Podcasts about Alfred Jarry

::CW: during the Kathe Kollwitz section, we discuss a print dealing with sexual assault::Jennifer and I are back with our bushel baskets of researched artists of the past to soothe our shattered nerves. Tune in to hear about 6 artists that made exceptional work under strained circumstances: Käthe Kollwitz, John of Arderne - medieval surgeon and margin doodler, Gustav Metzger, William Gropper, David Hammons and Joan Miró.Käthe Kollwitz notes:"Käthe Kollwitz" exhibtion at MOMA May-June 2024Emile Zola's novel "Germinal" 1885"Scene from 'Germinal" 1893"A Weavers' Revolt" series 1893-1897Gerhart Hauptmann's play "The Weavers" 1892"The Mothers" 1918"Never Again" 1924"R-ped" 1907Francisco de Goya's "Disasters of War" series Otto Dix "Der Krieg" 1924John of Arderne notes:Medical Treatises England: c.1376, re-copied and 1475-1500Sp Coll MS Hunter 251 (U.4.9) (see more here and here)Misericord seatrest carvings in English medieval churchesGustave Metzger notes:The Viennese ActionistsArtist, David Bomberg"Auto-destructive Art" 1961 London performance"Flailing Trees" 2009"Remember Nature" 2015"Table" c.1957-8The Fluxus movementDocumentary "Lifeline: Clyfford Still"William Gropper notes:"America: It's Folklore" 1946Francisco de Goya's "Los Caprichos" series 1798French political artist, Honoré Daumier"Blacklist" and "Environment" from Gropper's Capriccios series 1953–57David Hammons notes:"The Melt Goes on Forever: The Art & Times of David Hammons" Documentary 2022Artist, Charles WhiteArtist, Betye Saar"Bliz-aard Ball Sale" Performance New York, NY 1983"Body Prints" 1968–1979"Hair and Wire, Venice Beach" 1977"Untitled" circa 1980s"Higher Goals" 1983; 1986"Untitled (Night Train)" 1989Artist, Rachel WhitereadJoan Miró notes:Ballet RussesArtist, Henri Matisse"Mori el Merma" (Death to Merma) Theatrical collaboration with the Barcelona puppet troupe, La Claca, headed by Joan Baixas 1978 (watch here)"Ubu Roi" by Alfred Jarry 1896 Artist, Meg LipkeCurrent studio daemons: olm, volcano snail, and a rare algae of Blick Mead called HildenbrandiaThank you, Jennifer!Jennifer' website: https://www.jenniferlcoates.com/ Jennifer on IG: https://www.instagram.com/jennifercoates666/All music by Soundstripe----------------------------Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pep Talks website: ⁠⁠https://www.peptalksforartists.com/⁠⁠Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠⁠⁠Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated!

Doug Skinner has contributed to The Fortean Times, Fate, Weirdo, Nickelodeon, Cabinet, Typo, and other fine publications. His many books include short stories, a novel (Nominata), and translations of many Bohemians, occultists, and visionaries, including Alphonse Allais, Charles Cros, Alfred Jarry, Luigi Russolo, and Giovanni Battists Nazari.Visit Doug's website here: https://www.dougskinner.net/He has written music for theater and dance, most conspicuously for Bill Irwin's show The Regard of Flight, which toured for decades. His albums That Regrettable Weekend, It All Went Pfft, and An Afternoon in the Arboretum are available on Bandcamp.TV and movie appearances include Great Performances, Martin Mull's Talent Takes a Holiday, Ed, Crocodile Dundee II, and several of George Kuchar's videos. He has played piano on the BBC, played ukulele on the Joe Franklin Show and at an Aerosmith release party, MC'd at the Rainbow and Stars, read the audiobook of Kiarna Boyd's scary novel Blessed and Cursed Alike, and lectured on various questionable topics at the American Visionary Art Museum, the Morbid Anatomy Museum, the Bakken Museum of Electricity in Healing, the Minneapolis Institute of Art, and other places.For many years, he has maintained a tribute site to his close friend: The late, great, Fortean writer, John Keel, at https://www.johnkeel.com/And Doug's book on anomalous music, Music From Elsewhere, was published last year by Strange Attractor Books in the UK, and is distributed in the US by the MIT Press.it is available from Amazon here: https://www.amazon.com/Music-Elsewhere-Haunting-Afterlife-Worlds/dp/1913689212The accompanying music for the book is available here, on Bandcamp: https://strangeattractorpress.bandcamp.com/album/music-from-elsewhereDoug visits with Talking Weird to chat about his book MUSIC FROM ELSEWHERE: A compendium of other musics, channelled from the spirit world, the fairy kingdom, outer space, secret societies and occult lodges.Along with talking about music from these other worlds, Doug also shares some of the music itself! This is a unique and fascinating episode, with one of the most erudite and witty personalities of the Fortean field. Do not miss it!

Today's Parisian revolution is a theatrical performance that produced a riot. David talks to theatre director Dominic Dromgoole about Alfred Jarry's Ubu Roi (1896), which only ran for a couple of nights but left an indelible mark on the culture of the age and has resonated ever since. Why did a play effectively written by children provoke such a storm among the adults? What made it it blow the mind of W. B. Yeats who was in the audience? How can something so bad be so liberating? Next time: Stravinsky's The Rite of Spring Learn more about your ad choices. Visit megaphone.fm/adchoices

Un jour en voiture sur la BBC, Paul McCartney tomba sur la pièce "Ubu Cocu" d'Alfred Jarry qui lui inspira deux chansons. Mais peut être pas de façon assez explicite pour le père Ubu. Alors pour éviter tout malentendu, il lui propose quelque chose qu'il ne pourra pas refuser, le tout sur fond de gidouille (le ventre chez Ubu) et d'andouille... Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Rozmawiając o książce "UBU GPT" (autorstwo której opisujemy w rozmowie), rozmawiamy o modelach językowych. Fascynująco opowiada o tym Jan K. Argasiński. Rozmawialiśy w UBU Labie w Krakowie. (00:25) Zamiast wstępu - witamy w UBU Labie (13:15) Praca z modelem językowym (29:45) Modele językowe a przekłady (43:30) Literatura generowana przez modele (51:00) Jarry i jego dziedzictwo (55:50) Dwa słowa komentarza Warto też posłuchać: A z tym AI to dajcie spokój, kto to słyszał - ArtRage - wcale nie podcast Mentioned in this episode:

Skogarna pratar på temat manliga förebilder i litteraturen. Marguerite Duras, Alfred Jarry, Åsa Beckmans pappa, Erik Beckman, Bartleby, Thomas Bernhard, Knut Hamsun, och UKON.

Programa conducido por Darío Lavia y Chucho Fernández. Ilustraciones: Pierre Parsus, Ilka List, Oski, Izquierdo Brown, Viuti, Crist, Man Ray. James Bertrand, Odilon Redon,. Acto I: "Homenajes póstumos" de Alfred Jarry por Natán Solans 0:02:31 Acto II: Humor negro y humorismo por Darío Lavia 0:11:33 "La filosofía en el tocador" del Marqués de Sade por Darío Lavia 0:18:18 Acto III: "Costumbres de los ahogados" de Alfred Jarry por Chucho Fernández 0:23:34 Imdb https://www.imdb.com/title/tt33063544/ Web de Cineficción ⁠http://www.cinefania.com/cineficcion⁠/ Fan Page de Cineficción ⁠https://www.facebook.com/revista.cineficcion/

The UBP is honored to partner once again with the good folks at Pushkin, as we proudly present Season 2, Episode 3 of McCartney: A Life In Lyrics.   This week, T.J., Producer Casey, and a rather talkative, dialed-in, obviously present Tony, listen in and discuss Macca and Paul Muldoon's deep-dish of "Maxwell's Silver Hammer". Bang Bang! On the door, baby!   ----- McCartney: A Life in Lyrics | Maxwell's Silver Hammer One day in the car, Paul McCartney heard a BBC production of the absurdist play “Ubu Cocu” by French writer Alfred Jarry.  Taken by the rebelliousness of the radio play, McCartney wrote a sweet-sounding tune about a murderous medical student that seemingly lives in the same universe as Ubu: “Maxwell's Silver Hammer.” “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell. -- McCartney: A Life in Lyrics offers listeners the opportunity to sit in on conversations between Paul McCartney and poet Paul Muldoon dissecting the people, experiences, and art that inspired McCartney's songwriting. These conversations were held during the past several years as the two collaborated on the best selling book, “The Lyrics: 1965 to Present.” Over two seasons and 24 episodes of McCartney: A Life in Lyrics, you'll hear a combination master class, memoir, and improvised journey with one of the most beloved figures in popular music. Each episode focuses on one song from McCartney's iconic catalog – spanning early Beatles through his solo work. “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries.

One day in the car, Paul McCartney heard a BBC production of the absurdist play “Ubu Cocu” by french writer Alfred Jarry.  Taken by the rebelliousness of the radio play, McCartney wrote a sweet-sounding tune about a murderous medical student that seemingly lives in the same universe as Ubu: “Maxwell's Silver Hammer.” “McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries. The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O'Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger. Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.See omnystudio.com/listener for privacy information.

French actor Juliette Binoche is known for her portrayal of emotionally complex characters. Over a forty year career, her films have included Three Colours Blue, Les Amants de Pont Neuf, Chocolat, and The English Patient, for which she won her Academy Award. Her most recent film is The Taste of Things, a French drama about a cook and the gourmet she works for, in which she stars opposite Benoît Magimel.Juliette Binoche talks to John Wilson about an early moment of revelation, watching Peter Brookes' production of Alfred Jarry's play Ubu Roi at in Paris in 1977, which first made her realise she wanted to act. She explains the influence of her acting coach Véra Gregh, who helped her to understand the difference between "acting" and "being". She also recalls her experiences working with some of the most acclaimed film directors; Jean-Luc Godard on Hail Mary; Leos Carax on Les Amants du Pont-Neuf; Krzysztof Kieślowski on Three Colours: Blue; and Anthony Minghella on The English Patient.Producer: Edwina Pitman

®Babel 2023, il festival bellinzonese di letteratura e traduzione, si svolge dal 14 al 17 settembre. E come ogni anno, “Alice” vi partecipa a modo suo. Degli ospiti di Babel, quest'anno dedicato alle Isole, due interverranno anche in questa puntata. Ascolteremo così raccontarsi Leta Semadeni, Gran Premio svizzero di letteratura 2023, fra le più alte voci poetiche del nostro paese e finissima narratrice – pensiamo ai pluripremiati “In mia vita da vuolp” e a “Tamangur” –, che scrive sia in romancio vallader sia in tedesco. E ascolteremo raccontarsi anche Tommaso Soldini, a sua volta narratore e poeta, fra gli autori svizzero-italiani più rappresentativi della sua generazione (“L'inguaribile”, “L'animale guida”, “Ribelle di nemico privo”), che inaugura gli incontri letterari con un testo scritto per l'occasione. Ma fuori da Babel, con Massimo Raffaeli Alice si occuperà di patafisica, la scienza delle soluzioni immaginarie creata dallo scrittore e drammaturgo francese Alfred Jarry, del quale in questo mese di settembre ricorrono i 150 anni della nascita. Naturalmente, non mancherà la nuova rubrica di recensioni “Mirador”.Prima emissione: 16 settembre 2023

Al microfono di Massimo Zenari, a 150 anni dalla nascita Massimo Raffaeli ricorda Alfred Jarry, padre della patafisica e di Ubu re, geniale anticipatore delle grandi avanguardie del Novecento.

Babel 2023, il festival bellinzonese di letteratura e traduzione, si svolge dal 14 al 17 settembre. E come ogni anno, Alice vi partecipa a modo suo. Degli ospiti di Babel, quest'anno dedicato alle Isole, due interverranno anche in questa puntata. Ascolteremo così raccontarsi Leta Semadeni, Gran Premio svizzero di letteratura 2023, fra le più alte voci poetiche del nostro paese e finissima narratrice - pensiamo ai pluripremiati “In mia vita da vuolp” e a “Tamangur” -, che scrive sia in romancio vallader sia in tedesco. E ascolteremo raccontarsi anche Tommaso Soldini, a sua volta narratore e poeta, fra gli autori svizzero-italiani più rappresentativi della sua generazione (“L'inguaribile”, “L'animale guida”, “Ribelle di nemico privo”), che inaugura gli incontri letterari con un testo scritto per l'occasione. Ma fuori da Babel, con Massimo Raffaeli Alice si occuperà di patafisica, la scienza delle soluzioni immaginarie creata dallo scrittore e drammaturgo francese Alfred Jarry, del quale in questo mese di settembre ricorrono i 150 anni della nascita. Naturalmente, non mancherà la nuova rubrica di recensioni “Mirador”.

Welcome back to ParaPower Mapping—to tide you over until the next part of the Rosicrucian Road Trip drops in a few days & to build anticipation for the next installment of the "Fin De Siècle Symbolists, Satanists, & French-British Sex Trafficking Networks" miniseries, it's the very first unlocked EP from the Boston Brahmin Watch Premium Feed! Make sure to subscribe to the Patreon to access the full version of Pt. II & Pt. III when it drops next week. patreon.com/ParaPowerMapping This is Part I of a multipart descent into the Decadent Symbolist, Rosicrucian, and Satanic underground of fin de siècle Paris and Victorian London, as well as the related sex trafficking & pedophilia networks that catered to the abhorrent appetites of the monstrous aristocratic elite of the time. This EP covers: the Symbolist writer, son of diplomats, and possible-occultist Marcel Schwob; Aleister Crowley's connections to Schwob; Oscar Wilde + Schwob once again; J.K. Huysmans; Maurice Maeterlinck; Sar Peladan; Peladan's Catholic Rosicrucian order and "Salon de la Rose + Croix"; Robert Louis Stevenson; Schwob's "syphilitic rectal sores"; Wilde's play Salome (which Schwob translated); the Biblical story of Salome, Herod, & John the Baptist; Crowley's assimilation of Salome into Babalon/ Scarlet Woman and his "Jezebel"; the influence of Decadent & Symbolist misogyny on Crowley's writing and occultism; aristocratic traditions of taboo-breaking and pederasty; Crowleyian Thelemic ideas of "justification by sin"; proto-surrealist Alfred Jarry; Ubu Roi; his semi-Satanic closet play Caesar Antichrist; the first-and-only production of Ubu Roi during his lifetime, which devolved into a riot; the fact that W.B. Yeats was in the audience, demonstrating the interconnectedness between the Victorian British & French occult scenes at the time; Crowley's formative time in France; sonnets for Rodin; Schwob connections; shitting on Oscar Wilde; callback to Levenda; Maeterlinck's connection to the French symbolists & his play serving as inspiration for Sheffield Edward's PROJECT BLUEBIRD (MK-ULTRA predecessor); H. Montgomery Hyde—former spy, protege & biographer of Sir William Stephenson (Little Bill), Ulster Unionist MP, and cousin of Henry James... plus H. Montgomery Hyde's strange proclivity for writing book-length works on pederasts, pornography, and homosexuality; the fact that he was deselected around the time of the Wolfenden Report when calling for the decriminalization of homosexuality in the U.K.; Hyde as the source of the rumor that Marcel Schwob died from constipation caused by syphilis from his book The Love that Dared Not Speak It's Name; Joris-Karl Huysmans apostasy and odyssey from Naturalism to Symbolism to Decadent Satanism to Mystic Catholicism; feuding b/w Symbolist occultists & Emile Zola; J.K. Huysmans' A rebours (Against Nature) and its influence on Wilde's Salome and The Picture of Dorian Gray; especially Huysmans' handling of Gustave Moreau's Salome series; preparation to descend into the Satanic underground of Huysmans' Là-bas(The Damned); and finally, Wilde's allusions in The Picture of Dorian Gray to Thelemic, Rabelaisian "Do What Thou Wilt" hedonism and the Cleveland Street Scandal (a scandal where numerous aristocratic men including Lord Arthur Somerset, Earl of Euston Fitzroy, and Prince Albert Victor of Wales were discovered to be frequenting a male brothel that employed young boys)... Songs:  | Kate Bush - "Waking the Witch" | | Alan Tew - "The Detectives" | | Alain Goraguer - "Ten Et Tiwa" | | Françoise Hardy - "Mon Amie La Rose |  | Nicolas Godin - "Quartier General" |  | Serge Gainsbourg, Charlotte Gainsbourg - "Lemon Incest" | 

This week on The Sound Kitchen you'll hear the answer to the question about the meaning of “pataphysics”. There's a meditation on bird song, a poem from listener Adeyola Opaluwah, the “Listeners Corner” with Paul Myers, and Ollia's “Happy Moment”. All that, and the new quiz question, too, so click on the “Play” button above and enjoy!    Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.Erwan and I are busy cooking up special shows with your musical requests, so get them in! Send your musical requests to thesoundkitchen@rfi.fr  Tell us why you like the piece of music, too – it makes it more interesting for us all!Be sure you check out our wonderful podcasts!In addition to the breaking news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts which will leave you hungry for more.There's Paris Perspective, Spotlight on France, and of course, The Sound Kitchen. We have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. And there is the excellent International Report, too.As you see, sound is still quite present in the RFI English service. Keep checking our website for updates on the latest from our staff of journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers, take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr Martin Luther King, Jr, too. They are also a good way to help you improve your English - that's how I worked on my French, reading books which were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here.Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in all your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload!And don't forget, there is a Facebook page just for you, the independent RFI English Clubs. Only members of RFI English Clubs can belong to this group page, so when you apply to join, be sure you include the name of your RFI Club and your membership number. Everyone can look at it, but only members of the group can post on it. If you haven't yet asked to join the group, and you are a member of an independent, officially recognized RFI English club, go to the Facebook link above, and fill out the questionnaire !!!!! (if you do not answer the questions, I click “decline”).There's a Facebook page for members of the general RFI Listeners Club too. Just click on the link and fill out the questionnaire, and you can connect with your fellow Club members around the world. Be sure you include your RFI Listeners Club membership number (most of them begin with an A, followed by a number) in the questionnaire, or I will have to click “Decline”, which I don't like to do!This week's quiz: On 22 April, I asked you a question about Ollia Horton's article “Designer Philippe Starck shakes up Paris icons in playful exhibition”. The exhibit, “Paris Pataphysics”, was at Paris' Musée Carnavalet. You were to re-read her article and send in the answer to this question: what is “pataphysics”?  The answer is,  as Ollia informed us, the "science of imaginary solutions". The "philosophy", invented by French writer Alfred Jarry, is marking its 150th anniversary this year.“Pataphysics has a taste for beauty and for the impossible made possible,” according to Philippe Starck. “This science is in the image of life, allowing serious things to be taken lightly, and light things seriously.”In addition to the quiz question, there was the bonus question, suggested by Muhammad Saleem Akhtar, president of the RFI Seven Stars Radio Listeners Club in District Chiniot, Pakistan. His question was: “What is the one piece of advice you would like to give to your fellow humans?”The winners are: RFI Listeners Club member Tasneem Saleh from Nilphamari, Bangladesh. Tasneem is also the winner of this week's bonus question. Congratulations, Tasneem!Also on the list of lucky winners this week are S. B. Sharma, president of the RFI Listeners Club in Jamshedpur, India, and RFI Listeners Club member Jean-Maurice Devault from Montreal, Canada. Rounding out the list of lucky winners this week are two RFI English listeners from Bangladesh: Abdul Mannan from Chapainawabganj, and Muhina Mahin Shaila from Naogaon. Congratulations winners!Here's the music you heard on this week's programme: The andante allegro from the Harp Concerto by George Frederick Handel, performed by Nicanor Zabaleta with the Orchestre de Chambre Paul Keuntz, conducted by Paul Keuntz; "The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer; “Happy” by Pharrell Williams, and “If We Only Have Love” by Jacques Brel, sung by the troupe of the original off-Broadway cast.Do you have a musical request? Send it to thesoundkitchen@rfi.fr This week's question ... you must listen to the show to participate. After you've listened to the show, re-read Paul Myer's article “Roland Garros: 5 things we learned on Day 2 - Alcaraz express” to help you with the answer.You have until 26 June to enter this week's quiz; the winners will be announced on the 1 July podcast. When you enter, be sure you send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceorBy text … You can also send your quiz answers to The Sound Kitchen mobile phone. Dial your country's international access code, or “ + ”, then  33 6 31 12 96 82. Don't forget to include your mailing address in your text – and if you have one, your RFI Listeners Club membership number.To find out how you can win a special Sound Kitchen prize, click here.To find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club, click here.  

