Podcasts about Vint Cerf

In this episode of The Broadband Bunch, host Brad Hine previews Fiber Connect 2025 with Richard Williams, President & CEO of Connect2 Communications, and Evann Freeman, VP of Government & Community Relations at EPB Chattanooga and Fiber Connect Conference Chair. They discuss what's new at this year's event—including 300+ speakers, expanded operator Light Talks, tribal broadband sessions, and the premiere of the Thought Waves documentary featuring internet pioneer Vint Cerf. Plus, get the inside scoop on the expo, Smart Home Open House, OpTIC Path rodeo, and can't-miss social events like karaoke night and the Glow Party.

This week on DisrupTV, we interviewed Vint Cerf, VP & Chief Internet Evangelist at Google, Dr. David Bray, Distinguished Chair of the Accelerator, Stimson Center & Principal/CEO, LDA Ventures Inc. and Irene Yam, author of Build a World-Class Customer Advisory Board: How To Create Deeper Relationships And Validate Strategies. Vint highlighted the internet's rapid growth, now used by 5.6 billion people, and its advancements in speed and technology, including AI and interplanetary connectivity. David emphasized the need for social norms and accountability in the digital age. Irene touched on the importance of customer advisory boards (CABs) for product development and the need for leaders to actively listen to customer feedback. DisrupTV is a weekly podcast with hosts R "Ray" Wang and Vala Afshar. The show airs live at 11:00 a.m. PT/ 2:00 p.m. ET every Friday. Brought to you by Constellation Executive Network: constellationr.com/CEN.

US scientific research institutions are under attack. DOGE-led cuts to National Science Foundation funding, caps on indirect research costs, firings at the National Institutes of Health, layoffs at the Department of Energy, and more will profoundly weaken the US' scientific standing.But what does this mean for the country, for companies, and for the data center sector? We speak to the 'father of the Internet' Vint Cerf, co-developer of the TCP/IP protocol, about why the Internet had to come out of government-backed research, what he learned from his time at the National Science Board, and how we can win back our future.

Die IT-Security Pros unter euch müssen heute stark sein. Es geht nur wenig um Cyber... aber dafür um "war", also traditionellen, konventionellen Krieg. Genauer, es geht um das Konzept des hybriden Krieges und seine Auswirkungen auf die gegenwärtige geopolitische Lage, insbesondere im Kontext des Russland-Ukraine-Konflikts. Die Folge beleuchtet, wie hybride Kriegsführung - eine Kombination aus militärischen Operationen, Sabotage, Cyberangriffen, Informationskrieg, Desinformationskampagnen und wirtschaftlichem Druck - die traditionellen Grenzen zwischen Krieg und Frieden verwischt. Dabei betrachte ich das Buch "Strategy" von Liddell Hart, der sich intensiv mit der Geschichte diverser Kriege befasst hat und daraus "strategische Lehren" zieht, die auch heute noch anwendbar sind. Wir schauen uns an, wie Harts Erkenntnisse über psychologische Kriegsführung und die Bedeutung von Informationen und Propaganda im modernen Kontext relevant bleiben.Ein besonderer Fokus liegt auf der Frage, ob die aktuelle Situation eine Vorstufe zu einem konventionellen Krieg darstellt oder ob ""hybrider Krieg" als eigenständige Form des Konflikts betrachtet werden sollte. Die Podcastfolge erörtert, verschiedene Taktiken des hybriden Kriegs, die von Cyberangriffen bis hin zur Unterstützung autoritärer Bewegungen reichen, die Sicherheit Europas und der NATO beeinflussen könnten. Shownotes Lukas Milevski - The Baltic Defense Line US general says Russian army has grown by 15 percent since pre-Ukraine war NATO Must Prepare to Defend Its Weakest Point—the Suwalki Corridor Wie Russland für einen langen Krieg rekrutiert B. H. Liddell Hart, Strategy (1954) Basil H. Liddell Hart: His Applicability to Modern War A Very Special Relationship: Basil Liddell Hart, Wehrmacht Generals and the Debate on West German Rearmament, 1945–1953 Basil Liddell Hart and the Art of Peace  Hybrid warfare: The continuation of ambiguity by other means The Evolution of Russian Hybrid Warfare: Executive Summary BMVg: Hybride Bedrohungen Timecodes 00:00:20 Intro 00:03:11 Liddell Hart und sein Buch "Strategy" 00:07:15 Konzept Hybrider Krieg 00:09:40 Hart's These: Krieg ist mehr als Gewalt 00:12:00 The art of war 00:15:00 Informationskrieg 00:22:00 Dislocation 00:26:00 Kritik 00:28:00 Fazit Hinweise Blog & Podcast über die dunkle Seite der Digitalisierung: Cyber-Sicherheit, Cyber-War, Spionage, Hacker, Sabotage, Subversion und Desinformation. Kommentare und konstruktives Feedback bitte auf percepticon.de oder via Twitter. Dieser Cyber Security Podcast erscheint auf iTunes, Spotify, PocketCast, Stitcher oder via RSS Feed. Am Anfang folgt noch ein kleiner Nachtrag zur letzten Folge mit den Top 10 IT-Sicherheitstipps, nachdem mich etwas Feedback dazu erreichte. Sound & Copyright Modem Sound, Creative Commons. © Vint Cerf, "Internet shows up in December 1975", in: IEEE Computer Society, Computing Conversations: Vint Cerf on the History of Packets, December 2012. © L0pht Heavy Industries testifying before the United States Senate Committee on Governmental Affairs, Live feed from CSPAN, May 19, 1998. © Barack Obama, Cybersecurity and Consumer Protection Summit Address, 13 February 2015, Stanford University, Stanford, CA. © Michael Hayden, "We kill people based on meta-data," in: The Johns Hopkins Foreign Affairs Symposium Presents: The Price of Privacy: Re-Evaluating the NSA, April 2014. © Bruce Schneier, "Complexity is the enemy of security, in IEEE Computer Society, Bruce Schneier: Building Cryptographic Systems, March 2016. Beats, Bass & Music created with Apple GarageBand © Computer History 1946, ENIAC, https://www.youtube.com/watch?v=bGk9W65vXNA

"The telephone, invented by Alexander Graham Bell, whose wife and mother were Deaf, and could not use the phone. It's Ironic!" Chief Internet Evangelist for Google Vint Cerf is widely recognised and applauded for being a pioneer in the invention of the internet, redefining not only connecting software and people on incredible scale but also accessibility and access worldwide.Vint, who is Hard of Hearing, speaks about how technology has transformed his and wife Sigrid's lives from communication to education and socialisation. The story of "listening" to E-Books as a person who is deaf is HILARIOUS! If you've ever wondered how people who are part of the Deaf & Hard of Hearing community understand accents, listen to music or even learn other languages? All will be revealed in this episode of ListenABLE! Watch the Full Episode on YouTube with Captions Here: https://youtu.be/skFkfaQUGAY BIG thank you to our friends at Remarkable Tech for helping make this interview happen! You can hear their fantastic interview focusing solely on Vint's intersection with technology here: https://www.remarkable.org/insights-podcast/vint-cerf---fathers-of-the-internet-and-accessible-technology Grab our first merch release at our website From Your Pocket https://fromyourpocket.com.au/work/listenable/merch Recorded, edited and produced by Angus' Podcast Company  https://fromyourpocket.com.au/See omnystudio.com/listener for privacy information.

