Podcasts about times beach

Send us a Text Message.Science is hard, and these people were bad at it. We're looking at the stories of Times Beach, David Hahn, and Thomas Jagger.Like the show on Facebook - https://www.facebook.com/OurWeirdWorldPod/Follow John on Twitter and Instagram @TheJohnHinsonFollow the show on Instagram @OurWeirdWorldPodWant more John? Everyone wants more John. Visit www.johnhinsonwrites.com for all the books, podcasts, waterfalls, and more!

We're going back to Italy! But it'll be hard to enjoy all the flavours and sites with your eyes and tongue swelling out of your head!On today's episode: we'll learn all about Russia's almost cartoonish fascination with murder, we'll learn the best way to get that full-body boil-look, and we'll learn all the ways your cleaning products can make you not make think so good The last time we were in Italy we had a Tetraology of Terror, our very first interactive disastersode, and hundreds of thousands died in every way imaginable. We don't know how many people died from the complications of this episode, but it's nice to do a bloodless story where no one was turned inside-out every now and then.And if you had been listening on Patreon, you would have enjoyed an additional 13 minutes!• We discussed the cartoonish cloak and dagger world of Russian assassination tactics • the lifesaving and bowel cleaning properties of Olestra• We discussed whether Catherine the Great had sex with horses• We covered how disturbingly little vacation time North America gets compared to, well, the rest of the planet really• We discussed the radiance of American superfund sites, including my semi-local favourite, Love Canal• And I included a minisode within the episode telling the unbelievable tale of Times Beach, Missouri and their impossibly poisonous road spraying techniqueFind us on any of your favorite channels Apple : https://tinyurl.com/5fnbumdw Spotify : https://tinyurl.com/73tb3uuw IHeartRadio : https://tinyurl.com/vwczpv5j Podchaser : https://tinyurl.com/263kda6w Stitcher : https://tinyurl.com/mcyxt6vw Google : https://tinyurl.com/3fjfxatt Spreaker : https://tinyurl.com/fm5y22su Podchaser : https://tinyurl.com/263kda6w RadioPublic : https://tinyurl.com/w67b4kec PocketCasts. : https://pca.st/ef1165v3 CastBox : https://tinyurl.com/4xjpptdr Breaker. : https://tinyurl.com/4cbpfayt Deezer. : https://tinyurl.com/5nmexvwt Follow us on the socials for more Facebook : www.facebook.com/doomsdaypodcast Instagram : www.instagram.com/doomsdaypodcast Twitter : www.twitter.com/doomsdaypodcast If you like the idea of your podcast hosts wearing more than duct tape and bits of old Halloween costumes for clothes and can spare a buck or two, you can now buy me a coffee at www.buymeacoffee.com/doomsday or join the patreon at www.funeralkazoo.com/doomsday

Oil: it's a ubiquitous substance humans have been relying on for longer than you might think. We cook with it, we moisturize with it, we run machines with it - it keeps slipping into places we least expect to find it, for good and for ill... SciShow Tangents is on YouTube! Go to www.youtube.com/scishowtangents to check out this episode with the added bonus of seeing our faces! Head to www.patreon.com/SciShowTangents to find out how you can help support SciShow Tangents, and see all the cool perks you'll get in return, like bonus episodes and a monthly newsletter! A big thank you to Patreon subscribers Garth Riley and Glenn Trewitt for helping to make the show possible!And go to https://store.dftba.com/collections/scishow-tangents to buy some great Tangents merch!Follow us on Twitter @SciShowTangents, where we'll tweet out topics for upcoming episodes and you can ask the science couch questions! While you're at it, check out the Tangents crew on Twitter: Ceri: @ceriley Sam: @im_sam_schultz Hank: @hankgreen [The Gauntlet]Original Crisco oil plantCompany that produces CriscoProcess to turn liquid oil into solidFair Packaging and Labeling Act decadeUpton Sinclair bookTwo oils in modern CriscoKream Krisp vs. Crisco[Trivia Question]Value of Spanish extra virgin olive oil stolen in August 2023https://www.cnbc.com/2023/09/19/olive-oil-prices-surge-over-100percent-leading-to-cooking-oil-thefts.htmlhttps://www.reuters.com/world/europe/spanish-police-seize-74-tonnes-stolen-olives-amid-soaring-prices-2023-10-06/[Fact Off]Russell Martin Bliss contaminated Times Beach, Missouri with waste oil to stop dustUsing human/animal hair to adsorb oil spillshttps://www.mdpi.com/2076-3298/7/7/52https://www.sciencedirect.com/science/article/abs/pii/S2213343715000330https://www.sciencedaily.com/releases/1998/04/980424032349.htmhttps://time.com/6262631/philippines-oil-spill-cleanup-hair/[Ask the Science Couch]Saturated/unsaturated fat chemistry and how they influence bloodstream lipidshttps://bio.libretexts.org/Bookshelves/Introductory_and_General_Biology/Book%3A_General_Biology_(Boundless)/03%3A_Biological_Macromolecules/3.03%3A_Lipid_Molecules_-_Introduction#https://www.health.harvard.edu/heart-health/how-its-made-cholesterol-production-in-your-bodyhttps://openheart.bmj.com/content/5/2/e000871[Butt One More Thing]Mineral oil used as a lubricant laxativehttps://www.mayoclinic.org/drugs-supplements/laxative-oral-route/before-using/drg-20070683?p=1https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2804525/

We continue on the path of environmental chemistry, with several egregious examples of pollution in the 1980s. First is the story of Times Beach, Missouri, USA, its contamination, discovery, and evacuation. Second is the Union Carbide plant in Bhopal, India, which had structural weaknesses leading to an explosion blanketing the city with toxic gas. Third is the explosion of the nuclear reactor in Chornobyl, Ukraine, and the spread of radioactive elements across the area and much of northern Europe.Support the show Support my podcast at https://www.patreon.com/thehistoryofchemistry Tell me how your life relates to chemistry! E-mail me at steve@historyofchem.com Get my book, O Mg! How Chemistry Came to Be, from World Scientific Publishing, https://www.worldscientific.com/worldscibooks/10.1142/12670#t=aboutBook

