vocal group the Tigers moved to another label, one owned by Laboe, where they recorded "I Remember Linda": [Excerpt: Little Julian Herrera and the Tigers, "I Remember Linda"]  And then one day Johnny Otis got a knock on his door from the police. They were looking for Ron Gregory. Otis had never heard of Ron Gregory, and told them so. The police then showed him a picture. It turned out that Julian Herrera wasn't Mexican-American, and wasn't from East LA, but was from Massachusetts. He had run away from home a few years back, hitch-hiked across the country, and been taken in by a Mexican-American family, whose name he had adopted. And now he was wanted for rape. Herrera went to prison, and when he got out, he tried to make a comeback, but ended up sleeping rough in the basement of the stadium where he had once been discovered. He had to skip town because of some other legal problems, and headed to Tijuana, where he was last seen playing R&B gigs in 1963. Nobody knows what happened to him after that -- some say he was murdered, others that he's still alive, working in a petrol station under yet another name, but nobody has had a confirmed sighting of him since then. When he went to prison, the Tigers tried to continue for a while, but without their lead singer, they soon broke up. Ray Collins, who we heard singing the falsetto part in "I Remember Linda", went on to join many other doo-wop and R&B groups over the next few years, with little success. Then in summer 1963, he walked into a bar in Ponoma, and saw a bar band who were playing the old Hank Ballard and the Midnighters song "Work With Me Annie". As Collins later put it, “I figured that any band that played ‘Work With Me Annie' was all right,” and he asked if he could join them for a few songs. They agreed, and afterwards, Collins struck up a conversation with the guitarist, and told him about an idea he'd had for a song based on one of Steve Allen's catchphrases. The guitarist happened to be spending a lot of his time recording at an independent recording studio, and suggested that the two of them record the song together: [Excerpt: Baby Ray and the Ferns, "How's Your Bird?"] The guitarist in question was named Frank Zappa. Zappa was originally from Maryland, but had moved to California as a child with his conservative Italian-American family when his father, a defence contractor, had got a job in Monterey. The family had moved around California with his father's work, mostly living in various small towns in the Mojave desert seventy miles or so north of Los Angeles. Young Frank had an interest in science, especially chemistry, and especially things that exploded, but while he managed to figure out the ingredients for gunpowder, his family couldn't afford to buy him a chemistry set in his formative years -- they were so poor that his father regularly took part in medical experiments to get a bit of extra money to feed his kids -- and so the young man's interest was diverted away from science towards music. His first musical interest, and one that would show up in his music throughout his life, was the comedy music of Spike Jones, whose band combined virtuosic instrumental performances with sound effects: [Excerpt: Spike Jones and his City Slickers, "Cocktails for Two"] and parodies of popular classical music [Excerpt: Spike Jones and his City Slickers, "William Tell Overture"] Jones was a huge inspiration for almost every eccentric or bohemian of the 1940s and 50s -- Spike Milligan, for example, took the name Spike in tribute to him. And young Zappa wrote his first ever fan letter to Jones when he was five or six. As a child Zappa was also fascinated by the visual aesthetics of music -- he liked to draw musical notes on staves and see what they looked like. But his musical interests developed in two other ways once he entered his teens. The first was fairly typical for the musicians of his generation from LA we've looked at and will continue to look at, which is that he heard "Gee" by the Crows on the radio: [Excerpt: The Crows, "Gee"] He became an R&B obsessive at that moment, and would spend every moment he could listening to the Black radio stations, despite his parents' disapproval. He particularly enjoyed Huggy Boy's radio show broadcast from Dolphins of Hollywood, and also would religiously listen to Johnny Otis, and soon became a connoisseur of the kind of R&B and blues that Otis championed as a musician and DJ: [Excerpt: Zappa on the Late Show, “I hadn't been raised in an environment where there was a lot of music in the house. This couple that owned the chilli place, Opal and Chester, agreed to ask the man who serviced the jukebox to put in some of the song titles that I liked, because I promised that I would dutifully keep pumping quarters into this thing so that I could listen to them, and so I had the ability to eat good chilli and listen to 'Three Hours Past Midnight' by Johnny 'Guitar' Watson for most of my junior and senior year"] Johnny “Guitar” Watson, along with Guitar Slim, would become a formative influence on Zappa's guitar playing, and his playing on "Three Hours Past Midnight" is so similar to Zappa's later style that you could easily believe it *was* him: [Excerpt: Johnny "Guitar" Watson, "Three Hours Past Midnight"] But Zappa wasn't only listening to R&B. The way Zappa would always tell the story, he discovered the music that would set him apart from his contemporaries originally by reading an article in Look magazine. Now, because Zappa has obsessive fans who check every detail, people have done the research and found that there was no such article in that magazine, but he was telling the story close enough to the time period in which it happened that its broad strokes, at least, must be correct even if the details are wrong. What Zappa said was that the article was on Sam Goody, the record salesman, and talked about how Goody was so good at his job that he had even been able to sell a record of Ionisation by Edgard Varese, which just consisted of the worst and most horrible noises anyone had ever heard, just loud drumming noises and screeching sounds. He determined then that he needed to hear that album, but he had no idea how he would get hold of a copy. I'll now read an excerpt from Zappa's autobiography, because Zappa's phrasing makes the story much better: "Some time later, I was staying overnight with Dave Franken, a friend who lived in La Mesa, and we wound up going to the hi-fi place -- they were having a sale on R&B singles. After shuffling through the rack and finding a couple of Joe Huston records, I made my way toward the cash register and happened to glance at the LP bin. I noticed a strange-looking black-and-white album cover with a guy on it who had frizzy gray hair and looked like a mad scientist. I thought it was great that a mad scientist had finally made a record, so I picked it up -- and there it was, the record with "Ionisation" on it. The author of the Look article had gotten it slightly wrong -- the correct title was The Complete Works of Edgard Varèse, Volume I, including "Ionisation," among other pieces, on an obscure label called EMS (Elaine Music Store). The record number was 401.I returned the Joe Huston records and checked my pockets to see how much money I had -- I think it came to about $3.75. I'd never bought an album before, but I knew they must be expensive because mostly old people bought them. I asked the man at the cash register how much EMS 401 cost. "That gray one in the box?" he said. "$5.95." I'd been searching for that record for over a year and I wasn't about to give up. I told him I had $3.75. He thought about it for a minute, and said, "We've been using that record to demonstrate hi-fi's with -- but nobody ever buys one when we use it. I guess if you want it that bad you can have it for $3.75."" Zappa took the record home, and put it on on his mother's record player in the living room, the only one that could play LPs: [Excerpt: Edgard Varese, "Ionisation"] His mother told him he could never play that record in the living room again, so he took the record player into his bedroom, and it became his record player from that point on. Varese was a French composer who had, in his early career, been very influenced by Debussy. Debussy is now, of course, part of the classical canon, but in the early twentieth century he was regarded as radical, almost revolutionary, for his complete rewriting of the rules of conventional classical music tonality into a new conception based on chordal melodies, pedal points, and use of non-diatonic scales. Almost all of Varese's early work was destroyed in a fire, so we don't have evidence of the transition from Debussy's romantic-influenced impressionism to Varese's later style, but after he had moved to the US in 1915 he had become wildly more experimental. "Ionisation" is often claimed to be the first piece of Western classical music written only for percussion instruments. Varese was part of a wider movement of modernist composers -- for example he was the best man at Nicolas Slonimsky's wedding -- and had also set up the International Composers' Guild, whose manifesto influenced Zappa, though his libertarian politics led him to adapt it to a more individualistic rather than collective framing. The original manifesto read in part "Dying is the privilege of the weary. The present day composers refuse to die. They have realized the necessity of banding together and fighting for the right of each individual to secure a fair and free presentation of his work" In the twenties and thirties, Varese had written a large number of highly experimental pieces, including Ecuatorial, which was written for bass vocal, percussion, woodwind, and two Theremin cellos. These are not the same as the more familiar Theremin, created by the same inventor, and were, as their name suggests, Theremins that were played like a cello, with a fingerboard and bow. Only ten of these were ever made, specifically for performances of Varese's work, and he later rewrote the work to use ondes martenot instead of Theremin cellos, which is how the work is normally heard now: [Excerpt: Edgard Varese, "Ecuatorial"] But Varese had spent much of the thirties, forties, and early fifties working on two pieces that were never finished, based on science fiction ideas -- L'Astronome, which was meant to be about communication with people from the star Sirius, and Espace, which was originally intended to be performed simultaneously by choirs in Beijing, Moscow, Paris, and New York. Neither of these ideas came to fruition, and so Varese had not released any new work, other than one small piece, Étude pour espace, an excerpt from the  larger work, in Zappa's lifetime. Zappa followed up his interest in Varese's music with his music teacher, one of the few people in the young man's life who encouraged him in his unusual interests. That teacher, Mr Kavelman, introduced Zappa to the work of other composers, like Webern, but would also let him know why he liked particular R&B records. For example, Zappa played Mr. Kavelman "Angel in My Life" by the Jewels, and asked what it was that made him particularly like it: [Excerpt: The Jewels, "Angel in My Life"] The teacher's answer was that it was the parallel fourths that made the record particularly appealing. Young Frank was such a big fan of Varese that for his fifteenth birthday, he actually asked if he could make a long-distance phone call to speak to Varese. He didn't know where Varese lived, but figured that it must be in Greenwich Village because that was where composers lived, and he turned out to be right. He didn't get through on his birthday -- he got Varese's wife, who told him the composer was in Europe -- but he did eventually get to speak to him, and was incredibly excited when Varese told him that not only had he just written a new piece for the first time in years, but that it was called Deserts, and was about deserts -- just like the Mojave Desert where Zappa lived: [Excerpt: Edgard Varese, "Deserts"] As he later wrote, “When you're 15 and living in the Mojave Desert, and you find out that the World's Greatest Composer (who also looks like a mad scientist) is working in a secret Greenwich Village laboratory on a song about your hometown (so to speak), you can get pretty excited.” A year later, Zappa actually wrote to Varese, a long letter which included him telling the story about how he'd found his work in the first place, hoping to meet up with him when Zappa travelled to the East Coast to see family. I'll read out a few extracts, but the whole thing is fascinating for what it says about Zappa the precocious adolescent, and I'll link to a blog post with it in the show notes. "Dear Sir: Perhaps you might remember me from my stupid phone call last January, if not, my name again is Frank Zappa Jr. I am 16 years old… that might explain partly my disturbing you last winter. After I had struggled through Mr. Finklestein's notes on the back cover (I really did struggle too, for at the time I had had no training in music other than practice at drum rudiments) I became more and more interested in you and your music. I began to go to the library and take out books on modern composers and modern music, to learn all I could about Edgard Varese. It got to be my best subject (your life) and I began writing my reports and term papers on you at school. At one time when my history teacher asked us to write on an American that has really done something for the U.S.A. I wrote on you and the Pan American Composers League and the New Symphony. I failed. The teacher had never heard of you and said I made the whole thing up. Silly but true. That was my Sophomore year in high school. Throughout my life all the talents and abilities that God has left me with have been self developed, and when the time came for Frank to learn how to read and write music, Frank taught himself that too. I picked it all up from the library. I have been composing for two years now, utilizing a strict twelve-tone technique, producing effects that are reminiscent of Anton Webern. During those two years I have written two short woodwind quartets and a short symphony for winds, brass and percussion. I plan to go on and be a composer after college and I could really use the counsel of a veteran such as you. If you would allow me to visit with you for even a few hours it would be greatly appreciated. It may sound strange but I think I have something to offer you in the way of new ideas. One is an elaboration on the principle of Ruth Seeger's contrapuntal dynamics and the other is an extension of the twelve-tone technique which I call the inversion square. It enables one to compose harmonically constructed pantonal music in logical patterns and progressions while still abandoning tonality. Varese sent a brief reply, saying that he was going to be away for a few months, but would like to meet Zappa on his return. The two never met, but Zappa kept the letter from Varese framed on his wall for the rest of his life. Zappa soon bought a couple more albums, a version of "The Rite of Spring" by Stravinsky: [Excerpt: Igor Stravinsky, "The Rite of Spring"] And a record of pieces by Webern, including his Symphony opus 21: [Excerpt: Anton Webern, "Symphony op. 21"] (Incidentally, with the classical music here, I'm not seeking out the precise performances Zappa was listening to, just using whichever recordings I happen to have copies of). Zappa was also reading Slonimsky's works of musicology, like the Thesaurus of Scales and Melodic Patterns. As well as this "serious music" though, Zappa was also developing as an R&B musician.  