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Hola familia,Bienvenidos a nuestro Rosario final este Sábado Santo. Este es el día 54 de nuestra Novena del Rosario de 54 días.Familia, hoy marca nuestra oración final en acción de gracias, y oro para que, por intercesión de nuestra Santísima Madre, sus oraciones sean respondidas de acuerdo con el plan de Dios.Gracias por permitirme guiarlos en oración durante este tiempo de Cuaresma. Esta fue una hermosa manera de preparar nuestros corazones y mentes durante la Pascua.Sé que no siempre es fácil priorizar nuestra vida de oración. Quiero que sepa que le estoy muy agradecida por comprometerse con esta Novena y por apoyar nuestro Podcast.Los animo a seguir rezando el rosario a diario, a hacer de la oración y de Jesucristo nuestro Señor parte de su día a día.Gracias por compartir el podcast con sus amigos y seres queridos, por sus calificaciones y reseñas, y gracias por patrocinar la temporada 9. Si Dios quiere, nuestra próxima novena de 54 días comenzará este octubre del 2023.Gracias por su apoyo y sus oraciones. Te deseo a ti y a tu familia unas Felices Pascuas.Si desea compartir con nosotros su experiencia de esta Novena, envíeme un correo electrónico a oremos@54daysofroses.comLes envío mi amor; Que Dios Los bendiga. A Jesús por María.Para hacer una donación:Visite nuestro sitio web: 54daysofroses.com Venmo: @Novena54daysofrosesour PayPal y Zelle son: Prayers@54daysofroses.comDía 54 - Misterios Gloriosos en Acción de Gracias:Hoy estamos rezando los Misterios Gloriosos en Acción de Gracias.Santísima Madre, Reina del Santísimo Rosario, ayúdanos a vivir y celebrar, en nuestra vida diaria, a Jesús en la Eucaristía.Santísima Madre, oramos para permitir que el Espíritu Santo entre en nuestras vidas. Oramos para entrar en esta vigilia pascual sabiendo que Jesús murió por nosotros y resucitó por nosotros.Oramos por aquellos que están pasando por alguna crisis.Oramos por aquellos que están experimentando tristeza, odio, depresión y angustia. Oramos para romper cada cadena que nos ata.Oramos para recibir el amor y la misericordia de DiosOramos por el amor, la justicia, la libertad y la paz,Oramos para seguir dando gracias a nuestro Señor. Y oramos por un nuevo comienzo.Santísima Madre, oramos por las intenciones de nuestra Familia aquí en el podcast, intenciones recibidas por correo electrónico, Instagram y YouTube.Oramos por todos los que apoyaron nuestro podcast compartiendo, calificando y donando.Y oramos por las sigientes familias: Woodhouse, Vasquez, Rosero Taros, Moss, Molano, Chavez, Carmona, Nava, Cinco, Fuentes, Alarcon, Hadhri, Ramirez, Rahimi, Garcia, Laurita, Munoz, Santellanes, Lopez, Silvia, Amezcua, Camara, Vite, Mendez, Reyes, Giroux, Laurita, Chan, Legator, Laguna, Saevitzon, Meyers, Dolliver, Ortenga, Castaneda, Rosado, Trivedi, Navarro, Quinonez, Reynolds, Howard, Aronowitz, Herdon, Gilmore, Torresyap, Courney, Lippold, Glasser, Valentine, Zayas, Rios, Vazquez, Fernandez, Hseih, Mendonca, Hill, Aguilar, Dierking, Shekarchi, Altar, Wise, y Boyd.Con amor,Maritza MendezLinktr.eehttps://linktr.ee/54daysofrosesApoya nuestro Ministeriohttps://www.54daysofroses.com/supportVenmohttps://account.venmo.com/u/Novena54DaysofRosesPayPalhttps://www.paypal.com/paypalme/54DaysOfRosesSupport the show

Hello Family,Welcome to our final Rosary Prayer on this Holy Saturday. This is day 54 of our 54-Day Rosary Novena.Family, today marks our final prayer in thanksgiving, and I pray that through the intercession of our Blessed Mother, your prayers are answered according to God's plan.Thank you for allowing me to guide you in prayer during this Lenten season. This was a beautiful way to prepare our hearts and minds for Easter.I know that it's not always easy to prioritize our prayer life.  I want you to know that I'm so thankful to you for committing to this Novena and for supporting our Podcast.I encourage you to continue praying the rosary daily, to make prayer and Jesus Christ our Lord part of your daily life.Thank you for sharing the podcast with your friends and loved ones, for your ratings and reviews, and thank you for sponsoring season 9. God willing, our next 54-Day  Novena will start this October 2023. Thank you for your support and your prayers. I wish you and your family a Happy Easter.If you would like to share with us your Rosary Story, please send me an email to prayer@54daysofroses.comI send you my love; May God Bless you. To Jesus through Mary.To Make a donation: Please visit our website: 54daysofroses.comVenmo: @Novena54daysofrosesOur Paypal and Zelle are: Prayers@54daysofroses.comDay 54 - Glorious  Mysteries in ThanksgivingToday, we're praying the Glorious Mysteries in Thanksgiving.Blessed Mother, Queen of the Most Holy Rosary, help us to live and celebrate, in our daily lives, Jesus in the Eucharist.Blessed Mother, we pray to allow the Holy Spirit to enter our lives.We pray to enter this Easter vigil knowing that Jesus died for us and He rose for us.We pray for those who are going through any crisis.We pray for those who are experiencing sadness, hatred, depression, and anguish.We Pray to break every chain that binds us.We pray to receive God's love and mercy.We pray for love, justice, freedom, and peace,We pray to continue giving thanks to our Lord.We pray for a new beginning.Blessed Mother, we pray for our Family's intentions here on the podcast, intentions received by email, Instagram, and YouTube.We pray for everyone who supported our podcast by sharing, rating, and donating.And we pray for the following families: Woodhouse, Vasquez, Rosero Taros, Moss, Molano, Chavez, Carmona, Nava, Cinco, Fuentes, Alarcon, Hadhri, Ramirez, Rahimi, Garcia, Laurita, Munoz, Santellanes, Lopez, Silvia, Amezcua, Camara, Vite, Mendez, Reyes, Giroux, Laurita, Chan, Legator, Laguna, Saevitzon, Meyers, Dolliver, Ortenga, Castaneda, Rosado, Trivedi, Navarro, Quinonez, Reynolds, Howard, Aronowitz, Herdon, Gilmore, Torresyap, Courney, Lippold, Glasser, Valentine, Zayas, Rios, Vazquez, Fernandez, Hseih, Mendonca, Hill, Aguilar, Dierking, Shekarchi, Altar, Wise, and Boyd.With love,Maritza Mendez.Linktr.eehttps://linktr.ee/54daysofrosesSubscribe to our email listhttps://www.54daysofroses.com/Submit your prayer requesthttps://www.54daysofroses.com/requestsSupport our Ministryhttps://www.54daysofroses.com/supportDonate via Venmohttps://account.venmo.com/u/Novena54DaysofRosesDonate via PayPalhttps://www.paypal.me/54DaysOfRosesSupport the show

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

ESPN Vice President - Production, Meg Aronowitz joins the D1Softball Podcast this to get you ready for opening week! Presented S2 Cognition.

