Podcast appearances and mentions of andrew hickey

We are kicking off Empathy For The Devil Season 2 with perhaps our most requested artist - Amy Winehouse. A once-in-a-generation talent, Amy burst onto the scene in the mid-2000's with an inimitable soulful voice and deeply emotive lyrics. She shone brightly then flamed out right in front of our eyes, receiving an appalling lack of empathy as she became consumed by her addictions. Her story is a tragic tale of a would-be jazz club singer who found herself thrust into the machine industry, coming of age under the weight of fame and in the unforgiving public eye. Matt Thomas - Creative Lead and Co-Founder of Attune - guides us through the first episode of the season, and examines the harsh criticism and cruel mockery (often laced with thinly veiled misogyny) which Amy endured right when she needed help the most. Taking a kind and compassionate approach, he unpacks the modern tragedy of a unique talent taken far too soon, remembering just how fortunate we were to hear that extraordinary voice.This week's ‘One For The Road' is the podcast ‘A History of Rock Music in 500 Songs', written and presented by Andrew Hickey. It's a brilliantly researched, eye-opening look at the history of rock from the swing era to the end of the millennium. Find it on Spotify or wherever you get your podcasts.Content Warnings: substance use, addiction, alcoholism, alcohol poisoning, depression, eating disorders, bulimia.IMPORTANT: Alcohol withdrawal happens once an individual is physically dependent/chemically addicted and can be fatal and should only be attempted with medical guidance/assistance. The most serious form of withdrawal is called delirium tremens, or DTs. People with severe withdrawal symptoms or DTs should always have a drink if they need it while professional help is sought. If in doubt, call 999.If you or someone you know has been affected by the themes in this episode, there are some useful organisations on Attune's website that can be of help: www.we-are-attune.com/podcast Attune, as a dedicated provider of mental health and well-being services, is committed to delivering holistic support and resources. With its team of skilled professionals, Attune excels in recognising and responding to the intricate needs of people and teams in talent-based industries.You can learn more about Attune through our website: https://www.we-are-attune.com/Follow Attune on Instagram: https://www.instagram.com/we_are_attune/#Youtube: https://www.youtube.com/@weareattune and LinkedIn: https://www.linkedin.com/company/we-are-attune/ Empathy For The Devil is produced by Message HeardListen to more Message Heard shows through our website: https://messageheard.com/Follow Message Heard on LinkedIn: https://www.linkedin.com/company/messageheard/mycompany/ and Twitter: https://x.com/messageheard?lang=en-GB This is a Message Heard Production.Producer and Editor - Emma WernerSenior Producer - Harry StottExecutive Producer - Sandra FerrariVideographer - Ethan JuddAudio and Mix Engineer - Lizzie AndrewsProduction Coordinator - Kirsty McLeanFilmed at ID Studios__________________Empathy For The Devil Season 2 is brought to you in partnership with London Records. Website: londonrecords.co.uk

Podcaster Andrew Hickey continues the discussion of a few of his favorite rock movies with hosts Josh Olson and Joe Dante. Learn more about your ad choices. Visit megaphone.fm/adchoices

Podcaster Andrew Hickey discusses a few of his favorite rock movies with hosts Josh Olson and Joe Dante. Learn more about your ad choices. Visit megaphone.fm/adchoices

Wir sprechen über einen echt krassen Fall von Plagiat in der Podcast-Welt! Der Host von "A History of Rock Music in 500 Songs" hat herausgefunden, dass ein französischsprachiger Podcast seit fast zwei Jahren wortwörtliche Übersetzungen seiner Episoden veröffentlicht und auf Patreon monetarisiert hat, und das ohne Erlaubnis oder Erwähnung! Wie hat der Host darauf reagiert, und was bedeutet dieser Fall für uns Podcaster? Wir diskutieren, welche Möglichkeiten wir haben, dies zu unterbinden oder welche Gefahren auf uns lauern! Thema: Podcast wurde jahrelang imitiert und monetarisiert, ohne Erlaubnis!Quellen:https://500songs.com/podcast/an-alert-someone-plagiarising-me/Podcaster's show pirated in another languageÜber uns: https://podcastcreator.de/ueberuns/Website: https://podcastcreator.de/Blog: https://podcastcreator.de/blog/Social Media:Instagram: https://www.instagram.com/podcast.creator/Youtube: https://www.youtube.com/@podcast.creatorThreads: https://www.threads.net/@podcast.creatorKontaktiere Michael unter:Website: https://dasgeht.at/kontaktInstagram: https://www.instagram.com/dasgeht.at/Threads: https://www.threads.net/@michaelczesunKontaktiere Gio unter:Website: https://www.sogehtpodcast.de/kontaktInstagram: https://www.instagram.com/sogehtpodcast/Threads: https://www.threads.net/@sogehtpodcastDisclaimer: Um Transparenz zu gewährleisten, kennzeichnen wir unseren Podcast als Dauerwerbesendung, da wir in unseren Folgen über Tools, Unternehmen und andere Dinge sprechen, die die Podcast-Szene betreffen und die wir nutzen und empfehlen.Test

The British sitcom film of the seventies - doesn't the very mention of the genre make your heart sing? Sure, there were some stinkers, but this week we're talking about one which we consider to be a fairly successful adaptation: Man About The House from 1974. Why is this being covered on Goon Pod? Two reasons. Firstly, Spike Milligan is in it, playing himself. Secondly, it's Tyler's podcast and he likes MATH, so there. Joining him to talk about the film and wander down countless conversational backstreets are three chums: Gary Rodger & Tilt Araiza from The Sitcom Club and Jaffa Cakes For Proust podcasts and Andrew Hickey from A History of Rock Music in 500 Songs. Among other things they consider John Inman's career down under, speculate as to what exactly happened on George & Mildred's honeymoon and ponder the possibility of Harry Nilsson recording the theme tune to Porridge!

