Podcast appearances and mentions of Chelsea Girls

This week on The Art Career we are bringing back a crowd favorite: Eileen Myles. As Emily embarks on her UCROSS Foundation residency in Wyoming we have taken a week off to plan for our residency episode that will be live Thursday, Oct 10th. Being around so many talented writers and poets for these two weeks, it seems appropriate to bring Eileen Myles back for our many new listeners, in addition to anyone who hasn't listened to this episode. Eileen Myles (they/them) came to New York from Boston in 1974 to be a poet, subsequently novelist, public talker and art journalist. A Sagittarius, their 22 books include For Now, evolution, Afterglow, I Must Be Living Twice/new & selected poems, and Chelsea Girls. In 2019 they wrote and directed an 18-minute super 8 film, The Trip, a puppet road film. ⁠See it on youtube⁠. Eileen is the recipient of a Guggenheim, a Warhol/Creative Capital Arts Writers grant, 4 Lambda Book Awards, the Shelley Prize, and a poetry award from the Foundation for Contemporary Arts. In 2016, they received a Creative Capital grant and the Clark Prize for excellence in art writing. In 2019 Myles received a poetry award from the American Academy of Arts & Letters. In 2020 they got the Bill Whitehead Award for Lifetime Achievement from the Publishing Triangle. They live in New York and Marfa, TX. This episode is sponsored by BetterHelp. Visit ⁠BetterHelp.com/TAC⁠ today and get 10% off your first month. ⁠theartcareer.com⁠ Follow us: @theartcareer Follow Eileen: @eileen.myles Podcast host: @emilymcelwreath_art Editing: Zach Worden

Antes que nada. Queremos dedicar este programa a la memoria de Sara Vítores, antigua compañera de Radio3, que hoy ha fallecido. Desde aquí le enviamos un caluroso abrazo a toda la familia y amigos. Arrancamos la mañana con el repaso cultural de Cristina Moreno. En Cultura Rápida hemos hablado con Basilio Sáez, organizador del Ufovisión y Corvo, vocalista del grupo Ortopedia técnica. Seguimos con la tercera entrega de Actualidad Mal, donde Elena Vargas nos trae al matemático Eduardo Sáenz para charlar sobre números y resolver algunas dudas. Continuamos con 'El Mejor Libro del Mundo' de Manuel Vilas, que hoy se ha pasado por aquí para hablar de literatura, su libro y la vida. Cerramos el programa con nuestra Barra Libre favorita. Hoy Aloma Rodríguez nos sirve 'Chelsea Girls' de Eileen Myles.Escuchar audio

Hoy en nuestra Barra Libre favorita Aloma Rodríguez nos sirve un cóctel explosivo. Ha definido esta obra como «Una buena macarra, por fin.», que esto sirva de pretexto. Se trata de 'Chelsea Girls' de Eileen Myles.Escuchar audio

Whitley Strieber is a renowned American author, filmmaker, and experiencer, best known for his groundbreaking work on alien abductions and the paranormal. His pioneering book "Communion" (1987) chronicled his own alleged encounters with non-human entities, sparking a global conversation on the phenomenon. Strieber's work has spanned multiple genres, including horror, science fiction, and non-fiction, cementing his status as a leading voice in the realm of the unexplained. A lot of his work seemingly stems from his otherworldly encounters with beings who may be trying to warn humanity. To help humanity. Is it true? Or are these merely stories from an already talented storyteller? ----------------- Head to the Strange Places home website, asylum817.com to keep up with all things Strange Places, as well as the host. Billie Dean Shoemate III is an author with over 40 novels published, a master-trained painter, host of the No Disclosure Podcast, and multi-instrumentalist musician with multiple albums released. To check out Billie's books, albums, paintings and other artistic ventures, head to asylum817.com. ----------------- This podcast can also be heard on Spotify, Apple Podcasts, iHeart Radio, Pandora, and wherever you get your Podcast listening experience. ----------------- to support the show, check us out on Patreon- http://www.patreon.com/asylum817 ----------------- DISTROKID AFFILIATE LINK: https://www.distrokid.com/vip/seven/3128872 ----------------- Want to promote your brand, YouTube channel, Etsy page, charity, event or podcast on the show? I am selling the show's ad space! Mid roll ads, beginning ads, bottom of the show ads, all of it. Click the link below to get yourself some of that sweet, sweet ad space on the fastest growing paranormal podcast on the planet. If you want to advertise here, click the LINK BELOW! https://www.fiverr.com/share/mgzw1R ----------------- This episode is brought to you by Apex Intel! LINKS BELOW: Website: apexintel.info Email: contact@apexintel.info ----------------- Like what you hear? This episode is brought to you by the new single by Naty Giachino, "Chelsea Girls" - a re-imagining of Nico & The Velvet Underground's classic song. Naty Giachino is a Uruguayan / British drummer, singer and songwriter. Alex Scarfe plays guitars and bass! Damn good work. I never promote music on this show, but I'll promote the hell outta this. Links will be provided in this episode's description and give it some love! Spotify: https://open.spotify.com/track/0vCGbQB2nOLaRzMHegrbyQ YouTube: https://www.youtube.com/watch?v=F5lLDty0M-o Facebook: https://www.facebook.com/naty.giachino.7 Instagram: https://www.instagram.com/naty_giachino --- Support this podcast: https://podcasters.spotify.com/pod/show/strangeplacespod/support

Going coastal, a newbie in New York City, killer cabbies, the amazing Kim's Video, a Blonde Redhead redhead, drunken sledding, neighborhoods and abbreviations, meet me on Stacy Keach Street, a short Christopher Nolan movie, check out Jim Knipfel, porno theaters make no sense, Jeffrey Epstein is dead and rotting in hell, a double Spader, Mark Valley is a stand up guy (did I ever tell you that Vincent D'Onofrio liked me in an acting class?), planning trips, some Broadway movies, some Broadway plays, the dearly departed Philip Seymour Hoffman, Hal Hartley rules, welcome to my candy store, a great Gatz, I've got the golden brick-et, the ghosts of the Hotel Chelsea, and a summation from Werner Herzog. Stuff mentioned: Green Acres (1965-1971), Pace Picante Sauce commercial (1988 https://www.youtube.com/watch?v=1S828Y7Eais), The Freshman (1990), Kim's Video (2023), Balthazar (80 Spring St, New York, NY 10012), Following (1998), Thurston Moore Sonic Life: A Memoir (2023), Sunshine Hotel (2001), New Museum (235 Bowery, New York, NY 10002), New Museum The Last Newspaper: Contemporary Art, Curating Histories, Alternative Models (October 6 2010–January 9 2011), Jim Knipfel Slackjaw (1999), Escape From New York (1981), Alphabet City (1984), Police Academy (1984), The Cruise (1998), Taxi Driver (1976), I, The Jury (1982), Manhattan (1979), The Blacklist (2013-2023), Boston Legal (2004-2008), Game of Thrones (2011-2019), Neue Galerie New York (1048 5th Ave, New York, NY 10028), Neue Galerie Richard Gerstl (June 2017-September 2017), Richard Gerstl Self-Portrait, Laughing (1907 https://www.neuegalerie.org/content/self-portrait-laughing), Café Sabarsky (1048 5th Ave, New York, NY 10028), Birdman or (The Unexpected Virtue of Ignorance) [2014], Rope (1948), Game 6 (2005), After Hours (1995), Late Night with Conan O'Brien "A Visit with Hunter S. Thompson" (June 11, 1997 https://www.youtube.com/watch?v=5zwLuFy-TrY), All About Eve (1950), Sam Shepard True West (Circle in the Square Theatre 2000), Before the Devil Knows You're Dead (2007), Eugene O'Neill Long Day's Journey Into Night (Plymouth Theatre 2003), Will Eno Thom Pain (based on nothing) [DR2 Theatre 2005], Fay Grim (2006), Henry Fool (1997), Heathers: The Musical (New World Stages 2014), Heathers (1989), Heathers: The Musical "Candy Store" (2014), Elevator Repair Service Gatz (REDCAT 2012), F. Scott Fitzgerald The Great Gatsby (1925), Samuel Beckett Waiting for Godot (1953), Maidstone (1970), Dear Evan Hansen (2017 Music Box Theatre), Pitch Perfect (2012), In & of Itself (2017 Daryl Roth Theatre), Little Shop of Horrors (1986), Hotel Chelsea (222 W 23rd St, New York, NY 10011), Arthur C. Clarke 2001: A Space Odyssey (1968), William S. Burroughs Naked Lunch (1959), Chelsea GIrls (1966), Andy Warhol grave webcam (https://www.earthcam.com/usa/pennsylvania/pittsburgh/warhol/), Sid and Nancy (1986), Sid Vicious "My Way" (1979), Chelsea Hotel (BBC Arena 1981 https://vimeo.com/84587129), Nico "Chelsea Girls" (1967), and Nico Chelsea Girl (1967).