For women who date men, bad sex might feel like a personal problem, but Nona Willis Aronowitz says it's political too. In Bad Sex: Truth, Pleasure, and an Unfinished Revolution, Aronowitz tackles the historic and systemic causes of unsatisfying sex. With wisdom from both her reading and romps, Aronowitz sits down with host Brittany Luse to talk about pleasure and the paths to building better relationships with men.You can follow us on Twitter @NPRItsBeenAMin and email us at ibam@npr.org.

My guest today is Myles Aronowitz. Myles is an extraordinary photographer, filmmaker, animator and artist. From his unusual childhood surrounded by music legends, to making movies in NYC's East Village at age 11, to a successful career as a photographer for film and television, Myles respectfully allows whoever and whatever he is filming to reveal its true nature. He has honed the gracious skill of being a ‘fly on the wall' to capture the wonderment in humanity and nature. He tells visual stories that invoke transformation in the story and the viewer. Myles treasures collaboration, his artistic community and everyday miracles. Check out the links below to Myles' website and some of the deeply moving films we referenced. Enjoy the podcast! Links: MylesAronowitz.com Myles' Vimeo Channel Lush Photography Storytellers: Beverly Little Thunder Women of the Ramapough Lenape Nation Animation Intro Eagles Nest Ice Storm Tropic of Cancer The Cove

It's been a pleasure being here today with Claudia Aronowitz.I loved that she talked about "NO" as a learning word.I often tell my clients that "NO" is a two-letter word that will change their life.I also challenge you to look for places where you can use "NO" without explanation. So you know, we sometimes soften " NO " for people by explaining why we can't do it. I'm busy. I'm this...But I challenge you this week to look for a place to say, "No, I can't do that." And let it sit because it's incredibly powerful. It allows you to sit with "NO" being an option for no other reason. Then you choose it.That's my challenge to you this week. Love the show? Subscribe, rate, review, and share!Here's How »Join The Experimental Leader community today:melanieparish.comYouTube

At thirty-two years old, everything in Nona Willis Aronowitz's life, and in America, was in disarray. Her marriage was falling apart. Her nuclear family was slipping away. Her heart and libido were both in overdrive. Embroiled in an era of fear, reckoning, and reimagining, her assumptions of what “sexual liberation” meant were suddenly up for debate. In the thick of personal and political turmoil, Nona turned to the words of history's sexual revolutionaries—including her late mother, early radical pro-sex feminist Ellen Willis. At a time when sex has never been more accepted and feminism has never been more mainstream, Nona asked herself: What, exactly, do I want? And are my sexual and romantic desires even possible amid the horrors and bribes of patriarchy, capitalism, and white supremacy? Nona's attempt to find the answer places her search for authentic intimacy alongside her family history and other stories stretching back nearly two hundred years. Stories of ambivalent wives and unchill sluts, free lovers and radical lesbians, sensitive men and woke misogynists, women who risk everything for sex—who buy sex, reject sex, have bad sex and good sex. The result is a brave, bold, and vulnerable exploration of what sexual freedom can mean. Bad Sex is Nona's own journey to sexual satisfaction and romantic happiness, which not only lays bare the triumphs and flaws of contemporary feminism but also shines a light on universal questions of desire.   Join us for this conversation with Aronowitz, moderated by Halley Perry, recorded live on our Crowdcast channel on Wednesday, August 17. _______________________________________________   Produced by Nat Freeman, Lance Morgan, & Michael Kowaleski. Theme: "I Love All My Friends," an unreleased demo by Fragile Gang. Visit https://www.skylightbooks.com/event for future offerings from the Skylight Books Events team.

Shoshana is Assistant Professor, Department of Family and Community Health at Pennsylvania School of Nursing where she works to increase access to substance use disorder treatment and harm reduction services.  

In episode 246, I bring back for you our most popular episode called "Rotator Cuff Injuries-Interview with Shoulder Specialist-Dr. Jessica Aronowitz".  Here we talk about...✅ Who's at highest risk. ✅ Surgical vs conservative management of cuff tears. ✅ The "Job" of the rotator cuff.✅ Surgical timing.✅ Rotator cuff tear sizes and so much more!Want to join the OEP community? Click HERE to jump onto our email list. SUBSCRIBE at the bottom of the page.Biceps injury podcast interview with Dr. Jessica Aronowitz (Video)Rotator Cuff Injuries-Interview with Shoulder Specialist-Dr. Jessica Aronowitz (Video)Ask me your ortho evaluation questions and I will answer them on the show: paul@orthoevalpal.comNeed some online CEU's?? ⬇⬇⬇⬇⬇⬇⬇Meet our sponsor, Medbridge!!! Be sure to check them out HERE and receive $175 off your next 1 year subscription NOW! Use coupon code "OEP"Meet the fine folks at Medcore Professional who sponsor our show!! If you are looking for medical supplies ranging from compression garments to ultrasounds Click HERE to connect with them and they will guide you.Come visit our WEBSITE!! Click HERE to check it outGet our NEW downloadable 1.5 hour shoulder anatomy with cadaver dissection lectureGet our NEW downloadable 7.5 hour cervical and lumbar continuing ed courseGet our NEW downloadable 6.0 hour shoulder continuing ed courseBe sure to "follow" us on our new Facebook PageI finally made it to Instagram. Stop by and check us outAre you looking for One on one Coaching? We have it!Be sure to check out our 400+ videos on our YouTube Channel called Ortho Eval Pal with Paul MarquisFollow our Podcast show on Apple Podcasts, Spotify and most all other podcasting platforms. Just search: Ortho Eval Pal Podcast and Enjoy!Interested in our Sponsor Products? Click EZ Glider Socks orEZ Slant#rotatorcufftear #drjessicaaronowitz #shouldersurgery  #medical #physicaltherapypodcast #physicaltherapy #orthopedics  #orthoevalpal  #DPT #chiropractic #athletictraining #ptpodcasts #orthopedicpodcast #shouldersurgery #bestorthopedicpodcaSupport the show

This week we're remembering the life and work of NY street artist and documentary film maker Keith Aronowitz AKA Baston. I'm talking with fellow street artists and friends of Keith, Fumero and Who is Dirk about Keith's talents and passions that he shared with the world. 

durée : 00:57:02 - Disques de légende du mercredi 27 avril 2022 - Aujourd'hui, nous écoutons les Quintettes de Mozart en intégrale par le Quatuor Amadeus et l'altiste Cecil Aronowitz. Un disque Deutsche Grammophon.