Olá, eu sou Leo Lopes e está no ar o POD NOTÍCIAS, a sua dose semanal de informação sobre o mercado de podcasts no Brasil e no mundo! Hoje é segunda-feira, dia 13 de maio de 2024 e esta é a nossa décima terceira edição! Sabia que você pode anunciar com a gente aqui no Pod Notícias? Se você tem uma marca, produto ou serviço e quer atingir um público qualificado que se interessa pelo podcast aqui no Brasil, manda um e-mail pra gente no contato@podnoticias.com.br, que a gente vai ter o maior prazer em conversar com você. Além disso, se você quiser colaborar com a gente, mandar texto, mandar pauta, também é muito bem-vindo, e pode fazer isso através do mesmo e-mail. 1 - A gente começa a edição de hoje com uma análise mundial sobre o podcasting que colocou o Brasil em evidência: de acordo com os dados mais recentes da empresa YouGov de pesquisa em marketing, os ouvintes de podcast em 2024 se comportam de formas muitos diversas ao redor do globo. Em geral, de todos os consumidores entrevistados no mundo, 40% afirmaram que ouvem podcasts por mais de uma hora por semana, e cerca de 10% dos entrevistados dedicam mais de 10 horas semanais a esse tipo de conteúdo. Quando a gente foca na pesquisa que foi feita na América Latina, os destaques são o Brasil e o México, já que quase metade dos mexicanos e brasileiros são ouvintes assíduos de podcast - são 48% no México e 44% aqui. Os colombianos aparecem um pouco atrás, com 37% da população sendo ouvinte. Aqui no Brasil, considerando que o país tem mais de 200 milhões de pessoas, o número de ouvintes de podcast é de aproximadamente 90 milhões. Com esse número de ouvintes, o Brasil garante fácil a liderança na América Latina. Agora a meta é ser campeão mundial! Link 2 - E olha só o alerta de processinho: na semana passada o apresentador Andrew Hickey, do podcast "A History of Rock in 500 Songs" anunciou que o seu podcast estava sendo plagiado em outra língua. Segundo ele, um outro podcaster conhecido como "Capitão Diligaf" estava copiando o seu conteúdo e traduzindo pro francês. E não é só isso, o podcast que supostamente plagia o conteúdo do Andrew, tem uma página no Patreon que está monetizando esse conteúdo a mais de 2 anos. O Hickey ainda falou que não é só uma questão de se inspirar, mas de copiar na cara dura mesmo, palavra por palavra. Pra deixar a situação do Diligaf ainda mais complicada, isso tá acontecendo até com o conteúdo premium do podcast do Andrew, que ele disponibiliza pros seus ouvintes através de assinatura. Com isso, o Andrew deu um ultimato pro cara: ele tinha até segunda-feira - que no caso é hoje - pra tirar os episódios plagiados do ar e pedir desculpas publicamente. Se isso não acontecesse, medidas legais seriam tomadas. Até o momento do fechamento desse episódio, o Diligaf não deu nenhuma declaração sobre as acusações de plágio, mas desativou a sua conta do Twitter. E quem tá na internet a tempo suficiente, já sabe que isso não é lá o melhor sinal de inocência... Link 3 - E o ranking do Podtrac sobre as empresas de podcast mais influentes de abril de 2024, já está disponível para consulta no site. Alguns destaques das classificações desse mês, foram que a Libsyn foi incluída no ranking dos Estados Unidos; a empresa US UMA teve o maior aumento entre todos os participantes do ranking, comparado ao mês anterior; a rede global Sonoro teve um bom desempenho em downloads, streams e visualizações globais comparado a março; e o selo iHeart agora está listado como o número 1 no ranking global, com mais de 50% de vantagem sobre o Acast, que era o líder anterior. Nos Estados Unidos, a Libsyn Ads estreou em terceiro lugar entre os editores, enquanto o podcast The Daily reassumiu o primeiro lugar de mais ouvido, superando o News Now da NPR - que tinha desbancado o Daily no ranking passado. Mais uma vez, os podcasts mais escutados do mundo foram sobre notícia e geopolítica. Link AINDA EM NOTÍCIAS DA SEMANA: 4 - Foi lançado no dia 7 de maio o programa de rádio "Comunicação Universitária em Rede - Emergência Climática Rio Grande do Sul", produzido por um coletivo de universidades federais. O programa é transmitido ao vivo do estúdio da Rádio UF São Carlos, das cinco às cinco e meia da tarde, e depois é disponibilizado como podcast nos agregadores, podendo ser compartilhado com emissoras públicas de todo o país. A iniciativa é uma mobilização de cientistas e da comunidade das Instituições Federais de Educação Superior, e o objetivo do projeto é fornecer informações diárias sobre a situação climática no Rio Grande do Sul, incluindo previsões do tempo, cuidados com a saúde e formas de contribuir com doações e trabalho voluntário - além de combater as fake news que surgem no cenário da tragédia. Sugestões de pautas e informações úteis para o programa podem ser enviadas pra eles por e-mail ou pelo WhatsApp. Você também pode seguir o núcleo de informação da Universidade Federal de São Carlos no Instagram, no arroba @ufscaroficial e acompanhar sempre que um novo episódio for postado. Link 5 - E ainda falando sobre esse assunto, que infelizmente não parece estar perto de acabar, o podcast Café da Manhã discutiu essa semana a atenção à saúde mental durante tragédias climáticas, como a do Rio Grande do Sul, que já teve mais de 113 óbitos até agora. Conforme tem sido noticiado, o sistema de saúde do Rio Grande do Sul está sobrecarregado, com hospitais fechados e dificuldades de acesso aos pacientes. Especialistas alertaram que é possível que haja falta de remédios e insumos básicos nos hospitais, além do aumento de doenças causadas pela exposição à água impura. Nesse contexto, o episódio da última quarta-feira do Café da Manhã entrevistou os psicólogos Lucas Bandinelli e Júlia Schäfer, que fazem parte de um grupo que têm desenvolvido protocolos para assistência à saúde mental. A iniciativa envolve o Hospital de Clínicas de Porto Alegre, a Sociedade Brasileira de Psicologia, a Associação de Psiquiatras do Rio Grande do Sul e o Telessaúde RS. Esse e outros episódios do Café da Manhã estão disponíveis em todos os principais agregadores de áudio e no site da Folha de São Paulo. Link 6 - De acordo com o monitoramento do Buzzsprout, o Spotify alcançou a posição de plataforma de podcast mais popular em termos de downloads. Embora o Spotify sempre tenha sido reconhecido como líder em número de ouvintes, essa mudança nos downloads é um marco, porque foi a primeira vez que ele ultrapassou o Apple Podcasts nesse aspecto. O Apple Podcasts, por padrão, sempre fez o download dos episódios automaticamente, o que torna essa conquista do Spotify ainda mais notável. No entanto, não dá pra esquecer que o Apple Podcasts mudou a automação dos downloads nas últimas atualizações, e isso com certeza impactou nesse resultado. Segundo uma análise do Podnews, o Spotify representa hoje 36% dos 108 milhões de downloads mensais registrados pelo Buzzsprout, seguido pelo Apple Podcasts com 33%. Link E MAIS: 7 - O podcast já foi uma mídia dominada por homens, mas nós estamos acompanhando a revolução feminina no áudio. Vários programas femininos estão tendo tanto sucesso, que batem de frente com as mídias tradicionais, inclusive a TV. Esses podcasts, mais íntimos e descontraídos, estabelecem uma conexão muito genuína com o público, especialmente o feminino, e cada vez mais podcasts produzidos por mulheres vão sendo criados. Um exemplo bem claro disso é a Natália Ariede, ex-repórter da Globo, que decidiu se retirar da TV pra investir no seu podcast, "Você Não É Todo Mundo". E lembrando aqui: a Natália tinha 17 anos de trabalho na TV. Não é pouca coisa, não. O podcast é produzido em parceria com a Globo e está disponível em várias plataformas digitais, falando de assuntos como parentalidade e desafios vividos por pais e mães. Embora ela tenha admitido que sente um pouco de falta de trabalhar na TV, a Natália não se arrepende de ter pedido demissão e migrado para o podcast, que é uma mídia que deu pra ela mais autonomia e liberdade profissional. Link / Link 8 - Se você é um usuário do PocketCasts no iOS, pode ter experimentado na semana passada alguns crashes no aplicativo, e vários períodos de instabilidade. Os