I'm continually amazed by the immensity of the world that a small poem can conjure. In just a few lines or words, or even just a line break, a poem can travel across time and space. It can jump from the minuscule to the incomprehensible vastness of the universe. And in these inventive leaps, it can create, in our minds, new ideas and images. It can help us see connections that were, before, invisible.John Shoptaw has conjured such magic with his poem, “Near-Earth Object,” combining the gravity of mass extinction on Earth with the quotidian evanescence of his sprint to catch the bus.John Shoptaw grew up in the Missouri Bootheel. He picked cotton; he was baptized in a drainage ditch; and he worked in a lumber mill. He now lives a long way from home in Berkeley, California, where I was lucky enough to visit him last summer. John is the author of the poetry collection, Times Beach, which won the Notre Dame Review Book Prize and the Northern California Book Award in poetry. He is also the author of On The Outside Looking Out, a critical study of John Ashbery's poetry. He teaches at the University of California, Berkeley.John has a new poetry collection coming out soon, also called Near-Earth Object.This episode of Chrysalis is part of the Chrysalis Poets series, which focuses on a single poems from poets who confront ecological issues in their work.You can listen on Substack, Apple Podcasts, and other podcast platforms.Please rate, review, and share to help us spread the word!John ShoptawJohn Shoptaw is a poet, poetry reader, teacher, and environmentalist. He was raised on the Missouri River bluffs of Omaha, Nebraska and in the Mississippi floodplain of “swampeast” Missouri. He began his education at Southeast Missouri State University and graduated from the University of Missouri at Columbia with BAs in Physics and later in Comparative Literature and English, earned a PhD in English at Harvard University, and taught for some years at Princeton and Yale.  He now lives, bikes, gardens, and writes in the Bay Area and teaches poetry and environmental poetry & poetics at UC Berkeley, where he is a member of the Environmental Arts & Humanities Initiative. Shoptaw's first poetry collection, Times Beach (Notre Dame Press, 2015), won the Notre Dame Review Book Prize and subsequently also the 2016 Northern California Book Award in Poetry; his new collection, Near-Earth Object, is forthcoming in March 2024 at Unbound Edition Press, with a foreword by Jenny Odell.Both collections embody what Shoptaw calls “a poetics of impurity,” tampering with inherited forms (haiku, masque, sestina, poulter's measure, the sonnet) while always bringing in the world beyond the poem. But where Times Beach was oriented toward the past (the 1811 New Madrid earthquake, the 1927 Mississippi River flood, the 1983 destruction of Times Beach), in Near-Earth Object Shoptaw focuses on contemporary experience: on what it means to live and write among other creatures in a world deranged by human-caused climate change. These questions are also at the center of his essays “Why Ecopoetry?” (published in 2016 at Poetry Magazine, where a number of his poems, including “Near-Earth Object,” have also appeared) and “The Poetry of Our Climate” (forthcoming at American Poetry Review).Shoptaw is also the author of a critical study, On the Outside Looking Out: John Ashbery's Poetry (Harvard University Press); a libretto on the Lincoln assassination for Eric Sawyer's opera Our American Cousin (recorded by the Boston Modern Orchestra Project); and several essays on poetry and poetics, including “Lyric Cryptography,” “Listening to Dickinson” and an essay, “A Globally Warmed Metamorphoses,” on his Ovidian sequence “Whoa!” (both forthcoming in Ovid's Metamorphoses and the Environmental Imagination at Bloomsbury Press in July 2023).“Near-Earth Object”Unlike the monarch, though the asteroid also slipped quietly from its colony on its annular migration between Jupiter and Mars, enticed maybe by our planetary pollen as the monarch by my neighbor's slender-leaved milkweed. Unlike it even when the fragrant Cretaceous atmosphere meteorized the airborne rock, flaring it into what might have looked to the horrid triceratops like a monarch ovipositing (had the butterfly begun before the period broke off). Not much like the monarch I met when I rushed out the door for the 79, though the sulfurous dust from the meteoric impact off the Yucatán took flight for all corners of the heavens much the way the next generation of monarchs took wing from the milkweed for their annual migration to the west of the Yucatán, and their unburdened mother took her final flit up my flagstone walkway, froze and, hurtling downward, impacted my stunned peninsular left foot. Less like the monarch for all this, the globe-clogging asteroid, than like me, one of my kind, bolting for the bus.Recommended Readings & MediaJohn Shoptaw reading from his collection Times Beach at the University of California, Berkeley.TranscriptionIntroJohn FiegeI'm continually amazed by the immensity of the world that a small poem can conjure. In just a few lines or words, or even just a line break, a poem can travel across time and space. It can jump from the minuscule to the incomprehensible vastness of the universe. And in these inventive leaps, it can create, in our minds, new ideas and images. It can help us see connections that were, before, invisible.John Shoptaw has conjured such magic with his poem, “Near-Earth Object,” combining the gravity of mass extinction on Earth with the quotidian evanescence of his sprint to catch the bus.I'm John Fiege, and this episode of Chrysalis is part of the Chrysalis Poets series.John Shoptaw grew up in the Missouri Bootheel. He picked cotton; he was baptized in a drainage ditch; and he worked in a lumber mill. He now lives a long way from home in Berkeley, California, where I was lucky enough to visit him last summer. You can see some of my photos from that visit at ChrysalisPodcast.org, alongside the poem we discuss on this episode.John is the author of the poetry collection, Times Beach, which won the Notre Dame Review Book Prize and the Northern California Book Award in poetry. He is also the author of On The Outside Looking Out, a critical study of John Ashbery's poetry. He teaches at the University of California, Berkeley.John has a new poetry collection coming out soon, also called Near-Earth Object.Here is John Shoptaw reading his poem, “Near-Earth Object.”---PoemJohn Shoptaw “Near-Earth Object”Unlike the monarch, thoughthe asteroid also slippedquietly from its colonyon its annular migrationbetween Jupiter and Mars,enticed maybe byour planetary pollenas the monarch by my neighbor'sslender-leaved milkweed.Unlike it even whenthe fragrant Cretaceousatmosphere meteorizedthe airborne rock,flaring it into what mighthave looked to the horridtriceratops like a monarchovipositing (had the butterflybegun before the periodbroke off). Not much likethe monarch I met when Irushed out the door for the 79,though the sulfurous dustfrom the meteoric impactoff the Yucatán took flightfor all corners of the heavensmuch the way the nextgeneration of monarchstook wing from the milkweedfor their annual migrationto the west of the Yucatán,and their unburdened mothertook her final flitup my flagstone walkway,froze and, hurtlingdownward, impactedmy stunned peninsularleft foot. Less likethe monarch for all this,the globe-clogging asteroid,than like me, one of my kind,bolting for the bus.---ConversationJohn Fiege Thank you so much. Well, let's start by talking about this fragrant Cretaceous atmosphere that metorizes the airborne rock, which is is really the most beautiful way I've ever heard of describing the moment when a massive asteroid became a meteor, and impacted the earth 66 million years ago, on the Yucatan Peninsula. And that led to the extinction of about 75% of all species on Earth, including all the dinosaurs. This, of course, is known as the fifth mass extinction event on earth now, now we're in the sixth mass extinction. But but this time, the difference is that the asteroid is us. And, and we're causing species extinctions at even a much faster rate than the asteroid impact did, including the devastation of the monarch butterfly, which migrates between the US and Mexico not far from the Yucatan where the asteroid hit. And in your poem, these analogies metaphors parallels, they all bounce off one another. parallels between extinction events between humans and asteroids between planets and pollen, between monarch eggs and meteors between the one I absolutely love is the annular migration of asteroids in the annual migration of monarchs. But in some ways, the poem puts forward an anti analogy a refutation of these parallels you know, you say multiple times things like unlike the, monarch unlike it, not much like the monarch less like the monarch. So So what's going what's going on here? You're you're giving us these analogies and then and then you're taking them away.John Shoptaw The ending of Near Earth Object is a culmination of fanciful comparisons. In this regard it resembles Shakespeare's Sonnet 130. And you probably know this, John, And that poem proceeds—Shakespeare's—through a series of negative similarities, which I call dis-similes. And at the end, the poem turns on a dime in the final couplet, which is, “and yet, by heaven, I think my love as rare as any she belied with false compare.” Now, I didn't have Shakespeare's poem in mind—probably good—when I wrote Near Earth Object, but I was certainly familiar with it. And my poem goes through a series of far-fetched similarities between a monarch butterfly and the Chicxulub asteroid, we follow the lifecycles of these two and then a third character, the first person I enters the poem comes out the door, and then gets, you know, hit by the asteroid monarch on penisular left foot. That turn at the end, to comparing the asteroid to me, one of my kind, would seem equally farfetched. What can I have to do with the globe-clogging asteroid? Before climate change, the answer would have been nothing. This poem couldn't have been understood, wouldn't have made sense. Now, we're caught out by the unlikely similarity that, you know, humankind has the geologically destructive potential of the life-altering asteroid.John Fiege I love that the idea of that turn partially because it's so much pulls out the power of poetry, and the power of poetic thinking, where, you know, so much environmental discourse is around rationality, of making rational, reasonable arguments about this is how things are, this is how things ought to be. But when you have this kind of turn, you're you're kind of highlighting the complexity, and the complicated nature of understanding these things, which are really complex. And it really, you know, in such a short poem, you can encapsulate so much of that complexity, which I think benefits our ultimate understanding of, of what we're grappling with, with these environmental questions.John Shoptaw Yeah, that's very well put. I think that this poem is a kind of psychological poem as well, and that I'm playing on the readers expectations. And I think the reader probably has less and less faith in this persona, who keeps keeps being lured into these weird comparisons between the asteroid and and the and the