In the modern world, human trafficking and slavery take various forms: one such example is forced labor. But understanding exactly how and where forced labor might occur has been a challenge for researchers and regulatory authorities. In the third episode of our new themed series In Chains, we speak with Dr. Alexis Aronowitz from University College Utrecht, Utrecht, The Netherlands, who is the author of the article, “Regulating business involvement in labor exploitation and human trafficking”. In her article, Dr. Aronowitz has presented various case studies of labor exploitation in the service industry, such as the cocoa industry in sub-Saharan Africa. In this episode, she further talks about how exploitative labor in businesses can be regulated using various approaches. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/law

In the modern world, human trafficking and slavery take various forms: one such example is forced labor. But understanding exactly how and where forced labor might occur has been a challenge for researchers and regulatory authorities. In the third episode of our new themed series In Chains, we speak with Dr. Alexis Aronowitz from University College Utrecht, Utrecht, The Netherlands, who is the author of the article, “Regulating business involvement in labor exploitation and human trafficking”. In her article, Dr. Aronowitz has presented various case studies of labor exploitation in the service industry, such as the cocoa industry in sub-Saharan Africa. In this episode, she further talks about how exploitative labor in businesses can be regulated using various approaches. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/economics

In the modern world, human trafficking and slavery take various forms: one such example is forced labor. But understanding exactly how and where forced labor might occur has been a challenge for researchers and regulatory authorities. In the third episode of our new themed series In Chains, we speak with Dr. Alexis Aronowitz from University College Utrecht, Utrecht, The Netherlands, who is the author of the article, “Regulating business involvement in labor exploitation and human trafficking”. In her article, Dr. Aronowitz has presented various case studies of labor exploitation in the service industry, such as the cocoa industry in sub-Saharan Africa. In this episode, she further talks about how exploitative labor in businesses can be regulated using various approaches. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

In the modern world, human trafficking and slavery take various forms: one such example is forced labor. But understanding exactly how and where forced labor might occur has been a challenge for researchers and regulatory authorities. In the third episode of our new themed series In Chains, we speak with Dr. Alexis Aronowitz from University College Utrecht, Utrecht, The Netherlands, who is the author of the article, “Regulating business involvement in labor exploitation and human trafficking”. In her article, Dr. Aronowitz has presented various case studies of labor exploitation in the service industry, such as the cocoa industry in sub-Saharan Africa. In this episode, she further talks about how exploitative labor in businesses can be regulated using various approaches.

In the modern world, human trafficking and slavery take various forms: one such example is forced labor. But understanding exactly how and where forced labor might occur has been a challenge for researchers and regulatory authorities. In the third episode of our new themed series In Chains, we speak with Dr. Alexis Aronowitz from University College Utrecht, Utrecht, The Netherlands, who is the author of the article, “Regulating business involvement in labor exploitation and human trafficking”. In her article, Dr. Aronowitz has presented various case studies of labor exploitation in the service industry, such as the cocoa industry in sub-Saharan Africa. In this episode, she further talks about how exploitative labor in businesses can be regulated using various approaches. Learn more about your ad choices. Visit megaphone.fm/adchoices

Is your organization cultivating the right culture? What factors contribute to a successful sales operation? Whether you’re hiring internally or externally, the most critical thing in any organization is to hire the right people. As sales is a difficult mental task, you must ensure that your team is composed of people who have the right traits and capacities. In this episode, Michael Aronowitz from Teleperformance and I, talk about some of the challenges and struggles that he’s seeing with his role as the Executive VP of Digital Sales of the company. Michael also shares his ideas and thoughts to be able to be on top with your sales team. Learn more about the fundamentals of successful sales operations, and winning together as a team. Find out if your Sales Operation in Scalable Buy Selling With Authentic Persuasion: Transform from Order Taker to Quota Breaker Get help with your sales team Connect with Jason on LinkedIn Or go to Jason's HUB – www.JasonCutter.com Connect with Michael on LinkedIn.Michael‘s BioMichael oversees all of Teleperformance's Global sales lines of business working with some of the world's best brands along with many new business disruptors and unicorns' companies. He has helped many of them lower their cost per acquisition, increase revenue per transaction and extend the lifetime value of each customer.Michael’s Linkshttps://teleperformance.com/en-us/services/saleshttps://www.linkedin.com/in/michael-aronowitz/Learn more about MichaelShow less Jason: Hey everybody. Welcome to another episode. Scalable call center sales podcast. I am super excited. My special guest today is Michael Aronowitz from Teleperformance and he serves as the executive vice president of digital sales, meaning he’s overseeing their global sales line of business, working with some of the world’s best.[00:00:22] Brands along with many new business disruptors and unicorn companies and so many things that they serve via Teleperformance. Um, he has done so much things. We&#

Today we dive into the depths of shoulder arthroplasty with Dr. Jessica Aronowitz. Dr. Aronowitz is a Fellowship trained orthopedic physician who specializes in the shoulder and elbow. In this episode we talk about who is the right candidate for shoulder arthroplasty, the differences between a standard shoulder arthroplasty vs. a reverse total shoulder arthroplasty, indications for a TSA, predisposing factors and so much more!Come visit our WEBSITE!! Click HERE to check it outGet our NEW downloadable 1.5 hour shoulder anatomy with cadaver dissection lectureGet our NEW downloadable 7.5 hour cervical and lumbar continuing ed courseGet our NEW downloadable 6.0 hour shoulder continuing ed courseBe sure to "follow" us on our new Facebook PageI finally made it to Instagram. Stop by and check us outAre you looking for One on one Coaching? We have it!Ask me your ortho evaluation questions and I will answer them on the show: paul@orthoevalpal.comBe sure to check out our 380+ videos on our YouTube Channel called Ortho Eval Pal with Paul MarquisFollow our Podcast show on Apple Podcasts, Spotify and most all other podcasting platforms. Just search: Ortho Eval Pal Podcast and Enjoy!Interested in our Sponsor Products? Click EZ Glider Socks orEZ SlantWant to start your own podcast? I use Buzzsprout. Sooo easy to use and the customer service is outstanding!!#totalshoulderarthroplasty #shoulderpain #shoulder #shouldersurgery #medical #physicaltherapypodcast #physicaltherapy #orthopedics  #orthoevalpal  #DPT  #manualtherapy #healthcare #shoulderarthritis #occupationaltherapy Support the show (https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=6GY24EJMBHTMU&source=url)

Saving You Is Killing Me- The Tap Back Into Your Power Resource, Support and Network!  Has someone else's problem become your problem? Is loving someone with an addiction leaving you feeling broken, exhausted, and repeatedly disappointed?  When you love someone who drinks too much or suffers from an addiction, it hurts. Life is not normal. You may feel alone, but you are not unique in your pain or dilemma. Nor are you isolated in this situation. Saving You Is Killing Me is a helpful guide to light a darkened path. Regardless of the struggle you are in, loving someone with an addiction is emotionally, psychologically, and physically draining. You must understand that nobody deserves to suffer - you have the right to live a peaceful and fulfilled life that is full of love! You can, and you will find happiness again! Your journey starts by taking back your power and shifting the focus back onto you! With compassion and grace, a positive psychology practitioner and the author of Saving You Is Killing Me: Loving Someone With An Addiction, Andrea Seydel offers support by sharing her personal experiences and the knowledge she used to help navigate the wreckage of her struggle. She exposes the tremendous power of how our relationships can both hurt us and allow us to heal. Trauma is a fact of life, and navigating the turmoil from loving someone with an addiction can be extremely challenging. Saving You Is Killing Me offers new hope for reclaiming your life. Seydel offers insight and learning opportunities for self-healing, recovery, and resilience that foster an empowering way of life. For more support, information, or to share your story of strength, head over the website: https://www.andreaseydel.com/savingyouiskillingme Join us in the private Facebook group: https://www.facebook.com/groups/savingyouiskillingme Grab Your Copy of the Saving You Is Killing Me: Loving Someone With an Addiction Book:  Grab Your FREE Self-Care Starter Kit and Discount Code for my book HERE THIS EPISODE:  Claudia Aronowitz- Our special guest and  Andrea talk about the power of connection-Your Way Forward Life takes you on different and unexpected journeys. I am no exception. Before becoming a coach and mediator she started her professional path with a BA in nutrition and a Master of Public Health degree, specializing in behavioural change. She worked as senior director for twenty years in the not-for-profit and healthcare sectors. At the age of 41, she was diagnosed with cancer. This changed everything. She reevaluated her professional journey and shifted her focus from building and supporting communities to helping individuals. She retrained as a coach and mediator, adding studies in positive psychology and organizational relationship systems coaching. She became certified with the International Coaching Federation and the Coaching Training Institute—the highest certifications available today for coaches. It is through her ongoing learning and training, and her unique personal strengths that she serves each of her clients in the best ways possible. She can be reached at  https://claudiaaro.com  We are so thankful for her wonderful support