problemas foram percebidos por vários ouvintes, e prontamente identificados pela equipe de desenvolvimento do app. Os desenvolvedores do Pocketcasts, que já são conhecidos pela dedicação à experiência do usuário e posicionamento nas redes, ao serem informados dos bugs, começaram a trabalhar na mesma hora para restaurar a funcionalidade do aplicativo. Depois de um tempo, a equipe anunciou via X (Twitter) que parte do problema foi resolvido com uma atualização recente do aplicativo. Então se você não atualizou o PocketCasts e ainda está com esse problema, já sabe como tentar resolver. Link 9 - E agora uma notícia "É mole?" que veio direto do mundo esportivo. O jogador de basquete dos Bucks, Patrick Beverley, fez manchetes na última semana por ter se recusado a dar entrevistas a repórteres que não fossem inscritos no podcast dele. E de acordo com Jack Maloney, redator da NBA e da CBS Sports, isso não é algo novo; parece que o Patrick já tinha, mais de uma vez, se recusado a falar com qualquer pessoa da sua equipe em Milwaukee que não fosse assinante do seu podcast. A controvérsia começou logo depois de uma derrota decisiva dos Bucks para os Pacers. No vestiário, o Patrick estava respondendo à pergunta de um repórter, quando ele mesmo se interrompeu e perguntou pra uma produtora da ESPN: “Você assina meu podcast?”. A produtora, Malinda Adams, disse que não - e ele se recusou a continuar a entrevista. Todo mundo ficou tão indignado, que os colegas de trabalho e a própria ESPN se manifestaram nas redes dando apoio à Malinda. Alguns dias depois, o Beverley acabou pedindo desculpas. Então fica a dica: talvez a pressão não seja a melhor forma de conseguir novos ouvintes pro seu podcast. Link HOJE NO GIRO SOBRE PESSOAS QUE FAZEM A MÍDIA: 10 - A gente tá vendo em tempo real o impacto que as mudanças climáticas estão causando, com as enchentes do Rio Grande do Sul e agora também no Maranhão. Esse é o momento em que todos devem ajudar as vítimas de todas as formas possíveis, e a podosfera brasileira não está decepcionando. Ao longo de toda a semana passada, várias personalidades do podcast no Brasil usaram as suas plataformas pra divulgar informações, organizações governamentais e não-governamentais, criar vaquinhas e oferecer trabalho voluntário no resgate das vítimas: Déia Freitas, os meninos do PodPah, a Ira Croft, o Jovem Nerd, nós mesmos da Rádiofobia... Felizmente é tanto nome, que não daria pra falar de todo mundo nesse programa. Você também pode fazer a sua parte. O governo do Rio Grande do Sul está recebendo doações em PIX, organizações como a SOS Enchente também estão, e caso você não possa contribuir com dinheiro, sempre pode separar aquelas roupas que não usa mais, alguns produtos de limpeza que não estiver usando, galões de água potável, e deixar na agência dos Correios mais próxima. Lembrando que o mínimo pra nós pode ser o máximo pra quem precisa, então vamos ajudar. Link 11 -  Quem acompanha o Pod Notícias já sabe que os podcasters brasileiros que moram no Japão são extremamente unidos, formando o chamado coletivo Podosfera Nipo-Brasileira. O podcast no Japão tem tido cada vez mais atividades, então hoje a gente vai inaugurar um novo quadro mensal aqui no Pod Notícias, chamado "O Podcast no Japão", produzido e apresentado pelo meu amigo Carlinhos Vilaronga, da Nabecast! Fala, Carlinhos! CARLINHOS: Olá Leo e amigos do Pod Notícias!Passando para compartilhar um pouco do que aconteceu na podosfera brasileira no Japão durante as primeiras semanas de primavera. Summit Japan Br:No dia 7 de abril, a cidade de Chiryu, em Aichi, recebeu o Summit Japan Br.A atriz Danni Suzuki foi a convidada especial do evento e durante o ciclo de palestras dividiu o palco com empresários, empreendedores e educadores brasileiros da comunidade brasileira no Japão.Entre as mídias parceiras, estavam o videocast CastBrother e a Nabecast, produtora especializada em podcasts em áudio. O que é um sinal de que o podcast já conquistou seu espaço na comunicação entre os brasileiros no Japão. Exposição Arte Brasil 2024:Entre os dias 9 e 14 de abril, a cidade de Hamamatsu, em Shizuoka, foi palco da Exposição Arte Brasil 2024.A exposição é uma iniciativa do Coletivo Arte Brasil. O podcast Mochiyori que aborda temas como bem-estar e desenvolvimento pessoal esteve no evento e gravou vários episódios conversando com os artistas. Pod'Café - Edição de Primavera:No domingo, dia 14 de abril, no horário do Japão, rolou a edição de primavera do Pod'Café. O encontro é uma iniciativa do Coletivo Podosfera Nipo-brasileira.A publicitária Nina Morelli, fundadora da Agência Onda, bateu um papo com podcasters e empreendedores, compartilhando informações e conceitos para ajudar com planejamento estratégico da comunicação nas redes sociais. Para finalizar, registro aqui meus parabéns às equipes dos podcasts Dropzilla e Otaku no Kissaten por terem ultrapassado nas últimas semanas a marca de 100 episódios publicados. Carlinhos Vilaronga da cidade de Kosai na província de Shizuoka, exclusivo para o Pod Notícias. Link SOBRE LANÇAMENTOS: 12 - O jornalista e artista Daniel Setti lançou o podcast Do vinil ao streaming: 60 anos em 60 discos, baseado no seu livro de mesmo nome, publicado pela Autêntica Editora em 2023. O podcast apresenta seis episódios dedicados a álbuns icônicos do pop internacional das últimas seis décadas, falando sobre a história e a importância desses trabalhos pra música. No programa, são apresentados diversos gêneros musicais, rock, indie, enfim, e são exploradas as conexões entre a arte, a sonoridade e o contexto histórico e social de cada álbum - e década. O podcast já está disponível em todas as principais plataformas de áudio. Link 13 - E o Canal Saúde também lançou o seu novo podcast, o Giro Saúde, em formato jornalístico. O programa faz um apanhado das principais notícias da área da saúde, em parceria com o Ministério da Saúde e a Agência Fiocruz de Notícias. Os episódios vão ter mais ou menos 15 minutos de duração, com informações atualizadas até o final da semana, disponível nas principais plataformas de áudio e no site do Canal Saúde. Além disso, o podcast também vai ser divulgado no Boletim da Agência Fiocruz toda sexta-feira. No primeiro episódio já foi falado sobre a expansão da vacinação contra a gripe, o panorama da dengue no Brasil e o prazo para adoção do novo padrão de rótulos de alimentos. Não deixa de conferir, porque informação sobre saúde pública nunca é demais. Link RECOMENDAÇÃO NACIONAL: 14 - E a nossa recomendação nacional desta semana é também um convite pra um pouco de reflexão e muito bom humor: é o podcast Nu Aleatório, apresentado pelo Paulo Lima e pelo Marco Túlio. Esses dois são brasileiros que vivem em Portugal e mergulham em todo tipo de assunto fora do comum. Além disso, eles se descrevem como apaixonados por música, escrita e comédia stand-up. Os papos do Nu Aleatório já foram de filósofos da Grécia antiga, até uma realidade paralela onde a internet deixou de existir. Pra você ver que "aleatório" não é só no nome, não. O Nu Aleatório é um podcast que - segundo os apresentadores! - você não pediu, provavelmente não precisava, mas que você merece. O programa está disponível em todas as principais plataformas de áudio e também no YouTube. Link E assim a gente fecha esta décima terceira edição do Pod Notícias. Acesse podnoticias.com.br para ter acesso à transcrição e os links das fontes de todas as notícias deste episódio! Acompanhe o Pod Notícias diariamente:- Page do Linkedin- Instagram- Canal público do Telegram Ouça o Pod Notícias nos principais agregadores:- Spotify- Apple Podcasts- Deezer- Amazon Music- PocketCasts O Pod Notícias é uma produção original da Rádiofobia Podcast e Multimídia e publicado pela Rádiofobia Podcast Network, e conta com as colaborações de:- Camila Nogueira - arte- Eduardo Sierra - edição- Lana Távora - pesquisa, pauta e redação final- Leo Lopes - direção geral e apresentação- Thiago Miro - pesquisa- Carlinhos Vilaronga - coluna "O Podcast no Japão" Publicidade:Entre em contato e saiba como anunciar sua marca, produto ou serviço no Pod Notícias.See omnystudio.com/listener for privacy information.

