Podcasts about all tomorrow

Grace Bergere is a songwriter and musician from Downtown Manhattan. She will be touring the West Coast with Puzzled Panther in late July, supporting Gogol Bordello for the second time. On June 4th, she'll appear at Scott Lipps' Lipps Service Live at The Bitter End with Eugene Hutz, and on June 7th, she'll perform with Joseph Keckler and Bibbe Hansen at Art Yard in New Jersey. Her debut album A Little Blood was released on Eugene Hutz's Casa Gogol Records, which also put out her cover of All Tomorrow's Parties featuring Thurston Moore.

Nick's feature film work includes: The Arbor, The Selfish Giant, The Double, Life, On Chesil Beach, Dark River, A Private War, American Animals, True History Of The Kelly Gang, Nitram, The Order, and the upcoming Wizards. Nick's documentary features include: Taking Liberties, On A Knife Edge, and All Tomorrow's Parties.

(S4-Ep8) The Velvet Underground and Nico (Verve Records)  Released March 1967- Recorded April-May and November of 1966 (Verve Records)  Despite its initial commercial failure, the Velvet Underground & Nico (1967) is one of the most influential albums in rock history. The album, produced by artist Andy Warhol, fused avant-garde art with raw, experimental rock, tackling taboo subjects like drug use and urban decay. Lou Reed's stark lyricism and John Cale's avant-garde instrumentation—particularly his electric viola—set the band apart from their contemporaries. Tracks like Heroin, Venus in Furs, and All Tomorrow's Parties showcased their uncompromising artistic vision. Though largely ignored upon release, the album became a blueprint for punk, noise rock, and indie music, influencing artists from David Bowie to Sonic Youth. The iconic banana cover, designed by Warhol, remains one of rock's most recognizable images. Over time, The Velvet Underground & Nico earned its place as a seminal work, proving that commercial success is not always a measure of artistic impact. Signature Tracks  "Heroin," “Venus in Furs,” "All Tomorrow's Parties"  Playlist  YouTube   Spotify  Full Album  YouTube Spotify 

Peel slowly and see what we have in store this week-- it's The Velvet Underground And Nico! What happens when experimentalists Lou Reed and John Cale join forces with eccentric pop artist Andy Warhol? Turns out they make one of the most influential and regarded cult classic records of the late '60s. Its raunchy, suggestive, and provocative lyrics kept them off the radio, but won over fans worldwide. We'll talk about their unusual origins and eventual disbanding. The Mixtaper reactivates our arachnophobia, bargains with art, and introduces us to a couple who can't seem to stick together. Run Run Run and check out this episode... we promise you'll still have time for All Tomorrow's parties! Happy Mixtober!! Keep Spinning at www.SpinItPod.com!Thanks for listening!0:00 Intro4:29 About The Velvet Underground15:34 About The Velvet Underground And Nico29:27 Awards & Accolades30:32 Fact Or Spin31:41 Lou Reed Is In A Special Club With Johnny Cash38:15 Instead Of Cash, Warhol Paid For Their Record With Art43:44 Nico Was Married To The Inventor Of The Glue Stick52:05 The Band Had An Equally Genius And Annoying Album Idea58:08 Album Art (Peel Slowly And See)1:02:56 Sunday Morning1:09:25 I'm Waiting For The Man1:14:20 Femme Fatale1:17:05 Venus In Furs1:20:16 Run Run Run1:23:09 All Tomorrow's Parties1:26:18 Heroin1:31:23 There She Goes Again1:33:21 I'll Be Your Mirror1:35:20 The Black Angel's Death Song1:37:29 European Son1:39:05 Final Spin Hosted on Acast. See acast.com/privacy for more information.

Rockshow Episode 203 NicoNico, born Christa Päffgen on October 16, 1938, in Cologne, Germany, was a singer, songwriter, and actress best known for her work with The Velvet Underground and her solo career. She became an iconic figure in the music and fashion scenes of the 1960s and 1970s.Early Life and CareerNico began her career as a model and actress in the 1950s. She appeared in several films, including Federico Fellini's La Dolce Vita (1960). Her striking beauty and unique style made her a fixture in the European fashion world.Music CareerNico's music career took off when she was introduced to Andy Warhol, who managed The Velvet Underground. Warhol suggested that Nico should sing with the band, leading to her contributions to their seminal debut album, The Velvet Underground & Nico (1967). Her deep, haunting voice added a distinct atmosphere to tracks like “Femme Fatale,” “All Tomorrow's Parties,” and “I'll Be Your Mirror.”After her work with The Velvet Underground, Nico embarked on a solo career. Her debut solo album, Chelsea Girl (1967), featured a more folk-oriented sound, with contributions from members of The Velvet Underground and Bob Dylan. However, she soon moved away from this style, developing a darker, more experimental sound.Her subsequent albums, such as The Marble Index (1968), Desertshore (1970), and The End (1974), showcased her unique approach to music, blending avant-garde, classical, and gothic elements. Nico's solo work is often characterized by its bleak, introspective lyrics and minimalistic instrumentation, often featuring harmonium, an instrument she played herself.Later Years and LegacyNico's later years were marked by struggles with addiction and a nomadic lifestyle. She continued to release music and perform throughout the 1980s, but her health and career declined. Nico died on July 18, 1988, from a heart attack while on vacation in Ibiza.Despite her tragic life, Nico has left a lasting impact on music and culture. She is often remembered as one of the most enigmatic and influential figures in the world of alternative and avant-garde music. Her work has influenced countless artists, and she remains a cult icon to this day.#Nico #ChristaPäffgen#TheVelvetUnderground #ChelseaGirl #TheMarbleIndex#AvantGarde #GothicMusic#IconicSinger #MusicLegend#AndyWarhol #70sMusic#FemalePioneers #CultIcon#DarkWave #MusicHistoryhttps://www.newyorker.com/books/under-review/the-misunderstood-voice-of-nicohttps://open.spotify.com/artist/0IwlY33zbBXN7zlS9DP2Cj?si=gx1MGIOYRKmFzNRGfPu9dghttps://www.facebook.com/share/g/4j1eLTrZBEMMfYiL/?mibextid=K35XfPhttps://music.youtube.com/channel/UCjk87eFr83Lr7ioGcHgx0Cg?si=y32T3v6rbxXtRYzXhttps://music.apple.com/us/artist/nico/136825https://www.imdb.com/name/nm0630113/?ref_=ext_shr_lnkPlease follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.comhttps://linktr.ee/RobRossiGet your T-shirt at https://www.prowrestlingtees.com/gettinglumpedupAnd https://www.bonfire.com/store/getting-lumped-up/Subscribe to the channel and hit the like button This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://www.patreon.com/Gettinglumpedup

Singles Going Around- Summer (1967 Version)The Beatles- "I Am The Walrus"Captain Beefheart- "Sure "Nuff 'N Yes, I Do"The Small Faces- "Tin Soldier"Pink Floyd- "Astronomy Domine"Love- "Alone Again Or"The Electric Prunes- "I Had Too Much To Dream Last Night"Bob Dylan- "All Along The Watchtower"Jimi Hendrix- "Manic Depression"The Beach Boys- "Heroes and Villains"The Amboy Dukes- "Baby Please Don't Go"The Rolling Stones- "2000 Light Years From Home"The Who- "Armenia City In The Sky"Buffalo Springfield- "Expecting To Fly"13th Floor Elevators- "Levitation"The Balloon Farm- "A Question Of Temperature"The Byrds- "So You Want To Be A Rock and Roll Star"The Doors- "Back Door Man"Cream- "Sunshine Of Your Love"The Monkees- "What Am I Doing Hanging Around"The Velvet Underground- "All Tomorrow's Parties"Vanilla Fudge- "You Keep Me Hanging On" (Quentin Tarantino Edit)

"A Master Class In Songwriting" Jad Fair is probably best known as one half of Half Japanese. Formed with his brother David in 1974, the Maryland by way of Michigan outift remain one of the more curious entires into the pantheon of rock and roll. Their songs are jagged and battered mini-anthems about broken hearts, monsters and...broken hearts and monsters. As Jad Fair once said, their songs are either love songs or monster songs. And there are a lot of songs. For example: the band's sophomore effort was a triple album, some records have 45 songs all under two minutes. Some of the tracks are barely one...Half Japanese have quite a discography, including classics like Music To Strip By, Charmed Life and The Band Who Would Be King. Over the course of their idiosyncratic, non-traditional career, they've counted the Velvet Underground's Moe Tucker as a member, put out albums on Penn Jillette's record label, opened for NIrvana, and collaborated with Daniel Johnston, Kramer, Steve Fisk, Thurston Moore, Fred Frith Teenage Fanclub, Yo La Tengo, The Pastels, Jason Willett and John Zorn, and were chosen by Neutral Milk Hotel's Jeff Magnum to play the All Tomorrow's Parties festival that he was curating. Half Japanese are underground heroes, who broke every rule of modern music and then broke the rules they broke. They remain a dynamic, artistic and powerful creative endeavor. As for Jad Fair, he's done anything but slow down. Aside from putting out a handful of solo albums, as a visual artist Fair's artwork has yielded several books and museum shows across the world. His papercut style is singular and charming, but also rife with a simple complexity. It's really staggering stuff. Also staggering: his new album 100 Songs (A Master Class In Songwriting). It consists of, you guessed it: 100 songs. Impressed? Well, his other new album Film Music has 150. Filled with swerving low-fi bliss, there's not a false note to be found on these records. But of course there isn't: it's Jad Fair. And Jad Fair operates from a cosmos of creative impulse. And that impulse is as pure and driving as it gets. www.jadfair.net (http://www.jadfair.net) www.bombshellradio.com (http://www.bombshellradio.com) www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com (http://www.alexgreenbooks.com) Twitter: @emberseditor IG: @emberspodcast Email: editor@stereoembersmagazine.com (mailto:editor@stereoembersmagazine.com)

Label: Sundazed 201Year: 2009Condition: MPrice: $75.00Here's a beautiful, limited-edition box set honoring New York's legendary Velvet Underground. This new, sealed set includes all of the group's very rare 7" vinyl output in their original mono versions, featuring exact reproductions of the labels and, in two cases, with their original picture sleeves. The box set includes rare vintage photos and new liner notes by Rolling Stone's David Fricke. The Velvet Underground whose membership included Lou Reed, John Cale, Sterling Morrison, Maureen Tucker, Doug Yule and Nico introduced numerous sonic and thematic innovations that laid much of the groundwork for punk and alternative rock. Although they're now acknowledged as one of the most influential bands in rock history, during their existence the Velvets barely registered on mainstream radar, and were often reviled by mainstream observers as well as hippie-era arbiters of cool. But, as Fricke writes in the new set's liner notes, "Somewhere, in another rock & roll universe, the Velvet Underground are more than a legendary band. They are stars, with hit singles, the original seven-inch masterpieces inside this box." Although they never came close to scoring a hit, the Velvet Underground was ideally suited to the 7" single format. "The Velvet Underground were a great singles band," David Fricke notes, adding that the Velvets "invented modern rock with searing guitar distortion, throbbing improvisation and brutally realistic tales of life on the wild side. But they did it all in these classic pop songs�compact miracles of raw drive, intimate beauty and Top 40 ecstasy, heard again in the original, thrilling mono single mixes." The seven singles included in The Velvet Underground Singles 1966�69 comprise the four Velvets singles originally released in the U.S. on the Verve and MGM labels, plus an additional pair of singles that were prepared for release but never made it to the marketplace and a special radio-only promotional single. The singles feature alternate mono versions that differ in significant ways from the songs' better-known stereo album versions. For instance, the band's 1966 debut single "All Tomorrow's Parties" appears here in a special mono edit that amplifies the song's melodic beauty and sonic tension, and a mono mix of their sophomore single "Sunday Morning" emphasizes the song's haunting quality. Meanwhile, the mono single version of "White Light/White Heat" exemplifies the vintage Velvets' stark, distortion-laden fury, while a mono edit of "What Goes On" accentuates that song's inherent pop jangle. Here is a listing of the included singles: All Tomorrow's Parties / I'll Be Your Mirror—Verve VK-10427 Sunday Morning / Femme Fatale—Verve VK-10466 White Light/White Heat / Here She Comes Now—Verve VK-10560 White Light/White Heat / I Heard Her Call My Name—Cancelled single Temptation Inside Your Heart / Stephanie Says—Cancelled single What Goes On / Jesus—MGM K-14057 VU Radio Spot / VU Radio Spot—MGM VU-1