In response to escalating gang violence and severe food shortages, a U.S. government-chartered flight from Cap Haitien brought 47 Americans to safety in Miami. This operation follows a series of evacuations and warnings of dire conditions in Haiti.With the arrival of spring, it's the perfect time to declutter your finances and address pressing financial matters. CBS News business analyst Jill Schlesinger offers expert advice on how to refresh and organize your financial life.In a heartfelt return to prime-time, Oprah Winfrey confronts the complex issues of obesity and the associated shame, sharing her personal journey with weight and discussing the impact of weight-loss drugs like Ozempic.The children of late Run D-M-C star DJ Jam Master Jay are speaking out for the first time since two men were convicted last month of murdering their father more than 20 years ago. CBS New York anchor Maurice DuBois spoke to them at "Scratch DJ Academy," which was co-founded by their father."CBS Mornings" co-host Tony Dokoupil sits down with three computer scientists who helped create the internet, Bob Kahn, Vint Cerf and Steve Crocker, to see what they think of their creation now, and what our digital future may hold.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode, we dive into the unexpected consequences of technological decisions, from Vint Cerf's IPv4 format leading to address scarcity and rising costs, to the pervasive challenges of identity fraud exacerbated by deepfake technology. We also shed light on the persistent issue of application performance tied to third-party scripts and unpack the looming Y2K38 problem, highlighting the need for forward-thinking in digital infrastructure and cybersecurity.Stay updated with new weekly episodes every Thursday – and don't forget to subscribe! For more behind-the-scenes content, follow us @justshiftleft on Facebook, Instagram, Twitter, and LinkedIn.

OpenAI and Microsoft are leaders in generative artificial intelligence (AI). OpenAI has built GPT-4, one of the world's most sophisticated large language models (LLMs) and Microsoft is injecting those algorithms into its products, from Word to Windows. At the World Economic Forum in Davos last week, Zanny Minton Beddoes, The Economist's editor-in-chief, interviewed Sam Altman and Satya Nadella, who run OpenAI and Microsoft respectively. They explained their vision for humanity's future with AI and addressed some thorny questions looming over the field, such as how AI that is better than humans at doing tasks might affect productivity and how to ensure that the technology doesn't pose existential risks to society.Host: Alok Jha, The Economist's science and technology editor. Contributors: Zanny Minton Beddoes, editor-in-chief of The Economist; Ludwig Siegele, The Economist's senior editor, AI initiatives; Sam Altman, chief executive of OpenAI; Satya Nadella, chief executive of Microsoft. If you subscribe to The Economist, you can watch the full interview on our website or app. Essential listening, from our archive:“Daniel Dennett on intelligence, both human and artificial”, December 27th 2023“Fei-Fei Li on how to really think about the future of AI”, November 22nd 2023“Mustafa Suleyman on how to prepare for the age of AI”, September 13th 2023“Vint Cerf on how to wisely regulate AI”, July 5th 2023“Is GPT-4 the dawn of true artificial intelligence?”, with Gary Marcus, March 22nd 2023Sign up for a free trial of Economist Podcasts+. If you're already a subscriber to The Economist, you'll have full access to all our shows as part of your subscription. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

OpenAI and Microsoft are leaders in generative artificial intelligence (AI). OpenAI has built GPT-4, one of the world's most sophisticated large language models (LLMs) and Microsoft is injecting those algorithms into its products, from Word to Windows. At the World Economic Forum in Davos last week, Zanny Minton Beddoes, The Economist's editor-in-chief, interviewed Sam Altman and Satya Nadella, who run OpenAI and Microsoft respectively. They explained their vision for humanity's future with AI and addressed some thorny questions looming over the field, such as how AI that is better than humans at doing tasks might affect productivity and how to ensure that the technology doesn't pose existential risks to society.Host: Alok Jha, The Economist's science and technology editor. Contributors: Zanny Minton Beddoes, editor-in-chief of The Economist; Ludwig Siegele, The Economist's senior editor, AI initiatives; Sam Altman, chief executive of OpenAI; Satya Nadella, chief executive of Microsoft. If you subscribe to The Economist, you can watch the full interview on our website or app. Essential listening, from our archive:“Daniel Dennett on intelligence, both human and artificial”, December 27th 2023“Fei-Fei Li on how to really think about the future of AI”, November 22nd 2023“Mustafa Suleyman on how to prepare for the age of AI”, September 13th 2023“Vint Cerf on how to wisely regulate AI”, July 5th 2023“Is GPT-4 the dawn of true artificial intelligence?”, with Gary Marcus, March 22nd 2023Sign up for a free trial of Economist Podcasts+. If you're already a subscriber to The Economist, you'll have full access to all our shows as part of your subscription. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

Vint Cerf is known for his pioneering work as one of the fathers of the internet. He now serves as the vice president and chief internet evangelist for Google where he furthers global policy development and accessibility of the internet. He shares his Brief But Spectacular take on the future of the internet. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

Vint Cerf is known for his pioneering work as one of the fathers of the internet. He now serves as the vice president and chief internet evangelist for Google where he furthers global policy development and accessibility of the internet. He shares his Brief But Spectacular take on the future of the internet. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

Vint Cerf is known for his pioneering work as one of the fathers of the internet. He now serves as the vice president and chief internet evangelist for Google where he furthers global policy development and accessibility of the internet. He shares his Brief But Spectacular take on the future of the internet. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

*Explore the Presidential Executive Order on Safe, Secure, and Trustworthy Artificial Intelligence. Signed by President Biden on October 30th 2023, this directive stands as a landmark in the evolving landscape of AI, setting a precedent for future development, usage, and regulation.Our guest is Dr. David Bray, previously CIO of the Federal Communications Commision for four years, IT Chief for the Bioterrorism Preparedness and Response Program, Senior National Intelligence Service Executive, and an expert on AI governance and ethics.*In this episode, we examine the presidential order to:*⭕ Explain why it's a crucial step for the future of AI.⭕Unravel its significant impact on the business world, examining the immediate and long-term implications for industries navigating this new regulatory landscape.⭕Consider what the order did not cover and explain what is missing.As AI continues to redefine the boundaries of innovation and efficiency, understanding the framework set by this Executive Order is imperative for business leaders. This episode provide insightful perspectives, clarifying how businesses can adapt, comply, and excel in this new era of AI.Watch this discussion to bridge the gap between technological evolution and business strategy, with valuable insights for executives and decision-makers in the rapidly changing world of AI.*Dr. David A. Bray* is both a Distinguished Fellow and co-chair of the Alfred Lee Loomis Innovation Council at the non-partisan Henry L. Stimson Center. He is also a non-resident Distinguished Fellow with the Business Executives for National Security, and a CEO and transformation leader for different “under the radar” tech and data ventures seeking to get started in novel situations. He is Principal at LeadDoAdapt Ventures and has served in a variety of leadership roles in turbulent environments, including bioterrorism preparedness and response from 2000-2005. Dr. Bray previously was the Executive Director for a bipartisan National Commission on R&D, provided non-partisan leadership as a Senior Executive and CIO at the FCC for four years, worked with the U.S. Navy and Marines on improving organizational adaptability, and aided U.S. Special Operation Command's J5 Directorate on the challenges of countering disinformation online. He has received both the Joint Civilian Service Commendation Award and the National Intelligence Exceptional Achievement Medal. David accepted a leadership role in December 2019 to direct the successful bipartisan Commission on the Geopolitical Impacts of New Technologies and Data that included Senator Mark Warner, Senator Rob Portman, Rep. Suzan DelBene, and Rep. Michael McCaul. From 2017 to the start of 2020, David also served as Executive Director for the People-Centered Internet coalition Chaired by Internet co-originator Vint Cerf and was named a Senior Fellow with the Institute for Human-Machine Cognition starting in 2018. Business Insider named him one of the top “24 Americans Who Are Changing the World” under 40 and he was named a Young Global Leader by the World Economic Forum. For twelve different startups, he has served as President, CEO, Chief Strategy Officer, and Strategic Advisor roles.*Michael Krigsman* is an industry analyst and publisher of CXOTalk. For three decades, he has advised enterprise technology companies on market messaging and positioning strategy. He has written over 1,000 blogs on leadership and digital transformation and created almost 1,000 video interviews with the world's top business leaders on these topics. His work has been referenced in the media over 1,000 times and in over 50 books. He has presented and moderated panels at numerous industry events around the world.#cxotalk #enterpriseai #responsibleai #aiethics