monarch butterfly. And then at the end, we're thinking, well, this, too, is absurd. And then we're caught up, like I say, and that's the psychological turn, you know, early on, when people and people still many people doubt. The existence of climate change. It's just  because of a matter of scale. How can we affect Mother Nature, right? It's so big, it's so overwhelming. It does what it wants. We're just little features on this big, big planet. So that it's so counterintuitive. So that's why yes, we grapple and this poem is meant to take you through that kind of experience. That without saying that explicitly, and I think that's something that, yeah, it sets this apart from both the psychological essay and an environmental essay,John Fiege Right the other line I want to pull out of this is slender leaved milkweed. Which I love. and there is a musicality to it. How do you about that? sonorous aspect of the poem and the musicality and the rhythm of it.John Shoptaw Yeah, Thank you for that question. Its one of the ways I beleive that poetry is like music. We do have a musicality and one of the wonderful things about poetry and music is that it it works below the level of meaning. A way a song often does. You know you often will before you even know all the words will get the song. And understand what the song is comunicating and sometimes I am communicating delicacy in slender leaved milkweed. Not only by the image, but by the sound. Its a quiet line. Whereas when I say airborne rock, that's very tight. And very definitive, like globe clogging asteroid or bolting for the bus. These are dynamics that I can play with, and I can accentuate them by changing the rhythms making to very hard plosive as an explosion, you know, b sounds far from each other. And this is something that poetry can do, that prose can't. So well. And that, you know, it's one reason why you have soundtracks and film to help bring things across.John Fiege Yeah, and then in the midst of, of some of these grand images that you have in the poem of like monarch colonies and asteroid colonies, there's also your presence, and the glimpse of them of what seems like a moment in your life, potentially, you run out the door and catch the 79 bus, which goes through Berkeley where you live. And and you encounter a monarch butterfly, which also has a California migration route. The monarch impacts your, as you say, stunned, peninsular left foot. And so now you're shifting the metaphor from human as asteroid to human as Yucatan peninsula, which is the site the site of the impact. And the way you you play with scale. In this poem, I find quite remarkable moving from the asteroid belt between Jupiter and Mars to your foot. And in your peninsular foot makes me feel as if humans are both the perpetrators of the sixth mass extinction, but also one of its victims. And so I was curious, was this moment with the butterfly is something that actually happened? And how do you understand it? In relation to that, you know, this small moment with the butterfly? How do you understand that in relation with the broader context of the poem?John Shoptaw Yeah, thank you. I, I think, one way I proceed. And in poetry, which is something like chance operations that John Cage and poets following John Cage would use as I become very receptive to things happening around me. And if something happens around me while I'm writing a poem, then it gets to come in the poem, at least I am receptive to that possibility. And as I was going for the bus one day, on the walkway, I came across a dead monarch butterfly was very startled to see it. And I thought, Oh, my God, that pet needs to be in the poem, this butterfly has fallen out of the sky like the asteroid. And so and it turned out that the third thing I needed to link our personal, small felt scale with the astronomical and the geological timescale. And it's exactly the problem of scale, both in space and time. I'm constantly zooming in and zooming out. I actually wrote one poem in which I compare this surreal or unreal feeling that we have, if not a knowledge but a feeling of climate change behind the weather as a hit the Hitchcock zoom, where the background suddenly comes into the foreground, right?John Fiege Yeah, and it seems like, you know, the problem of climate change is a problem of scale like, like it's so it's so foreign to our kind of everyday human senses of, of what is danger, and what is something we should be concerned about or care about it. And that problem of scale both, both spatially and temporally. It really prevents us from wrapping our heads around what it means and how to respond.John Shoptaw It does. That's our challenge. I take it as my challenge, for the kind of poetry I write. And I think of of poetry as a science of feelings. And one of the feelings I'm thinking about and trying to understand and work through is denial. You know, people usually think of denial as refusal, you refuse to admit, but look at the facts just face the facts. But as you say, climate is on such a different scale. It's often a problem of incomprehension.John Fiege Yeah, and I think this idea of denialism I mean, we tend to talk about it in very narrow terms of, you know, people of particular political persuasions deny the existence of climate change. And that's one like, very narrow view of denialism. But it really pervades everything in our culture, you know, anyone who eats a hamburger, or flies on a plane, or, or even turns on their, their heat in their house, you know, is is in is kind of implicated in some system of denial. That, you know, ultimately, our societies completely unsustainable. And we have to function we have to move forward, even though even if we know how problematic those various things are. And so just living in the world requires, you know, some sense of denialism.John Shoptaw It does, if you think of the word we commonly used today, adaptation, though, it's really another word for denial. If you see what I mean, we're, we're moving into accepting, partially accepting the reality as it is, so we can live into it. And again, if we think of relativity, flying less, not giving up flying, emitting less, not stopping all the way emissions on a dime, right, but moving as fast as we possibly can, these are things we can do and without being incapacitated by despair. And again, I think, you know, hope and despair are two other very fundamental concepts that poets if they're serious about feeling, can think about and think through and help people we understand.John Fiege Yeah, and I love this idea of impurity that you bring in. Not just with poetry, but, you know, I feel like environmentalism in general is, it's really susceptible to this kind of ideology of purity. And it becomes about, you know, checking all the boxes of, of, you know, lifestyle and beliefs and votes and all kinds of things where solutions, solutions don't come with some kind of attainment of purity. They come with it a shift of a huge section of the way the culture works. And that's never going to be perfect or consistent or anything. It's going to be imperfect, and it's going to be partial, but it can still move.John Shoptaw That's right. So when people say net zero, carbon offsets, recycling, this is all greenwashing. I say, listen to the word all. Yes, there is some greenwashing going on there. There is some self promotion and maintenance of one's corporate profile at work. But there's also good being done. You can recycle aluminum, and you get 90% aluminum back. You can recycle plastic, you get 50% back, but you still get 50% back.John Fiege Well, in the poem, you also give life to what we ordinarily see as inanimate objects. So let me let me reread a section of the poem enticed maybe by our planetary pollen as the monarch by my neighbor's slender leaves milkweed unlike it, even when the fragrant Cretaceous atmosphere media rised the airborne rock, flaring it into what might have looked to the horrid Triceratops like a monarch ovipositing. So in your words, the lifeless, inanimate asteroid is given life and a soul really? Why take it in that direction?John Shoptaw To make it real, to make it real for us. And you will see poets, giving a voice to storms to extreme weather events, seeing things from potentially destructive point of view. And that's what I was doing here is seeing things fancifully from the the meteor's point of view, but I wanted to give that personification to make the link that this is personal. What's happening at this scale, is still personal, it still has to do with us and links with us.John Fiege Yeah, and you wrote this great piece for Poetry Magazine called “Why Eco Poetry” and you bring up these these topics a bunch. And there's one line. I really love, you say, to empathize beyond humankind, eco-poets  must be ready to commit the pathetic fallacy and to be charged with anthropomorphism could could you explain this, this concept of John Ruskin's pathetic fallacy and how you've seen these issues play out?John Shoptaw I think Ruskin had certainly the good sense of what the natural world was. And many artists and poets laziness, when it came to the describing the natural world. storms were always raging, winds were always howling, the words were always that's really what he was getting at. And I appreciate that. You want to make these things real, right. But there is there is a place for pathetic fallacy. But on the other hand, strategically, we often need for that monologue of the lyric poem, to be overtaken by this larger voice, almost like a parental voice from on high, speaking to us and saying, Listen to me, this is real. This is happening. I'm out here. Right? So you've forced me to take over your poem and talk to you about anthropomorphism is, is related phenomenon. And it's it's a word that I, I still find useful and making us really consider and experience the outside world, the world, particularly of other creatures, as they actually are. However, it's a belief it's not a scientific idea. And the idea being that we are ascribing qualities or human qualities to animals or plants, or even inanimate objects, like like meteors. When in fact, when it comes to animals, for instance, we're often identifying qualities behaviors, actions, motivations, we share anyone who owns pets knows pet they have a range of feelings that to say, my dog is happy. My dog is bored. My dog is feeling bad because it feels it's disappointed me in some way, you know, these things are real. And you need to act accordingly to keep things going along. In the canine / human cup, you know, partnership that you have going there.John Fiege Yeah, Descartes must not have had any dogs or cats or ever encountered another animal besides a human in his life.John Shoptaw That's right. It's partly, you know, one feels, how can we know that other world? We shouldn't be so arrogant in our knowledge. And so it seems like we're being modest, and it's a good thing. And we have this anthropological attitude toward the relativity of, you know, consciousness. On the other hand, it's a form of denial, right? anthropomorphism is a form of denial of what we share and poets need to overcome that denial.John Fiege You mean, you mean anti-human anti-anthropomorphism?John Shoptaw Yeah, it's what I know. We don't have the language for it. We don't