Podman The 4th (A Walrus Runs Through It) The Podman's been told that this is a very good episode but unfortunately, he hasn't been able to hear it as Rita Wolf's thighs are blocking his ears! Well, there are worse things. This episode, the Podman reviews: Andrew Hickey's A History of Rock in 500 Songs podcast, The 2024 NAMM Convention and Ethan Alexanian's Fans On The Run podcast. Fair warning, this is the Podman's longest one, but that's probably Lovely Rita's fault.

If you want to see what the future of the internet looks like, peek over your kid's shoulder while they're using Roblox. The online platform is filled with free games, experiences, and social hangouts that are designed and built by its users. Curiously, those users are often children; Roblox has 65 million daily active users, and around half of them are under 17. But as Roblox grows, its users are growing up, and the company is making moves to appeal to the changing interests of its aging audience. This week, the company announced it's bringing animated video chat to its virtual world. The new feature aims to combine the interactions of apps like Zoom and FaceTime with the creative energy of a video game environment. The addition of video chat could also convince older users to buy a premium Roblox subscription or invest in Robux, the platform's digital currency. This week on Gadget Lab, we dive into the virtual world of Roblox and how the company's offerings are expanding to attract older users, evolve its culture, and create its own version of the metaverse. Show Notes: Read Lauren's story about Roblox introducing animated video chats to its platform. WIRED's Will Knight has more about how Roblox is using generative AI. Follow all of WIRED's coverage of Roblox and other video games. Recommendations: Lauren recommends getting rid of all your extra cables and watching the show Jury Duty on Amazon Prime. Mike recommends Andrew Hickey's podcast A History of Rock Music in 500 Songs, and ordering bitters and soda at a bar when you don't want an alcoholic drink. Lauren Goode is @LaurenGoode. Michael Calore is @snackfight. Bling the main hotline at @GadgetLab. The show is produced by Boone Ashworth (@booneashworth). Our theme music is by Solar Keys. Learn more about your ad choices. Visit podcastchoices.com/adchoices

On August 9th, Canadian music icon Robbie Robertson passed away. Robertson was a guitarist, singer, songwriter, and movie score composer. He was part of one of our favorite bands, The Band, of which we've reviewed two of their incredible albums (self-titled at #57, and Music From Big Pink at #100). Robertson's work with the Band was instrumental in creating the Americana music genre. He was inducted into the Rock and Roll Hall of Fame and the Canadian Music Hall of Fame as a member of the Band, and into Canada's Walk of Fame, with the Band and on his own. In tribute, we thought it would be nice to revisit our conversation with Tyrell Lissen, host of the incredible The Band: A History podcast. We also encourage you to go check out Andrew Hickey's (our special guest on our review of Back To Mono) latest episode of A History of Rock Music in 500 Songs where he talks specifically about The Band and their hit song, The Weight. As a reminder, you can find our favorite songs from the RS500 on ⁠our Spotify playlist right here⁠ - we'll be updating it as we go with our favorite songs from each album! You can check out ⁠Rolling Stone's 2020 list right here⁠. We'd love it if you would review us in your favorite podcast app, and while you're at it, give us a like on our ⁠Facebook Page⁠ or ⁠Instagram⁠, follow us on ⁠Twitter⁠, and send us a message if you have any comments or questions. --- Send in a voice message: https://podcasters.spotify.com/pod/show/soundlogic/message Support this podcast: https://podcasters.spotify.com/pod/show/soundlogic/support

Andrew Hickey hosts the highly acclaimed podcast A History of Rock Music in 500 Songs. Using a single song as the centerpiece for each episode, Hickey is attempting to chart the history of rock from the beginnings of amplified guitars to modern music, with the 500th episode to draw from the year 1999. In addition to the podcast, Hickey has published more than twenty books on various subjects, ranging from novels about the occult to reference books on the 1960s series, ‘Doctor Who.' ------- Thank you to the sponsors that fuel our podcast and our team: House of Macadamias https://www.houseofmacadamias.com/tetra Get a free box of Dry Roasted Namibian Sea Salt Macadamias + 20% off Your Order With Code TETRA Use code TETRA for 20% off at checkout. ------- LMNT Electrolytes  https://drinklmnt.com/tetra Get a free LMNT Sample Pack with your order.

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

In this very special episode, Eli looks at the moment when John Lennon stopped giving peace a chance and started hanging out with the black panthers. The guest is the editor at large for Reason Magazine, Nick Gillespie. To learn more about the Beatles in 1967, this is Andrew Hickey's podcast episode mentioned in the show. https://500songs.com/podcast/episode-150-all-you-need-is-love-by-the-beatles/ Time Stamps: 00:24 Monologue 1:01:25 Interview with Nick Gillespie

PopaHALLics #92 "Look into a Glass Onion"Steve and Kate opine on "Glass Onion: A Knives Out Mystery," starring former Bond Daniel Craig as famed detective Benoit Blanc. In the movie, quickly becoming one of Netflix's biggest hits ever, a group of friends gather on a remote island for a murder mystery game that turns deadly. We also discuss Tim Burton's Addams Family-inspired "Wednesday," "Guillermo del Toro's Pinocchio," and more.Streaming:"Glass Onion: A Knives Out Mystery," Netflix.  In addition to Craig, Kate Hudson, Edward Norton, Kathryn Hahn, Janelle Monae, Dave Bautista, and Leslie Odom Jr. star. Keep an eye out for all the cameos!"Guillermo del Toro's Pinocchio," Netflix. In this stop-motion animation version of the familiar story, a wooden puppet wants to become a real boy. He has a series of misadventures as Italy becomes embroiled in fascism. Stars include Ewan MacGregor, Cate Blanchett, Finn Wolfhard, Ron Perlman, Tilda Swinton, and Gregory Mann as Pinocchio. "Wednesday," Netflix.  Have you seen the clip online of star Jenna Ortega's Goth  girl dance as Wednesday Addams and wondered if the supernatural teen-oriented series is any good? We'll tell you! Also stars Catherine Zeta-Jones and Luis Guzman as Morticia and Gomez."Bullet Train," Netflix. Five assassins aboard a fast-moving train find their missions have something in common in this gory action comedy. Brad Pitt, Joey King, Aaron Taylor-Johnson, Brian Tyree Henry, Bad Bunny, Michael Shannon and Sandra Bullock star. Books:"The Maid: A Novel," by Nita Prose. When a guest at a fancy hotel is found dead, the main suspect is a maid who has "trouble with social situations" in this Clue-like, locked-room mystery."The Terminal List," by Jack Carr. When a Navy Seal realizes he's been set up as the fall guy for a government conspiracy, he takes matters—and weapons—into his own hands in this thriller.Podcast:"A History of Rock Music in 500 Songs." Andrew Hickey explores the development of rock music and key bands in episodes "notionally based" on one song. For example, "White Rabbit" describes the formation, career, and infighting of Jefferson Airplane and the growth of the San Francisco rock scene.

If you are listening to this show on the day it goes out - Wednesday 5th October 2022 - then it is exactly 60 years since the Beatles' first single, Love Me Do, was released*. It's also exactly 50 years to the day since The Last Goon Show Of All was broadcast! We've previously dedicated a show to the connections between the Beatles & The Goons and an argument could be made that were it not for the Goons the Beatles (as we know them today) may not have existed. Had an EMI producer named George Martin not made a children's record called Jakka and the Flying Saucers in 1953 with an up-and-coming radio comedian then he may not have gone on to oversee Peter Sellers' (for it was he) subsequent hit comedy LPs at the end of the decade. He also may not have met and worked with Sellers' colleague Spike Milligan, and were it not for Martin's involvement with those two Goons on records which had entertained the teenage Beatles then he may have failed to have impressed them much when he met them in 1962. Things could have been so different... ... Ok, maybe that's a stretch but the importance of George Martin in British - in world - popular culture is undeniable. And without his experience creating those comedy & novelty records in the fifties and early sixties it is possible that much of the Beatles' later work may have lacked the levels of inventiveness and technical complexity that they achieved. This week Tyler is joined by Andrew Hickey - from the hugely popular podcast A History of Rock Music in 500 Songs - to talk about George Martin and specifically his work with Peter Sellers and Spike Milligan, as well as some of the other records he had a hand in, pre-Beatles. We talk about The Best of Sellers, Songs For Swinging Sellers, Unchained Melody, You Gotta Go Oww, the Sellers Beatles covers, Milligan Preserved, Bridge On The River Wye, Peter & Sophia and much more! * We're now as far away from that day as the Beatles were from the funeral of Émile Zola. A History of Rock Music in 500 Songs: 500songs.com/