In this episode, we have the honor of welcoming Vint Cerf, Vice President and Chief Internet Evangelist at Google.A true pioneer in the realm of technology and communication, Vint's contributions have fundamentally shaped the digital landscape we inhabit today.With a career spanning decades and a legacy that extends from his pioneering work on the creation of the Internet to his continued advocacy for innovation, Vint's insights offer a profound perspective on the evolution of technology and its impact on society. His experiences have been forged through a lifetime of exploration, invention, and a deep curiosity about the interconnected world we live in.Vint's Top 5 CliftonStrengths are: Futuristic, Input, Communication, Strategic and Analytical.For more interviews visit leadingwithstrengths.comTranscripts available upon request.

How can engineering become more inclusive for disabled and neurodivergent people? And what are the engineering innovations that might make the workplace more accessible in the future? Lara Suzuki and Vint Cerf share their experiences and insights.Larissa Suzuki is a computer scientist, inventor, Chartered Engineer, and entrepreneur, who works with Google, NASA, UCL and the Queen Elizabeth Prize for Engineering among many others. She's neurodivergent (Autism and ADHD).Vinton Cerf is considered one of the ‘fathers of the Internet', and has been inducted into the National Inventors Hall of Fame. In 2005, Cerf became Vice President and Chief Internet Evangelist for Google. He's hearing impaired.Follow @QEPrize on Twitter, Instagram, and Facebook for more info.New episodes - conversations about how to rebuild the world better - every other Friday. Hosted on Acast. See acast.com/privacy for more information.

In this episode, we have the honor of talking to one of the pioneers of the internet: Vint Cerf. He is not only the co-inventor of the TCP/IP protocols and the internet architecture, but also a visionary leader and a passionate advocate for digital inclusion and accessibility.He will tell us how he got interested in technology and software engineering, how he met and collaborated with Bob Kahn on creating the internet, and how he became an evangelist for bringing more people online. He will also share some of his challenges and achievements from his six-decade-long career, and his thoughts on the future of the internet. He will also give us some tips on how to deal with stress, burnout, and harmful behaviors onlineDon't miss this incredible and inspiring conversation with Vint Cerf.-"I'm smart enough to know that if you want to do anything big, you need to get help, preferably from people who are smarter than you are."-Vint's Links:LinkedInTwitterWikipediaCommunications of the ACM - Cerf's UpMarconi Society--Thanks for being an imposter - a part of the Imposter Syndrome Network (ISN)! We'd love it if you connected with us at the links below: The ISN LinkedIn group (community): https://www.linkedin.com/groups/14098596/ The ISN on Twitter: https://twitter.com/ImposterNetwork Zoë on Twitter: https://twitter.com/RoseSecOps Chris on Twitter: https://twitter.com/ChrisGrundemann Make it a great day.

This podcast is a commentary and does not contain any copyrighted material of the reference source. We strongly recommend accessing/buying the reference source at the same time. ■Reference Source https://www.ted.com/talks/diana_reiss_peter_gabriel_neil_gershenfeld_and_vint_cerf_the_interspecies_internet_an_idea_in_progress ■Post on this topic (You can get FREE learning materials!) https://englist.me/177-academic-words-reference-from-diana-reiss-peter-gabriel-neil-gershenfeld-and-vint-cerf-the-interspecies-internet-an-idea-in-progress-ted-talk/ ■Youtube Video https://youtu.be/uAVvzIAI8ws (All Words) https://youtu.be/Yk9u0-QkrWQ (Advanced Words) https://youtu.be/D9IQHT5pKi4 (Quick Look) ■Top Page for Further Materials https://englist.me/ ■SNS (Please follow!)

Almost 50 years ago, Vint Cerf and Bob Kahn designed TCP/IP, a set of rules enabling computers to connect and communicate with each other. It led to the creation of a vast global network: the internet. TCP/IP is how almost the entirety of the internet still sends and receives information. Vint Cerf is now 80 and serves as the chief internet evangelist and a vice president at Google. He is also the chairman of the Marconi Society, a group that promotes digital equity.Alok Jha, The Economist's science and technology editor, asks Vint to reflect on the state of the internet today and the lessons that should be learned for the next, disruptive technology: generative artificial intelligence. Vint Cerf explains how he thinks large language models can be regulated without stifling innovation—ie, more precisely based on their specific applications.For full access to The Economist's print, digital and audio editions subscribe at economist.com/podcastoffer and sign up for our weekly science newsletter at economist.com/simplyscience. Hosted on Acast. See acast.com/privacy for more information.

Almost 50 years ago, Vint Cerf and Bob Kahn designed TCP/IP, a set of rules enabling computers to connect and communicate with each other. It led to the creation of a vast global network: the internet. TCP/IP is how almost the entirety of the internet still sends and receives information. Vint Cerf is now 80 and serves as the chief internet evangelist and a vice president at Google. He is also the chairman of the Marconi Society, a group that promotes digital equity.Alok Jha, The Economist's science and technology editor, asks Vint to reflect on the state of the internet today and the lessons that should be learned for the next, disruptive technology: generative artificial intelligence. Vint Cerf explains how he thinks large language models can be regulated without stifling innovation—ie, more precisely based on their specific applications.For full access to The Economist's print, digital and audio editions subscribe at economist.com/podcastoffer and sign up for our weekly science newsletter at economist.com/simplyscience. Hosted on Acast. See acast.com/privacy for more information.