He later said of the Webern album, "I loved that record, but it was about as different from Stravinsky and Varèse as you could get. I didn't know anything about twelve-tone music then, but I liked the way it sounded. Since I didn't have any kind of formal training, it didn't make any difference to me if I was listening to Lightnin' Slim, or a vocal group called the Jewels (who had a song out then called "Angel in My Life"), or Webern, or Varèse, or Stravinsky. To me it was all good music." He had started as a drummer with a group called the Blackouts, an integrated group with white, Latino, and Black members, who played R&B tracks like "Directly From My Heart to You", the song Johnny Otis had produced for Little Richard: [Excerpt: Little Richard, "Directly From My Heart to You"] But after eighteen months or so, he quit the group and stopped playing drums. Instead, he switched to guitar, with a style influenced by Johnny "Guitar" Watson and Guitar Slim. His first guitar had action so bad that he didn't learn to play chords, and moved straight on to playing lead lines with his younger brother Bobby playing rhythm. He also started hanging around with two other teenage bohemians -- Euclid Sherwood, who was nicknamed Motorhead, and Don Vliet, who called himself Don Van Vliet. Vliet was a truly strange character, even more so than Zappa, but they shared a love for the blues, and Vliet was becoming a fairly good blues singer, though he hadn't yet perfected the Howlin' Wolf imitation that would become his stock-in-trade in later years. But the surviving recording of Vliet singing with the Zappa brothers on guitar, singing a silly parody blues about being flushed down the toilet of the kind that many teenage boys would write, shows the promise that the two men had: [Excerpt: Frank Zappa and Captain Beefheart, "Lost in a Whirlpool"] Zappa was also getting the chance to hear his more serious music performed. He'd had the high school band play a couple of his pieces, but he also got the chance to write film music -- his English teacher, Don Cerveris, had decided to go off and seek his fortune as a film scriptwriter, and got Zappa hired to write the music for a cheap Western he'd written, Run Home Slow. The film was beset with problems -- it started filming in 1959 but didn't get finished and released until 1965 -- but the music Zappa wrote for it did eventually get recorded and used on the soundtrack: [Excerpt: Frank Zappa, "Run Home Slow Theme"] In 1962, he got to write the music for another film, The World's Greatest Sinner, and he also wrote a theme song for that, which got released as the B-side of "How's Your Bird?", the record he made with Ray Collins: [Excerpt: Baby Ray and the Ferns, "The World's Greatest Sinner"] Zappa was able to make these records because by the early sixties, as well as playing guitar in bar bands, he was working as an assistant for a man named Paul Buff. Paul Buff had worked as an engineer for a guided missile manufacturer, but had decided that he didn't want to do that any more, and instead had opened up the first independent multi-track recording studio on the West Coast, PAL Studios, using equipment he'd designed and built himself, including a five-track tape recorder. Buff engineered a huge number of surf instrumentals there, including "Wipe Out" by the Surfaris: [Excerpt: The Surfaris, "Wipe Out"] Zappa had first got to know Buff when he had come to Buff's studio with some session musicians in 1961, to record some jazz pieces he'd written, including this piece which at the time was in the style of Dave Brubeck but would later become a staple of Zappa's repertoire reorchestrated in a  rock style. [Excerpt: The PAL Studio Band, "Never on Sunday"] Buff really just wanted to make records entirely by himself, so he'd taught himself to play the rudiments of guitar, bass, drums, piano, and alto saxophone, so he could create records alone. He would listen to every big hit record, figure out what the hooks were on the record, and write his own knock-off of those. An example is "Tijuana Surf" by the Hollywood Persuaders, which is actually Buff on all instruments, and which according to Zappa went to number one in Mexico (though I've not found an independent source to confirm that chart placing, so perhaps take it with a pinch of salt): [Excerpt: The Hollywood Persuaders, "Tijuana Surf"] The B-side to that, "Grunion Run", was written by Zappa, who also plays guitar on that side: [Excerpt: The Hollywood Persuaders, "Grunion Run"] Zappa, Buff, Ray Collins, and a couple of associates would record all sorts of material at PAL -- comedy material like "Hey Nelda", under the name "Ned and Nelda" -- a parody of "Hey Paula" by Paul and Paula: [Excerpt: Ned and Nelda, "Hey Nelda"] Doo-wop parodies like "Masked Grandma": [Excerpt: The PAL Studio Band, "Masked Grandma"] R&B: [Excerpt: The PAL Studio Band, "Why Don't You Do Me Right?"] and more. Then Buff or Zappa would visit one of the local independent label owners and try to sell them the master -- Art Laboe at Original Sound released several of the singles, as did Bob Keane at Donna Records and Del-Fi. The "How's Your Bird" single also got Zappa his first national media exposure, as he went on the Steve Allen show, where he demonstrated to Allen how to make music using a bicycle and a prerecorded electronic tape, in an appearance that Zappa would parody five years later on the Monkees' TV show: [Excerpt: Steve Allen and Frank Zappa, "Cyclophony"] But possibly the record that made the most impact at the time was "Memories of El Monte", a song that Zappa and Collins wrote together about Art Laboe's dances at El Monte Stadium, incorporating excerpts of several of the songs that would be played there, and named after a compilation Laboe had put out, which had included “I Remember Linda” by Little Julian and the Tigers. They got Cleve Duncan of the Penguins to sing lead, and the record came out as by the Penguins, on Original Sound: [Excerpt: The Penguins, "Memories of El Monte"] By this point, though, Pal studios was losing money, and Buff took up the offer of a job working for Laboe full time, as an engineer at Original Sound. He would later become best known for inventing the kepex, an early noise gate which engineer Alan Parsons used on a bass drum to create the "heartbeat" that opens Pink Floyd's Dark Side of the Moon: [Excerpt: Pink Floyd, "Speak to Me"] That invention would possibly be Buff's most lasting contribution to music, as by the early eighties, the drum sound on every single pop record was recorded using a noise gate. Buff sold the studio to Zappa, who renamed it Studio Z and moved in -- he was going through a divorce and had nowhere else to live. The studio had no shower, and Zappa had to just use a sink to wash, and he was surviving mostly off food scrounged by his resourceful friend Motorhead Sherwood. By this point, Zappa had also joined a band called the Soots, consisting of Don Van Vliet, Alex St. Clair and Vic Mortenson, and they recorded several tracks at Studio Z, which they tried to get released on Dot Records, including a cover version of Little Richard's “Slippin' and Slidin'”, and a song called “Tiger Roach” whose lyrics were mostly random phrases culled from a Green Lantern comic: [Excerpt: The Soots, "Tiger Roach"] Zappa also started writing what was intended as the first ever rock opera, "I Was a Teenage Maltshop", and attempts were made to record parts of it with Vliet, Mortenson, and Motorhead Sherwood: [Excerpt: Frank Zappa, "I Was a Teenage Maltshop"] Zappa was also planning to turn Studio Z into a film studio. He obtained some used film equipment, and started planning a science fiction film to feature Vliet, titled "Captain Beefheart Meets the Grunt People". The title was inspired by an uncle of Vliet's, who lived with Vliet and his girlfriend, and used to urinate with the door open so he could expose himself to Vliet's girlfriend, saying as he did so "Look at that! Looks just like a big beef heart!" Unfortunately, the film would not get very far. Zappa was approached by a used-car salesman who said that he and his friends were having a stag party. As Zappa owned a film studio, could he make them a pornographic film to show at the party? Zappa told him that a film wouldn't be possible, but as he needed the money, would an audio tape be acceptable? The used-car salesman said that it would, and gave him a list of sex acts he and his friends would like to hear. Zappa and a friend, Lorraine Belcher, went into the studio and made a few grunting noises and sound effects. The used-car salesman turned out actually to be an undercover policeman, who was better known in the area for his entrapment of gay men, but had decided to branch out. Zappa and Belcher were arrested -- Zappa's father bailed him out, and Zappa got an advance from Art Laboe to pay Belcher's bail. Luckily "Grunion Run" and "Memories of El Monte" were doing well enough that Laboe could give Zappa a $1500 advance. When the case finally came to trial, the judge laughed at the tape and wanted to throw the whole case out, but the prosecutor insisted on fighting, and Zappa got ten days in prison, and most of his tapes were impounded, never to be returned. He fell behind with his rent, and Studio Z was demolished. And then Ray Collins called him, asking if he wanted to join a bar band: [Excerpt: The Mothers, "Hitch-Hike"] The Soul Giants were formed by a bass player named Roy Estrada. Now, Estrada is unfortunately someone who will come up in the story a fair bit over the next year or so, as he played on several of the most important records to come out of LA in the sixties and early seventies. He is also someone about whom there's fairly little biographical information -- he's not been interviewed much, compared to pretty much everyone else, and it's easy to understand why when you realise that he's currently half-way through a twenty-five year sentence for child molestation -- his third such conviction. He won't get out of prison until he's ninety-three. He's one of the most despicable people who will turn up in this podcast, and frankly I'm quite glad I don't know more about him as a person. He was, though, a good bass player and falsetto singer, and he had released a single on King Records, an instrumental titled "Jungle Dreams": [Excerpt, Roy Estrada and the Rocketeers, "Jungle Dreams"] The other member of the rhythm section, Jimmy Carl Black, was an American Indian (that's the term he always used about himself until his death, and so that's the term I'll use about him too) from Texas. Black had grown up in El Paso as a fan of Western Swing music, especially Bob Wills, but had become an R&B fan after discovering Wolfman Jack's radio show and hearing the music of Howlin' Wolf and Sonny Boy Williamson. Like every young man from El Paso, he would travel to Juarez as a teenager to get drunk, see sex shows, and raise hell. It was also there that he saw his first live blues music, watching Long John Hunter, the same man who inspired the Bobby Fuller Four, and he would always claim Hunter as the man whose shows taught him how to play the blues. Black had decided he wanted to become a musician when he'd seen Elvis perform live. In Black's memory, this was a gig where Elvis was an unknown support act for Faron Young and Wanda Jackson, but he was almost certainly slightly misremembering -- it's most likely that what he saw was Elvis' show in El Paso on the eleventh of April 1956, where Young and Jackson were also on the bill, but supporting Elvis who was headlining. Either way, Black had decided that he wanted to make girls react to him the same way they reacted to Elvis, and he started playing in various country and R&B bands. His first record was with a group called the Keys, and unfortunately I haven't been able to track down a copy (it was reissued on a CD in the nineties, but the CD itself is now out of print and sells for sixty pounds) but he did rerecord the song with a later group he led, the Mannish Boys: [Excerpt: Jimmy Carl Black and the Mannish Boys, "Stretch Pants"] He spent a couple of years in the Air Force, but continued playing music during that time, including in a band called The Exceptions which featured Peter Cetera later of the band Chicago, on bass. After a brief time working as lineman in Wichita, he moved his family to California, where he got a job teaching drums at a music shop in Anaheim, where the bass teacher was Jim Fielder, who would later play bass in Blood, Sweat, and Tears. One of Fielder's friends, Tim Buckley, used to hang around in the shop as well, and Black was at first irritated by him coming in and playing the guitars and not buying anything, but eventually became impressed by his music. Black would later introduce Buckley to Herb Cohen, who would become Buckley's manager, starting his professional career. When Roy Estrada came into the shop, he and Black struck up a friendship, and Estrada asked Black to join his band The Soul Giants, whose lineup became Estrada, Black, a sax player