The January 6th hearings are a reminder of the impact of hatred for the other side and toxic polarization. We are rigidly divided by our politics, Facebook and other social media sites, and by news media. Nearly half of us have stopped talking with someone about political topics as a result of what they said in person or online. Our culture of contempt is dividing us all and making America ungovernable.How do we use science and proven methods to reduce toxic polarization and push back against conflict entrepreneurs? This episode presents a way forward.We repeat this episode with Peter Coleman, who is a leading expert on intractable conflict and sustainable peace. Peter is a professor of psychology and education at Columbia University and director of the Morton Deutsch International Center for Cooperation and Conflict Resolution. Peter's new book is "The Way Out. How to Overcome Toxic Polarization."We discuss research on how deeply divided societies can and do change. We learn more about the role you can play to navigate these times most effectively – as well as what to look for in groups and organizations in your community that are already at work making America more functional again.In this episode, Peter praised the work of the Bridging Divides Initiative, a group that tracks and mitigates political violence in the United States. The initiative supports efforts to grow and build local community resilience throughout elections and other periods of heightened risk, laying the groundwork for longer-term efforts towards reconciliation.Recommendation: Jim is listening to the podcast series, A History of Rock Music in 500 Songs, a history of rock from 1938 to 1999, hosted by Andrew Hickey. See acast.com/privacy for privacy and opt-out information.

Say hello once again to the devil you know, on this first What Mad Universe?!? of 2022. Here we're looking at Arthur C. Clarke's book Childhood's End, one of the heavy hitters of post-WWII Sci-Fi and a massive influence on everything going forward. We're also joined by special guest Andrew Hickey of the History of Rock Music in 500 Songs podcast. Support us on Patreon and listen to the show a week early! Adam's Patreon Phil's Patreon What Mad Universe?!? on Twitter Phil's Twitter Adam's Twitter What Mad Universe on Facebook What Mad Universe on Instagram What Mad Universe RSS Feed Engineer/Producer: Alex Ross Theme song by Jack Feerick Additional Music: Additional music: "DMTC" by HMNN  (c) 2021 Adam Prosser and Philip Rice. Music (c) its respective creators. Used under a Creative Commons Non-Commercial Attribution 3.0 International License. This podcast is powered by Pinecast.

Andrew Hickey, author of "The History of Rock Music in 500 Songs" joins us to discuss the film Expresso Bongo, the soundtrack EP, and three singles by Cliff Richard & The Shadows. 

Never before in living memory has America been as politically polarized as it is today. We are divided by our politics, Facebook and other social media sites, and by news media. Nearly half of us have stopped talking with someone about political topics as a result of what they said in person or online. Our culture of contempt is dividing us all and making America ungovernable.How do we use science and proven methods to reduce toxic polarization and push back against conflict entrepreneurs? This episode presents a way forward. Peter Coleman is a leading expert on intractable conflict and sustainable peace. He's a professor of psychology and education at Columbia University, and director of the Morton Deutsch International Center for Cooperation and Conflict Resolution. Peter's new book is "The Way Out. How to Overcome Toxic Polarization."We discuss research on how deeply divided societies can and do change. We learn more about the role you can play to navigate these times most effectively – as well as what to look for in groups and organizations in your community that are already at work making America more functional again.In this episode, Peter praised the work of the Bridging Divides Initiative, a group that tracks and mitigates political violence in the United States. The initiative supports efforts to grow and build local community resilience throughout elections and other periods of heightened risk, laying the groundwork for longer-term efforts towards reconciliation.Recommendation: Jim is listening to the podcast series, A History of Rock Music in 500 Songs, a history of rock from 1938 to 1999, hosted by Andrew Hickey. See acast.com/privacy for privacy and opt-out information.

There was a boy, a very strange, enchanted boy - both his prototypical hippie lifestyle, long before the summer of love - and the ethereal song he left us in 1947 have fascinated me endlessly since first reading his Tale. Today, we discuss eden ahbez, and how the song Nature Boy came to be.  Patreon episodes will start next episode, to help me make the show please show some love here!   Read the blog post of this episode here. Please leave a like. Follow the show. Share the channel – it helps Tales grow. I post a new episode every fortnight, Wednesday night New Zealand time. Follow Tales of History and Imagination on Facebook, Twitter, Pinterest. I also write a weekly Wordpress Blog. Support the show on Patreon for exclusive, extra content.    Music, writing, narration, mixing all yours truly. I normally write the music - this week I'm just vamping over a couple of phrases taken from ahbez' song Nature Boy. Hear Nat King Cole's version here!    Main texts: I don't know… I think I got this story from a Vanity Fair article. Of course I consulted the LA Times, as I often do first with anything based in Los Angeles. Andrew Hickey's podcast ‘A History of Rock Music in 500 Songs' tuned me in to the Petrillo strikes. I cannot recommend Andrew's show too highly, go check it out.   About the Author: Simone Whitlow is an academic, competitive quizzer, songwriter and musician.  Transgender, she uses she/her pronouns.

Sorry about the delay, but WMU?!? is back for 2021 with another installment in our series looking at spinoff books from SF franchises, and this time up it's Doctor Who! Appropriately for a series that's all about finding new variations on its main character, the foundational British SF show came in a lot of different, mutually contradictory iterations during the years after its cancellation in 1989 and before it was brought back. Today we're joined by our friend (and Who spinoff author himself) Andrew Hickey to look at Alien Bodies by Lawrence Miles, a non-canon "Eighth Doctor" book that's had a tremendous impact on the mythos of Who, including the series itself. As with our similar shows about Star Wars and Star Trek spinoff books, we had a very substantial and LONG discussion about the franchise in question, leading to an extra-long episode. This publicly-available version has been edited down to just over an hour but we really do recommend the full version with lots more interesting discussion, which you can get by subscribing to either Adam's or Phil's Patreon. Stay subscribed and you get bonus stuff and the ability to listen to the show early, as well as comics, illustrations, prose and more! Truly, What Mad Universe?!? is the podcast that's bigger on the inside... What Mad Universe?!? on Twitter Adam's Twitter Phil's Twitter What Mad Universe on Facebook What Mad Universe on Instagram What Mad Universe RSS Feed Engineer/Producer: Alex Ross Theme song by Jack Feerick Music: "Mysterious Suspense" By alayan-10 on Looperman This podcast is powered by Pinecast.

As we take a break from releasing weekly episodes in order to record our new season, we have a special bonus episode for you! Before Rolling Stone magazine released their new 2020 greatest album list, we recorded a review of Phil Spector's Back to Mono compilation album with our very special guest, Andrew Hickey from the incredible podcast, A History of Rock Music in 500 Songs! This deserves some explanation: On the previous list, this album was number 65, but before we got a chance to release our review, it showed up on the new list way down at number 489! So, instead of waiting several years to get to release the episode we made this summer with Andrew, we have decided to give it to you now - a future-episode from season 28! Enjoy! As a reminder, you can find our favorite songs from the RS500 on our Spotify playlist right here - we'll be updating it as we go with our favorite songs from each album! You can check out Rolling Stone's new 2020 list right here. We'd love it if you would review us in your favorite podcast app, and while you're at it, give us a like on our Facebook Page or Instagram, follow us on Twitter, and send us a message if you have any comments or questions. --- Send in a voice message: https://anchor.fm/soundlogic/message Support this podcast: https://anchor.fm/soundlogic/support

Andrew Hickey is a prolific writer and an ambitious podcaster.  His mission to tell the history of Rock and Roll in 500 songs. He shares a new song and tells a new chapter every week in his brilliant podcast https://www.500songs.com/ Today is the 2nd part of his discussion with Jesse where they talk Elvis, future plans with the podcast and the Mary Question  Jesse’s Twitter @jessejacksonDFW Andrew’s Twitter @500songspodcast

Andrew Hickey is a prolific writer and an ambitious podcaster.  His mission to tell the history of Rock and Roll in 500 songs. He shares a new song and tells a new chapter every week in his brilliant podcast https://www.500songs.com/ Today he joins Jesse in the first of a two-part discussion where they talk the podcast, the Beach Boys & other topics.  Enjoy and please share this link with a friend who loves music and history.