The speed of light is a hard constraint in this world.“Just mention the letters “I.T.” and a disheveled Harry Potter like figure will emerge from his back-row slumber. Either cheerful or recovering from a perhaps too cheerful night, he continually brightened our spirits. He has entertained us with his guitar stylings and has bemused us with his weekend hangover wear – an exceedingly well-worn bathrobe. Sociable and hospitable, he quickly shed his studious image to become the social butterfly we know and love today. He became, in short, the man we'll remember from the party photos. The women, for their part, will remember him too. From the Guatemalan highlands to the valleys of Ireland, the man is a legend. Though he often did his best to provide evidence to the contrary, he is both fantastically bright and, according to his group mates, surprisingly efficient. Nonetheless, we will remember him best in his inefficient moments, evoking smiles, laughter and, often, puzzlement.” From the Republic of Insead 03D yearbook edition.Tune in to find out who the guest was, I promise he's one of us – the INSEAD MBA'03D vintage.A few of my favorite snippets from my conversation with the first guest to this limited series podcast.20 YEARS IN PERSPECTIVE:§ It's amazing how much the world of technology has moved forward - when we were at INSEAD, it was a time before Facebook, before cloud computing, before the iPhone, before cryptocurrency.References, mentions:Republic of Insead, MBATRIX_, Chris Larmour, Victoria Entwistle, Common Crawl, AlphaFold, Protein fold, Deepmind, “Dial F for Frankenstein” by Arthur C. Clarke, Open source software, Machine learning, Hallucinations, The European Molecular Biology Laboratory, DARPA (Defense Advanced Research Projects Agency), Vint Cerf, Hermann Hauser, Chat GPT, Wikipedia, Reddit, Project Gutenberg, bayesian prediction machinesThe 20 Years Later MBA'03D podcast editionWelcome to the Republic of Insead podcast edition and enjoy the show.So here we are – 20 years later, hopefully all the wiser, naturally smarter and as charming as ever. There were 432 of us in the 03'D vintage and certainly there are 432 unique and very interesting personal and professional stories to tell. While I cannot physically cover all, I have tried to make a selection of stories, that will keep you interested and curious and will hopefully convince you to join us on campus for reunion.The show is here to remind everyone what an interesting and dare we say, colorful, bunch of people we are and how much we can contribute to each other, be it through ideas, knowledge or mere inspiration. The podcast is inspired by the original Republic of INSEAD yearbook, produced on paper 20 years ago by Oliver Bradley and team.Remember to book your tickets for the 20Y reunion in Fontainebleau, October 6-8 2023.Thank you for listening.

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

Picture of the Week. Google & Passkeys. TP-Link routers DO auto-update. US Marshals Service: Where's the backup?? T-Mobile keeps getting breached. Chrome: No more LOCK icon. Apple's new "Rapid Security Response" system. Elon Musk, making friends wherever he goes... A quick Mastodon aside. Here come the fake AI-generated "news" sites. Russia to replace "American" TCP/IP with "Russian Internet". Vint Serf's 3 mistakes. Detecting Unwanted Location Trackers. Show Notes: https://www.grc.com/sn/SN-922-Notes.pdf Hosts: Steve Gibson and Leo Laporte Download or subscribe to this show at https://twit.tv/shows/security-now. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit You can submit a question to Security Now! at the GRC Feedback Page. For 16kbps versions, transcripts, and notes (including fixes), visit Steve's site: grc.com, also the home of the best disk maintenance and recovery utility ever written Spinrite 6. Sponsor: kolide.com/securitynow

Picture of the Week. Google & Passkeys. TP-Link routers DO auto-update. US Marshals Service: Where's the backup?? T-Mobile keeps getting breached. Chrome: No more LOCK icon. Apple's new "Rapid Security Response" system. Elon Musk, making friends wherever he goes... A quick Mastodon aside. Here come the fake AI-generated "news" sites. Russia to replace "American" TCP/IP with "Russian Internet". Vint Serf's 3 mistakes. Detecting Unwanted Location Trackers. Show Notes: https://www.grc.com/sn/SN-922-Notes.pdf Hosts: Steve Gibson and Leo Laporte Download or subscribe to this show at https://twit.tv/shows/security-now. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit You can submit a question to Security Now! at the GRC Feedback Page. For 16kbps versions, transcripts, and notes (including fixes), visit Steve's site: grc.com, also the home of the best disk maintenance and recovery utility ever written Spinrite 6. Sponsor: kolide.com/securitynow

Picture of the Week. Google & Passkeys. TP-Link routers DO auto-update. US Marshals Service: Where's the backup?? T-Mobile keeps getting breached. Chrome: No more LOCK icon. Apple's new "Rapid Security Response" system. Elon Musk, making friends wherever he goes... A quick Mastodon aside. Here come the fake AI-generated "news" sites. Russia to replace "American" TCP/IP with "Russian Internet". Vint Serf's 3 mistakes. Detecting Unwanted Location Trackers. Show Notes: https://www.grc.com/sn/SN-922-Notes.pdf Hosts: Steve Gibson and Leo Laporte Download or subscribe to this show at https://twit.tv/shows/security-now. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit You can submit a question to Security Now! at the GRC Feedback Page. For 16kbps versions, transcripts, and notes (including fixes), visit Steve's site: grc.com, also the home of the best disk maintenance and recovery utility ever written Spinrite 6. Sponsor: kolide.com/securitynow

Picture of the Week. Google & Passkeys. TP-Link routers DO auto-update. US Marshals Service: Where's the backup?? T-Mobile keeps getting breached. Chrome: No more LOCK icon. Apple's new "Rapid Security Response" system. Elon Musk, making friends wherever he goes... A quick Mastodon aside. Here come the fake AI-generated "news" sites. Russia to replace "American" TCP/IP with "Russian Internet". Vint Serf's 3 mistakes. Detecting Unwanted Location Trackers. Show Notes: https://www.grc.com/sn/SN-922-Notes.pdf Hosts: Steve Gibson and Leo Laporte Download or subscribe to this show at https://twit.tv/shows/security-now. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit You can submit a question to Security Now! at the GRC Feedback Page. For 16kbps versions, transcripts, and notes (including fixes), visit Steve's site: grc.com, also the home of the best disk maintenance and recovery utility ever written Spinrite 6. Sponsor: kolide.com/securitynow