As part of the so-called Britart generation of the early 1990's, artist Sam Taylor-Wood, as she was then known, made her name with photographic and video pieces. Diagnosed with colon cancer in 1997, and then breast cancer three years later, she addressed her treatment and recovery in artworks she made at the time. She moved into filmmaking with her first feature Nowhere Boy, about the life of the young John Lennon in 2009. Other cinematic projects have included adaptations of the E L James novel 50 Shades Of Gray, the James Frey memoir A Million Little Pieces and, most recently, the Amy Winehouse biopic Back To Black.Sam tells John Wilson about the experience of first seeing the Rothko Seagram paintings at the Tate gallery when she was nine years old, and the impact that they had on her in her creative imagination. Being introduced to Andy Warhol films such as Chelsea Girls and Empire made her realise that art and cinema are deeply intertwined and went on to influence her style as a director. John Cassavetes' A Woman Under the Influence was the first film that made Sam want to be a cinematic filmmaker and she also reveals how Oscar-winning director Anthony Minghella encouraged her to make her debut short film Love You More. Producer: Edwina Pitman

Our guest today is Alexandra Auder, a writer and actress who was born in New York City to Viva, a Warhol superstar, and Michel Auder, an award-winning filmmaker who directed Chelsea Girls with Andy Warhol. Alex was a featured character in HBO's High Maintenance and has acted in the films of Wim Wenders and Jodie Foster, among others. Her new book, Don't Call Me Home, is a memoir of her unconventional childhood. You can find Kim on her Substack: kimfrance.substack.com.To follow Jenn's post-40 beauty recs: instagram.com/jennromolinisvanity/For exclusive Everything Is Fine episodes — along with weekly style and culture recommendations — join our Patreon: patreon.com/everythingisfineConcerns? Critiques? Suggestions? Just want to say "hi"? You can email us: everythingisfinethepodcast@gmail.comSHOW NOTESAlex's book DON'T CALL ME HOMEVivace, microneedling "Past Lives" on Amazon Prime"Naked Attraction" on MAX Hosted on Acast. See acast.com/privacy for more information.

New York City, 1956: Nineteen-year-old Marion Brooks knows she should be happy. Her high school sweetheart is about to propose and sweep her off to the life everyone has always expected they'd have together: a quiet house in the suburbs, Marion staying home to raise their future children. But instead, Marion finds herself feeling trapped. So when she comes across an opportunity to audition for the famous Radio City Rockettes—the glamorous precision-dancing troupe—she jumps at the chance to exchange her predictable future for the dazzling life of a performer.  Meanwhile, the city is reeling from a string of bombings orchestrated by a person the press has nicknamed the “Big Apple Bomber,” who has been terrorizing the citizens of New York for sixteen years by planting bombs in popular, crowded spaces. With the public in an uproar over the lack of any real leads after a yearslong manhunt, the police turn in desperation to Peter Griggs, a young doctor at a local mental hospital who espouses a radical new technique: psychological profiling. As both Marion and Peter find themselves unexpectedly pulled in to the police search for the bomber, Marion realizes that as much as she's been training herself to blend in—performing in perfect unison with all the other identical Rockettes—if she hopes to catch the bomber, she'll need to stand out and take a terrifying risk. In doing so, she may be forced to sacrifice everything she's worked for, as well as the people she loves the most.About the AuthorFiona Davis is the New York Times bestselling author of several novels, including The Dollhouse, The Address, The Masterpiece, The Chelsea Girls, The Lions of Fifth Avenue, and The Magnolia Palace. She lives in New York City and is a graduate of the Columbia Journalism School.Buy the book from Wellington Square Bookshop - ​https://wellingtonsquarebooks.indiecommerce.com/book/9780593184042

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

In conversation with Alexandra Auder, author of Don't Call Me Home: A Memoir Publishing industry veteran Christine Pride has held a variety of editorial positions at Doubleday, Simon & Schuster, and Crown, among other publishing companies. In this capacity she has championed and edited numerous New York Times bestselling memoirs and inspirational stories. Also a freelance editorial consultant, teacher, and coach, Pride writes the ''Race Matters'' column for the popular blog Cup of Jo. A journalist, editor, and podcast host, Jo Piazza is also the author of seven novels, including Charlotte Walsh Likes to Win, If Nuns Ruled the World, and Fitness Junkie. Her other writing has been widely published in a variety of places, including The Wall Street Journal, Marie Claire, and Slate. She formerly served as a managing editor for Yahoo! Travel, the executive news director for the print and digital editions of In Touch Weekly, and the senior digital editor at Current TV. Pride and Piazza's first collaborative novel and a Good Morning America Book Club pick, We Are Not Like Them told the dual-perspective story of two lifelong friends, one Black and one white, whose bond is forever changed when the latter's police officer husband is involved in the shooting of an unarmed Black teenager. In their follow-up novel, a Black woman, finds an abandoned white baby, setting up collisions with her own past and the child's mother. Alexandra Auder is a writer and actor and the author of Don't Call Me Home: A Memoir. Born in New York City to mother Viva, a Warhol superstar, and father Michel Auder, an award-winning filmmaker who directed Chelsea Girls with Andy Warhol. Alexandra  has been a featured character in HBO's High Maintenance and has acted in the films of Wim Wenders and Jodie Foster, among others. She resides in Philadelphia with her two children and husband, filmmaker Nick Nehez, with whom she co-produces and collaborates. (recorded 6/15/2023)

Guest host Jeff Alessandrelli talks with Eileen Myles about living between New York and Marfa, poetry as daily (and not daily) practice, sobriety, vernacular writing, putting together a new and selected, their new poetry collection A WORKING LIFE, aesthetic criticism, touring, Bobby Vee, translators, and more.Eileen Myles' books include Pathetic Literature, For Now (an essay/talk about writing), Evolution, Afterglow (a dog memoir), I Must Be Living Twice: new and selected poems, Chelsea Girls, and most recently A Working Life. The Trip, their super-8 puppet road film, can be seen on YouTube. Eileen has received a Guggenheim Fellowship and was recently elected a member of the American Academy of Arts & Letters. They live in New York and Marfa, TX.Jeff Alessandrelli is the director/co-editor of Fonograf Editions and BUNNY. fonografeditions.comPodcast theme: DJ Garlik & Bertholet's "Special Sause" used with permission from Bertholet.

''Unflinching but also irrepressibly humorous'' (The New York Times Book Review), Eileen Myles is the celebrated author of nearly two dozen books of poetry, fiction, nonfiction, plays, and performance pieces, including Pathetic Literature, For Now, Chelsea Girls, I Must Be Living Twice, The Irony of the Leash, and Afterglow (a dog memoir). Their lengthy list of honors includes a Guggenheim Fellowship in nonfiction, election to the American Academy of Arts & Letters, the Clark Prize for Excellence in Art Writing, and an Andy Warhol/Creative Capital Arts Writers Grant. Peering into the miracles hidden in our daily ablutions, a ''Working Life'' is a poetry collection that seeks to engage with our often-subsumed senses of mortality, fear, and wonder. (recorded 4/25/2023)

We are over the moon to welcome EILEEN MYLES back to the program.    We talk about Meditation, the concept of home, Making money as an artist, films, tea bags, coparenting, girlfriends ex girlfriend, tolerating the intolerable, activist groups, self-care, ambition and creativity.    Plus, Nicole gives an Unsolicited Whole Foods music review, hardcore music revisit & introduces HERMES THE TORTOISE!  Eileen Myles  is a Sagittarius, a poet, a  novelist, a performer and an art journalist. Their more than twenty books include Cool for You, I Must Be Living Twice, Chelsea Girls, afterglow, and MORE.  Eileen has received a Guggenheim Fellowship and was recently elected a member of the American Academy of Arts & Letters.    Eileen joined me from their home in Marfa, Texas to talk about their new book of poetry, A Working Life.  “With intelligence, heart, and singular vision, a “Working Life” shows Eileen Myles working at a thrilling new pitch of their poetic and philosophical powers.”   They ALSO have a giant, beautiful, important new anthology, Pathetic Literature.  Go get both!  

