Podcasts about ann arbor michigan

The following was recorded LIVE from The Ark theater in Ann Arbor Michigan on 3/19 2025. It is accompanied by Scott Passarella (KoP. PoK) and hometown hero JacK Harris on drums! It is rare that we do an episode of this show that almost entirely about the city we happen to be touring in, but it DOES happen and in this case it DID happen. What does it mean to be PURE MICHIGAN? Join us and find out!Archive Video footage of this episode will be available for clubhouse subscribers at OffBookClubhouse.com within the next week or so. Thank you for supporting the show! See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

#realconversations #realestate #housebuying #Michigan#marketing #Ann ArborCONVERSATIONS WITH CALVIN WE THE SPECIESMeet BRITTANY RACINE. “I've spent significant parts of myadult life circling around the world of real estate agents and the wholeprocess of buying that house. Why? Because it's shrouded in mystery and fear.And then there was a bright incandescent light bulb across the Zoom divide inthe form of Brittany Racine, a luxury real estate agent in Michigan. No moremysteries. Brittany was delightful, hugely experienced, and passionate abouthelping homeowners and buyers navigate what I used to fear. Our interview was aperfect blend of myths, her vast knowledge, insightful strategies, traditionand her keen vision. Need I say if ever house buying? And Brittany lives a fewminutes away from my second favorite (after Rutgers) university, Michigan, inAnn Arbor. And we both patronized that deli in town.” Calvinhttps://www.youtube.com/c/ConversationswithCalvinWetheSpecIEs518 Interviews/Videos  9200 SUBSCRIBERSGLOBAL Reach. Earth Life. Amazing People.  PLEASE SUBSCRIBE **TITLE: BRITTANY RACINE: Transforming Real Estate withInnovation and Authenticity; Live from Ann Arbor, MichiganYouTube: https://youtu.be/4R2Qp_zjwaYBio:Brittany Racine is a luxury real estate expert helpingMichigan homeowners and buyers navigate the market with confidence andcreativity. Known for her modern marketing and high-touch service, she blendslocal expertise with national visibility to deliver exceptional results.LINKS:  https://www.instagram.com/brittanyracine_/?hl=enhttps://www.facebook.com/brittany.racine.79** WE ARE ALSO ON AUDIOAUDIO “Conversations with Calvin; WE the SpecIEs”ANCHOR https://lnkd.in/g4jcUPqSPOTIFY https://lnkd.in/ghuMFeCAPPLE PODCASTSBREAKER https://lnkd.in/g62StzJGOOGLE PODCASTS https://lnkd.in/gpd3XfMPOCKET CASTS https://pca.st/bmjmzaitRADIO PUBLIC https://lnkd.in/gxueFZw

MIchael is a coach that owns and operates an indoor facility called Measured Golf in Ann Arbor Michigan

fWotD Episode 2865: Ann Arbor, Michigan Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Sunday, 9 March 2025 is Ann Arbor, Michigan.Ann Arbor is a city in Washtenaw County, Michigan, United States, and its county seat. The 2020 census recorded its population to be 123,851, making it the fifth-most populous city in Michigan. Located on the Huron River, Ann Arbor is the principal city of its metropolitan area, which encompasses all of Washtenaw County and had 372,258 residents in 2020. Ann Arbor is included in the Detroit-Warren-Ann Arbor combined statistical area and the Great Lakes megalopolis.Ann Arbor was founded in 1824 by John Allen and Elisha Rumsey. It was named after the wives of the village's founders, both named Ann, and the stands of bur oak trees they found at the site of the town. The University of Michigan was established in Ann Arbor in 1837, and the city's population grew at a rapid rate in the early to mid-20th century.A college town, Ann Arbor is currently home to the University of Michigan, which significantly shapes the city's economy, employing about 30,000 workers which includes about 12,000 in its medical center. The city's economy is also centered on high technology, with several companies drawn to the area by the university's research and development infrastructure. The city has been a center for progressive politics as well as several social and religious movements.This recording reflects the Wikipedia text as of 01:00 UTC on Sunday, 9 March 2025.For the full current version of the article, see Ann Arbor, Michigan on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Russell.

Dr. Lisa Melling was raised in Chicago and Northern Illinois. She knew from an early age that she wanted to be a Veterinarian, gaining experience working at a horse stable and having a number of childhood pets.She earned her Bachelor of Science in Animal Science from Iowa State University in 1999, and her DVM from Tuskegee University in 2004. After graduation, she entered small animal practice in Michigan. In response to a large commercial pet food recall in 2007, she began prescribing fresh food nutrition and started her journey into Homeopathy. She was certified by the Academy of Veterinary Homeopathy in 2011 and was certified in Veterinary Spinal Manipulative Therapy by the Healing Oasis in 2019.She left traditional small animal practice in 2007 and started a house call practice in the Ann Arbor Michigan area emphasizing fresh food nutrition and natural healing. She has since relocated the practice to a brick and mortar location in Northern Michigan.In addition to her clinical practice, Dr. Melling has been heavily involved in education of new Veterinary Homeopaths. She was a faculty member for the Pitcairn Institute of Veterinary Homeopathy from 2011-2022, and since then is a Co-Founder and Instructor for the Veterinary Homeopathy Institute. She has also lectured and written extensively about Veterinary Homeopathy.Please enjoy this conversation with Dr. Lisa Melling as we discuss her education, clinical practice, transition to natural medicine, and her teaching career.

Dr. Missy Stults, Sustainability and Innovations Director with the City of Ann Arbor, Michigan, returned to the podcast to give an update on the implementation of the A2ZERO Climate Action Plan and discuss the recent referendum where voters created a Sustainable Energy Utility. She shared how the sustainable energy utility will improve resilience and benefit residents, and what it will take to actually implement the new utility. She also discussed geothermal energy, an upcoming green rental housing program, and other initiatives to address climate change. Host: Ben Kittelson

Armed American Radio's Daily Defense 10-21-24 UM campus gun free zone MI State Supreme Court refuses case and Neil McCabe on state of race for White House Today on Armed American Radio, Mark discusses University of Mi campus gun ban and how it encompasses vast swath of downtown Ann Arbor MI, because of the sheer size of the campus itself at over 3200 acres. The MI State Supreme Court refused to hear the challenge to the ban leaving it intact. Critics call it a violation of the Bruen decision because of the scope of the size of the campus itself making it nearly impossible to carry a gun anywhere in downtown Ann Arbor without violating the concealed carry ban. Comparing the ban on UM carry, Mark discussed the recent brief filed by the Second Amendment Foundation in support of summary judgement in the US Post Office carry ban recently filed in FT Worth TX, as CCW is also banned in US Postal facilities nationwide. This too, is also viewed a s a violation of the recent Bruen decision as it relates to the historical context of the founding era when no bans were in place is Postal Facilities. Mark was joined halfway through the program by political analyst Neil W. McCabe from RedState.com to discuss the current news regarding the upcoming US presidential elections, polling information and swing state movements toward Trump and away from Democrats. Barrack Obama being dispatched to WI was also discussed as  evidence of the desperation of the Harris campaign and fear of losing in that state, to Trump. Support our Sponsors: Armed American Radio Sponsors BECOME A SPONSOR ARMED AMERICAN RADIO IS PRESENTED BY Advertise With Us Armed American Radio, founded by Mark Walters on April 26th, 2009 as a (20 kB) Est. reading time 11 minutes  

In this episode, I chat with Gabe Golub from Ricewood Barbecue with two locations in Ann Arbor, Michigan. See all things Ricewood Barbecue here: https://www.ricewoodbbq.com IG: https://www.instagram.com/ricewoodbbq/ Facebook: https://www.facebook.com/ricewoodbbq/ York (original location): 1928 Packard St, Ann Arbor, MI 48104 Phone: 734-436-4163 Order online: https://order.toasttab.com/online/ricewood-bbq-york-1928-packard-rd Maple (second location): 245 N Maple Road, Ann Arbor, MI 48103 Phone: 734-929-5405 Order online: https://order.toasttab.com/online/ricewood-bbq-maple-village-245-n-maple-rd HOURS for both locations - 11 am - 8 pm - Tuesday - Saturday