AJN Robin Cogan speaks with Shoshana Aronowitz about Aronowitz's unique career pathway.

AJN Robin Cogan speaks with Shoshana Aronowitz about Aronowitz’s unique career pathway.

In the modern world, human trafficking and slavery take various forms: one such example is forced labor. But understanding exactly how and where forced labor might occur has been a challenge for researchers and regulatory authorities. In the third episode of our new themed series In Chains, we speak with Dr. Alexis Aronowitz from University College Utrecht, Utrecht, The Netherlands, who is the author of the article, “Regulating business involvement in labor exploitation and human trafficking”. In her article, Dr. Aronowitz has presented various case studies of labor exploitation in the service industry, such as the cocoa industry in sub-Saharan Africa. In this episode, she further talks about how exploitative labor in businesses can be regulated using various approaches. Guest: Dr Alexis AronowitzHost: Leigh Giangreco 

One of the biggest hurdles to creating positive change in our lives is navigating competing priorities. I see it all the time with statements like “I want to choose non-toxic products, but they're so expensive.” We're constantly trying to balance the benefits with time and money.Competing priorities are a fact of life. Rather than fighting them, I think it's important we understand how to navigate them to make informed and confident decisions. This is why I asked personal development coach - and one of the early students of my Healthy Home Method - to speak with me about navigating competing priorities effectively.In this conversation, we cover:The different stages of changes.The hardest stage when making a big change, and how to move past it.What creates the feeling of overwhelm.How we can navigate competing priorities effectively.3 things we can all do to navigate change more easily.Claudia Aronowitz is an accomplished Personal Development and Relationship Coach certified with the International Coach Federation.Claudia is an engaging, strategic thinker who, prior to becoming a coach, spent over 20 years as a leader in the health and not-for-profit sectors.Today, as a Personal Development and Relationships Coach, Claudia uses compassion, insight and straightforward communication to support her clients through change and transition. Her ability to clarify complex situations, and break them down into accessible steps, helps her clients gain new perspectives and confidence, while embracing new opportunities.Having resided and studied in numerous countries, Claudia is fluent in three languages (Spanish, English and Hebrew) and is well equipped to embrace and understand a variety of cultures and viewpoints.Connect with Claudia:Instagram www.instagram.com/claudiaaronowitz_coachingFacebook www.facebook.com/claudiaaronowitzLinkedIn https://www.linkedin.com/in/claudiaaronowitz/Website www.claudiaaro.com*****Green Product Forum: https://facebook.com/groups/greenproductforumInstagram: https://instagram.com/emma_greenathomeWebsite: https://greenathome.ca

Dealing with conflicts often invokes uneasy feelings or even fear. But healthy debates and conflicts can bring thought diversity and new perspectives to the table. So can we stop avoiding conflict and manage them with more ease and courage? On today’s episode, personal development coach and mediator Claudia Aronowitz shares with us practical tips on conflict management. Myths that Claudia wants us to leave behind“I need to know what to say during an argument!” Don’t listen to the other person in conflict with you just so that you can have the perfect come-back line to prove your point. That is not constructive for moving along the conversation. Don’t be afraid of silence in an argument. Give space to listen. Ask more, talk less. We need to leave emotion out of the door when we try to de-escalate a conflict. Acknowledging the emotion in a tense conversation is key to de-escalation. When emotion runs high, it is ok to take a time-out break. Claudia’s tips on managing conflicts Acknowledge the other side and agree to disagree. Listen and acknowledge differences of opinion and perspective and stay curious. You do not have to agree with everything, but you can always acknowledge the other person’s point and emotion.  Understand and anticipate your triggers. Observe what kind of behaviour, signals, and patterns trigger yourself. If you can get a better understanding of your trigger points, you will be able to anticipate when and how you get triggered. Paraphrase what the other person is saying and summarize it out loud. If you can paraphrase what the other person engaging in a conflict with you is saying, you are showing the other person you're actively listening and understanding the person’s point of view. This is helpful for de-escalation in a difficult conversation. Favourite Quotes from Today’s EpisodePost your favourite quote on social to share with us!“There are always two sides in a conflict. Ask yourselves what are the things that you’re willing to do to deal with that conflict. Because if we change, the relationship changes. If we start dealing with conflict differently, the other person on offense will come around and start understanding that something's shifting.”“To prepare yourself for a conversation involving conflict, you really need to work through the steps of what do you want to say? How are you going to listen? How are you going to get the information you need? And in a situation involving power dynamics, do you need somebody else to come to the meeting with you? “Resources from this Episode The Good PartnershipCharityVillageClaudia AronowitzValues Exercise Worksheet

Here's your 2021 marketing strategy, given to you on a platter, for FREE! You're not only going to learn how to systematically get 5-star reviews and testimonials, but you'll learn how to use them as the foundation of EVERYTHING you do in your marketing. On the episode, Pete is joined by one of the producers of his show, Simon Aronowitz, co-founder of Get Super Cereal and author of the book, "The Untapped Goldmine In Your Business: Discover Testimonial Secrets That Will Skyrocket Your Sales." Join the free Facebook Group, "Pete Primeau Sales & Marketing": https://bit.ly/PrimeauSalesMarketingGroup Join Pete's Weekly Playbook: http://bit.ly/PrimeauPlaybook "The Untapped Goldmine In Your Business", Simon's book: http://bit.ly/UntappedGoldmineBook Start Your Own Show, Just Like Pete! Book A Call With Get Super Cereal To Learn More: https://www.GetSuperCereal.com "Sell A Million!", Pete's book: https://bit.ly/SellAMillion Simon Aronowitz, Co-Founder of Get Super Cereal | LinkedIn: https://www.linkedin.com/in/simonaronowitz Facebook: https://www.facebook.com/GetSuperCereal Twitter: https://twitter.com/GetSuperCereal Website: https://www.GetSuperCereal.com Connect with Pete Primeau | LinkedIn: https://www.linkedin.com/in/peteprimeau Facebook: https://www.facebook.com/PrimeauFurnitureSales Telegram: @PetePrimeau MeWe: https://mewe.com/i/peteprimeau Website: https://www.peteprimeau.com #Sales #Salestips #FurnitureStore #MattressStore #RetailSales #RSA #Branding #Motivation #SmallBusinessOwner #PetePrimeauShow #MarketingStrategy #Testimonials #Reviews #ContentCreation #Storytelling