named Davey Coronado, a guitarist called Larry and a singer called Dave. The group got a residency at the Broadside club in Ponoma, playing "Woolly Bully" and "Louie Louie" and other garage-band staples. But then Larry and Dave got drafted, and the group got in two men called Ray -- Ray Collins on vocals, and Ray Hunt on guitar. This worked for a little while, but Ray Hunt was, by all accounts, not a great guitar player -- he would play wrong chords, and also he was fundamentally a surf player while the Soul Giants were an R&B group. Eventually, Collins and Hunt got into a fistfight, and Collins suggested that they get in his friend Frank instead. For a while, the Soul Giants continued playing "Midnight Hour" and "Louie Louie", but then Zappa suggested that they start playing some of his original material as well. Davy Coronado refused to play original material, because he thought, correctly, that it would lose the band gigs, but the rest of the band sided with the man who had quickly become their new leader. Coronado moved back to Texas, and on Mother's Day 1965 the Soul Giants changed their name to the Mothers. They got in Henry Vestine on second guitar, and started playing Zappa's originals, as well as changing the lyrics to some of the hits they were playing: [Excerpt: The Mothers, "Plastic People"] Zappa had started associating with the freak crowd in Hollywood centred around Vito and Franzoni, after being introduced by Don Cerveris, his old teacher turned screenwriter, to an artist called Mark Cheka, who Zappa invited to manage the group. Cheka in turn brought in his friend Herb Cohen, who managed several folk acts including the Modern Folk Quartet and Judy Henske, and who like Zappa had once been arrested on obscenity charges, in Cohen's case for promoting gigs by the comedian Lenny Bruce. Cohen first saw the Mothers when they were recording their appearance in an exploitation film called Mondo Hollywood. They were playing in a party scene, using equipment borrowed from Jim Guercio, a session musician who would briefly join the Mothers, but who is now best known for having been Chicago's manager and producing hit records for them and Blood, Sweat, and Tears. In the crowd were Vito and Franzoni, Bryan Maclean, Ram Dass, the Harvard psychologist who had collaborated with Timothy Leary in controversial LSD experiments that had led to both losing their jobs, and other stalwarts of the Sunset Strip scene. Cohen got the group bookings at the Whisky A-Go-Go and The Trip, two of the premier LA nightclubs, and Zappa would also sit in with other bands playing at those venues, like the Grass Roots, a band featuring Bryan Maclean and Arthur Lee which would soon change its name to Love. At this time Zappa and Henry Vestine lived together, next door to a singer named Victoria Winston, who at the time was in a duo called Summer's Children with Curt Boettcher: [Excerpt: Summer's Children, "Milk and Honey"] Winston, like Zappa, was a fan of Edgard Varese, and actually asked Zappa to write songs for Summer's Children, but one of the partners involved in their production company disliked Zappa's material and the collaboration went no further. Zappa at this point was trying to incorporate more ideas from modal jazz into his music. He was particularly impressed by Eric Dolphy's 1964 album "Out to Lunch": [Excerpt: Eric Dolphy, "Hat and Beard"] But he was also writing more about social issues, and in particular he had written a song called "The Watts Riots Song", which would later be renamed "Trouble Every Day": [Excerpt: The Mothers of Invention, "Trouble Every Day"] Now, the Watts Uprising was one of the most important events in Black American history, and it feels quite wrong that I'm covering it in an episode about a band made up of white, Latino, and American Indian people rather than a record made by Black people, but I couldn't find any way to fit it in anywhere else. As you will remember me saying in the episode on "I Fought the Law", the LA police under Chief William Parker were essentially a criminal gang by any other name -- they were incompetent, violent, and institutionally racist, and terrorised Black people. The Black people of LA were also feeling particularly aggrieved in the summer of 1965, as a law banning segregation in housing had been overturned by a ballot proposition in November 1964, sponsored by the real estate industry and passed by an overwhelming majority of white voters in what Martin Luther King called "one of the most shameful developments in our nation's history", and which Edmund Brown, the Democratic governor said was like "another hate binge which began more than 30 years ago in a Munich beer hall". Then on Wednesday, August 11, 1965, the police pulled over a Black man, Marquette Frye, for drunk driving. He had been driving his mother's car, and she lived nearby, and she came out to shout at him about drinking and driving. The mother, Rena Price, was hit by one of the policemen; Frye then physically attacked one of the police for hitting his mother, one of the police pulled out a gun, a crowd gathered, the police became violent against the crowd, a rumour spread that they had kicked a pregnant woman, and the resulting protests were exacerbated by the police carrying out what Chief Parker described as a "paramiltary" response. The National Guard were called in, huge swathes of south central LA were cordoned off by the police with signs saying things like "turn left or get shot". Black residents started setting fire to and looting local white-owned businesses that had been exploiting Black workers and customers, though this looting was very much confined to individuals who were known to have made the situation worse. Eventually it took six days for the uprising to be put down, at a cost of thirty-four deaths, 1032 injuries, and 3438 arrests. Of the deaths, twenty-three were Black civilians murdered by the police, and zero were police murdered by Black civilians (two police were killed by other police, in accidental shootings). The civil rights activist Bayard Rustin said of the uprising, "The whole point of the outbreak in Watts was that it marked the first major rebellion of Negroes against their own masochism and was carried on with the express purpose of asserting that they would no longer quietly submit to the deprivation of slum life." Frank Zappa's musical hero Johnny Otis would later publish the book Listen to the Lambs about the Watts rebellion, and in it he devotes more than thirty pages to eyewitness accounts from Black people. It's an absolutely invaluable resource. One of the people Otis interviews is Lily Ford, who is described by my copy of the book as being the "lead singer of the famous Roulettes". This is presumably an error made by the publishers, rather than Otis, because Ford was actually a singer with the Raelettes, as in Ray Charles' vocal group. She also recorded with Otis under the name "Lily of the Valley": [Excerpt: Lily of the Valley, "I Had a Sweet Dream"] Now, Ford's account deserves a large excerpt, but be warned, this is very, very difficult to hear. I gave a content warning at the beginning, but I'm going to give another one here. "A lot of our people were in the street, seeing if they could get free food and clothes and furniture, and some of them taking liquor too. But the white man was out for blood. Then three boys came down the street, laughing and talking. They were teenagers, about fifteen or sixteen years old. As they got right at the store they seemed to debate whether they would go inside. One boy started a couple of times to go. Finally he did. Now a cop car finally stops to investigate. Police got out of the car. Meanwhile, the other two boys had seen them coming and they ran. My brother-in-law and I were screaming and yelling for the boy to get out. He didn't hear us, or was too scared to move. He never had a chance. This young cop walked up to the broken window and looked in as the other one went round the back and fired some shots and I just knew he'd killed the other two boys, but I guess he missed. He came around front again. By now other police cars had come. The cop at the window aimed his gun. He stopped and looked back at a policeman sitting in a car. He aimed again. No shot. I tried to scream, but I was so horrified that nothing would come out of my throat. The third time he aimed he yelled, "Halt", and fired before the word was out of his mouth. Then he turned around and made a bull's-eye sign with his fingers to his partner. Just as though he had shot a tin can off a fence, not a human being. The cops stood around for ten or fifteen minutes without going inside to see if the kid was alive or dead. When the ambulance came, then they went in. They dragged him out like he was a sack of potatoes. Cops were everywhere now. So many cops for just one murder." [Excerpt: The Mothers of Invention, "Trouble Every Day"] There's a lot more of this sort of account in Otis' book, and it's all worth reading -- indeed, I would argue that it is *necessary* reading. And Otis keeps making a point which I quoted back in the episode on "Willie and the Hand Jive" but which I will quote again here -- “A newborn Negro baby has less chance of survival than a white. A Negro baby will have its life ended seven years sooner. This is not some biological phenomenon linked to skin colour, like sickle-cell anaemia; this is a national crime, linked to a white-supremacist way of life and compounded by indifference”. (Just a reminder, the word “Negro” which Otis uses there was, in the mid-sixties, the term of choice used by Black people.) And it's this which inspired "The Watts Riot Song", which the Mothers were playing when Tom Wilson was brought into The Trip by Herb Cohen: [Excerpt: The Mothers of Invention, "Trouble Every Day"] Wilson had just moved from Columbia, where he'd been producing Dylan and Simon and Garfunkel, to Verve, a subsidiary of MGM which was known for jazz records but was moving into rock and roll. Wilson was looking for a white blues band, and thought he'd found one. He signed the group without hearing any other songs. Henry Vestine quit the group between the signing and the first recording, to go and join an *actual* white blues band, Canned Heat, and over the next year the group's lineup would fluctuate quite a bit around the core of Zappa, Collins, Estrada, and Black, with members like Steve Mann, Jim Guercio, Jim Fielder, and Van Dyke Parks coming and going, often without any recordings being made of their performances. The lineup on what became the group's first album, Freak Out! was Zappa, Collins, Estrada, Black, and Elliot Ingber, the former guitarist with the Gamblers, who had joined the group shortly before the session and would leave within a few months. The first track the group recorded, "Any Way the Wind Blows", was straightforward enough: [Excerpt: The Mothers of Invention, "Any Way the Wind Blows"] The second song, a "Satisfaction" knock-off called "Hungry Freaks Daddy", was also fine. But it was when the group performed their third song of the session, "Who Are The Brain Police?", that Tom Wilson realised that he didn't have a standard band on his hands: [Excerpt: The Mothers of Invention, "Who Are the Brain Police?"] Luckily for everyone concerned, Tom Wilson was probably the single best producer in America to have discovered the Mothers. While he was at the time primarily known for his folk-rock productions, he had built his early career on Cecil Taylor and Sun Ra records, some of the freakiest jazz of the fifties and early sixties. He knew what needed to be done -- he needed a bigger budget. Far from being annoyed that he didn't have the white blues band he wanted, Wilson actively encouraged the group to go much, much further. He brought in Wrecking Crew members to augment the band (though one of them. Mac Rebennack, found the music so irritating he pretended he needed to go to the toilet, walked out, and never came back). He got orchestral musicians to play Zappa's scores, and allowed the group to rent hundreds of dollars of percussion instruments for the side-long track "Return of the Son of Monster Magnet", which features many Hollywood scenesters of the time, including Van Dyke Parks, Kim Fowley, future Manson family member Bobby Beausoleil, record executive David Anderle, songwriter P.F. Sloan, and cartoonist Terry Gilliam, all recording percussion parts and vocal noises: [Excerpt: The Mothers of Invention, "Return of the Son of Monster Magnet"] Such was Wilson's belief in the group that Freak Out! became only the second rock double album ever released -- exactly a week after the first, Blonde on Blonde, by Wilson's former associate Bob Dylan. The inner sleeve included a huge list of people who had influenced the record in one way or another, including people Zappa knew like Don Cerveris, Don Vliet, Paul Buff, Bob Keane, Nik Venet, and Art Laboe,  musicians who had influenced the group like Don & Dewey, Johnny Otis, Otis' sax players Preston Love and Big Jay McNeely, Eric Dolphy, Edgard Varese, Richard Berry, Johnny Guitar Watson, and Ravi Shankar, eccentric performers like Tiny Tim, DJs like Hunter Hancock and Huggy Boy, science fiction writers like Cordwainer Smith and Robert Sheckley, and scenesters like David Crosby, Vito, and Franzoni. The list of 179 people would provide a sort of guide for many listeners, who would seek out those names and find their ways into the realms of non-mainstream music, writing, and art over the next few decades. Zappa would always remain grateful to Wilson for taking his side in the record's production, saying "Wilson was sticking his neck out. He laid his job on the line by producing the album. MGM felt that they had spent too much money on the album". The one thing Wilson couldn't do, though, was persuade the label that the group's name could stay as it was. "The Mothers" was a euphemism, for a word I can't say if I want this podcast to keep its clean rating, a word that is often replaced in TV clean edits of films with "melon farmers", and MGM were convinced that the radio would never play any music by a band with that name -- not realising that that wouldn't be the reason this music wouldn't get played on the radio. The group needed to change their name. And so, out of necessity, they became the Mothers of Invention.