The College Football Experience (@TCEonSGPN) on the Sports Gambling Podcast Network continues its college football season preview series with the Eastern Michigan Eagles 2024 Season Preview. Pick Dundee aka (@TheColbyD) breaks down the upcoming offense, defense and special teams for the Eastern Michigan Eagles and key in on every game on their schedule. Will Chris Creighton have the Eastern Michigan Eagles in the mix for the MAC Championship? Do the Eastern Michigan Eagles have the NIL collective going in the right direction?Will Cole Snyder have a big year in Ypsilanti, Michigan with Chris Creighton and his EMU offense? Did Eastern Michigan win or lose the transfer portal in 2024? Who else can step up and emerge on this Eastern Michigan Eagles offense? Will the EMU offensive line be much better this season? What do we make of the EMU defense heading into the new season? Is Chris Creighton one of the most underrated coaches in America? We talk it all and more on this Eastern Michigan Eagles edition of The College Football Experience. JOIN the SGPN community #DegensOnlyExclusive Merch, Contests and Bonus Episodes ONLY on Patreon - https://sg.pn/patreonDiscuss with fellow degens on Discord - https://sg.pn/discordDownload The Free SGPN App - https://sgpn.appCheck out the Sports Gambling Podcast on YouTube - https://sg.pn/YouTubeCheck out our website - http://sportsgamblingpodcast.comSUPPORT us by supporting our partnersCirca Sports - 16 MILLION in guaranteed prizes w/ Circa Survivor & Circa Millions - https://www.circasports.com/circa-sports-millionFootball Contest Proxy - Use promo code SGP to save $50 at - https://www.footballcontestproxy.com/Rithmm - Player Props and Picks - Free 7 day trial! http://sportsgamblingpodcast.com/rithmmUnderdog Fantasy code SGPN - Up to $250 in BONUS CASH - https://play.underdogfantasy.com/p-sgpnGametime code SGPN - Download the Gametime app, create an account, and use code SGPN for $20 off your first purchase - https://gametime.co/ADVERTISE with SGPNInterested in advertising? Contact sales@sgpn.io Follow The College Experience & SGPN On Social MediaTwitter - https://twitter.com/TCEonSGPNInstagram - http://www.instagram.com/TCEonSGPNTikTok - https://www.tiktok.com/@TCEonSGPNYoutube - https://www.youtube.com/@TheCollegeExperienceFollow The Hosts On Social MediaColby Dant - http://www.twitter.com/thecolbydPatty C - https://twitter.com/PattyC831NC Nick - https://twitter.com/NC__NicK

When you're incapable of an emotional connection, can hookups fill the gap? When Nonbinary Polyamorous Storyteller Nurse Comedian Ex-Nun Kelli Dunham loses multiple partners to cancer, she looks for community in a Brooklyn LGBT Grief Support Group, and ends up loafer-deep in anonymous sex among the scrubby pines of Fire Island. Plus, Dixie talks Sex Geek Summer Camp, Bawdy in Portland and her new How to Be Bawdy virtual workshop. #GriefSex   “We must make love in between the bombs” - Paul Monette   Song: ‘F*ck the Pain Away' (Peaches)   About the Storyteller:   Kelli Dunham is the nonbinary ex-nun polyamorous storytelling nurse comedian that's so common in modern Brooklyn. Kelli has appeared on Showtime and the Discovery Channel, PBS Stories From the Stage, the Moth Mainstage, the Cinderblock Comedy Festival, the Women in Comedy Festival, and nationwide at colleges, Prides festivals, fundraisers, at oh so many nursing conferences and even the occasional livestock auction. Kelli's latest show, Second Helping, is coming to Ithaca, NY this week (July 12th) to Ann Arbor Michigan on August 2nd and OshKosh, Wisconsin on August 16th.   Hate live shows? Second Helping with Kelli Dunham, Kelli's hilarious and earnest new podcast–inspired by all the questions she gets about asking for, receiving and learning how to accept help– is produced by Kinehora Production and debuting early this fall.  Sign up to be the very first to know when it premiers!   You can also find Kelli on substack, youtube, instagram, tiktok and facebook.   Grief l Gay l Nature l Queer l Anonymous Sex l Hookup l Cruising l LGBT l Twink l Death l Raw l Play Party l Dungeon l Loss l Public Sex l Emotionally Devastated l Fire Island l Lookout l Bottoms Up l Condom l Lube l Buttplug l Dildo l Penis l Anal Hook l Human l Scholarship l Mental Health l Budget Cuts l Meat Rack l Subway l Appetizer l Wilderness l Lesbian l CisGender l Healing l Beach l Star Trek l   Episode links:   ‘How to Be Bawdy' Storytelling Workshop - learn Dixie's complete 5-Step System & Learn the Craft of Sexy Stories from Award-winning Story Coach and Professional Storyteller Dixie De La Tour.   Have you ever listened to a story at a live performance or on a podcast, and wished that you could share your own personal stories in such a well-crafted, relatable way? It's easy, if you have a System...and Dixie De La Tour has one. She's taught thousands of new and experienced storytellers to tell their story at Bawdy Storytelling. And now YOU can learn her simple system, too. Join Dixie for her all new workshop: 'How to Be Bawdy: Dixie's Secret System for Uncensored Storytelling', a 6 week hands-on storytelling intensive. It starts next week! You'll engage in group & solo exercises in a sex-positive, community-based environment as you find & refine your own stories under Dixie's expert direction. Try our your own most intimate stories in a positive, supportive setting. 'How to Be Bawdy' includes special topics in sexuality, kink and gender-related storytelling, to help you articulate your stories clearly. With live sessions, weekly office hours, best practices for NSFW stories, performance tips, storytelling-related neuroscience, a custom workbook, coaching from Dixie - and a final storytelling performance for you and your friends.   WHEN: Mondays, July 22 - August 26th, 2024 Time: 5:30 - 7:30 PM PDT (8:30 - 10:30 PM EDT) PLUS Weekly Office Hours: Wednesdays, 5:30-7:30 PST (Optional weekly hours for custom coaching, Q&A, story advice & more) WHERE: Online, so that you can attend from anywhere in the world   And coming in August: How to Be Fascinating: Dixie's Secret System for Brilliant Storytelling (live and in-person!)   The Dixie Ramble: My Substack 'The Dixie Ramble' is starting next week. Substack is a great way to receive audio, video and written work from me. You can subscribe to The Dixie Ramble at https://substack.com/profile/22550258-dixie-de-la-tour   And Folks, I'm still considering ending the Bawdy podcast at 300 episodes. That means there's less than a month's worth of episodes to go. Podcasting is a lot of work, and I'm wondering if I should put my energy to better use. Should I write a book? Start creating online courses? Sell pics of my feet?   If you love Bawdy, I need to hear from you. This decision will affect both of us. And if you listen, please make a One-time or Ongoing Donation to keep the Podcast going!   One Time Donation links are at:   Venmo: @BawdyStorytelling or https://www.venmo.com/bawdystorytelling CashApp: https://cash.app/$DixieDeLaTour Paypal: paypal.me/bawdystorytelling Zelle: https://www.zellepay.com/  Email address is  BawdyStorytelling@gmail.com BuyMeACoffee: buymeacoff.ee/bawdy   Ko-fi : Ko-fi.com/thanksbawdy     Ongoing Support for the Podcast: Better yet, Join Bawdy's Patreon now to get exclusive Patreon-only rewards (and my eternal gratitude). Podcasting has been decimated by high profile celebrity podcasts, and Independent podcast like Bawdy are suffering…The Golden Age of Podcasting is over, so if you love the Bawdy podcast, remember: this thing is entirely Listener Supported, and we need your financial assistance to continue.   It's at https://www.patreon.com/Bawdy Sign up now and get the Replay of the Portland BawdySlam! (Plus the Portland curated show is up on Patreon, waiting for you)   Private Coaching:   Sexuality and Kink Coaching: I'm available for sexuality and kinky coaching, and story coaching. If you've always wished that you had someone to talk to openly, I'm here to support you (and give advice, if you want it - you decide what role I play. I'm a great listener, and a coach with many years of experience in this world.   Story Coaching: I'd love to work with you on your personal story, because Storytelling is essential to your work, dating and social life. Right now I'm offering private coaching on Zoom… Want to work on your personal branding? (your dating profile, website, storytelling for job interviews, etc). I can help you live the life that you've always dreamed about: communicating with clarity, feeling more confident when you speak socially and on stage, landing your dream job, and discovering what makes *you* tick - storytelling is so good for figuring out what drives you. Whether it's getting onstage for the first time, writing your memoir, creating a podcast, opening up your marriage, embracing a new identity or finding your way to a new, more authentic life, I can help. Email me at BawdyStorytelling@gmail.com and let's make it happen. Bawdy Got Me Laid perfume: Dixie has created her own fragrance and it's getting rave reviews!   Here's a review of #BawdyGotMeLaid : “Okay hear me out, THIS PERFUME IS ABSOLUTELY AMAZING. I will probably never buy perfume from another shop. That's how good these are. #bawdygotmelaid is so sexy, so sweet, so delicious. The Amber and ylang ylang is what sold me, and it did not disappoint!” - Carlie You'll love #BawdyGotMeLaid, scented with golden Honey, Amber, Ylang Ylang, and warm Vanilla. There's also our creamy Bawdy Butter, Hair & Bawdy Oil, & more. Bawdy Got Me Laid cologne - in a beautiful bottle, or a convenient roll-on applicator - means you can deliver your own great smelling Motorboats while supporting Bawdy. It's sexy yet innocent, and even moms and kids love it.   Get yours today at https://bawdystorytelling.com/merchandise Read more reviews here: https://sucreabeille.com/products/bawdygotmelaid   Subscribe to the Bawdy Storytelling email at https://bawdystorytelling.com/subscribe   Where should I bring Bawdy next? Do you want Bawdy Storytelling in *your* city? I'm ramping up for more cities and live shows. Maybe an evening of *my* personal stories, or a House Concert, a BawdySlam, or ? Send me a message, tell me what you're thinking, and let's work together. Message me at BawdyStorytelling@gmail.com   Check out our Bawdy Storytelling Fiends and Fans group on Facebook - it's a place to discuss the podcast's stories with the storytellers, share thoughts with your fellow listeners, & help Dixie make the podcast even better. Just answer 3 simple questions and you're IN! https://www.facebook.com/groups/360169851578316/ Thank you to the Team that makes this podcast possible! Team Bawdy is:   Podcast Producer: Roman Den Houdijker Sound Engineer: David Grosof Storytelling support by Mosa Maxwell-Smith Video & Livestream support from Donal Mooney Bawdy's Creator & Host is Dixie De La Tour & Thank you to Pleasure Podcasts. Bawdy Storytelling is proud to be part of your s*x-positive podcast collective!   Website: https://bawdystorytelling.com/ On Instagram: https://www.instagram.com/bawdystorytelling/ Like us at www.Facebook.com/BawdyStorytelling Join us on FetLife: https://fetlife.com/groups/46341 Support us on Patreon at https://www.patreon.com/Bawdy Watch us on YouTube at http://bit.ly/BawdyTV Find out about upcoming Podcast episodes - & Livestreams - at www.BawdyStorytelling.com/subscribe  