Bugün 21.yy'a dönüyoruz. Bir yandan İnterneti katman katman inşa ederken, bir yandan da güvenlik boyutundaki kedi-fare oyunlarına bakacağız. Bölüm bittiğinde TCP/IP, DNS, VPN, TOR gibi kısaltmalardan artık korkmayacaksınız.Tüm kaynaklar ve referanslar aşağıda. Hepinize ve Patreonculara teşekkürler..Bu podcast, Cambly hakkında reklam içerir.Cambly'nin %60 indirimden 6fular koduyla yararlanmak için aşağıdaki linke tıklayın.https://cambly.biz/6fularCambly Kids'in %60 indiriminden 6fularkids koduyla yararlanmak için ise aşağıdaki linke tıklayın.https://cambly.biz/6fularkidsBölümler:(00:05) Telgraf: İlk standardın sebebi.(02:32) IP: Sanal posta.(03:30) VPN: Geoblocking'i nasıl önlüyor.(05:07) IP yasakları: Neden işe yaramaz.(06:40) CDN: İçerik dağıtım ağları.(07:35) NAT: Adres israfı ve anonimlik(11:47) DNS: Daha kolay sansür.(14:43) Port: Sanal bağlantı noktaları.(16:00) TCP: İnternetin Ulaştırma Bakanlığı.(17:40) Vint Cerf: İnternetin babası.(19:20) Servis sağlayıcının ekonomik çıkarı(20:30) Son katman: Uygulama.(22:15) DPI: Derin Paket Analizi maceralarım.(25:30) VPN güvenlik sağlar mı?(29:15) TOR: Kimse beni görmesin.(30:40) Gelecek bölüm için 3 soru.(32:33) Patreon teşekkürleri..Kaynaklar:Video: What's TCP/IPYazı: Where did all the IPs go?Video: Cerf and Kahn: Inventors of the InternetYazı: China DNS interceptionYazı: Configure DoHSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In the third episode of this mini-series on the Future of Technology, we will hear from Vint Cerf, Vice President & Chief Internet Evangelist at GOOGLE, and widely known as one of the “Fathers of the Internet,” and Alexandre Blais, Professor & Scientific Director of the Quantum Institute at UNIVERSITÉ DE SHERBROOKE. Vint and Alexandre will walk us through the challenges and opportunities that Quantum Learning presents. They will define Quantum Learning and explore: how can its development impact society as a whole? What are the challenges of making Quantum Machine Learning (QML) a reality? Vinton G. Cerf, Vice President & Chief Internet Evangelist, GOOGLEIn this role, he is responsible for identifying new enabling technologies to support the development of advanced, Internet-based products and services from Google. He is also an active public face for Google in the Internet world.Widely known as one of the “Fathers of the Internet,” Cerf is the co-designer of the TCP/IP protocols and the architecture of the Internet. In December 1997, President Clinton presented the U.S. National Medal of Technology to Cerf and his colleague, Robert E. Kahn, for founding and developing the Internet. Kahn and Cerf were named the recipients of the ACM Alan M. Turing award in 2004 for their work on the Internet protocols. In November 2005, President George Bush awarded Cerf and Kahn the Presidential Medal of Freedom for their work. The medal is the highest civilian award given by the United States to its citizens. In April 2008, Cerf and Kahn received the prestigious Japan Prize.Cerf is a recipient of numerous awards and commendations in connection with his work on the Internet.Cerf holds a Bachelor of Science degree in Mathematics from Stanford University and Master of Science and Ph.D. degrees in Computer Science from UCLA.Prof. Alexandre Blais, Physics Professor & Scientific Director of the Quantum Institute, UNIVERSITÉ DE SHERBROOKEAlexandre Blais is a professor of physics at the Université de Sherbrooke and Scientific Director of the Institut quantique at the same institution. His research focusses on superconducting quantum circuits for quantum information processing and microwave quantum optics. After completing a PhD at the Université de Sherbrooke in 2002, he was a postdoc at Yale University from 2003 to 2005 where he participated in the development of circuit quantum electrodynamics, a leading quantum computer architecture. Since then, his theoretical work as continued to have an impact in academic and industrial laboratories worldwide. Alexandre is a Fellow of the American Physical Society, a Guggenheim Fellow of the John Simon Guggenheim Memorial Foundation, a member of CIFAR's Quantum Information Science program and of the College of the Royal Society of Canada. His research contributions have earned him a number of academic awards, including NSERC's Doctoral Prize, NSERC's Steacie Prize, the Canadian Association of Physicists' Herzberg and Brockhouse Medals, the Prix Urgel-Archambault from the Association francophone pour le savoir, the Rutherford Memorial Medal of the Royal Society of Canada,  as well as a teaching award from the Université de Sherbrooke.Thanks for listening! Please be sure to check us out at www.eaccny.com or email membership@eaccny.com to learn more!

In the second episode of this mini-series on the Future of Technology, we will hear from Vint Cerf, Vice President & Chief Internet Evangelist at GOOGLE, and widely known as one of the “Fathers of the Internet,” and Matt Hutson, Contributing Writer at THE NEW YORKER. They will walk us through the challenges and opportunities that Machine Learning presents, and what the future may hold for this technology. What is Machine Learning? How does it differ from AI? What are the limits of simulating human discourse? How can we detect machine-made mistakes and judge the confidence with which a computer reaches its conclusions?Vinton G. Cerf, Vice President & Chief Internet Evangelist, GOOGLEIn this role, he is responsible for identifying new enabling technologies to support the development of advanced, Internet-based products and services from Google. He is also an active public face for Google in the Internet world.Widely known as one of the “Fathers of the Internet,” Cerf is the co-designer of the TCP/IP protocols and the architecture of the Internet. In December 1997, President Clinton presented the U.S. National Medal of Technology to Cerf and his colleague, Robert E. Kahn, for founding and developing the Internet. Kahn and Cerf were named the recipients of the ACM Alan M. Turing award in 2004 for their work on the Internet protocols. In November 2005, President George Bush awarded Cerf and Kahn the Presidential Medal of Freedom for their work. The medal is the highest civilian award given by the United States to its citizens. In April 2008, Cerf and Kahn received the prestigious Japan Prize.Cerf is a recipient of numerous awards and commendations in connection with his work on the Internet.Cerf holds a Bachelor of Science degree in Mathematics from Stanford University and Master of Science and Ph.D. degrees in Computer Science from UCLA.Matthew Hutson, Contributing Writer, THE NEW YORKERMatthew Hutson is a freelance science writer in New York City and a Contributing Writer at The New Yorker. He also writes for Science, Scientific American, The Wall Street Journal, and other publications, and he's the author of “The 7 Laws of Magical Thinking.” Thanks for listening! Please be sure to check us out at www.eaccny.com or email membership@eaccny.com to learn more!

To kick-off this mini-series on the Future of Technology, we will hear from Vint Cerf, Vice President & Chief Internet Evangelist at GOOGLE, and widely known as one of the "Fathers of the Internet," and Gerard de Graaf, Senior EU Envoy for Digital and Head of the new EU Office in San Francisco. They will walk us through the challenges and opportunities that Artificial Intelligence presents, and what the future may hold for this technology.Vinton G. Cerf, Vice President & Chief Internet Evangelist, GOOGLEIn this role, he is responsible for identifying new enabling technologies to support the development of advanced, Internet-based products and services from Google. He is also an active public face for Google in the Internet world. Widely known as one of the “Fathers of the Internet,” Cerf is the co-designer of the TCP/IP protocols and the architecture of the Internet. In December 1997, President Clinton presented the U.S. National Medal of Technology to Cerf and his colleague, Robert E. Kahn, for founding and developing the Internet. Kahn and Cerf were named the recipients of the ACM Alan M. Turing award in 2004 for their work on the Internet protocols. In November 2005, President George Bush awarded Cerf and Kahn the Presidential Medal of Freedom for their work. The medal is the highest civilian award given by the United States to its citizens. In April 2008, Cerf and Kahn received the prestigious Japan Prize.Cerf is a recipient of numerous awards and commendations in connection with his work on the Internet. Cerf holds a Bachelor of Science degree in Mathematics from Stanford University and Master of Science and Ph.D. degrees in Computer Science from UCLA. Gerard de Graaf, Senior EU Envoy for Digital and Head of the new EU Office in San FranciscoGerard de Graaf has worked for more than 30 years in the European Commission across a wide range of policy areas. Until his recent appointment, he was director in DG CNECT, responsible for the Digital Services and Digital Markets Acts (DSA/DMA), two landmark pieces of legislation which have been recently adopted in the European Union to keep the Internet safe, protect fundamental rights and enhance competition in digital markets. Previously, Gerard de Graaf was responsible, inter alia, for the EU's telecommunications and audiovisual policy (including copyright), cyber security, ICT standardisation, Startup Europe, ICT and green, and  international relations. He has been co-chairing two of the Trade and Technology (TTC) Council Working Groups, on greentech, and on data governance and technology platforms. Before joining DG CNECT, he worked in the Secretariat-General of the European Commission, in DG Research and Innovation and in DG Internal Market. From 1997 to 2001, he was trade counsellor at the Commission's Delegation to the United States in Washington DC. He joined the European Commission in 1991, having worked for the Benelux Economic Union and the Schengen secretariat on free movement within the EU.Thanks for listening! Please be sure to check us out at www.eaccny.com or email membership@eaccny.com to learn more!