This episode I talk to founder of the Institute of Modern Dog Trainers (IMDT) Steve Mann. Steve is a dog trainer and instructor trainer with over 30 years experience. He wrote the bestseller Easy peasy puppy squeezy and other books in the EP series including one for children. Steve currently has an online course with BBC Maestro. We talk dog sports, coaching, life with tiny dogs and why being busy isn't a good thing.

This week Anna is joined by dog training Guru, Steve Mann, who is talking about his new training course that's available on BBC Maestro. Steve is the founder of the Institute of Modern Dog Trainers, and has over 30 years years experience. Ranging from training dogs as pets, or for detection and security, he's worked in internationally in Africa, Dubai, China, Australia as well as in the UK. He is proud to have successfully trained over 100,000 dogs! He has a long list of celebrity clients too and often appears on TV and radio to promote and demonstrate the value of positive dog training. He really considers the feelings of dogs and focuses on creating a strong bond between dogs and their owners based on trust and clear communication. His books - the ‘Easy Peasy' range of doggy training, are so well written and break down positively reinforced training brilliantly making it clear and fun for both dogs and their owners alike.Facebook: SteveMannTwitter: @SteveMannDogInstagram: @SteveMannDogTrainerWebsiteBBC MaestroGET 20% OFF STEVE MANN'S NEW DOG TRAINING COURSE A TRAINED DOG IS A HAPPY DOG Steve Mann has trained more than 100,000 dogs across the world – and now he's handing you the lead. With his 30 years' experience at your fingertips, you'll go through 30 online lessons with Steve and your dog, covering everything from puppy essentials, recall and loose-lead walking, through to easing separation anxiety and socialising your pup as the world begins to open up again. You'll even dig down into doggy body language and breed-specific behaviours, so you can manage the natural instincts of a terrier, retriever, or herding breed while keeping your home intact. “My philosophy is that with the right knowledge, any owner can achieve the very best training results and build a happy life together with their favourite friend.”  Start training your dog today with Steve Mann – just £64 with this special offer. Simply go to https://www.bbcmaestro.com/courses/steve-mann/dog-training/code/ANNAWEBB?utm_source=AnnaWebbDogPodcast&utm_medium=affiliate&utm_campaign=SteveMannAwareness and your discount will be applied automatically. Offer ends 21st September 2021. Terms apply: https://www.bbcmaestro.com/AnnawebbtermsFor more about Anna go to annawebb.co.ukMusic and production by Mike Hanson for Pod People ProductionsCover art by JaijoCover photo by Rhain Ap Gruffydd at Gruff PawtraitsTo advertise on or sponsor A Dog's Life email: info@theloniouspunkproductions.com