Groteske Komödie · Mit Ubu, Inbegriff des bornierten, opportunistischen Spießers, schuf Jarry 1896 eine mythische Gestalt in einer Welt grotesker, archetypischer Bilder. Der Skandalerfolg des Werks beruhte vor allem auf dem Verzicht der traditionellen Handlungsführung, einer obszönen Sprache und absurden Elementen. Mit beißender Ironie stellte Jarry jede Art politischer und sozialer Macht in Frage. Wiener Fassung von H.C. Artmann. // Mit Erwin Steinhauer, Fritz Muliar, Toni Böhm, Rupert Henning, Brigitte Svoboda, Sylvia Lukan, Olivier Lendl, Wolf Bachofner, Thomas Morris, Johannes Larcher, Martin Schwanda, Alexander Kubelka, Sophie Wendt, Paul Fischer, Martin Reinhart, Kathi Brenner, Elke Weisz/ Komposition: Heinz Karl Gruber Bearbeitung und Regie: Heinz Hostnig BR/NDR/ORF 1990 //

Groteske Komödie · König Ubu ist ein gefräßiger Feigling. Weil er Adel und Beamtentum vernichtet, ist er beim Volk zunächst beliebt. Doch in grenzenloser Gier raubt er bald auch das eigene Volk aus. Auch außenpolitisch wird es eng: Nach dem Mord am polnischen König Wenzeslaus, dessen Thron er als Usurpator eingenommen hat, erwachsen ihm gefährliche Gegner, darunter Wenzeslaus‘ Sohn, der russische Zar und ein ehemaliger Mitstreiter. Wiener Fassung von H.C. Artmann. // Mit Erwin Steinhauer, Fritz Muliar, Toni Böhm, Rupert Henning, Brigitte Svoboda, Sylvia Lukan, Olivier Lendl, Wolf Bachofner, Thomas Morris, Johannes Larcher, Martin Schwanda, Alexander Kubelka, Sophie Wendt, Paul Fischer, Martin Reinhart, Kathi Brenner, Elke Weisz/ Komposition: Heinz Karl Gruber Bearbeitung und Regie: Heinz Hostnig BR/NDR/ORF 1990 //

Welcome back to ParaPower Mapping and the first episode of the BOSTON BRAHMIN WATCH Premium Feed! I'm chuffed, Brahmin Watchers, because the Patreon has finally launched, I managed to relocate the keys to the Boston Brahmin Watch Office, and I'm really excited for y'all to get your hands on this newest research (as dark, enervating, & soul-crushing as it may be). Here's the first half of the first premium feed EP for you to enjoy; and here's hoping your interest is piqued! If you're dying to listen to this EP in its entirety, go to Patreon and subscribe to ParaPower Mapping to unlock it and all sorts of extracurricular goodness. This is Part I of a multipart descent into the Decadent Symbolist, Rosicrucian, and Satanic underground of fin de siècle Paris and Victorian London, as well as the related sex trafficking & pedophilia networks that catered to the abhorrent appetites of the monstrous aristocratic elite of the time. This EP covers: the Symbolist writer, son of diplomats, and possible-occultist Marcel Schwob; Aleister Crowley's connections to Schwob; Oscar Wilde + Schwob once again; J.K. Huysmans; Maurice Maeterlinck; Sar Peladan; Peladan's Catholic Rosicrucian order and "Salon de la Rose + Croix"; Robert Louis Stevenson; Schwob's "syphilitic rectal sores"; Wilde's play Salome (which Schwob translated); the Biblical story of Salome, Herod, & John the Baptist; Crowley's assimilation of Salome into Babalon/ Scarlet Woman and his "Jezebel"; the influence of Decadent & Symbolist misogyny on Crowley's writing and occultism; aristocratic traditions of taboo-breaking and pederasty; Crowleyian Thelemic ideas of "justification by sin"; proto-surrealist Alfred Jarry; Ubu Roi; his semi-Satanic closet play Caesar Antichrist; the first-and-only production of Ubu Roi during his lifetime, which devolved into a riot; the fact that W.B. Yeats was in the audience, demonstrating the interconnectedness between the Victorian British & French occult scenes at the time; Crowley's formative time in France; sonnets for Rodin; Schwob connections; shitting on Oscar Wilde; callback to Levenda; Maeterlinck's connection to the French symbolists & his play serving as inspiration for Sheffield Edward's PROJECT BLUEBIRD (MK-ULTRA predecessor); H. Montgomery Hyde—former spy, protege & biographer of Sir William Stephenson (Little Bill), Ulster Unionist MP, and cousin of Henry James... plus H. Montgomery Hyde's strange proclivity for writing book-length works on pederasts, pornography, and homosexuality; the fact that he was deselected around the time of the Wolfenden Report when calling for the decriminalization of homosexuality in the U.K.; Hyde as the source of the rumor that Marcel Schwob died from constipation caused by syphilis from his book The Love that Dared Not Speak It's Name; Joris-Karl Huysmans apostasy and odyssey from Naturalism to Symbolism to Decadent Satanism to Mystic Catholicism; feuding b/w Symbolist occultists & Emile Zola; J.K. Huysmans' A rebours (Against Nature) and its influence on Wilde's Salome and The Picture of Dorian Gray; especially Huysmans' handling of Gustave Moreau's Salome series; preparation to descend into the Satanic underground of Huysmans' Là-bas (The Damned); and finally, Wilde's allusions in The Picture of Dorian Gray to Thelemic, Rabelaisian "Do What Thou Wilt" hedonism and the Cleveland Street Scandal (a scandal where numerous aristocratic men including Lord Arthur Somerset, Earl of Euston Fitzroy, and Prince Albert Victor of Wales were discovered to be frequenting a male brothel that employed young boys)... Songs: | Kate Bush - "Waking the Witch" | | Alan Tew - "The Detectives" | | Alain Goraguer - "Ten Et Tiwa" | | Françoise Hardy - "Mon Amie La Rose | | Nicolas Godin - "Quartier General" | | Serge Gainsbourg, Charlotte Gainsbourg - "Lemon Incest" |

Essentiel – Le rendez-vous culture de RCJ – présenté les lundis par Sandrine Sebbane. Elle reçoit Philippe Torreton pour son « Anthologie de la poésie française » aux éditions Calmann-Levy À propos du livre : « Anthologie de la poésie française » paru aux éditions Calmann-Levy « Que ce livre joyeux vous accompagne partout, qu'il essuie vos larmes afin d'en faire couler d'autres plus grosses et plus pleines, qu'il vous éclaire dans vos nuits de plein jour, qu'il vous dévoile un horizon d'événements, qu'il vous trahisse. Ce n'est pas un livre en fait mais un kit de survie en territoire hostile. Un couteau suisse. Écrivez dessus, cornez des pages, lâchez-y vos sanglots, il sert à ça, ce livre.» Plus de 150 poètes, plus de 300 poèmes: Louise Labé, Richard Coeur de Lion, François Villon, Joachim du Bellay, Pierre de Ronsard, Paul Scarron, Jean de La Fontaine, Pierre Corneille, Nicolas Boileau, Molière, Denis Diderot, Marceline Desbordes-Valmore, Jean Racine, Voltaire,  Jean-Jacques Rousseau, Victor Hugo, Gérard de Nerval, Alphonse de Lamartine, Germaine de Staël, Alfred Jarry, Théophile Gautier, Paul Verlaine, Stéphane Mallarmé, Charles Baudelaire, Arthur Rimbaud, Alphonse Allais, Anna de Noailles, Lautréamont, Paul Valéry, René Char, Tristan Tzara, Charles Péguy, Paul Éluard, André Breton, Blaise Cendrars,  Marguerite Yourcenar, Jean Cocteau, Jacques Prévert, Henri Michaux, Jean Genet, Boris Vian, Francis Ponge, Louis Aragon, Marguerite Duras, Barbara, Aimé Césaire, Jacques Brel, Georges Moustaki, François Cheng, Yves Bonnefoy, Andrée Chedid, Christian Bobin, Dominique Sampiero et bien d'autres. Philippe Torreton a été sociétaire de la Comédie Française de 1994 à 1999. Il a joué les plus grands rôles sur les planches: Scapin, Tartuffe, Arlequin, Henri V, Richard III, Hamlet ou Galilée et obtient le Molière pour le rôle-titre de Cyrano de Bergerac. Grand acteur de théâtre, il n'en oublie pas pour autant le cinéma et le petit écran. Il reçoit un césar pour son rôle dans Capitaine Conan, de Bertrand Tavernier.

Até ao dia 30 de Abril de 2023, o Le Grand Café em Saint-Nazaire, no oeste de França, acolhe a exposição "Hápax", do artista francês residente em Portugal, Mattia Denisse. A curadoria da exposição ficou a cargo de Anne Bonnin. Trata-se da primeira exposição pessoal numa instituição francesa deste artista que nasceu em Blois e se instalou em Lisboa há 24 anos. “Hápax” significa uma palavra de uso único, à qual o artista atribui uma multiplicidade de caminhos e significados que se multiplicam numa infinidade de consciências. Enigmas, trocadilhos, jogos de palavras e de desenhos. Para Mattia Denisse a exposição representa um “bom regresso” a França, num local que o “acolheu muito bem”.Trata-se de uma exposição essencialmente composta por desenhos, o meio preferido por Mattia Denisse “na medida em que é a expressão mais rápida do pensamento”Questionado sobre a ausência de legenda ou títulos junto das obras, o artista explica que será distribuído aos visitantes uma folha com a respectiva legendagem, todavia não se trata de uma explicação da obra, mas um complemento ao desenho.A curadoria da exposição ficou a cargo de Anne Bonnin, crítica de arte e profunda conhecedora da cena artística portuguesa. Em 2022, Anne Bonnin assinou a curadoria das exposições "Modernités Portugaises” na Maison Caillebotte, em Yerres, perto de Paris e “Les Péninsules démarrées” no Frac Nouvelle-Aquitaine MÉCA – Bordéus. Em 2019, foi Anne Bonnin que organizou a primeira retrospectiva em França da artista portuguesa Lourdes Castro no Museu Regional de Arte Contemporanea Sérignan. Ao receber o convite do Le Grand Café de Saint-Nazaire, a escolha de Mattia Denisse foi para Anne Bonnin uma evidência.“Conheci o Mattia em Portugal e esta exposição é, de alguma forma, o prolongamento, a continuidade dos trabalhos que fiz sobre Portugal. O seu universo gráfico seduziu-me e, também, a sua imaginação alimentada pela literatura que eu também gosto, como o Alfred Jarry, a patafísica… esta dimensão surreal, esta relação com a antropologia e esta forma de a desenvolver e explorar.É um imaginário labiríntico que nos leva para histórias em que nos perdemos e nos reencontramos, é um mundo que também vem do inconsciente, mesmo que o Mattia prefira a palavra imaginário.Fui seduzida por este jogo, esta relação entre a língua e a imagem, muito livre, e de facto o desenho é uma forma de nos levar a mundos diferentes. Eu gosto da forma como ele brinca com diferentes linguagens.”A exposição “Hápax” de Mattia Denisse com a curadoria de Anne Bonnin está patente, no Le Grand Café em Saint-Nazaire, no oeste de França, até ao dia 30 de Abril de 2023.

C'est ça la France : Cette année, la ville de Saint-Brieuc célèbre le 150ème anniversaire de la naissance de l'écrivain Alfred Jarry qui y a vécu 9 ans ...en guise de festivités : des concerts, rencontres littéraires et surtout, en son hommage, un Musée Mondial du cure-dent ! Claudine Orvain alias Carry Bridge, nous raconte son expo totalement décalée mais pas Ubuesque ! Pop Ciné : Le Centre Pompidou expose dans sa bibliothèque Serge Gainsbourg à travers ces textes, ses chansons et ses films. Vincent Perrot fait faire le tour de cette exposition à nos auditeurs en compagnie de Carole Raynaud la commissaire générale de l'exposition « Le Mot Exact ». à voir au Centre Pompidou jusqu'au 8 mai. Ecoutez RTL Petit Matin Week-end avec Vincent Perrot du 11 février 2023

Gasten: ontwerper Piet Gerards & schrijver Nicolaas Matsier In deze aflevering gaat Robert van Altena in gesprek met Nicolaas Matsier en Piet Gerards over avant-garde filmer, schrijver en uitgever Stefan Themerson naar aanleiding van de ontdekking van een verloren gewaande film en een juist verschenen boek. Het boek is een monografie over Stefan Themerson. In 2019 verscheen al een monografie over zijn vrouw, tekenaar Franciszka Themerson. Beide boeken zijn vormgegeven door Piet Gerards en Stephan de Smet. De film is ‘Europa‘ (1931-32) de meest geruchtmakende film van Franciszka en Stefan Themerson die in 2019 is teruggevonden in een archief in Berlijn. 'Europa' werd onlangs vertoond in EYE met speciaal voor de film gecomponeerde muziek van Lodewijk Muns. Stefan Themerson (1910-1988) is schrijver en uitgever. Zijn leven lang heeft hij samengewerkt met zijn vrouw Franciszka Themerson (1908-1988). In de jaren dertig waren zij dè avant-garde filmers van Polen. Zij zetten in de tweede helft van de jaren '30 hun werk voort in Parijs. Wijken om het uitbreken van de Tweede Wereldoorlog uit naar London en maken daar nog twee films. Daarna richt Stefan zich op het schrijven van romans, verhalen en essays, en Franciszka op het tekenen en illustreren. In 1949 richten zij de Gaberbocchus Press op, natuurlijk om hun eigenzinnige werk uit te geven maar ook dat van verwanten als Alfred Jarry, Kurt Schwitters en Raymond Queneau. NICOLAAS MATSIER had in 1979 een lang interview met Stefan Themerson, een bijzonderheid omdat Themerson interviews doorgaans leek te saboteren. Een interview zag hij voornamelijk als een ongewenste belemmering die hij toch af en toe en tot op zekere hoogte meende te moeten accepteren. Hij sprak liever via zijn boeken. Het Matsier-Themerson interview verscheen in Vrij Nederland. Dit interview is opgenomen in de monografie over Stefan Themerson. Nicolaas Matsier vertaalde meerdere boeken van Stefan Themerson zoals ‘Logica, etiketten en vlees' (De Bezige Bij , 1979) en ‘Woeff Woeff en ander proza' (De Bezige Bij, 2003) (bezorgd door Nicolaas Matsier en K.Michel). In 2014 was Nicolaas Matsier al eens te gast bij Springvossen voor een uitzending over de Themersons n.a.v. het verschijnen van ‘Unposted Letters‘ (Gaberbocchus & De Harmonie, 2013). PIET GERARDS kwam eind jaren '70 ook in contact met de Themersons. Hij initieerde meerdere publicaties zoals Stefan Themerson, ‘Kurt Schwitters on a time-chart‘ (Huis Clos, 1998) en ‘Biografie van een uitgeverij/biography of a publishing house. Stefan & Franciszka Themerson & Gaberbocchus‘ (Huis Clos, 2017) met teksten van Walter van der Star, Jasia Reichardt en Nick Wadley. Gerards maakte ook de tentoonstelling ‘Tekeningen, boeken, foto's schilderijen, films & de Gaberbocchus Press. Stefan & Franciszka Themerson‘ in Galerie Signe, Heerlen (herfst 1998). SPRINGVOSSEN 
redactie + presentatie: Robert van Altena
 contact: springvossen@gmail.com www.instagram.com/springvossen 
www.facebook.com/springvossen
 www.amsterdamfm.nl/onderwerp/springvossen En voor een speellijst met alle Springvossen uitzendingen: www.soundcloud.com/amsterdamfm2/sets/springvossen Links in https://linktr.ee/springvossen Afbeelding (still): Stefan and Franciszka Themerson, 'Europa' (1932), 15 minuten, zwart-wit, 35mm. Courtesy: Themerson Estate & BFI National Archive

Philippe Torreton a été sociétaire de la Comédie Française de 1994 à 1999. Il a joué les plus grands rôles sur les planches: Scapin, Tartuffe, Arlequin, Henri V, Richard III, Hamlet ou Galilée et obtient le Molière pour le rôle-titre de Cyrano de Bergerac. Grand acteur de théâtre et de cinéma, il a reçu un césar pour son rôle dans «Capitaine Conan» de Bertrand Tavernier. Il est également l'auteur d'une dizaine de livres dont «Mémé», «Lettre à un jeune comédien» et «Une certaine raison de vivre». «Que ce livre joyeux vous accompagne partout, qu'il essuie vos larmes afin d'en faire couler d'autres plus grosses et plus pleines, qu'il vous éclaire dans vos nuits de plein jour, qu'il vous dévoile un horizon d'événements, qu'il vous trahisse. Ce n'est pas un livre en fait mais un kit de survie en territoire hostile. Un couteau suisse. Écrivez dessus, cornez des pages, lâchez-y vos sanglots, il sert à ça, ce livre.» Philippe Torreton. Plus de 150 poètes, plus de 300 poèmes: Louise Labé, Richard Coeur de Lion, François Villon, Joachim du Bellay, Pierre de Ronsard, Paul Scarron, Jean de La Fontaine, Pierre Corneille, Nicolas Boileau, Molière, Denis Diderot, Marceline Desbordes-Valmore, Jean Racine, Voltaire, Jean-Jacques Rousseau, Victor Hugo, Gérard de Nerval, Alphonse de Lamartine, Germaine de Staël, Alfred Jarry, Théophile Gautier, Paul Verlaine, Stéphane Mallarmé, Charles Baudelaire, Arthur Rimbaud, Alphonse Allais, Anna de Noailles, Lautréamont, Paul Valéry, René Char, Tristan Tzara, Charles Péguy, Paul Éluard, André Breton, Blaise Cendrars,  Marguerite Yourcenar, Jean Cocteau, Jacques Prévert, Henri Michaux, Jean Genet, Boris Vian, Francis Ponge, Louis Aragon, Marguerite Duras, Barbara, Aimé Césaire, Jacques Brel, Georges Moustaki, François Cheng, Yves Bonnefoy, Andrée Chedid, Christian Bobin, Dominique Sampiero et bien d'autres. (Présentation des éditions Calmann-Levy)