The College Football Experience (@TCEonSGPN) on the Sports Gambling Podcast Network continues its 134 team college football preview series with the Michigan State Spartans 2024 Team Preview. Pick Dundee aka (@TheColbyD) & NC Nick (@NC__NicK) break down the upcoming 2024 Michigan State Spartans offense, defense and special teams and key in on their upcoming schedule. Did Michigan State hit a home run when they landed former Oregon State Beavers head coach Jonathan Smith? Did Michigan State win the transfer portal when Jonathan Smith brought Aidan Chiles with him from Oregon State? Will Nathan Carter have a bounce back season after injuries in 2023?Is the Michigan State Spartans wideout room perhaps underrated with the likes of Nick Marsh, Alante Brown, Montorie Foster and Jaron Glover? Is Jack Velling about to be one of the top tight ends in the Big Ten? How concerned should we be with the Michigan State offensive line and the amount of transfer portal losses upon it? Is kicker Jonathan Kim one of the better kickers in the Conference?How key was it for the Michigan State Spartans to land a proven defensive coordinator in Joe Rossi? Will the Spartans defensive line be surprisingly good with the likes of Khris Bogle, Maverick Hansen, D'Quan Douse and Quandaries Dunnigan? Will the Spartans linebacking core be super legit with Cal Haladay, Wayne Matthews and Jordan Turner? Should the Sparty secondary be something to watch with Ed Woods, Chance Rucker, Dillon Tatum, and Malik Spencer? We talk it all and more on this Michigan State Spartans edition of The College Football Experience. JOIN the SGPN community #DegensOnlyExclusive Merch, Contests and Bonus Episodes ONLY on Patreon - https://sg.pn/patreonDiscuss with fellow degens on Discord - https://sg.pn/discordDownload The Free SGPN App - https://sgpn.appCheck out the Sports Gambling Podcast on YouTube - https://sg.pn/YouTubeCheck out our website - http://sportsgamblingpodcast.comSUPPORT us by supporting our partnersCirca Sports - 16 MILLION in guaranteed prizes w/ Circa Survivor & Circa Millions - https://www.circasports.com/circa-sports-millionFootball Contest Proxy - Use promo code SGP to save $50 at - https://www.footballcontestproxy.com/Rithmm - Player Props and Picks - Free 7 day trial! http://sportsgamblingpodcast.com/rithmmUnderdog Fantasy code SGPN - Up to $250 in BONUS CASH - https://play.underdogfantasy.com/p-sgpnGametime code SGPN - Download the Gametime app, create an account, and use code SGPN for $20 off your first purchase - https://gametime.co/ADVERTISE with SGPNInterested in advertising? Contact sales@sgpn.io Follow The College Experience & SGPN On Social MediaTwitter - https://twitter.com/TCEonSGPNInstagram - http://www.instagram.com/TCEonSGPNTikTok - https://www.tiktok.com/@TCEonSGPNYoutube - https://www.youtube.com/@TheCollegeExperienceFollow The Hosts On Social MediaColby Dant - http://www.twitter.com/thecolbydPatty C - https://twitter.com/PattyC831NC Nick - https://twitter.com/NC__NicK

The College Football Experience (@TCEonSGPN) on the Sports Gambling Podcast Network continues its 134 college football team preview series with the Michigan Wolverines 2024 Season Preview. Pick Dundee aka (@TheColbyD) & CJ Sullivan (@CJSullivan_) break down the upcoming 2024 Michigan Wolverines roster from the offense to the defense and special teams and key in on the Wolverines 2024 schedule. Will Sherrone Moore pick up where he left off after being the Wolverines interim head football coach in several key games in 2024?Who will get the start at QB for the Michigan Wolverines with Alex Orji, Davis Warren and Jack Tuttle all in the mix? Is Donovan Edwards ready to have a huge season in Ann Arbor in 2024? What should we make of the inexperience at wideout for the Wolverines with the likes of Tyler Morris, Fredrick Moore and CJ Charleston? Will Michigan excel at the tight end position with the likes of Colston Loveland and Marlin Klein? Can the Wolverines offensive line excel despite the lack of experience?What should we expect from the new DC in Ann Arbor in Don "Wink" Martindale? Will the Michigan Wolverines have one of the top 10 college football defenses in the country despite only returning 3 starters? Will the defensive line be elite with the likes of Derrick Moore, Mason Graham, Josiah Stewart and Kenneth Grant? Will the addition of Jaishawn Barham from Maryland be key for the 2024 season? How will the secondary look with the likes of Will Johnson, Jyaire Hill, Makari Page, Jaden Mangham and Wesley Walker? Will the Michigan Wolverines knock off the Ohio State Buckeyes yet again? We talk it all and more on this Michigan Wolverines edition of The College Football Experience. JOIN the SGPN community #DegensOnlyExclusive Merch, Contests and Bonus Episodes ONLY on Patreon - https://sg.pn/patreonDiscuss with fellow degens on Discord - https://sg.pn/discordDownload The Free SGPN App - https://sgpn.appCheck out the Sports Gambling Podcast on YouTube - https://sg.pn/YouTubeCheck out our website - http://sportsgamblingpodcast.comSUPPORT us by supporting our partnersCirca Sports - 16 MILLION in guaranteed prizes w/ Circa Survivor & Circa Millions - https://www.circasports.com/circa-sports-millionFootball Contest Proxy - Use promo code SGP to save $50 at - https://www.footballcontestproxy.com/Rithmm - Player Props and Picks - Free 7 day trial! http://sportsgamblingpodcast.com/rithmmUnderdog Fantasy code SGPN - Up to $250 in BONUS CASH - https://play.underdogfantasy.com/p-sgpnGametime code SGPN - Download the Gametime app, create an account, and use code SGPN for $20 off your first purchase - https://gametime.co/ADVERTISE with SGPNInterested in advertising? Contact sales@sgpn.io Follow The College Experience & SGPN On Social MediaTwitter - https://twitter.com/TCEonSGPNInstagram - http://www.instagram.com/TCEonSGPNTikTok - https://www.tiktok.com/@TCEonSGPNYoutube - https://www.youtube.com/@TheCollegeExperienceFollow The Hosts On Social MediaColby Dant - http://www.twitter.com/thecolbydPatty C - https://twitter.com/PattyC831NC Nick - https://twitter.com/NC__NicK

What’s Trending: A survey said that most people would have no difference in opinion about Trump is he was convicted on criminals charges, the survey coming from TheHill.com, GUEST: Congressional candidate Joe Kent reacts to the Trump verdicts // Big Local: There has been an agreement made at Western Washington University between the school and Gaza-War protesters who has a tent camp sett up on school grounds. There are going to be a large number of High School graduations in Tacoma at the Tacoma Dome, be ready for congestion on the road. // You Pick The News: A man in Ann Arbor Michigan was the defendant in a trial for driving with a suspended license, he joined the trial via zoom and the defendant was driving to the doctor’s office.

We are in Ann Arbor Michigan! We discuss our travel to Michigan, the annoying guy on the plane, the sketchy flight take off. Erin get's approached by a breakfast business boii. We experience a tornado warning. We film a video with the legendary wheelchair rugby player Chuck Aoki. He helped us create a hilarious water girl video that will be out soon!

Ricky Yahn begins his 12th season as head coach of the men's basketball team at Concordia University in Ann Arbor Michigan.  After spending two years at Longwood, the 28-year-old Yahn was named head of the NAIA member Cardinals in April 2013.  As a player, Yahn left his mark in Wheeling, WV. At Central Catholic High, the Hall of Fame guard was All-state and won a state championship.   At Wheeling Jesuit University, the three-year starter led the Cardinals to two NCAA Division II appearances and scored 1,467 career points. 