We talk with Steve Mann, health coach for type 1 and type 2 diabetics, about his career path from big tech marketing to supporting the diabetes community. As a long-time T1D, Steve has seen some major changes in diabetes management and his experience helps him guide other diabetics away from the same mistakes he made.Read the show notes and find all the links discussed in the episodeGo straight to our podcast page to find all the episode show notes & relevant T1D links and resourcesReady to take the next step? Sign up for a free 60-minute life coaching consultJoin my free Facebook groupSupport the show (https://www.inspiredforward.com/kofi)

The presence and increasing use of surveillance in our daily lives means our awareness and engagement need to be active as much as it is theoretical. During the course of this podcast series, host Abdelrahman Hassan and the The Asimov Institute Director Stefan Leijnen, will go into conversation with experts about the various areas of surveillance. Each episode examines the relationship between algorithms and power structures, how they shape each other and how they shape the governed subject. The most important part of the podcast, is how we can debunk existing power frames in order to create new ones: What rules or concepts can be employed to shift existing power structures? This podcast series aims to find a more unidirectional blueprint for future governance systems, and will be the point of departure of the hackathon in the Summer of 2021, organized by the Inverse Surveillance AI project. Het bericht Future Based x Inverse Surveillance with Steve Mann verscheen eerst op Future Based.

John 3:1-21 Steve Mann Download sermon (mp3 format) Glorious Works! by Steve Mann | Georgetown CRC https://sermons.georgetowncrc.org/2021/210627-Glorious-Works.mp3 The post June 27, 2021 AM | Glorious Works! appeared first on Georgetown Christian Reformed Church.

Are you a new puppy owner with no idea what you've let yourself in for? Well, so is award-winning radio DJ, Scott Mills! That's why he's teamed up with Dog Training Guru, Steve Mann, to create a podcast that will give you answers to your puppy questions. Steve has trained puppies owned by the likes of Lorraine Kelly, Graham Norton, Emilia Clarke and Brian Blessed… So we're in good hands! Together, Scott and Steve will meet all of your dog training needs in quick bitesize episodes. From pre-puppy panic, to teething and toilet training… it's all here on Pupdates! Pupdates with Scott Mills & Steve Man is a Big Red Talent production. The producer is Helena Webb.

A new MP3 sermon from Bath Road Baptist Church is now available on SermonAudio with the following details: Title: The Blessedness Of Hope Subtitle: James: How Believers Behave Speaker: Steve Mann Broadcaster: Bath Road Baptist Church Event: Midweek Service Date: 5/26/2021 Bible: James 5:7-11 Length: 27 min.

Instead of our regularly programmed show, Tomorrow's Best Practices Today, we're featuring our sister podcast Counterpoint B2B, hosted by Steve Mann. Counterpoint B2B is a show where B2B Marketers discuss, debate, and explore common marketing tradeoffs faced by marketing decision makers. Join host Steve Mann as he invites senior marketers to break down these decisions and helps you come to your own conclusions about each topic.

I denne episode skal vi se fjernsyn. Næsten. Vi har lavet en fælles DataSnak YouTube-playlist, med en masse videoer om data og teknologi og dimseri, som vi fortæller om diskuterer i studiet. Videoerne kan ses på YouTube, og har vi samlet dem i en spilleliste, som vi deler via vores shownotes, hvis du har lyst til at kigge med enten mens vi taler eller senere… Redaktøren er dog på skolebænken, så man må nøjes med Adam og Anders. Adam har især kigget efter alternative input-metoder, og bevæger sig fra gammeldaws tastaturer til fingerringe, stemmestyring og meget mere. Anders har valgt en håndfuld videoer, der allesammen kredser om Augmented Reality og Mixed Reality, som er superfascinerende men stadig virker lidt gumpetungt i praksis... Derudover har vi selvfølgelig Smittestopdatering og et par tips til sidst, denne gang en podcast og en browser-extension til at håndtere de mange faneblade. Links Vores YouTube playlist til DataSnak E119 Coronapas-ballade Steve Mann - "father of wearable computing" Tips Adam: Photography Daily-podcasten Anders: Tab Space til Safari (macOS), eller OneTab, som dog fungerer bedre på Firefox, Brave, Chrome, etc. PRAKTISK DataSnak har fokus på it-faglige og it-politiske emner, og nørder igennem med alt fra automatisering over sikkerhed til uddannelse i den digitale verden. Podcasten behandler også SAMDATAHKs relevante aktiviteter såsom kurser, faglige initiativer, kommunikation og værktøjer og tilbud, som man kan få, når man er it-medlem i HK. Formål er at gøre lytterne klogere på hvad der sker i deres arbejdsliv her og nu og i fremtiden, og gå i dybden med problemstillinger fra it-professionelles hverdag. Tovholderen på podcasten er it-faglig konsulent Jeppe Engell. De øvrige to værter er Adam Bindslev og Anders Høeg Nissen. DataSnak udkommer hveranden mandag. Tak fordi du lytter med! Får du lyst til at komme med ris og ros, kan du sende en e-mail til jeppe.engell@hk.dk - og hvis du har tekniske spørgsmål eller kommentarer kan de sendes til anders@podlab.dk

The world famous dog trainer Steve Mann answers every crazy question from recent puppy mum Rachel Burden. Plus - Nicky celebrates and indeed venerates the golden oldies with Maxwell [13] and Dr Victoria Hogg aka the legendary ‘Vicky the Vet'. They're wise, serene and adorable - even when they break wind.