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

On Season 2 Episode 5 of The Art Career Podcast, Emily McElwreath interviews Eileen Myles prior to the release of Pathetic Literature, a global anthology of pieces from lesser-known classics by luminaries like Franz Kafka, Samuel Delany, and Gwendolyn Brooks to up-and-coming unpublished writers that examine pathos and feeling, giving a well-timed rehab to the word “pathetic”. During the interview the two discuss meditation, Marfa, cigarette smoking and the best city in the world, New York. The Art Career podcast is available on all podcast platforms. Eileen Myles (they/them) came to New York from Boston in 1974 to be a poet, subsequently novelist, public talker and art journalist. A Sagittarius, their 22 books include For Now, evolution, Afterglow, I Must Be Living Twice/new & selected poems, and Chelsea Girls. In 2019 they wrote and directed an 18-minute super 8 film, The Trip, a puppet road film. See it on youtube. Eileen is the recipient of a Guggenheim, a Warhol/Creative Capital Arts Writers grant, 4 Lambda Book Awards, the Shelley Prize, and a poetry award from the Foundation for Contemporary Arts. In 2016, they received a Creative Capital grant and the Clark Prize for excellence in art writing. In 2019 Myles received a poetry award from the American Academy of Arts & Letters. In 2020 they got the Bill Whitehead Award for Lifetime Achievement from the Publishing Triangle. They live in New York and Marfa, TX. This episode is sponsored by BetterHelp. Visit BetterHelp.com/TAC today and get 10% off your first month. theartcareer.com Follow us: @theartcareer Follow Eileen: @eileen.myles Podcast host: @emilymcelwreath_art Music: Chase Johnson Editing: Zach Worden

Avec Brahim NAÏT-BALK, retrouvez « Homomicro, le podcast qui se prend aux mots », avec l'invité du jour : - Michel X.G dans « Livre et Vous » - présente son ouvrage "Soleil noir... sur jardin"   Ainsi que le Cercle des Chroniqueurs: - « LGBTQI Actu » avec Étienne BOMPAIS-PHAM - « Art pour iel » – "Akademos / Patrick Cardon" avec Annabelle GUIRAUD - « J'écris ton Nom » "Chelsea Girls" avec Valérie BAUD - « C'est quoi ton film d'Horreur préféré ? un étrange chroniqueur ! » Avec David HALPHEN   Réalisation: Anatole Maschas & Nathan Hillaireau Montage: Nathan Hillaireau Soutenez-nous sur PayPal !

Mark Asch on The Rehearsal, Chelsea Girls, I Like It Like That, Funny Pages Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. This week on the program I talk with critic and bon vivant Mark Asch about some recent, brain-tickling viewing. We talk about Nathan Fielder's The Rehearsal, Andy Warhol's Chelsea Girls, Darnell Martin's I Like It Like That, and Owen Kline's Funny Pages, along with observations on best-of-all-time lists, cinephilia, and who knows what else. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow's Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

For it's fifth studio album, Jethro Tull decided to satirize the concept album which was popular amongst prog rock acts like themselves, Yes, and Emerson, Lake & Palmer.  Thick as a Brick is a single piece of music spread across two album sides, and takes inspiration from Monty Python, poking fun at the critics, the audience, and the band itself.  Ian Anderson wrote much of the album, but the entire band contributed to the songs.  The "concept" of this concept album is that the lyrics are written by an 8 year-old genius named Gerald Bostock, and the album is a musical adaptation of Bostock's poem.  The cover art continues the spoof, as it forms a 12-page English newspaper with both articles and advertisements that might be found in a small town paper.  Contemporary critical reviews of the album were mixed, but retrospective reviews would all be positive.  Commercially the album was a success, hitting number 1 in the US, Canada, and Australia, and hitting number 5 in the UK.  Brian brings us this prog rock spoof-turned-classic. Thick as a Brick, part 1This is the entire album side 1.  Most Jethro Tull fans will recognize the first few minutes as the radio cut of "Thick As a Brick," though most FM stations would truncate it as it drifts into the next movement of the suite.  Although it is one continuous piece of music, the movements are actually three- to five-minute songs stitched together to form a continuous whole.   ENTERTAINMENT TRACK:The main theme from the motion picture “The Godfather”  The ultimate mob movie was released this month, and was an offer we couldn't refuse! STAFF PICKS:A Horse With No Name by AmericaRob's staff pick was America's first and most successful single off their self-titled debut album.  The song was originally entitled "Desert Song," and was inspired by prints by Salvador Dali and M.C. Escher.  One unusual thing about this song is that it is built on only two chords.Chelsea Girls  by SpiritBruce brings us a deep cut in the leading track from Spirit's fifth album called Feedback.  This is the only Spirit album to feature John and Al Staehely as band members, and to not feature Randy California as a band member.  This album is a little more California country rock than the prog rock/psychedelic rock for which Spirit is better known.30 Days In the Hole by Humble Pie Wayne presents the version of Humble Pie with guitarist Steve Marriott on lead vocals, as Peter Frampton had left the group.  This is off their fifth and most successful album, “Smokin.'”  This would become Humble Pie's best known song, despite the fact that it did not do well on the charts.Stay With Me by the FacesRod Stewart's voice is hard to miss in Brian's staff pick.  This song chronicles the stereotypical one night stand of a band member on the tour.  Rod Stewart and Ronnie Wood co-wrote this song, and  it is off their album "A Nod Is As Good As A Wink...To A Blind Horse."   COMEDY TRACK:Taurus by Dennis CoffeyThis rock instrumental was on the charts in this month.

A BENCH IN EAST RIVER PARK — Solstice-eve sitdown with legendary poet and novelist Eileen Myles (b. 1949), author of Chelsea Girls (1994), Cool For You (2000), Inferno (2010), Afterglow (2017), Evolution (2018), For Now (2020), and other books. Pod contents: 4 min - Marija Gimbutas. 9 min - Egyptian book of the dead / Afterglow (2017) / reincarnation. 11 min - Nonverbal communication. 15 min - Zola / writing about work. 19 min - “pathetic literature" / loser narrators. 24 min - readings. 30 min - the proletariat v. bourgeoisie now 34 min - east river park. 39 min - mistrust of “fiction.” 40 min - male v. Female lust. 46 min - orality / the beats / Kerouac. 49 min - Henry Miller. 54 min - rocks / grounding. 58 min - Transparent. 1 hr 7 min - the quiet place. 1 hr 9 min - the Northman. 1 hr 10 min - “the show about the show.” 1 hr 12 min- Valleyesque Fernando Flores. 1 hr 15 min - writing about the dead. 1 hr 18 min - Gerard de Nerval / ghosts. http://1storyhaus.com/pod/69-eileen-myles

I denne episode handler Rockhistorier om den tyske sangerinde, model og skuespiller Christa Päffgen, bedre kendt som Nico. Hun fik sit gennembrud efter hun i 1967 sang med på fire sange i The Velvet Undergrounds debutalbum 'The Velvet Underground & Nico' og efterfølgende udgav hun sit eget solo-debutalbum Chelsea Girl. Hendes medvirken på The Velvet Undergrounds debutalbum markede starten på en karriere, hvor de hårde stoffer forblev hendes faste følgesvend indtil hendes tragiske død på Ibiza i 1988. Værter: Klaus Lynggaard og Henrik QueitschKlip og produktion: Signe Haahr og Cecilie Wortziger Playliste:“I'm Not Sayin'” (1965)The Velvet Underground & Nico: “Femme Fatale” (1966)The Velvet Underground & Nico: “I'll Be Your Mirror” (1966)“These Days” (1967)“Chelsea Girls” (1967)“Wrap Your Troubles in Dreams” (1967)“No One Is There” (1968)“Frozen Warnings” (1968)“Evening of Light” (1968)“Janitor of Lunacy” (1968)“The Falconer” (1970)“Abschied” (1970)“Le petit chevalier”* (1970) *vokal: Ari Boulogne”Innocent and Vain” (1974)”You Forgot to Answer” (1974)“Genghis Khan” (1981)“Sixty Forty” (1981)“Saēta” (1981)“My Funny Valentine” (1985)“Das Lied vom einsamen Mädchen” (1985)

Corey Parks, legendary bassist, half of one of the greatest hard-rock guitar and bass duos in the band Nashville Pussy and leader of the supergroup Chelsea Girls, shares a lifetime of rock 'n' roll stories with LG. From what it felt like to ride the roller coaster of success in a touring band playing 316 shows in their first year, to being taken under the wing of rock icon Lemmy, of the band Motorhead. Huge thanks to Earthquaker Devices for sponsoring this episode. Visit them at www.earthquakerdevices.com! Support this podcast and women in audio at patreon.com/QOSM.