Our guest tonight is Sonya Aronowitz, Executive Producer and Founder of Juniper Productions, an independent female-forward theatre producer based in Philadelphia (https://juniper.agency/).~~~~~~~Sonya Aronowitz is an independent creative producer of theatrical events, an arts entrepreneur, and a writer. She grew up in Manchester, UK and loves her adopted home of Philadelphia. As the Executive Producer of Juniper Productions, she is involved in everything from developing show concepts to the nuts and bolts of producing. The question that guides her work is how an independent producer can contribute to a vital and vibrant arts and culture scene in Philadelphia – and by connecting talented theatre artists with audiences.Through Juniper, Sonya is building a new platform, The Distillery, which is incubating and mentoring new female creative producers in Philadelphia. As a writer, she is inspired by Norse mythology, Russian literature and history, and James Joyce. She is currently working on MOVIES I HAVE NOT SEEN, a pop-culture-infused memoir of growing up in Manchester in the 70s and 80s, and in eighteen episodes.

In this episode, Lina has an honest chat with Philly Food Blogger, Erin Aronowitz, about what the first 8 weeks home with a baby was like. Surviving the newborn phase is a tough time of adjustment and we want to let you know that you are not alone! The newborn phase is hard for everyone. Topics covered in this episode:What the first 4-6 weeks were like with a newbornWhat surprised us about newbornsWhat did we found challenging about the newborn stageThings we would have done differentlyThings we bought that you found usefulThings we bought that we never usedTop tips for moms who are currently going through the newborn stageTips for moms who might be pregnant and about to embark on this journeyConnect with Erin on InstagramCheck out Erin's food blog. Shop Erin's Baby Favorites.Connect with Lina on Instagram. Follow the New Mamas Podcast on Instagram.Read Lina's Motherhood Blog.

Neal Aronowitz is a construction firm owner who reinvented himself through concreate art, and he brings spirituality, vulnerability, and a whole lot of patience to every piece. And there's a lot at stake with each piece costing more than $10,000, so any error is costly. Not only is Neal an awesome person, he's incredibly fun and entertaining, and he's one of the most down-to-earth new friends on the show.  He's so inspiring... they made a movie about his work.  After you listen to the show today, can check out the movie, and be sure to leave a glowing review - though you won't need any encouragement once you see what goes into each piece. Watch it here, after you listen to his amazing story today: https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.amazon.com%2Fgp%2Fproduct%2FB08NVPMY6B%3Fpf_rd_r%3DEF2SXDNZCMN03NBRAGT5%26pf_rd_p%3Da712d25e-094e-4a8b-b495-0be41c4dbcc9%26fbclid%3DIwAR09SD3um_mfuypErORqO0i089YatLI0U6MSl76XtN7aGgd0TNKFK0_Y4Qo&h=AT1NpNlJtwp9XYMN2V9mJFkw2ZdV-9mrxEu9kjuOEbnAcCsr2SBAuCN5uf9feVx_-UUwmyBDZ0psDwiAACyVcXNhS0cLGuF6T05q6LAUTMyvORKBbxtDtekq9YARXU_zjn4

Welcoming the Dime's second guest, Bryan, Kellan, and Ben Aronowitz, discuss data for dispensaries. Data collection has proven to improve consumer industries across the board- so why not cannabis? What can data collection do for the industry? Are dispensaries collecting data now? What kind of data are they collecting? How will this improve the retail experience for both consumers and vendors? *About our Hosts*Bryan Fields has 8+ years of technical marketing experience ranging from website development to analytical strategy. From creating unconventional solutions for the ficklest of scientists to spearheading a successful meme-themed Instagram page, his approach to business is innovative, curiosity driven, and sprinkled with good-natured humor. After earning his Master's Degree in Digital Entrepreneurship from Strayer University, which partnered with Jon Steinberg's Cheddar Network, he spent his time working for a spectroscopic instrumentation company that's primary focus was on customized OEM development.Kellan Finney currently serves as the Chair for the Extraction and Processing Committee for Emerald Scientific. His previous experience ranges from speaking at MJBizCon in the fall of 2019 on extraction science to managing the industrial-scale, carbon dioxide-based supercritical fluid extraction and ethanol extraction facilities for a cultivation and extraction company. In addition to serving as lead scientist he developed various standard operating protocols in extraction and designed methods for isolation, purification and quantification of medicinal marijuana products. Prior to his experience in the cannabinoid extraction industry Kellan has a master's in Metabolic Engineering and Chemistry from Northern Arizona University. Additionally, Kellan's background in analytical chemistry includes working on the Native America Cancer Prevention grant where he quantified uranium and plutonium on the Navajo reservation.Bryan and Kellan cofounded Eighth Revolution, a resource for all your industry needs from capital to cannabinoids.--- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Welcoming the Dime's second guest, Bryan, Kellan, and Ben Aronowitz, discuss data for dispensaries. Data collection has proven to improve consumer industries across the board- so why not cannabis? What can data collection do for the industry? Are dispensaries collecting data now? What kind of data are they collecting? How will this improve the retail experience for both consumers and vendors? *About our Hosts*Bryan Fields has 8+ years of technical marketing experience ranging from website development to analytical strategy. From creating unconventional solutions for the ficklest of scientists to spearheading a successful meme-themed Instagram page, his approach to business is innovative, curiosity driven, and sprinkled with good-natured humor. After earning his Master's Degree in Digital Entrepreneurship from Strayer University, which partnered with Jon Steinberg's Cheddar Network, he spent his time working for a spectroscopic instrumentation company that's primary focus was on customized OEM development.Kellan Finney currently serves as the Chair for the Extraction and Processing Committee for Emerald Scientific. His previous experience ranges from speaking at MJBizCon in the fall of 2019 on extraction science to managing the industrial-scale, carbon dioxide-based supercritical fluid extraction and ethanol extraction facilities for a cultivation and extraction company. In addition to serving as lead scientist he developed various standard operating protocols in extraction and designed methods for isolation, purification and quantification of medicinal marijuana products. Prior to his experience in the cannabinoid extraction industry Kellan has a master's in Metabolic Engineering and Chemistry from Northern Arizona University. Additionally, Kellan's background in analytical chemistry includes working on the Native America Cancer Prevention grant where he quantified uranium and plutonium on the Navajo reservation.Bryan and Kellan cofounded Eighth Revolution, a resource for all your industry needs from capital to cannabinoids.--- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Becca Aronowitz from Richmond Hill, GA makes some of the best cake pops you have ever seen. After Becca quit her job as an art teacher in 2012, she started Sweet Whimsy Shop to sell her cake pops and help support her family. 8 years and 40,000+ cake pops later, Becca has become a true master at the cake pop art form. But unlike many entrepreneurs that start with big dreams for the future, Becca never envisioned becoming well-known for her cake pops. As she puts it: "I had not thought about that at all. I just thought this is a way that I can sell cake pops. That was really where it ended." But that's most definitely not where it ended for this "pretty extreme introvert". So far, her largest order totaled around $4,000, and her cake pops have even appeared on national television! Becca talks everything cake pops: making, pricing, sculpting, decorating, inverting, etc. She also shares her journey from art teacher to business owner, how she handles social media as an introvert, how she runs her business on two hours per day, and some crazy experiences she's had along the way.Get full show notes and transcript here: https://forrager.com/podcast/19