have that word of the problem.John Fiege Anti-anthropomorphism, it just slips right off your tongue.John Shoptaw That's right.John Fiege Well this point you make about anthropomorphism reminds me really strongly of a story. I've heard Jane Goodall tell many times, she was hired to observe chimpanzees in the wild, and she gave them names. But she was reprimanded by by many in the scientific community, who said, a researcher should use numbers to identify chimps or any other animals they're studying, because scientists must be dispassionate to not confuse animal behavior with human behavior. And she identifies one of her most significant contributions to science as recognizing the individuality and personality and really the souls of non human animals. And that recognition fundamentally changed. Our scientific understanding of chimps and other animals in allow these massive breakthroughs in the field. And you seem to be arguing that with poetry, we're in a similar place in relation to the Earth where we need to find a new language that allows us to empathize more profoundly with the other than human residence of the planet. Does that sound? Does that sound right to you?John Shoptaw Very much, and really, with thinking and realizing that I'm an animal, as a human being. brought on a conceptual paradigm shift for me, unlike anything I've experienced, in my adult life, everything changed. And when I think, what are the animals think about this? How are they dealing with climate change? Etc. It's always revelatory for me to ask that kind of question. I'm looking at a book by Jane Goodall right now on my shelf called the Book of Hope. And something I've been thinking about a lot in relation to this, because animals have not given up and they don't give up until they they have to. An animal with say, a song bird in the clutch of a hawk knows it's over, and you shut down in order to minimize the pain and suffering. They know that, but they know not to do that prematurely. And I think, you know, often we met we think of hope and despair, as antonyms, but they're very intertwined with each other. I mean, the word despair, contains hope. It means that the loss of hope and there as there is a sense of false hope, where you, you keep hoping beyond the point of hope, where reality tells you there's no point in hoping there's also what I would call a premature despair. I don't know if you have run across the Stockdale paradox. I find it helpful. There's a writer on Jim Collins, who talked to Admiral Stockdale who was taken prisoner of war in Vietnam. And he, he survived through seven years and several incidents of torture. And he said, he was asked by Jim Collins, well, who didn't survive? And he said, well, the optimists who said the optimists were saying, Oh, we're going to because we're gonna be led out by Christmas. In the winter that didn't happen and say, Oh, well, we'll be released by Easter. When that doesn't happen and Christmas comes around again. They die. They die of a broken heart.John Fiege Oh, wow. I have heard that in broad terms. I don't remember that story, though. That's great.John Shoptaw Yeah, and the paradox is that you have hope, which is resolute. It's not pie in the sky hope, but it's hope that faces reality. And it's hoped that is more like courage. It's more like resoluteness hope. Hope is not easy. And it does not deny despair, and even allows you to relax for a moment and maybe weep. Maybe you say, Oh, my God, it's over. Before you come back and say, No, I'm still here. I can still help I can do what I can.John Fiege Right, right. Yeah, and I love how you say that. Eco poetry can be anthropomorphic, but it cannot be anthropocentric, which which flips both of these assumptions that are so deeply embedded in our culture.John Shoptaw Now, maybe I could say something about anthropocentrism.John Fiege Yeah, for sure.John Shoptaw It's a word that, I think is maybe in the dictionary now, but maybe not so familiar word, but you know, thinking of everything in the world, a revolving around us and and the universe. We're the universe's reason for being right. That would be the kind of the strongest sense of anthropocentrismJohn Fiege Another another form of heliocentrism.John Shoptaw Yes, that's right. That's absolutely right. That's why I one reason why I, at the beginning of Near Earth Objects, see things for the asteroids point of view, right? To give that kind of scale, but also shifting perspective. On the other hand, lyric poetry is inevitably anthropocentric. We as humans are inevitably anthropocentric. So our moving out of anthropocentrism in poetry is always going to be relative and strategic, and rhetorical and persuasive, never absolute.John Fiege Right and totally. Well, another interesting issue you confront in the article is didacticism and the risks of moralism in eco-poetry. And in talking about this, you evoke two poets. The first is Archibald MacLeish, the renowned modernist poet who wrote "a poem should not mean but be." But then you write, poetics wasn't always this way, for Horace, a poem both pleases and instructs. And I feel like this issue of moralism, and didacticism goes way beyond poetry to encompass environmentalism more broadly. How can a poem please instruct without preaching and being didactic?John Shoptaw Yes, that's, that's a question. Where there's no single answer every poem, for me poses the question differently. And part of the excitement part of the experimental nature of poems is you find a new answer every time to that problem, how not to be preachy, but to leave readers in a different place at the end of the poem, than they were at the beginning. my poem to move people from unlike to less like., if I if I can get them there, in a poem, I have moved him in a way and that's enough for me.John Fiege Well, let's look at the end of the poem. You write less like the monarch for all this, the globe clogging asteroid than like me, one of my kind bolting for the bus? It seems in some ways that you might be settling on an analogy in the midst of of all these intersecting parallels, the asteroid is less like the monarch and more like us, us who have killed the monarchs. Where Where do you feel like the poem lands in terms of making a statement like this and and offering up many conflicting ideas that readers have to contemplate themselves?John Shoptaw What would I say? I think when it comes to guilt or responsibility, as I was saying before, we don't want to think in absolute terms, where I'm as guilty as Exxon, I am not. But I still am right. I am still part of this, this world. That monarch butterfly died naturally after it planted its eggs. Its its, its days, her days were numbered. So, that that is part of this. But yet, I do. I do want to say and this is part of, I think, part of the one of the gestures of poetry in the Anthropocene, the era of climate change, a gesture of saying, I take responsibility, I take responsibility. And this is, this is one of the problems of saying, I give up, you know, there's no point in doing any more. We don't have that option. It's irresponsible to give up to ever give up. So I still, though want to say, even something who that has global potential for damage is connected with me good little me, had taking taking the bus because I'm wondering, I'm one of humankind, and we have this destructive potential. And on the other hand, we have this corresponding responsibility.John Fiege Yeah. And looking back on the title of the poem, it feels as if we, as humans, have what you might call like, a dual contradictory existence? As, as both we're both Earth objects. And we're near Earth objects. Oh, what do you what do you think about that?John Shoptaw Yes, I do. I like that ambiguity. I think, one of the, one of the chances, and the happy accidents of the monarch appearing in my poem, as I was writing it, without planning to have a monarch in it, one of the accidents was to take the monarch also, as a Near Earth Object Near Earth Object is one of these scientific concepts of usually a very large object, like a, like a comet, or an asteroid entering the Earth's gravitational pull. With potentially hazardous effects. But, you know, it can be anything near the earth. And if you take object, also in the title as a goal, my object is to bring us near the earth. not have us simply abstract ourselves, how do we do that - we abstract ourselves by saying, we're special.John Fiege I really like that too, because that also ties into this question of scale. You know, you can be near the earth by being, you know, 1000 miles away. Or you can be near the earth by hovering, you know, centimeters over it. And it can be conceptual to, you can be oblivious to the fact that you live on Earth, or you can be extremely aware that you are of in within and near the earth at all times. Yeah, I really like that. That's beautiful. I love how so many meanings come from this tiny little poem?John Shoptaw Well, may I say I was not in a godlike position with this poem. For me. poems are like gardens and that they're less intended and tended, and they they grow of their own and I just tried to be the best collaborator with the poem that I can and not to ignore when it's trying to tell me something like, I need a monarch in here. Not to ignore that.John Fiege Yeah. Well, can you end by reading the poem once again. I can thank you very much.John Shoptaw Poem“Near-Earth Object”Unlike the monarch, thoughthe asteroid also slippedquietly from its colonyon its annular migrationbetween Jupiter and Mars,enticed maybe byour planetary pollenas the monarch by my neighbor'sslender-leaved milkweed.Unlike it even whenthe fragrant Cretaceousatmosphere meteorizedthe airborne rock,flaring it into what mighthave looked to the horridtriceratops like a monarchovipositing (had the butterflybegun before the periodbroke off). Not much likethe monarch I met when Irushed out the door for the 79,though the sulfurous dustfrom the meteoric impactoff the Yucatán took flightfor all corners of the heavensmuch the way the nextgeneration of monarchstook wing from the milkweedfor their annual migrationto the west of the Yucatán,and their unburdened mothertook her final flitup my flagstone walkway,froze and, hurtlingdownward, impactedmy stunned peninsularleft foot. Less likethe monarch for all this,the globe-clogging asteroid,than like me, one of my kind,bolting for the bus.ConversationJohn Fiege John, thank you so much for joining me today. This has been fabulous.John Shoptaw Thank you, John, for the opportunity. And I love conversing with you.---OutroJohn Fiege Thank you so much to John Shoptaw. Go to our website at ChrysalisPodcast.org, where you can read his poem “Near-Earth Object” and also see some of my photographs of him at his house in Berkeley and find our book and media recommendations.This episode was researched by Elena Cebulash and Brodie Mutschler and edited by Brodie Mutschler and Sofia Chang. Music is by Daniel Rodriguez Vivas. Mixing is by Sarah Westrich.If you enjoyed my conversation with John, please rate and review us on your favorite podcast platform. Contact me anytime at ChrysalisPodcast.org, where you can also support the project, subscribe to our newsletter, and join the conversation. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.chrysalispodcast.org