Welcome to the Instant Trivia podcast episode 1168, where we ask the best trivia on the Internet. Round 1. Category: Finish The Line 1: The Beatles:"Yesterday all my troubles seemed...". so far away. 2: Francis Scott Key:"Oh! Say, can you see...". By the dawn's early light. 3: President Bush:"Read my lips...". no new taxes. 4: Clark Gable in "Gone with the Wind": "Frankly, my dear...". I don't give a damn. 5: Your mom:"Penny wise...". pound foolish. Round 2. Category: My Tv Dads 1: James Gandolfini led 2 types of families, each with their own unique sets of problems, on this HBO drama. The Sopranos. 2: In "Two and a Half Men", he was just Duckie playing Alan Harper, dad to the half-man. (Jon) Cryer. 3: On this show, Will moved in with his Auntie Viv and Uncle Phil, parents to Hilary, Ashley, Nicky and dance master Carlton. The Fresh Prince of Bel-Air. 4: Taiwanese immigrant Louis Huang makes a go of it in 1990s Orlando with his wife and 3 sons on this ABC sitcom. Fresh Off the Boat. 5: His 2017 Emmy award as dad and son on "This Is Us" was his second in two years--for your information, the "K" is for Kelby. (Sterling K.) Brown. Round 3. Category: Let'S Play Clue 1: This murder weapon could also light up the table in the dining room. Candlestick. 2: In the 1985 film based on Clue, this "Rocky Horror" actor played Wadsworth the butler. Tim Curry. 3: It's the main claim to fame of Anthony E. Pratt, a fire warden in Leeds, England. He invented the game ("Cluedo"). 4: He's the only academic among the 6 suspects. Professor Plum. 5: In the U.S. version, the game of Clue starts when this man is found dead in his mansion. Mr. Boddy. Round 4. Category: National Velvet. With Velvet in quotes 1: Bobby Vinton revived this Tony Bennett song and took it to No. 1 in 1963. Blue Velvet. 2: "Dark" mixed drink of stout beer and champagne. Black Velvet. 3: Holy Roman emperor Charles V spoke of power as "An iron hand in" one of these. a velvet glove. 4: Classic songs by this '60s band include "Venus in Furs" and "All Tomorrow's Parties". The Velvet Underground. 5: 1989 Czechoslovakian uprising that led to democratic elections. the "Velvet Revolution". Round 5. Category: Soft Rock 1: This French-Canadian woman topped the adult contemporary charts with "The Power Of Love" and "All By Myself". Céline Dion. 2: Putting the "easy" into easy listening, Lionel Richie sang, "That's why I'm easy, I'm easy like" this. Sunday morning. 3: Now known as Yusuf Islam, he embarked on the Peace Train Tour in 2014. Cat Stevens. 4: In the '80s this duo had a string of hits beginning with "Lost In Love" and "All Out Of Love". Air Supply. 5: Seals and Crofts made us feel fine with this tune, "blowing through the jasmine in my mind". "Summer Breeze". Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Hosts Jim DeRogatis and Greg Kot review Sly Stone's memoir and revisit an interview with Family Stone members Jerry Martini and Cynthia Robinson. They also review new albums from The Feelies and Robert Finley. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Sly and the Family Stone, "Everyday People," Stand!, Epic, 1969The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Robert Finley, "Waste of Time," Black Bayou, Easy Eye, 2023Robert Finley, "What Goes Around (Comes Around)," Black Bayou, Easy Eye, 2023Robert Finley, "Nobody Wants To Be Lonely," Black Bayou, Easy Eye, 2023Robert Finley, "Gospel Blues," Black Bayou, Easy Eye, 2023The Feelies, "Oh! Sweet Nuthin'," Some Kinda Love: The Feelies Performing the Music of the Velvet Underground, Bar None, 2023The Feelies, "What Goes On," Some Kinda Love: The Feelies Performing the Music of the Velvet Underground, Bar None, 2023The Feelies, "All Tomorrow's Parties," Some Kinda Love: The Feelies Performing the Music of the Velvet Underground, Bar None, 2023The Feelies, "I'm Waiting For the Man," Some Kinda Love: The Feelies Performing the Music of the Velvet Underground, Bar None, 2023Sly and the Family Stone, "I Ain't Got Nobody (For Real)," Dance To The Music, Epic, 1968Sly and the Family Stone, "Advice," A Whole New Thing, Epic, 1967Sly and the Family Stone, "I Hate To Love Her," A Whole New Thing, Epic, 1967Ike and Tina Turner, "Bold Soul Sister," The Hunter, Blue Thumb, 1969Sly and the Family Stone, "Dance To The Music," Dance To The Music, Epic, 1968The Roots, "Star/Pointro," The Tipping Point, Geffen, 2004Sly and the Family Stone, "Thank You (Falettinme Be Mice Elf Agin)," Thank You (Falettinme Be Mice Elf Agin) (Single), Epic, 1969Bobby Freeman, "C'mon and Swim," C'mon and Swim (Single), Autumn, 1964Sly and the Family Stone, "Family Affair," There's A Riot Goin' On, Epic, 1971Sly and the Family Stone, "Hot Fun in the Summertime," Hot Fun in the Summertime (Single), Epic, 1969Sly and the Family Stone, "Thank You For Talking To Me Africa," There's A Riot Goin' On, Epic, 1971Sly and the Family Stone, "Brave and Strong," There's A Riot Goin' On, Epic, 1971Sly and the Family Stone, "You Can Make It If You Try (Live)," Stand!, Epic, 1969Sly and the Family Stone, "We Love All," Dance To The Music (2007 version), Epic, 1968Sly and the Family Stone, "Color Me True," Dance To The Music (Single), Epic, 1968Lou Reed, "Walk on the Wild Side," Transformer, RCA, 1972See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

All Tomorrow's Parties (ATP) was a UK-based festival and concert organiser and promoter from 1999 to 2016. It places musicians first, frequently letting the headlining act choose the festival's lineup. ATP felt like it was run by music fans who were never quite organised enough to get it together: it was a slightly shambolic affair. ATP Weekends were set in off-season holiday camps in seaside towns around the UK's coast. They also put on festivals in the US, Australia and Iceland. Another contribution to concert culture was having bands play (frequently classic) whole albums from start to finish. ATP entered the lives of Andrew and Sam around 2009, and they subsequently went to many of the festivals until the ultimate demise of the organisation in 2016. Here, along with other friends, they slept in chalets, provided their own choice of drinks (Andrew spent one weekend drinking 2.6% Sainsbury's own brand bitter, wondering why he never felt drunk), discovered a treasure trove of “alternative” bands and witnessed some of their fondest gig memories. So, join them for a trip down memory lane. Along the way, friends Andy and Al pop up to contribute their experiences. They talk about the feels ATP still elicits, as well as the half-remembered rumours, they joy and the chaos. If you want to contribute to another ATP show, please send us a message via … and we'll include it (probably uncensored, within reason): Interesting Times Gang video - https://youtu.be/FLA-lRb-Ixw?si=i4Fy-2i8sz3eESSE RIFFS OF THE WEEKParliament - Unfunky UFO (opening)The Interesting Times Gang - El Diablo Robótico (7:36)SAM'S CHOICESTweak Bird - A Sun/Ahh Ahh (1.24)Shellac - Wingwalker (3.54)Les Savy Fav - Patty Lee (0.11)Sleaford Mods - The Wage Don't Fit (0.27)ANDREW'S CHOICESThe Melvins - The Talking Horse (from start)Sunn O))) - Big Church [[megszentségteleníthetetlenségeskedéseitekért]] (0:15)Yeah Yeah Yeahs - Heads Will Roll (1:15)"Weird" Al Yankovic - Amish Paradise (2:19)RUDDIGER BROOMHILDER'S LETTERSubject: A Couple of Curiosities from a Woozy Music FanDear Andrew and Dr. Sam,Hope this finds you both hitting the high notes and staying in tune! Ruddiger here, still buzzing from the beat, albeit a bit dizzy from my recent gastric surgery adventure. Ah, the things we endure for the love of plums and podcasts!Suffice to say I missed your last episode, due being in the care of the NHS, but I felt compelled to email you anyway.Andrew, I have a question that's as straightforward as a drum solo. In your esteemed opinion, which famous musician would make the best pizza chef, and why do I ask? I can't shake the mental image of a rock star tossing his dough.Dr. Sam, onto a more melodic matter, though I'm afraid there's a bit of befuddlement in my noggin. I've been trying to wrap my head around the concept of 'middle 8s' and, for some reason, I've concocted this image of sharing a bath with a muddy rugby team (don't ask). Could you enlighten me - have you ever experienced a 'middle 8' in this peculiar context? Asking for a friend...Oh, before I forget, I've been reminiscing about that time I had to clean the dental surgery toilet after my unripe plum escapade. What a symphony of smells and memories! Definitely a story I'll keep in my back pocket, much like a well-loved bum plum.Well, I must dash. I've got a bit of a situation here; I think I may have trapped my foreskin in the detergent tray of my mother's washing machine. Suffice to say, it's a bit of a squat and a squeeze!Keep the beats flowing and the wisdom coming in my ears.Rock on,Ruddiger Broomhilder(Your slightly woozy but ever-devoted fan)

Join Alexander and Jason as they explore the thought-provoking and visionary future of mankind in the article titled "All Tomorrow" by C.M. Kösemen. It illustrates speculative zoology, specifically diving into the evolutionary designs and biological genius behind nature and the universe. Creation itself molds and iterates different paths towards evolution. In this episode, Alexander and Jason provide an in-depth discussion on evolutionary science while delving into what makes "All Tomorrow" a unique and captivating science fiction masterpiece.   We delve into the various forms that humans may evolve into in the future. In its most fundamental sense, we can see and analyze the essence of universal designs among living, sentient organisms. Each existing species of nature has distinct features, indicating nature's relentless and constant state of equilibrium.   By design, mankind is likely created by higher life forms, colloquially referred to as extraterrestrials or ‘Gods' in some culturally and socially acceptable terms. We have previously discussed the imposing and oppressive nature of religion. Alexander and Jason revisit the core themes in understanding evolution, highlighting how we have always been led to falsely believe in the concept of evolutionary Darwinism. The propaganda behind conventional scientific ideas of evolution fails to present a logical argument.   Moreover, Mankind is a probable offshoot of another humanoid species more civilized and advanced than us. It is a likeness to them, not vice versa. Our DNA structure, at its base, is genetically modified from the ground up. The linear progression of Darwinian evolution simply doesn't add up.   The anti-progressive movements against scientific innovation have gravely hindered our advancement and development to push further in enhancing our lives. We have been kept in the gates, the government hiding the benefits to let science and technology flourish.  We should not take technology for granted. Let us make technology beneficial for us. We should focus on our evolutionary path as all-encompassing to all features of our existence.   Now, what is the way forward for us as a species? We need to evolve with what we have, we need to simply EVOLVE. We were born to evolve, and we were born to create. We follow the steps of Creation, not material evolution. Similar to the previous episode on Exo-Biospheric-Organisms (EXO) that were genetically designed to seek perfection. Even genetically or perceivably artificially modified organisms are allowed by Creation to evolve. As humans, we have the power of life and Free Will to control our thoughts and actions through the intelligent infinity of Creation.   We are part and parcel of Oneness in Creation. Creation ALLOWS us to exist. Hence, we should strive for our own evolution. Alexander and Jason remind us that there is beauty in imperfection. The bias against the inconvenience of aesthetics, perfection, and standards of beauty is riddled with many untrue ideologies. We made our own problems, the knee-jerk responses of deliberate sterilization and discriminatory policies that pursue the false sense of beauty and perfection. These problems had come from racism, eugenics, and other such forms of hierarchies that are bound to crumble in our proper ascendance to higher enlightenment.   Let us join Alexander and Jason as they discuss the future evolution of mankind.   Please support our sponsors TARTLE.CO. It is the only marketplace in the world that provides profit to you. Your personal data will serve for helpful causes. Unlocking human understanding through sharing of data and information, and Quality Mazda where you can purchase affordable rides at a reasonable price.   Finally, this episode is brought to you by our proud sponsor Magic Mind . Are you tired of feeling mentally drained and struggling to focus throughout the day? Say goodbye to brain fog and hello to a new level of productivity with Magic Mind, the ultimate brain-boosting elixir!   Ignite Your Mental Power: Experience the magic blend of cognitive-enhancing ingredients that will supercharge your brain. Our carefully selected natural nootropics, adaptogens, and superfoods work together to enhance memory, improve concentration, and promote mental clarity like never before!   Discover Laser-Focused Energy: Gone are the days of relying on coffee or energy drinks that leave you feeling jittery and crashing later on. Magic Mind provides a clean, sustained energy boost that keeps you sharp and focused throughout the day. Wave goodbye to those midday slumps and unlock your true potential.   Fuel Your Brain with Nature's Best: We believe in the power of Mother Earth's finest ingredients. With a harmonious blend of matcha, turmeric, lion's mane, ashwagandha, and more, Magic Mind nourishes your brain from within. Get ready to experience the ultimate brain food that's both delicious and nutritious!   Elevate Your Mood: Feeling stressed or overwhelmed? Magic Mind not only enhances your cognitive function but also promotes an overall sense of well-being. Our ingredients help reduce stress, support a healthy mood, and boost your resilience against life's challenges. Embrace a more balanced and joyful mindset every day.   Experience the Magic Mind difference today and awaken your full mental potential! Visit our website now to join the movement and take advantage of our exclusive limited-time offer. 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The Velvet Underground didn't sell many records at first but everyone who bought one went out and started a band*-- and now YOU can read a graphic novel about the Velvets! I interview cartoonist Koren Shadmi about his new graphic novel, All Tomorrow's Parties: The Velvet Underground Story. His book is about the formation and dissolution of one of our favorite bands, and one of the most important rock bands of all time. Eisner-nominated Koren Shadmi joins me to talk about The Velvet Underground's importance, why we love them and his process in making this new work of music history in comics form. Koren Shadmi is an American-Israeli, Award-winning illustrator and cartoonist. He studied illustration at The School of Visual Arts in New York where he now teaches. His books have been published internationally and include The Twilight Man: Rod Serling and the Birth of Television, and most recently Lugosi: The Rise and Fall of Hollywood's Dracula. All Tomorrow's Parties is published by Humanoids https://www.humanoids.com/y_catalog/book/id/1359 *I am paraphrasing the great Brian Eno on this. https://www.korenshadmi.com/   

We're back! To kick off season three in style, we're joined by WWE referee and notorious comic book collector Jason Ayers who discusses the monumental "X" comic book grail tale he's currently embarking on. Jake also reviews the recent Humanoids release All Tomorrow's Parties: The Velvet Underground Story by Koren Shadmi. Lots to love in this premiere episode. Hurry and listen now! SUPPORT THE SHOW! Subscribe to our Patreon to gain exclusive bonus content, join our private discord conversations, and help Spec Tales grow. REACH OUT TO US! Share a grail tale of your own, give us some feedback, or tell us a topic you want us to discuss. Our website is www.spectalespodcast.com or find us on Twitter and on Instagram. You can also shoot us a message anytime at spectalespodcast@gmail.comAs always — thank you for listening.Spec Tales Artwork Created by Bartels Creative Co