In episode 132: Biceps injuries- Interview with Orthopedic Shoulder and Elbow Specialist Dr. Jessica Aronowitz we discuss proximal vs distal biceps tears, surgical urgency, mechanisms of injury, evaluation of biceps tears and so much more! Want to join the OEP community? Click HERE to jump onto our email list. SUBSCRIBE at the bottom of the page.WE HAVE A NEW WEBSITE!! Click HERE to check it outAre you looking for One on one Coaching? We have it!Ask me your ortho evaluation questions and I will answer them on the show: paul@orthoevalpal.comBe sure to check out our 360+ videos on our YouTube Channel called Ortho Eval Pal with Paul MarquisFollow our Podcast show on Apple Podcasts, Spotify and most all other podcasting platforms. Just search: Ortho Eval Pal Podcast and Enjoy!#BicepsInjuries #BicepsSurgery #Dr.JessicaAronowitz #PaulMarquisPT#OrthoEvalPal#OrthopedicsSupport the show (https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=6GY24EJMBHTMU&source=url)

In episode 131: Rotator Cuff Injuries-Interview with Shoulder Specialist-Dr. Jessica Aronowitz we talk about who's at highest risk, surgical vs conservative management of cuff tears, the "Job" of the rotator cuff, surgical timing, rotator cuff tear sizes and so much more!Want to join the OEP community? Click HERE to jump onto our email list. SUBSCRIBE at the bottom of the page.WE HAVE A NEW WEBSITE!! Click HERE to check it outAre you looking for One on one Coaching? We have it!Ask me your ortho evaluation questions and I will answer them on the show: paul@orthoevalpal.comBe sure to check out our 360+ videos on our YouTube Channel called Ortho Eval Pal with Paul MarquisFollow our Podcast show on Apple Podcasts, Spotify and most all other podcasting platforms. Just search: Ortho Eval Pal Podcast and Enjoy!#Rotatorcufftears #ShoulderSurgery #Dr.JessicaAronowitz #PaulMarquisPT#OrthoEvalPal#OrthopedicsSupport the show (https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=6GY24EJMBHTMU&source=url)

Dr. Robert Aronowitz is chair of the department of History and Sociology of Science at the University of Pennsylvania. Stephen Morrissey, the interviewer, is the Executive Managing Editor of the Journal. R. Aronowitz and J.A. Greene. Contingent Knowledge and Looping Effects — A 66-Year-Old Man with PSA-Detected Prostate Cancer and Regrets. N Engl J Med 2019;381:1093-1096.

You’ve found a great job opportunity and you’re excited about the possibilities. It seems like the perfect fit for you. But is sharing your enthusiasm with the hiring manager enough to get you hired? Not always. Sometimes, the fit may be perfect for you but not for the company. How can you approach your job search keeping the company's needs in mind? Find Your Dream Job guest Susanne Aronowitz says you need to show the employer the value you can bring to the position. The more you can connect with the employer, the more likely they will be to see you as the right person for the job. About Our Guest: Susanne Aronowitz (https://www.linkedin.com/in/susannearonowitz/) is certified career coach. She’s helped thousands of lawyers and other professionals achieve career success. A former attorney herself, Susanne helps her clients with career exploration, transition, and growth. Resources in This Episode: For more information on how Susanne can help you achieve your professional goals, visit her website at susannearonowitz.com. Nail every behavioral interview question in your next interview by learning how to prepare for them. Download 100 Behavioral Interview Questions You Need to Know (http://www.macslist.org/questions). Read the transcript of the entire episode at macslist.org/podcast

In the inaugural episode of Prosperity Marxism, Michael Pelias and Peter Bratsis speak with Stanley Aronowitz about the labor question. The post Prosperity Marxism: Episode 1 appeared first on Institute for the Radical Imagination.

As your company scales, the tactics and strategy that got you from A to B aren't going to get you from B to C. GV Design Partners Kate Aronowitz and Vanessa Cho joined Intercom's Director of Brand Design Stewart Scott-Curran in the studio to discuss why design executives need to start thinking like business executives and how designers can make their contributions felt.

     Episode 31 of the Ortho Eval Pal Podcast Today we dive into the depths of shoulder arthroplasty with Dr. Jessica Aronowitz. Dr. Aronowitz is a Fellowship trained orthopedic physician who specializes in the shoulder and elbow. In this episode we talk about who is the right candidate for shoulder arthroplasty, the differences between…WE HAVE A NEW WEBSITE!! Click HERE to check it outJoin our email list: Hit SUBSCRIBE on our WebsiteOne on one Coaching? We have it!Ask me your ortho evaluation questions and I will answer them on the show: paul@orthoevalpal.comBe sure to check out our 330+ videos on our YouTube Channel called Ortho Eval Pal with Paul MarquisFollow our Podcast show on Apple Podcasts, Spotify and most all other podcasting platforms. Just search: Ortho Eval PalIf you are serious about Ortho Eval Pal content, click HERE and ask to join our closed Facebook page.#OrthoEvalPal#PaulMarquis#DrJessicaAronowitz#shouldersurgery#TotalShoulderReplacement#physicaltherapyThe post Episode 31- Total Shoulder Arthropasty with Guest Dr. Jessica Aronowitz appeared first on Ortho Eval Pal.Support the show (https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=6GY24EJMBHTMU&source=url)

Episode 1 - Dr. Aronowitz by Mountainlion

Visit us at LivingLies to view the documents related to this show. Attorney Scott Aronowitz filed a declaration that was submitted in a Washington case that he was a “Litigation specialist” for Selene Finance, LP.   Investigator Bill Paatalo's research shows that Aronowitz is an attorney, but fails to disclose this fact.  In-house counsel executes mortgage documents without revealing they are licensed attorneys.  In this case  Aronowitz attests that Selene has the original note in its possession, and that he is familiar with the record keeping practices of Countrywide/ ReconTrust.  Motions to Compel the note history screenshots should be filed (like the Diddrick case proving evidence of the bogus note endorsements? In Diddrick, David Spector's endorsement was placed on the note in 2012 for purposes of litigation while the attorney in the infamous Kemp v. Countrywide case also stating in the transcript  that David Spector's endorsement was placed on the Allonge because it was needed for “litigation”. In the Arkansas case Schiefer v Wells Fargo , Wells Fargo witness admits the endorsement of the WaMu officer was placed on the note by Chase in 2013- despite failing to exist after 2008.  This fraudulent method of endorsing notes for litigation is the servicer modus operandi, and yet the servicers all have the note history for the endorsements within their servicing platforms.  .  