1. HOY… Elon Musk y la oleada de tweets en la sección 'Para ti' de Twitter: ¿Qué está sucediendo?"2. Además… "Apple vs. Hackers: ¡La Batalla por la Seguridad de los Dispositivos!3. Y también… Vint Cerf, el padre del internet, advierte sobre el riesgo de invertir en chatbots de AI.4. Y para terminar…: El departamento de Defensa sin infraestructura para controlar el uso seguro de smartphones en el trabajoTodo esto y más en el podcast del día de hoy…Yo soy LuisGyG, y sin más preámbulos… comenzamos.

Today's fourth Christmas guest editor this year is Sir Jeremy Fleming, director of GCHQ, the UK's largest but probably least known intelligence agency. Hear highlights from his programme which centres on the theme of data and trust, including how we all share our own personal information and how intelligence agencies across the world handle that data. Guests include Avril Haines, the United States director of national intelligence, Vint Cerf, one of the founding fathers of the internet, and multiple Olympic champion Sir Ben Ainslie, who discusses the use of data in his sport of sailing.

Vint Cerf on accessibility, the cello and noisy hearing aids: https://www.blog.google/inside-google/googlers/vint-cerf-accessibility-cello-and-noisy-hearing-aids/The Little Deaf Girl (the story of Vint's wife, Sigrid): http://www.littlemag.com/listen/vintoncerf.htmlThe Interplanetary Internet: https://www.youtube.com/watch?v=XTmYm3gMYOQSecrets of the Saturn V F-1 Engine: https://www.skyatnightmagazine.com/space-missions/rod-pyle-apollo-saturn-v-f1-engine/

Vint Cerf on accessibility, the cello and noisy hearing aids:https://www.blog.google/inside-google/googlers/vint-cerf-accessibility-cello-and-noisy-hearing-aids/The Little Deaf Girl (the story of Vint's wife, Sigrid):http://www.littlemag.com/listen/vintoncerf.htmlThe Interplanetary Internet:https://www.youtube.com/watch?v=XTmYm3gMYOQSecrets of the Saturn V F-1 Engine:https://www.skyatnightmagazine.com/space-missions/rod-pyle-apollo-saturn-v-f1-engine/

The Six Five "On The Road" at Google Cloud Next 2022. Hosts Daniel Newman and Patrick Moorhead are joined by Vint Cerf, Chief Internet Evangelist, Google. This historical conversation revolves around the journey from the creation of the internet to the development of the cloud. They also discuss the lengths Google Cloud is innovating and supporting its customers in their digital transformation. You may even hear some discussion on the interplanetary internet.

Thanks to the internet, today's world is more connected than ever. Communication is as simple as sending an email, home goods can be ordered to your door at the press of a button, and online communities have brought us closer together.   But it wasn't always that way. It took many years, extensive research, and brilliant leaders behind it's creation. Vint Cerf, one of the “Fathers of the Internet” helped to connect the first nodes that made the modern internet possible. For his achievements, Vint has been awarded the National Medal of Technology, the Turing Award, and the Presidential Medal of Freedom, among many more honors.   Today on Celebrations Chatter, Vint shares forward his insights on how the internet became what it is today, and where the ever-evolving technology is going.   New podcast episodes released weekly on Thursday. Follow along with the links below: Sign up for the Celebrations Chatter Newsletter: https://celebrationschatter.beehiiv.com/    Subscribe to Celebrations Chatter on YouTube: https://www.youtube.com/@celebrationschatter  Follow @CelebrationsChatter on Instagram: https://www.instagram.com/celebrationschatter/    Follow @CelebrationsChatter on Threads: https://www.threads.net/@celebrationschatter  Listen to more episodes of Celebrations Chatter on Apple Podcasts:  https://podcasts.apple.com/us/podcast/celebrations-chatter-with-jim-mccann/id1616689192    Listen to more episodes of Celebrations Chatter on Spotify: https://open.spotify.com/episode/5Yxfvb4qHGCwR5IgAmgCQX?si=ipuQC3-ATbKyqIk6RtPb-A    Listen to more episodes of Celebrations Chatter on Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5saWJzeW4uY29tLzQwMzU0MS9yc3M?sa=X&ved=0CAMQ4aUDahcKEwio9KT_xJuBAxUAAAAAHQAAAAAQNg  Visit 1-800-Flowers.com: https://www.1800flowers.com/    Visit the 1-800-Flowers.com YouTube Channel: https://www.youtube.com/@1800flowers  Follow Jim McCann on LinkedIn: https://www.linkedin.com/in/jim1800flowers/  Follow Jim McCann on X / Twitter: https://twitter.com/jim1800flowers (@Jim1800Flowers)

The Tech Policy Grind heads to Washington DC for a chat on the evolution of the Internet with its pioneers: Drs. Vint Cerf and Steve Crocker.

Reema catches up with ILPF Class 4 Communications Director Joe Catapano on his career in multistakeholder global Internet governance.

In this episode of Partnering Leadership, Mahan Tavakoli speaks with Gary Bolles, chair for the Future of Work for Singularity University, co-founder of eParachute.com, and author of The Next Rules of Work. Gary Bolles shares how his father's career advice book What Color Is Your Parachute impacted his early life and how he has gone through continual reinvention while guiding leaders through ongoing disruption. Gary Bolles also shares insights from his book The Next Rules of Work. Some highlights:- How Gary Bolles father's book What Color Is Your Parachute impacted his life- The ‘leader's dilemma,' how it manifests in times of disruptive change, and how to overcome it- Gary Bolles on how to foster a growth mindset within an organization- Embracing change and promoting diversity in organizations- What flex skills are and their importance in the future of work- Gary Bolles on the future of leadership and work- A framework for leaders in leading their teams and organizations forward Mentioned:-Richard Nelson Bolles, Gary Bolles' father and author of What Color Is Your Parachute?-Jeffrey S. Moore, university teacher, and researcher-John Hagel, author-Carol Dweck, psychologist and author-Sidney Fine, professor, and author-Vint Cerf, developer and internet pioneer-Esther Wojcicki, author of Moonshots in Education-The Five Temptations of a CEO by Patrick Lencioni Connect with Gary Bolles:The Next Rules of Work on AmazonGary Bolles' WebsiteFuture of Work on Singularity Hub WebsiteeParachute WebsiteGary Bolles on LinkedInGary Bolles on Twitter Connect with Mahan Tavakoli:MahanTavakoli.com More information and resources available at the Partnering Leadership Podcast website: PartneringLeadership.com

Guest: Vint Cerf We have reached a small milestone: Our 50th published episode! To mark the occasion, we take a look back at the technologies that shaped the 20th century, especially the Internet, and we look forward towards those that