This week we talk with Hannah Rose Weber and Nate Lada, two of the owners at Green Things Farm Collective in Ann Arbor, Michigan. Green Things is a majority women-owned farm business that has evolved out of several businesses. Nate and his wife Jill first started Green Things farm in 2011 at a local farm incubator program. Then they purchased 64 acres where the farm is now settled. In 2020, Green Things joined with Ann Arbor Seed Company and the Land Loom to expand production, share management of running a diverse farm business and develop a model of sustainable, cooperative, and responsible farming. They offer seasonal vegetables and flowers to their local markets through various channels as well as beef. Hannah takes the lead on market, sales and personnel development. Nate leads vegetable production, infrastructure and production systems innovation. They are joined by a crew of dedicated farmers, including Jill Lada and Michelle Brosius who are also co-owners. Often on this podcast, we like to discuss people's personal farming journeys as much as the business side of the discussion, but in this case, it feels like the Green Things Farm Collective almost has a soul and spirit of its own that far transcends what the individual owners and farmers bring to it. So, we get the chance to hear more about the farm itself, how it has evolved, how the people involved are working to meet their goals of sustainability and more! Connect With Guest:Facebook: Green Things Farm CollectiveWebsite: www.greenthingsfarm.comInstagram: @greenthingsfarmcollective Podcast Sponsors:Huge thanks to our podcast sponsors as they make this podcast FREE to everyone with their generous support: Johnny's Selected Seeds - Johnny's Selected Seeds has provided superior seeds, tools, information, and service since 1973. Consider us your trusted growing partner when you need proven varieties you can count on and detailed guidance from seeding to harvest. Turning to Johnny's means you can plant high-quality, trial-proven varieties with confidence, knowing that our expert staff is ready to help with first-hand knowledge—because we've grown them ourselves. We're here to help you grow good food. Farmhand - Tired of admin work and technology trouble? You need Farmhand on your team. Farmhand is the all-in-one software platform and virtual assistant built by and for independent farmers. Through a simple text or email to Farmhand, you can offload admin tasks, automate your CSA, update your website, and sell more to your customers. Learn more and take the quiz to see how much you can save at farmhand.partners/GFM A-Roo - Discover innovative packaging solutions at A-ROO Company, your one-stop destination for customizable and eco-friendly packaging across various industries, including floral, produce, and specialty packaging. Explore stylish and eco-friendly Kraft Paper Sleeves and sheets at shop.a-roo.com today and enjoy an exclusive 10% discount with code "GFM10" for Growing For Market Podcast listeners. When it comes to quality and innovation, A-ROO Company is the name you can trust. Neptune's Harvest is a family company that makes organic fertilizers from the by-products of the fishing industry, in Gloucester, MASS. Products from cold, mineral rich, North Atlantic Ocean, contain all the nutrients to make your soil and plants healthy. Available in retail and bulk sizes. Bootstrap Farmer offers a complete range of growing supplies including heat mats, ground cover, frost blankets, silage tarps, irrigation, and trellising. They also make all-metal, all-inclusive greenhouse frames, constructed of steel made in the USA and fabricated in Texas. Their heavy-duty, Midwest-made propagation and microgreens trays will last for years and are available in a full range of colors, great for keeping farm seedlings separate from retail, or just for fun. For all that and more, check out Bootstrap Farmer at bootstrapfarmer.com. Local Line is the all-in-one sales platform for direct-market farms and food hubs of all sizes. Increase your sales and streamline your processes with features including e-commerce, inventory management, subscriptions, online payments, and more! Get 15% off marketing services and one premium feature for a year with the code Growing4market at https://hubs.la/Q02bpWQV0 Subscribe To Our Magazine - FREE 28-Day Trial:Our Website: www.GrowingForMarket.com

In today's episode I speak with Regan Smith, who is Senior Vice President and General Counsel at the New/Media Alliance as well as an Adjunct Professor at GW Law where she teaches copyright law. Regan is a trustee of The Copyright Society of the U.S.A and the Chair of the ABA's Copyright Legislation Committee. Before joining New/Media Alliance, she worked as the Head of Public Policy in Spotify's Government Affairs group and spent seven years working at the United States Copyright Office including three years as General Counsel of the Copyright Office and Associate Register of Copyrights. She began her career at two large law firms focused on IP litigation and transactions. Her interest in media goes way back — she even worked as a record store clerk in Ann Arbor Michigan during college. In this episode, Regan and Jonah discussed:

Garry talks about a way to compress your clothes to save room for your next trip. Plus, Ann Arbor Michigan is rated the best place to live in the US.

Darin is live from Yost Ice Arena in Ann Arbor Michigan as Notre Dame has a huge weekend match-up that will determine home ice in the First round of Big ten tournament.InsideNDSports.com Eric Hansen is in for the first hour and the topic of discussion are the return of offensive coordinator and tight ends coach Mike Denbrock for the fighting Irish.Recap of the Fan Chats with Eric and Twitter question of the day. Big Ten Network Hockey Broadcasters Ben Holden joins Darin to discuss the big weekend series that will take place between the Wolverines and The Fighting Irish.Irish Football week in review. The Big Sizzler segment of the weekendSee omnystudio.com/listener for privacy information.

Darin is live from Yost Ice Arena in Ann Arbor Michigan as Notre Dame has a huge weekend match-up that will determine home ice in the First round of Big ten tournament.InsideNDSports.com Eric Hansen is in for the first hour and the topic of discussion are the return of offensive coordinator and tight ends coach Mike Denbrock for the fighting Irish.Recap of the Fan Chats with Eric and Twitter question of the day. Big Ten Network Hockey Broadcasters Ben Holden joins Darin to discuss the big weekend series that will take place between the Wolverines and The Fighting Irish.Irish Football week in review. The Big Sizzler segment of the weekendSee omnystudio.com/listener for privacy information.

Start Name Artist Album Year Comments All's Fair In Love And War David Gray ATOS 2019 Rochester Highlights 2019 4-23 Wurlitzer, Auditorium Theatre, Rochester, NY; Concert June 30, 2019 3:25 Beautiful Love Dr. John W. Landon At The Page Pipe Organ [Paramount Organ Society POS 111] 3-7 Page, Paramount Theatre, Anderson, IN 6:31 Cuddle Up A Little Closer, Lovey Mine Dave Wickerham Steppin' Out To The Rialto 1997 4-27 Barton Grande, Rialto Square Theatre, Joliet, IL; original 4-21 10:04 Dancers In Love Charlie Balogh Concert: Ruth Dresser Residence 1992 1992 4-22 Wurlitzer, Ruth Dresser Residence, Malibu, CA; 16 August 1992 12:53 Every Time I See You I'm In Love Again Pierre Fracalanza Concert: Colonial, Phoenixville 2017-11-19 2017 3-24 Wurlitzer, Colonial Theatre, Phoenixville, PA 15:58 Falling In Love With Love George Wright King George [Banda CD 201803] 1950 4-36 Wurlitzer, Paramount Theatre, New York, NY 19:14 The Glory Of Love Stan Kann In St. Louis [Malar MAS 2018] 1972 4-36 Wurlitzer, Fox Theatre, St. Louis, MO 22:53 How Can Love Survive? Jerry Nagano Thanks For The Memory [Jerri-Co CD] 2008 4-26 Robert Morton, Van der Molen Residence, Wheaton, IL 25:52 If You Love Me (Hymne A L'amour) Ronald Curtis, Kevin Morgan Concert: State, Grays 1994 1994 3-6 Compton + Melotone, State Cinema, Grays, Essex; 12 June 1994 29:49 Love and Marriage Bill Vlasak Music! Music! Music! [WJV Productions CD] 1996 4-42 Wurlitzer, Paramount Music Palace, Indianapolis; originally 4/20 Crawford Special, Paramount Oakland 32:20 My Funny Valentine Henry Aldridge Intermission At The Michigan Theater [Musica-Liberata STD-1007] 1976 3-13 Barton, Michigan Theatre, Ann Arbor MI; Recorded in 1976, LP released 1981. 35:29 No Other Love Nigel Ogden The Rodgers & Hammerstein Songbook [Castle Pulse PDSCD 588] 2004 3-14 Wurlitzer, Tower Ballroom, Blackpool 39:17 Once In Love With Amy Ray Bohr The Big Sound On Broadway [RCA Victor LPM-1339] 1957 4-36 Wurlitzer, Paramount Theatre, New York 42:01 Portrait of My Love Christian Cartwright Tuned Up! [Pipes In The Peaks CD] 2004 3-15 Compton-Wurlitzer, Pipes in the Peaks, Ashbourne, Derbyshire 46:28 Send A Little Love My Way Helen Dell Good Night Sweet Prince [Malar MAS 2025] 1978 3-26 Wurlitzer, Carson/Kearns Residence, Hollywood, CA 48:50 Taking A Chance On Love Candi Carley Just For You [Minx MxRC 2002] 1978 3-15 Wurlitzer, Civic Auditorium, San Gabriel, CA 51:58 You Brought A New Kind Of Love To Me George Wright Concert: Hinsdale Theatre 1980-4-13 1980 3-28 Kimball Hybrid, Hinsdale Theatre, Hinsdale, IL 55:33 What Is This Thing Called Love? Dave Quinlan Concert: Rudy's Supper Club, Vallejo 1972-06-25 1972 2-6 Wurlitzer, Rudy's Supper Club, Vallejo, CA; Originaly El Campanile Theatre, Antioch, CA; recorded by Tim Kirkpatrick 1972-06-25