Fiona Davis is the New York Times bestselling author of several novels, including THE DOLLHOUSE, THE ADDRESS, THE MASTERPIECE, and THE CHELSEA GIRLS. Her latest is THE MAGNOLIA PALACE, a tantalizing novel about the secrets, betrayal, and murder within one of New York City's most impressive Gilded Age mansions. Today Fiona is in conversation with Xavier Salomon, the Deputy Director and Peter Jay Sharp Chief Curator at The Frick in New York City.

Join the gents "live" from a decedent suite of the storied and soon to reopen Hotel Chelsea to discuss their tour of the new hotel, a certain Warhol painting that is due to make over 200 MILLION dollars when it comes up on the block at Christie's in May, explosive new allegations in Nate's Vanity Fair column this week, the coming demise of Dimes Square and an epic lunch with friend-of-the-pod Carl Kostyál at Cosme. We are then joined by Zak Kitnick to discuss his work, life, love of Grand Central Oyster Bar, the Mets and his just opened show at the Brooklyn outpost of C L E A R I N G Gallery. ONLY on this week's episode of the ONLY ART PODCAST. --- Support this podcast: https://anchor.fm/benjamin-godsill/support

Award winning poet Eileen Myles (they/them) talks with Emmy Winner Charlotte Robinson host of OUTTAKE VOICES™ about their work and appearing in the new documentary “Queer Genius” distributed by Frameline. Directed by award winning filmmaker Chet Pancake “Queer Genius” chronicles five visionary queer artists including the late iconic lesbian filmmaker and producer Barbara Hammer, performance artist and actor Jibz Cameron, Black Quantum Futurism (Rasheedah Phillips and Camae Ayewa A.K.A. Moor Mother, literary and artistic creatives) and Myles who unapologetically break down barriers in their creative fields outside of mainstream culture. These intimate portraits resonate across generations as critically acclaimed and notoriously radical queer artists who have overcome personal and political obstacles to find new ways to live and share their visionary creative practices. In the lens of queer women and our LGBTQ culture the film confronts fame, failure, censorship, family, gender and sexuality. The documentary explores each artist's “Genius” sharing their thought process, creativity and experiences as expressed through their art and embraces communal possibilities of “Genius” from a queer and generational perspective. “Queer Genius” won the Boundary Breaker Award at Buffalo International Film Festival (2020) and the Audience Award-Best Picture at Q-Fest Houston (2020). “Queer Genius” is currently available virtually at San Francisco's Roxie Theatre nationwide. We talked to Eileen about their involvement with “Queer Genius” and spin on our LGBTQ issues.  Eileen Myles came to NYC from Boston in 1974 to be a poet. Their books include “I Must Be Living Twice: New and Selected Poems” and “Chelsea Girls”. Myles is the recipient of four Lambda Literary Awards and was honored with Lambda's Pioneer Award in 2016. Recently Eileen edited “Pathetic Literature” an anthology which includes the work of over 100 writers that will be released from Grove Press in November 2022. Eileen has received a Guggenheim Fellowship and in 2021 was elected a member of the American Academy of Arts & Letters. They live in New York and Marfa, TX. (Photo credit: Peggy O'Brien) For More Info… LISTEN: 500+ LGBTQ Chats @OUTTAKE VOICES

You Are Beautiful and You Are Alone is a new biography of Nico, the mysterious singer best known for her work with the Velvet Underground and her solo album Chelsea Girl. Her life is tangled in myth--much of it of her own invention. Rock and roll cultural historian Jennifer Bickerdike delivers a definitive book that unravels the story while making a convincing case for Nico's enduring importance. Over the course of her career, Nico was an ever-evolving myth: art film house actress, highly coveted fashion model, Dietrich of Punk, Femme Fatale, Chelsea Girl, Garbo of Goth, The Last Bohemian, Heroin Junkie. Lester Bangs described her as 'a true enigma.' At age 27, Nico became Andy Warhol's newest Superstar, featured in his one commercial break out hit film Chelsea Girls and garnering the position of chanteuse for the Velvet Underground. It wasn't Nico's musical chops which got her the gig; it was her striking beauty. Her seeming otherworldly and unattainable presence was further amplified by her reputation for dating rock stars (Brian Jones, Bob Dylan, Jim Morrison, among others). She became famous for being Nico. Yet Nico's talent and her contribution to rock culture are often overlooked. She spent most of her career as a solo artist on the road, determined to make music, seemingly against all the odds, enduring empty concert halls, abusive fans, and the often perilous reality of being an aging artist and drug addict. She created mesmerizing and unique projects that inspired a generation of artists, including Henry Rollins, Morrissey, Siouxsie and the Banshees and Iggy Pop. Drawing on the archives at the Andy Warhol Museum and at Nico's record labels, various private collections, and rarely seen footage, and featuring exclusive new interviews from those who knew her best, including Iggy Pop and Danny Fields, and those inspired by her legacy, You Are Beautiful and You Are Alone reveals the complicated, often compromised, self-destructive and always headstrong woman behind the one-dimensional myths. Martin's interview with Jennifer Otter Bickerdike was recorded on October 5th, 2021.

On this episode we are so lucky to have THREE authors joining us! For the main event we sit down with both Marie Benedict and Fiona Davis!Marie is the New York Times bestselling author of nine historical novels (including The Personal Librarian, The Only Woman in the Room, and The Mystery of Mrs. Christie). She found her calling unearthing the hidden stories of the most complex and fascinating women of history and introducing them to readers so we can reflect on their contributions and the insights they bring to modern day issues. She joins us to discuss her latest book, HER HIDDEN GENIUS, which reveals the story of Rosalind Franklin, the woman who changed the world with her discovery of the double helix DNA structure for which three men took the credit.Fiona Davis, the New York Times bestselling author of The Lions of Fifth Avenue, returns to F&F to discuss her tantalizing new novel about the secrets, betrayal, and murder within one of New York City's most impressive Gilded Age mansions. Every one of Fiona's six historical novels (including The Dollhouse, The Address, and The Chelsea Girls), are set in a different iconic New York City building. She joins us to discuss her new instant New York Times bestseller, THE MAGNOLIA PALACE, which has not only met with rave reviews, but is a Book of the Month Club pick.Stick around for the after show when we're joined by Brenda Janowitz whose new novel THE LIZ TAYLOR RING was just released on Feb 1st. Named a Katie Couric Must Read Book for 2022 and one of PopSugar's Most Anticipated books of the year, Brenda's seventh novel is an immersive work of historical fiction about three siblings, a priceless family ring, and one legendary love story.

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

Eileen Myles (they/them) came to New York from Boston in 1974 to be a poet. Their books include For Now (an essay/talk about writing), I Must Be Living Twice/new and selected poems, and Chelsea Girls. They showed their photographs in 2019 at Bridget Donahue, NYC. Eileen has received a Guggenheim Fellowship and an award from the American Academy of Arts & Letters. They live in New York and Marfa, TX. eileenmyles.com Twitter: @EileenMyles Instagram: eileen.myles  "Love Song" is originally published on Queer Poem-a-Day at the Deerfield Public Library on June 28, 2021. Text of today's poem and more details about our program can be found at: deerfieldlibrary.org/queerpoemaday/ Queer Poem-a-Day is directed by poet and teacher Lisa Hiton and Dylan Zavagno, Adult Services Coordinator at the Deerfield Public Library. Music for our series is from Excursions Op. 20, Movement 1, by Samuel Barber, performed by pianist Daniel Baer. Queer Poem-a-Day is supported by a generous donation from the Friends of the Deerfield Public Library. Queer Poem-a-Day is a program from the Adult Services Department at the Library and may include adult language.