This week's guest is Cal Fussman. This was a very special interview for me, because Cal is one of the major reasons why I started podcasting in the first place. He made an appearance on Tim Ferriss' show, to which Tim talked him into starting his own show. As both of them are my podcasting inspirations, I knew this was going to be a good one! Cal is a New York Times Bestselling Author, Professional Speaker, Storytelling Coach, and host of “Big Questions” Cal was best friends with Larry King and shared breakfast with him every morning. He also traveled around the world for 10 years straight after booking a 1 way ticket to start a trip. He worked his way around the world, bus by bus where locals would invite him to their house to stay (more about this in the episode). Cal was a former writer for Esquire Magazine, where he interviewed a very impressive list, including: Muhammad Ali, Mikhail Gorbachev, Jeff Bezos, Richard Branson, Jimmy Carter, Robert DeNiro, Donald Trump, Al Pacino, Joe Biden, Larry King, Ted Kennedy, Tony Bennett, Barbara Walters, Bruce Springsteen, Dr. Michael DeBakey (father of open-heart surgery), Pele, Vint Cerf (co-creator of the Internet), George Clooney, Lauren Hutton (first super model) Leonardo DiCaprio, Dr. Dre, Walter Cronkite, Clint Eastwood, Mary Barra (General Motors CEO), legendary coaches John Wooden, Bobby Bowden and Mike Krzyzewski, Salman Rushdie, Tom Hanks, Shaquille O'Neal In this episode, we discussed: How A Good Question Can Get You To The Most Powerful Person In The World Ukraine and Their Fight For A Free Society Building The Connection Bridge How Every Step back Is A Step Forward Rethinking Healthcare in America How To Tell Your Story Much More! Please enjoy this week's episode with Cal Fussman ____________________________________________________________________________ I am now in the early stages of writing my first book! In this book, I will be telling my story of getting into sales and the lessons I have learned so far, and intertwine stories, tips, and advice from the Top Sales Professionals In The World! As a first time author, I want to share these interviews with you all, and take you on this book writing journey with me! Like the show? Subscribe to the email: https://mailchi.mp/a71e58dacffb/welcome-to-the-20-podcast-community I want your feedback! Reach out to 20percentpodcastquestions@gmail.com, or find me on LinkedIn. If you know anyone who would benefit from this show, share it along! If you know of anyone who would be great to interview, please drop me a line! Enjoy the show!

With the convergence of the Metaverse, Web 3.0 and the blockchain, it's hard to imagine just how far we have come over the last century. We can't fully appreciate this giant leap forward, without examining the origins of the internet. Who better to help us understand this journey and how we got where we are today than Dr. Vinton Cerf. Dr. Cerf, widely considered “One of the Fathers of the Internet,” helped to develop the TCP/IP protocol. Since 2005, Dr. Cerf has served as Google's vice president and chief Internet evangelist. He identifies new technologies to support the development of advanced, Internet-based products and services. Dr. Cerf is the former Senior Vice President of Technology Strategy for MCI. There, he guided MCI's technical strategy. In December 1997, President Clinton presented the U.S. National Medal of Technology to Cerf and his colleague, Robert E. Kahn, for founding and developing the Internet. In 2004, Drs. Kahn and Cerf won the Alan M. Turing Award for their work on the Internet protocols. The Turing award is sometimes called the “Nobel Prize of Computer Science.” In November 2005, President George Bush awarded Cerf and Kahn the Presidential Medal of Freedom for their work. The medal is the highest civilian award given by the United States to its citizens. In April 2008, Cerf and Kahn received the prestigious Japan Prize. Prior to rejoining MCI in 1994, Cerf was vice president of the Corporation for National Research Initiatives (CNRI). As vice president of MCI Digital Information Services from 1982 to 1986, he led the engineering of MCI Mail, the first commercial email service, to be connected to the Internet. During his tenure from 1976 to 1982 with the U.S. Department of Defense's Advanced Research Projects Agency (DARPA), Cerf played a key role leading the development of Internet and Internet-related packet data and security technologies.

SHOWNOTES FOR APRIL 2022 EPISODE Correction: This is Episode 25 and the previous episode is Episode 24   Foundation News and Updates:   Podcast Home: https://www.elsforautism.org/fore-autism-podcast/   Blog Archives: https://www.elsforautism.org/category/blog/ (Our Team is doing the blog article for this month.) National Volunteer Week: https://nationaldaycalendar.com/national-volunteer-week-last-week-in-april/   Our Plans for World Autism Month: https://www.elsforautism.org/get-involved/world-autism-month/   Palm Beach Post Article on our Groundbreaking: https://www.palmbeachpost.com/story/sports/pga/2022/04/04/golf-great-ernie-els-expanding-jupiter-campus-help-those-autism/9459590002/ Jim Hogan & Dr. Kerry Magro Interviews   Our Page With our Advisory Board Members: https://www.elsforautism.org/get-to-know-us/our-board/   Jim Hogan:   Discussing Accessibility with Vint Cerf, the ‘Father of the Internet' - https://www.youtube.com/watch?v=_6QrDSntFkw Follow him on LinkedIn: https://www.linkedin.com/in/jim-hogan-google/ Dr. Kerry Magro:   Web Site: https://kerrymagro.com/   Amazon Page: https://www.amazon.com/Books-Kerry-Magro/s?rh=n%3A283155%2Cp_27%3AKerry+Magro   Julie Lobdell Interview   Julie Lobdell Staff Page: https://www.elsforautism.org/team/julie-lobdell/ Our ADT (Adult Day Training) Program: https://www.elsforautism.org/programs-services/adult-services/independent-living/   Sea of Possibilities Store: https://www.elsforautism.org/sea-of-possibilities/   Also follow Sea of Possibilities on Facebook: https://www.facebook.com/SeaofPossibilitiesElsForAutism Sea of Possibilities Promo Produced by Lorenz Nazzaro – Directed by Merrick Egber   World of Autism Nate's Story 1: DSM Update on Autism Definition   Source: https://www.spectrumnews.org/news/dsm-5-revision-tweaks-autism-entry-for-clarity/   Nate's Story 2: Drug Screening for ASD   Source: https://pubmed.ncbi.nlm.nih.gov/35123134/   Merrick's Story 1: The Successes When Having Profound Autism   Source: https://theautismcafe.com/everyday-autism-success-stories-that-deserve-attention/ Merrick's Story 2: Meet Nik Sanchez An interesting take on media representation for the disabled: https://www.urevolution.com/should-non-disabled-actors-play-disabled-characters/   Note: My question on whether disabled actors should only play disabled characters has not been approached in the leads of the articles I've read. Should Nik Sanchez only play characters with autism? The impact of CODA and the win for Troy Kotsur the first deaf actor to win an Oscar - https://variety.com/2022/awards/awards/troy-kotsur-oscar-win-coda-1235218078/ The Source for the story: https://www.monstersandcritics.com/tv/actor-nik-sanchez-calls-autism-his-superpower/  