Join host, Bob Grove, and Missouri State Organizing Committee Chair, Steve Mann, to discuss the formation of a new U.S. political party called the People’s Party. The post The Creation of a New Political Party appeared first on KKFI.

George, Reece & Cuttsy warm up the vocal cords for Season 2 preview. Training starts Wednesday so dust of those runners, rinse out your drink bottles and turn off your phone notifications for the impending "why weren't you out tonight text from Steve Mann".  

Steve Mann, Managing Director from Propel32 joins us for a plethora of tips for analytics process efficiency! He reminds us why it's important to use simple examples when communicating your insights, and why basics like low hanging fruit can be much more than just basic.Check out the full show notes on the Alteryx Community, where you can comment and join in on the conversation, or use the #AlterEverythingPodcast on social media.Want more from Alteryx? Follow @Alteryx on Twitter, Facebook, and LinkedIn. You can also register for an Alteryx Community account, and download a free Alteryx trial to start solving your analytic and business challenges.

Lots of books being read by our Facebook Group! Wonderful! We also have an interview with the fabulous Simon Mayo, talking about his wonderful new book “Knife Edge”. Plus reviews of “The Heart’s Invisible Furies” by John Boyne, “The Wives” by Tarryn Fisher, “Easy Peasy Doggy Squeeze” by Steve Mann, “Friend Request” by Laura Marshall and “The Thursday Murder Club” by Richard Osman. Wow, wow and wow!  

Steve Mann wants you to realize how much emotions play into any buying decision, B2B or otherwise. Steve explains how he uses emotions in his go to market plan, what he suggests to do in this time of disrupted markets, and how he uses his learnings from marketing and business in the home to help raise his triplets, and how he uses those learnings in the world of business.

www.DogCastRadio.comIn the first episode of 2019 you can hear Steve Mann's expert advice on how to get things right with your puppy, and your dog, as he talks about his book Easy Peasy Puppy Squeezy. Plus there's the DogCast Radio News read by Julie and Jenny, and some reflections on the simple step that just might revolutionise your dog training! And a listener's review of the Dutch film, Buddy.

On today's program our guest is Steve Mann, Owner, PrairieEcosystems Mgmt, who will speak with Richard Mabion about the environmental movement in the KC area since 2008.  Steve Mann has […] The post Mann & Mabion discuss environmental history – prospect of the future? appeared first on KKFI.

Chris Aimone is an inventor, an engineer, and a visionary. The Muse, brain-sensing headband for meditation is a creation of the company he co-founded called Interaxon. Chris' creative and design practices span many fields including architecture, alternative energy, augmented reality, imaging, music, and robotics. Fueled by a masters level education in engineering and computer science from the University of Toronto.Chris Aimone co-founded Interaxon with a mission to create technology that can support and guide our quest for peace and wellbeing. An inventor at heart, Chris's creative and design practice has spanned many fields, including architecture, alternative energy, augmented reality, imaging, music and robotics, fueled by a masters-level education in engineering science and computer science at the University of Toronto. Chris has built installations for the Ontario Science Centre and contributed to major technology art projects featured around the world (including Burning Man). Chris's science education and lifetime of mind-body practices informed his creation of the Muse brain-sensing headband.Before Interaxon, Chris spent a decade working with Dr. Steve Mann exploring human-centric and transformative technology. Together they pushed the limits of cybernetic wearables, brain computer interfaces and augmented reality, developing early prototypes of technologies that now support several successful start-ups. They also founded a musical instrument company, producing the world's first water-based organs, or “hydraulophones,” which have been installed at science museums and splash parks around the world.------ http://www.choosemuse.comPlease do NOT hesitate to reach out to me on LinkedIn, Instagram, or via email mark@vudream.comLinkedIn - https://www.linkedin.com/in/mark-metry/Instagram - https://www.instagram.com/markmetry/Twitter - https://twitter.com/markymetryMedium - https://medium.com/@markymetryFacebook - https://www.facebook.com/Humans.2.0.PodcastMark Metry - https://www.markmetry.com/Humans 2.0 Twitter - https://twitter.com/Humans2Podcast