Can You ACTUALLY Get A Home In Ann Arbor Michigan Under $450,000? - If you're familiar with Michigan, chances are you've heard a thing or two about Ann Arbor, or A2 as some people call it, the place where you'll see a whole lot of yellow and blue. Especially since U of M is the 2023 football national champion. Ann Arbor is a place that is highly prioritized for people moving to Michigan, but a lot of people think it's too expensive, and you can't get anything under a million dollars. So with that being said, I figured I'd show you some options for homes under $450,000 in Ann Arbor. Let's get to it. OTHER ANN ARBOR VIDEOS ⬇️ →Cost of Living In Ann Arbor Michigan: https://youtu.be/B2PVtkxPbaE?si=-g7-6kyhrSrk5GdE →Ann Arbor Michigan Pros and Cons: https://www.youtube.com/watch?v=Q3hCE3DXAlc&t=0s Andrew McManamon is a licensed real estate professional in the great state of Michigan. Andrew truly believes that education is KEY when it comes to anything real estate. This audio experience podcast was created to help YOU get educated about the real estate industry and get valuable insight about the areas in which Andrew covers. If you have any questions about living in Michigan, please don't hesitate to reach out! Call, text or email anytime! Andrew McManamon Real Estate Professional Signature Sotheby's International Realty. SCHEDULE A PHONE CONSULTATION

 Tom Steigleman hosts today's program.Tom talks about Harvard University and their continues struggles with embattled President Caludine Gay whose anti-semetic comments before congress have caused a loss in donors, lower enrollment numbers, and now she is facing a plagiarism scandal. Long time listener Gary calls in off air to wish everyone a Merry Christmas.  Tom talks about the new Comply or Die attitude of the democrats as   Senator John Fedderman no longer considers himself a progressive after far left members of the Democratic Party are hoping he dies because of his stance on Israel, and how New York will ban solitary confinement in their jails. Tom talks about the Spenard Builders Supply dispatch center roof collapse, and New York trying to force Chick-fil-A to be open on Sundays at rest stops.Alex calls in with comments about the Chick-fil-A issue.Tom talks about immigration issues and how Texas is flying illegal immigrants to sanctuary cities, and a possible strike by Alaska Airlines flight attendants.Wasilla Mayor Glenda Ledford calls in to get listeners up to speed on what is happening in Wasilla with the airport expansion and other issues. Tom talks about the Colorado Supreme Court decision to ban Donald Trump from the states Republican primary ballot, and Ann Arbor Michigan banning gas power leaf blowers.Tom wraps up today's show with an interview with Dr. Daniel from GFA World.  Donate toward the critter campaign today at 1020KVNT.com.

Christmas Eve, 1913, was a tragic night in Calumet, Michigan. 73 people—59 of them children--were killed when someone falsely yelled, “Fire,” at a crowded Christmas party on the second floor of the Italian Hall setting off a deadly stampede. The disaster occurred five months into a crippling labor strike between Western Federation of Miners Union workers and the Calumet Hecla Mining Company. Now, 110 years later, Beth Kirschner has written about the historic labor dispute and what has been called the Italian Hall Massacre in her novel, “Copper Divide.” In this episode of the Lake Superior Podcast, Walt Lindala and Frida Waara talk with Beth, who works as a software engineer, about the 1913 Copper Strike and how the Keweenaw Peninsula's history inspires her writing.

For this episode of Broken Boxes I am joined by Monument Lab Director Paul Farber, University of Michigan Museum of Art Assistant Curator of Global Contemporary Art Ozi Uduma and artist Cannupa Hanska Luger. We gathered together in Ann Arbor Michigan in late September 2023 at the University of Michigan's Media Center during the opening week of the monumental project and accompanying exhibition by Luger titled, You're Welcome was developed over the course of two years between Cannupa, Monument Lab and the University of Michigan Museum of Art. This podcast conversation was a chance for the three creatives to speak vulnerably to the process of taking on such a large endeavor and how much care and energy goes into the creation of a project of this magnitude. We learn about the three primary components to the presentation including GIFT, an experimental, time-based, commissioned work by Luger on the front facade of UMMA's Alumni Memorial Hall which challenges institutional memory and the whitewashing of history. GIFT is accompanied by two indoor installations: Meat for the Beast in the museums Irving Stenn, Jr. Family Gallery, which delves into Luger's artistic practice and the relationship between museum collections and resource extraction; and Monument Lab: Public Classroom in the Art Gym, which examines formal and informal modes of memory. Moving through the conceptual application of this work, Paul, Ozi and Cannupa break down the larger themes of whiteness, language and time, and unpack the anchoring question of the project, How do we Remember?. The three offer their personal and professional reflections on implementing a project of this magnitude and it's unknown long term impact. And in speaking to GIFT and the larger constellation of exhibiting works, Paul reflects, “This is an art project that doesn't quite have a precedent. And that's the point. It has cousins and kin and points of inspiration and citation, but this work is actually seeking to do something that has never been done in this way.” Over all, You're Welcome explores the relationship between the Museum's historic building, the land it stands on, and a long history of colonial narratives deeply embedded in public structures. It supports critical dialogues about the responsibilities of public institutions as cultural history makers and stewards, and it is a key component of UMMA's ongoing efforts to challenge its history and practices to create an institution more reflective of its community and honest in its explorations of art, culture, and society. More about YOU'RE WELCOME: HOW DO WE REMEMBER? How do we remember on this campus? This is the central question asked in You're Welcome, a dynamic three-part exhibition. The result of a multiyear collaboration with artist Cannupa Hanska Luger and nonprofit public art and history studio Monument Lab, You're Welcome examines the foundational narratives of the land occupied by the University of Michigan and both national and global discourse on nationalism, land sovereignty, militarism, colonialism, and sites of memory. GIFT The centerpiece of the You're Welcome exhibition, Cannupa Hanska Luger's GIFT, is an experimental, time-based, commissioned work, responding to and challenging the University of Michigan's origin story and the stewardship of the land it occupies. In September 2023, Luger, a multidisciplinary artist and enrolled member of the Three Affiliated Tribes of Fort Berthold (Mandan, Hidatsa, Arikara and Lakota), painted the word “GIFT” in white porcelain clay slip on the columns of Alumni Memorial Hall, a neoclassical war memorial erected in 1910 that now houses UMMA. His point of departure is the 1817 Treaty of Fort Meigs, in which Ottawa, Chippewa, and Potawatomi tribes “gifted” land to the University that was then sold to found its endowments. MEAT FOR THE BEAST Meat for the Beast comprises two works by the multidisciplinary artist Cannupa Hanska Luger: This is Not a Snake and The One Who Checks and The One Who Balances. An enrolled member of the Three Affiliated Tribes of Fort Berthold (Mandan, Hidatsa, Arikara and Lakota), Luger was born and raised on the Standing Rock Indian Reservation. This is Not a Snake was created there, in the aftermath of the 2016 Dakota Access Pipeline protests. The “snake” is a serpentine monster made of riot gear, ceramics, fiber, steel, oil drums, concertina wire, ammunition cans, trash, beadwork, and other found objects. Interspersed within the creature's body are artworks from UMMA's collection selected by Luger and the exhibition's curators to reflect on the historical and contemporary destruction and extraction of land as an expendable resource. By positioning the “snake” as if it's ingesting objects from the museum's collection, Luger compares the damage done by extractive industries on Indigenous lands to that of museums, which have historically extracted objects and culture from Indigenous communities. MONUMENT LAB: PUBLIC CLASSROOM How do we remember on this campus? In addressing this central question of the exhibition You're Welcome, Monument Lab, a nonprofit public art and history studio, worked with lead artist Cannupa Hanska Luger, University of Michigan Museum of Art staff, and University students, staff, and faculty to gather hundreds of responses. Using 121 of these compiled responses as a starting point, this “classroom” acts as an exploration of memory itself—how we remember, the physical and ephemeral forms memories take, and how they come to constitute the campus itself. This classroom includes a broad range of ways we remember—instances of personal, collective, ancestral, speculative, and institutional approaches to memory. https://umma.umich.edu/exhibitions/2023/cannupa-hanska-luger-you-re-welcome Featured song: A Tribe Called Red Ft. Hellnback - The Peoples' Champ