030223 17 Year Old 3 Heart Attacks/ Ohio Is Times Beach Missouri Chem Spill MUST LISTEN by Kate Dalley

Do WE HAVE A SHOW FOR YOU!!! Taylor "Biscuit Strength" Zumwalt bends the boy's ears and they talk about: the nuclear power plant in Fulton, Times Beach, Bobby Blackburn sits in, Snoop now owns Death Row, our kids rapping Lil John, Portugal has a main street?, possession...do you believe, wow this one gets wild! We definitely had too much to drink in this one.....but who's keeping count, we weren't. Thank you for listening to the one and only, Old 77! --- BIG UPPS to our Patreon Patrons' - JT from Tower Studios and the Paranormal Son, "Sir" Biscuit Strength, and the Jefferson City Paranormal Society - THANK YOU! --- Follow #theOld77Podcast: Facebook, Twitter, Instagram, YouTube, and anywhere you get podcasts! Call or text the Old 77 Listener Line at (573) 246-0779

The Goldmine Podcast takes a look at a newly released album by the '80s San Francisco new wave band Times Beach with music appraiser Stephen M.H. Braitman. Besides running his own music appraisal company (musicappraisals.com) and co-hosting an AXS-TV series with Ahmet Zappa called Rock My Collection, Braitman decided to press vinyl records of never-released recordings (studio and live) of Times Beach, called Step In Time, Braitman explains the entire history of the band and their unique sound on an episode of the podcast.For more Times Beach information, listen to song samples and then purchase the album, go to timesbeach1.bandcamp.com/releases