Joe returns alongside Caroline and Seb to cover the first (and still so far only) live-action movie based on an Archie Comics property: Harry Elfont and Deborah Kaplan’s 2001 satire on the music industry and consumerism, Josie and the Pussycats! We look at just how incredibly specific a piece of turn-of-the-century nostalgia this is, and try to figure out why it struggled so badly at the box office despite being a pretty sharp comedy with a great cast. Plus! Having watched and reviewed most of the first season of Stargirl, Caroline fills us in on what it’s like and gets some comics-specific answers from Seb.Cinematic Universe is supported by the generosity of our backers on Patreon, who also get to hear episodes ad-free along with bonus material! Check out our page and consider subscribing at patreon.com/cinematicuniverseYou can find our comic book movie themed merch designs at Redbubble, and follow us on Twitter @cine_verse.This episode was produced by Andrew Hickey. Find Andrew's podcast A History of Rock Music in 500 Songs at 500songs.com. Support this show http://supporter.acast.com/cinematicuniverse. See acast.com/privacy for privacy and opt-out information.

“We won’t bother doing Bloodshot for its cinematic release,” we thought. “We’ll wait until its home release, that way we can put it off for a while.” Reality had other ideas, however, and we’ve really got no excuse not to cover it now that you can already see it for rental price. So we’ve brought in Sam Clements of 90 Minutes or Less Film Festival, who loves a trashy Vin Diesel action vehicle. The question is, does it reach a standard higher than that? Is it the starting point for a proper Valiant Cinematic Universe? Could it even be this year’s surprise Alita?Cinematic Universe is supported by the generosity of our backers on Patreon, who also get to hear episodes ad-free along with bonus material (and, during lockdown, EXCLUSIVE live movie watchalongs on YouTube)! Check out our page and consider subscribing at patreon.com/cinematicuniverseYou can find our comic book movie themed merch designs at Redbubble, and follow us on Twitter @cine_verse. Sam is on twitter @sam_clements and find the excellent 90 Minutes podcast at https://www.90minfilmfest.com/This episode was produced by Andrew Hickey. Find Andrew's podcast A History of Rock Music in 500 Songs at 500songs.com. See acast.com/privacy for privacy and opt-out information.

We’ve threatened this for a while, but we’re finally taking our first steps (if you don’t count The Matrix or Sonic the Hedgehog) into films that aren’t technically comic book or superhero movies, but which we feel are still in some way “genre-adjacent” as we’re calling it. And as we discuss, this film is so hugely influential on just about every major comic book blockbuster that’s arrived since, you can’t exactly call it irrelevant to what we do. Plus! It gives Caroline – who is a Terminator franchise superfan – the chance to be the one to explain something in tremendous detail to the others!Cinematic Universe is supported by the generosity of our backers on Patreon, who also get to hear episodes ad-free along with bonus material (and, during lockdown, EXCLUSIVE live movie watchalongs on YouTube)! Check out our page and consider subscribing at patreon.com/cinematicuniverseYou can find our comic book movie themed merch designs at Redbubble, and follow us on Twitter @cine_verse. And find Caroline on Twitter @CarolineSiede.This episode was produced by Andrew Hickey. Find Andrew's podcast A History of Rock Music in 500 Songs at 500songs.com. See acast.com/privacy for privacy and opt-out information.

It totally makes sense that we’d invite a guy known for doing a Sonic the Hedgehog-related podcast on for the episode after Sonic the Hedgehog; just as it also makes sense that we’d do an episode about a movie that features a terrifying post-apocalyptic scenario in the early 2020s when… well, yes, exactly.Anyway, we welcome the brilliant Chris McFeely from the equally brilliant Sonic the Comic the Podcast to talk about Bryan Singer (sigh)’s 2014 film X-Men: Days of Future Past. And because we already did Apocalypse and Logan as new releases, and because New Mutants is never coming out, this marks a pretty major moment – it’s the end of our chronological run through Fox’s X-Men movie universe, and the last time we’ll ever see Hugh Jackman with his pointy claws and pointier hair on this podcast.Cinematic Universe is supported by the generosity of our backers on Patreon, who also get to hear episodes ad-free along with bonus material! Check out our page and consider subscribing at patreon.com/cinematicuniverseYou can find our comic book movie themed merch designs at Redbubble, and follow us on Twitter @cine_verse. Chris is on Twitter @ChrisMcFeely and you can subscribe to STCTP at https://stctp.wigglehe.com/. This episode was produced by Andrew Hickey. Find Andrew's podcast A History of Rock Music in 500 Songs at 500songs.com. See acast.com/privacy for privacy and opt-out information.

It’s our first new release of 2020! And it’s not a bad one to kick off the year with, as Cathy Yan’s energetic, entertaining Margot Robbie-and-chums vehicle takes its place as easily one of the best entries in the DCEU so far. Seb, James and Caroline discuss just why it’s so much damned fun, and why we’re disappointed that not enough people have been to see it yet. As per usual, no news discussion on this one – we’re straight in with spoiler-free thoughts before the normal spoiler-filled discussion.Cinematic Universe is supported by the generosity of our backers on Patreon, who also get to hear episodes ad-free along with bonus material! Check out our page and consider subscribing at patreon.com/cinematicuniverseYou can find our comic book movie themed merch designs at Redbubble, and follow us on Twitter @cine_verse. And find Caroline on Twitter @CarolineSiede.This episode was produced by Andrew Hickey. Find Andrew's podcast A History of Rock Music in 500 Songs at 500songs.com. See acast.com/privacy for privacy and opt-out information.

Our time with Christopher Reeve finally comes to an end, as we tackle the awe-inspiring majesty that is 1987’s biggest blockbuster: Superman IV: The Quest For Peace. It’s in no way a competent film, we can all agree on that – but is there a way to approach it that means we might still get some enjoyment out of it? Is it in fact, pretty much the ultimate Howard T Duck Award winner? Join Seb, James and Caroline for talk of Milton Keynes, Red Dwarf guest stars, the rehabilitation of Jon Cryer, and an awful lot more besides.Over in news, meanwhile, we discuss the implications of Oscar Isaac’s casting in the Ex Machina adaptation, The Great Machine; plus the cancellations of Marvel and Hulu’s Howard the Duck and Dazzler & Tigra shows, and the confirmation of Captain Marvel 2.00:00 – Intro / Explain a Concept09:55 – News37:05 – Movie DiscussionCinematic Universe is supported by the generosity of our backers on Patreon, who also get to hear episodes ad-free along with occasional bonus content! Check out our page and consider subscribing at patreon.com/cinematicuniverseYou can find our comic book movie themed merch designs at Redbubble, and follow us on Twitter @cine_verse. And find Caroline on Twitter @CarolineSiede.This episode was produced by Andrew Hickey. Find Andrew's podcast A History of Rock Music in 500 Songs at 500songs.com. See acast.com/privacy for privacy and opt-out information.

Justin & Gurdip invite Andrew Hickey from the podcast A History of Rock Music in 500 Songs (500songs.com) to dig into Andrew's multi-year project, and where Elvis falls within it. Andrew also reports in on the Elvis in Concert live show he attended at Manchester Arena, and there's a lively discussion about rock critics misunderstanding Elvis. Then, for Song of the Week, Gurdip takes us to his Little Cabin Home on the Hill, while Justin looked up and saw a bright star, shining in the east beyond them far. It may be "The First Noel" but with all this great Elvis discussion, there's definitely not "No El" in this episode! Featured Songs of the Week: Justin: The First Noel Gurdip: Little Cabin Home on the Hill Check out Andrew's work at 500songs.com and andrewhickey.info!