This week, Stephanie Wong and Anthony Bushong introduce a special podcast of the Gtalk at Airbus speaker series where prestigious Googlers have been invited to talk with Airbus. In this episode, Vint Cerf, who is widely regarded as one of the fathers of the Internet, talks with Rhys Phillips of Airbus and fellow Googler Rafael Lami Dozo. Vint tells us about his journey to Google, including his interest in science which stemmed from a chemistry set he received as a child. After high school, he got a job writing data analyzation software on the Apollo project. His graduate work at UCLA led him to the ARPANet project where he developed host protocols, and eventually to his work on the original Internet with Bob Kahn. Vint tells us about the security surrounding this project and the importance of internet security still today. The open architecture of the internet then and now excites Vint because it allows new, interesting projects to contribute without barriers. Vint is also passionate about accessibility. At Google, he and his team continue to make systems more accessible by listening to clients and adapting software to make it usable. He sees an opportunity to train developers to optimize software to work with common accessibility tools like screen readers to ensure better usability. Later, Vint tells us about the Interplanetary Internet, describing how this system is being built to provide fast, effective Internet to every part of the planet. Along with groups like the Internet Engineering Task Force, this new Internet is being deployed and tested now to ensure it works as expected. He talks about his work with NASA and other space agencies to grow the Interplanetary Internet. Digital obsolescence is another type of accessibility that concerns Vint. Over time, the loads of data we store and their various storage devices could become unreadable. Software needed to use or see this media could no longer be supported as well, making the data inaccessible. Vint hopes we will begin practicing ways to perpetuate the existence of this data through copying and making software more backward compatible. He addresses the issues with this, including funding. Vint Cerf While at UCLA, Vint Cerf worked on ARPANet - the very beginnings of what we know as the internet today and is now, fittingly, Chief Internet Evangelist & VP at Google. He is an American Internet pioneer and is recognized as one of “the fathers of the Internet”, sharing this title with TCP/IP co-developer Bob Kahn. Rhys Phillips Rhys Phillips is Change and Adoption Leader, Digital Workplace at Airbus. Rafael Lami Dozo Rafael Lami Dozo is Customer Success Manager, Google Cloud Workspace for Airbus. Cool things of the week Celebrating Pi Day with Cloud Functions blog Apollo Scales GraphQL Platform using GKE blog Interview Vinton G. Cerf Profile site ARPANet on Wikipedia site To Boldly Go Where No Internet Protocol Has Gone Before article Building the backbone of an interplanetary internet video IETF site CCSDS site IPNSIG site The Internet Society site NASA site What's something cool you're working on? Stephanie is working on new Discovering Data Centers videos. Anthony is working on content for building scalable GKE clusters. Hosts Stephanie Wong and Anthony Bushong

Today Josh talks with Felix Velarde about the potential optimistic and pessimistic futures ahead and the compound interest of positive impact. Felix is a strategist, author, speaker, lecturer, and pioneer of the internet. He started one of the world's first web design companies in 1994. He then had a high-profile, twenty-year career as a serial founder of several innovative digital creative and strategy agencies, including being chairman at pioneering CRM firm Underwired and CEO of The Conversation Group. He co-created “Head-Space”, which Forbes has described as one of the world's ten most influential websites. He has been the subject of a BBC documentary and has won many of the world's biggest creative and marketing awards.He taught on the MBA program as an adjunct professor at Hult International, one of the world's top business schools. He was part of the organizing team and the UK lead of People-Centered Internet, a non-profit organization chaired by the Internet's co-inventor and architect Vint Cerf.Currently, Felix is the CEO of 2Y3X, a two-year commercial growth accelerator program to help startups achieve long-term sustainable growth, and recently the author of the book, Scale at Speed.Some of the other topics we dive into are:Pessimistic optimism and the existential threats ahead.The decline of Western civilization.The fractionalization of the United States.Purpose, empathy, and nihilism.Life as an outsider of society.Venal politicians, special interests, and conspiracy theories.The stress and barriers to scaling a business.Overachievers and universal imposter syndrome.The compound interest of positive impact.The power and consequences of being a content creator.And lots more.Connect with Felix:Website: 2Y3X.comLinkedIn: @FelixVelardeBook: ScaleAtSpeed.comMusic by Kirby Johnston – check out his band Aldaraia on Spotify

DROP. BREATHE. HUSTLE. Hustle Drops utilizes a number of natural vasodilators to relax and expand your airways. Expanded airways equals more oxygen in, and more CO2 out. More available oxygen leads to a variety of performance benefits including faster processing, stronger muscles, and increased endurance. Check them out at https://hustledrops.store/?ref=w95y6imceo and use my Promo Code: ROD10 for 10% off your order.Today I'm joined by Filmmaker, Musician, and Speaker Rob Holub. He takes us on his personal journey of self-discovery through his new documentary Searching For Contact. Rob has Swiss with Czech background, and speaks multiple languages including German, French, English, Czech and Spanish and has worked with a multitude of professionals from different fields: from top fashion designers like Roberto Cavalli to the father of the internet Vint Cerf. He studied media, journalism and sociology in Fribourg, Switzerland and in California, USA, and graduated bilingual with a Master of Arts degree. His studies and travels has taken him around the world, to more than 40 countries, have deeply influenced his work and his goals to help people connect with each other on a personal human level. Documentary "Searching for Contact" tracks a social media-obsessed musician and his quest for public recognition over the fifteen years since social media began to encourage individuals to turn themselves into private brands. Over the course of creating an album, a music video, a speaking tour, and eventually a documentary, musician Rob Holub - along with the hundreds of people he interviews in dozens of countries along the way - reflects a struggle that millions share, living in a society where the greatest currency in the world is public attention. Searching for Contact is a coming of age story for social media itself.Here's what listeners can learn:- Exploring Humanity - Navigating Through The Digital Era- Producing A Documentary- The Vulnerability In Communicating A Message Guest: Rob Holub- Instagram (@rob_holub)Website: Rob-Holub.comPodcast: Hardwood Rod Podcast (@hardwoodrod)Host: Rodrigo Roque IV (@rodrigo.filmmaker) My Website: RodrigoRoque4.comSubscribe and Share on all platforms.  Follow us on Instagram & Facebook @hardwoodrodInterested in Sponsoring or being on the Podcast? Contact us at info@relionmedia.comCheck out the new merch!www.HardwoodRod.com Support the show (https://www.buymeacoffee.com/hardwoodrod)

Business leaders need to think like scientists. They need the courage to adapt their ideas in the face of new evidence. Because if they don't… Well, just ask Blockbuster where that road leads. Today, I'm joined by the legendary internet pioneer Vint Cerf, VP and Chief Internet Evangelist at Google, whose valuable insights on the intersection between science and business are something every business leader needs to hear. Join us as we discuss: The (deliberate) role flexibility played in the internet's evolution The importance of humility and the courage it takes to re-evaluate your ideas What business leaders can learn from DARPA's approach to innovation Craving more? You can find this interview and many more by subscribing to C-Suite Blueprint onApple Podcasts , onSpotify, or here. Listening on a desktop & can't see the links? Just search for C-Suite Blueprint in your favorite podcast player.

Dr. Vint Cerf is an internet pioneer commonly known as one of the “father's of the internet.” He co-designed the […]

In this week's episode Ed, Scott, Tom, and guest host Greg Ferro talk to Vint Cerf about why the Internet needs IPv6, and whether the Internet is in danger of fragmenting along political lines and the impacts of that fragmentation. Vint is Google's chief Internet evangelist and the co-creator, with Bob Khan, of the Internet Protocol.