If you're in chronic pain, you have struggled with the question of medication. And if you're on the journey to reversing chronic pain through understanding the mind body connection, then you are probably wondering what your relationship with drugs and medication should look like.Here are some of our answers. I hope it meets you where you are at. Here is Dr. Rebecca Kennedy's Future Website: resilience-healthcare.com Introductory Course to Covid and TMS: • Chronic Symptoms and the Nervous System • Long COVID class 1 Introduction Here is her Bio: I am a family medicine physician with a lifelong interest in the mind body connection. I initially went into medicine because of my fascination with the body's ability to heal itself. After two decades of treating patients with the typical medicines and procedures, I have finally found what I was looking for with this new model to treat chronic symptoms and help people heal themselves. I grew up in Ann Arbor Michigan and attended Vassar college. I graduated from the University of Michigan medical school in 1999 and moved to Portland Oregon for residency in family medicine at OHSU (Oregon Health and Science University). After years of seeing patients with many chronic symptoms we couldn't effectively help, it didn't make sense to me that we couldn't do more. I developed an intense curiosity to see what other information was out there. I searched for years, constantly learning about new science and different approaches. Fortunately I learned of Howard Schubiner MD and David Clark MD and the new model I had been searching for. I learned everything I could about this approach and have been successfully using it with patients at Kaiser Permanente and will open my own practice in the fall with this model as the sole focus of my practice. If you are looking to reverse your chronic pain or symptoms, reach out for a free consult. Website: thoughtbythoughthealing.com Email: thoughtbythoughthealing@gmail.com #tms #mindbodyconnection #mindbodysoul #mindbodyspirit #fightorflight #nervoussystem #youcanheal #thoughtbythoughthealing #sarno #unlearnyourpain #chronicpain #fibromyalgia #footpain #longcovid #covid #ibs #pain neuroscience #painscience #chronicillness #chronicfatigue #insomnia #thewayout #somatictracking #somatictherapy #covidsymptoms #neuroplasticpain #neuralcircuitpain #ppda

Grand Rapids vs. Ann Arbor. If you're looking to make the move to the Michigan area and you can't quite decide where you want to land as your home base, we're going to take a look at two cities in the state of Michigan; Grand Rapids and Ann Arbor. Culture and Lifestyle (01:05) Economy in Grand Rapids vs. Ann Arbor (02:21) Education (03:15) Recreation and Environment (04:02) Real Estate (05:03) Atmosphere (05:36) Grand Rapids vs. Ann Arbor - which is for you? (06:23) Contact us now: Call or Text: (616) 330-2555 Email: info@marketgr.com Moving to Grand Rapids? Pick up our FREE relocation guide! https://mailchi.mp/8b5aff1055a5/relocation-guide More from Group Realtors: Website

Anne Heaton has lived widely, pursuing a wide range of interests, in Chicago (IL), Washington DC, New York, Ann Arbor (MI), and now in Milwaukee (WI). She has all the classical piano cred you could want, but has also performed as part of a Harlem gospel choir, while her songwriting has been inspired by the likes of the Indigo Girls and Tori Amos.

Enjoy! 00:00:00 My Introduction and her bio 00:03:28 A little bit about herself and how she got into mind body medicine. 00:08:06 How did you get interested in Long-Covid? 00:09:36 How are we evaluating Long Covid, as physicians? 00:12:15 What kind of testing are we seeing with long covid? Diagnosis of Exclusion. 00:17:40 Top 6 symptoms of Long Covid and how the brain can generate them. 00:18:54 The new science of pain related to Long Covid. 00:20:54 How to heal from Long Covid. Success Stories: https://www.longcovidcured.com/ Mike Doninno's Pilot Study: https://www.medrxiv.org/content/10.11... Her Website: resilience-healthcare.com Introductory Course to Covid and TMS: • Chronic Symptoms and the Nervous System • Long COVID class 1 Introduction Here is her Bio: I am a family medicine physician with a lifelong interest in the mind body connection. I initially went into medicine because of my fascination with the body's ability to heal itself. After two decades of treating patients with the typical medicines and procedures, I have finally found what I was looking for with this new model to treat chronic symptoms and help people heal themselves. I grew up in Ann Arbor Michigan and attended Vassar college. I graduated from the University of Michigan medical school in 1999 and moved to Portland Oregon for residency in family medicine at OHSU (Oregon Health and Science University). After years of seeing patients with many chronic symptoms we couldn't effectively help, it didn't make sense to me that we couldn't do more. I developed an intense curiosity to see what other information was out there. I searched for years, constantly learning about new science and different approaches. Fortunately I learned of Howard Schubiner MD and David Clark MD and the new model I had been searching for. I learned everything I could about this approach and have been successfully using it with patients at Kaiser Permanente and will open my own practice in the fall with this model as the sole focus of my practice. If you are looking to reverse your chronic pain or symptoms, reach out for a free consult. Website: thoughtbythoughthealing.com Email: thoughtbythoughthealing@gmail.com #tms #mindbodyconnection #mindbodysoul #mindbodyspirit #fightorflight #nervoussystem #youcanheal #thoughtbythoughthealing #sarno #unlearnyourpain #chronicpain #fibromyalgia #footpain #longcovid #covid #ibs #pain neuroscience #painscience #chronicillness #chronicfatigue #insomnia #thewayout #somatictracking #somatictherapy #covidsymptoms #neuroplasticpain #neuralcircuitpain #ppda

Topics discussed on today's show: National Daiquiri Day and National Hot Dog Day, The Trendmill, Relationship Advice: Bread and Honey Sales, Birthdays, History Quiz, 20 in 23, Little Johnny's Growing Pot, Ann Arbor MI, 5 Sec Survey: What do you do and how much do you make?, Stamp Or Sticker, Crossing Streams, Deep Cut Face Off, and Apologies.

ABOUT THIS EPISODE In this episode join Meg and Amy as they talk about Amy's experience with binge eating disorder and the common misconceptions about it. Those who are living with binge eating disorder will learn about the first steps they can take towards healing. ABOUT OUR GUEST Amy Pershing is an Anti-Diet Therapist and Binge Eating Disorder pioneer and expert. She is the Clinical Director of the Center for Eating Disorders (CED) in Ann Arbor Michigan. In 1993, she developed “Bodywise™” a comprehensive treatment program to serve a growing population of clients coming to the center with binge eating disorder (BED). Her approach also integrates “attuned” eating and movement and a “health at every size” philosophy. Amy lectures and teaches internationally on the treatment of BED for professional and lay communities; she has been featured on radio, podcast, and television speaking about BED treatment and recovery, relapse prevention, weight stigma, and attuned eating and movement Amy's website: www.thebodywiseprogram.com/ ABOUT OUR HOST Meg is a CCI certified Eating Disorder Recovery Coach and Founder of The Recovery Collective. She is the host of Full and Thriving: An Eating Disorder Recovery Podcast. Meg is now accepting 1:1 coaching clients and offers free consultations on her website. Grab your Full and Thriving Merch!! www.etsy.com/shop/RecoveryCollective Sign up for a free 1:1 coaching consultation with Meg bit.ly/3A1Cw5r Meg's website: www.meg-mccabe.com Meg's Instagram: www.instagram.com/meg_mccabe/ The Recovery Collective Instagram: www.instagram.com/the_recoverycollective/ Listen to these free eating disorder recovery affirmations: megmccabe.lpages.co/200-recovery-affirmations/ Support the show by purchasing anti-diet merchandise here: www.etsy.com/shop/RecoveryCollective

Today on The Hard Count, SEC Media Days are right around the corner! We will be live from the scene next week. J.D. previews what he's watching for in Nashville. Who will be the top QBs at the end of November. J.D. calls his shot and gives you his projected top 5 by the end of the regular season. Finally, the Pulse of the Progrum series rolls into Ann Arbor Michigan to take the pulse of the Wolverines and J.D. addresses if Texas not winning the Big 12 would be considered a FAILURE of a season. Let's have a DAY! Subscribe to On3! ⬇️ youtube.com/on3sports/?sub_confirmation=1 Welcome to On3 | The best of college football and recruiting https://www.on3.com/ Follow J.D. PicKell on Twitter: https://twitter.com/jdpickell Follow J.D. PicKell on Instagram: https://www.instagram.com/jdpickell/ Listen to The Hard Count on podcast! Spotify

DON'T Sleep On Saline Michigan! - So you're thinking about making the move to Ann Arbor Michigan, or one of the fine suburbs that lies on the outskirts. Today, I want to touch on Ann Arbor's favorite neighbor, Saline. So be sure to stick around to see if Saline Michigan is the next place you call home, or not. Let's get to it. Saline, Michigan has been one of those cities that have been brought up a few times for me to touch on, and I know at a glance you might think why would anyone ask about this little town? And there's several reasons, I'd say the main one which I'll say is pro #1 to living in Saline Michigan, is the proximity to Ann Arbor. For those of you that know of Ann Arbor or have had the opportunity to live nearby you know how awesome that is, I have several videos about this fine city that I'll link in the description for you to queue up, but to keep things short, it's one of a kind, unlike any other and a place most Metro Detroiters want to be near. While we are still on the topic of proximity and location, I wanted to put some perspective to this city as well as the township of Saline. The city of Saline covers 4.41 square miles with a population of around 9,000 people, whereas the township of Saline is 34.79 square miles with a population of around 2,300 people, which is very interesting, because townships are bigger than cities, and this is one of the few townships that has less people than the city, so space and privacy is a given, with those stats in mind. MENTIONED LINKS ⬇️ →Ann Arbor Pros & Cons Video: https://youtu.be/Q3hCE3DXAlc →Ann Arbor Cost of Living Video: https://youtu.be/B2PVtkxPbaE →Saline Michigan School Rankings: https://www.greatschools.org/michigan/saline/ Andrew McManamon is a licensed real estate professional in the great state of Michigan. Andrew truly believes that education is KEY when it comes to anything real estate. This audio experience podcast was created to help YOU get educated about the real estate industry and get valuable insight about the areas in which Andrew covers. If you have any questions about living in Michigan, please don't hesitate to reach out! Call, text or email anytime! Andrew McManamon Real Estate Professional Signature Sotheby's International Realty. SCHEDULE A PHONE CONSULTATION