She was a singer, songwriter, musician, muse, model, actress and artist. She had roles in several films, including La Dolce Vita and Andy Warhol's Chelsea Girls, fronted The Velvet Underground, made many albums solo and toured for over two decades. She inspired many other artists including Bjork, Iggy Pop and Morrissey. Yet NICO’s life has often been reduced to a series of myths about junkiedom, decay, difficult behaviour and wasted talent.Rock ’n’ Roll historian Jennifer Otter Bickerdike comes to the Bureau to set matters straight and talk about her upcoming book 'You Are Beautiful and You Are Alone: The Biography of Nico’ (Faber). We dig into why female musicians, junkies and artists in the counterculture have been treated differently, even mythologised differently, than their male counterparts; why Iggy Pop is so cool and why Nico still matters.For more on Jennifer Otter Bickerdikejenniferotterbickerdike.comFor more on Bureau of Lost Culturebureauoflostculture.comThis is the Soho Radio podcast, showcasing some of the best broadcasts from our online radio station, right from the heart Soho London.Across our Music and Culture channels, we have a wide range of shows covering every genre, along with chat shows, discussions and special broadcasts.To catch up on all Soho Radio shows from both our music and culture channels head on over mixcloud.com/sohoradio or tune in live anytime at sohoradiolondon.com.This is a Soho Radio Productions Podcast.Support this show http://supporter.acast.com/soho-radio. See acast.com/privacy for privacy and opt-out information.

Sex and sexploitation. Artfuck films ask the world to rethink their preconceptions on cinema and smut. Chelsea Girls provides a deep dive into Andy Warhol. What is actually on the screen during the runtime of Chelsea Girls? Why is it … Continue reading → The post Chelsea Girls + Bad Girls Go to Hell first appeared on Double Feature.

She was a singer, songwriter, musician, muse, model, actress and artist. She had roles in several films, including Fellini's La Dolce Vita and Andy Warhol's Chelsea Girls, fronted The Velvet Underground, made many albums solo and toured for over two decades. She inspired many other artists including Bjork, Siousxie, Iggy Pop and Morrissey. Yet NICO's life has often been reduced to a series of myths about junkiedom, decay, difficult behaviour and wasted talent.   Rock 'n' Roll historian Jennifer Otter Bickerdike comes to the Bureau to set matters straight and talk about her upcoming book 'You Are Beautiful and You Are Alone: The Biography of Nico'(Faber).  We dig into fandom, fables and why female musicians, junkies and artists in the counterculture have been treated differently, even mythologised differently, than their male counterparts; and why Iggy Pop is still so cool and why Nico still matters.   For more on Jen and the book https://www.jenniferotterbickerdike.com   For more on Bureau of Lost Culture www.bureauoflostculture.com

Eileen Myles (they/them) came to New York from Boston in 1974 to be a poet. Their books include For Now (an essay/talk about writing), I Must Be Living Twice/new and selected poems, and Chelsea Girls. They showed their photographs in 2019 at Bridget Donahue, NYC. Eileen has received a Guggenheim Fellowship and an award from the American Academy of Arts & Letters. They live in New York and Marfa, TX. Theme music by Joseph E. Martinez of Junius Follow us on social at: Twitter: @WakeIslandPod Instagram: @wakeislandpod --- Send in a voice message: https://anchor.fm/wake-island/message Support this podcast: https://anchor.fm/wake-island/support

Eileen Myles came to New York from Boston in 1974 to be a poet, subsequently novelist, public talker and art journalist. A Sagittarius, their 22 books include For Now, evolution, Afterglow, I Must Be Living Twice/new & selected poems, and Chelsea Girls. Eileen is the recipient of a Guggenheim, a Warhol/Creative Capital Arts Writers grant, 4 Lambda Book Awards, the Shelley Prize, and a poetry award from the Foundation for Contemporary Arts. In 2016, they received a Creative Capital grant and the Clark Prize for excellence in art writing. In 2019 Myles received a poetry award from the American Academy of Arts & Letters. In 2020 they got the Bill Whitehead Award for Lifetime Achievement from the Publishing Triangle. They live in New York and Marfa, TX. Thank you to The House of Chanel for sponsoring this episode. Find out more at inside.Chanel.com. Find more from Thresholds at www.thisisthresholds.com Learn more about your ad choices. Visit megaphone.fm/adchoices

”Der må findes en måde at skrive på, som er rasende. Jeg er træt af lavmæltheden som skjold.” Sådan indleder den svenske forfatter og aktivist Silas Aliki sit essay, som undersøger fremstillingen af trans i litteraturen, og som vi bringer i Amulet Magasin 2. Silas fortæller om, hvordan deres tekster bliver mødt af en majoritet, som er så ekstremt forhippet på at konstruere trans som noget afvigende. I en samtale med redaktør på Amulet, Jakob Slebsager Nielsen, forsøger vi at spørge: Hvad er majoritetens problem? Vi taler om, hvordan det at blive konsumeret er en minoritetserfaring, og om hvordan man kan nå frem til et andet sted.Oversættelse, tilrettelæggelse og interview af Jakob Slebsager Nielsen.  Klippet af Emil Hee. Støttet af Statens Kunstfond. RessourcelisteEmil Elg, ”Øjne som tårnlygter”. Amulet Magasin 1, 2020. https://drive.google.com/file/d/1E-bzPabrs0_USAuJha9F4WwCxwfPYGBo/view Maggie Nelson, ”Argonauterne”. På dansk ved Nete Harsberg & Betty Frank Simonsen. Rosinante, 2019. Silas Aliki, ”Våra berättelser ska inte avbrytas”. Kontext Press, 2020.  https://www.kontextpress.se/kultur/vara-berattelser-ska-inte-avbrytas Silas Aliki, ”Transfobins historia”. Tidsskriftet Glänta 1-2, 2019.Toni Morrison, ”Playing in the Dark. Whiteness and the Literary Imagination”. Harvard University Press, 1992.Tonny Vorm, ”Anmeldelse af Chelsea Girls”. Information, 2020.https://www.information.dk/kultur/anmeldelse/2020/06/chelsea-girls-braendende-opgoer-samfundets-rigide-koensopdeling 

I’m Jim McKeown, welcome to Likely Stories, a weekly review of fiction, non-fiction, and poetry. Fiona Davis is a best-selling author of severa l novels. She lives in New York City. She graduated from the College of William and Mary and Columbia Journalism School. The Chelsea Girls is her fourth novel.

Patti Smith dans les jardins de Gallimard – Paris, 2016 – ©Férial SOUNDWALK COLLECTIVE & PATTI SMITH. THE FOUR CARDINAL TIMES – 4:45Peradam, Bella Union, 2020 SOUNDWALK COLLECTIVE & PATTI SMITH. SENSATION – 3:55Mummer Love, Bella Union, 2019 PAULETTE WRIGHT. FROM ONE TO ANOTHER – 2:40Imperfect HomeDraft recordings, Autoproduction, 2016 EMILY LOIZEAU. CHELSEA GIRLS – […] Cet article Errance #143 : De Patti Smith à Bert Jansch est apparu en premier sur Eldorado.

L'Eau (1968) by Diptyque + Donald Cammell and Nicolas Roeg's Perfomance (1970) + Andy Warhol and Paul Morrissey's Chelsea Girls (1966) with Barrett and Sam of Contain podcast ep.89 10/25/2020 To enjoy the remainder of this episode and gain access to the full catalog of TPN content please support us at https://www.patreon.com/perfumenationalist

Eileen Myles erzählt in "Chelsea Girls" aus ihrer Zeit als junge lesbische Dichterin im New York der 70er-Jahre, Tür an Tür mit Andy Warhol und Patti Smith. Lässig vermischt sie dabei Autobiografie und Fiktion.

Writer Emily Gould on Eileen Myles’s Chelsea Girls, riot grrrl culture, and turning her observations inward. To learn more about the books we discussed in this episode, check out The Adventures of Tintin graphic novel series created by Hergé, the Babysitter’s Club series by Ann M. Martin, the Goosebumps series by R. L. Stine, and Inferno by Eileen Myles. Be sure to check out Emily Gould’s new book, Perfect Tunes, available now. Stay in the know about the latest Macmillan news by reading our free newsletter here. Learn more about your ad choices. Visit megaphone.fm/adchoices

In dieser Folge geht es um die Dichterin Eileen Myles. Ihre Kurzgeschichtensammlung "Chelsea Girls" ist ein Post-Punk Augenzeugenbericht der New Yorker Dichter- und Künstlerszene der 70er und 80er. Außerdem könnt Ihr meinen Kumpel Pierre Jarawan supporten. 