In this author interview, I speak with Koren Shadmi, the author of Bionic, Rise of the Dungeon Master, Gary Gygax and the Creation of D&D, and The Twilight Man: Rod Serling and the Birth of Television. He joins me today to talk about his graphic novel, Lugosi: The Rise & Fall of Hollywood's Dracula. Listen to hear about how Lugosi's history as an activist, how Lugosi's career might have been different had he played Frankenstein's monster, and why Dracula is such an enduring story for film adaptation. Books mentioned in this episode include:All Tomorrow's Parties: The Velvet Underground Story by Koren ShadmiDracula by Bram StokerLugosi The Man Behind the Cape by Robert CremerBela Lugosi: Hollywood's Prince of Darkness by Nige Burton and Jamie JonesActing Class by Nick DrnasoFilms mentioned in this episode include:Dracula directed by Tod Browning & Karl FreundSon of Frankenstein directed by Rowland V. LeeThe Black Cat directed by Edgar G. UlmerFrankenstein directed by James WhaleRenfield directed by Chris McKayLast Voyage of the Demeter directed by André ØvredalVideodrome directed by David CronenbergThe 400 Blows directed by François TruffautVertigo directed by Alfred HitchcockMusic mentioned in this episode includes:Bauhaus

Bearded Comic Bro got to sit down and talk with writer and artist Koren Shadmi. Koren is the creator of All Tomorrow's Parties (The Velvet Underground Story), which is in comic storesnow. Make sure you watch the video and check out all the links below that we mention in the videoFollow Koren Shadmi onlineWebsite: https://www.korenshadmi.com/

Visit our Patreon page to see the various tiers you sign up for today to get in on the ground floor of AIPT Patreon. We hope to see you chatting with us on our Discord soon!NEWSFull November 2023 DC Comics solicitations​​Jason Aaron to take a young Dark Knight off-world in ‘Batman: Off-World' #1Marvel November 2023 solicitations are hereMarvel details new villain Omen and more appearing in 'Captain Marvel' #2'Sabretooth War' launching blood feud battle in January 2024Marvel sheds light on G.O.D.S. (and we had an exclusive chat with Hickman!)New series 'Lotus Land' mixes sci-fi, parenthood, and a dystopian futureKevin Smith's Askewniverse grows with 'Quick Stops ll'Tom King and Peter Gross team up for ‘Animal Pound' #1Our Top Books of the WeekDave:The Penguin #1 (Tom King, Rafael de Latorre)Jean Grey #1 (Louise Simonson, Bernard Chang)Nathan:Xino #3 (Various)Jean Grey #1 (Louise Simonson, Bernard Chang)Standout KAPOW moment of the week:Nathan - Immortal Thor #1 (Al Ewing, Martin Coccolo)Dave - Knight Terrors: Detective Comics #2 (Dan Watters, Riccardo Federici)TOP BOOKS FOR NEXT WEEKDave: The Hunger And The Dusk #2 (G. Willow Wilson, Chris Wildgoose)Nathan: Marvel Age #1000 (Various)JUDGING BY THE COVER JR.Dave: Marvel Age #1000 (Francis Manapul)Nathan: Action Comics Presents: Doomsday Special #1 (Barends)Segment - Interview: Koren Shadmi - All Tomorrow's PartiesIn the afterward, you mention it was a 2-year journey of making All Tomorrow's Parties, what was the element that kick-started the project? Tell us your history with the Velvet Underground! Is this a story you've always wanted to tell?Why begin at Andy Warhol's funeral?If the main characters are Lou Reed and John Cale, where does Warhol fit within the narrative?How do you approach writing dialogue for people who really exist? Do you feel pressure to get Lou or John's voice just right?What is your process in breaking down the story visually? Are you doing thumbnails, jumping right in?Was there a particular panel or page that was particularly difficult to lock down?When approaching a biography, it must be difficult as a fan. It all feels important! How do you pick and choose, boil a life down to the essential parts?Were there any moments where you felt inclined to augment what really happened, or invent dialogue that was in the spirit of a moment in their lives?Your research into the Velvet Underground must have meant an entire a lot of research, did you ever find yourself going down a rabbit hole of history?For someone who reads this and wants to dig into the Velvet Underground, is there a book you'd recommend to start with to learn more?All Tomorrow's Parties feels incredibly comprehensive, would you ever pursue creating more stories tied to punk rock history? I could see this becoming a trilogy!

 Nico – one-time member of The Velvet Underground - is an enigma in modern rock music.  Despite her wide-ranging influence, her music is not for the faint-hearted.  Mick saw Nico at the Sydney Trade Union Club in 1986 and it was a concert unlike any other. She's not for everybody, or even most people, but have a listen, you'll hear something new and might just broaden your view on the rest of the music you listen to. We discuss why we don't play actual music on our podcast (licensing laws!) and why we put a curated playlist to help you get a feel for what we talk about.  We like to think of our podcast as journalism for your ears! Our album "You Must Hear Before You Die” is Too-Rye-Ay by Dexy's Midnight Runners, featuring the single, “Come On Eileen”, the only single from the album to be a hit.  Adding strings (violin, viola and cello) to the band's existing horn section created a joyous riot of Irish music-influenced pop and soul, with a potent mix of S-E-X! Enjoy!  References:  Martin Mull, TripleJ, APRA, “1001 Albums You Must Hear before You Die”,  Robert Dimery, Too-Rye-Ay, Dexy's Midnight Runners, Kevin Rowland, “Come On Eileen”, Van Morrison, Velvet Underground, “Songs They Never Play on the Radio”, "Chelsea Girls”, John Cale, Lou Reed, Roxy Music, Eno, “June 1, 1974”, Sydney Trade Union Club, Christa Paffgen, Andy Warhol, The Factory,  Andrew Loog Oldham, “I'm Not Saying”, Gordon Lightfoot, The Plastic Exploding Inevitable, “I'll Be Your Mirror”, “All Tomorrow's Parties”, “Femme Fatale”, “Desertshore”, “The Marble Index”, "Janitor of Lunacy", Nico, Cale and Lou Reed, Bataclan ‘72, “Heroes”, Bowie, "The Blue Angel”, Siouxsie and the Banshees, The Cure, M0orrissey, Iggy Pop, Elliot Smith, Bjork, Peter Hook, Marianne Faithfull  Books You Are Beautiful, and You Are Alone – Jennifer Otter Bickerdike UPTIGHT!  The Velvet Underground Story – Victor Bockris (Reed, Cale, Stones)  The PlaylistThe Love Boat with Any Warhol

Nick's feature film work includes: The Arbor, The Selfish Giant, The Double, Life, On Chesil Beach, Dark River, A Private War, American Animals, True History Of The Kelly Gang, and Nitram. Nick's documentary features include: Taking Liberties, On A Knife Edge, and All Tomorrow's Parties. Nick's musical collaborations include Sigur Ros, on their films Heima and Inni, and the film Bjork: Biophilia Live which he co-directed with Peter Strickland.

Fed up with the cheesy antics and shameless self-promotion of typical wedding disc jockeys, Mary Nisi founded Toast and Jam in 2005 based on the idea that her clients and guests should be entertained, not overshadowed. Music-obsessed since childhood, Mary got her start in community radio and began DJing events when a listener called the request line and asked if she would DJ their wedding. Since then, the company has provided the soundtrack to thousands of weddings and events in Chicago and beyond, most notably for Barack & Michelle Obama, Valerie and Laura Jarrett, Vince Vaughn, and this one afterparty for every important NASCAR driver who was all very amused by the fact that she knew not one of them by name, amongst many, many others. She is a founding member of the Chicago Independent Radio Project (CHIRP) and the CHIRP Record Fair & Other Delights and currently hosts "The Noonday Underground" on Mondays from noon to 3 pm on CHIRPradio.org. She's DJed at numerous spots around Chicago including The Whistler, Cole's Danny's (RIP!), Schuba's, The Burlington, Delilah's, and Smashing Time, the legendary Saturday night dance party at The Hideout, as well as abroad at All Tomorrow's Parties, the celebrated music festival in Camber Sands, England. A graduate of DePaul University and a native of Omaha, Nebraska, Mary has been featured on NPR's All Things Considered, Chicago Public Radio, CS Brides, The Knot, Wedding Wire, The Atlantic, Chicago Tribune, Brides Chicago, Martha Stewart Weddings and TimeOut Chicago. She is also a graduate of the Goldman Sachs 10000 Small Businesses Program. In 2022, she launched the podcast All Up In My Lady Business. Mary is also the creator of the Toast & Jam Lab, an online course to help Mobile DJs Grow & Scale their businesses. Mary fills the rest of her time with beekeeping in her Evanston, IL,  backyard, sewing in the basement, downhill skiing, watching Jeopardy!, and bicycling around the neighborhood with her husband, John, and son Sebastian. --- Send in a voice message: https://podcasters.spotify.com/pod/show/2djs/message Support this podcast: https://podcasters.spotify.com/pod/show/2djs/support