Amon Warmann has got a bone to pick with us, and that bone is the fact that we weren’t exactly very enthusiastic about his beloved Blade when we talked about it all the way back in 2015. So we’ve invited him on to tell us where we went wrong back then, as well as looking in-depth at Guillermo del Toro’s somewhat flashier (and gorier) follow-up.In the news, meanwhile, we try not to run too headlong into The Discourse, but we do find ourselves picking up on that Joker sequel talk, that JSA-in-Black Adam talk, confirmation of Ant-Man 3, and some other bits besides. And no, the Black Widow trailer hadn’t landed when we recorded this, but we knew that going in.00:00 – Intro / Explain a Concept05:09 – News40:29 – Movie DiscussionCinematic Universe is supported by the generosity of our backers on Patreon, who also get to hear episodes ad-free along with occasional bonus content! Check out our page and consider subscribing at patreon.com/cinematicuniverseYou can find our comic book movie themed merch designs at Redbubble, and follow us on Twitter @cine_verse. And find Amon on Twitter @awarmann.This episode was produced by Andrew Hickey. Find Andrew's podcast A History of Rock Music in 500 Songs at 500songs.com. See acast.com/privacy for privacy and opt-out information.

Gurdip & Justin are taking a one-week break, so catch up on the histories behind songs from Episodes 21, 22, 24 and 25! Featured Songs include Just A Little Bit, Bringing it Back, Pledging My Love, U.S. Male, Sentimental Me, Change of Habit, Burning Love and (Now and Then) There's A Fool Such As I!  Our upcoming schedule of topics is jam-packed! Next week, inspired by the film "Ford v Ferrari," we dive into the "Elvis album without Elvis," 1971's "The Guitar Sounds of James Burton," then the following week Andrew Hickey of the history project "A History Of Rock Music in Five Hundred Songs" is scheduled to come on. We finally get back to covering Elvis' chronological sessions with the Million Dollar Quartet following that, and then we hand-pick our top Elvis Christmas songs. Early next year, we will be crossing over once again with Jaime Kay of The Jungle Room Podcast on a review of the bio-doc "This is Elvis" for Elvis' birthday, and will continue to explore every nook and cranny of Elvis' music, films and cultural legacy! It's Thanksgiving in the US and Justin wants to say THANK YOU for continuing to listen support TCBCast - please, give the show a review on iTunes if you like what we do, and stay tuned for some of the awesome projects we have planned for 2020!

It turns out that basically ever since we started having Caroline on as a guest, she’s wanted to talk about an X-Men film, and particularly a Wolverine film. If only she’d said something sooner, we might have got around to this one sooner, because it turns out that James Mangold’s first Jackman-starrer that you all forgot about is actually, possibly – whisper it – his best? Over in the news, meanwhile, we catch up on The Batman casting, Joker’s runaway freight train success, confirmation of Into the Spider-Verse 2, and the latest from Marvel’s TV shows including when we’ll get to see them in the UK.00:00 – Intro / Explain a Concept06:43 – News45:03 – Movie DiscussionCinematic Universe is supported by the generosity of our backers on Patreon, who also get to hear episodes ad-free along with occasional bonus content! Check out our page and consider subscribing at patreon.com/cinematicuniverseYou can find our comic book movie themed merch designs at Redbubble, and follow us on Twitter @cine_verse. And find Caroline on Twitter @CarolineSiede.This episode was produced by Andrew Hickey. Find Andrew's podcast A History of Rock Music in 500 Songs at 500songs.com. See acast.com/privacy for privacy and opt-out information.

We’re righting a longstanding wrong as we finally, finally get Steve Lacey of The Fantasticast onboard to talk about a Fantastic Four movie. Having enjoyed the original 2005 film a surprising amount, how did we feel about the Doug-Jones-cum-Laurence-Fishburne-enhanced sequel?In the news, we run through the casting announcement for The Suicide Squad, giving Seb the opportunity to talk for a while about a logo. And Steve catches us up on everything that’s going on in the Arrowverse in the wake of the latest Crisis announcement.00:00 – Intro / Explain a Concept10:10 – News40:45 – Movie DiscussionCinematic Universe is supported by the generosity of our backers on Patreon, who also get to hear episodes ad-free along with occasional bonus content! Check out our page and consider subscribing at patreon.com/cinematicuniverseYou can find our comic book movie themed merch designs at Redbubble, and follow us on Twitter @cine_verse. Follow Steve on Twitter @quizlacey and listen to his podcast at thefantasticast.com.This episode was produced by Andrew Hickey. Find Andrew's podcast A History of Rock Music in 500 Songs at 500songs.com. See acast.com/privacy for privacy and opt-out information.

James finally gets his Monkey’s Paw wish, and has persuaded Seb and returning special guest Caroline Siede to watch Robert Rodriguez (and James Cameron)’s Alita: Battle Angel! But will they find themselves surprisingly charmed by it, or just mock him relentlessly for fancying a robot?Meanwhile, the news section gives Seb the opportunity to talk about Peter Capaldi and Grant Morrison for quite a while, so there’s his wish taken care of as well. We also look at the Birds of Prey teaser, the latest hilarious update on New Mutants, and yet more on the ongoing Spider-Man situation, because how could we ever get fed up of talking about that?00:00 – Intro / Explain a Concept09:00 – News36:42 – Movie DiscussionCinematic Universe is supported by the generosity of our backers on Patreon, who also get to hear episodes ad-free along with occasional bonus content! Check out our page and consider subscribing at patreon.com/cinematicuniverseYou can find our comic book movie themed merch designs at Redbubble, and follow us on Twitter @cine_verse. And find Caroline on Twitter @CarolineSiede.This episode was produced by Andrew Hickey. Find Andrew's podcast A History of Rock Music in 500 Songs at 500songs.com. See acast.com/privacy for privacy and opt-out information.

We head into Cinematic Universe’s new era with one of the biggest films we’ve yet tackled – and it’s so big, we had to get TWO guests to cover it! Making their long-awaited CU debuts are Sam Clements (of 90 Minutes Or Less Film Festival and Picturehouse Podcast) and Simon Renshaw (formerly of Picturehouse Podcast). And yes, there will be Bane impressions. We also take a run through the latest comic book movie and TV news, including a breakdown of the Spider-Man/Marvel Studios, er, breakdown; but we should note that this was recorded before the D23 weekend, so we’ll be catching up on the rest of the news and any further Spidey developments with an upcoming minisode.And there’s a new game at the end. Which we don’t want to spoil for you.00:00 – Intro / Explain a Concept08:14 – News33:48 – Movie DiscussionCinematic Universe is supported by the generosity of our backers on Patreon, who also get to hear episodes ad-free along with occasional bonus content! Check out our page and consider subscribing at patreon.com/cinematicuniverseYou can find our comic book movie themed merch designs at Redbubble, and follow us on Twitter @cine_verse.This episode was produced by Andrew Hickey. Find Andrew's podcast A History of Rock Music in 500 Songs at 500songs.com. See acast.com/privacy for privacy and opt-out information.

Interview with Andrew Hickey from Scott’s Cheap Flights about Social Media Marketing. With more than 10 years of experience working in social media marketing for global travel brands, Andrew Hickey has worn many hats including running large digital marketing campaigns, increasing brand awareness, driving web traffic, supporting marketing initiatives, and increasing sales. Hosts: Leif Pettersen of Leif... Continue Reading → The post Passport Travel Marketing & PR #037: Social Media Marketing appeared first on FIR Podcast Network.