Monday's Bombshell (Bombshell Radio)Generating Steam HeatBombshell Radio 4pm EST 9pm BST 1pm PDT bombshellradio.com GeneratingSteamHeat #Postpunk #punk #newmusic #60sClassics #Ska #60sGarage #StitcherRadio #Itunes #BombshellRadioPatti Smith-Piss Factory (B side of the Mer Records 7’’ ‘Hey Joe’ 1974)The Jim Carroll Band-All The People Who Died (From the CBS Records album ‘Catholic Boy’ 1980)Dim Stars-Baby Huey (Do You Wanna Dance) (From the self titled Caroline Records album 1992)Bobby MacFaddon & Dor-The Beat Generation (B side of the Brunswick Records 7’’ ‘The Mummy’ 1959)Television-Little Johnny Jewel (Ork Records 7’’ 1975)Nation Of Language-Indignities (Self released 7’’ 2019)Talking Heads-Stay Hungry (From the Sire Records album ‘The Name Of This Band Is Talking Heads’ 1982)Bush Tetras-Can’t Be Funky (From the ROIR Records cassette album ‘Wild Things’ 1983)Mars-3-E (Rebel Records 7’’ 1978)Heart Attack-Toxic Lullabye (From the Ratcage Records EP ‘Subliminal Seduction’ 1984)The Features-Floozie Of The Neighbourhood (Paradox Records 7’’ 1979)Ramoms-Going Into 3rd (From the Pirates Press Records EP ‘Teachers Pets’ 2019)Nico-Chelsea Girls (From the Verve Records album ‘Chelsea Girls’ 1967)Lizzy Mercier Descloux-Hard Boiled Babe (From the ZE Records album ‘Press Color’ 1979)Yeah Yeah Yeahs-Y Control (From the Interscope Records album ‘Fever To Tell’ 2003)

Die Cosmic Jokes sind jetzt "Im Radio Das Meer" - In der ersten Folge geht es um den deutschen Dichter Jürgen Becker und meine explodierende Büchersammlung.

Möt Eileen Myles. Hen hör till samtidens mest hyllade amerikanska poeter. Här i samtal med Tone Schunnesson. Av litterära priser och stipendier Myles tilldelats kan nämnas Shelley-priset från Poetry Society of America, Lambda Book Award, stipendierna Guggenheim Fellowship samt Warhol Foundation / Creative Capital. Eileen Myles är aktuell på svenska med "Chelsea Girls". Tone Schunnesson är författare och poet. Hon debuterade med romanen "Tripprapporter" 2016 som också nominerades till Borås debutanpris samma år. I samarbete med Modernista. Från 9 maj 2019 Jingel: Lucas Brar

Today we have a bookish recommendation show featuring past guest Clara. In this episode, we dive into a few fiction books that includes post-apocalyptic fiction, historical romance. We talk about series vs standalone books, which ones we prefer the most. BOOKS MENTIONED: Meet me in Monaco by Hazel Gaynor and Heather Webb Last Christmas in Paris by Hazel Gaynor and Heather Webb  The Last by Hannah Jameson  Severance by Ling Ma Station Eleven by Emily St. John Mandel  No Judgments by Meg Cabot  Lisa Kleypas  The Wallflower Wager by Tessa Dare  The Duchess Deal by Tessa Dare  The Wallflower Series by Lisa Kleypas  Ravenel Series by Lisa Kleypas Bridgerton’s Series by Julia Quinn  Chocolat by Joanna Harris The Strawberry Thief by Joanna Harris Toni Morrison  Harry Potter by J.K. Rowling Royal Holiday by Jasmine Guillory  A Vermont Christmas by Anita Hughes  Chelsea Girls by Fiona Davis The Spellbook of Katrina Van Tassel by Alyssa Palombo The Wedding Party by Jasmine Guillory If there is Still Sex and The City by Candice Bushnell  Sex and the City by Candice Bushnell

Carol Fitzgerald from Bookreporter talks to Fiona Davis about her latest book, THE CHELSEA GIRLS, which is a Bookreporter Bets On selection, as well as her earlier works, each of which is set in an iconic New York building. THE CHELSEA GIRLS: https://www.bookreporter.com/reviews/... THE MASTERPIECE: https://www.bookreporter.com/reviews/... THE ADDRESS: https://www.bookreporter.com/reviews/... THE DOLLHOUSE: https://www.bookreporter.com/reviews/... Fiona Davis on Bookreporter: https://www.bookreporter.com/authors/... Fiona Davis - Official Website http://www.FionaDavis.net Sign up for the weekly Bookreporter.com newsletter here: http://tbrnetwork.com/newsletters/boo...

Monday's Bombshell (Bombshell Radio)Generating Steam HeatBombshell Radio 4pm EST 9pm BST 1pm PDT bombshellradio.com #GeneratingSteamHeat #Postpunk #punk #newmusic #60sClassics #Ska #60sGarage #StitcherRadio #Itunes #BombshellRadioCUIR-Trop Vieux Pour Mourir Jeune (From the self released digital EP ‘Single, Single’ 2019)Amyl and The Sniffers-Some Mutts (Can’t Be Muzzled) (From the self titled Rough Trade Records album 2019)The Chats-Pub Feed (Bargain Bin Records digital single 2019)King Gizzard & The Lizard Wizard-Planet B (From thr Flightless Records album ‘infest The Rats Nest’ 2019)Cherry Glazerr-Juicy Socks (From the secretly Canadian Records album ‘Stuffed & Ready’ 2019)It’s For Us-All The Time (From he Novoton Records album ‘Stay’ 2019)Makthaverkan-Enough (From the self titled Luxury Records album 2009)Jenn Champion, Victor Le Masne-Turn Up The Radio (Hardly Art Records digital single 2019)Modernettes-Barbra (From the Quintessence Records EP ‘Teen City’ 1980)Squire-Livin’ In The City (From the Rok Records compilation album Odd Bods Mods & Sods 1979)Suede Razors-The Bovver and the Glory (Contra Records 7’’ 2019)Knock Out-Free Yourself ( From the Kung Foo Records album ‘…Another Wasted Night’ 2009)Bim Skala Bim-Solitary Confinement (From the self titled Fonograff Records album 1986)Crass-Tired (From the Crass Records album ‘Stations Of The Crass’ 1979)Heavy Lungs-Descend (From the self released digital EP ‘Abstract Thoughts’ 2018)Nico-I’ll Keep It With Mine (From the Verve Records album ‘Chelsea Girls’ 1967)The Murder Capital-Feeling Fades (Human Season Records 7’’ 2019)

Critics rave about the unexpected and clever plot twists in Fiona Davis's historical bestsellers, dual timeline stories set in the Big Apple's most iconic buildings, from the Chelsea Hotel to Grand Central Station and the Dakota building to the Barbizon. Hi there. I'm your host Jenny Wheeler and today in the 98th episode of The Joys of Binge Reading, Fiona talks about the famous and sometimes eccentric people who bring New York - and her books to life. Six things you'll learn from this Joys of Binge Reading episode: What excites Fiona about historic hotelsThe thing that shocked her most researching her latest bookWhy New York is a great place to set novelsThe 100th anniversary of The Age of InnocenceHow film is influencing fictionWhat she'd do differently second time around Where to find Fiona Davis:  Website: www.fionadavis.net Facebook: @FionaDavisauthor Twitter: @fionajdavis Instagram:  @fionajdavis What follows is a "near as" transcript of our conversation, not word for word, but pretty close to it, with links to important mentions. Jenny: But now, here's Fiona. Hello there Fiona, and welcome to the show. It's great to have you with us. Fiona Davis, historical fiction author. Fiona: Thank you. I'm thrilled to be here. Jenny: Now this is the question I always start with, but it never gets stale. Was there and Once Upon a Time moment for your fiction writing, a moment when you thought 'I've just got to do this' or I will have wasted my life. The 'Once Upon A Time' moment Fiona: That's a great question. Yes, and it came to me later. I was in my late 40s when it hit.   What happened was, I had been working as a journalist for a number of years and there was a story that I thought would make a great article about the Barbizon Hotel and some of the older tenants who were still living there, as it was turned into luxury condos. And I thought oh, what a great story - it represents the change in the city and the building, over time, but the women who live there were very private and they would not be interviewed. I just couldn't shake it. And I thought ‘All right. You know what? I'm going to make this into a book and I will write it.' That means I have to make stuff up and that's very scary. The Dollhouse - Fiona Davis' first novel, set in the Barbizon Hotel, New York. But I was really determined and I'm so glad I did it. It's just it took my career in a completely new direction, which has been really fulfilling. The Chelsea Girls - latest book Jenny: It's wonderful. You've now got four best-selling historical novels to your credit, and the most recent of them, The Chelsea Girls, is also focused on  another very famous New York hotel, the Chelsea Hotel, which is almost notorious because of the numerous luminaries that have lived there, everyone from Dylan Thomas to Janis Joplin.  Tell us about the Chelsea. Fiona: Yes, sure. So, the hotel really intimidated me as an idea for setting a book there, because so many people have passed through its doors. It was built in 1884 as kind of a utopian cooperative, but that didn't work and it went bankrupt and it became a hotel, but one where people could stay for years and sometimes even decades. For years it's been this a hotbed of intrigue in terms of both art and politics and fashion, music, and poetry. It just was almost overwhelming - the thought of trying to create a story around that building - because there were so many to tell. The allure of the McCarthy Era I really started focusing in on the McCarthy era and 1950 and also the late 60s because that's when it was really bubbling with creativity. And the more I dug, the more I learned about it, the more I thought yes, this is the perfect setting for a book because on top of everything, it has a secret tunnel, which as an author, you're like, yes, that's a gift. I'm gonna go with that. Jenny:Yes that's right.