Kate Aronowitz was the Design VP at Wealthfront. Before that, she was a Design Director at Facebook where she built their team from 20-200 world class designers under Mark Zuckerberg. In this episode, she discusses her early days building facebook's design team, misaligned industry expectations for design leaders, and what kind of work she thinks young designers would benefit from. FOLLOW US Twitter: http://twitter.com/highrespodcast Facebook: http://facebook.com/highrespodcast iTunes: http://bit.ly/highresitunes Google Play: http://bit.ly/highresgoogle Get early access to the next episode: http://highresolution.design/early-access THANKS TO OUR PARTNERS Squarespace – Squarespace is a SaaS-based content management system offering a website builder, eCommerce, and domains. We're big fans of Squarespace, they're a must-have for startups, photographers, bloggers or hobbyists looking to put up a beautifully designed digital presence! Get 10% off your first purchase on Squarespace. http://bit.ly/sqspacesponsorlink InVision – InVision is the world's leading product design platform, powering the future of digital product design through our deep understanding of the dynamics of collaboration. Teams that build digital products are at a serious advantage when they use InVision's suite of prototyping tools. They're a great way of getting everyone on board. Use access code "INV-HIGHRESOLUTION" for 3 free months! http://bit.ly/invsponsorlink Searle Video – Searle Video is a creative studio based out of Portland, Oregon. They've helped the creative community tell stories for over 10 years. They've done advertisements, behind the scenes stories, and documentaries for companies like Slack, Intel, Adobe, Google and the XOXO festival. http://bit.ly/searlesponsor

Statistics have been on the minds of more people than usual in the run-up and post-mortem of this past U.S. presidential election; some feel as though they were misled by numbers intended to lend a modicum of certainty to the complex calculus of modern life. But while election predictions come and go, the “empire of chance” lays siege to more and more aspects of daily life, alongside increasing possibilities for technological intervention–nowhere, perhaps, is this more clear than in medicine. Robert Aronowitz’s Risky Medicine: Our Quest to Cure Fear and Uncertainty (University of Chicago Press, 2015) is both a nuanced and accessible exploration of the historical transformation of risk in modern biomedicine. Through a series of case studies and broader reflections on the ways in which modern medicine has become “risky,” Aronowitz teases out salient features of an increasingly complex system of interventions and indicators. In the book, Aronowitz defines three key aspects of our modern “risky medicine.” The first one discussed is a converged experience of risk and disease, exemplified in cancer screening in which bodies-at-risk can be subject to similar treatment and prevention regimes as those marked by a chronic condition or trying to prevent remission. Another aspect is the notion of risk reduction standing in place of efficacy for the psychological and social work it performs, which provides some explanation for the costliness of American medicine relative to the outcomes it achieves. Finally, Aronowitz argues that risk interventions have been driven by expansion of the medical market, and calls upon policymakers to become aware of the control pharmaceutical companies have in the generation of new health risks and the data to support them. One way of understanding Aronowitz’s contribution is to contextualize it within the trajectory of sociological work on risk in modern society. Originally published in 1986 (in German), Ulrich Beck’s Risk Society: Towards a New Modernity was a watershed book for the understanding of modernity and technological change. Much of Beck’s account is concerned with environmental risks; the book came out on the heels of the Three Mile Island and Bhopal disasters. However, Beck’s take on medicine is somewhat lacking. Beck presciently calls attention to the “reflexive market strategy” of pharmaceutical companies, in which they profit from self-produced risks–echoing the third aspect of “risky medicine’–but misses its more immediate social and psychological dimensions, stating merely that the rise of chronic disease is evidence of a divergence of diagnosis and therapy. Aronowitz’s case studies suggest even more immediate consequences at hand. The importance of Risky Medicine is evident in how it disaggregates the changing landscape of health and medicine from an inexorable creep of modernity, spelling out the logic subjecting more bodies to greater interventions and recovering the relationship between experience and an ambivalent, anticipatory social order. Learn more about your ad choices. Visit megaphone.fm/adchoices

Statistics have been on the minds of more people than usual in the run-up and post-mortem of this past U.S. presidential election; some feel as though they were misled by numbers intended to lend a modicum of certainty to the complex calculus of modern life. But while election predictions come and go, the “empire of chance” lays siege to more and more aspects of daily life, alongside increasing possibilities for technological intervention–nowhere, perhaps, is this more clear than in medicine. Robert Aronowitz's Risky Medicine: Our Quest to Cure Fear and Uncertainty (University of Chicago Press, 2015) is both a nuanced and accessible exploration of the historical transformation of risk in modern biomedicine. Through a series of case studies and broader reflections on the ways in which modern medicine has become “risky,” Aronowitz teases out salient features of an increasingly complex system of interventions and indicators. In the book, Aronowitz defines three key aspects of our modern “risky medicine.” The first one discussed is a converged experience of risk and disease, exemplified in cancer screening in which bodies-at-risk can be subject to similar treatment and prevention regimes as those marked by a chronic condition or trying to prevent remission. Another aspect is the notion of risk reduction standing in place of efficacy for the psychological and social work it performs, which provides some explanation for the costliness of American medicine relative to the outcomes it achieves. Finally, Aronowitz argues that risk interventions have been driven by expansion of the medical market, and calls upon policymakers to become aware of the control pharmaceutical companies have in the generation of new health risks and the data to support them. One way of understanding Aronowitz's contribution is to contextualize it within the trajectory of sociological work on risk in modern society. Originally published in 1986 (in German), Ulrich Beck's Risk Society: Towards a New Modernity was a watershed book for the understanding of modernity and technological change. Much of Beck's account is concerned with environmental risks; the book came out on the heels of the Three Mile Island and Bhopal disasters. However, Beck's take on medicine is somewhat lacking. Beck presciently calls attention to the “reflexive market strategy” of pharmaceutical companies, in which they profit from self-produced risks–echoing the third aspect of “risky medicine'–but misses its more immediate social and psychological dimensions, stating merely that the rise of chronic disease is evidence of a divergence of diagnosis and therapy. Aronowitz's case studies suggest even more immediate consequences at hand. The importance of Risky Medicine is evident in how it disaggregates the changing landscape of health and medicine from an inexorable creep of modernity, spelling out the logic subjecting more bodies to greater interventions and recovering the relationship between experience and an ambivalent, anticipatory social order. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

Statistics have been on the minds of more people than usual in the run-up and post-mortem of this past U.S. presidential election; some feel as though they were misled by numbers intended to lend a modicum of certainty to the complex calculus of modern life. But while election predictions come and go, the “empire of chance” lays siege to more and more aspects of daily life, alongside increasing possibilities for technological intervention–nowhere, perhaps, is this more clear than in medicine. Robert Aronowitz’s Risky Medicine: Our Quest to Cure Fear and Uncertainty (University of Chicago Press, 2015) is both a nuanced and accessible exploration of the historical transformation of risk in modern biomedicine. Through a series of case studies and broader reflections on the ways in which modern medicine has become “risky,” Aronowitz teases out salient features of an increasingly complex system of interventions and indicators. In the book, Aronowitz defines three key aspects of our modern “risky medicine.” The first one discussed is a converged experience of risk and disease, exemplified in cancer screening in which bodies-at-risk can be subject to similar treatment and prevention regimes as those marked by a chronic condition or trying to prevent remission. Another aspect is the notion of risk reduction standing in place of efficacy for the psychological and social work it performs, which provides some explanation for the costliness of American medicine relative to the outcomes it achieves. Finally, Aronowitz argues that risk interventions have been driven by expansion of the medical market, and calls upon policymakers to become aware of the control pharmaceutical companies have in the generation of new health risks and the data to support them. One way of understanding Aronowitz’s contribution is to contextualize it within the trajectory of sociological work on risk in modern society. Originally published in 1986 (in German), Ulrich Beck’s Risk Society: Towards a New Modernity was a watershed book for the understanding of modernity and technological change. Much of Beck’s account is concerned with environmental risks; the book came out on the heels of the Three Mile Island and Bhopal disasters. However, Beck’s take on medicine is somewhat lacking. Beck presciently calls attention to the “reflexive market strategy” of pharmaceutical companies, in which they profit from self-produced risks–echoing the third aspect of “risky medicine’–but misses its more immediate social and psychological dimensions, stating merely that the rise of chronic disease is evidence of a divergence of diagnosis and therapy. Aronowitz’s case studies suggest even more immediate consequences at hand. The importance of Risky Medicine is evident in how it disaggregates the changing landscape of health and medicine from an inexorable creep of modernity, spelling out the logic subjecting more bodies to greater interventions and recovering the relationship between experience and an ambivalent, anticipatory social order. Learn more about your ad choices. Visit megaphone.fm/adchoices