This episode contains Part 2 of Chuck Da Fonk's FSQ DJ set with Dan Bain recorded live in Detroit at Rabbit Hole at Root, Ann Arbor Michigan for the A2SF Summer Fest official afterparty on June 10th, 2023.Chuck's dad, Alan Fishman, guest hosts this episode from an MC perspective, and Fishman Sr, introduces you to the concept of 1st hour burners, where new music is presented up front in the episode versus the last hour. How is that possible?Chuck prepared an hour of fire jams before the A2SF mix gets started, including some from Eugene Tamborine, aka North Satellite, Alex Kassian, Aliese, Black Loops, Dom Dolla x Nelly Furtado, TÂCHES and much more.Tune into new broadcasts of FSQ, Thursday from 3 - 6 PM EST / 8 - 11 PM GMT.For more info visit: https://thefaceradio.com/fsq///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com. Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

In this episode, Neil and E-Man sit down with Duke Newcomb, a promoter, artist, and community organizer out of Ann Arbor Michigan. Notably, hosting the Dojo, Luna Cypher, and Bridging the Gap. He organizes these hip-hop workshops for emcees vets and rookies alike to sharpen their craft and build community within the area. We talk about music festivals and upcoming concerts, building community, energy drinks, and much more in this episode. Beers featured on this episode: El Segundo Steve Austin's Broken Skull American Lager 4.8% ABV N/A IBU Founders Brewing Velvet Rush 11.1% ABV 30 IBU

Sat down with Mac Kish and discussed his new album “Forest Fire” and how his own life experiences and mental health influence him as an artist and as a human. Check out his album release show June 16th at the Loving Touch in Ferndale! Thank you for listening. Air date: 6/5/2023. Follow the podcast on … Continue reading ITN 154 | Mac Kish (Ann Arbor, MI) →

Episode 123: Dr. Andy Berkowski of ReLACS Health - Ann Arbor, MIIn this episode, Dr. Andy Berkowski, talks about his experience in the healthcare industry, direct care, telemedicine, and the direct primary care model. He discusses the concept of "Cura Personalis" and its importance in healthcare as it recognizes spiritual, social, and mental well-being as parts of an individual's health condition.Subscribe so you don't miss an episode! ---------------------We're CELEBRATING our first 100,000 listens on APPLE PODCASTS!ENTER TO WIN THE MY DPC STORY DPC SUMMIT PRIZE PACKAGE!Get $50 in My DPC Story SWAG + a TICKET  TO THIS YEAR'S DPC SUMMIT in MN!--> 1) Rate and review our podcast on Apple Podcasts.--> 2) Take a screenshot ***BEFORE you hit submit*** of your review and then email it to support@mydpcstory.com.--> 3) Follow My DPC Story on all our social media platforms - IG, FB, Tiktok, Youtube, Linked in and Twitter. All the social links are below! For bonus points, share both this episode and the My DPC Story posts about the DPC Summit with your community!The winner will be announced in a future episode, so make sure you tune in to find out if you'll be heading to the summit! If you've already purchased your ticket and you're the winner, My DPC Story will send you a check for the price of your ticket! Thank you for listening to My DPC Story, and good luck!---------------------LISTENER'S GUIDE!NEW TO THE POD? Get started by downloading our FREE LISTENER's GUIDE with 10 Episodes that will give you a great introduction to the podcast! The Listener's guide covers the founding of DPC, how to finance your practice and how to achieve the elusive work/life balance!To get the Listener's Guide...1) RATE and REVIEW our podcast on Apple Podcasts.2) Take a screenshot ***BEFORE you hit submit*** of your review and then email it to support@mydpcstory.comand you'll find the Listener's Guide in your inbox!---------------------HELP FUND THE PODCAST!CLICK HERE to Support the show---------------------SUPPORT THE POD BY SUPPORTING OUR SPONSORS!Support the showRegister for Hint Summit 2023 today with LINK HERE! Support the showDPC Swag & Summit TICKET GIVEAWAY!Rate and review the pod! Then send a screenshot of your review to support@mydpcstory.com!Let's get SOCIAL!FACEBOOK * INSTAGRAM * LinkedIn * TWITTER * TIKTOK * YouTube

Today we're joined by Paul Lacinkski of Bitchin' Lawns out of Ann Arbor Michigan, sharing how lawn care saved his life! Paul's life has been an incredible story of triumph and victory, and it's crazy to see where he's taken his company in a few short years! Enjoy. Lawntrepreneur Academy Save 50% on registration for EQUIP 2023 (with code: Brian) Get Brian's Free Newsletter Brian's Lawn Maintenance On YouTube   Brian's Lawn Maintenance On Instagram   Ballard-Inc.com (Brians10)   KUJO (Brians10)   Equipment Defender (Brians10)   https://gpstrackit.com/brianlm/   www.brandedbullinc.com Mention Brian's name and save $100 on a new website.   https://www.yardbook.com/   https://Exmark.com 

We revisit Ann Arbor, Michigan and their dynamic Sustainability & Innovations Director Missy Stults, to check in on their audacious plan to reach net zero by 2030. They are pushing the envelope in so many ways, from their taxpayers approving $7M per year for climate action, to being on the verge of setting up a new Sustainable Energy Utility, to re-thinking how heating will be provided, and more. ResourcesAnn Arbor millage taxSustainable Energy Utility - video overviewSustainable Heating Franchise - project overviewAnn Arbor A2Zero home pageJuly 2021 City Climate Corner episodeCity Climate Corner Bloomberg Cities top 10 

Whitney Elkins-Hutten, the director of Investor Education, interviews David Kamara, the Founder and Investor of Cape Sierra Capital, to share his insights on acquiring the 154-unit Lynden Parke Apartments. Since the property is centrally located, it provides convenient access to essential needs for the residents. The property is designed uniquely with energy-efficient appliances and an open floor plan perfect for entertaining. Considering the current market, where the interest rate increases by 2%, David dives into the financial piece of acquiring this property by taking on a loan with a floating interest rate. Although risky, it provides you the option of an early exit of the loan. Taking over the property was smooth, and he ensured that he and his tenants understood each other. Let's take a moment and tune in to this episode to gather more insights on how David navigates through the deal, especially with the increasing interest rates.

Zach Damon is an Award Winning Producer, Broadcaster, Actor, and Filmmaker. Zach is currently the Producer, Co-Writer, and Host of Ann Arbor Tonight, Ann Arbor Michigan's first late night live audience, televised variety show. The show is currently in its seventh season of production. He is also Voice Talent for a subsidiary of iHeartMedia, who syndicates more than 100 radio programs and services to more than 7,100 radio affiliations and reaches a quarter billion listeners monthly. His voice can be heard on stations all across the United States and Canada. He is also the owner of Zach Damon Productions, LLC. Zach Damon Productions, LLC was established in 2012 and produces local television, radio, and web based media content for distribution. The business was formed to make educational, informative, and entertaining media content. Zach Damon Productions is based in Ann Arbor, Michigan. We chat about: -Training &Media Background -Current Projects &Future Goals -Disability Inclusion in Media -Involvement with other Organizations & Charities Website:  Socials: Facebook:  Instagram:  Twitter:    Disclaimer: None of the information in the podcast should be considered as a financial advice. Always do your own research. Connect more with the host:  Twitter  Instagram LinkedIN Voiceover Reel Industry Coaching with me  web3 coaching  Merch A Lover's Fairytale Poetry Book buy here Please consider SUPPORTING my SHOW, SUBSCRIBE to the NEWSLETTER, ENTER in the GIVEAWAYS        

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

Jeff Gross is an American professional Poker Player from Ann Arbor Michigan. He First started playing after his soccer teammate introduced him to the game. Jeff immediately fell in love with it and began playing anytime he had free from school or soccer. He attended college at the University of South Carolina, where he continued to play soccer and began competing in larger Poker Tournaments. It was during this time that he began diving into online poker, which would catapult him into a full-time career as a poker player and now a social-media influencer and streamer.  In this episode, Jeff tells the story of how he first discovered poker. He learned early on that, unlike video games at the time, he could win money doing something competitive. He shares what it was like in the early days of online poker and even talks about his 25 hour stream, in which he won over $100k. At one point, Jeff even turns the tables and begins to interview Brock and Will. This is a fun, insightful episode for any poker fans, aspiring poker pros, or of anyone who loves hearing stories of what goes on behind the scenes. Check out  https://www.studio22podcast.com/ Follow us on social media! https://instagram.com/studio22podcast https://www.tiktok.com/@studioxxiipodcast https://instagram.com/brockohurn https://instagram.com/wmeldman33 https://www.tiktok.com/@brockohurn https://twitter.com/BrockohurnSee omnystudio.com/listener for privacy information.