Philippe Torreton a été sociétaire de la Comédie Française de 1994 à 1999. Il a joué les plus grands rôles sur les planches: Scapin, Tartuffe, Arlequin, Henri V, Richard III, Hamlet ou Galilée et obtient le Molière pour le rôle-titre de Cyrano de Bergerac. Grand acteur de théâtre et de cinéma, il a reçu un césar pour son rôle dans «Capitaine Conan» de Bertrand Tavernier. Il est également l'auteur d'une dizaine de livres dont «Mémé», «Lettre à un jeune comédien» et «Une certaine raison de vivre». «Que ce livre joyeux vous accompagne partout, qu'il essuie vos larmes afin d'en faire couler d'autres plus grosses et plus pleines, qu'il vous éclaire dans vos nuits de plein jour, qu'il vous dévoile un horizon d'événements, qu'il vous trahisse. Ce n'est pas un livre en fait, mais un kit de survie en territoire hostile. Un couteau suisse. Écrivez dessus, cornez des pages, lâchez-y vos sanglots, il sert à ça, ce livre.» Philippe Torreton. Plus de 150 poètes, plus de 300 poèmes: Louise Labé, Richard Coeur de Lion, François Villon, Joachim du Bellay, Pierre de Ronsard, Paul Scarron, Jean de La Fontaine, Pierre Corneille, Nicolas Boileau, Molière, Denis Diderot, Marceline Desbordes-Valmore, Jean Racine, Voltaire, Jean-Jacques Rousseau, Victor Hugo, Gérard de Nerval, Alphonse de Lamartine, Germaine de Staël, Alfred Jarry, Théophile Gautier, Paul Verlaine, Stéphane Mallarmé, Charles Baudelaire, Arthur Rimbaud, Alphonse Allais, Anna de Noailles, Lautréamont, Paul Valéry, René Char, Tristan Tzara, Charles Péguy, Paul Éluard, André Breton, Blaise Cendrars,  Marguerite Yourcenar, Jean Cocteau, Jacques Prévert, Henri Michaux, Jean Genet, Boris Vian, Francis Ponge, Louis Aragon, Marguerite Duras, Barbara, Aimé Césaire, Jacques Brel, Georges Moustaki, François Cheng, Yves Bonnefoy, Andrée Chedid, Christian Bobin, Dominique Sampiero et bien d'autres. (Présentation des éditions Calmann-Levy).

durée : 00:25:00 - Les Nuits de France Culture - par : Albane Penaranda - Une adaptation radiophonique de la pièce d'Alfred Jarry "Ubu roi" dans le cadre de la série "Tyrans et mégères" (1ère diffusion : 21/08/1963 Chaîne Parisienne). Dans une série intitulée Tyrans et mégères, Marguerite Alley et Jean Alley proposaient d'écouter des extraits de pièces répondant à ce thème. Ubu roi en faisait partie, comme La Mégère apprivoisée, Electre ou encore Les Femmes savantes. Précisons qu'il s'agissait d'une série à vocation humoristique. Ubu roi d'Alfred Jarry fut représentée pour la première fois le 10 décembre 1896 par la troupe du théâtre de l'Ouvre au Nouveau-Théâtre. Dans cette adaptation radiophonique de 1963, Père Ubu (cupide et bête) et _Mère Ubu (_perfide et manipulatrice), prennent vie grâce aux voix de Rosy Varte et Jacques Mauclair. Ils sont accompagnés de Robert Murzeau, René Renot et René-Jacques Chauffard, dans une réalisation de Claude Roland-Manuel. Par Marguerite Alley et Jean Alley Réalisation : Claude Roland-Manuel Tyrans et mégères - Ubu roi (1ère diffusion : 21/08/1963 Chaîne Parisienne) Indexation web : Documentation sonore de Radio France Archive Ina-Radio France

Acompaña a Ricardo Cartas en una emisión más de la revista cultural De eso se trata, espacio de ciencia, de cultura, de gastronomía, de libros y más, de lunes a viernes de 08:30 a 10:00 horas. En El mundo de la literatura, el Dr. Frank Loveland Smith, profesor de la Facultad de Artes Plásticas y Audiovisuales, analiza la obra de teatro: Ubú rey del autor francés Alfred Jarry, la cual señala que el poder es la estupidez en acción, y por ello el protagonista es una representación de lo grotesco y lo innoble de la humanidad y del poder político... Esta obra es precursora de las vanguardias y del teatro del absurdo, ¿ya la leíste?

In this podcast episode, Tamryn McDermott engages in a conversation with Tyson Lewis and Peter Hyland, the authors of the book, Studious Drift: Movements and Protocols for a Postdigital Education, which was published earlier this year by the University of Minnesota Press. Lewis and Hyland engage readers in questions such as, “What kind of university is possible when digital tools are hacked for a more experimental future?” From the book jacket: “The global pandemic has underscored contemporary reliance on digital environments. This is particularly true among schools and universities which, in response, shifted much of their instruction online. The virtual classroom opens opportunities to move beyond familiar learning practices toward radical digital possibilities for education. Studious Drift revives the relationship between studying and the generative space of the studio in service of advancing educational experimentation for a world where digital tools have become a permanent part of education. Drawing on Alfred Jarry's pataphysics, the “science of imaginary solutions,” this book reveals how the studio is a space-time machine capable of traveling beyond the limits of conventional online learning to redefine education as interdisciplinary, experimental, public study.” Additionally, here are a few of the links that were mentioned within the episode. We invite you to explore Studio D (https://onstead.cvad.unt.edu/studio-d) and the Education as Experimentation 1 video (https://youtu.be/llUj_Qyd5Zo). Studious Drift can be accessed digitally here: https://manifold.umn.edu/projects/studious-drift Lewis, T. and Hyland, P. (2022). Studio Drift: Movements and Protocols for a Postdigital Education. University of Minnesota Press. Tyson Lewis is a professor of art education in the College of Visual Arts and Design at the University of North Texas where he teaches courses in aesthetics, critical theory, educational philosophy, philosophy for children, and critical phenomenology. Recently, his articles have appeared in journals such as Angelaki, Symploke, Cultural Critique, and Thesis Eleven, and he is the author of the book Walter Benjamin's Antifascist Education: From Riddles to Radio (SUNY Press, 2021). Peter Hyland is director of the Jo Ann (Jody) and Charles O. Oustead Institute for Education in the Visual Arts and Design at the University of North Texas. Peter is the author of the poetry collection "Out Loud "(Sheep Meadow Press, 2013). Peter's poems, book reviews, and articles have also appeared in "American Literary Review," "Conduit," "Green Mountains Review," "New England Review," "Ploughshares," and elsewhere. Peter earned a B.F.A. in Studio Art: Drawing and Painting from the University of North Texas and an M.F.A. in Creative Writing – Poetry from the University of Houston. Tamryn McDermott is currently a PhD student in the department of Arts Administration, Education and Policy at the Ohio State University. She received a BFA from Tyler School of Art and Architecture, Temple University and an MFA in Fibers and Sculpture from the University of Missouri.

durée : 03:00:00 - Les Nuits de France Culture - Par Georges Charbonnier

8 de septiembre

In a time when online classrooms and meetings have become both indispensable and mundane features of the university, STUDIOUS DRIFT asks: What kind of university becomes possible when digital tools are not taken for granted but hacked into and tinkered with in order to set study adrift? In part a meditation on the essence of the studio space, this book looks at ways we can creatively and critically muddle through the rise of e-learning logics to redefine education. Authors Tyson E. Lewis and Peter B. Hyland both teach at the University of North Texas, and are joined here today by colleague and studio artist James Thurman.Tyson E. Lewis is professor of art education in the College of Visual Arts and Design at the University of North Texas.Peter B. Hyland is director of the Jo Ann (Jody) and Dr. CHarles O. Onstead Institute for Education in the College fo Visual Arts and Design at the University of North Texas.James Thurman is associate professor of metalsmithing and jewelry in the Department of Studio Art at the University of North Texas.References:Gert Biesta (“learnification”)Alfred Jarry's pataphysicsThe Undercommons / Stefano Harney and Fred MotenLinks:-Read Studious Drift free online: z.umn.edu/studiousdrift-m (also available for purchase: z.umn.edu/studiousdrift)-Watch: Education as Experimentation: https://www.youtube.com/watch?v=llUj_Qyd5Zo-Education as Experimentation: The Studio-D Project (homepage): https://onstead.cvad.unt.edu/studio-d

We are Expial Atrocious - a West Midlands-based theatre company who specialise in absurdist theatre and abstract methods of storytelling. This year, we'll be taking our latest absurdist drama, 'BUTCHERED', for a limited run at the Lime Studio, Greenside, Nicholson Square. Created in just under five months, taking inspiration from Alfred Jarry's iconic play 'Ubu Roi', Splendid Productions' choreography and video game music, this two-hander is a monster of a show. It features dynamic physicalization, new writing and an original soundtrack to immerse, unsettle and shock our audiences... "A sausage-maker and an apprentice walk into a kitchen, but this is no joke. After working in a basement kitchen for as long as they can remember, Master Sausage is content with their life. They work hard and cannot imagine doing anything else. They can't do anything else. But when a fresh-faced apprentice arrives, babbling streams of consciousness, artistic passions and a harsh reality are brought with them. With their daily routine disrupted, the Master is forced to look their life in the eye and climb into the belly of the beast. With tensions rising, sinister questions start to rear their heads. What does it mean to be happy? Is there more to life than this? What's in those sausages anyway? 'BUTCHERED' is a new, blood-thirsty absurdist drama about challenging tradition, escaping the mundane and doing what has to be done." Following the success of our 4-star digital show 'Hear. Speak. See.' from last year's Fringe, we can't wait to visit Edinburgh in the flesh and give audiences a twisted tale to sink their teeth into. Tickets for Fringe Festival: https://tickets.edfringe.com/whats-on/butchered --- Send in a voice message: https://anchor.fm/gemma-louise-hirst/message