هذه الحلقة منتجت وسجلت بالإشتراك مع بودكاست ستيل شاوت (Steel Shout) أدب السايبربنك يعتبر من أهم الفروع التي ولدت من أدب الخيال العلمي في القرن العشرينما هو الـ(cyberpunk)  في الأدب.يمثل الـ (cyberpunk) نوعًا من أدب الخيال العلمي الذي يتميز بتمحوره حول العالم الافتراضي والتكنولوجيا المتقدمة، كما يتضمن العديد من العناصر الأخرى مثل الجريمة والفساد والتحرر والتمرد، ونوع من القصص الغامضة. يعود أصل الـ (cyberpunk)  إلى الأدب الخيال العلمي الذي ظهر في الستينات والسبعينات من القرن الماضي، ولكنه انتشر وازدهر في الثمانينات والتسعينات، وذلك بفضل العديد من الأعمال الشهيرة التي تناولت هذا الموضوع، مثل رواية "نيرومانسر" للكاتب وليام جيبسون التي صدرت في عام 1984.تعريف (cyberpunk)تأتي كلمة "سايبربانك" أو "سايبربونك" (Cyberpunk) من مزيج بين كلمتين:الأولى هي "سايبرنيتيكس" (Cybernetics) وهي تعني دراسة النظم الآلية والحيوية والتفاعل بينها.يشير مصطلح "سايبرنيتيكس" (Cybernetics) إلى دراسة النظم والآليات والتفاعلات بين الأجزاء المختلفة في الأنظمة الحيوية والآلية. ويتضمن هذا المصطلح فهم العلاقات المتبادلة بين الجزء والكل في النظام، وكيفية تغيير وتحكم الأنظمة في أنفسها.وتشمل مجالات الدراسة في السايبرنيتيكس مثل هذه النظم المختلفة كالأعصاب والغدد، والآليات المتحكمة في الصناعة والتحكم في المرور والملاحة والطيران، والتكنولوجيا الحيوية والطبية، والذكاء الاصطناعي والروبوتات.يعود أصل مصطلح "سايبرنيتيكس" (Cybernetics) إلى اللغة اليونانية، حيث تعني "kybernetes" باللغة اليونانية "الملاح" أو "القائد" أو "المدير". ولقد استخدم هذا المصطلح في اليونان القديمة للإشارة إلى الشخص الذي يدير السفينة ويتحكم في اتجاهها وحركتها. وفي القرن العشرين، أطلق عالم الرياضيات الأمريكي نوربرت وينر (Norbert Wiener) مصطلح "cybernetics" لوصف الدراسة العلمية للتحكم والتواصل في الآلات والأنظمة المعقدة. وقد استخدم وينر هذا المصطلح للإشارة إلى دراسة العمليات التي تحكم الأنظمة المعقدة، سواء كانت هذه الأنظمة آلية أو حية. ومنذ ذلك الحين، انتشر استخدام مصطلح "سايبرنيتيكس" لوصف دراسة نظم التحكم الآلية والحية، وأصبح مصطلحًا شائعًا في العديد من المجالات العلمية والتقنية المختلفة.ومن المهم أن نلاحظ أن السايبرنيتيكس لا تقتصر فقط على النظم الحيوية، بل تشمل أيضًا النظم الآلية والتكنولوجية، وهذا ما يجعلها مفهومًا مهمًا في العديد من المجالات المختلفة، بما في ذلك العلوم الحاسوبية والهندسة والفلسفة والاقتصاد والعلوم الاجتماعية.  والثانية هي "بانك" (Punk) وهي تعني نوعًا من الموسيقى الروك المتمردة والمناهضة للنظام والسلطة وبالتالي، فإن الـ(cyberpunk)  يجمع بين عنصرين رئيسيين: العالم التكنولوجي المتقدم والمتمردة والمناهضة للنظام والسلطة. ويتناول هذا النوع من الأدب عادة العالم الافتراضي والتقنية المتطورة بطريقة متمردة ومناهضة للنظام، ويتضمن الكثير من العناصر الاجتماعية والسياسية والثقافية المعاصرة.يُعرف مصطلح "بانك" (Punk) بشكل لغوي على أنه نوع من الموسيقى الروك المتمردة والمعارضة للنظام والسلطة، والتي ظهرت في السبعينيات من القرن الماضي. ويشار في قاموس أكسفورد الإنجليزي إلى أن كلمة "بانك" تعني بشكل عام شخصاً أو شيئاً يتمتع بالقوة والعنف والتمرد والانفصال عن النظام السائد. ويمكن أن يُستخدم مصطلح "بانك" لوصف أي شيء يتميز بالتمرد والمعارضة للسلطة والنظام، وليس فقط في عالم الموسيقى الروك. وعلى سبيل المثال، يمكن استخدام هذا المصطلح لوصف حركات اجتماعية وثقافية وفنية أخرى، مثل حركات الشباب المتمردة وحركات المقاومة السياسية والفنانين الذين يسعون لتحدي النظام السائد.بروس بيثكي (Bruce Bethke) هو كاتب أمريكي ولد في عام 1955، وهو معتبر أحد رواد الأدب السايبربانكي. وقد نشر بيثكي في عام 1980 قصة قصيرة بعنوان "Cyberpunk" في مجلة "Amazing Science Fiction". وقد تم استخدام هذه القصة لاحقًا كدليل لتحديد الأدب السايبربانكي. تتناول قصة بيثكي العالم الخيالي والمستقبلي والذي يتميز بتكنولوجيا متقدمة وتمحوره حول شخصية مخترق حاسوبي يقوم بسرقة بيانات مهمة. وقد اشتهرت هذه القصة بسبب استخدام كلمة "سايبربانك" في عنوانها، والتي أصبحت بعد ذلك مصطلحاً مشهوراً في الأدب والثقافة الشعبية. وقد كتب بيثكي العديد من القصص الخيالية والروايات، وأصبحت له بعض الأعمال الأخرى مثل "Headcrash" و "Wild Wild West" و "Redbeard" و "Rebel Moon"، وقد تم ترشيح روايته "Headcrash" لجائزة نيبولا في عام 1995. وبالإضافة إلى كونه كاتباً، فإن بيثكي يعمل أيضاً في مجال تكنولوجيا المعلومات والحوسبة، ويشغل حالياً منصب مدير تقنية المعلومات في إحدى الشركات الأمريكية.تصريح بروس ستيرلينغ "combination of lowlife and high tech" ليس تعريفًا محددًا للسايبربنك، وإنما هو وصف للجو العام الذي يمكن أن يتميز به عالم السايبربنك. ففي هذا الوصف، يركز ستيرلينغ على تحدُّث السايبربنك عن النزلاء الرَّخاء والمتعطشين للمتع الجسدية والأمور غير المشروعة، والتكنولوجيا العالية والحديثة التي تستخدمها هؤلاء الأشخاص في تحقيق ما يريدونه. ويتناول ستيرلينغ هذا المفهوم في روايته الشهيرة "المرآة الشعورية" (Mirrorshades)، وهي مجموعة من القصص القصيرة التي تعتبر أحد الأعمال الأساسية في أدب السايبربنك.ومع ذلك، يمكن القول أن هذا الوصف ينطبق بشكل عام على أعمال السايبربنك، حيث يتميز هذا النوع الأدبي بتحقيق التوازن بين الجوانب العالية التكنولوجية والجوانب الأكثر شعبية والمرتبطة بالعالم السفلي والجريمة المنظمة. وتنتمي روايات وليام جيبسون وبروس يرلينغ وغيرهما من الكتَّاب إلى هذا النوع الأدبي، ويتعاملون في أعمالهم مع قضايا تتعلق بالتكنولوجيا المتقدمة والحياة الافتراضية والتحديات الاجتماعية والثقافية التي تنشأ بسببها. وتجمع هذه الأعمال بين الجوانب العالية التكنولوجية والجوانب الأكثر شعبية والمرتبطة بالعالم السفلي، وتتميز بأسلوب سريع الإيقاع وشخصيات مثيرة للاهتمام، كما تستخدم لغة فيها الكثير من المصطلحات التقنية والحاسوبية.وبشكل عام، يجمع وصف بروس ستيرلينغ "combination of lowlife and high tech" بين هذه الجوانب، ويعكس الجانب الغامض والمثير للاهتمام في أدب السايبربنك، الذي يتميز بتحقيق التوازن بين العالم الافتراضي والعالم الحقيقي وبين الجوانب الفنية والتكنولوجية والجوانب الاجتماعية والثقافية.عناصر السايبربنك الأدبي:·       الجوالـ (Dystopian):o      تحكم وتملك المنظمات والشركات للمجتمع.o      طبقية الرأسماليةo      حياة وضيعة.o      تمرد الأفراد على الشركات والمنظمات.o      انغماس الأفراد في الجريمة والملذات والشهوات.o      غلاء المعيشة ·       التقنية العالية:o      الذكاء الصناعي.o      الواقع الافتراضي .o      تطورعلم الأطراف الصناعيةo      المستنسخين والرجال الآليين.o      الاتصالات والتقنيةo      الهاكرز او محرك الشبكة  (Netrunner)·       الثقافة:o      موسيقى الـ  Punk Rock والـVaporwaveo      الازياء o      العمران والأضواء (اليابان في الثمانينات ونموها اقتصاديا في العالم الإلكتروني)o      المتحري والمحقق الظلامي (Noir)o      الرياضات والترفيه  أهم الأعمال الأدبية:·       رواية نوفا لـ (Samuel Delany) في عام 1968:o      نوفا هي رواية خيال علمي من تأليف الكاتب الأمريكي صموئيل ديلاني ونشرت في عام 1968. تستكشف الرواية، التي تصنف رسميًا كعمل فضائي، السياسة والثقافة في مستقبل يتسم بانتشار تقنية السايبورج بشكل شامل (والرواية واحدة من سلفيات السايبربانك)، ولكن يمكن أن تنطوي صناعة القرارات الكبرى على استخدام بطاقات التاروت. تحمل الرواية نغمات أسطورية قوية، وترتبط على حد سواء بمسألة البحث عن الكأس المقدسة وبقصة جايسون والأرجونوتيكا والسعي للحصول على الصوف الذهبي. تم ترشيح نوفا لجائزة هيوغو لأفضل رواية في عام 1969. في عام 1984، قام ديفيد برينجل بإدراجها ضمن قائمته لأفضل 100 رواية خيال علمي كتبت منذ عام 1949. ملخص القصةفي عام 3172، تنقسم السلطة السياسية في المجرة إلى فصيلين: فصيل دراكو الموجود على الأرض وفصيل الاتحاد الثريد الذي ظهر في وقت لاحق. كلاهما لديه اهتمامات في المستعمرات الخارجية الأحدث، حيث تنتج المناجم كميات قليلة من المصدر القيم إليريون، وهو مادة فائقة الثقل ضرورية للسفر الفضائي وتغيير مناخ الكواكب.يتورط قائد مهووس ومشوه من الاتحاد الثريد، لورك فون راي، في صراع بين العائلات الأرستقراطية والاقتصادية القوية، فيجند فريقًا متنوعًا من المختلفين لمساعدته في السباق مع عدوه اللدود، الأمير ريد من شركة ريد شيفت المرتبطة بفصيل دراكو، للحصول على الزعامة الاقتصادية عن طريق تأمين كمية هائلة من إليريون مباشرة من قلب نجم نوفا. وبذلك، سيحدث فون راي تحولًا في توازن القوى في النظام الكوني الحالي، مما سيؤدي إلى سقوط العائلة الحمراء ونهاية سيطرة الأرض على السياسة الفضائية بين النجوم.تتبع الرواية مغامرات فريق فون راي في محاولة الحصول على إليريون من نوفا، حيث يتعرضون للعديد من المصاعب والتحديات، بما في ذلك مواجهة العدو، والتعامل مع الأسرار الغامضة المرتبطة بنوفا نفسها، وكذلك الاستكشاف العميق لشخصيات الأعضاء المختلفين في الفريق.في نهاية المطاف، يتمكن فون راي وفريقه من الحصول على الإليريون من نوفا، ويتغلبون على الأمير ريد وشركته، مما يؤدي إلى تحويل التوازن في السياسة الفضائية بين الفصيلين. وبالتالي، ينتهي السيطرة الأرضية على السياسة الفضائية، وتبدأ مرحلة جديدة في تاريخ المجرة. ·       رواية (Do Androids Dream of Electric Sheep) لـ (Philip K. Dick) عام 1968:o      هي رواية خيال علمي كتبها الكاتب الأمريكي فيليب ك. ديك، وصدرت عام 1968. تدور أحداث الرواية في المستقبل البعيد بعد أن تعرضت الأرض لحرب نووية دمرت جزءا كبيرا منها وأدت إلى إنقراض الحيوانات وتحكي قصة ريك ديكارد، الذي يعمل كصائد للروبوتات المتمردة التي تشبه البشر، ويتم تكليفه بمهمة القضاء على ستة من هذه الروبوتات المتمردة. هذه الرواية تشتمل على بعض العناصر التي يمكن وصفها بالسايبرنك، مثل الروبوتات والذكاء الاصطناعي، يمكن اعتبار هذه الرواية الأم لفيلم "Blade Runner" الذي صدر في عام 1982 والذي يعتبر من أهم الأعمال في فن السايبرنك.تدور قصة الحيوانات في الرواية حول شخصية ريك ديك، الذي يعمل كصائد للحيوانات النادرة، وذلك لكسب نقاط مادية تتيح له شراء حيوان حقيقي بدلاً من حيوان اصطناعي. ويحلم ريك بامتلاك حيوان طائر "البطريق الإمبراطوري"، وهو الحيوان النادر الذي يساعده على التفرد والتميز في مجتمع موحد.تعتبر قصة الحيوانات والتركيز على الرغبة في امتلاك حيوانات حقيقية، رمزًا للحاجة إلى التميز والاهتمام بالطبيعة والحيوانات، وكذلك للعلاقة بين الإنسان والطبيعة في عالم مستقبلي متغير. وتعد هذه القصة أحد المحاور الرئيسية في الرواية التي تتناول موضوعات أخرى مثل الهوية الإنسانية الواقعية والذاتية والمجتمعية والروبوتات والذكاء الاصطناعي، والتي تركز على القضايا الأخلاقية والفلسفية المتعلقة بالحياة والوجود والتعايش في عالم متغير ومعقد.رواية (Neuromancer) للكاتب الأمريكي ويليام جيبسون عام 1984 م:تعد من أولى روايات السايبربانك. تعتبر من أهم الأعمال الأدبية في هذا النوع، حيث أنها قدمت للقراء نموذجاً جديداً للأدب العلمي والخيال العلمي، يستخدم فيه (جيبسون) تقنيات ومفاهيم حديثة كالحوسبة والشبكات والذكاء الاصطناعي والروبوتات والتجارة الإلكترونية، وجعل منها عناصر رئيسية في قالب قصته المثيرة والمشوقة. وقد فازت هذه الرواية بجائزة نيبولا لأفضل رواية علمية خيالية في عام 1984.بطلها كيس، وهو هاكر حاسوب عاطل عن العمل يتم استئجاره من قبل صاحب عمل جديد غامض يدعى أرميتاج. يتم تشكيل فريق مع مولي، السايبورغ، وبيتر ريفيرا، اللص والخادع، لتنفيذ سلسلة من الجرائم التي تمهد الطريق للهدف النهائي للمجموعة، والذي يتم تنفيذه في محطة الفضاء المدارية المسماة "فريسايد"، موطن عائلة تيسييه-أشبول الثرية. تم إنشاء اثنين من الذكاءات الاصطناعية (AIs)، وينترميوت ونيورومانسر ، التي هي قوية لدرجة أنها يمكن أن تتصل ببعضها البعض في نقطة واحدة فقط. يتعلم كيس وزملاؤه أنهم تم استئجارهم من قبل وينترميوت لكسر الفصل بين الذكاءات الاصطناعية. يتغلب كيس ومولي على التدخلات القانونية السيبرانية ومحاولة خيانة من ريفيرا لدمج وينترميوت مع نيورومانسر، وينتهي الأمر بكيس يعيش في عالم جديد شجاعأفلام:·        Escape from New York (1981)[40][41]·        Burst City (1982)[42]·        Tron (1982)[43]·        Blade Runner (1982)[44]·        Brainstorm (1983)[45]·        Videodrome (1983)[46]·        Repo Man (1984)·        The Terminator (1984)·        Brazil (1985)·        RoboCop (1987)[47]·        The Running Man (1987)·        Gunhed (1989)[48]·        Tetsuo: The Iron Man (1989)·        Circuitry Man (1990)[49]·        RoboCop 2 (1990)·        Hardware (a.k.a. M.A.R.K. 13) (1990)[50]·        Megaville (1990)[51]·        Total Recall (1990)[52]·        Terminator 2: Judgment Day (1991)·        964 Pinocchio (1991)[53]·        Until the End of the World (1991)[54]·        Nemesis (1992)·        Freejack (1992)[55]·        The Lawnmower Man (1992)[56]·        Tetsuo II: Body Hammer (1992)·        Cyborg 2 (1993)[57]·        Demolition Man (1993)[58]·        RoboCop 3 (1993)·        Robot Wars (1993)·        Plughead Rewired: Circuitry Man II (1994)[59]·        Death Machine (1994)·        Hackers (1995)[60]·        Johnny Mnemonic (1995)[61]·        Judge Dredd (1995)[62]·        Strange Days (1995)[63]·        Virtuosity (1995)·        Escape from L.A. (1996)[64]·        The Lawnmower Man 2: Beyond Cyberspace (1996)[65]·        Deathline (a.k.a. Redline) (1997)[66]·        The Fifth Element (1997)[67]·        Nirvana (1997)[68]·        Andromedia (1998)[69]·        New Rose Hotel (1998)·        Pi (1998)[70]·        Skyggen (a.k.a. Webmaster) (1998)[71]·        Dark City (1998)[72]·        eXistenZ (1999)[73]·        The Thirteenth Floor (1999)[74]·        Bicentennial Man (1999)[75]·        The Matrix (1999)[76]·        I.K.U. (2000)[77]·        The 6th Day (2000)[78]·        Avalon (2001)[79]·        A.I. Artificial Intelligence (2001)·        Electric Dragon 80.000 V (2001)[80]·        Cypher (2002)[81]·        Dead or Alive: Final (2002)[82]·        Impostor (2002)[83]·        Minority Report (2002)[84]·        Resurrection of the Little Match Girl (2002)[85][86]·        All Tomorrow's Parties (2003)[87]·        Code 46 (2003)[88]·        The Matrix Reloaded (2003)[89]·        The Matrix Revolutions (2003)[90]·        Natural City (2003)[91]·        Paycheck (2003)[92]·        Avatar (a.k.a. Cyber Wars) (2004)[93]·        Immortal (2004)[94]·        I, Robot (2004)[95]·        Paranoia 1.0 (a.k.a. One Point 0) (2004)[96]·        Æon Flux (2005)[97]·        Children of Men (2006)·        Ultraviolet (2006)[98]·        Chrysalis (2007)[99]·        Eden Log (2007)[100]·        The Gene Generation (2007)[101][102][103]·        Babylon A.D. (2008)[104][105]·        Sleep Dealer (2008)[106]·        Tokyo Gore Police (2008)[107]·        District 9 (2009)·        Hardwired (2009)[108][109]·        Surrogates (2009)[110]·        Tetsuo: The Bullet Man (2009)·        Tron: Legacy (2010)[60]·        Repo Men (2010)[111]·        Priest (2011)[60]·        Dredd (2012)[112][113][114][115][116]·        Total Recall (2012)·        Elysium (2013)[117][118]·        The Zero Theorem (2013)[60]·        Automata (2014)[119]·        Transcendence (2014)[120]·        RoboCop (2014)·        Chappie (2015)[121]·        Ex Machina (2015)[122]·        Hardcore Henry (2015)·        Ghost in the Shell (2017)[123][124]·        Bleeding Steel (2017)·        Blade Runner 2049 (2017)·        Ready Player One (2018)[125][126]·        Upgrade (2018)·        Hotel Artemis (2018)·        Anon (2018)·        Alita: Battle Angel (2019)·        Reminiscence (2021)·        Jung E (2023)القصص المصورة:·        Judge Dredd (1977–) by John Wagner and Carlos Ezquerra·        The Incal (1981–1989) by Alejandro Jodorowsky·        Akira (1982–1990) by Katsuhiro Ōtomo[33]·        Black Magic (1983) by Masamune Shirow·        Ronin (1983–1984) by Frank Miller·        Shatter (1985–1988) by Peter B. Gillis and Mike Saenz·        Appleseed (1985–1989) by Masamune Shirow·        Dominion (1986) by Masamune Shirow·        Ghost in the Shell (1989–1991) by Masamune Shirow·        Neuromancer (1989) by Tom de Haven and Bruce Jensen[34]·        Battle Angel Alita (1990–1995) by Yukito Kishiro[33]·        Martha Washington (1990–1991) by Frank Miller and Dave Gibbons·        Barb Wire (1994–1995) by Chris Warner·        Transmetropolitan (1997–2002) by Warren Ellis[35]·        Eden: It's an Endless World! (1998–2008) by Hiroki Endo·        Blame! (1998) by Tsutomu Nihei[36]o   NOiSE (2001) – prequel to Blame!o   Biomega (2007)·        Singularity 7 (2004) by Ben Templesmith[37]·        The Surrogates (2005) by Robert Venditti[38]·        The entire Marvel 2099 line is an example of the cyberpunk genre in comics, especially Ghost Rider 2099 and Spider-Man 2099.·        Marvel's Machine Man Vol. 2·        Batman Beyond·        The True Lives of the Fabulous Killjoys (2013-2014) by Gerard Way and Shaun Simon الأنمي:·        Megazone 23 (1985)[127]·        Neo Tokyo (1986)[128]·        Black Magic M-66 (1987)·        Bubblegum Crisis (1987)[129]o   Bubblegum Crisis Tokyo 2040 (1998)[130]·        Akira (1988)[131][132]·        RoboCop: The Animated Series (1988)·        Beast Machines: Transformers (1999–2000)·        Dominiono   Dominion (1988–1989)o   New Dominion Tank Police (1993–1994)o   Tank Police Team: Tank S.W.A.T. 01 (2006)·        Appleseedo   Appleseed (1988 film)o   Appleseed (2004 film)o   Appleseed Ex Machina (2007 film)o   Appleseed XIII (2011)o   Appleseed Alpha (2014 film)·        A.D. Police Files (1990)·        Cyber City Oedo 808 (1990)[133]·        Æon Flux (1991–1995)[134]·        Silent Möbius (1991–2003)[135]·        Genocyber (1993)[136]·        Macross Plus (1994)·        Armitage III (1995)·        Ghost in the Shell (anime films)o   Ghost in the Shell (1995 film)[137]o   Ghost in the Shell 2: Innocence (2004 film)[138]·        Ghost in the Shell: Stand Alone Complex (S.A.C.)[139]o   Ghost in the Shell: Stand Alone Complex (S.A.C.) (2002–2003)o   Ghost in the Shell: S.A.C. 2nd GIG (2004–2005)o   Ghost in the Shell: Stand Alone Complex - Solid State Society (2006 film)o   Ghost in the Shell: SAC 2045 (2020–2022)·        Ghost in the Shell: Ariseo   Ghost in the Shell: Arise (2013–2015)o   Ghost in the Shell: The New Movie (2016 film)·        Spicy City (1997)·        Cowboy Bebop (1998)·        RoboCop: Alpha Commando (1998–1999)·        Serial Experiments Lain (1998)[140]·        Gundress (1999)·        Batman Beyond (1999–2001)·        Metropolis (2001)[141]·        The Animatrix (2003)[142]·        Code Lyoko (2003–2007)·        Heat Guy J (2003)[143]·        Parasite Dolls (2003)[144]·        Texhnolyze (2003)[145]·        Wonderful Days (a.k.a. Sky Blue) (2003)[146][147]·        Burst Angel (2004)[148]·        Fragile Machine (2005)[149]·        Aachi & Ssipak (2006)[150]·        A Scanner Darkly (2006)[151]·        Ergo Proxy (2006)[152]·        Paprika (2006)[153][154]·        Renaissance (2006)[155]·        Dennō Coil (2007)[156]·        Vexille (2007)[157][158]·        Technotise: Edit & I (2009, Serbia)[159]·        Real Drive (2008)·        Mardock Scramble (2010)[160]·        Accel World (2012–2016)·        Psycho-Pass (2012)[161]·        Tron: Uprising (2012)·        Dimension W (2016)·        No Guns Life (2019–2020)·        Altered Carbon: Resleeved (2020)·        Akudama Drive (2020)·        Blade Runner: Black Lotus (2021–2022)·        Cyberpunk: Edgerunners (2022)مسلسلات·        World on a Wire (1973)[162]·        The Deadly Assassin (1976)[163]·        Overdrawn at the Memory Bank (1983)[164]·        Max Headroom: 20 Minutes into the Future (1985), British television movieo   Max Headroom (1987),[165] American television series based on the UK TV movie·        Wild Palms (1993)[166]·        TekWar (1994)[167]·        RoboCop: The Series (1994)·        VR.5 (1996)[citation needed]·        Welcome to Paradox (1998)[168]·        The X-Files, two episodes of the series were written by William Gibson and contain cyberpunk themes:o   Kill Switch (1998)[169]o   First Person Shooter (2000)[170][171]·        Harsh Realm (1999)[172]·        Total Recall 2070 (1999)[173]·        Dark Angel (2000–2002)[174]·        RoboCop: Prime Directives (2001)[175]·        Charlie Jade (2005)[176]·        Terminator: The Sarah Connor Chronicles (2008–2009)·        Power Rangers RPM (2009)·        Kamen Rider Dragon Knight (2009)[citation needed]·        Dollhouse (2009–2010)[177]·        Caprica (2010)·        Person of Interest (2011–2016)·        Black Mirror (2011–2019)·        Continuum (2012–2015), set in the present with a protagonist who has time traveled back from a cyberpunk future in 2077·        H+: The Digital Series (2012)·        Almost Human (2013–2014)·        Die Gstettensaga: The Rise of Echsenfriedl (2014)·        Mr. Robot (2015–2019)·        Humans (2015–2018)·        Westworld (2016–2022)·        Incorporated (2016–2017)·        Altered Carbon (2018–2020)·        S'parta (2018)·        Better Than Us (2018–2019)·        Love, Death & Robots (2019–present)·        Meta Runner (2019–2022)·        Onisciente (2020)·        Upload (2020–present)[178] ألعاب فيديو:·       Exapunk The Screamer (1985)[190] Imitation City (1987)[191] Megami Tensei series (1987–present)[192]  Digital Devil Story: Megami Tensei (1987)[193][194]   Devil Summoner: Soul Hackers (1997)[195]   Shin Megami Tensei: Digital Devil Saga (2004)[196]   Shin Megami Tensei IV (2013)[192]   Soul Hackers 2 (2022)   Metal Gear series (1987–present)  Metal Gear Solid (1998)[197]   Metal Gear Solid 2: Sons of Liberty (2001)[198]   Metal Gear Solid 4: Guns of the Patriots (2008)[192]   Metal Gear Rising Revengeance (2013)   Akira (1988–2002)  Akira (1988)[192]   Akira Psycho Ball (2002)   Neuromancer (1988)[199] Snatcher (1988–1996)[200] Genocide (1989)[192] Night Striker (1989) DreamWeb (1992)[201] Flashback (1992)[202] BloodNet (1993)[203] Gadget: Invention, Travel, & Adventure (1993)[204] Shadowrun series  Shadowrun (SNES) (1993)[205]   Shadowrun (Sega Genesis) (1994)[206]   Shadowrun (Sega CD) (1996)[207]   Shadowrun (2007)[208][209]   Shadowrun Returns (2013) [210]   Shadowrun: Dragonfall (2014) [211]   Shadowrun Chronicles: Boston Lockdown (2015)   Shadowrun: Hong Kong (2015) [212]   Syndicate series  Syndicate (1993)[213]   Syndicate Wars (1996)[214]   Syndicate (2012)[215]   Beneath a Steel Sky (1994)[216] Burn:Cycle (1994)[217] Hell: A Cyberpunk Thriller (1994) Delta V (1994)[218] Hagane: The Final Conflict (1994)[192] Live A Live (1994)[192] Rise of the Robots (1994) [219][220] Policenauts (1994)[192] Appleseed series  Appleseed: Oracle of Prometheus (1994)   Appleseed EX (2004)   System Shock series  System Shock (1994)[221]   System Shock 2 (1999)[222]   CyberMage: Darklight Awakening (1995)[223] Johnny Mnemonic: The Interactive Action Movie (1995)[224] Road Rage (1995) Osman (1996)[192] Blade Runner (1997)[225] Final Fantasy VII (1997)[226]  Compilation of Final Fantasy VII (2004–2009)   Final Fantasy VII Remake (2020)[227]   Ghost in the Shell (1997)[192] Einhänder (1998)[192] Nightlong: Union City Conspiracy (1998) Xenogears (1998)[228] The Nomad Soul (1999) Fear Effect series  Fear Effect (2000)   Fear Effect 2: Retro Helix (2001)   Fear Effect Sedna (2018)   Deus Ex series  Deus Ex (2000)[229]   Deus Ex: Invisible War (2003) [230]   Deus Ex: Human Revolution (2011) [231]   Deus Ex: The Fall (2013)[232]   Deus Ex: Mankind Divided (2016)   Perfect Dark series  Perfect Dark (2000)   Perfect Dark Zero (2005)   Oni (2001)[233] Anachronox (2001) Mega Man Battle Network series  Mega Man Battle Network (2001)   Mega Man Battle Network 2 (2001)   Mega Man Battle Network 3 (2002)   Mega Man Network Transmission (2003)   Mega Man Battle Chip Challenge (2003)   Mega Man Battle Network 4 (2003)   Mega Man Battle Network 5 (2004)   Mega Man Battle Network 6 (2005)   Uplink (2001)[234][235] Breath of Fire: Dragon Quarter (2002)[236] .hack series  .hack//IMOQ (2002–2003)   .hack//G.U. (2006–2007)   .hack//Link (2010)   Neocron (2002)[237] Enter the Matrix (2003)[238] P.N.03 (2003) Cy Girls (2004) Æon Flux (2005) Dystopia (2005)[239] System Rush (2005)[240] Mirror's Edge (2008) Halo 3: ODST (2009) Cyber Knights series:  Cyber Knights (Classic) (2011)[241]   Cyber Knights: Flashpoint (2021)[242]   Gemini Rue (2011)[243] Hard Reset (2011) Cypher (2012)[244] Cataclysm: Dark Days Ahead (2013) Remember Me (2013)[245] Far Cry 3: Blood Dragon (2013) Alien: Isolation (2014) Jazzpunk (2014) Transistor (2014) Watch Dogs series:  Watch Dogs (2014)[246]   Watch Dogs 2 (2016)   Watch Dogs: Legion (2020)   2064: Read Only Memories (2015) Call of Duty: Black Ops III (2015)[247] Dex (2015)[248] Technobabylon (2015) Soma (2015) Satellite Reign (2015) Digimon Story: Cyber Sleuth (2015)[249] Invisible, Inc. (2016) Mirror's Edge Catalyst (2016) Superhot (2016) VA-11 HALL-A (2016)[250] Digimon Story: Cyber Sleuth – Hacker's Memory (2017)[249] Observer (2017) Ruiner (2017)[251] The Red Strings Club (2018)[252] Ion Fury (2018) Tales of the Neon Sea (2018)[253] Astral Chain (2019)[254] Katana Zero (2019) Dohna Dohna (2020)[255] Cyberpunk 2077 (2020) Ghostrunner (2020) Incredibox  V8: Dystopia (2020)   Cloudpunk (2020) ENCODYA (2021) The Ascent (2021) Stray (2022) SIGNALIS (2022) The Last Night (TBA)[256]  الالعاب الروائية:·        Cyberpunk (1988)o   Cyberpunk 2020 (1990)o   Cyberpunk V3.0 (2005)o   Cyberpunk Red (2020)·        Shadowrun (1989)·        GURPS Cyberpunk (1990)[257]·        Necromunda (1995)·        Infinity (2005)·        Corporation (2009)[258]·        Deadzone (2013)·        Carbon 2185 A Cyberpunk RPG (2019)

Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. 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/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground.  The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to  get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret".  It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David  Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them),  and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New

En este capítulo: THE VELVET UNDERGROUND ‘European Son’ ‘Femme Fatale’ ‘I’ll be Your Mirror’ ‘All Tomorrow’s Parties’ SOUXIE AND THE BANSHEES – THE BEST OF ‘Hong Kong Garden’ ‘Peek-a-Boo’ ‘Spellbound’ ‘Kiss Them For Me’ BLONDIE – PARALEL LINES ‘One Way or Another’ ‘Picture This’ ‘Hanging On The Telephone’ ‘Heart of Glass’ SONIC YOUTH - GOO ‘Tunic (Song For Karen)’ ‘Cinderella’s Big Score’ ‘My Friend Goo’ ‘Kool Thing’

Peter Gallo Portrait by Shani Stoddard The work of artist Peter Gallo oscillates freely between painting, drawing, collage, and sculpture. Filled with literary, art-­historical, cultural, political, and musical references and detours, Gallo's works, when installed together, create poetic, albeit labyrinthine, mise-­en-­scènes. The critic James Yood identified in Gallo: "an apparent disdain for materials; an alert scavenger's attitude toward culture; an eye for the poignant frailties of the vernacular; and an occasionally breathtaking ability to evoke issues of great import. His work is, inevitably, a mixed bag, because he treats the world and his mind as jumbled compendiums, filled with little connections and bursts of revelation that his seemingly slight but actually pointed interventions reveal. It amounts to a kind of grunge arte povera, a witty and instinctive immersion in the stuff of the world that is alternately lax and labored, spottily profound. A partial inventory of Gallo's materials would include dental floss, toothpicks, a towel, string, wire, French vermilion oil paint, buttons, toilet paper, spackle, bric-­a-­brac, a bedsheet, picture frames, amateur sculptures, and patterned fabrics. These are usually mixed with snippets of found text or references to figures of cultural authority, either scrawled onto surfaces, collaged, or laboriously constructed as sculptures that allude to the likes of Spengler, Nietzsche, Kant, Pasolini, and Mondrian. His output becomes a kind of pantheon of gravitas—or, in its use of vernacular text, antigravitas made vital by the intensity of Gallo's scribbles and his disinterest in pictorial nicety." – Artforum, February 2005. Gallo's deceptively quiet body of work combines images from sources as diverse as gay pornography and ornithology with words by Roland Barthes, Freud, and bands like Joy Division and The Cocteau Twins. He utilizes simple formal structures that emphasize the materiality of painting, and his works alternate between, or combine, abstract, figurative, and textual elements. Nautical imagery derived from historical sources such as the Ship of Fools and the Ship of State, stands as one of his signature subjects. Peter Gallo (b. 1959, Rutland, VT) lives and works in Hyde Park, VT. He received a BA from Middlebury College, and an MA and a PhD in Art History from Concordia University, Montreal. His work has been featured in solo exhibitions at the Douglas Hyde Gallery, Trinity College, Dublin; White Columns, New York; Horton Gallery (Sunday LES), New York; and Anthony Reynolds Gallery, London; among others. The gallery presented a solo booth of the artist's work at The Independent Brussels in 2018 and a two-person exhibition The Patients and The Doctors with David Byrd in 2015. The artist's work has been included in Artforum, the Village Voice, The New York Times, and Art in America, among others. Peter Gallo, My Modernism, 2018, Oil on bed ticking, 19 x 23 in, 48.3 x 58.4 cm, Courtesy of Sean Horton (Presents), New York, Photo: Matt Grubb Peter Gallo fiat ars pereat mundus, 2018—2019, Oil on cradled plywood 11 x 17 in 27.9 x 43.2 cm Courtesy of Sean Horton (Presents), New York Photo: Matt Grubb Peter Gallo, All Tomorrow's Crucifixions, 2021, Oil & collage on plywood cabinet doors, 72 x 48 in, 182.9 x 121.9 cm, Courtesy of Sean Horton (Presents), New York, Photo: Matt Grubb

Are you looking for a class in how to write for stage and screen? This is the episode for you. Leslie speaks with writer and educator William Nedved on his life and process for writing and teaching writing.About William:I am a playwright, lyricist and screenwriter engaged with exploring the journeys that define us. I'm the co-founder of The Gift Theatre Company of Chicago, where I have premiered my plays Body + Blood (Jeff Recommended), Northwest Highway (2011 Steinberg American Theater Critics Association nomination), A Young Man in Pieces, and County Fair. I wrote the book and lyrics for Medusa: The Musical, with a score by composer and Project Runway winner Kentaro Kameyama, developed by the Tony Award-winning Deaf West Theatre at The Getty Villa in 2019. Our The Passion of McQueen, an opera based on life, death, and art of fashion visionary Alexander McQueen, played a sold-out concert at Pasadena's Boston Court Theatre in 2019.My play Closet Drama, or The Dick Pic of a Twink was featured in the 2018 LAMBDA Literary Fest in Los Angeles. I wrote and performed in the critically-acclaimed Fact & Fiction for the 2011 Hollywood Fringe Festival. My short play Kid was awarded “Best Production” at Collaboraction's Sketchbook 2009. All Tomorrow's Parties premiered at the 2002 Los Angeles Short Film Festival. Against the Grain was part of the 1997 Young Playwrights, Inc. Summer Festival. Fate, an original musical, was awarded the inaugural 1997 Leonard Bernstein ‘Learning through the Arts' Interdisciplinary Scholarship through Scholastic, Inc.  The journey that defined me was the year I lived in Brazil as a Rotary International high school exchange student. 

Marisa Serafini (@serafinitv) and I are book lovers and we've decided to do a monthly in-depth book discussion. Our third book is All Tomorrow's Parties by William Gibson and next month we'll be chatting about Jane Langton's The Diamond in the Window. What's All Tomorrow's Parties about? "Colin Laney, sensitive to patterns of information like no one else on earth, currently resides in a cardboard box in Tokyo. His body shakes with fever dreams, but his mind roams free as always, and he knows something is about to happen. Not in Tokyo; he will not see this thing himself. Something is about to happen in San Francisco. The mists make it easy to hide, if hiding is what you want, and even at the best of times reality there seems to shift. A gray man moves elegantly through the mists, leaving bodies in his wake, so that a tide of absences alerts Laney to his presence. A boy named Silencio does not speak, but flies through webs of cyber-information in search of the one object that has seized his imagination. And Rei Toi, the Japanese Idoru, continues her study of all things human. She herself is not human, not quite, but she's working on it. And in the mists of San Francisco, at this rare moment in history, who is to say what is or is not impossible..." Thanks for tuning in. Also, feel free to ask questions or offer opinions of your own, whether down in the comment section or by hitting me up on social media @PhilSvitek. Lastly, for more free resources from your 360 creative coach, check out my website at http://philsvitek.com. RESOURCES/LINKS: -Coach or Consultant Services: https://philsvitek.com/lets-work-together/ -Podcast Services: http://philsvitek.com/podcastservices -Love Market Film (available now): https://www.amazon.com/Love-Market-Amy-Cassandra-Martinez/dp/B09DFS3FTZ/ref=sr_1_14 -Patreon: https://www.patreon.com/philsvitek -Merchandise: https://shop.spreadshirt.com/phil-svitek---360-creative-coach/ -Instagram: http://instagram.com/philsvitek -Facebook: http://facebook.com/philippsvitek -Twitter: http://twitter.com/philsvitek -Financially Fit Foundation: http://financiallyfitfoundation.org -Master Mental Fortitude Book: http://mastermentalfortitude.com -Elan, Elan Book: http://philsvitek.com/elan-elan -In Search of Sunrise Book: http://philsvitek.com/in-search-of-sunrise -A Bogotá Trip Film: https://philsvitek.com/a-bogota-trip/

//主播: Brad Ricky Dylan //题图 Ricky //文案 Ricky Hello 各位听众朋友们大家好！本期我们应一位听众朋友的要求来聊一聊The Velvet Underground 地下丝绒。 //提要 Highlights 04:15 地下丝绒初印象 14:00 清冷，黑暗，堕落，浪漫：如何去形容地下丝绒 15:25 雪城大学文学系出身的Lou Reed是如何踏入音乐圈的 19:33 地下丝绒不得不提起的一个人 —— 纽约之King 安迪·沃霍尔 23:48 地下丝绒的音乐呈现的到底是什么样子？ 25:12 聊聊地下丝绒双子星里被忽视（被Lou炒掉）的音乐才子 John Cale 31:51 经典滚圈瞎扯环节：没有Velvet Underground就不会有Sonic Youth，没有Sonic Youth就不会有Carsick Cars？ 36:15 Lou Reed的极简创作风格: 38:37 Andy为地下丝绒空降了一位Front(wo)man —— 模特/演员/主唱 Nico 43:38 著名的大香蕉这张专辑，听起来单调吗？ 47:53 Lou Reed歌词Cover的题材，纽约诗派，垮掉派诗人 49:18 从Heroin这首歌聊到Lou Reed的困惑，黑暗，挣扎 53:15 Lou Reed揍了David Bowie一顿，注意，这不是都市传说，这是真实故事 57:21 I'm Waiting For The Man里的那个男人是谁？ 01:02:12 那个年代纽约阴暗，破碎人物的记录者和观察者，Lou Reed的作家视角 01:19:40 为什么Lou Reed的歌让我们觉得温暖——他是带着关怀的记录者 01:23:43 地下丝绒羞涩可爱的鼓手 Moe Tucker 01:28:23 来点怪歌，地下丝绒？电台司令？真难说 01:38:31 解散后各自做音乐的地下丝绒双子星 01:43:21 一半冰山，一半女神——Nico追逐音乐梦想的路 //歌曲 Songs Intro I'm Waiting For The Man - The Velvet Underground 06:29 Sunday Morning - The Velvet Underground 11:06 Pale Blue Eyes - The Velvet Underground 17:49 Andy Warhol - David Bowie 26:29 Amsterdam - John Cale 32:21 中南海 - Carsick Cars 39:36 Femme Fetale - The Velvet Underground 46:06 Heroin - The Velvet Underground 55:42 I'm Waiting For The Man - David Bowie, Lou Reed (David Bowie 50th Anniversary Live) 58:23 All Tomorrow's Parties - The Velvet Underground 01:06:20 Venus in Furs - The Velvet Underground 01:11:26 Perfect Day - Lou Reed 01:14:16 Sister Ray - The Velvet Underground 01:18:03 Candy Says - The Velvet Underground 01:21:39 After Hours - The Velvet Underground 01:26:25 The Murder Mystery - The Velvet Underground 01:32:47 Satellite of Love - Lou Reed 01:36:09 Perfect Day (Cont.) - Lou Reed 01:41:19 Nobody But You - John Cale & Lou Reed 01:48:33 These Days - Nico Enjoy. 欢迎扫码添加小助手进群 XD 我们推荐大家使用包括苹果播客Apple Podcast, 小宇宙，Spotify等在内的泛用型播客应用订阅收听我们的节目，我们也会陆续上线其他平台。大家同样可以通过搜索或者编辑-URL添加节目-粘贴我们的RSS链接来添加。也欢迎大家订阅我们的微信公众号lipuoutoftune，在各个平台给我们留言，和我们交流。 RSS feed: https://outoftune.typlog.io/episodes/feed.xml //联系方式 Contact: 微博：离谱OutOfTune 微信公众号：离谱OutOfTune (lipuoutoftune) 邮箱：lipu.outoftune@gmail.com Later.

Marisa Serafini (@serafinitv) and I are book lovers and we've decided to do a monthly in-depth book discussion. Our second book is The Invisible Woman by Erica Robuck (@erobuckauthor) and next month we'll be chatting about William Gibson's All Tomorrow's Parties. What's The Invisible Woman about? "France, March 1944. Virginia Hall wasn't like the other young society women back home in Baltimore—she never wanted the debutante ball or silk gloves. Instead, she traded a safe life for adventure in Europe, and when her beloved second home is thrust into the dark days of war, she leaps in headfirst. Once she's recruited as an Allied spy, subverting the Nazis becomes her calling. But even the most cunning agent can be bested, and in wartime trusting the wrong person can prove fatal. Virginia is haunted every day by the betrayal that ravaged her first operation, and will do everything in her power to avenge the brave people she lost. While her future is anything but certain, this time more than ever Virginia knows that failure is not an option. Especially when she discovers what—and whom—she's truly protecting." Thanks for tuning in. Also, feel free to ask questions or offer opinions of your own, whether down in the comment section or by hitting me up on social media @PhilSvitek. Lastly, for more free resources from your 360 creative coach, check out my website at http://philsvitek.com. RESOURCES/LINKS: -Coach or Consultant Services: https://philsvitek.com/lets-work-together/ -Podcast Services: http://philsvitek.com/podcastservices -Love Market Film (available now): https://www.amazon.com/Love-Market-Amy-Cassandra-Martinez/dp/B09DFS3FTZ/ref=sr_1_14 -Patreon: https://www.patreon.com/philsvitek -Merchandise: https://shop.spreadshirt.com/phil-svitek---360-creative-coach/ -Instagram: http://instagram.com/philsvitek -Facebook: http://facebook.com/philippsvitek -Twitter: http://twitter.com/philsvitek -Financially Fit Foundation: http://financiallyfitfoundation.org -Master Mental Fortitude Book: http://mastermentalfortitude.com -Elan, Elan Book: http://philsvitek.com/elan-elan -In Search of Sunrise Book: http://philsvitek.com/in-search-of-sunrise

劲哥金曲 Vol.42 迷幻摇滚之门 1.Joy Of A Toy - Soft Machine2.Ghost Ship - The Doors/Jim Morrison3.May You Never - John Martyn4.All Tomorrow's Parties - The Velvet Underground/Nico5.San Francisco(Be Sure To Wear Flowers In Your Hair) - Scott McKenzie6.Jenny Wren - Paul McCartney7.Fire on the Mountain - Grateful Dead

Kristen Pinell Reil of the Grip Weeds is the Mighty Manfred's guest this week! Kristen sings lead vocals on our Coolest Song in the World this week "All Tomorrow's Parties." She tells us why the band chose to do a cover album, how the Grip Weeds were formed, and what lies ahead for them as we emerge from the pandemic. Join the Mighty Manfred and Kristen Pinell Reil for this week's Coolest Conversation, presented by Hard Rock

For our one-year anniversary, an XL show bursting with edification and amusement! they used the same font as the camera maker for the Olympus Has Fallen poster!a dip into the mailbagdo you use depth-of-field preview?Gabe's trip to Toronto and Downtown CameraJeff's new 50mm f4 Macro-Takumar, a rare findis macro more exciting than tele?Gabe pits his new Nikon FM3a against his old Leicaflex, with surprising resultssoft releases are nice, but the expensive ones are ridiculous (as are hot shoe ornaments)Paul Thomas Anderson with his Nikon 28Ti - do you keep the other eye open?and now: our Olympus show!genius designer: Yoshihisa Maitani35RC (Jeff's first camera)35RD35SP (and SPn, and DC, and UC, and…)Trip 35Pen D3Pen EFPen EEPen EE-3 (a box of 'em)Pen FT (see Billy Name's All Tomorrow's Parties book) and its GREAT lenses (25mm, 38mm pancake, 38mm macro, 40mm, 60mm f1.5…)OM-1: the one camera all four IDOCkers ownthe XA seriesPen F digitalthe new “OM System"our limerick contest winners! over 75 entries! some were not limericks, and some were filthy! thanks to everyone who participated!thanks to all our listeners - hey, give us a review on iTunes!check out our new character merch!