A Computação Vestível é uma proposta de aproveitar o corpo como origem e destino da interação. Os dispositivos são pequenos o suficiente para não causar desconforto e oferecem aplicativos específicos para processar dados contextuais gerados à partir do corpo de referência. As interfaces da Computação Vestível não exigem atenção total e podem inclusive ser operadas com a visão periférica ou com outros sentidos, como o tato. A Computação Vestível oferece a oportunidade de experiências de alteridade que transformam hábitos e pensamentos.Slides Áudio Computação vestível e interações com o corpo consciente [MP3] 1h 43min Transcrição O ábaco em formato de anel utilizado entre os séculos XVII e XIX na China é considerado o precursor mais antigo da Computação Vestível. Suas contas eram tão pequenas que, para manuseá-lo, era necessário um objeto pontiagudo. Isso não era um problema para as usuárias da época, mulheres educadas que tinham à disposição diversos grampos de cabelo. O ábaco era tanto um símbolo de distinção quanto uma ferramenta prática no comércio. Embora seja possível realizar cálculos com o ábaco, ele ainda não permitia computar dados. Em 1975, a miniaturização dos eletrônicos permitiu encaixar uma calculadora dentro de um relógio. A primeira empresa a lançar um relógio calculadora foi a Time Computer, com o modelo Pulsar. A tela era feita de LED e gastava tanta bateria que só mostrava as horas quando se apertava no botão "Pulsar". Este botão era o único que podia ser apertado sem a ajuda de um objeto pontiagudo. Tal como o ábaco, o Pulsar aproveitava a disposição de canetas nos bolsos dos homens de negócios que podiam comprá-las. Os relógios calculadora se tornaram mais complexos, porém, nenhum deles permitia computar dados, por isso são precursores da Computação Vestível. A capacidade de programar algoritmos e computar dados em objetos vestíveis toma corpo a partir dos anos 1990, quando o paradigma de Computação Pessoal se consolida. Pesquisadores de diversas Universidades experimentaram maneiras de computar cada vez mais relevantes ao cotidiano. O grupo Borg Lab do MIT (que depois viria a se chamar Wearable Computing), desenvolveu uma série de computadores vestíveis que aproveitavam dados como a localização do usuário, o campo de visão, batimentos cardíacos para guardar ou prover informações contextuais. Eles fizeram isso também para demonstrar que alguns conceitos trabalhados na ficção científica, como o do ciborgue, já era possível com a tecnologia da época. Um detalhe interessante é a combinação bizarra entre dispositivos estrambóticos e as vestimentas casuais da época. MindMesh é uma capa de circuitos instalada permanentemente sobre o crânio que se comunica com eletrodos implantados dentro do cérebro. É possível plugar diferentes acessórios a essa capa, como por exemplo, câmeras e dispositivos de memória artificial que podem interagir diretamente com o cérebro humano. Steve Mann iniciou esse projeto em 2012 com a intenção de ajudar deficientes visuais a enxergar ou pacientes de Alzheimer a recuperar sua memória. O protótipo ainda não é funcional, mas levanta por si só uma série de questionamentos. Quem duvida da viabilidade do MindMesh, precisa conhecer os diversos projetos que Mann desenvolveu no passado que hoje já foram incorporados ao arsenal de tecnologias do cotidiano. O EyeTap, por exemplo, é um óculos digital que Steve Mann criou em 1999 e que serviu de base para o Google Glass, lançado em 2012. Em 2012, poucos meses antes do lançamento do Google Glass, Steve Mann foi barrado em um restaurante do McDonalds em Paris. O gerente pediu que Mann retirasse o seu óculos digital, porém, Mann mostrou-lhe um documento do seu médico recomendando o uso do dispositivo. Embora Mann tenha explicado que o dispositivo estava preso à sua cabeça, o gerente do McDonalds tentou retirar o óculos à força. Apesar dos danos causados ao dispositivo, a foto do momento desconfortável ficou gravada. O Google Glass não chegou a ser lançado para o público em geral. De 2012 a 2015, a empresa vendeu o produto a desenvolvedores interessados em experimentar a tecnologia. Embora o produto tenha atraído o interesse de muitos desenvolvedores, acabou recebendo muitas críticas e reclamações dos não-usuários, ou seja, as pessoas que interagiam com esses desenvolvedores e se sentiam desconfortáveis com a presença de um dispositivo que permitia gravação não autorizada de seus rostos. Este foi um dos diversos problemas apresentados pelo Google Glass devido à falta de consideração pelo corpo do usuário e pelos não-usuários. O Apple Watch lançado em 2015, pelo contrário, tomou o corpo do usuário como uma fonte constante de dados. Equipado com sensores biométricos e algoritmos de detecção de atividade física, o Apple Watch propôs auxiliar na mudança de hábitos pouco saudáveis, como o sedentarismo. O aplicativo Activity mostra a quantidade de tempo gasto pelo usuário na posição sentada, em pé ou andando dentro do período de um dia. Caso não haja muito movimento, o aplicativo dispara notificações convidando o usuário a se mexer. Caso haja movimento, as notificações atuam com reforço positivo. Apple Watch também levou em consideração que a apresentação do corpo em público está sujeita a tendências de moda. Os relógios, assim como os óculos, são considerados acessórios importantes na moda e devem combinar com as vestimentas. A forma do Apple Watch é básica, visando um maior número de combinações possíveis. Além disso, é possível escolher diferentes estilos visuais para o mostrador do relógio. O alumínio escovado brilha menos do que materiais como prata e ouro, que costumam ser usados em relógios de luxo, porém, ainda demonstra esmero na produção. Apple Watch levou em consideração que acessórios corporais são símbolos de status social. A maior parte das pessoas que vi usando um Apple Watch eram executivos ou gerentes de grandes empresas. O relógio digital comunica que esse tipo de pessoa está atualizada com o que há de mais moderno em termos de tecnologia. Por outro lado, também demonstra que a pessoa é muito ocupada e precisa estar atenta a fluxos de informação o tempo todo. Na foto, Peter Murdoch, magnata estadunidense, exibe seu Apple Watch com orgulho. Talvez o maior fator de sucesso do Apple Watch tenha sido a promessa de incentivar a atividade física do usuário, visando, com isso promover a perda de peso. Nesta foto, usuários compartilham suas conquistas na perda de peso após utilizar o Apple Watch por alguns meses. Conclui-se que o Apple Watch levou em consideração o sentimento de insatisfação com o corpo característico de nossa cultura. Apple Watch levou também em consideração os ritmos da interação corporificada, ou seja, a interação entre pessoas que leva em consideração o corpo delas, como por exemplo, uma conversa face-a-face. Nessas ocasiões, o usuário pode ler notificações com um golpe de vista e leve torção do pulso, o que é menos intrusivo para uma conversa do que sacar um smartphone do bolso. Existe também um botão de fácil acesso para desligar tais notificações ("não perturbe"). O corpo humano é um objeto de interesse científico, em particular, da Medicina. A Apple levou em consideração o interesse da Medicina sobre as variedades de corpos humanos e lançou em parceria com a Universidade de Stanford um aplicativo chamado Apple Heart Study para participantes voluntários cederem dados de batimentos cardíaco. É a primeira vez que se realiza um estudo sobre arritmia cardíaca com uma amostragem tão grande. A Computação Vestível (e o Apple Watch) surgiram a partir do momento em que pesquisadores da Interação Humano Computador abandonaram a visão cognitivista do corpo, que considera o corpo um mero suporte para a mente. Nesta visão, o corpo não contribui para o pensamento e pode inclusive atrapalhar o pensamento com emoções inoportunas. As interfaces computacionais construídas à partir dessa visão aproveitam apenas o pensamento lógico e abstrato do usuário, tratando a saúde e ergonomia do corpo como secundárias. No fundo, o corpo é tratado como uma coisa nojenta ou até mesmo asquerosa que deve ser superada pela singularidade tecnológica. Um filme que mostra o conflito de superar as emoções do corpo é Videodrome (1983), de David Cronenberg. Através de uma estética gore, o filme demonstra que a televisão não é só veículo de informações, mas também e principalmente um veículo para afetos corporais. A visão que inspira o desenvolvimento da Computação Vestível é conhecida como encarnada. Nesta visão, a mente não seria um fenômeno transcendental magnífico, mas sim um produto da carne humana. Existiria, então, um continuum entre o que acontece no cérebro e o que acontece nos demais órgãos do corpo humano. A postura corporal, os gestos, as condições físicas e o estado de saúde seriam fundamentais para o pensamento humano, tanto quanto a atividade neuronal. Esse corpo encarnado possui, também uma relação ativa em relação ao ambiente, modificando o que não convém. Uma vez que no ambiente existem outros corpos e o ambiente é compartilhado, a capacidade de agir do corpo acaba sendo objeto de disputas políticas sobre o que pode ou não pode ser feito. Essa visão encarnada do corpo é apresentada por David Cronenberg em um filme mais recente, ExistenZ (1999). Neste filme, a protagonista se conecta a um mundo virtual através de um órgão biológico externo. Cronenberg demonstra que a tecnologia já não pode mais ser considerada como um mal que adentrou nossos corpos, mas como parte constitutiva e fundamental do mesmo. As condições que impulsionam o desenvolvimento da Computação Vestível são diversas. Em primeiro lugar, existe a questão ergonômica. Conforme nossas atividades cotidianas se tornam dependentes de computadores, menos conforto e mobilidade saudável temos à disposição. O uso do computador por longas horas de uso está associado a diversas doenças ligadas ao sedentarismo. Embora existam recomendações sobre como utilizar o computador de maneira saudável, o modo de interação cognitivista desestimula a atividade física. Além da questão ergonômica, existe a limitação de conhecimentos que podem ser expressos através de computadores. Pesquisadores de diferentes áreas já demonstraram que o corpo humano possui diversos conhecimentos tácitos que são extremamente difíceis de expressar e computar pelo modo cognitivista de interação. Por exemplo, o conhecimento sobre como amarrar calçados. É extremamente difícil descrever em palavras esta operação para uma criança, mas é fácil colocá-la no colo e utilizar o corpo diretamente para ensiná-la. Pois assim torna-se possível utilizar gestos sutis para demonstrar como realizar a operação. Como este, existem diversos conhecimentos fundamentais à cultura humana que não podem ser computados devido à limitações das interfaces computacionais. O computador praticamente só utiliza o sentido da visão para comunicar informações. Embora a quantidade de informações que podem ser adquiridas pelo canal visual seja maior do que por outros canais, não há nenhuma vantagem em termos de qualidade. Com frequência, a quantidade de informações prejudica a qualidade da compreensão, gerando mais confusão e distração do que conhecimento. Na ânsia de aproveitar a capacidade informacional do canal visual, computadores acabam exigindo atenção demais para serem operados. As pessoas costumam ficar completamente focadas no computador e distraídas para tudo o mais que está ao seu redor, inclusive, e principalmente, seu próprio corpo. Um dos principais problemas de postura no uso do computador deve-se ao costume das pessoas ignorarem as dores de acomodação que servem para estimular sua mudança sua postura. A Computação Vestível tenta superar estes