This week's episode looks at “All You Need is Love”, the Our World TV special, and the career of the Beatles from April 1966 through August 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Rain" by the Beatles. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ NB for the first few hours this was up, there was a slight editing glitch. If you downloaded the old version and don't want to redownload the whole thing, just look in the transcript for "Other than fixing John's two flubbed" for the text of the two missing paragraphs. Errata I say "Come Together" was a B-side, but the single was actually a double A-side. Also, I say the Lennon interview by Maureen Cleave appeared in Detroit magazine. That's what my source (Steve Turner's book) says, but someone on Twitter says that rather than Detroit magazine it was the Detroit Free Press. Also at one point I say "the videos for 'Paperback Writer' and 'Penny Lane'". I meant to say "Rain" rather than "Penny Lane" there. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. Particularly useful this time was Steve Turner's book Beatles '66. I also used Turner's The Beatles: The Stories Behind the Songs 1967-1970. Johnny Rogan's Starmakers and Svengalis had some information on Epstein I hadn't seen anywhere else. Some information about the "Bigger than Jesus" scandal comes from Ward, B. (2012). “The ‘C' is for Christ”: Arthur Unger, Datebook Magazine and the Beatles. Popular Music and Society, 35(4), 541-560. https://doi.org/10.1080/03007766.2011.608978 Information on Robert Stigwood comes from Mr Showbiz by Stephen Dando-Collins. And the quote at the end from Simon Napier-Bell is from You Don't Have to Say You Love Me, which is more entertaining than it is accurate, but is very entertaining. Sadly the only way to get the single mix of "All You Need is Love" is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Magical Mystery Tour. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start the episode -- this episode deals, in part, with the deaths of three gay men -- one by murder, one by suicide, and one by an accidental overdose, all linked at least in part to societal homophobia. I will try to deal with this as tactfully as I can, but anyone who's upset by those things might want to read the transcript instead of listening to the episode. This is also a very, very, *very* long episode -- this is likely to be the longest episode I *ever* do of this podcast, so settle in. We're going to be here a while. I obviously don't know how long it's going to be while I'm still recording, but based on the word count of my script, probably in the region of three hours. You have been warned. In 1967 the actor Patrick McGoohan was tired. He had been working on the hit series Danger Man for many years -- Danger Man had originally run from 1960 through 1962, then had taken a break, and had come back, retooled, with longer episodes in 1964. That longer series was a big hit, both in the UK and in the US, where it was retitled Secret Agent and had a new theme tune written by PF Sloan and Steve Barri and recorded by Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But McGoohan was tired of playing John Drake, the agent, and announced he was going to quit the series. Instead, with the help of George Markstein, Danger Man's script editor, he created a totally new series, in which McGoohan would star, and which McGoohan would also write and direct key episodes of. This new series, The Prisoner, featured a spy who is only ever given the name Number Six, and who many fans -- though not McGoohan himself -- took to be the same character as John Drake. Number Six resigns from his job as a secret agent, and is kidnapped and taken to a place known only as The Village -- the series was filmed in Portmeirion, an unusual-looking town in Gwynnedd, in North Wales -- which is full of other ex-agents. There he is interrogated to try to find out why he has quit his job. It's never made clear whether the interrogators are his old employers or their enemies, and there's a certain suggestion that maybe there is no real distinction between the two sides, that they're both running the Village together. He spends the entire series trying to escape, but refuses to explain himself -- and there's some debate among viewers as to whether it's implied or not that part of the reason he doesn't explain himself is that he knows his interrogators wouldn't understand why he quit: [Excerpt: The Prisoner intro, from episode Once Upon a Time, ] Certainly that explanation would fit in with McGoohan's own personality. According to McGoohan, the final episode of The Prisoner was, at the time, the most watched TV show ever broadcast in the UK, as people tuned in to find out the identity of Number One, the person behind the Village, and to see if Number Six would break free. I don't think that's actually the case, but it's what McGoohan always claimed, and it was certainly a very popular series. I won't spoil the ending for those of you who haven't watched it -- it's a remarkable series -- but ultimately the series seems to decide that such questions don't matter and that even asking them is missing the point. It's a work that's open to multiple interpretations, and is left deliberately ambiguous, but one of the messages many people have taken away from it is that not only are we trapped by a society that oppresses us, we're also trapped by our own identities. You can run from the trap that society has placed you in, from other people's interpretations of your life, your work, and your motives, but you ultimately can't run from yourself, and any time you try to break out of a prison, you'll find yourself trapped in another prison of your own making. The most horrifying implication of the episode is that possibly even death itself won't be a release, and you will spend all eternity trying to escape from an identity you're trapped in. Viewers became so outraged, according to McGoohan, that he had to go into hiding for an extended period, and while his later claims that he never worked in Britain again are an exaggeration, it is true that for the remainder of his life he concentrated on doing work in the US instead, where he hadn't created such anger. That final episode of The Prisoner was also the only one to use a piece of contemporary pop music, in two crucial scenes: [Excerpt: The Prisoner, "Fall Out", "All You Need is Love"] Back in October 2020, we started what I thought would be a year-long look at the period from late 1962 through early 1967, but which has turned out for reasons beyond my control to take more like twenty months, with a song which was one of the last of the big pre-Beatles pop hits, though we looked at it after their first single, "Telstar" by the Tornadoes: [Excerpt: The Tornadoes, "Telstar"] There were many reasons for choosing that as one of the bookends for this fifty-episode chunk of the podcast -- you'll see many connections between that episode and this one if you listen to them back-to-back -- but among them was that it's a song inspired by the launch of the first ever communications satellite, and a sign of how the world was going to become smaller as the sixties went on. Of course, to start with communications satellites didn't do much in that regard -- they were expensive to use, and had limited bandwidth, and were only available during limited time windows, but symbolically they meant that for the first time ever, people could see and hear events thousands of miles away as they were happening. It's not a coincidence that Britain and France signed the agreement to develop Concorde, the first supersonic airliner, a month after the first Beatles single and four months after the Telstar satellite was launched. The world was becoming ever more interconnected -- people were travelling faster and further, getting news from other countries quicker, and there was more cultural conversation – and misunderstanding – between countries thousands of miles apart. The Canadian media theorist Marshall McLuhan, the man who also coined the phrase “the medium is the message”, thought that this ever-faster connection would fundamentally change basic modes of thought in the Western world. McLuhan thought that technology made possible whole new modes of thought, and that just as the printing press had, in his view, caused Western liberalism and individualism, so these new electronic media would cause the rise of a new collective mode of thought. In 1962, the year of Concorde, Telstar, and “Love Me Do”, McLuhan wrote a book called The Gutenberg Galaxy, in which he said: “Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…” He coined the term “the Global Village” to describe this new collectivism. The story we've seen over the last fifty episodes is one of a sort of cultural ping-pong between the USA and the UK, with innovations in American music inspiring British musicians, who in turn inspired American ones, whether that being the Beatles covering the Isley Brothers or the Rolling Stones doing a Bobby Womack song, or Paul Simon and Bob Dylan coming over to the UK and learning folk songs and guitar techniques from Martin Carthy. And increasingly we're going to see those influences spread to other countries, and influences coming *from* other countries. We've already seen one Jamaican artist, and the influence of Indian music has become very apparent. While the focus of this series is going to remain principally in the British Isles and North America, rock music was and is a worldwide phenomenon, and that's going to become increasingly a part of the story. And so in this episode we're going to look at a live performance -- well, mostly live -- that was seen by hundreds of millions of people all over the world as it happened, thanks to the magic of satellites: [Excerpt: The Beatles, "All You Need is Love"] When we left the Beatles, they had just finished recording "Tomorrow Never Knows", the most experimental track they had recorded up to that date, and if not the most experimental thing they *ever* recorded certainly in the top handful. But "Tomorrow Never Knows" was only the first track they recorded in the sessions for what would become arguably their greatest album, and certainly the one that currently has the most respect from critics. It's interesting to note that that album could have been very, very, different. When we think of Revolver now, we think of the innovative production of George Martin, and of Geoff Emerick and Ken Townshend's inventive ideas for pushing the sound of the equipment in Abbey Road studios, but until very late in the day the album was going to be recorded in the Stax studios in Memphis, with Steve Cropper producing -- whether George Martin would have been involved or not is something we don't even know. In 1965, the Rolling Stones had, as we've seen, started making records in the US, recording in LA and at the Chess studios in Chicago, and the Yardbirds had also been doing the same thing. Mick Jagger had become a convert to the idea of using American studios and working with American musicians, and he had constantly been telling Paul McCartney that the Beatles should do the same. Indeed, they'd put some feelers out in 1965 about the possibility of the group making an album with Holland, Dozier, and Holland in Detroit. Quite how this would have worked is hard to figure out -- Holland, Dozier, and Holland's skills were as songwriters, and in their work with a particular set of musicians -- so it's unsurprising that came to nothing. But recording at Stax was a different matter.  While Steve Cropper was a great songwriter in his own right, he was also adept at getting great sounds on covers of other people's material -- like on Otis Blue, the album he produced for Otis Redding in late 1965, which doesn't include a single Cropper original: [Excerpt: Otis Redding, "Satisfaction"] And the Beatles were very influenced by the records Stax were putting out, often namechecking Wilson Pickett in particular, and during the Rubber Soul sessions they had recorded a "Green Onions" soundalike track, imaginatively titled "12-Bar Original": [Excerpt: The Beatles, "12-Bar Original"] The idea of the group recording at Stax got far enough that they were actually booked in for two weeks starting the ninth of April, and there was even an offer from Elvis to let them stay at Graceland while they recorded, but then a couple of weeks earlier, the news leaked to the press, and Brian Epstein cancelled the booking. According to Cropper, Epstein talked about recording at the Atlantic studios in New York with him instead, but nothing went any further. It's hard to imagine what a Stax-based Beatles album would have been like, but even though it might have been a great album, it certainly wouldn't have been the Revolver we've come to know. Revolver is an unusual album in many ways, and one of the ways it's most distinct from the earlier Beatles albums is the dominance of keyboards. Both Lennon and McCartney had often written at the piano as well as the guitar -- McCartney more so than Lennon, but both had done so regularly -- but up to this point it had been normal for them to arrange the songs for guitars rather than keyboards, no matter how they'd started out. There had been the odd track where one of them, usually Lennon, would play a simple keyboard part, songs like "I'm Down" or "We Can Work it Out", but even those had been guitar records first and foremost. But on Revolver, that changed dramatically. There seems to have been a complex web of cause and effect here. Paul was becoming increasingly interested in moving his basslines away from simple walking basslines and root notes and the other staples of rock and roll basslines up to this point. As the sixties progressed, rock basslines were becoming ever more complex, and Tyler Mahan Coe has made a good case that this is largely down to innovations in production pioneered by Owen Bradley, and McCartney was certainly aware of Bradley's work -- he was a fan of Brenda Lee, who Bradley produced, for example. But the two influences that McCartney has mentioned most often in this regard are the busy, jazz-influenced, basslines that James Jamerson was playing at Motown: [Excerpt: The Four Tops, "It's the Same Old Song"] And the basslines that Brian Wilson was writing for various Wrecking Crew bassists to play for the Beach Boys: [Excerpt: The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)"] Just to be clear, McCartney didn't hear that particular track until partway through the recording of Revolver, when Bruce Johnston visited the UK and brought with him an advance copy of Pet Sounds, but Pet Sounds influenced the later part of Revolver's recording, and Wilson had already started his experiments in that direction with the group's 1965 work. It's much easier to write a song with this kind of bassline, one that's integral to the composition, on the piano than it is to write it on a guitar, as you can work out the bassline with your left hand while working out the chords and melody with your right, so the habit that McCartney had already developed of writing on the piano made this easier. But also, starting with the recording of "Paperback Writer", McCartney switched his style of working in the studio. Where up to this point it had been normal for him to play bass as part of the recording of the basic track, playing with the other Beatles, he now started to take advantage of multitracking to overdub his bass later, so he could spend extra time getting the bassline exactly right. McCartney lived closer to Abbey Road than the other three Beatles, and so could more easily get there early or stay late and tweak his parts. But if McCartney wasn't playing bass while the guitars and drums were being recorded, that meant he could play something else, and so increasingly he would play piano during the recording of the basic track. And that in turn would mean that there wouldn't always *be* a need for guitars on the track, because the harmonic support they would provide would be provided by the piano instead. This, as much as anything else, is the reason that Revolver sounds so radically different to any other Beatles album. Up to this point, with *very* rare exceptions like "Yesterday", every Beatles record, more or less, featured all four of the Beatles playing instruments. Now John and George weren't playing on "Good Day Sunshine" or "For No One", John wasn't playing on "Here, There, and Everywhere", "Eleanor Rigby" features no guitars or drums at all, and George's "Love You To" only features himself, plus a little tambourine from Ringo (Paul recorded a part for that one, but it doesn't seem to appear on the finished track). Of the three songwriting Beatles, the only one who at this point was consistently requiring the instrumental contributions of all the other band members was John, and even he did without Paul on "She Said, She Said", which by all accounts features either John or George on bass, after Paul had a rare bout of unprofessionalism and left the studio. Revolver is still an album made by a group -- and most of those tracks that don't feature John or George instrumentally still feature them vocally -- it's still a collaborative work in all the best ways. But it's no longer an album made by four people playing together in the same room at the same time. After starting work on "Tomorrow Never Knows", the next track they started work on was Paul's "Got to Get You Into My Life", but as it would turn out they would work on that song throughout most of the sessions for the album -- in a sign of how the group would increasingly work from this point on, Paul's song was subject to multiple re-recordings and tweakings in the studio, as he tinkered to try to make it perfect. The first recording to be completed for the album, though, was almost as much of a departure in its own way as "Tomorrow Never Knows" had been. George's song "Love You To" shows just how inspired he was by the music of Ravi Shankar, and how devoted he was to Indian music. While a few months earlier he had just about managed to pick out a simple melody on the sitar for "Norwegian Wood", by this point he was comfortable enough with Indian classical music that I've seen many, many sources claim that an outside session player is playing sitar on the track, though Anil Bhagwat, the tabla player on the track, always insisted that it was entirely Harrison's playing: [Excerpt: The Beatles, "Love You To"] There is a *lot* of debate as to whether it's George playing on the track, and I feel a little uncomfortable making a definitive statement in either direction. On the one hand I find it hard to believe that Harrison got that good that quickly on an unfamiliar instrument, when we know he wasn't a naturally facile musician. All the stories we have about his work in the studio suggest that he had to work very hard on his guitar solos, and that he would frequently fluff them. As a technical guitarist, Harrison was only mediocre -- his value lay in his inventiveness, not in technical ability -- and he had been playing guitar for over a decade, but sitar only a few months. There's also some session documentation suggesting that an unknown sitar player was hired. On the other hand there's the testimony of Anil Bhagwat that Harrison played the part himself, and he has been very firm on the subject, saying "If you go on the Internet there are a lot of questions asked about "Love You To". They say 'It's not George playing the sitar'. I can tell you here and now -- 100 percent it was George on sitar throughout. There were no other musicians involved. It was just me and him." And several people who are more knowledgeable than myself about the instrument have suggested that the sitar part on the track is played the way that a rock guitarist would play rather than the way someone with more knowledge of Indian classical music would play -- there's a blues feeling to some of the bends that apparently no genuine Indian classical musician would naturally do. I would suggest that the best explanation is that there's a professional sitar player trying to replicate a part that Harrison had previously demonstrated, while Harrison was in turn trying his best to replicate the sound of Ravi Shankar's work. Certainly the instrumental section sounds far more fluent, and far more stylistically correct, than one would expect: [Excerpt: The Beatles, "Love You To"] Where previous attempts at what got called "raga-rock" had taken a couple of surface features of Indian music -- some form of a drone, perhaps a modal scale -- and had generally used a guitar made to sound a little bit like a sitar, or had a sitar playing normal rock riffs, Harrison's song seems to be a genuine attempt to hybridise Indian ragas and rock music, combining the instrumentation, modes, and rhythmic complexity of someone like Ravi Shankar with lyrics that are seemingly inspired by Bob Dylan and a fairly conventional pop song structure (and a tiny bit of fuzz guitar). It's a record that could only be made by someone who properly understood both the Indian music he's emulating and the conventions of the Western pop song, and understood how those conventions could work together. Indeed, one thing I've rarely seen pointed out is how cleverly the album is sequenced, so that "Love You To" is followed by possibly the most conventional song on Revolver, "Here, There, and Everywhere", which was recorded towards the end of the sessions. Both songs share a distinctive feature not shared by the rest of the album, so the two songs can sound more of a pair than they otherwise would, retrospectively making "Love You To" seem more conventional than it is and "Here, There, and Everywhere" more unconventional -- both have as an introduction a separate piece of music that states some of the melodic themes of the rest of the song but isn't repeated later. In the case of "Love You To" it's the free-tempo bit at the beginning, characteristic of a lot of Indian music: [Excerpt: The Beatles, "Love You To"] While in the case of "Here, There, and Everywhere" it's the part that mimics an older style of songwriting, a separate intro of the type that would have been called a verse when written by the Gershwins or Cole Porter, but of course in the intervening decades "verse" had come to mean something else, so we now no longer have a specific term for this kind of intro -- but as you can hear, it's doing very much the same thing as that "Love You To" intro: [Excerpt: The Beatles, "Here, There, and Everywhere"] In the same day as the group completed "Love You To", overdubbing George's vocal and Ringo's tambourine, they also started work on a song that would show off a lot of the new techniques they had been working on in very different ways. Paul's "Paperback Writer" could indeed be seen as part of a loose trilogy with "Love You To" and "Tomorrow Never Knows", one song by each of the group's three songwriters exploring the idea of a song that's almost all on one chord. Both "Tomorrow Never Knows" and "Love You To" are based on a drone with occasional hints towards moving to one other chord. In the case of "Paperback Writer", the entire song stays on a single chord until the title -- it's on a G7 throughout until the first use of the word "writer", when it quickly goes to a C for two bars. I'm afraid I'm going to have to sing to show you how little the chords actually change, because the riff disguises this lack of movement somewhat, but the melody is also far more horizontal than most of McCartney's, so this shouldn't sound too painful, I hope: [demonstrates] This is essentially the exact same thing that both "Love You To" and "Tomorrow Never Knows" do, and all three have very similarly structured rising and falling modal melodies. There's also a bit of "Paperback Writer" that seems to tie directly into "Love You To", but also points to a possible very non-Indian inspiration for part of "Love You To". The Beach Boys' single "Sloop John B" was released in the UK a couple of days after the sessions for "Paperback Writer" and "Love You To", but it had been released in the US a month before, and the Beatles all got copies of every record in the American top thirty shipped to them. McCartney and Harrison have specifically pointed to it as an influence on "Paperback Writer". "Sloop John B" has a section where all the instruments drop out and we're left with just the group's vocal harmonies: [Excerpt: The Beach Boys, "Sloop John B"] And that seems to have been the inspiration behind the similar moment at a similar point in "Paperback Writer", which is used in place of a middle eight and also used for the song's intro: [Excerpt: The Beatles, "Paperback Writer"] Which is very close to what Harrison does at the end of each verse of "Love You To", where the instruments drop out for him to sing a long melismatic syllable before coming back in: [Excerpt: The Beatles, "Love You To"] Essentially, other than "Got to Get You Into My Life", which is an outlier and should not be counted, the first three songs attempted during the Revolver sessions are variations on a common theme, and it's a sign that no matter how different the results might  sound, the Beatles really were very much a group at this point, and were sharing ideas among themselves and developing those ideas in similar ways. "Paperback Writer" disguises what it's doing somewhat by having such a strong riff. Lennon referred to "Paperback Writer" as "son of 'Day Tripper'", and in terms of the Beatles' singles it's actually their third iteration of this riff idea, which they originally got from Bobby Parker's "Watch Your Step": [Excerpt: Bobby Parker, "Watch Your Step"] Which became the inspiration for "I Feel Fine": [Excerpt: The Beatles, "I Feel Fine"] Which they varied for "Day Tripper": [Excerpt: The Beatles, "Day Tripper"] And which then in turn got varied for "Paperback Writer": [Excerpt: The Beatles, "Paperback Writer"] As well as compositional ideas, there are sonic ideas shared between "Paperback Writer", "Tomorrow Never Knows", and "Love You To", and which would be shared by the rest of the tracks the Beatles recorded in the first half of 1966. Since Geoff Emerick had become the group's principal engineer, they'd started paying more attention to how to get a fuller sound, and so Emerick had miced the tabla on "Love You To" much more closely than anyone would normally mic an instrument from classical music, creating a deep, thudding sound, and similarly he had changed the way they recorded the drums on "Tomorrow Never Knows", again giving a much fuller sound. But the group also wanted the kind of big bass sounds they'd loved on records coming out of America -- sounds that no British studio was getting, largely because it was believed that if you cut too loud a bass sound into a record it would make the needle jump out of the groove. The new engineering team of Geoff Emerick and Ken Scott, though, thought that it was likely you could keep the needle in the groove if you had a smoother frequency response. You could do that if you used a microphone with a larger diaphragm to record the bass, but how could you do that? Inspiration finally struck -- loudspeakers are actually the same thing as microphones wired the other way round, so if you wired up a loudspeaker as if it were a microphone you could get a *really big* speaker, place it in front of the bass amp, and get a much stronger bass sound. The experiment wasn't a total success -- the sound they got had to be processed quite extensively to get rid of room noise, and then compressed in order to further prevent the needle-jumping issue, and so it's a muddier, less defined, tone than they would have liked, but one thing that can't be denied is that "Paperback Writer"'s bass sound is much, much, louder than on any previous Beatles record: [Excerpt: The Beatles, "Paperback Writer"] Almost every track the group recorded during the Revolver sessions involved all sorts of studio innovations, though rarely anything as truly revolutionary as the artificial double-tracking they'd used on "Tomorrow Never Knows", and which also appeared on "Paperback Writer" -- indeed, as "Paperback Writer" was released several months before Revolver, it became the first record released to use the technique. I could easily devote a good ten minutes to every track on Revolver, and to "Paperback Writer"s B-side, "Rain", but this is already shaping up to be an extraordinarily long episode and there's a lot of material to get through, so I'll break my usual pattern of devoting a Patreon bonus episode to something relatively obscure, and this week's bonus will be on "Rain" itself. "Paperback Writer", though, deserved the attention here even though it was not one of the group's more successful singles -- it did go to number one, but it didn't hit number one in the UK charts straight away, being kept off the top by "Strangers in the Night" by Frank Sinatra for the first week: [Excerpt: Frank Sinatra, "Strangers in the Night"] Coincidentally, "Strangers in the Night" was co-written by Bert Kaempfert, the German musician who had produced the group's very first recording sessions with Tony Sheridan back in 1961. On the group's German tour in 1966 they met up with Kaempfert again, and John greeted him by singing the first couple of lines of the Sinatra record. The single was the lowest-selling Beatles single in the UK since "Love Me Do". In the US it only made number one for two non-consecutive weeks, with "Strangers in the Night" knocking it off for a week in between. Now, by literally any other band's standards, that's still a massive hit, and it was the Beatles' tenth UK number one in a row (or ninth, depending on which chart you use for "Please Please Me"), but it's a sign that the group were moving out of the first phase of total unequivocal dominance of the charts. It was a turning point in a lot of other ways as well. Up to this point, while the group had been experimenting with different lyrical subjects on album tracks, every single had lyrics about romantic relationships -- with the possible exception of "Help!", which was about Lennon's emotional state but written in such a way that it could be heard as a plea to a lover. But in the case of "Paperback Writer", McCartney was inspired by his Aunt Mill asking him "Why do you write songs about love all the time? Can you ever write about a horse or the summit conference or something interesting?" His response was to think "All right, Aunt Mill, I'll show you", and to come up with a lyric that was very much in the style of the social satires that bands like the Kinks were releasing at the time. People often miss the humour in the lyric for "Paperback Writer", but there's a huge amount of comedy in lyrics about someone writing to a publisher saying they'd written a book based on someone else's book, and one can only imagine the feeling of weary recognition in slush-pile readers throughout the world as they heard the enthusiastic "It's a thousand pages, give or take a few, I'll be writing more in a week or two. I can make it longer..." From this point on, the group wouldn't release a single that was unambiguously about a romantic relationship until "The Ballad of John and Yoko",  the last single released while the band were still together. "Paperback Writer" also saw the Beatles for the first time making a promotional film -- what we would now call a rock video -- rather than make personal appearances on TV shows. The film was directed by Michael Lindsay-Hogg, who the group would work with again in 1969, and shows Paul with a chipped front tooth -- he'd been in an accident while riding mopeds with his friend Tara Browne a few months earlier, and hadn't yet got round to having the tooth capped. When he did, the change in his teeth was one of the many bits of evidence used by conspiracy theorists to prove that the real Paul McCartney was dead and replaced by a lookalike. It also marks a change in who the most prominent Beatle on the group's A-sides was. Up to this point, Paul had had one solo lead on an A-side -- "Can't Buy Me Love" -- and everything else had been either a song with multiple vocalists like "Day Tripper" or "Love Me Do", or a song with a clear John lead like "Ticket to Ride" or "I Feel Fine". In the rest of their career, counting "Paperback Writer", the group would release nine new singles that hadn't already been included on an album. Of those nine singles, one was a double A-side with one John song and one Paul song, two had John songs on the A-side, and the other six were Paul. Where up to this point John had been "lead Beatle", for the rest of the sixties, Paul would be the group's driving force. Oddly, Paul got rather defensive about the record when asked about it in interviews after it failed to go straight to the top, saying "It's not our best single by any means, but we're very satisfied with it". But especially in its original mono mix it actually packs a powerful punch: [Excerpt: The Beatles, "Paperback Writer"] When the "Paperback Writer" single was released, an unusual image was used in the advertising -- a photo of the Beatles dressed in butchers' smocks, covered in blood, with chunks of meat and the dismembered body parts of baby dolls lying around on them. The image was meant as part of a triptych parodying religious art -- the photo on the left was to be an image showing the four Beatles connected to a woman by an umbilical cord made of sausages, the middle panel was meant to be this image, but with halos added over the Beatles' heads, and the panel on the right was George hammering a nail into John's head, symbolising both crucifixion and that the group were real, physical, people, not just images to be worshipped -- these weren't imaginary nails, and they weren't imaginary people. The photographer Robert Whittaker later said: “I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with The Beatles is essentially part of the same thing, the breakdown of what is regarded as normal. The actual conception for what I still call “Somnambulant Adventure” was Moses coming down from Mount Sinai with the Ten Commandments. He comes across people worshipping a golden calf. All over the world I'd watched people worshiping like idols, like gods, four Beatles. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading.” The image wasn't that controversial in the UK, when it was used to advertise "Paperback Writer", but in the US it was initially used for the cover of an album, Yesterday... And Today, which was made up of a few tracks that had been left off the US versions of the Rubber Soul and Help! albums, plus both sides of the "We Can Work It Out"/"Day Tripper" single, and three rough mixes of songs that had been recorded for Revolver -- "Doctor Robert", "And Your Bird Can Sing", and "I'm Only Sleeping", which was the song that sounded most different from the mixes that were finally released: [Excerpt: The Beatles, "I'm Only Sleeping (Yesterday... and Today mix)"] Those three songs were all Lennon songs, which had the unfortunate effect that when the US version of Revolver was brought out later in the year, only two of the songs on the album were by Lennon, with six by McCartney and three by Harrison. Some have suggested that this was the motivation for the use of the butcher image on the cover of Yesterday... And Today -- saying it was the Beatles' protest against Capitol "butchering" their albums -- but in truth it was just that Capitol's art director chose the cover because he liked the image. Alan Livingston, the president of Capitol was not so sure, and called Brian Epstein to ask if the group would be OK with them using a different image. Epstein checked with John Lennon, but Lennon liked the image and so Epstein told Livingston the group insisted on them using that cover. Even though for the album cover the bloodstains on the butchers' smocks were airbrushed out, after Capitol had pressed up a million copies of the mono version of the album and two hundred thousand copies of the stereo version, and they'd sent out sixty thousand promo copies, they discovered that no record shops would stock the album with that cover. It cost Capitol more than two hundred thousand dollars to recall the album and replace the cover with a new one -- though while many of the covers were destroyed, others had the new cover, with a more acceptable photo of the group, pasted over them, and people have later carefully steamed off the sticker to reveal the original. This would not be the last time in 1966 that something that was intended as a statement on religion and the way people viewed the Beatles would cause the group trouble in America. In the middle of the recording sessions for Revolver, the group also made what turned out to be their last ever UK live performance in front of a paying audience. The group had played the NME Poll-Winners' Party every year since 1963, and they were always shows that featured all the biggest acts in the country at the time -- the 1966 show featured, as well as the Beatles and a bunch of smaller acts, the Rolling Stones, the Who, the Yardbirds, Roy Orbison, Cliff Richard and the Shadows, the Seekers, the Small Faces, the Walker Brothers, and Dusty Springfield. Unfortunately, while these events were always filmed for TV broadcast, the Beatles' performance on the first of May wasn't filmed. There are various stories about what happened, but the crux appears to be a disagreement between Andrew Oldham and Brian Epstein, sparked by John Lennon. When the Beatles got to the show, they were upset to discover that they had to wait around before going on stage -- normally, the awards would all be presented at the end, after all the performances, but the Rolling Stones had asked that the Beatles not follow them directly, so after the Stones finished their set, there would be a break for the awards to be given out, and then the Beatles would play their set, in front of an audience that had been bored by twenty-five minutes of awards ceremony, rather than one that had been excited by all the bands that came before them. John Lennon was annoyed, and insisted that the Beatles were going to go on straight after the Rolling Stones -- he seems to have taken this as some sort of power play by the Stones and to have got his hackles up about it. He told Epstein to deal with the people from the NME. But the NME people said that they had a contract with Andrew Oldham, and they weren't going to break it. Oldham refused to change the terms of the contract. Lennon said that he wasn't going to go on stage if they didn't directly follow the Stones. Maurice Kinn, the publisher of the NME, told Epstein that he wasn't going to break the contract with Oldham, and that if the Beatles didn't appear on stage, he would get Jimmy Savile, who was compering the show, to go out on stage and tell the ten thousand fans in the audience that the Beatles were backstage refusing to appear. He would then sue NEMS for breach of contract *and* NEMS would be liable for any damage caused by the rioting that was sure to happen. Lennon screamed a lot of abuse at Kinn, and told him the group would never play one of their events again, but the group did go on stage -- but because they hadn't yet signed the agreement to allow their performance to be filmed, they refused to allow it to be recorded. Apparently Andrew Oldham took all this as a sign that Epstein was starting to lose control of the group. Also during May 1966 there were visits from musicians from other countries, continuing the cultural exchange that was increasingly influencing the Beatles' art. Bruce Johnston of the Beach Boys came over to promote the group's new LP, Pet Sounds, which had been largely the work of Brian Wilson, who had retired from touring to concentrate on working in the studio. Johnston played the record for John and Paul, who listened to it twice, all the way through, in silence, in Johnston's hotel room: [Excerpt: The Beach Boys, "God Only Knows"] According to Johnston, after they'd listened through the album twice, they went over to a piano and started whispering to each other, picking out chords. Certainly the influence of Pet Sounds is very noticeable on songs like "Here, There, and Everywhere", written and recorded a few weeks after this meeting: [Excerpt: The Beatles, "Here, There, and Everywhere"] That track, and the last track recorded for the album, "She Said She Said" were unusual in one very important respect -- they were recorded while the Beatles were no longer under contract to EMI Records. Their contract expired on the fifth of June, 1966, and they finished Revolver without it having been renewed -- it would be several months before their new contract was signed, and it's rather lucky for music lovers that Brian Epstein was the kind of manager who considered personal relationships and basic honour and decency more important than the legal niceties, unlike any other managers of the era, otherwise we would not have Revolver in the form we know it today. After the meeting with Johnston, but before the recording of those last couple of Revolver tracks, the Beatles also met up again with Bob Dylan, who was on a UK tour with a new, loud, band he was working with called The Hawks. While the Beatles and Dylan all admired each other, there was by this point a lot of wariness on both sides, especially between Lennon and Dylan, both of them very similar personality types and neither wanting to let their guard down around the other or appear unhip. There's a famous half-hour-long film sequence of Lennon and Dylan sharing a taxi, which is a fascinating, excruciating, example of two insecure but arrogant men both trying desperately to impress the other but also equally desperate not to let the other know that they want to impress them: [Excerpt: Dylan and Lennon taxi ride] The day that was filmed, Lennon and Harrison also went to see Dylan play at the Royal Albert Hall. This tour had been controversial, because Dylan's band were loud and raucous, and Dylan's fans in the UK still thought of him as a folk musician. At one gig, earlier on the tour, an audience member had famously yelled out "Judas!" -- (just on the tiny chance that any of my listeners don't know that, Judas was the disciple who betrayed Jesus to the authorities, leading to his crucifixion) -- and that show was for many years bootlegged as the "Royal Albert Hall" show, though in fact it was recorded at the Free Trade Hall in Manchester. One of the *actual* Royal Albert Hall shows was released a few years ago -- the one the night before Lennon and Harrison saw Dylan: [Excerpt: Bob Dylan, "Like a Rolling Stone", Royal Albert Hall 1966] The show Lennon and Harrison saw would be Dylan's last for many years. Shortly after returning to the US, Dylan was in a motorbike accident, the details of which are still mysterious, and which some fans claim was faked altogether. The accident caused him to cancel all the concert dates he had booked, and devote himself to working in the studio for several years just like Brian Wilson. And from even further afield than America, Ravi Shankar came over to Britain, to work with his friend the violinist Yehudi Menuhin, on a duet album, West Meets East, that was an example in the classical world of the same kind of international cross-fertilisation that was happening in the pop world: [Excerpt: Yehudi Menuhin and Ravi Shankar, "Prabhati (based on Raga Gunkali)"] While he was in the UK, Shankar also performed at the Royal Festival Hall, and George Harrison went to the show. He'd seen Shankar live the year before, but this time he met up with him afterwards, and later said "He was the first person that impressed me in a way that was beyond just being a famous celebrity. Ravi was my link to the Vedic world. Ravi plugged me into the whole of reality. Elvis impressed me when I was a kid, and impressed me when I met him, but you couldn't later on go round to him and say 'Elvis, what's happening with the universe?'" After completing recording and mixing the as-yet-unnamed album, which had been by far the longest recording process of their career, and which still nearly sixty years later regularly tops polls of the best album of all time, the Beatles took a well-earned break. For a whole two days, at which point they flew off to Germany to do a three-day tour, on their way to Japan, where they were booked to play five shows at the Budokan. Unfortunately for the group, while they had no idea of this when they were booked to do the shows, many in Japan saw the Budokan as sacred ground, and they were the first ever Western group to play there. This led to numerous death threats and loud protests from far-right activists offended at the Beatles defiling their religious and nationalistic sensibilities. As a result, the police were on high alert -- so high that there were three thousand police in the audience for the shows, in a venue which only held ten thousand audience members. That's according to Mark Lewisohn's Complete Beatles Chronicle, though I have to say that the rather blurry footage of the audience in the video of those shows doesn't seem to show anything like those numbers. But frankly I'll take Lewisohn's word over that footage, as he's not someone to put out incorrect information. The threats to the group also meant that they had to be kept in their hotel rooms at all times except when actually performing, though they did make attempts to get out. At the press conference for the Tokyo shows, the group were also asked publicly for the first time their views on the war in Vietnam, and John replied "Well, we think about it every day, and we don't agree with it and we think that it's wrong. That's how much interest we take. That's all we can do about it... and say that we don't like it". I say they were asked publicly for the first time, because George had been asked about it for a series of interviews Maureen Cleave had done with the group a couple of months earlier, as we'll see in a bit, but nobody was paying attention to those interviews. Brian Epstein was upset that the question had gone to John. He had hoped that the inevitable Vietnam question would go to Paul, who he thought might be a bit more tactful. The last thing he needed was John Lennon saying something that would upset the Americans before their tour there a few weeks later. Luckily, people in America seemed to have better things to do than pay attention to John Lennon's opinions. The support acts for the Japanese shows included  several of the biggest names in Japanese rock music -- or "group sounds" as the genre was called there, Japanese people having realised that trying to say the phrase "rock and roll" would open them up to ridicule given that it had both "r" and "l" sounds in the phrase. The man who had coined the term "group sounds", Jackey Yoshikawa, was there with his group the Blue Comets, as was Isao Bito, who did a rather good cover version of Cliff Richard's "Dynamite": [Excerpt: Isao Bito, "Dynamite"] Bito, the Blue Comets, and the other two support acts, Yuya Uchida and the Blue Jeans, all got together to perform a specially written song, "Welcome Beatles": [Excerpt: "Welcome Beatles" ] But while the Japanese audience were enthusiastic, they were much less vocal about their enthusiasm than the audiences the Beatles were used to playing for. The group were used, of course, to playing in front of hordes of screaming teenagers who could not hear a single note, but because of the fear that a far-right terrorist would assassinate one of the group members, the police had imposed very, very, strict rules on the audience. Nobody in the audience was allowed to get out of their seat for any reason, and the police would clamp down very firmly on anyone who was too demonstrative. Because of that, the group could actually hear themselves, and they sounded sloppy as hell, especially on the newer material. Not that there was much of that. The only song they did from the Revolver sessions was "Paperback Writer", the new single, and while they did do a couple of tracks from Rubber Soul, those were under-rehearsed. As John said at the start of this tour, "I can't play any of Rubber Soul, it's so unrehearsed. The only time I played any of the numbers on it was when I recorded it. I forget about songs. They're only valid for a certain time." That's certainly borne out by the sound of their performances of Rubber Soul material at the Budokan: [Excerpt: The Beatles, "If I Needed Someone (live at the Budokan)"] It was while they were in Japan as well that they finally came up with the title for their new album. They'd been thinking of all sorts of ideas, like Abracadabra and Magic Circle, and tossing names around with increasing desperation for several days -- at one point they seem to have just started riffing on other groups' albums, and seem to have apparently seriously thought about naming the record in parodic tribute to their favourite artists -- suggestions included The Beatles On Safari, after the Beach Boys' Surfin' Safari (and possibly with a nod to their recent Pet Sounds album cover with animals, too), The Freewheelin' Beatles, after Dylan's second album, and my favourite, Ringo's suggestion After Geography, for the Rolling Stones' Aftermath. But eventually Paul came up with Revolver -- like Rubber Soul, a pun, in this case because the record itself revolves when on a turntable. Then it was off to the Philippines, and if the group thought Japan had been stressful, they had no idea what was coming. The trouble started in the Philippines from the moment they stepped off the plane, when they were bundled into a car without Neil Aspinall or Brian Epstein, and without their luggage, which was sent to customs. This was a problem in itself -- the group had got used to essentially being treated like diplomats, and to having their baggage let through customs without being searched, and so they'd started freely carrying various illicit substances with them. This would obviously be a problem -- but as it turned out, this was just to get a "customs charge" paid by Brian Epstein. But during their initial press conference the group were worried, given the hostility they'd faced from officialdom, that they were going to be arrested during the conference itself. They were asked what they would tell the Rolling Stones, who were going to be visiting the Philippines shortly after, and Lennon just said "We'll warn them". They also asked "is there a war on in the Philippines? Why is everybody armed?" At this time, the Philippines had a new leader, Ferdinand Marcos -- who is not to be confused with his son, Ferdinand Marcos Jr, also known as Bongbong Marcos, who just became President-Elect there last month. Marcos Sr was a dictatorial kleptocrat, one of the worst leaders of the latter half of the twentieth century, but that wasn't evident yet. He'd been elected only a few months earlier, and had presented himself as a Kennedy-like figure -- a young man who was also a war hero. He'd recently switched parties from the Liberal party to the right-wing Nacionalista Party, but wasn't yet being thought of as the monstrous dictator he later became. The person organising the Philippines shows had been ordered to get the Beatles to visit Ferdinand and Imelda Marcos at 11AM on the day of the show, but for some reason had instead put on their itinerary just the *suggestion* that the group should meet the Marcoses, and had put the time down as 3PM, and the Beatles chose to ignore that suggestion -- they'd refused to do that kind of government-official meet-and-greet ever since an incident in 1964 at the British Embassy in Washington where someone had cut off a bit of Ringo's hair. A military escort turned up at the group's hotel in the morning, to take them for their meeting. The group were all still in their rooms, and Brian Epstein was still eating breakfast and refused to disturb them, saying "Go back and tell the generals we're not coming." The group gave their performances as scheduled, but meanwhile there was outrage at the way the Beatles had refused to meet the Marcos family, who had brought hundreds of children -- friends of their own children, and relatives of top officials -- to a party to meet the group. Brian Epstein went on TV and tried to smooth things over, but the broadcast was interrupted by static and his message didn't get through to anyone. The next day, the group's security was taken away, as were the cars to take them to the airport. When they got to the airport, the escalators were turned off and the group were beaten up at the arrangement of the airport manager, who said in 1984 "I beat up the Beatles. I really thumped them. First I socked Epstein and he went down... then I socked Lennon and Ringo in the face. I was kicking them. They were pleading like frightened chickens. That's what happens when you insult the First Lady." Even on the plane there were further problems -- Brian Epstein and the group's road manager Mal Evans were both made to get off the plane to sort out supposed financial discrepancies, which led to them worrying that they were going to be arrested or worse -- Evans told the group to tell his wife he loved her as he left the plane. But eventually, they were able to leave, and after a brief layover in India -- which Ringo later said was the first time he felt he'd been somewhere truly foreign, as opposed to places like Germany or the USA which felt basically like home -- they got back to England: [Excerpt: "Ordinary passenger!"] When asked what they were going to do next, George replied “We're going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” The story of the "we're bigger than Jesus" controversy is one of the most widely misreported events in the lives of the Beatles, which is saying a great deal. One book that I've encountered, and one book only, Steve Turner's Beatles '66, tells the story of what actually happened, and even that book seems to miss some emphases. I've pieced what follows together from Turner's book and from an academic journal article I found which has some more detail. As far as I can tell, every single other book on the Beatles released up to this point bases their account of the story on an inaccurate press statement put out by Brian Epstein, not on the truth. Here's the story as it's generally told. John Lennon gave an interview to his friend, Maureen Cleave of the Evening Standard, during which he made some comments about how it was depressing that Christianity was losing relevance in the eyes of the public, and that the Beatles are more popular than Jesus, speaking casually because he was talking to a friend. That story was run in the Evening Standard more-or-less unnoticed, but then an American teen magazine picked up on the line about the Beatles being bigger than Jesus, reprinted chunks of the interview out of context and without the Beatles' knowledge or permission, as a way to stir up controversy, and there was an outcry, with people burning Beatles records and death threats from the Ku Klux Klan. That's... not exactly what happened. The first thing that you need to understand to know what happened is that Datebook wasn't a typical teen magazine. It *looked* just like a typical teen magazine, certainly, and much of its content was the kind of thing that you would get in Tiger Beat or any of the other magazines aimed at teenage girls -- the September 1966 issue was full of articles like "Life with the Walker Brothers... by their Road Manager", and interviews with the Dave Clark Five -- but it also had a long history of publishing material that was intended to make its readers think about social issues of the time, particularly Civil Rights. Arthur Unger, the magazine's editor and publisher, was a gay man in an interracial relationship, and while the subject of homosexuality was too taboo in the late fifties and sixties for him to have his magazine cover that, he did regularly include articles decrying segregation and calling for the girls reading the magazine to do their part on a personal level to stamp out racism. Datebook had regularly contained articles like one from 1963 talking about how segregation wasn't just a problem in the South, saying "If we are so ‘integrated' why must men in my own city of Philadelphia, the city of Brotherly Love, picket city hall because they are discriminated against when it comes to getting a job? And how come I am still unable to take my dark- complexioned friends to the same roller skating rink or swimming pool that I attend?” One of the writers for the magazine later said “We were much more than an entertainment magazine . . . . We tried to get kids involved in social issues . . . . It was a well-received magazine, recommended by libraries and schools, but during the Civil Rights period we did get pulled off a lot of stands in the South because of our views on integration” Art Unger, the editor and publisher, wasn't the only one pushing this liberal, integrationist, agenda. The managing editor at the time, Danny Fields, was another gay man who wanted to push the magazine even further than Unger, and who would later go on to manage the Stooges and the Ramones, being credited by some as being the single most important figure in punk rock's development, and being immortalised by the Ramones in their song "Danny Says": [Excerpt: The Ramones, "Danny Says"] So this was not a normal teen magazine, and that's certainly shown by the cover of the September 1966 issue, which as well as talking about the interviews with John Lennon and Paul McCartney inside, also advertised articles on Timothy Leary advising people to turn on, tune in, and drop out; an editorial about how interracial dating must be the next step after desegregation of schools, and a piece on "the ten adults you dig/hate the most" -- apparently the adult most teens dug in 1966 was Jackie Kennedy, the most hated was Barry Goldwater, and President Johnson, Billy Graham, and Martin Luther King appeared in the top ten on both lists. Now, in the early part of the year Maureen Cleave had done a whole series of articles on the Beatles -- double-page spreads on each band member, plus Brian Epstein, visiting them in their own homes (apart from Paul, who she met at a restaurant) and discussing their daily lives, their thoughts, and portraying them as rounded individuals. These articles are actually fascinating, because of something that everyone who met the Beatles in this period pointed out. When interviewed separately, all of them came across as thoughtful individuals, with their own opinions about all sorts of subjects, and their own tastes and senses of humour. But when two or more of them were together -- especially when John and Paul were interviewed together, but even in social situations, they would immediately revert to flip in-jokes and riffing on each other's statements, never revealing anything about themselves as individuals, but just going into Beatle mode -- simultaneously preserving the band's image, closing off outsiders, *and* making sure they didn't do or say anything that would get them mocked by the others. Cleave, as someone who actually took them all seriously, managed to get some very revealing information about all of them. In the article on Ringo, which is the most superficial -- one gets the impression that Cleave found him rather difficult to talk to when compared to the other, more verbally facile, band members -- she talked about how he had a lot of Wild West and military memorabilia, how he was a devoted family man and also devoted to his friends -- he had moved to the suburbs to be close to John and George, who already lived there. The most revealing quote about Ringo's personality was him saying "Of course that's the great thing about being married -- you have a house to sit in and company all the time. And you can still go to clubs, a bonus for being married. I love being a family man." While she looked at the other Beatles' tastes in literature in detail, she'd noted that the only books Ringo owned that weren't just for show were a few science fiction paperbacks, but that as he said "I'm not thick, it's just that I'm not educated. People can use words and I won't know what they mean. I say 'me' instead of 'my'." Ringo also didn't have a drum kit at home, saying he only played when he was on stage or in the studio, and that you couldn't practice on your own, you needed to play with other people. In the article on George, she talked about how he was learning the sitar,  and how he was thinking that it might be a good idea to go to India to study the sitar with Ravi Shankar for six months. She also talks about how during the interview, he played the guitar pretty much constantly, playing everything from songs from "Hello Dolly" to pieces by Bach to "the Trumpet Voluntary", by which she presumably means Clarke's "Prince of Denmark's March": [Excerpt: Jeremiah Clarke, "Prince of Denmark's March"] George was also the most outspoken on the subjects of politics, religion, and society, linking the ongoing war in Vietnam with the UK's reverence for the Second World War, saying "I think about it every day and it's wrong. Anything to do with war is wrong. They're all wrapped up in their Nelsons and their Churchills and their Montys -- always talking about war heroes. Look at All Our Yesterdays [a show on ITV that showed twenty-five-year-old newsreels] -- how we killed a few more Huns here and there. Makes me sick. They're the sort who are leaning on their walking sticks and telling us a few years in the army would do us good." He also had very strong words to say about religion, saying "I think religion falls flat on its face. All this 'love thy neighbour' but none of them are doing it. How can anybody get into the position of being Pope and accept all the glory and the money and the Mercedes-Benz and that? I could never be Pope until I'd sold my rich gates and my posh hat. I couldn't sit there with all that money on me and believe I was religious. Why can't we bring all this out in the open? Why is there all this stuff about blasphemy? If Christianity's as good as they say it is, it should stand up to a bit of discussion." Harrison also comes across as a very private person, saying "People keep saying, ‘We made you what you are,' well, I made Mr. Hovis what he is and I don't go round crawling over his gates and smashing up the wall round his house." (Hovis is a British company that makes bread and wholegrain flour). But more than anything else he comes across as an instinctive anti-authoritarian, being angry at bullying teachers, Popes, and Prime Ministers. McCartney's profile has him as the most self-consciously arty -- he talks about the plays of Alfred Jarry and the music of Karlheinz Stockhausen and Luciano Berio: [Excerpt: Luciano Berio, "Momenti (for magnetic tape)"] Though he was very worried that he might be sounding a little too pretentious, saying “I don't want to sound like Jonathan Miller going on" --