Ana Tiquia creates spaces to embody diverse futures. She uses performance and participatory art, futures research and strategy; produces and curates exhibitions, installations, and immersive performances. She has worked at the intersections of art, design, and technology with major cultural organisations and design practices in the UK and Australia, and is Founder and Director of All Tomorrow's Futures – a cultural and strategic consultancy that helps clients develop artistic interventions that contribute to equitable and just futures.

Her music career wasn't an accident, exactly. But it's safe to say that Anika didn't see it coming. A music journalist by trade, the singer assumed she was signing up for a guest vocalist gig on what ultimately became her self-titled debut. Largely comprised of covers, the LP featured a smattering of originals, cowritten with electronic rock band, Beak. After being handpicked by Portishead to perform at All Tomorrow's Parties in London, Anika went on to form the group Exploded View in Mexico City. This year, she returned for Change – her sophomore solo album and first under her own name in 11 years.

The Velvet Underground: A Documentary Film By Todd Haynes – Music From The Motion Picture Soundtrack: “Venus In Furs” – The Velvet Underground “Road Runner (Live)” – Bo Diddley “The Ostrich” – The Primitives “I’m Waiting For The Man” – The Velvet Underground “Chelsea Girls” – Nico “Sunday Morning” – The Velvet Underground “Pale Blue Eyes” – The Velvet Underground “Foggy Notion” – The Velvet Underground “After Hours (Live)” Version 1 – The Velvet Underground “Sweet Jane” – The Velvet Underground “All Tomorrow’s Parties” – The Velvet Underground Escuchar audio

SAMPLER & SANS REPROCHES(Radio Transmission)Playlist N∞ 1228... - Lundi 25 Octobre 2021 - Horaire : 20:00 >> 22:00EBM - SYNTHWAVE - INDUSTRIAL & RELATED MUSICGALAXIE RADIO 95.3FM www.galaxieradio.fr-----------------------------------------> [ S&SR Selection de la semaine THIEF "The 16 Deaths Of My Master" (Prophecy Productions) ] < Artiste - Titre - Version - Format - Production - Label > THIEF "Scorpion Mother" DIG LP: The 16 Deaths Of My Master (Prophecy Productions) JACKY MEURISSE PROJECT "Test Your Limit" DIG LP: The Lost Tracks (Autoproduction) JUNKSISTA "Now That I'm Gone" DIG V/A : Broken & Robot Parts III (COP International) LISA PUNG "Foxy Disco Trash (feat. Kelsey Warren & Meia Santiago)" DIG SINGLE: Foxy Disco Trash (Autoproduction) XENO & OAKLANDER "Poison" CD: VI/DEO (Dais Records) AKIKO YANO "Aisuru Hito Yo" CD: Ai Ga Nakucha Ne (Wewantsounds) DUMMY "X-Static Blanket" CD: Mandatory Enjoyement (Trouble In Mind) META MEAT "Vagabond" DIG LP: Infrasupra (Ant-Zen) DIGITAL FACTOR "I'm Dangerous" DIG LP: Chemical Process (Alfa Matrix) MORTAJA "Lower Control"††DIG V/A: Document 2 (Aliens Production) THIEF "Victim Stage Left" DIG LP: The 16 Deaths Of My Master (Prophecy Productions) CABARET NOCTURNE "Blind Trust" DIG V/A: Rotten Citizens Vol. 1 (Rotten City Files) WHISPERING SONS "Alone" CD: Image (S.M.I.L.E / [PIAS]) LOUISAHHH!!! "Love Is A Punk (VITALIC Remix)" DIG SINGLE: Love Is A Punk (HE.SHE.THEY.) ASCENDANT VIERGE "Discoteca" DIG SINGLE: Discoteca (Because Music) SPECIAL INTEREST "All Tomorrow's Carry (KONTRAVOID Remix)" DIG LP: The Passion Of : Remixed (Nude Club Records) RAUM "The Fifth Crusade" DIG EP: Conjurer (Aufnahme+Wiedergabe) PSYCHE "Over The Shoulder (MINISTRY cover)" DIG EP: Spirit Of Lockdown (Psyche Enterprises) PROMO THANKS TO : PROPHECY PRODUCTIONS (Andreas Schiffmann), SPKR MEDIA (Gunnar Sauermann), THIEF (Dylan Neal), JACKY MEURISSE PROJECT (Jacky Meurisse), COP INTERNATIONAL (Christian), LISA PUNG (Sandie Trash), MODULOR MUSIC (Sé bastien Kervella), ANT-ZEN (Stefan Alt), L'AERONEF LILLE (Jean-Michel Bronsin, Philippe Bonnot, Julie Le doeuff, Alexandre Humbert & Daniele Ludwig) ...

Hosts Jim DeRogatis and Greg Kot have long praised The Velvet Underground as one of the most important bands of the rock era. This week they review the new documentary film on the band and interview director Todd Haynes. Plus they review new albums by Illuminati Hotties and Ray BLK. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lURecord a Voice Memo: https://bit.ly/2RyD5Ah Featured Songs:The Velvet Underground, "I'm Waiting For the Man," The Velvet Underground & Nico, Verve, 1967The Velvet Underground, "Venus In Furs," The Velvet Underground & Nico, Verve, 1967The Velvet Underground, "Heroin," The Velvet Underground & Nico, Verve, 1967The Primatives, "The Ostrich," The Ostrich (Single), Pickwick, 1964The Velvet Underground, "Sister Ray - Live In New York City 1967," The Velvet Underground: A Documentary Film By Todd Haynes – Music From The Motion Picture Soundtrack, Republic, 2021The Velvet Underground and Nico, "All Tomorrow's Parties," The Velvet Underground & Nico, Verve, 1967RAY BLK, "BLK MADONNA," Access Denied, Island, 2021RAY BLK, "MIA (feat. Kaash Paige)," Access Denied, Island, 2021RAY BLK, "Access Denied," Access Denied, Island, 2021RAY BLK, "Go-go Girl (feat. Suburban Plaza)," Access Denied, Island, 2021illuminati hotties, "Pool Hopping," Let Me Do One More, Snack Shack Tracks, 2021illuminati hotties, "u v v p (feat. Buck Meek)," Let Me Do One More, Snack Shack Tracks, 2021illuminati hotties, "Knead," Let Me Do One More, Snack Shack Tracks, 2021illuminati hotties, "Growth," Let Me Do One More, Snack Shack Tracks, 2021illuminati hotties, "Joni: LA's No. 1 Health Goth," Let Me Do One More, Snack Shack Tracks, 2021The Soundtrack of Our Lives, "The Ego Illusion," Communion, Telegram, 2008The Kinks, "Till the End of the Day," The Kink Kontroversy, Reprise, 1965Balance, "Breaking Away," Balance, Portrait, 1981Janet Jackson, "What Have You Done for Me Lately," Control, A&M, 1986John Wesley Harding, "Sussex Ghost Story," Adam's Apple, DRT Entertainment, 2004The Police, "Roxanne," Outlandos d' Amour, A&M, 1978

Drive Like Jehu was an American post-hardcore band from San Diego active from 1990 to 1995. It was formed by rhythm guitarist and vocalist Rick Froberg and lead guitarist John Reis, ex-members of Pitchfork, along with bassist Mike Kennedy and drummer Mark Trombino, both from Night Soil Man, after their two bands disbanded in 1990. Drive Like Jehu's music was characterized by passionate singing, unusual song structure, indirect melodic themes, intricate guitar playing, and calculated use of tension, resulting in a distinctive sound amongst other post-hardcore acts and helped to catalyze the evolution of hardcore punk into emo. In this episode all songs by bands selected by Drive Like Jehu to play All Tomorrow's Parties 2.0 April 22-24, 2016. Lineup: Hot Snakes, The Blind Shake, Mrs. Magician, Flamin' Groovies, The King Khan & BBQ Show, The Schizophonics, Metz, Mission Of Burma, The Gories, King Khan and the Shrines, The Spits, Rocket From The Crypt, Betunizer, The Monkeywrench, Holly Golightly, Dan Sartain, Martin Rev, Tortoise, The Ex, PyPy, Gary Wilson, Claw Hammer, Wau y Los Arrrghs

Sunday Morning – Michael Stipe (3:50) I'm Waiting For The Man – Matt Berninger (3:44) Femme Fatale – Sharon Van Etten (w/ Angel Olsen on backing vocals) (4:43) Venus In Furs – Andrew Bird & Lucius (6:55) Run Run Run – Kurt Vile & The Violators (6:59) All Tomorrow's Parties – St. Vincent & Thomas Bartlett (4:52) Heroin – Thurston Moore feat. Bobby Gillespie (7:24) There She Goes Again – King Princess (3:29) I'll Be Your Mirror – Courtney Barnett (2:27) The Black Angel's Death Song – Fontaines D.C. (3:12) European Son – Iggy Pop & Matt Sweeney (7:45)

I betragtning af, hvor stor en plads The Velvet Underground fylder i værternes hjerter, bevidsthed og generelle æstetik – ja, de har sågar sammen redigeret en antologi om bandet i 2003 – er det egentlig utroligt, at vi skulle helt frem til Rockhistorier nummer 154 før de fandt vejr gennem nåleøjet. Nå, men bedre sent end aldrig, som man plejer at sige, når man har overskredet endnu en deadline.The Velvet Underground udsendte i årene 1967 til 1970 i diverse konstellationer og under stort set konstante interne stridigheder fire album, der ikke gjorde større væsen af sig i samtiden, da deres konfronterende tone og nihilistiske attitude var helt ude af trit med hippiebevægelsens idealer. Gruppen blev først for alvor kanoniseret ved punkens fremkomst midt i 1970'erne, og har siden vist sig at være et af rockens mest stilskabende orkestre nogensinde. Måske kun overgået af The Beatles. Store ord, javel, men værket kan i den grad bære det. Og lidt til. Velkommen til virkeligheden.”Prominet Men” (1965”All Tomorrow's Parties (single version)” (1966)“I'm Waiting for The Man” (1967)“Venus In Furs” (1967)“Heroin” (1967)“White Light/White Heat” (1968)“I Heard Her Call My Name” (1968)“Stephanie Says” (1968)”Hey Mr. Rain (Version One)” (1968)”Candy Says” (1969)“What Goes On” (1969)“Pale Blue Eyes” (1969)“Foggy Notion” (1969)”Sweet Jane” (1970)”Rock and Roll” (1970)“New Age” (1970)

Longtime radio DJ Walt Dizzo joins us to talk about ...And The Ambulance Died In His Arms, the final official album from Coil, recorded live at All Tomorrow's Parties. But first, a brief diversion into Cincinnati's famous skyline chili.Show notes are available at https://ttttpod.com/Chili recipes not included

I talk about UFC 263, doing BJJ(Brazilian Jiu-Jitsu) twice today, and seeing the All Tomorrow's video on Youtube.

RIBBLE REBEL. EPISODE 7 A Change is Gonna Come - Sam Cooke Turn Turn Turn - The Byrds World Leader Pretend (live)- R.E.M. Sharp As A Needle - Barmy Army Holidays in the Sun - Sex Pistols All Tomorrow's Parties - Velvet Underground & Nico Johnny K - Seamus Fogarty Ghosts - Baxter Rhodes Let's Move to the Country - Bill Callahan Give Up the Funk (Tear the Roof Off Sucker) - Parliament Yes We Can - Lee Dorsey Can you Get to That - Funkadelic — Part 2: Rock and Roll is Negotiable - Pill Fangs Equestrian - OMNI Fill in the Blank - Car Seat Headrest Walking Through the Darkness - Ghostface Killah feat. Tekitha Voice of Freedom - Arun Ghosh Ode to a Black Man - Phil Lynott Ode to a Black Man - The Dirtbombs Polymer Dawn - The Pattern Forms Maggot Brain (Alternate Mix) - Funkadelic Cigarettes and Margarine - a.P.A.t.T The Green Fields of France - The Men They Couldn't Hang

Good Morning, This is Louise. Episode 78 - Slow Mystery featuring music by John Cale, Lou Reed & Nico, Group Kancana Sari Bandung, Alice Smith, Freddie Gibbs & Madlib, Belo Cozad, Sonny Terry, Bbymutha, COUCOU CHLOE, King Tubby, TT The Artist & UNIIQU3, SASAMI, Baltic Chamber Orchestra & Emmanuel Leducq-Barôme, J Dilla, Bavarian Radio Symphony Orchestra & Mariss Jansons, Dai Burger & Kidd Kenn, TT The Artist, Jazmine Sullivan, Bunny Lee & The Aggrovators, and Michael Sanderling & Dresdner Philharmonie with ambient field recordings by Nomadic Ambience, also featuring ASMR recordings by WhispersRed programmed and produced by @small_ernst Thank you for listening Namo Guan Shi Yin Pusa

On this episode of Creative Spectator, resident music nerd Ben discusses James Gandolfini’s Green Day obsession, Nick Cave’s erotic wallpaper, Pantera cardboard cut-outs, Cardi B and Megan Thee Stallion’s WAP, the All Tomorrow’s Parties festival, and new albums from Dehd, Fontaines D.C., Silverbacks, and Willie J Healey. Creative Spectator 2020 Podcast Playlist https://music.apple.com/us/playlist/creative-spectator-music-podcast-playlist-2020/pl.u-pMylgaETZMK3W1   Music Credits   Ya Can’t Fuck Wit It by Bruks Production https://archive.org/details/DWK224/Bruks_Production_-_04_-_Ya_Cant_Fuck_Wit_It.mp3https://creativecommons.org/licenses/by-nc-nd/3.0/   Keep On by Frenic https://archive.org/details/DWK244/Frenic_-_02_-_Keep_On.mp3 https://creativecommons.org/licenses/by-nc-nd/3.0/  

Th' Faith Healers  special with Roxanne Stephen in conversation with David Eastaugh   Th' Faith Healers were an English indie rock band who were originally active between 1990 and 1994. The members of the group were Roxanne Stephen (vocals), Tom Cullinan (guitar and vocals), Ben Hopkin (bass), and Joe Dilworth (drums).[1] They recorded multiple EPs and singles along with two full LPs. Tom Cullinan, who handled the bulk of the songwriting, went on to help form the band Quickspace. Signed to Too Pure in the United Kingdom, their albums were released by Elektra in the United States. Both albums feature clear krautrock influences, most evident in their cover of Can's "Mother Sky", from Lido. Since their initial break-up in 1994, the band have reformed intermittently. They embarked on a short reunion tour in 2006 in conjunction with the release of their compilation Peel Sessions the previous year. The band reformed in 2009, playing at the All Tomorrow's Partiesmusic festival twice, first in May (curated by The Breeders) and then again in December (curated by My Bloody Valentine).