Julia attends her first Mn. United match at Allianz Field. Leah Remini is ending her show that exposed Scientology. Minnesota's little league team features a a very talented girl! Jeffrey Epstein's case keeps getting stranger. Guest is Fiona Davis, author of "The Chelsea Girls".

Fiona Davis has captured the hearts of readers with the way she brings life to New York City landmarks through compelling historical fiction. Setting her sights on the Chelsea Hotel, she delves into the world of theater. The story centers around two friends, Hazel and Maxine. The two meet in Naples, Italy in an USO troupe entertainment troupe. After the war, Hazel becomes a budding playwright and Maxine a famous actress.. They unite to put on Hazel's first play on Broadway when the charge of Communism and McCarthy investigation impacts their lives. As the two women wrestle with wartime memories, fractured friendship, love, and trust, readers will find themselves immersed. It is also a reminder of what happens to people who are persecuted for their speech or opinion.

This week on You’re Never Going to Read This we are joined by the marvelous Fiona Davis! We talk about the way she chooses her fascinating New York City locations for her books, the research she does, and some of her favourite books. Website: https://www.yourenevergoingtoreadthis.com/ Instagram: https://www.instagram.com/yourenevergoingtoreadthis/ Twitter: https://twitter.com/NeverReadPod Newsletter: https://bit.ly/2BxaccS

Fiona Davis is the best-selling author of The Dollhouse, The Address, and The Masterpiece. Her latest book, The Chelsea Girls, is in her signature historical fiction style situated around a specific place. This time, she picked The Chelsea Hotel in NYC. Set in the 1950s McCarthy-era, this book is about female friendship and the theater with some major twists thrown in. Listen to us discuss her writing process, acting, friendship, and more! 

Episode Eighty Two Show Notes CW = Chris WolakEF = Emily FinePurchase Book Cougars Swag on Zazzle! If you’d like to help financially support the Book Cougars, please consider becoming a Patreon member. You can DONATE HERE. If you would prefer to donate directly to us, please email bookcougars@gmail.com for instructions.Join our Goodreads Group! We have a BookTube Channel – please check it out here, and be sure to subscribe!Please subscribe to our email newsletter here.– Currently Reading –Middlemarch – George Eliot (CW) Eat Like a Fish: My Adventures as a Fisherman Turned Restorative Ocean Farmer – Bren Smith (EF)Bad Blood: Secrets and Lies in a Silicon Valley Startup – John Carreyrou (EF)The Farm – Joanne Ramos (EF)Three Women – Lisa Taddeo (EF)– Just Read –A Gold Slipper – Willa Cather (CW) which is part of the Willa Cather Short Story ProjectHow We Fight For Our Lives – Saeed Jones (EF) release date 10/8/19Check out his essay Alright Now at Gay Mag– Biblio Adventures –Emily went to Raven Café an Edgar Allen Poe themed restaurant in Port Huron, MIEmily made a stop at Traveler Restaurant in Union, Ct99% Invisible Episode #354 Weeding is FundamentalEmily went to Wesleyan RJ Julia to see Bianca Marais discuss her new book If You Want to Make God LaughChris hosted the Willa Cather Bookclub to discuss Sapphira and the Slave Girl. Sadly, Bookclub Bookstore & More has closed its doors, but upcoming quarterly meetings will be at the Wood Memorial Library in South Windsor, CT. South Windsor is the birthplace of Jonathan Edwards, a theologian who is famous for the sermon Sinners in the Hands of an Angry God. Check back, the next meeting of the bookclub will be in October, discussing the The Professors House.Chris took her friend, Janet, to the New York Public Library to see the Walt Whitman exhibit. She also browse Kinokuniya Books. They also did a whirlwind tour of Connecticut bookstores including: Yale Bookstore, Grey Matter Books, Sterling Memorial Library, Beinecke Library, RJ Julia Booksellers, and The Book Barn.Emily watched The Inventor documentary about TheranosEmily went to Savoy Bookshop & Cafe to hear Nancy Burns-Fusaro of Westerly Sun discuss Three Women with author Lisa Taddeo.– Upcoming Jaunts –August 8, 2019 – Odyssey Bookshop Mary Doria Russell author of The Women of the Copper Country in conversation with Rose Bookbinder.– Upcoming Reads – The Ventriloquist – E.R. Ramzipoor (CW) (release date August 27, 2019)Women Heroes of WWII: 32 Stories of Espionage, Sabotage, Resistance, and Rescue – Kathryn J. Atwood (CW)Pure: Inside the Evangelical Movement That Shamed a Generation of Young Women and How I Broke Free – Linda Kay Klein (EF)(CW)So Long: Stories, 1987-1992 – Lucia Berlin (EF)– Author Spotlight – We caught up with Fiona Davis when we were at Book Expo. Her new book, The Chelsea Girls, is available now!Her book tour details can be found HERE.Fiona mentioned:City of Girls by Elizabeth GilbertThe Guest Book by Sarah Blake– Also Mentioned –If You Want to Make God Laugh – Bianca Marais Prelude to Bruise – Saeed Jones poetry collectionComplete Stories of Flannery O’ ConnerKillers of the Flower Moon: The Osage Murders and the Birth of the FBIBook Nation By JenBookBarCTBianca Marais recommended two books: American Dirt by Jeanine Cummins (release date 1/21/20) and Such A Fun Age by Kiley Reid (release date 1/7/20)Thy Neighbor’s Wife – Gay TaleseBooktuber Jaclyn: Six Minutes for MeInto Thin Air: A Personal Account of the Mount Everest Disaster – Jon KrakauerMidnight in the Garden of Good and Evil – John BerendtOlive Kitteridge – Elizabeth StroutThe Masterpiece – Fiona Davis

Friend of the show Fiona Davis returns today to talk about her brand new release The Chelsea Girls. The bright lights of the theater district, the glamour and danger of 1950s New York, and the wild scene at the iconic […]

In this episode, Abbe talks about what she's been reading: The Chelsea Girls, a brand new work of historical fiction from Fiona Davis. Then, she sits down with author Joanne Ramos to discuss her debut novel, The Farm. Finally, we hear from book critic and podcast host, Maris Kreizman, about what books she's loving this summer and what she can't wait to read this fall.

Nance Klehm, Radical Ecologist — Eileen Myles came to New York from Boston in 1974 to be a poet, subsequently a novelist, public talker and art journalist. A Sagittarius, their twenty books include evolution (poems), Afterglow (a dog memoir), a 2017 re-issue of Cool for You, I Must Be Living Twice/new and selected poems, and Chelsea Girls. Eileen is the recipient of a Guggenheim Fellowship, an Andy Warhol/Creative Capital Arts Writers grant, four Lambda Book Awards, the Shelley Prize from the PSA, and a poetry award from the Foundation for Contemporary Arts. In 2016, Myles received a Creative Capital grant and the Clark Prize for excellence in art writing. In 2019 they'll be teaching at NYU and Naropa University and they live in New York and Marfa, TX. Photo by Shae Detar

Eileen Myles is the author of more than twenty books of essays, fiction, and poetry including “Chelsea Girls” and “I Must Be Living Twice.”  On November eighth, 2018, Myles came to the Nourse Theater in San Francisco to read from the new poetry collection, “Evolution,”and to talk with Stephen Best about struggling to be a writer in 1970s New York, running for president, and the experimental writing movement New Narrative.