Almost coinciding with its twentieth anniversary theatrical re-release, Seb and James are joined by comics critic and editor Claire Napier to look back at the Wachowskis' era-defining sci-fi classic. And if you're going "Hang on, that's not a comic book movie" or "Hang on, that's not a superhero movie", well, we get into both of those discussions, and a lot more besides.Elsewhere, with Joe temporarily absent and not much else in the way of news to pick up on after our mammoth SDCC special, we take the opportunity for a rare edition of Comics Corner to look at House of X, the end of Giant Days, Superman's Pal Jimmy Olsen and a few other assorted recent ongoings.Cinematic Universe is supported by the generosity of our backers on Patreon, who also get to hear episodes ad-free along with occasional bonus content! Check out our page and consider subscribing at patreon.com/cinematicuniverseFind out more about Claire’s anthology comic Bun & Tea and back it over at Kickstarter.You can find our comic book movie themed merch designs at Redbubble, and follow us on Twitter @cine_verse.This episode was produced by Andrew Hickey. Find Andrew's podcast A History of Rock Music in 500 Songs at 500songs.com.· 00:00 – Intro/Explain a Concept· 06:15 – Comics Corner· 29:25 – Movie Discussion See acast.com/privacy for privacy and opt-out information.

It's been a long time coming, but we have finally - finally - caught up with the MCU (or at least we would have, if we'd got this episode produced and released before Far From Home arrived in cinemas). The last MCU film to be released before we started this podcast also happens to be one of the best and most important movies not just of this series, but of the entire genre. We've an awful lot to say about it, so it's no surprise that we go somewhat long. There's also a big news catchup including Jaume Collet-Serra signing up for Black Adam, Tom King signing up for New Gods, Taika Waititi signing up for Akira, Benicio del Toro signing up for The Suicide Squad, and nobody signing up for Spawn.00:00 - Intro/Explain a Concept13:18 - News51:32 - Movie DiscussionCinematic Universe is supported by the generosity of our backers on Patreon, who also get to hear episodes ad-free along with occasional bonus content! Check out our page and consider subscribing at patreon.com/cinematicuniverseYou can find our comic book movie themed merch designs at Redbubble, and follow us on Twitter @cine_verse.This episode was produced by Andrew Hickey. Find Andrew's podcast A History of Rock Music in 500 Songs at 500songs.com. See acast.com/privacy for privacy and opt-out information.

The main part of Fox's X-Men franchise comes to an end with a film that... well, let's face it, it would be charitable to call it a whimper. We don't want to just relentlessly give Dark Phoenix a non-stop kicking, we'll try to find the good where we can... but let's just say that if you're Simon Kinberg, you probably don't want to be giving this one a listen. As usual with a new release, we've skipped news (there wasn't loads lately anyway), in favour of a bit of spoiler-free opinion chat before diving into more detailed discussion of a lot of really, really dumb storytelling decisions.00:00 Intro/Explain a Concept05:06 Spoiler-Free Discussion20:55 Spoiler-Filled DiscussionCinematic Universe is supported by the generosity of our backers on Patreon, who also get to hear episodes ad-free along with occasional bonus content! Check out our page and consider subscribing at patreon.com/cinematicuniverseYou can find our comic book movie themed merch designs at Redbubble, and follow us on Twitter @cine_verse.This episode was produced by Andrew Hickey. Find Andrew's podcast A History of Rock Music in 500 Songs at 500songs.com. See acast.com/privacy for privacy and opt-out information.

Dave and Elise conclude their discussion of the extant two-thirds of the Seaguy Saga - in dialogue with written pieces by John Pistelli, Andrew Hickey, Jog, and Mathew Amylon at Sequart.  Get on the rides!!!!!     Of possible interest: Vintage Dave blog post on the series. Intro Song: "Blue Moon Revisited (Song for Elvis)" - Cowboy Junkies You can always write us at anotherkindofdistance@gmail.com, or contact us through our Facebook Page or our Twitter accounts @milescoverdale and @rhodaAF709  We're on all of the podcast delivery services, including iTunes, TuneIn radio and Stitcher, so please rate/review us there, if you can! Finally, as suggested by listener Jay, here's an Amazon link to Dave's time travel novel, Hypocritic Days (published by Insomniac Press), which is set in the pulp magazine and film worlds of the early 1930s. Please do let us know if you check it out. Original Another Kind of Distance artwork by Lee McClure

Interview of Andrew Hickey about  Twitter Chats. Twitter Chats are popular with travel companies and we look at detail what they are, and when and how to use them effectively.Continue Reading → The post PASSPORT TRAVEL MARKETING & PR #011: Twitter Chats appeared first on FIR Podcast Network.

Andrew Hickey is Director of Digital Marketing at eCornell, the online arm of Cornell University in Ithaca, New York. Andrew leads the team that is responsible for the strategy and execution that is driving the growth of online education at the Ivy League school. He joins us to discuss the role of the digital strategist in the higher education space.

A Marxist, a postmodernist and liberal walk into a bar... and form a united front.  Join me, Phil Sandifer and the superb Andrew Hickey for an unexpected emergency Shabcast on the subject of the recent fascist incursion on the Hugo Awards nominations.  (NOTE: Shabcast 3 was supposed to be the continuation of my conversation with Josh Marsfelder, but that will now be Shabcast 4... and will hopefully be along pretty soon.)

Many CFOs find themselves contemplating how to best automate the financial reporting process. Concerned about data confidentiality? Interested in learning more about how automating the financial close can improve accuracy and efficiency? Andrew Hickey, Partner at Deloitte & Touche LLP joins Russ Banham on this CFO podcast to discuss the pros and cons of automating financial reporting.

The Amateur Traveler talks to Andrew Hickey of TheBrooklynNomad.com about his home town. Andrew gives us reasons to visit this borough of New York City next time we are in town from some of the neighborhoods like DUMBO, Williamsburg, GreenPoint, Brownsville, Bedford-Stuyvesant and Bay Ridge to Prospect Park and Coney Island. The second largest of the New York Boroughs offers good pizza and Italian food for sure, but Andrew will also direct us to a local chocolatier, coffee houses, ice cream parlors and of course Nathan’s Famous hotdogs. Along the way we will visit the Brooklyn Museum, mention where the American War of Independence nearly ended (badly) and ride the classic Coney Island Cyclone.

The Amateur Traveler talks to Andrew Hickey of TheBrooklynNomad.com about his home town. Andrew gives us reasons to visit this borough of New York City next time we are in town from some of the neighborhoods like DUMBO, Williamsburg, GreenPoint, Brownsville, Bedford-Stuyvesant and Bay Ridge to Prospect Park and Coney Island. The second largest of the New York Boroughs offers good pizza and Italian food for sure, but Andrew will also direct us to a local chocolatier, coffee houses, ice cream parlors and of course Nathan’s Famous hotdogs. Along the way we will visit the Brooklyn Museum, mention where the American War of Independence nearly ended (badly) and ride the classic Coney Island Cyclone.

The Amateur Traveler talks to Andrew Hickey of TheBrooklynNomad.com about his home town. Andrew gives us reasons to visit this borough of New York City next time we are in town from some of the neighborhoods like DUMBO, Williamsburg, GreenPoint, Brownsville, Bedford-Stuyvesant and Bay Ridge to Prospect Park and Coney Island. The second largest of the New York Boroughs offers good pizza and Italian food for sure, but Andrew will also direct us to a local chocolatier, coffee houses, ice cream parlors and of course Nathan’s Famous hotdogs. Along the way we will visit the Brooklyn Museum, mention where the American War of Independence nearly ended (badly) and ride the classic Coney Island Cyclone.

The Amateur Traveler talks to Andrew Hickey of TheBrooklynNomad.com about his home town. Andrew gives us reasons to visit this borough of New York City next time we are in town from some of the neighborhoods like DUMBO, Williamsburg, GreenPoint, Brownsville, Bedford-Stuyvesant and Bay Ridge to Prospect Park and Coney Island. The second largest of the New York Boroughs offers good pizza and Italian food for sure, but Andrew will also direct us to a local chocolatier, coffee houses, ice cream parlors and of course Nathan’s Famous hotdogs. Along the way we will visit the Brooklyn Museum, mention where the American War of Independence nearly ended (badly) and ride the classic Coney Island Cyclone.