Statistics have been on the minds of more people than usual in the run-up and post-mortem of this past U.S. presidential election; some feel as though they were misled by numbers intended to lend a modicum of certainty to the complex calculus of modern life. But while election predictions come and go, the “empire of chance” lays siege to more and more aspects of daily life, alongside increasing possibilities for technological intervention–nowhere, perhaps, is this more clear than in medicine. Robert Aronowitz’s Risky Medicine: Our Quest to Cure Fear and Uncertainty (University of Chicago Press, 2015) is both a nuanced and accessible exploration of the historical transformation of risk in modern biomedicine. Through a series of case studies and broader reflections on the ways in which modern medicine has become “risky,” Aronowitz teases out salient features of an increasingly complex system of interventions and indicators. In the book, Aronowitz defines three key aspects of our modern “risky medicine.” The first one discussed is a converged experience of risk and disease, exemplified in cancer screening in which bodies-at-risk can be subject to similar treatment and prevention regimes as those marked by a chronic condition or trying to prevent remission. Another aspect is the notion of risk reduction standing in place of efficacy for the psychological and social work it performs, which provides some explanation for the costliness of American medicine relative to the outcomes it achieves. Finally, Aronowitz argues that risk interventions have been driven by expansion of the medical market, and calls upon policymakers to become aware of the control pharmaceutical companies have in the generation of new health risks and the data to support them. One way of understanding Aronowitz’s contribution is to contextualize it within the trajectory of sociological work on risk in modern society. Originally published in 1986 (in German), Ulrich Beck’s Risk Society: Towards a New Modernity was a watershed book for the understanding of modernity and technological change. Much of Beck’s account is concerned with environmental risks; the book came out on the heels of the Three Mile Island and Bhopal disasters. However, Beck’s take on medicine is somewhat lacking. Beck presciently calls attention to the “reflexive market strategy” of pharmaceutical companies, in which they profit from self-produced risks–echoing the third aspect of “risky medicine’–but misses its more immediate social and psychological dimensions, stating merely that the rise of chronic disease is evidence of a divergence of diagnosis and therapy. Aronowitz’s case studies suggest even more immediate consequences at hand. The importance of Risky Medicine is evident in how it disaggregates the changing landscape of health and medicine from an inexorable creep of modernity, spelling out the logic subjecting more bodies to greater interventions and recovering the relationship between experience and an ambivalent, anticipatory social order. Learn more about your ad choices. Visit megaphone.fm/adchoices

Story Slam--Paul Aronowitz 1 by Mountainlion

Jeff is joined by lead singer and guitarist of The Big Dam Horns, Clayton Aronowitz, to discuss Jointstock 2016, life in a successful band, and Louie Anderson's truth.     LISTEN NOW! (or at least before September 3)

Should women get routine mammograms? Should men get regular PSA exams? Robert Aronowitz of the University of Pennsylvania and the author of Risky Medicine talks with EconTalk host Russ Roberts about the increasing focus on risk reduction rather than health itself as a goal. Aronowitz discusses the social and political forces that push us toward more preventive testing even when those tests have not been shown to be effective. Aronowitz's perspective is a provocative look at the opportunity cost of risk-reduction.

I interview Simon Aronowitz “The Testimonial Guru” about testimonials and customer reviews. I have worked personally with Simon on my testimonials as well as other marketing strategies. He is a fantastic all around marketer as well as an expert on testimonials and consumer reviews as well as referrals. He is also the author of “The Untapped Goldmine in Your Business: Discover Testimonial Secrets That Will Skyrocket Your Sales” I consider Simon a personal friend of mine. Learn the #1 mistake businesses make regarding testimonials and customer reviews. Learn why your testimonial and review process cannot be an afterthought. Simon teaches the Big 4 Questions to ask your customers regarding consumer online reviews. Simon worked with me to develop my Bill of Rights for my dealers. Every business should have a Bill of Rights for the their customers.  I remember when Simon introduced me to my friend and thought leader in the furniture and mattress industry Jeff Giagnocavo at a GKIC conference. Simon does a deep dive into how to get consumer reviews to battle the potentially devastating effects of consumer review sites. He gives you the two questions that you as a business owner must ask yourself when you get a negative review. Simon holds nothing back including sharing his secret that he employs to make sure the 5 star consumer reviews are actually posted.  Simon also invites our listeners to continue the conversation after the podcast at http://www.fountainfeedback.com. Go there and download for Free Simon's book “The 7 Fatal Mistakes Businesses Make With Testimonials”. While you are there contact Simon about his Free mastermind group coaching call. For our complete show notes Click Here http://peteprimeau.com/episode-007-interview-with-simon-aronowitz-the-testimonial-guru/

A primer in how to approach giving good feedback to learners

Affiliate Convention is one of the largest trade shows and conferences for the affiliate marketing industry. It is an advanced event that covers some of the most up to date forms of marketing and technology. Michael Aronowitz has served as both a vendor and marketer within the interactive marketing space. Before joining Saveology.com®, he was most recently at eBay, Inc. where he launched and then managed GigaMoves.com, a lead generation service for Rent.com and eBay Motors, which was eBay's entry into the lead generation space. Previously Mike was at Monster Worldwide, while at Monster, Aronowitz spearheaded development of "cost- per-lead" acquisition, under which companies pay for online prospects only after the lead has filled out a survey or qualification card on the site. Over his career he has worked at the DMA, the world's largest interactive non-profit trade group, overseeing search, e-mail, multi-channel, wireless and iTV councils. Prior to that Michael founded Zmichaels Inc., a direct mail agency, and ran its Salesoutlet.com unit, which provided turnkey e-tail and marketing offerings to the business-to-business-to-consumer community.

It's a time of economic transition, and systems that may have seemed stable over the past few decades are proving to be far from it. But how did we get here? This week, we hear from three people who've been sounding the alarm about capitalism's house of cards for years.

It's a time of economic transition, and systems that may have seemed stable over the past few decades are proving to be far from it. But how did we get here? This week, we hear from three people who've been sounding the alarm about capitalism's house of cards for years.