problemas trazendo o computador para perto do corpo. Os dispositivos são pequenos o suficiente para não causar desconforto e oferecem aplicativos específicos para processar dados contextuais gerados à partir do corpo de referência. As interfaces da Computação Vestível não exigem atenção total e podem inclusive ser operadas com a visão periférica ou com outros sentidos, como o tato. A Computação Vestível ainda está na sua infância, porém, acredita-se que o desenvolvimento de algumas tecnologias recentes pode contribuir para um desenvolvimento rápido de funcionalidades. Essas novas tecnologias conseguem processar dados contextuais e inferir informações relevantes mais rapidamente do que era possível anteriormente. A consultoria Callaghan Innovation identificou em 2017 três áreas estratégicas para vestíveis: Saúde, Trabalho e Lazer. Na Saúde é possível observar uma mudança no comportamento dos pacientes, que estão cada vez mais ativos na busca por informação sobre suas condições de saúde e também na automedicação, com todos os perigos que isso traz. O website Patients Like Me permite que pacientes compartilhem que remédios estão tomando e os sintomas que estão sentindo. Acompanhando a mudança, os serviços de saúde estão buscando oferecer cada vez mais soluções que dispensem a visita ao hospital ou clínica, como o homecare e a Medicina Preventiva. No Trabalho, existe uma tendência de normalizar a vigilância do trabalhador para medir sua performance ou analisar suas ações. O fim da privacidade é compensado pelo aumento da segurança e produtividade. A geração e utilização de informações contextuais para organização do trabalho eficiente está se tornando uma justificativa suficiente para basicamente qualquer mudança nas relações de trabalho. A polícia de Washington DC realizou em 2017 um experimento para verificar se policiais portando câmeras iriam tratar melhor os cidadãos do que aqueles que não estavam portando o dispositivo. O resultado foi negativo. Os policiais com câmera receberam o mesmo número de reclamações que os que não portavam as câmeras. Já no Lazer, existe uma preocupação muito grande em transformar momentos ociosos em momentos de lazer. Qualquer espera ociosa precisa ser preenchida por um jogo ou distração divertida. A gamificação aparece como uma maneira de misturar Lazer com Trabalho e até mesmo com Saúde. Nem mesmo as crianças ficam de fora da tendência. O Leap Band é um vestível que incentiva crianças a fazer exercícios físicos através de um personagem virtual. Embora não garanta resultados para perder peso, o Leap Band seduz pais preocupados com o alarmante crescimento da obesidade infantil criada, em partes, pelo sedentarismo dos computadores e videogames. Essas tendências estão provocando diversas respostas da sociedade. Um movimento peculiar chamado Quantified Self defende que, se as pessoas tiverem controle e acesso a dados gerados à partir de seu corpo, a vigilância é inofensiva. Os ativistas desse movimento acreditam que ter mais dados à disposição pode levar à decisões melhores informadas e um conhecimento maior acerca do próprio corpo. Um pioneiro deste movimento é Nicholas Felton, que de 2004 a 2014 publicou um relatório anual sobre sua vida pessoal contendo dados sobre as pessoas com quem ele interagia, o tipo de atividade que ele se dedicava e as alterações nos dados biométricos. Na última edição do Feltron Annual Report há tentativas de compreender correlações entre os ritmos biológicos. Nicholas Felton publicou na App Store junto com colegas o aplicativo que permitia o registro de dados sobre sua vida, o Reporter App. Com esse aplicativo, qualquer pessoa pode agora compilar um relatório anual com estatísticas sobre seu comportamento. O aplicativo oferece a possibilidade de customizar o tipo de dados coletado e, com isso, gerar novos insights sobre o comportamento. Uma crítica levantada ao movimento Quantified Self é que a coleta de dados estaria também interferindo sobre os ritmos biológicos. Uma pesquisa realizada por Baron et al (2017) descobriu que alguns pacientes com distúrbio do sono que utilizam aplicativos rastreadores de sono (sleep trackers) sentem tanta ansiedade que acabam dormindo menos do que os que utilizam métodos analógicos de mensuração do sono. A mensuração de dados acaba, portanto, gerando um ciclo vicioso de dependência da tecnologia para o sono. Observando o crescimento do interesse pelo corpo no Design de Interação, tenho trabalhado juntamente com meu colega Rodrigo Gonzatto numa visão encarnada chamada corpo consciente. Esse termo foi inicialmente proposto por Paulo Freire para designar uma pessoa que está consciente de seus condicionamentos e liberdades. Na disciplina Design de Interação, que ministramos juntos no Curso de Design Digital da PUCPR, nós propomos aos estudantes desenvolver projetos à partir da conscientização das opressões que eles estão sujeitos no cotidiano. Numa das atividades, pedimos aos estudantes que registrassem as pressões vividas no período de uma semana. Ao final de cada dia, eles criavam um modelo com massa de modelar expressando a pressão e guardavam no organizador de remédios. Ao final da semana, os modelos foram comparados e discutidos para encontrar padrões. Na disciplina Design de Interação, mostramos projetos de vestíveis que tratam o corpo não só como uma fonte de dados, mas como um maneira de existir na sociedade. O capuz para pessoas que não gostam de ser espiadas enquanto usam o computador criado por Joe Malia em 2004 é um exemplo paradigmático. Aqui a pessoa restringe seu campo de visão para garantir sua privacidade na utilização do computador. Indiretamente, o capuz comunica a relação íntima entre corpo e computador, uma relação que existe mesmo que a pessoa não vista o capuz. O capuz exagera a restrição do campo de visão e individualização resultante do uso intensivo da Computação Pessoal. Esse projeto pode ser considerado um exemplo de Design Crítico, ou seja, um projeto com foco na crítica social e reflexão. Um projeto mais recente que levanta condicionamentos contemporâneos é o Embodied Suffering, um conjunto de luvas eletrônicas que permitem sentir a ansiedade que uma outra pessoa sente. Ao final da interação, os dados biométricos são impressos em 3D em um objeto que deve ser trocado entre os usuários, funcionando como uma espécie de souvenir daquele momento. O projeto foi desenvolvido por Fernando Obieta, Gabriel Bach e Nadine Prigann no curso de Embodied Interaction da Universidade de Artes de Zurique em 2017. Numa linha similar, Ava Aghakouchak e Maria Paneta desenvolveram uma série de vestíveis chamada Sarotis. Cada vestível é composto por um soft robot feito de silicone que enche de ar ou líquido e transmite uma sensação suave de toque à pele humana. Os vestíveis exploram maneiras de perceber dados computacionais através do tato. Uma aplicação de Sarotis é uma navegação tátil por espaços virtuais para deficientes visuais, que podem perceber distâncias virtuais através do toque suave dos robôs. No Brasil, vestíveis assim podem parecer estranhos, porém, em 2011, o Orkut fez uma campanha sobre um brinco que esquentava quando outras pessoas acessam o perfil do usuário. O Earkut, como foi chamado, era um projeto fictício, uma brincadeira de primeiro de abril, porém, despertou o interesse de milhares de pessoas. Há alguns anos antes, minha estudante de Design da Unisul Jordana Schulka já havia criado um vestível muito parecido, que na época chamamos de Brinco do Orkut. Uma diferença fundamental é que o brinco iria esquentar quando o nome da pessoa fosse mencionada nos recados dos amigos, realizando na prática a crença popular de que a orelha esquenta quando outras pessoas falam de você por trás. Em 2016, Caroline Nohama e Erik Kato desenvolveram como parte de seu TCC em Design Digital da PUCPR uma jaqueta com LEDs para ciclistas. O ciclista levantava o braço indicando conversão e a jaqueta brilhava do lado correspondente. Para criar essa função, os estudantes utilizaram um método chamado Fantasia Guiada e para prototipar a jaqueta, utilizaram a placa Arduino. Uma técnica que utilizamos com nossos estudantes para criar interações com o corpo consciente é o Bodystorming do Oprimido. Trata-se de uma mistura de Bodystorming (técnica de criação de interações que utiliza o corpo) com Teatro do Oprimido (que contribui para a conscientização de condicionamentos e liberdades do corpo). Os estudantes improvisam a interação utilizando seus corpos como tecnologias. Na foto temos uma estudante representando o algoritmo de correção de operações embutido dentro do óculos de realidade aumentada de um operário numa fábrica de equipamentos eletrônicos. O Bodystorming do Oprimido serve para investigar a dimensão humana (e opressiva) da interação que passaria desapercebida numa interface cognitivista. Na prática de projeto, a corporeidade e alteridade da interação podem ser consideradas através de alguns formatos muito simples de projeto, como o storyboard. Contar uma história com figuras humanas, ambientes e tecnologias permite desenvolver cenários com detalhamento suficiente sobre o corpo. No projeto especulativo Nike Golf, Peter Lew criou um cenário em que um jogador de golf pode analizar a precisão de suas tacadas utilizando um Apple Watch no pulso e um iPhone num tripé. Existem diversas relações espaciais importantes que a presença do corpo e das tecnologias físicas traz para o cenário. Storyboards não precisam ser bem desenhados, entretanto, para serem efetivos em seu propósito. Existem diversas ferramentas de desenho assistido que permite criar storyboards sem nenhuma habilidade de desenho, como o storyboardthat.com No exemplo da imagem, o cenário demonstra a relevância do Apple Watch no momento em que a pessoa se desconecta do computador, como por exemplo, quando vai ao banheiro. No Brasil, temos uma tradição que valeria à pena ser recuperada para criar interações: a Fotonovela. Ao invés de utilizar desenhos, são utilizadas fotos e balões de quadrinhos. A fotonovela permite que o corpo fale de maneira mais explícita até do que o desenho, exibindo nuances importantes como a sensualidade, postura, orientação e outros. Cenários de Computação Vestível que se propõem a oferecer experiências de alteridade podem ser projetadas através de fotonovelas, aproveitando-se da tradição brasileira de transformar o corpo em imagem. Observando a história do Design de Interação, cheguei à conclusão de que toda interação sempre surge de um corpo humano e sempre afeta outro corpo humano, mesmo que o afeto não seja síncrono ou proporcional. Sendo assim, o corpo humano deve sempre ser levado em consideração, mesmo quando não se tratar de um projeto de Computação Vestível. A Computação Vestível tem o potencial de deixar esse aspecto de interação mais visível e efetivo, porém, o afeto pode ser até mais sutil do que nos projetos da Cute Circuit, uma butique de wearables que propõe interações afetivas. A Hug Shirt (2002) é uma camisa que transmite abraços à distância: ela sente o toque de uma pessoa e imprime força sobre o corpo da outra pessoa conectada. O abraço também pode ser mútuo. A Computação Vestível deve, na minha opinião, proporcionar experiências de alteridade para as pessoas que interagem. Alteridade significa deixar ser transformado pelo outro, que pode, inclusive, ser a própria pessoa, porém, vista por uma perspectiva diferente. Um projeto de vestível que aplica esse princípio de maneira magistral é o Intimacy 2.0, do Studio Roosegaarde. Trata-se de um conjunto de roupas que se tornam transparentes na medida em que a pessoa interage mais nas redes sociais, revelando seu corpo físico através do corpo virtual. Made with Keynote Extractor.Comente este post