Series 2 Episode 4 of The Penteract Podcast, hosted by Anthony Etherin.In this episode, Anthony speaks with Andrew Hugill, author of 'Pataphysics: A Useless Guide (MIT Press, 2012), and Christian Bök, author of 'Pataphysics: The Poetics of an Imaginary Science (Northwestern University Press, 2001).The three pataphysicians present an introduction to 'Pataphysics, discussing its origins in the work of Alfred Jarry, its meaning and definitions, its key principles, and its appearance throughout science and the arts. Listen to episodes of The Penteract Podcast on YouTube, and please consider subscribing to the channel.Follow this podcast on Twitter and discover more about Penteract Press by visiting our website and our Twitter.And, if you like what you hear, please support this series via Anthony's Patreon page!Support the show (http://patreon.com/Anthony_Etherin)

The vibe is real. Playa magic. Secret sauce. Atypical serendipity. Whatever you call it, it's being studied by social scientists around the world and written about in the annals of academia. The vibe is real, but that doesn't mean we must deny our Dada roots. We can celebrate porta-loo beautification, and its absurd juxtaposition, as a legit Burning Man art experience. We can define Burning Man using a random phrase generator. We can yield a toilet plunger like a royal scepter. We can invent a vibe-sensing device that has no sensors. Stuart Mangrum talks with Dr. Graham St John, cultural anthropologist, author of many books and academic articles about Burning Man culture, festival culture, EDM, psychedelics, and other scholarly adjacencies. Listen in and learn the true meaning of “efflorescence” and “ephemeropolis” and “pataphysics.”Burning Progeny ProjectWurst Storm Rising (Journal of Festive Studies)The Big Empty (aeon Magazine)dancecult: Journal of Electronic Dance Music CultureBlack Rock Gazette, Sept 5, 1999Burning Man Phrase Generator, Javier F. BarreraLIVE@BURNINGMAN.ORGLIVE.BURNINGMAN.ORG

durée : 00:25:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Antoine Dhulster - Une adaptation radiophonique de la pièce d'Alfred Jarry "Ubu roi" dans le cadre de la série "Tyrans et mégères" (1ère diffusion : 21/08/1963 Chaîne Parisienne). - réalisation : Virginie Mourthé

Liz Goldberg has taught Fashion Illustration at The Pratt Institute and Drexel University for the past 11 years. Her work is an exploration of the theme of the “diva” – the flamboyantly uninhibited female and the personal and political empowerment she represents. As a painter, graphic artist, and animator, Liz has been inspired by puppets and absurdist theatre, influenced by puppet–like characters reminiscent of Alfred Jarry's forerunner of absurdist theater, Ubu-Roi, the buffoons of modernist playwright Michel de Ghelderode, the existentialist mime plays of Samuel Beckett, and the symbolist and political figures of European puppet theater. Liz has developed these “diva” and puppet-inspired works into experimental animated films in collaboration with filmmaker Warren Bass, broadcast on American Public Television and cable, receiving awards and juried recognition in over 20 countries. The works use animation as an analog to painting, dance and poetry, and are intended to re-define the paradigm of what an animation can be. The process of animation has, in turn, influenced her full-scale paintings and works-on-paper producing diptychs, triptychs, and serial prints with progressive deviations. In 2018, Liz and Warren produced “Vogueing and Other Pleasures” shown at the Film Festival at the Barnes in conjunction with the Musee de Paris. In 2018, the film was also shown as part of “Contexualizing Fashion” at Pratt. A full room installation was created at Joan Shepp where Liz was a resident artist for 3 years 2017- 2020, installing the entire space with 1,750 hand-drawn cells from the animation, as well as paintings and prints.Liz's work was recently part of MINIFEST at Theaterlab - a fun and vibrant event that brought together a variety of artists to share short works throughout Theaterlab's full loft on September 18 and 19 in New York City. MINIFEST is an afternoon of tiny delights, short sparks of new work, and other small surprises. Last produced on March 8, 2020, days before theater closed. This year's MINIFEST focused on Fashion and the Body. Participating artists included Marco Casazza, Liza Cassidy, Blane Charles, Orietta Crispino, Jed Distler, Liz Goldberg, Naoki Iwakawa, Michaela Lind, Stefanie Nelson, Lisa Silvestri, Alex Sollitto, Lesley Ware, Louisa Willis, Ulisespal, Glenna Yu and Lanie Zipoy. ~~~~~~~To explore past episodes of Into the Absurd, visit our Facebook page:https://www.facebook.com/pg/Idiopathi...ORThe IRC's YouTube channel: https://www.youtube.com/playlist...And while you're there, be sure to SUBSCRIBE, so you don't miss any future episodes.

Concerning Matters related to the Foundational system of Mathematics and its recent Progressions, with a Focus on the Science of Imaginary Solutions. Timestamps: introduction, mathematics background (0:00) Alfred Jarry biography and background (9:12) Alfred Jarry - "Exploits and Opinions of Dr. Faustroll, Pataphysician" (1898) (23:01) Bibliography: Fell, Jill. "Alfred Jarry" (2010) Ford, Mark. "The King of Charisma", The New York Review, May 10, 2012. https://nybooks.com/articles/2012/05/10/alfred-jarry-king-charisma/ Glenn, Josh. "Radium Age (Proto-)Sci-fi: 100 Best" https://www.hilobrow.com/radium-age-100/ Kasman, Alex. Mathematican Fiction: https://kasmana.people.cofc.edu/MATHFICT/ Shattuck, Roger and Taylor, Simon Watson. Introduction and notes to "Exploits and Opinions of Dr. Faustroll, Pataphysician", Exact Change (1996) Struik, Dirk J. Struik. "Concise History of Mathematics, Volume II: The Seventeenth Century - The Nineteenth Century" (1948)

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Naujausio kultūros savaitraščio „Literatūra ir menas“ numerio apžvalga.Rumšiškėse lankytojams duris atvers XX a. lietuvių folkloro teatro istoriją pasakojanti paroda. Spektaklio-koncerto „Scenos vaizdeliai“ kūrybinio proceso detalės, sceniniai kostiumai ir kiti teatro atributai lankytojams primins apie Dalios ir Povilo Mataičių įkurtą teatrą. Plačiau apie parodą – jos kuratorė Janina Armonaitė.Mykolo Drungos užsienio kultūros naujienos.Šiemet minime dabartinės Vilniaus katedros pastatymo 220 metų sukaktį. Vilniaus arkikatedros bazilika – dosni erdvė skleistis įvairių epochų vargonų muzikos garsams, pabrėžiant Arkikatedros architektūros, čia saugomų meno vertybių ir vargonų muzikos tarpusavio sąveiką ir harmoningą visumą. Vasaros ketvirtadienio vidudieniais į Arkikatedrą grįžta ciklas „Vox organi Cathedralis“ („Katedros vargonų balsas“), kuris šįkart bus skirtas Lietuvos sakralinės architektūros šedevro jubiliejinei sukakčiai. Plačiau apie ciklo koncertus ir čia skambėsiančius kūrinius – Balys Vaitkus, Nacionalinės vargonininkų asociacijos pirmininkas.Rusijos Federacijai į šalį neįsileidus paskirtojo kultūros atašė Rimanto Vingro, šiuo metu Rusijoje Lietuva neturi nė vieno kultūros atašė. Dėl apribotų galimybių šioje šalyje dirbti paskirtiesiems diplomatams, Kultūros ministerija siūlo kai kurių pareigybių Rusijoje atsisakyti ir steigti kultūros atašė pareigybę Japonijoje. Pokalbis apie šalių bendradarbiavimą, kultūros atašė reikšmę ir vaidmenį dabartinėmis politinėmis aplinkybėmis.Kaip mes šiandien susitvarkytume su tokiu akiplėšišku nusikaltėliu, kaip amoralus diktatorius karalius Ūbas? Pasakojimas apie režisieriaus Artūro Areimos premjerą pagal britų dramaturgo Simono Stephenso pjesę „Ūbo teismas“, kurios veikėjai iš klasika tapusios Alfred Jarry groteskinės pjesės „Karalius Ūbas“ persikėlė į Tarptautinį Teisingumo Teismą Hagoje.Ketvirtadienio vakarą „LRT Klasika“ eteryje skambės Euroradijo koncertas, kuriame – Vienos filharmonijos orkestras kartu su maestro Daniel Harding tiesiogiai iš Kopenhagos. Programoje – pirmoji ir paskutinė, dešimtoji, Gustav Mahler simfonijos. Koncertą „Ryto allegro“ klausytojams pristato „LRT Klasika“ vadovas Julijus Grickevičius.Ved. Inesa RinkevičiūtėVed. Inesa Rinkevičiūtė

« Qui convoquer pour raconter ce premier week-end de printemps sous vrai-faux confinement ? », s’interroge Le Monde. « Coluche ? Desproges ? Kafka ? Peut-être Alfred Jarry, tant la séquence aurait amusé le créateur d’Ubu roi. […] Le dérapage s’était amorcé dès jeudi soir, 19 heures, rappelle le quotidien du soir. Jean Castex annonce à la télévision de nouvelles restrictions sanitaires afin de contrer l’épidémie qui contamine chaque jour plus de 35 000 personnes. Le Premier ministre est brouillon, on le sent mal à l’aise pour parler à la fois de "confinement" et "d’activités extérieures" – une forme d’oxymore. Après le "tous dedans", voilà le "tous dehors". Les Français n’en croient pas leurs oreilles, pointe Le Monde. Seize départements, et leurs 21 millions d’habitants, vont devoir expérimenter, dès vendredi minuit, la "troisième voie" définie par Emmanuel Macron. Le président de la République rejette, lui, le terme de "confinement" et préfère évoquer des mesures de freinage. Mais, pour paraphraser Albert Camus, à mal nommer les choses, on ajoute à la confusion. » Mais la palme revient à la fameuse attestation, relève encore Le Monde : « deux pages qui égrènent quinze dérogations possibles au fait de rester chez soi. Le document devient la star de Twitter où l’on se souhaite "bonne chance" pour le remplir. Les hashtags #Attestation et #Absurdistan font fureur. » Finalement cette attestation sera simplifiée… Confusions en chaîne En tout cas, c’est « un raté qui coûte cher, relève Le Figaro. Le formulaire à quinze cases apparu samedi matin renvoyait à la logique restrictive et menaçante des premiers confinements, alors qu’Emmanuel Macron voulait faire passer une invitation à sortir. "Freiner sans enfermer", assouplir et faire confiance, prétendait-il. Surveiller et punir, rétorquait l’attestation. Laquelle signait aussi qu’on était bien dans un nouveau confinement, mot que le chef de l’État refuse d’entendre employer. » Résultat, conclut Le Figaro, « tout cela mis bout à bout crée une impression de confusion dont l’exécutif a du mal à sortir au moment où il aurait le plus besoin de prouver qu’il ne tremble pas dans la gestion de la crise. » Pour couronner le tout, remarque pour sa part La Charente Libre, « la foire aux questions reste ouverte… » « Ce premier week-end de l’an 2 du Covid-19 s’est étiré dans une ambiance "fin de repas", pointe le quotidien charentais. Peut-être le besoin de compenser le régime sec et sans amis que la crise et ses vigiles nous imposent. Ainsi tout a été dit et son contraire sur le vaccin, ses priorités et ses ratés, sur le confinement qui n’est plus ce qu’il était, sur le variant qui accélère et la bonne mesure qui freinerait la course du virus. Tout désigné pour le jeu de massacre, le gouvernement ne sort pas indemne de cette kermesse. » Une soixantaine de théâtres occupés Du coup, ras-le-bol et colère. Avec notamment, pointe Libération, « l’occupation progressive des théâtres pour protester contre la fermeture persistante des lieux de culture. […] Le mouvement prend de l’ampleur, note le journal. On en compte désormais une soixantaine et, vu le retard pris dans la campagne de vaccination, ce chiffre pourrait augmenter. » D’autant, remarque encore Libération, que ces occupations de théâtres « agrègent les précaires de tous les secteurs : des intermittents mais aussi des étudiants, des syndiqués, des jeunes pour le climat, des soignants ou encore des victimes de plans sociaux. » Présidentielle au Congo-Brazzaville : le huis clos On reste avec Libération et ce reportage au Congo-Brazzaville.  « Élection présidentielle au Congo : un parfait huis clos », titre le journal. « Internet coupé par les autorités, observateurs indépendants quasi absents, principal opposant gravement malade et évacué… (on a appris sa mort cette nuit). Le scrutin d’hier dimanche devrait réélire sans surprise Denis Sassou Nguesso, trente-six ans de présidence à son actif. » L’envoyée spéciale de Libé s’est promenée ce dimanche dans les rues de Brazzaville : « Devant un collège, relate-t-elle, un attroupement se forme pour dire combien Sassou Nguesso "a fait vieillir tout le monde", que "les retraites ne sont pas payées", que "les diplômés travaillent au marché". Mais à trois reprises, des policiers, kalachnikovs en bandoulière, nous somment de déguerpir. "C’est comme ça que ça va se passer aujourd’hui, ils vont nous chasser. On ne pourra pas venir voir le dépouillement ni les résultats affichés au bureau de vote", se désole Isaac, 55 ans. Un parfait huis clos, constate donc le journal, d’où devrait émerger un résultat prévisible : la réélection pour un quatrième mandat successif de Sassou Nguesso, 77 ans. »

Se un francese dovesse definire la canzone Maxwell's silver hammer avrebbe un aggettivo che potrebbe addirsi perfettamente: ubuesque. Noi tradurremmo ubuesque come “grottesco”.In Francia si è soliti utilizzare questo termine per indicare un comportamento, un moto dell'anima, un'opera che ha in sé i connotati di una certa geniale cialtroneria inintelliggibile che finisce per avere connotati artistici, post-dadaistici, surreali.Tutto nasce da un artista francese, scomparso i primi del Novecento a soli 34 anni, Alfred Jarry.Per ascoltare la playlist di Spotify della puntata di oggi clicca qui! https://rbe.it/?p=65385

We dined virtually tonight with artist Liz Goldberg and filmmaker Warren Bass, who talked about their artistic collaborations, including Cuban Queens (https://vimeo.com/279495510​).Cuban Queens is an experimental animated collaboration by Warren Bass (direction, animation, music), Liz Goldberg (original graphics), and Lowell Boston (animation). The film deconstructs and explores ninety-nine evolving images of Havana’s street divas. Cuban Queens is a rhythmic study of subliminal hand-drawn portraits that evolve through shifting, transient relationships of image-to-image and image-to-sound.~~~~~~~Warren Bass is an independent filmmaker and former Chair of Film & Media Arts at Temple University where he teaches directing, cinematography, and advanced workshops in documentary, fiction and animation as a full professor. He was trained at the Yale School of Drama in directing (with Honors) and at Columbia University in film as their School of the Arts Scholar. He has taught at Yale, NYU, the State University of California, and the American Film Institute, has chaired university departments in Film, Television, and Theater in New England, served as trustee of the University Film Study Center housed at Harvard/MIT, Vice President of the University Film and Video Association, guest editor of The Journal of Film and Video, and for extended periods as Director of Temple University’s graduate program in Film. His essays on visual style have been published in English, Polish, Chinese and Turkish. His textbook on camcorders is published in seven countries. His art work has been exhibited at the Smithsonian, the National Academy of Design and the Boston Museum of Fine Arts. He has directed theater at Lincoln Center, off-Broadway and in regional professional theater in six cities. His film and video productions have been aired on PBS, syndicated television and cable in the U.S. and on European, Asian and Australian Television. His work has received over 100 regional, national and international awards. Professor Bass is a recipient of both the Great Teacher Award and the Creative Achievement Award from Temple University.Liz Goldberg has taught Fashion Illustration at Pratt and Drexel University for the past 11 years. Her work is an exploration of the theme of the “diva” – the flamboyantly uninhibited female and the personal and political empowerment she represents.As a painter, graphic artist, and animator, Liz has been inspired by puppets and absurdist theatre, influenced by puppet–like characters reminiscent of Alfred Jarry’s forerunner of absurdist theater, Ubu-Roi, the buffoons of modernist playwright Michel de Ghelderode, the existentialist mime plays of Samuel Beckett, and the symbolist and political figures of European puppet theater.Liz has developed these “diva” and puppet-inspired works into experimental animated films in collaboration with filmmaker Warren Bass, broadcast on American Public Television and cable, receiving awards and juried recognition in over 20 countries. The works use animation as an analog to painting, dance and poetry, and are intended to re-define the paradigm of what an animation can be. The process of animation has, in turn, influenced her full-scale paintings and works-on-paper producing diptychs, triptychs, and serial prints with progressive deviations.In 2018, Liz and Warren produced “Vogueing and Other Pleasures” shown at the Film Festival at the Barnes in conjunction with the Musee de Paris. In 2018, the film was also shown as part of “Contextualizing Fashion” at Pratt. A full room installation was created at Joan Shepp where Liz was a resident artist for 3 years 2017- 2020, installing the entire space with 1,750 hand-drawn cells from the animation, as well as paintings and prints.

Liz Goldberg is a painter, film graphic designer and animator inspired by puppets and absurdist theatre.Her work explores the theme of the “diva” – the flamboyantly uninhibited female and the personal and political empowerment she represents.Liz's images are often drawn from life, influenced by puppet–like characters reminiscent of Alfred Jarry’s forerunner of absurdist theater, Ubu-Roi, the buffoons of modernist playwright Michel de Ghelderode, the existentialist mime plays of Samuel Beckett, and the symbolist and political figures of European puppet theater. "These influences give me considerable license to explore colorist and gestural solutions to the depiction of the contradictions these images embody: awkward yet fluid, wooden yet alive, constrained yet brashly extroverted personalities, often mischievous, egotistical, erotic, even magical exaggerations of human behavior."Rev. Georgiette Morgan-Thomas founded and owns American Hats LLC along with her son, Robert James Morgan III. American Hats LLC. is one of the only US hat factories dedicated to producing couture, dress, and casual women's and men's headwear for wholesale and retail purchase. "Our goal," says Rev. Morgan-Thomas "is to manufacture the highest quality handcrafted, affordable products right here in the USA and to preserve the art of hat making.” Reverend Morgan-Thomas has been featured on The Today Show, in The Entrepreneur, Grow with Google, AARP Magazine, and has been featured on many local media programs.