Marian grew up in a family of seekers and has always been interested in the possibilities of human potential and of inter-species communication. In addition to conducting training in Traumatic Incident Reduction and the educational system of Applied Metapsychology in many countries, she maintains a private practice working with individuals using these methods. After attending the University of Michigan for three years (it was the sixties), she dropped out to pursue a more eclectic education. Years of study and travel lead her to a meeting in the early 80's with Frank A Gerbode, M.D., the developer of Applied Metapsychology and they have worked together ever since. She is married to author and publisher Victor R. Volkman and has a daughter, Stephanie. They live in Ann Arbor Michigan with their two cats. Marian contributed to the book Beyond Trauma: Conversations on Traumatic Incident Reduction, edited by Victor before completing her own book Life Skills, and her work of fiction, Turtle Dolphin Dreams. She has three more nonfiction books in the works and another work of fiction.Thank you to Marian and to the entire Bamboo Pack! I appreciate you all very much.Your Host,Brian https://www.marianvolkman.com/https://www.tir.org/https://www.amazon.com/Life-Skills-Improve-Quality-Metapsychology/dp/1615996818/?_encoding=UTF8&pd_rd_w=7zJwc&content-id=amzn1.sym.bc5f3394-3b4c-4031-8ac0-18107ac75816&pf_rd_p=bc5f3394-3b4c-4031-8ac0-18107ac75816&pf_rd_r=JGR5TDX4VCN9JX8CAPCC&pd_rd_wg=WjgY4&pd_rd_r=d3842b54-47b7-4a08-9050-53e25d5f7f50&ref_=pd_gw_ci_mcx_mr_hp_atf_mhttps://www.amazon.com/Children-Traumatic-Incident-Reduction-Applications/dp/1932690301/ref=sr_1_1?crid=2DT71A9TLNJ0B&keywords=children+and+traumatic+incident+reduction+book&qid=1677086395&sprefix=children+and+traumatic+incident+reduction+book%2Caps%2C169&sr=8-1https://bamboolab3.com/

In this episode, we discuss how easy it is to settle for less than what God offers by clinging to earthly idols and loving other things more than Him. We share about some of our own idols and how turning to God instead has transformed our hearts. We admit how easy it is to accept less than the fullness of life in Jesus and turn to something or someone else in our sorrows. The truth is that Jesus is the only One who can truly satisfy us and bring real comfort in the broken places.     Heather's One Thing - As the Deer Heather's Other One Thing -  “Return”  by Fr. John Burns  Sister Miriam's One Thing - Surrender Novena (can also be found on the Hallow app) Michelle's One Thing - Amy Heyes Art  Michelle's Other One Thing - Comforter, Amanda Cook  Michelle's Other Other One Thing - Revival, Judah and the Lion  Michelle's Other Other Other One Thing - Blessed is She "Burn” Virtual Retreat  Discussion Questions: When you are in pain, who or what do you reach for first? What good things in your life is the Lord calling you to reorder? How might the Lord be inviting you to give up your idols in Lent? What healing have I experienced in the past from loving Christ the most?   Journal Questions: Who/what do I love the most? What am I placing my salvation in rather than God? What idols is the Lord inviting me to give up? What fears do I have about intimacy with the Lord?   Quotes to Ponder: “It would seem that Our Lord finds our desires not too strong, but too weak. We are half-hearted creatures, fooling about with drink and sex and ambition when infinite joy is offered us, like an ignorant child who wants to go on making mud pies in a slum because he cannot imagine what is meant by the offer of a holiday at the sea. We are far too easily pleased.”  ― C.S. Lewis, The Weight of Glory   “Our boat - your talents, your hopes, your achievements - is worth nothing whatsoever unless you leave it in Christ's hands, allowing him the freedom to come aboard. Make sure you don't turn it into an idol. In your boat by yourself, if you try to do without the Master, you are - supernaturally speaking - making straight for shipwreck. Only if you allow and seek his presence and captaincy will you be safe from the storms and setbacks of life. Place everything in God's hands. Let your thoughts, the brave adventures you have imagined, your lofty human ambitions, your noble loves, pass through the heart of Christ. Otherwise, sooner or later, they will sink to the bottom together with your selfishness.”  ― St. Josemaria Escriva “Let yourself be vulnerable. Let your walls down, your carefully constructed fortresses breached, your fiercely guarded heart laid bare. Let your wounds be touched, your fears revealed, your deepest desires, damaged dreams, and most daring hopes unveiled before the Bridegroom, who has the power to redeem, restore, and resurrect them. Drop your independence and the idea—which you clutch so tightly—that you can do anything to protect and save yourself. And LET HIM LOVE YOU.”   ― St Elizabeth Scripture for Lectio:   “‘For I will take you out of the nations; I will gather you from all the countries and bring you back into your own land. I will sprinkle clean water on you, and you will be clean; I will cleanse you from all your impurities and from all your idols. I will give you a new heart and put a new spirit in you; I will remove from you your heart of stone and give you a heart of flesh.  And I will put my Spirit in you and move you to follow my decrees and be careful to keep my laws.” ―Ezekiel 36:24 - 27    Sponsor - Be Love Revolution: Ten years ago, Be Love Revolution began with the intention of helping young women know the personal and transformative love of Jesus, and empowering them to be God's love in the world today. Be Love Revolution (BLR), a dynamic Catholic ministry, desires to personally accompany young women on their journey of faith through one-on-one mentoring and discipleship. Be Love Revolution operates in cooperation with Renewal Ministries, a Catholic ministry of evangelization and renewal throughout the world. Be Love Revolution's mission is three-fold: BE HIS: To help young women meet Jesus and grow in a life-long, personal relationship with Him. BE FREE: To help young women live freely and confidently in their identity as beloved daughters of God. BE LOVE: To equip and empower young women to be God's love in the world today. Based in Ann Arbor Michigan, BLR leads weekly bible studies, Adoration Nights, small groups, retreats, service and mission opportunities, and collaborates with two high schools and four middle schools for ongoing evangelization and discipleship. Every August, Be Love Revolution hosts Pine Hills Girls Camp, where more than 200 middle schoolers and a staff of 100 young women from Michigan and beyond gather for a life-changing and unforgettable week. The Revolution of Love is on the move and there are BLR Chapters located in Traverse City, Michigan, London, Ontario, Lansing, Michigan, Leonardtown, Maryland, and Jacksonville, Florida. Learn more about the Be Love Revolution here Connect with Be Love Revolution on Instagram here Learn more about Pine Hills Camp here Connect with Pine Hills Girls Camp on Instagram here

Addressing climate change, now. Dr. Misty Stults, Sustainability and Innovations Director with the City of Ann Arbor, Michigan, joined the podcast to talk about climate action and sustainability. She shared details from the City's A2ZERO Climate Action Plan, including electrification and incorporating equity into the plan. She also discussed the City's new climate action millage, which was passed by voters in November 2022, and how the funding will be used, as well as her career path into local government. Host: Ben Kittelson

Scotts sits in person again with lead singer and creative force behind Young the Giant, Sameer Gadhia. They get into lots of great conversation this week.Along the way they talk about growing up in Ann Arbor Michigan, Orange County and a bit about his family life. From Bollywood to the British Invasion, they get into the music that shaped his path from Pink Floyd, the Beatles and of course Freddie Mercury.They talked about Sameer's journey and dropping out of Stanford and what his parents though to getting together with the other members to form the Jakes to Young the Giant.The two also discuss how touring life has changed and  get into influences on the new record.Lastly, they discuss "Point of Origin," his new podcast and then chat about current day… Tune in!

Melissa Dusette is a personal branding photographer from Ann Arbor Michigan. Today we talk about what is personal branding photography and how we can add it to the services we offer. In This Episode You'll Learn:The unconventional way Melissa got her start in photographyWhat aspect of photography Melissa struggled with most to learnWhat is personal branding photography and why its importantWhats the difference between a portrait or headshot session and a personal branding photography sessionWhat Melissa looks for to nail her personal branding sessionsHow Melissa had to make do with the gear she had to complete a jobHow clients find Melissa to book a personal branding sessionHow we can add personal branding photography services to increase our revenue How to create packages for personal branding photography What 3 questions you can ask to bring your clients more business and build them out a marketing planResources:Melissa Dusette's websiteMelissa Dusette on InstagramJoin The Beginner Photography Podcast Facebook CommunitySign up for your free CloudSpot account to deliver beautiful images galleries todayFree Lightroom Presets!Head to DeliverPhotos.com to grab your free CloudSpot account today! Grab a free CloudSpot account by heading to DeliverPhotos.com now!

The vocation of marriage and the vocation of consecrated life beautifully work together and we think this interview demonstrates that fact!  In this podcast we have a conversation with Sr. John Paul, from the order Mary Mother of the Eucharist, a Dominican congregation in Ann Arbor MI.  She is a fellow Franciscan University alum and principal of St. Michael School in Columbus OH. Like parents, she is in charge of the formation of virtue in young children, but she sees this formation from a different perspective.  During our conversation, she explains how to discuss the virtues in daily life and gives us some language to use.  Sister also demonstrates how to spot virtues in children and call them out and shows why this is so important.  Join in this recording of our member date night with a very special sister.     Dominican Virtue Tree: https://openlightmedia.com/online-learning/interactive-virtue-tree/ Family Board Meeting course: https://messyfamilyhood.com/family-board-meeting-registration/  Moms and Dad Webinars & Courses: https://messyfamilyhood.com/