The Goldmine Podcast takes a look at a newly released album by the '80s San Francisco new wave band Times Beach with music appraiser Stephen M.H. Braitman. Besides running his own music appraisal company (musicappraisals.com) and co-hosting an AXS-TV series with Ahmet Zappa called Rock My Collection, Braitman decided to press vinyl records of never-released recordings (studio and live) of Times Beach, called Step In Time, Braitman explains the entire history of the band and their unique sound on an episode of the podcast. For more Times Beach information, listen to song samples and then purchase the album, go to timesbeach1.bandcamp.com/releases Learn more about your ad choices. Visit megaphone.fm/adchoices

The Goldmine Podcast takes a look at a newly released album by the '80s San Francisco new wave band Times Beach with music appraiser Stephen M.H. Braitman. Besides running his own music appraisal company (musicappraisals.com) and co-hosting an AXS-TV series with Ahmet Zappa called Rock My Collection, Braitman decided to press vinyl records of never-released recordings (studio and live) of Times Beach, called Step In Time, Braitman explains the entire history of the band and their unique sound on an episode of the podcast.For more Times Beach information, listen to song samples and then purchase the album, go to timesbeach1.bandcamp.com/releasesPart of Pantheon Podcasts

The Goldmine Podcast takes a look at a newly released album by the '80s San Francisco new wave band Times Beach with music appraiser Stephen M.H. Braitman. Besides running his own music appraisal company (musicappraisals.com) and co-hosting an AXS-TV series with Ahmet Zappa called Rock My Collection, Braitman decided to press vinyl records of never-released recordings (studio and live) of Times Beach, called Step In Time, Braitman explains the entire history of the band and their unique sound on an episode of the podcast. For more Times Beach information, listen to song samples and then purchase the album, go to timesbeach1.bandcamp.com/releases Part of Pantheon Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

For much of my life, people have been concerned about the environment. I remember news stories about environmental disasters, such as Love Canal, New York, and Times Beach, Missouri and Bhopal, India. Pollution made the areas unlivable. I also remember the Exxon Valdez oil tanker that spilled millions of gallons of crude oil into Prince William Sound. What about you? Do you remember when a certain over-the-counter medication was poisoned? I'm sure you are aware of all the food recalls because of e. coli or some other bacteria contamination. A few years ago, you couldn't go to a restaurant and order a salad because all the lettuce was contaminated! Purity is critically important in many things! The government has spent billions of dollars cleaning up toxic waste. Companies have spent millions of dollars recalling contaminated food and products. Companies spend a lot of time and money on quality processes to ensure the purity of food and medication. In fact, government regulation requires these efforts. One other area where purity is vitally important is religion. As James 1:27 says, “Religion that God our Father accepts as pure and faultless is this: to look after orphans and widows in their distress and to keep oneself from being polluted by the world.” (NIV) Is this a practical description of the Beatitude about being pure in heart? It seems to fit. We should be generous to the needy and avoid the moral pollution of this world. Please provide feedback and suggestions at: https://www.sparkingfaith.com/feedback/ Bumper music “Landing Place” performed by Mark July, used under license from Shutterstock.

On today's episode of A Slice of Ham, I have a DOOZY of a rabbit hole for you guys today! Today's episode is a tale of corporate greed and negligence, with a little bit of country bumpkin intelligence thrown in to boot. This is the story of how an entire town was poisoned, evacuated, and incinerated. This is the tale of Times Beach, Missouri - the town that turned toxic! _________________________________________________________________________________________________________________________________________ Want to help me do this full-time? Want added benefits that the average podcast listener just simply won't get here? Then why not consider joining my Patreon! I promise it won't let you down! PATREON LINK: https://www.patreon.com/asliceofham _________________________________________________________________________________________________________________________________________ --- Send in a voice message: https://anchor.fm/casey-hamilton4/message

David and Rachel discuss how big pharma and a man named Russell Bliss haplessly (?) annihilated an entire Midwest town. Research by listener and fellow Raleigh resident James M.

Times Beach is a ghost town in St. Louis County, Missouri, United States, 17 miles (27 km) southwest of St. Louis and 2 miles (3 km) east of Eureka. Once home to more than two thousand people, the town was completely evacuated early in 1983 due to TCDD—also known as dioxin—contamination. It was the largest civilian exposure to this compound in the history of the US.   Our theme song was written and performed by Anna Bosnick. If you’d like to support the show on a per episode basis, you can find our Patreon page here.  Be sure to check our website for more details.

Times Beach is a ghost town in St. Louis County, Missouri, United States, 17 miles (27 km) southwest of St. Louis and 2 miles (3 km) east of Eureka. Once home to more than two thousand people, the town was completely evacuated early in 1983 due to TCDD—also known as dioxin—contamination. It was the largest civilian exposure to this compound in the history of the US.   Our theme song was written and performed by Anna Bosnick. If you’d like to support the show on a per episode basis, you can find our Patreon page here.  Be sure to check our website for more details.

Song: When My Time Comes by Dawes. Town: Times Beach, MO. Player: Bo Belinsky. Book: Black Diamonds

This episode is especially special to us! We had the PLEASURE of getting to podcast with Michele of The Cornfield Meet! She co-hosts an amazing transportation-focused disaster podcast that we’ve mentioned a couple of times. Brett starts us off with a blizzard in 1913 that dumped inches upon inches of snow onto Denver. (You get to hear about how tall we are with this one.) Learn about what they had to do to just get around town, and the silly things the newspaper dealt with. Next Breana goes over the infamous Mount St. Helens eruption! After mentioning it in previous episodes she realizes she should just do it already! Michele has a little shorty for us too! She gave us some amazing facts, and jokes, throughout the episode, but she did not forget a story. She tells us about how dioxin was spread all over the little town of Times Beach, Missouri. You get to learn how this town formed, how the dioxin got all over, AND just what dioxin can do to the body. Don’t forget how long it stays with the body too! This episode causing too much fun!?! Us too! That’s why we will be coming out with a bonus episode of us chatting. Learn about how we all got into podcasting, some real-life stories of our own disasters, and what is an episode without some terrible puns?! Coming soon! Australia Bushfire: linktr.ee/pdspodcast & middle.io/fires Instagram @pdspodcast Twitter @pdspodcast Facebook @pdangeroussituation The Cornfield Meet: Listen on Soundcloud now! Instagram @thecornfieldmeet Twitter @cornfieldmeet Facebook @thecornfieldmeet

Every few months, artist Allana Ross gives public tours of the Weldon Spring, Times Beach and West Lake Landfill sites. By allowing people to visit those locations and learn about their history, Ross hopes many will see that people have repeatedly dealt with toxic waste by dumping it and contaminating the soil for future generations.

Every September, former residents of Times Beach gather at Route 66 State Park near Eureka to remember their old town. It was once home to several thousand people but was so contaminated by dioxin in the 1970s that the EPA bought it out, tore it down and burned the earth in an incinerator. Former residents say Times Beach is a cautionary environmental lesson that should not be forgotten.