Blood, sex, tyranny, and sausages! Declan and Nick join Lucie to discuss Ubu Roi, Alfred Jarry's gruesome and raucous 1896 satire.More information about Cheek by Jowl's production of Ubu Roi here: (https://www.cheekbyjowl.com/productions/ubu-roi/)Series 2 theme music composed by Paddy Cunneen for The Winter's Tale (2016-17)The additional music used in this episode was composed by Davy Sladek for Ubu Roi (2013-15)

The Insect Trainer, an intimate collaboration with Salvador Dali. The late Timothy Agoglia Carey's , “The Insect Trainer,”  Sets up the the trial of the century, Guasti Q. Quasti becomes the first person in criminal history to be tried for murder, wherein his annus is found to be the lethal weapon. Quasti is not on trial, the Fart is. The playwright died before his work could be realized, but his son, Romeo Carey, picked up the mantle, directing, producing and starring in the new show at Heliotrope Theatre. And what a show. A queasy cocktail of Franz Kafka and Alfred Jarry, this juvenile farce has almost everything-- including laughs. Carey the younger plays Guasti Q. Guasti, a dishwasher with not-so-lofty ambitions to: 1) coach a cockroach to perform tricks, and 2) dance a tango accompanied by noises from his lower intestine. But first he must defend himself against charges that he killed a woman with his gas.  Timothy Agoglia Carey acted for Kubrick, Cassavetes, Kazan, Brando, Wilder, de Toth, Rafelson, and Wellman. He was also in Poor White Trash and Chesty Anderson, U.S. Navy. Francis Ford Coppola reportedly begged him to appear in The Godfather, parts one and two, but he refused; he was too busy shooting a pilot about women who clothe naked animals. He appeared alongside Elvis Presley and the Monkees, James Dean and Frankie Avalon, Lee Marvin and Mr. T. Between 1958 and 1962, he directed, wrote, produced, edited, financed, distributed, and starred in The World's Greatest Sinner, a film so inscrutable, hysterical, and obscure (one known print remains) that even its cult following has a cult following. He died while making The Insect Trainer, which would've been the first film ever to tell the story of a man incarcerated for murder by farting. He was Timothy Agoglia Carey, the greatest peripheral actor of all time. Excerpts from 1989, 1994, 1996 "The Insect Trainer" Funded in part be a donation from Martin Scorsese --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/romeo-carey/message Support this podcast: https://anchor.fm/romeo-carey/support

På 1980-talet blev hela det svenska avantgardet stöpt i en postmodernistisk form och poesin sjöng dekonstruktionens och relativismens lov. Eller? Göran Sommardal dyker ner i minnets grumliga vatten. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. När scener ur historien fladdrar förbi mig, på tv-skärmen, eller på bioduken, och det handlar om bilder ur min egen samtid, kolliderar det flödet ofta med mina egna minnen, och jag blir mer uppfordrad, emellanåt till och med uppretad att reagera. Ofta vad beträffar detaljer som: hade Palme verkligen en så spetsig näsa? Fan att Krustjev verkligen tog av sig skon i FN och dunkade den i bordet framför sig! Och inte var det som kvinna som Ulla Lindström vägrade hovniga inför drottning Elisabeth på Sverigebesök, det var ju som republikan! När vi så närmar oss det begränsade utsnitt av historien där jag själv i en mer bestämd mening har vistats, så blir kalibreringen mer problematisk. Håller jag med, eller inte? En sak minns jag inte, men likafullt är den där, en annan sak finns inte med men borde ha gjort det. Vad var det som utspelades i litteraturen där uppe, medan jag själv befann mig i mina tidiga tonår nere i den svenska blåbärsskogen? Nog stod det klart att det jag just hade börjat bekanta mig med var nå­gonting annorlunda nytt än vad mina dårvarande modernistiska hjältar kunde prestera, det var uppenbart. Och då hade jag ändå stött på sådana som Rimbaud, Alfred Jarry, Apollinaire och surrealisterna. Den första kilen in i den höglitterära högtidligheten som jag gärna vill minnas det utgjordes av Bröderna Casey, en romanparodiroman av Peter Husberg, bakom vilken dolde sig innertrion Torsten Ekbom, P O Enqvist och Leif Nylén. Det var vår svensk­­lärare Torsten Sandhammar som under en lektion i andra ring i gymnasiet 1964 ur sin slitna portfölj plockade fram den nyutkomna boken och började läsa högt. Han gjorde sånt för att chocka oss med "det nya", litteratur som bröt mot normen för vad litteratur fick vara. Sedan dök de upp, en efter en: Carl Fredrik Reuterswärd med I lagens namn och Prix Nobel, den senare en sobert gul volym, som signalerade finfin roman, men vars textuella innanmäte uteslutande bestod av skiljetecken. Sedan Sonja Åkessons Husfrid, Bengt Emil Johnssons Gubbdrunkning, Lars Noréns Inledning nr: 2 till SCHIZZ. Mest häpnade jag nog över Åke Hodell: Bruksanvisning för Symaskinen Singer Victoria, nytryck av originalbroschyren med tilläggen: Åke Hodell, roman och förlaget Kerberos. Och sen böckerna som Hodell gav ut på samma förlag: Elis Eriks­sons oför­glömliga tecknade serie Pavan med felstavade pratbubblor i fem häften, och Stig Bröggers To Lady Victoria Welby, som be­stod av lösa ark nerstoppade i ett brunt A5-kuvert, med adressen utanpå.                      Tillsammans med mitt pågående bing-läsande av den nya franska romanen framträdde detta omedelbara nya utan en skymt av den tänkta undermineringen av universalismen, den objektiva verkligheten, moralen, sanningen, den mänskliga naturen, förnuftet och framsteget allt det som "postmodernismen" senare skulle kom­ma att beteckna. Det var bara sinnesvidgande nytt, helt och enkelt. Kanske först som en effekt av min egen bildningsgång och beläsenhet. Kanske senare på grund av ett scenbyte. Men hur gick då detta svårbeskrivliga till? I Sverige är det ju främst 1980-talet som kommit att förknippas med den postmoderna vändningen. I Kungliga bibliotekets arkiv av Svenska dagstidningar lyckas jag sent omsider spåra det första pratet om postmodernism. Jag söker från början på 1975 till slutet av 1980 och hittar sex förekomster, första gången 1977, i en intervju som Pia Sandelin gör med John Gardner. När jag utökar t.o.m. 1985 blir det 219 träffar. Och omfattar tiden ända fram till och med 1990 dyker postmoder­nismen upp 857 gånger i tidens tidningar. De första fem åren handlar det framförallt om arkitektur och konst. Både utskåpningar, ifrågasättanden och spridda hurrarop. Ingela Lindh skrev i Dagens Nyheter 1982, att den svenska debatten föreföll nyrmornad. Ännu 1985 kunde en insändare till GöteborgsPosten fråga sig: "Vad betyder POSTMODERNISM? Undrar en som aldrig frågat förr. När jag nu läser Victor Malms litteraturvetenskapliga avhandling "Är det detta som kallas postmodernism?" gör jag det av synnerligen privata skäl. Inte för att jag har något emot att få veta något nytt och intressant om huvudpersonerna Katarina Frostensons och Stig Larssons poetiska författarskap, men det som lockar mig bäst är att få bekanta mig med förslaget till karta över ett territorium där jag faktiskt en gång själv har klampat. Går det att hitta tillbaka till mina egna ingrodda och närgångna litterära upp­levelser av tidens tvister och texter? Eller Ve och fasa! om de i den akademiska eftertankens kranka blekhet skulle te sig förverkade, eller åtminstone underminerade. Jag hade ju varit där, i realtid, med hull och hår, läst och recenserat, träffat och t.o.m. blivit bekant med några av huvudpersonerna, till skillnad från Malm, som ju är född 1990 och som varit mer utlämnad åt arkiven och de litterära texterna och figuranternas egna levande minnen för att orientera sig i landskapet. Jag ville känna mig som en orienterare som utan karta och kompass hade hittat ut ur skogen, och nu försökte lokalisera på kartan var jag hade varit. Att äntligen kanske, och naturligtvis med en viss ironi få syn på skogen som till äventyrs skymts av alla träd. Eller kanske rentav skymta ett helt annat skogsbryn, skymt av helt andra träd. Men Malm verkar gå en annan väg och gör sig på sätt och vis av med postmodernismen som ett begrepp med tydligt estetiskt och intellektuellt innehåll. Den postmoderna litteraturen definieras helt enkelt som den som skrivs under den period eller det tillstånd som kallas postmodernitet. Den förklaras som en mångfald av svar på den globala kapitalismens fladdrande bilder. För min egen del erbjöd 80-talet på ett till synes gränslöst och hejdlöst flöde av nya poeter, men det föll mig ändå aldrig in att försvenska det postmoderna till att gälla dem: Kristina Lugn, Göran Greider, Katarina Frostenson, Stig Larsson, Ernst Brunner, Ann-Marie Berglund, Ann Jäderlund, Eva Runefelt, Birgitta Lillpers, Arne Johnsson, Konny Isgren, Magnus William-Olsson, Magnus Jacobsson, Eva Kristina Olsson, Jörgen Gassilewski, Håkan Sandell, och som fortsatte att flöda under 90-talet. Jag avläste det alltid som en saliggörande diversifiering av poesin, aldrig som produkten av en samlande -ism. Möjligen som resultatet att alla kulturideologiska sammanfattningar, och framförallt i en positiv mening, är dömda att misslyckas. Inte ens när nya tidskrifter som Kris, Montage och Res Publica äntligen kunde erbjuda läsning av kontinental filosofi och litteraturteori, i tillägg till det som redan hade smugit sig in i gamla följeslagare som Ord och Bild, BLM, Lyrikvännen och Häften för kritiska studier inte ens då föreföll det mig som något avgörande inbrott eller ge­nom­­brott för det specifikt postmoderna. Utan mer som en upphämtning av en bild­nings­tradition som bara alltför länge hade fått ligga för svensk fäfot. Och när det pro­klamerade postmoderna ovädret hade dragit förbi, så visade sig återstå strax bakom stugknuten "vår" gamla vanliga förtröstan. Där "alla" nyss med ljus och lykta hade le­tat efter en värld att kunna dekonstruera, strävade nu den stora kulturmenigheten plötsligt lika enträget efter alltings entydiga uppbygglighet. Såna blev de postmoderna tiderna när de väl fått av sig camouflagedräkten. Säger en som fortfarande undrar. Göran Sommardal, poet, kritiker och översättare

Programa grabado Segmento Inicial Alfred Jarry, dramaturgo y escritor francés"_ 8:06

durée : 00:28:43 - Personnages en personne - par : Charles Dantzig - Qui est Ubu, ce Falstaff qui serait devenu roi ? Sa devise pourrait être : "Cupidité, vantardise et lâcheté." Ubu est décrit par Alfred Jarry comme ayant "une face porcine" et "un nez semblable à la mâchoire supérieure du crocodile". C'est un être ignoble. - réalisation : Clotilde Pivin

durée : 00:28:43 - Personnages en personne - par : Charles Dantzig - Qui est Ubu, ce Falstaff qui serait devenu roi ? Sa devise pourrait être : "Cupidité, vantardise et lâcheté." Ubu est décrit par Alfred Jarry comme ayant "une face porcine" et "un nez semblable à la mâchoire supérieure du crocodile". C'est un être ignoble. - réalisation : Clotilde Pivin

The Anthropocenic condition gives us “a sense of the proximity we have to things we might otherwise have thought very distant from us.” David Farrier, author of Anthropocene Poetics, discusses deep time, extinction, and intimacy, asking how poetry can help us think about and live in the Anthropocene by reframing our intimate relationship with geological time. David is professor of literature and the environment at the University of Edinburgh, and he is joined here in conversation by Adam Dickinson, who is the author of four books of poetry including Anatomic. Adam is a professor in the English department at Brock University in Ontario. This edited conversation was recorded in July 2020. For more information, please visit z.umn.edu/poetics. Topics discussed include diffraction-based poetics; Donna Haraway's reminder that we are kin-making beings; the concept of the Clinamen; Evelyn Reilly; Elizabeth Bishop; Seamus Heaney; Deborah Bird Rose; Karen Barad; Alfred Jarry. Additionally, David and Adam recommend poets whose work addresses the Anthropocene: Brenda Hillman Angela Rawlings Harryette Mullen Juliana Spahr Jen Bervin Alexis Pauline Gumbs Liz Howard Dea Antonsen and Ida Bencke Morten Søndergaard Karin Bolender Amanda Ackerman Craig Santos Perez Sean Hewitt

Journaliste, romancier, satiriste et conteur hors-pair, Octave Mirbeau nʹa peut-être pas le renom dʹun Alfred Jarry ou dʹun Jules Renard. Disparu en 1917, lʹauteur du Journal dʹune femme de chambre mérite pourtant dʹêtre redécouvert. Lʹéditeur français lʹArbre Vengeur sʹy emploie, qui réédite des textes rares de Mirbeau. Dernier en date, Vache tachetée et concombre fugitif regroupe une vingtaine de petites histoires satiriques, cruelles ou absurdes, parues à lʹorigine dans différents journaux. Rédacteur en chef de lʹhebdomadaire satirique romand Vigousse, Stéphane Babey en signe la préface. Au micro de Nicolas Julliard, il évoque lʹhéritage précieux du très politiquement incorrect Octave Mirbeau.

Canadian writer Brian Cotts joins the Artist Journal podcast from his home in Saskatoon, Saskatchewan. The wide-ranging discussion covers art, science, Alfred Jarry and his influence on Modernism, nature, Lord Byron, Jean Baudrillard, James Patterson and the modern publishing industry, biosemiotics, and Brian’s art using Pages and Microsoft Word. Find Brian online at: https://twitter.com/BrianCotts Find Adrian Pocobelli online at: https://pocobelli.net/ http://instagram.com/pocobelli https://twitter.com/Pocobelli https://www.youtube.com/channel/UCVEohCm8pPoV3ZojCfyt6_A https://medium.com/@pocobelli

O Mestre Ubu, de Alfred Jarry (Parte 3) | Hoje é Dia de Clássico | Ep.13 by Comédias do Minho

Hateful return guest 'Ed Buck' drops in to share his negative opinions on film criticism. We talk about the (often false) dichotomy between blockbusters and festival films. Ed is not hopeless, though, that people could still make some good movies, while Don starts wondering about why to write at all. Mentioned: Spiderman: Into the Spiderverse, 12 Years a Slave, Get Out, White Fragility by Robin DiAngelo, Blow-Up, Vitalina Varela, "A Certain Tendency in French Cinema" by François Truffaut, The Last Jedi, Avatar, Pere Ubu by Alfred Jarry. Recommendations: Taste of Cherry (Kiarostami), Pope Francis: A Man of His Word (Wenders), Le Gai Savoir (Godard).

O Mestre Ubu, de Alfred Jarry (Parte 2) | Hoje é Dia de Clássico | Ep.12 by Comédias do Minho

O Mestre Ubu, de Alfred Jarry (Parte 1) | Hoje é Dia de Clássico | Ep.11 by Comédias do Minho

Bereits als 15-jähriger schreibt Alfred Jarry eine Groteske, in der zum ersten Mal der Umriss des primitiven, feigen, gefräßigen und machtbesessenen Vaters Ubu erscheint. Spielerisch wird dessen Monstrosität im Hörspiel durch eine brachiale Sprache und akustische Verfremdung der Stimmen vermittelt. Mutter Ubu wird von ihrem Liebhaber Menon verführt, den sie aus ihrer eigenen Stimme erzeugt hat. Durch die Verschmelzung von Stimmen und Geräuschen bekommen Jarrys „pataphysische Erfindungen“, wie die Gehirnzermantschmaschine, eine bedrohliche Realität. Mit Pit Krüger (Vater Ubu und sein Gewissen), Maja Stolle (Mutter Ubu und ihr Liebhaber Memmon), Norbert Schwientek (Erster Rüpel Schreidango/Kapitän/Scytotomilie), Alfred Pfeiffer (Zweiter Rüpel Matschtropf/Dr. Ofen/Achras), Ulrich Kuhlmann (Dritter Rüpel Vierohn/Bürgenstock/Diener) Aus dem Französischen von: Marlis und Paul Pörtner Regie: Hans Peter Haller, Paul Pörtner Komposition: Georg Gruntz Produktion: NDR 1977 Redaktion: Michael Becker https://ndr.de/radiokunst

**For tickets to our first ever live show on February 29th 2020, with special guests Joel Morris, Dr Anna Ploszajski and one more to be announced... follow this link: https://vaultfestival.com/whats-on/worst-foot-forward-live-recording/ This month's extra Patreon episode is inspired by one of our favourite ever discoveries on this show: Sweden and Finland's deployment of February 30th to regulate their calendars.  We talk about Alfred Jarry, Pope Joan and get very confused indeed about maths. Follow us on Twitter: @worstfoot @bazmcstay @benvandervelde  Visit www.worstfootforwardpodcast.com for all previous episodes and you can now donate to us on Patreon if you’d like to support Ben’s baby and Barry’s crippling trivia addiction: https://www.patreon.com/WorstFootForward Worst Foot Forward is part of Podnose: www.podnose.com

The Aside Podcasts are a free resource supported by Drama Victoria - Australia's oldest Drama Association This is a Script Tease episode where we talk through some of the world's greatest plays. Jump through the major plot points, give some background and of course, spoil the endings – all in less than 5 minutes. We do the hard work so you can do the easy listening. In this episode we do Ubu Roi by Alfred Jarry Please feel free to email asidepodcast@outlook.com to ask a question. We will try answer on a future podcast.

Grâce à des archives sonores exceptionnelles, la série Entendre le théâtre explore en 7 épisodes l’évolution des sons et des voix qui ont marqué le théâtre français du 20e siècle.Quand Alfred Jarry écrit en 1888 une première ébauche d’Ubu roi pour un petit théâtre de marionnettes familial à Rennes, il explique que le Père Ubu, figure de tyran grotesque, devait avoir une « voix spéciale », une voix de marionnette, travestie, étrange. Marie-Madeleine Mervant-Roux, directrice de recherche au CNRS, revient sur ce que Jarry lui-même a décrit comme une « voix de phonographe » - en référence à l’appareil de reproduction sonore qui connaissait alors les débuts de son développement.La série Entendre le théâtre accompagne le lancement du site pédagogique http://classes.bnf.fr/echo/ fruit d’unpartenariat entre le CNRS, le département des Arts du spectacle et le service des Éditions Multimédias de la BnF. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Vernal & Sere Theatre's new adaptation of Alfred Jarry’s notorious Ubu Roi reimagines King Ubu as a headmaster walking the halls of an American high school, UBU is equal parts Shakespearean parody, political satire, and absurdist comedy. Host Edward McNally talks to director Sawyer Estes and company co-founder (and Estes romantic partner) Erin Boswell, who plays Queen Ubu in the riotous new production at the Windmill Art Center in East Point, Feb 13 – Mar 1.

Viernes, 31 de enero, día de estreno para la COMPAN?I?A JOVEN de PABELLO?N 6. Su nueva producción, ‘Ubú, rey de las finanzas’, está lista para ser testada ante un público que abarrotará la sala en su primer fin de semana en cartelera. Ubú quiere ser el dueño del mundo, enriquecerse a toda costa. Planea junto con el influyente Bordura, dueño de un importante grupo editorial, un complot para matar al director del Banco Mundial y su familia, alentado, cual Lady Macbeth, por la Mamá Ubú. La familia Ubú no es una familia corrupta. Son la corrupción misma. El montaje nos remite a ‘Ubú rey’ de Alfred Jarry, uno de los grandes clásicos del teatro. Se cuenta que el mismo día su estreno sufrió tantas críticas y abucheos, que no pudo terminar de representarse. Estamos, en todo caso, ante un texto válido para todo tiempo y lugar que ha adaptado para la ocasión Raúl Quirós y que dirige Ramón Barea. Junto a él, se han pasado por los micrófonos de Onda Vasca los actores Arnatz Puertas y Alex Gibaja.