......................CHARITY:............................................ http://www.filefactory.com/file/48kl2hd4mrgr/charity.mp3 01. Lights and Motion - Glow; 02. The White Birch - Lantern (04.06); 03. Butcher Boy – Days Like These Will Be the Death of Me (08.38); 04. Carbon Based Lifeforms – Dreamshore Forest (Analog Remake) (11.57); 05. Jane Birkin – Coleur Cafe (15.32); 06. The Echelon Effect – Denver for an Hour (18.01); 07. Tricky (with Anika) – Lonely Dancer (24.23); 08. Califone – Night Gallery/Projector (27.22); 09. Matt Berninger - Holes (32.57); 10. Stray Theories - Nightstate (38.01); 11. Nico – All Tomorrow’s Parties (41.04); 12. nExow – Vapor Trail (45.34); 13. Mick Harvey – Prevert’s Song (49.32); 14. Lanterns on the Lake – Swimming Lessons (52.15); 15. Myar – A Story About Screwing Up (56.29); 16. Agnes Obel – Broken Sleep (58.57); 17. Raphael – Paris et une fete (63.45); 18. Pitch Black – Did You Get the Message? (67.17); 19. Monahans – Echoes (72.03); 20. Tahaninte – Solane (75.31). Total Time: 01.19.57 Sultry voice of Radio Etiopia: Ana Ribeiro This mix has been passed safe to travel across all borders and may contain properties beneficial to your health. ….

Transgressive auteur/icon John Waters serves it up raw in his memoir-cum-self-help-book Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder. Fellow Baltimore native Rob Spillman, author of the memoir All Tomorrow's Parties, interviews Waters in an hour full of outrageous one-liners. (Recorded at St. Joseph's College on May 22, 2019.)

Bombshell Radio For The Record Wednesday’s 5pm EST #Rock, #Radio, #alternative,#Classics,#NewMusic, #ZadokStrawberry , #ForTheRecord @Jimbo2001251:48 Deportees,"Wild Repeat"47:17 "Larry Frazier","Vacation Ln."41:16 "The Velvet Underground","All Tomorrow's Parties"37:06 "Whettman Chelmets","Drowned and Faded"32:56 "Whettman Chelmets","Recollections Suite"29:52 "VI Res","The Invasion"27:02 "VI Res","Inertia V2"22:06 "Elvis Costello & The Attractions","Riot Act"19:15 "Elvis Costello & The Attractions","Almost Blue"16:35 "Elvis Costello & The Attractions","Kid About It"12:55 The Psychedelic Furs","She Is Mine (Album Version)"06:25 The Psychedelic Furs","All Of This And Nothing (Album Version)"00:55 The Psychedelic Furs","Sister Europe"

Thursday's 5pm-6pm EST 10pm-11pm BST 2pm-3pm PDTbombshellradio.com Bombshell RadioRepeats 5am EST #Rock #Radio #alternative #Classics #NewMusic #ZadokStrawberry #ForTheRecord00:00 "New Gold Dream (81-82-83-84)","Simple Minds"04:50 "Colours Fly and Catherine Wheel","Simple Minds"08:15 History,"The Verve"13:35 "The Drugs Don't Work","The Verve"18:45 "Rock And Roll","The Velvet Underground"23:25 "All Tomorrow's Parties","The Velvet Underground"30:25 Shuttlefish,"The Gibraltarians"33:00 "Watch the Rain Pour","industry city sleepers"38:00 "Ringing in My Mind","industry city sleepers"42:46 "All Will Perish","Crows Labyrinth"48:00 "Every Other Day","The Dandelion"52:06 Malkaus,"The Dandelion"54:16 "November Uniform",Epilatrix

这期节目我们说了说All Tomorrow's Parties这部纪录片，以及这部片子背后的一些人和事儿，这部纪录片应该是我们看过关于音乐节最棒的一部纪录片。

We visit the artist movement of cold war Germany, then Berlin after the wall comes down with guest Rob Spillman. Rob is editor and co-founder of Tin House, a literary magazine in the USA, and author of the memoir All Tomorrow's Parties. Do artists thrive in historically fraught times? What happens when you are a displaced outsider who becomes an insider? Rob Spillman Homepage Tin House   NEVER HEARD THE SHOW? Don't be afraid to start with Episode 1:OUTSET SPONSOR: Reach thousands of expats and travelers all over the world by sponsoring The Bittersweet Life. Write the at bittersweetlife@mail.com to get the conversation going. JOIN THE CONVERSATION Connect with us on Twitter, Facebook or write us @ bittersweetlife@mail.com. ©Web and show content can only be used with written permission.

“Truly exceptional memoirs have to do something more than recount a good origin story: they have to test the author’s youthful understanding of the world, and break down that world, even as it’s being built upon the page. All Tomorrow’s Parties is such a memoir. Not only is it a super-fun, shatter-the-mirror joyride through Spillman’s […] The post Rob Spillman : All Tomorrow’s Parties appeared first on Tin House.

Juliet and Terence on... Victoria Wood; Prince; making conversation; sport selling its soul; and chaos at All Tomorrow's Parties. Bonus: four great tracks of music!

We start this week with tales from All Tomorrow's Parties - where Gaz played with Charlotte Church using the Industrial Radio MIDI Bass, then on to Novation's massive Circuit firmware updates, Apple drop support for Quicktime on PC at the same time as vulnerabilities are found, 2nd Sense Audio - Wiggle a Waveshaping software instrument, how to stop your cat biting sub woofers and other studio fixes, Ikea furniture, and Ty gets something off his chest..

Rob Spillman is the author of the memoir All Tomorrow's Parties. Learn more about your ad choices. Visit megaphone.fm/adchoices

I am delighted to have as my first guest, bassist, composer, recording artist Chris Lightcap. Chris has played and collaborated with an amazing array of musicians: he is a regular in Regina Carter’s band, and over the years has played with Marc Ribot, Craig Taborn, Glen Hansard, Mark Turner, John Medeski, Jason Moran, Chris Potter and many more. His playing is featured on over 60 albums and as a bandleader/composer he has produced four critically acclaimed albums of original music–in 2000 he released his first solo album, Lay-up, followed that up with “Bigmouth” in 2002, Deluxe in 2010 and his 2015 release, the spectacular Epicenter, was featured as an “A” list jazz pick by Apple Music back in July and has received glowing critical reviews. It took us a few weeks to get our schedules in sync to do the interview, and I learned from Chris that syncing schedules with other musicians is actually one of the more significant challenges when making a collaborative record. We wasted no time getting down to our conversation, in fact we dove right in talking about his recent trip to Bogota, Columbia, more on that in a moment. Please note, all music heard in this podcast is by and/or features Chris Lightcap. Links to the music and other things we discussed can be found below. For more information about Chris Lightcap checkout his website. For more information about Alloy checkout the show’s site. Musicians mentioned in this episode: John Zorn Jamie Saft Matt Wilson Quartet Chad Taylor Craig Taborn Regina Carter Ed Blackwell Chris Lightcap music featured: Chris Lightcap’s Bigmouth: Epicenter (2015) Nine South | amazon | itunes White Horse | amazon | itunes Epicenter | amazon | itunes Down East | amazon | itunes All Tomorrow’s Parties | amazon | itunes Regina Carter’s Southern Comfort (2014) Honky Tonkin’ | amazon | itunes Regina Carter’s Reverse Thread (2014) Mwana Talitambula | amazon | itunes Matt Wilson Quartet + John Medeski: Gathering Call (2014) Dancing Waters | amazon | itunes Chris Lightcap’s Bigmouth: Deluxe (2010) Platform | amazon | itunes Chris Lightcap Quartet: Bigmouth (2002) Neptune 66 | amazon | itunes Dig A Pony | amazon | itunes Chris Lightcap Quartet: Lay-Up (2000) Lay-Up | amazon | itunes Guinbre | amazon | itunes Record labels: Clean Feed Records & Fresh Sound Records Show sponsor: Whistlestop Bookshop Send feedback about this podcast to: alloypm@gmail.com Follow the show on Twitter: @alloypm Subscribe to this episode through iTunes

La musica del Gay Pride di Milano e di Los Angeles, All Tomorrow's Parties dei Velvet Underground e gli AC/DC sono le canzoni della seconda parte della puntata di oggi di Mu.

Join Cris and his guests Cole Alexander and Jared Swilley of Atlanta's Black Lips as they discuss everything from the Lips tour of the Middle East, playing with Cris at All Tomorrow's Parties in England, snake handling and dinosaurs in our most punk rock and far flung discussion yet! Intro music is Teenager's by The Meat Puppets, Outro is Black Lips' Sea Of Blasphemy performed live in Cairo, Egypt.

Tea for One/孤品兆赫-22, 摇滚/All Tomorrow&`&s Parties微信订阅号：【孤品兆赫】微博（新浪/腾讯）：【孤品兆赫】本期更新一期60年代摇滚，Lou Reed, VU & New Sound in 60s&`& , 介绍纽约实验乐手Lou Reed和他的Velvet Underground乐队在1966年的首次录音，以及他们对同时代的迷幻实验音乐的影响，欢迎收听Tracklist1. < Sunday Morning > -- The Velvet Underground, 1966 2. < Within You Without You > -- The Beatles, 1967 3. < Dear Mr. fantasy > -- Traffic, 1967 4. < Rainy Days, Dream Away > -- Jimi Hendrix Experience, 1968 5. < Strange Brew > -- Cream, 1967 6. < Glimpses > -- The Yardbirds, 1967 7. < All Tomorrow's Parties > -- The Velvet Underground, 1966

Episode 13 - TVOTR Curated ATP. After Performing at the TV on the Radio curated All Tomorrow's Parties festival in England, Yoni gets in a journalistic mind-state. He interviews some fans and fanboys out on one of his heroes.

Melvyn Bragg examines materialism and the consumer. Does consumerism - as a cult, a fact, a need, a religion - threaten culture as we have known it, individuality as we desire it, life as we aspire to its best condition? Is the march of Mammon an army of jack-booted businessmen, using the propaganda of advertising and the seduction of the supermarket to trample us into submission, and into the worshipping of the great god - Buy? Or is the consumer the new source of power? A truer, more democratic individual freedom? Wordsworth prophesied much current criticism of consumerism when he wrote “The world is too much with us; late and soon,/getting and spending we lay waste our powers: Little we see in Nature that is ours:/We have given our hearts away, a sordid boon!”. How has ‘getting and spending' come to enjoy the place of importance it holds in our lives, and why have we so often seen shopping as in opposition to some notion of our ‘true natures'?With Rachel Bowlby, Professor of English, University of York and author of Carried Away: The Invention of Modern Shopping; William Gibson, science fiction writer and author of Neuromancer and All Tomorrow's Parties.

Melvyn Bragg examines materialism and the consumer. Does consumerism - as a cult, a fact, a need, a religion - threaten culture as we have known it, individuality as we desire it, life as we aspire to its best condition? Is the march of Mammon an army of jack-booted businessmen, using the propaganda of advertising and the seduction of the supermarket to trample us into submission, and into the worshipping of the great god - Buy? Or is the consumer the new source of power? A truer, more democratic individual freedom? Wordsworth prophesied much current criticism of consumerism when he wrote “The world is too much with us; late and soon,/getting and spending we lay waste our powers: Little we see in Nature that is ours:/We have given our hearts away, a sordid boon!”. How has ‘getting and spending’ come to enjoy the place of importance it holds in our lives, and why have we so often seen shopping as in opposition to some notion of our ‘true natures’?With Rachel Bowlby, Professor of English, University of York and author of Carried Away: The Invention of Modern Shopping; William Gibson, science fiction writer and author of Neuromancer and All Tomorrow’s Parties.

Melvyn Bragg examines materialism and the consumer. Does consumerism - as a cult, a fact, a need, a religion - threaten culture as we have known it, individuality as we desire it, life as we aspire to its best condition? Is the march of Mammon an army of jack-booted businessmen, using the propaganda of advertising and the seduction of the supermarket to trample us into submission, and into the worshipping of the great god - Buy? Or is the consumer the new source of power? A truer, more democratic individual freedom? Wordsworth prophesied much current criticism of consumerism when he wrote “The world is too much with us; late and soon,/getting and spending we lay waste our powers: Little we see in Nature that is ours:/We have given our hearts away, a sordid boon!”. How has ‘getting and spending’ come to enjoy the place of importance it holds in our lives, and why have we so often seen shopping as in opposition to some notion of our ‘true natures’?With Rachel Bowlby, Professor of English, University of York and author of Carried Away: The Invention of Modern Shopping; William Gibson, science fiction writer and author of Neuromancer and All Tomorrow’s Parties.