Caffeine May Not Be Enough, Times Beach and Chernobyl, Cyborg Problems and Popeye Arm

Caffeine May Not Be Enough, Times Beach and Chernobyl, Cyborg Problems and Popeye Arm

Nathan and Spencer break down the decades-long incident known as the Times Beach Disaster. Support Cock and Bull by donating to their Tip Jar: https://tips.pinecast.com/jar/cockandbullCheck out our podcasting host, Pinecast. Start your own podcast for free, no credit card required, forever. If you decide to upgrade, use coupon code r-b8b8a7 for 40% off for 4 months, and support Cock and Bull.

Discussion: Emily joins Rissa and Heidi. Heidi tells Rissa and Emily the tale of Times Beach and dioxin contamination.   Discussion starts: (00:16:02)  

Jackson Square is a magnet for visitors to New Orleans. Centuries of history are represented in the square and this history includes shipping, trade, artists colony, pirates, war and executions. The beautiful St. Louis Cathedral is a popular subject for photographers and Cafe du Monde is a must stop for some world famous beignets. New Orleans is considered one of the most haunted cities in the world, so it should come as no surprise that this iconic area of this historic city is home to many ghosts stories. Join me as I explore the history and hauntings of Jackson Square! The Moment in Oddity was suggested by Jim Featherstone and features Times Beach, Missouri and This Month in History features Alan Shepard golfing on the moon. Check out the website: http://historygoesbump.com Show notes can be found here: https://historygoesbump.blogspot.com/2019/02/ep-291-jackson-square-in-new-orleans.html Become an Executive Producer: http://patreon.com/historygoesbump Music: Vanishing by Kevin MacLeod http://incompetech.com (Moment in Oddity) In Your Arms by Kevin MacLeod http://incompetech.com (This Month in History) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ All other music licensing: PODCASTMUSIC.COM License Synchronization, Mechanical, Master Use and Performance Direct License for a Single Podcast Series under current monthly subscription. Eulogies by Mort music is Long Time Gone by 5 Alarm Music on Drones & Beyond album. New Orleans on Parade by Tim Laughlin

Send it to heydickface@mail.com or to jcuf@mail.com.

The mere thought of a 401(k) lawsuit can send shivers down the spine of even the most experienced retirement plan fiduciary.  However, when you have a grasp on why workplace retirement plans are being sued, how the economics of a lawsuit work and what you can do to make the job of a plaintiff’s attorney harder, the risk can be a little easier to manage.  For answers to these and more questions, I thought it was time to invite Jerry Schlichter, the plaintiff’s attorney who has sued numerous 401(k) and 403(b) plans around the country and even successfully argued a 401(k) case before the US Supreme Court back to the podcast to share his thoughts.  I was also able to work in several questions from our listeners into the episode.  If you missed your opportunity to submit a question be sure are one of our email subscribers, we often send announcements out about future guests and give you the opportunity to share your questions in advance.  Go to 401kfridays.com/subscribe today to take care of that.  If after listening to this episode you feel like you need a little fiduciary refresher, check out last week’s episode with Jason Roberts.  Some good points there to help you sleep better and keep the boogeyman away.   Guest Bio Jerry is founding and managing partner of the firm. He has been repeatedly elected by his peers for inclusion in "Best Lawyers in America” and “Lawyer of the Year” and is listed in the 2019 edition. Jerry has been designated legal counsel for the Brotherhood of Locomotive Engineers for many years and is currently designated legal counsel for the United Transportation Union and the International Brotherhood of Electrical Workers. He has represented railroad workers in trials in many states and has had record-setting jury verdicts in numerous jurisdictions. He obtained a verdict of $27 million for the widow and children of a St. Louis firefighter for a defective breathing apparatus which caused the firefighter's death. This verdict, which was increased to $40.4 million with pre and post judgment interest, was the highest jury verdict in Missouri in 2007 and one of the highest in the United States. The entire amount was collected after appeal. He has also obtained multiple precedent-setting judgments against railroads, including successfully requiring a railroad and the Federal Railroad Administration to modify rules on certification of railroad engineers; successfully obtaining a permanent injunction against the Union Pacific Railroad on behalf of all of its employees, which stopped the railroad's practice of interfering with employees' ability to pursue injury claims; and obtaining the first and only jury verdict in the United States in which a jury determined that a locomotive was not crashworthy, resulting in a jury verdict of $4.75 million, which was the highest verdict against that railroad by an injured employee in its history. Throughout his career, he has also handled major precedent-setting class action and mass tort cases on behalf of individuals. Jerry has been featured in numerous national publications, including the New York Times, Reuters, Bloomberg, USA Today, and the Wall Street Journal, for his and the firm’s success in pioneering claims of excessive fees in 401(K) plans and obtaining precedent-setting results involving claims of excessive fees against large employers, and for the reduction in fees his cases have caused throughout the 401(k) industry. He and the firm have obtained settlements in these 401(k) excessive fee cases of more than $300 million for employees and retirees, in addition to significant improvements in their 401(k) plans; in total, this relief has been valued at more than $1.5 billion. He also was lead attorney for the firm in the first and only full trial of an excessive fee case in the country, resulting in a verdict of $36 million. In recent rankings of the most influential people in the 401(k) industry by 401kWire.com, Jerry has repeatedly ranked in the top 5. According to a recent article published in Reuters, the CEO of Brightscope, an independent company which evaluates 401(k) plans, stated, speaking of Mr. Schlichter’s national impact on 401(k) plan fees, that “[h]is impact has been humongous." The New York Times has referred to Jerry as “a Lone Ranger of the 401(k)’s,” and he has been referred to by Investment News as “public enemy no. 1 for 401(k) profiteers” and by Chief Investment Officer as “the industry’s most feared attorney.” In describing the effect of his work on behalf of employees in 401(k) plans, the Wall Street Journal referred to it as being “Schlicterized”. In 2014 and 2015, Mr. Schlichter’s firm obtained the two largest 401(k) excessive fee settlements in history. The first was a settlement for $62 million against Lockheed Martin on behalf of Lockheed Martin employees, which included significant changes to the Lockheed Martin 401(k) plan. The second was a settlement for $57 million from Boeing, which likewise included significant non-monetary relief. Also in 2015, Mr. Schlichter won a unanimous 9-0 decision in the U.S. Supreme Court in Tibble v. Edison, the first U.S. Supreme Court case to consider fees in 401(k) plans. In an order in the case of Nolte v. Cigna Corporation in 2013, the U.S. District Court judge stated: “As the preeminent firm in 401(k) fee litigation, Schlichter, Bogard & Denton has achieved unparalleled results on behalf of its clients. Jerome Schlichter and Schlichter, Bogard & Denton’s work throughout this litigation stands as yet another example of the firm’s acting as a private attorney general, risking breathtaking amounts of time and money while overcoming many obstacles for the benefit of employees and retirees. . . . Mr. Schlichter and the Schlichter, Bogard & Denton firm’s actions have led to dramatic changes in the 401(k) industry, which have benefited employees and retirees throughout the country by bringing sweeping changes to fiduciary practices.” The U.S. District Court in Tussey v. ABB similarly found of “special importance . . . the significant, national contribution” made by the team led by Mr. Schlichter, which has “educated plan administrators, the Department of Labor, the courts and retirement plan participants” about the fiduciary obligations of 401(k) plan administrators. Another example of his work on behalf of individuals is his representation of a class of African-American employment applicants in the case of Mister v. Illinois Central Gulf Railroad, a case in which he obtained an extraordinary Seventh Circuit Court of Appeals decision in which the court stated: "One could not imagine a stronger case of discrimination short of an announcement of it." This resulted in a $10 million settlement. In the Mister case, the U.S. District Court judge described his work stating: "The Court is unaware of any comparable achievement of public good by a private lawyer in the face of such obstacles and enormous demand of resources and finances." The judge also stated: "This Court finds that Mr. Schlichter's experience, reputation, and ability are of the highest caliber." Jerry handled the nationally-recognized Times Beach dioxin case in which he represented a group of people in the community of Times Beach, Missouri who were exposed to dioxin when their streets were sprayed with the chemical. He obtained a record setting $19 million settlement on behalf of the residents against a chemical company in that case. Jerry handled a national employment discrimination class action case on behalf of all women employees of Rent-a-Center. In that case, he confronted for the first time in a national employment discrimination class action a "reverse auction" in which the defendant attempted to destroy the case by an inadequate settlement with others. Jerry successfully defeated this attempt and obtained a $47 million settlement for the class as well as a complete revamping of company policies. This is one of the largest class action settlements for women in the United States and the U.S. District Court judge stated: "In essence, it is an example of advocacy at its highest and noblest purpose, and Class Counsel accomplished a great public good." The judge further stated: "I have never seen an effort like that effort put forth by the plaintiffs' counsel' – it's beyond an extraordinary effort." Jerry is a past national President of the Academy of Rail Labor Attorneys and is a member of the Million Dollar Advocates. He has authored articles in the field of personal injury litigation and has spoken at numerous seminars on trial techniques, mass torts, class actions, and complex litigation. He has taught trial techniques as an adjunct professor at Washington University School of Law. Jerry has also been recognized for his involvement in community initiatives. He and his wife founded Mentor St. Louis, Inc., a not-for-profit organization which obtains adult mentors for disadvantaged elementary students in the St. Louis Public Schools, which has become the largest volunteer program in the St. Louis Public Schools and has been nationally recognized. He also successfully initiated and spearheaded the passage of a law, "The Missouri State Historic Tax Credit," which has been widely acknowledged for its role in revitalizing St. Louis and the State of Missouri, and which is the national model for legislation aimed at revitalizing older communities. He has also spearheaded and led the effort to pass the Missouri "Rebuilding Communities Act" designed to attract businesses to distressed communities and the "Neighborhood Preservation Act" to develop housing in distressed communities. Jerry has received numerous awards, such as the Levee Stone Award and "What's Right with the Region Award" for his contributions to revitalization of the city of St. Louis and the state of Missouri. In December 2013, Jerry was honored with the prestigious St. Louis Award, given to the person who has accomplished the most in the prior years for the development of St. Louis. Jerry spearheaded the founding and development of another St. Louis not for profit, Arch Grants, which is a global competition for startup businesses in which winning entrepreneurs come to St. Louis, receive $50,000.00 and a broad package of support services including business mentoring, discounts on office space, and free legal, accounting, and marketing services. Arch Grants has provided grants of $50,000.00 to 114 startups since its founding in 2012, and has been the subject of numerous national articles describing its building of entrepreneurial businesses in St. Louis. Education: University of Illinois, B.S., Business Administration, 1969, (in 3 years) with honors; James Scholar. University of California at Los Angeles, J.D. 1972; Associate Editor, UCLA Law Review. Admitted: California (1972); Illinois (1973); Missouri (1982). 401(k) Fridays Podcast Overview Struggling with a fiduciary issue, looking for strategies to improve employee retirement outcomes or curious about the impact of current events on your retirement plan? We've had conversations with retirement industry leaders to address these and other relevant topics! You can easily explore over one hundred prior on-demand audio interviews here. Don't forget to subscribe as we release a new episode each Friday!