Viernes, 31 de enero, día de estreno para la COMPAN?I?A JOVEN de PABELLO?N 6. Su nueva producción, ‘Ubú, rey de las finanzas’, está lista para ser testada ante un público que abarrotará la sala en su primer fin de semana en cartelera. Ubú quiere ser el dueño del mundo, enriquecerse a toda costa. Planea junto con el influyente Bordura, dueño de un importante grupo editorial, un complot para matar al director del Banco Mundial y su familia, alentado, cual Lady Macbeth, por la Mamá Ubú. La familia Ubú no es una familia corrupta. Son la corrupción misma. El montaje nos remite a ‘Ubú rey’ de Alfred Jarry, uno de los grandes clásicos del teatro. Se cuenta que el mismo día su estreno sufrió tantas críticas y abucheos, que no pudo terminar de representarse. Estamos, en todo caso, ante un texto válido para todo tiempo y lugar que ha adaptado para la ocasión Raúl Quirós y que dirige Ramón Barea. Junto a él, se han pasado por los micrófonos de Onda Vasca los actores Arnatz Puertas y Alex Gibaja.

Avec l’emballement du progrès technique et technologique, la science, un peu comme les sportifs, continue de repousser en permanence les limites du corps humain. Au point qu’elle pourrait rendre leurs performances illimitées. Un rêve transhumaniste, en passe de devenir réalité ? Si les sportif·ve·s sont les premiers humains augmentés, est-il souhaitable de mettre le progrès technologique à leur service ? Jusqu’à quel point, et comment continuer à accorder tout le monde sur les règles du jeu communes ? Finalement, à quoi ressembleront nos compétitions de demain ? Anne-Cécile Genre pose la question au chercheur en neurobiologie et transhumaniste Terence Ericson et Christian Couturier, du SNEP-FSU (Syndicat national de l’Education Physique). RÉFÉRENCES CITÉES DANS L’ÉMISSIONNeil Harbisson, Le Surmâle d’Alfred Jarry (1901), Angel Di Maria, Tiger Woods, Bienvenue à Gattaca (Andrew Nicoll, 1997), Caster Semenya, Usain Bolt, Eero Mäntyranta, La Mouche (David Cronenberg, 1986), Crispr-Cas 9, Tour de France, tour de souffrance d’Albert Londres (1924), Floyd Landis.CRÉDITSDu Sport est un podcast de Binge Audio et du Snep-FSU, animé par Anne-Cécile Genre. Production : Joël Ronez. Rédaction en chef : David Carzon. Réalisation : Adel Ittel El Madani. Chargée de production : Albane Fily. Chargée d’édition : Camille Regache. Direction générale : Gabrielle Boeri-Charles. Musique originale : Théo Boulenger. See acast.com/privacy for privacy and opt-out information.

Selección de algunos fragmentos de la versión en radio teatro de Ubú Rey, la obra de Alfred Jarry, puesta en sonido por el Gabinete de Curiosidades del Doctor Plusvalías. «Cuando haya cogido toda la finanza, mataré a todo el mundo y me iré». (Ubú) «El señor Ubú es un ser innoble, y por ello se parece (por abajo) a todos nosotros. Asesina al rey de Polonia (si se trata de golpear al tirano, el asesinato parece justo al pueblo porque tiene apariencia de acto de justicia), después, siendo ya rey, masacra a los nobles, más tarde a los funcionarios y por último a los campesinos. Y de este modo, al matar a todo el mundo, tiene la seguridad de haber matado a algunos culpables, y se manifiesta como hombre moral y normal. Finalmente, como un anarquista, ejecuta sus sentencias él mismo, desmiembra a la gente porque le gusta y solicita a los soldados rusos que no disparen contra él porque no le gusta. Tiene algo de enfant terrible y nadie le contradice hasta que se enfrenta al zar, al que todos respetamos. El zar hace justicia, lo depone del trono del que tanto ha abusado, restablece a Bugrelao (¿merecía la pena?) y expulsa al señor Ubú de Polonia, con las tres partes de su poder resumidas en esta palabra: «Cornipanza». (Alfred Jarry) ********************** En el Gabinete de Curiosidades del Doctor Plusvalías –¡qué raro!–, sentíamos curiosidad por saber cómo suena la Ninguna Parte que construyó Jarry en Polonia. Teníamos necesidad de conocer cómo se escucha la grotesca sed de poder y la banalización del mal convertido en una farsa, cuando lo sacas del Telediario. Puedes hacerte con uno de los 193 ejemplares editados en doble CD con una serigrafía de Eulogia Merle en www.pepitas.ne o en alguno de los puntos de venta que anunciamos en nuestro facebook @GabinetePlusva en nuestro twitter @GPlusva o en nuestro blog https://gabinetedecuriosidadesdeldoctorplusvalias.home.blog/

Selección de algunos fragmentos de la versión en radio teatro de Ubú Rey, la obra de Alfred Jarry, puesta en sonido por el Gabinete de Curiosidades del Doctor Plusvalías. «Cuando haya cogido toda la finanza, mataré a todo el mundo y me iré». (Ubú) «El señor Ubú es un ser innoble, y por ello se parece (por abajo) a todos nosotros. Asesina al rey de Polonia (si se trata de golpear al tirano, el asesinato parece justo al pueblo porque tiene apariencia de acto de justicia), después, siendo ya rey, masacra a los nobles, más tarde a los funcionarios y por último a los campesinos. Y de este modo, al matar a todo el mundo, tiene la seguridad de haber matado a algunos culpables, y se manifiesta como hombre moral y normal. Finalmente, como un anarquista, ejecuta sus sentencias él mismo, desmiembra a la gente porque le gusta y solicita a los soldados rusos que no disparen contra él porque no le gusta. Tiene algo de enfant terrible y nadie le contradice hasta que se enfrenta al zar, al que todos respetamos. El zar hace justicia, lo depone del trono del que tanto ha abusado, restablece a Bugrelao (¿merecía la pena?) y expulsa al señor Ubú de Polonia, con las tres partes de su poder resumidas en esta palabra: «Cornipanza». (Alfred Jarry) ********************** En el Gabinete de Curiosidades del Doctor Plusvalías –¡qué raro!–, sentíamos curiosidad por saber cómo suena la Ninguna Parte que construyó Jarry en Polonia. Teníamos necesidad de conocer cómo se escucha la grotesca sed de poder y la banalización del mal convertido en una farsa, cuando lo sacas del Telediario. Puedes hacerte con uno de los 193 ejemplares editados en doble CD con una serigrafía de Eulogia Merle en www.pepitas.ne o en alguno de los puntos de venta que anunciamos en nuestro facebook @GabinetePlusva en nuestro twitter @GPlusva o en nuestro blog https://gabinetedecuriosidadesdeldoctorplusvalias.home.blog/

Rev. Fred Lane (c. 19??) is a simultaneously enigmatic and notorious persona who is responsible for creating what is arguably the most obscure, strange, darkly comedic, psychotic, perplexing, and uniquely American music that has ever been recorded. The collected works of Fred Lane constitute an improbably rare body of music that brazenly rides the line between order and chaos; taking the listener into realms that are all the way out, and yet somehow oddly (and perhaps unsettlingly) familiar. It is a music that is impossible to penetrate the mystery of and exists outside of conventional time in a universe all of its own. The intrepid few that miraculously stumbled across these rarefied recordings have largely become rabid & cult-like fanatics. One especially obsessive lifelong fan even created a Rev. Fred Lane documentary that took over 19 years to complete. Remarkably, Fred Lane and his swinging ‘pataphysical cult from an alternate dimension (SEE: Ron ‘Pate's Debonairs featuring Rev. Fred Lane + Fred Lane and his The Hittite Hot Shots) only performed TWICE in their entire existence. All of the band members were credited on the albums with fake aliases created by Lane, with monikers such as Dick Foote, Omar Bhag-dad-a, Dimples LaCroix, Ron ‘Pate, Abdul Ben Camel, Cyd Cherise, Shep Estrus, E. Baxter Put, Whitey Stencil, “Bill” The Kid Dap, and Motor Hobson. Several bizarre and fantastical rumors surfaced over the years, some claiming that Lane had become a demented recluse and/or nazi living in a pyramid and constructing sculptures out of vegetables. Were any of the rumors true? Was it all some kind of elaborate ruse? Probing deeper into the story of Rev. Fred Lane, one discovers that the character emerged from the mind of T.R. Reed; a man who grew up in rural Tuscaloosa, Alabama and eventually fell in with a crowd of intensely crafty & diligent freaks known as Raudelunas. Raudelunas was a motley crew of deviant Southern artists and musicians in the mid-1970s who modeled their behavior & actions off of the early European Dadaists, Surrealists, and Futurists— attempting to freak out, subvert, and unleash as much explosive mayhem and chaos as they could possibly muster upon their stiflingly conventional-minded college football town. French proto-Dadaist/symbolist writer and madman Alfred Jarry (creator of ‘pataphysics) served as something of a patron saint. Lane was summoned into being as a sort of swaggeringly megalomaniacal MC for the group's various presentations in order to terrorize, humiliate, and provoke the audience. During these years he also began creating bizarre sculptures using different collage techniques. He also produced several publications including “Naked Women Overthrow The Government Quarterly”, “Liquid Basketball”, and “Steamed Plywood Triannual”. Among Raudelunas' myriad activities and high jinks, they were among the very first Americans to perform and record what eventually came to be known as “free improvisation” (which they initially referred to as “Headache Music”)— a kind of meta-music or proto-music in which participants don't know what they're doing until they're doing it. LaDonna Smith (aka D.P.B. Smith) and Davey Williams (aka Cyd Cherise) were two of the more dedicated players who emerged from this group and quickly went on to become internationally recognized luminaries in the field. After the release of “Car Radio Jerome” in 1986, Reed/Lane abandoned any sort of public or professional involvement in music in order to pursue crafting and selling his mobile sculptures (alternately referred to as “creachters” and “whirligigs”) at folk art festivals all around the country— a career path he continues up to the present day, along with his wife and fellow artist Jeanie Holland. However, in recent years, prompted by EXILE HOUR co-host Evan Philip Lipson (aka Lipps Epsom) with some assistance from Shaking Ray Levi Society co-founder Bob Stagner (aka Fob Stengel), Lane began quietly working

Que signifie un émoticône aubergine, clin d’œil ou couteau ? Les justices américaine et française se penchent de plus en plus sur le sens et la portée de ces images qui fourmillent dans nos messages.Est-ce qu’envoyer un émoji couteau peut représenter une menace de mort ? Quelle est la place et le rôle des emojis dans notre langage ? Est-ce qu’ils enrichissent ou appauvrissent la langue ?Pour répondre à ces questions, Laélia Véron, accompagné de Thomas Rozec du podcast d’actualité Programme B, ont reçu Maria Candéa, enseignante-chercheuse à l’université de Paris 3 et co-autrice de « Le français est à nous ! » (éd. La Découverte, 2019).RÉFÉRENCES CITÉES DANS L’ÉMISSIONJean Cocteau, Ubu roi (Alfred Jarry, 1896), Plumons l’oiseau (Hervé Bazin, éd. Grasset, 1967), Alain DamasioCRÉDITS Parler comme jamais est un podcast de Binge Audio animé par Laélia Véron, avec le soutien de la Délégation générale à la langue française et aux langues de France. Cet épisode a été enregistré en 3 octobre 2019 au studio V. Despentes de Binge Audio (Paris, 19e), avec la collaboration scientifique de Maria Candea, enseignante-chercheuse à l’université de Paris 3. Réalisation : Vincent Hiver. Générique : Thomas Oger. Chargées de production et d’édition : Lorraine Besse et Diane Jean. Identité graphique : Sébastien Brothier (Upian). Direction des programmes : Joël Ronez. Direction de la rédaction : David Carzon. Direction générale : Gabrielle Boeri-Charles. See acast.com/privacy for privacy and opt-out information.

ALFRED JARRY raccontato da Oliviero Ponte Di Pino

How do you define something that defies definition? That's the question Connor and Dan face down on this week of Drunken Philosophy as they discuss the anti-philosophy, pseudoscience, art movement known as 'Pataphysics (the apostrophe is on purpose). Founded by French avant garde writer Alfred Jarry, 'Pataphysics has continued to live on in the numerous artists and thinkers interested in exploring the world "beyond metaphysics." Hopefully Connor and Dan don't get lost there.

"All of us can take fright, but it requires greatness of soul to laugh at the moment when not merely life, but humanity itself is endangered."   In my ongoing celebration of all things France I am reading a book called 'The Banquet Years' by Roger Shattuck. It is about the origins of the avant-garde in France from 1885 - World War I. From this book I regal you with the story of Henri Rousseau and the ridicule he faced while keeping his childlike innocence intact. Then our July fireworks reach their crescendo with the spectacular story of Alfred Jarry and his groundbreaking play Ubu Roi that created a scandalous riot when it premiered at Theatre L'Oeuvre in Paris in 1896. Alfred Jarry was the precursor to the Dada art movement, surrealism and the Theater Of The Absurd. Learn all about this man who rode his bicycle around Paris with a rifle over his shoulder, two pistols in his belt and tried to make his life a living hallucination.   I talk about the triumph of France at the World Cup and how they did what Napoleon failed to do and that is to be victorious in Russia.   I talk about how Vladimir Putin and the good people of Russia are the real winners of the World cup and how we could all learn to conduct our lives in victory and defeat the way the team of Japan does.   The opposite of Japanese politeness and concern for others is President Trump, who I am now calling the Urine Pawn. Just this week he called Canada and the European Union the enemies of America and stood with Vladimir Putin in Helsinki never mentioning the Russian influence on the 2016 election. When asked directly by a reporter if he had anything to say to Putin about this or the 12 Russians indicted days ago for hacking our election he said that he takes Putin's word for it when he said he didn't do it and asked why no one has found Hillary Clinton e-mail server yet. This is theater of the absurd on the world stage, which makes me think that this video of Trump with Russian prostitutes urinating must be worse than we could ever imagine. Where is the outcry from the American people over this treasonous act at the highest level? Thanks to the Urine Pawn we are now living in a world where our allies are now our enemies and our enemies are now our allies. The tough bully president of America acted like a neutered cat in the lap of the ultimate chess master Putin. And yet, this is somehow Hillary's fault? Back to reasons to be cheerful... TRR Smart Camp * Become our patron and receive podcast goodies! www.patreon.com/tomrhodesradiosmartcamp * Sign up for a conversation with Tom! www.patreon.com/tomrhodesradiosmartcamp * Buy my newest double album All Hail Laughter www.tomrhodes.net

König Ubu flucht on stage: "Merdre!" Schreiße! Das Premierenpublikum von 1896 ist entsetzt. Der Autor Alfred Jarry jedoch wird berühmt und Vorreiter von Dadaisten, Surrealisten und absurdem Theater. Autorin: Susi Weichselbaumer

Lecture du 3 avril 2015 par Dominique Pinon et François-Régis Marchasson. En collaboration avec le Cercle des Amateurs de Remy de Gourmont. Né en 1858 Remy de Gourmont se fixe à Paris en 1884 et devient bibliothécaire à la Bibliothèque nationale. Comptant parmi les fondateurs de la revue du Mercure de France (1889) avec Alfred Jarry, il y fait paraître en 1891 un article violement anti-nationaliste, Le joujou patriotique, qui suscite une violente polémique et l'oblige à quitter son poste. Défiguré précocement par un lupus à la face, il vit cloîtré dans cabinet et se consacre tout entier à ses écrits. Auteur d'une œuvre poétique qui s'inscrit pour une part dans le courant symboliste, il est également romancier et dramaturge.

Lecture du 3 avril 2015 par Dominique Pinon et François-Régis Marchasson. En collaboration avec le Cercle des Amateurs de Remy de Gourmont. Né en 1858 Remy de Gourmont se fixe à Paris en 1884 et devient bibliothécaire à la Bibliothèque nationale. Comptant parmi les fondateurs de la revue du Mercure de France (1889) avec Alfred Jarry, il y fait paraître en 1891 un article violement anti-nationaliste, Le joujou patriotique, qui suscite une violente polémique et l'oblige à quitter son poste. Défiguré précocement par un lupus à la face, il vit cloîtré dans cabinet et se consacre tout entier à ses écrits. Auteur d'une œuvre poétique qui s'inscrit pour une part dans le courant symboliste, il est également romancier et dramaturge.

A atriz e diretora brasileira Chica Carelli, do Teatro Vila Velha, da Bahia, está em Cabo Verde para participar do projeto "K Cena", iniciativa cultural cujo objetivo é valorizar a língua portuguesa e o teatro como veículos para o desenvolvimento da identidade lusófona. Ela apresenta a peça “Somos Todos Ubu”, um espetáculo resultante da sua residência artística na cidade de Mindelo. Odair Santos, de Cabo Verde para a RFI Chica, que também é uma das fundadoras do Teatro Olodum na Bahia, trabalha com os alunos do 16º curso de teatro do Centro Cultural Português na ilha de São Vicente, em Cabo Verde. A atriz brasileira afirma que essa experiência é um desafio. "Tem sido uma aventura, eu vim aqui sem conhecer o país nem as pessoas, nesse projeto de intercâmbio importante, e tem sido muito desafiador", disse. "As pessoas são muito acolhedoras, o que favorece a construção da peça." Ema conta que a montagem de “Somos Todos Ubu”, que estreia no “Mês do Teatro em Cabo Verde”, em março, foi inspirada em dois textos   "Ubu Rei", de Alfred Jarry, e "O Rinoceronte", de Eugène Ionesco. "Ainda fizemos a loucura de juntar esses dois textos", comenta. Ela explica, sorridente, que "está sendo muito fácil trabalhar com os atores cabo-verdianos, porque eles são muito disponíveis e estavam abertos para propostas e foram descobrindo junto comigo o texto". Longa carreira teatral Chica Carelli tem 37 anos de carreira teatral e faz nessa peça uma analogia com a eleição de Donald Trump nos Estados Unidos, personagem, segundo ela, “grotesco”. "Um cara sem escrúpulos que vem e usurpa o poder do rei, ocupa o lugar dele e começa a criar leis absurdas, com impostos impossíveis e soluções loucas. E a gente associa muito esse personagem grotesco ao Donald Trump e, ao mesmo tempo, a gente reflete: mas esse cara só está no poder porque alguém o colocou lá", conta. Para ela, a cultura africana tem influenciado pouco a pouco o teatro brasileiro. Ela cita como exemplo o Festival de Teatro " A Cena Tá Preta", que acontece em Salvador.  "É uma coisa que está crescendo, esse teatro que coloca as raízes africanas no palco. Mas, evidentemente, não chega a 20% da produção teatral", disse. Mas, apesar de ver alguns avanços, a atriz acredita que o negro ainda não é muito presente no teatro e na TV brasileira. Chica cita as novelas brasileiras que são exibidas em Cabo Verde e Angola, nas quais há poucos atores negros. "O negro não se vê retratado. Eu acho que é uma coisa que está em evolução, mas ainda está longe do que seria necessário", desabafa. Uma das alunas do 16º Curso de Teatro do Centro Cultural Português do Mindelo, Lisa, disse à RFI que "é uma experiência incrível e uma honra fazer parte do projeto" que resultou na peça “Somos Todos Ubu”.