The story of Times Beach is not a celebratory one that showcases Route 66.  Instead, the story of Times Beach is one that not may people are familiar with, even 35 years later.   Times Beach was a beach community along the Meramec River that hired the services of a local waste hauler, Russel Bliss, to spread used machinery oil over the dirt roads to keep the dust to a minimum.  It would later be discovered that the recycled oil would contain one of the deadliest compounds known to man, dioxin.   Listen in as host Anthony Arno talks with the final mayor of Times Beach, Marilyn Leistner, as she talks about her role of supervising the complete distruction of a community of 2000 residents and all personal property.

Episode 31 - 9/24/17 - Hosts Brian & Britt discuss a little known tragedy at the small town of Times Beach, MO. A tragedy that points to a much larger problem. Drinks for the talk were all from White Elm Brewing Company: Inverted Galaxy IPA, Hibiscus Saison, & Rollo Pale Wheat. Check us out!

In 1982, Times Beach was wiped off the map by an environmental disaster. But once the houses and streets were gone, the town was erased again, this time in a way that may make it difficult to learn from the mistakes of the past. 

Day Care Scares Muffin Man, Times Beach, Star Wars Needs Zombies and Would You Like an AK

Day Care Scares Muffin Man, Times Beach, Star Wars Needs Zombies and Would You Like an AK

UnderCurrent is upon us again, tonight's mixtape cassette release features Fluff Of Murder, Trauma Harness (playing all synthesizer set), Lumpy & The Dumpers, and Loose Screwz featuring Abnormal.  All the best bits that didn't make it onto the tape due to time restrictions and copyright issues are here as a special bonus track for your enjoyment.This month's concert (and recording for next month's tape) features performances by Times Beach, Googolplexia, our very own The Night Grinder, as well as spoken word pieces by Sean Arnold and Rooster Jake Cohen, and a special presentation of "Triplex" the animated series.  Come on down for good times, good tunes, and good beer, and you may even end up in next month's mix.Performances recorded 3/27/14 at Schlafly Tap Room by Charlie Nehr. Additional recording and editing by David Bell and Brad Schumacher. Undercurrent is a production of Wrong Division, Schlafly Tap Room, Paradoxal Pterodactyl, and chizmo.tv. Undercurrent #3 mixtape cassette released in conjunction with Lumpy Records. http://wrongdivision.blogspot.com/http://vimeo.com/chizzardshttp://spottedrace.bigcartel.comhttp://schlafly.com

Some of the most wretched and caustic ghost towns are discussed, including "blue sky mine" Wittenoom, Picher's chat piles, Oradour-sur-Glane's nazi massacre legacy, the dioxin-tainted roads of Times Beach, Centralia's ongoing coal fire, and more. All this and pop culture too! PS - Don't worry Soda Jerks, we didn't forget Chernobyl - it will get its own episode at some point! Music: "G'Bye Now" by Martha Tilton Images Videos http://www.youtube.com/watch?v=KPdIBbBETw4 http://www.youtube.com/watch?v=XTDAJMXZQKo Links Detroit's Beautiful, Horrible Decline Ordos, China: A Modern Ghost Town