Watch the video here. With a career spanning four decades, 26 studio albums, and untold scores of concerts, Loudon Wainwright III is one of the world's most loved singer-songwriters. A prolific actor in a variety of television and film roles, he can also boast of being the father of Rufus Wainwright, Martha Wainwright, and Lucy Wainwright Roche, three musical luminaries in their own right. In his new memoir, the folk patriarch and son of a celebrated Life magazine columnist reflects on the ups and downs of his career, the inspirations for his art, and the familial relationships that have marked him the most.  ''A kick-ass counter-cultural icon'' (The New Yorker), Eileen Myles is the celebrated author of nearly two dozen books of poetry, fiction, nonfiction, plays, and performance pieces, including Chelsea Girls, I Must Be Living Twice, and The Irony of the Leash. Her lengthy list of honors includes a Guggenheim Fellowship in nonfiction, the Clark Prize for Excellence in Art Writing, and an Andy Warhol/Creative Capital Arts Writers Grant. Afterglow is a multi-genre examination of the pet/pet-owner relationship told through the prism of Myles's 16-year relationship with her beloved pit bull Rosie. (recorded 9/12/2017)

My guest is Eileen Myles, whose works of poetry, fiction and criticism have profoundly impacted a generation of writers thinking about narrative, sexuality, and feminism. Eileen came to New York in the early 70’s and became associated with the St. Marks Poetry Project, of which they would eventually be named director. Their iconic 1994 novel Chelsea Girls reflects on this time and, in the process, redefined both the queer novel and autobiographical fiction. They are the recipients of both a Creative Capital Grant and a Guggenheim Fellowship and have published over 20 volumes of poetry and writing.I spoke to Eileen one morning at her house in Marfa, Texas. You can hear the birds in the background. We made a photograph there and you can find it at williamjesslaird.com/imageculture or on Instagram @william.jess.lairdI’d like to thank Eileen Myles, Mary Farley, as well as Caitlin Murray and Tim Johnson of Marfa Book Company.

This weekend, the Museum of Modern Art celebrates a new book on the incomparable Andy Warhol and his film Chelsea Girls with 10 days of related screenings. In this archival Fishko Files, WNYC's Sara Fishko leads us through another Warhol book - one that traces Andy's ritual of daily walks through Manhattan. (Produced in 2011) The Chelsea Girls Exploded begins at MoMA Friday, May 4 and continues through Sunday, May 13. Andy Warhol's New York City: Four Walks, Uptown to Downtown is available on Amazon. Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Wayne Shulmister & Rob GrannissEditor: Karen Frillmann

Nick Naney and Sam Taggart return to the podcast to watch and discuss Paul Morrissey and Andy Warhol's experimental film Chelsea Girls. They also talk about their trip to Six Flags.

Eileen Myles is the author of nineteen books including I Must Be Living Twice: New & Selected Poems, and a 2015 reissue of Chelsea Girls. Eileen is the recipient of a Guggenheim Fellowship in non-fiction, an Andy Warhol/Creative Capital Arts Writers grant, four Lambda Book Awards, and the Shelley Prize from the PSA. In 2016 Myles received a Creative Capital grant and the Clark Prize for excellence in art writing. Currently they teach at NYU and Naropa University and live in Marfa TX and New York

A conversation between the photographer Catherine Opie and Eileen Myles, author of "Chelsea Girls" and numerous volumes of poetry, in Houston on April 29, 2017.

For this episode, Woodbury down with poet and novelist Eileen Myles. She came up in the ’70s, at the St. Mark’s Poetry Project in New York. In 2015, her 1994 novel Chelsea Girls was reissued; in 2016, she released a collection of poems written between 1975 and 2014 called I Must Be Living Twice. In this episode, Myeles discusses her process and her next book, Afterglow, and along the way we’ll hear some selections of Myles’ poetry, pulled from her live album Aloha/Irish Tree, paired with recordings by Marfa Myths performers Pharoah Sanders and Kaitlyn Aurelia Smith. Photo by Peggy O’brien.

Icon of radical American Letters Eileen Myles has produced more than 20 volumes of fiction, memoir and poetry over the past three decades, a body of work that led the novelist Dennis Cooper to describe her as 'one of the savviest and most restless intellects in contemporary literature.' To mark the publication of her novel Chelsea Girls in paperback and a new collection of poetry I Must Be Living Twice (Serpents Tail and Tuskar Rock respectively) Eileen Myles was at the shop to read from and discuss her work with Olivia Laing, author of To the River, The Trip to Echo Spring and most recently The Lonely City. See acast.com/privacy for privacy and opt-out information.

Monday Reading Series There's nothing worse than funny poems but often people laugh in poetry readings and you don't know when it's going to happen & that's what's truly live about it. They may not ever laugh at that same moment in your poem again. So what was it. And what's the interim between the poems called when the poet does patter and drinks water and looks weird or calm and if you're some poets deadhead you learn that they shamelessly do that patter again and again. What if the poem never came, if the poet got up there and kept pattering. Would the meaning of the word ‘poetry' stand or would it be something else, a clown or a sensai looking for a laugh or a tear or an extended or occasional huh. A room of all silence. I'm pondering that. Bring your stupid mind & your broken heart. I'm making my bid. Eileen Myles was born in Cambridge, Massachusetts in 1949, was educated in Catholic schools, graduated from the University of Massachusetts-Boston in 1971, and moved to New York City in 1974 to be a poet. She gave her first reading at CBGB's, and then gravitated to St. Mark's church where she studied with Ted Berrigan, Alice Notley, and Bill Zavatsky. She has published more than a dozen volumes of poetry and fiction including Not Me (1991), Chelsea Girls (1994), Cool for You (2000), and Skies (2001). Recent books include Sorry, Tree (2007), The Importance of Being Iceland: Travel Essays in Art (2009), and Inferno: a poet's novel (2010). Her new selected poems, I Must Be Living Twice, will be published this September by Ecco/Harper Collins.

Recorded live at BookCulture in Manhattan, Eileen Myles discusses her new volume of collected poems, I Must Be Living Twice, and her re-released novel, Chelsea Girls.

In Conversation with Gerard Melanga and Dr Jean wainwright Gerard Joseph Malanga (born March 20, 1943) is an American poet, photographer, filmmaker, curator and archivist. Andy Warhol and The Factory Gerard Malanga worked closely with Warhol during that artist's most creative period, from 1963 to 1970.[2] A February 17, 1992 article in The New York Times referred to him as "Andy Warhol's most important associate."[3][4] Malanga was involved in all phases of Warhol's creative output in silkscreen painting and filmmaking. He acted in many of the early Warhol films, including Kiss (1963), Harlot (1964), Soap Opera (1964), Couch (1964), Vinyl (1965), Camp (1965), Chelsea Girls (1966); and co-produced Bufferin (1967) in which he reads his poetry, deemed to be the longest spoken-word movie on record at 33-minutes nonstop. Malanga played a combination of Lee Harvey Oswald and Jack Ruby in Warhol's film Since (1966). Also in 1966, he choreographed the music of the Velvet Underground for Warhol's multimedia presentation, The Exploding Plastic Inevitable. In 1969, Malanga was one of the founding editors, along with Warhol and John Wilcock, of Interview magazine.[5] In December 1970, Malanga left Warhol's studio to pursue his work in photography.

Some events of 1962 Sound problem cured The program included 20 unmanned launches, followed by two suborbital and four orbital flights with astronaut pilots.    This estimate gave the cost of Project Mercury as $392.6 ... In 2010, The SpaceReview estimated the cost of Mercury as $1.6 ...         So                                                        Andy Warhol (August 6, 1928 – February 22, 1987) was an American artist who was a leading figure in the visual art movement known as pop art   Campbells soup sold for 23. million in 2010                                     Large coco cola bottle sold for 32.5 million 2010          200 Dolar bills sold for 43.5 million in 2010   Chelsea Girls is a 1966 experimental underground film directed by Andy Warhol and Paul Morrissey. The film was Warhol's first major commercial success after a long line ofavant-garde art films (both feature length and short). It was shot at the Hotel Chelsea and other locations in New York City, and follows the lives of several of the young women who live there, and stars many of Warhol's superstars. It is presented in a split screen, accompanied by alternating soundtracks attached to each scene and an alternation between black-and-white and color photography     The band built their reputation playing clubs in Liverpool and Hamburg over a three-year period from 1960. Manager Brian Epstein moulded them into a professional act and producer George Martin enhanced their musical potential. They gained popularity in the United Kingdom after their first modest hit, "Love Me Do", in late 1962                                                                       stuart sutcliffe                                                                                                                                                                                                                                He was ranked World No. 1 for seven consecutive years, from 1964 to 1970 (from 1964 to 1967 in the professional circuit) and also in 1961 and 1962 (by Lance Tingay of The Daily Telegraph).[1] He is the only tennis player, male or female to have twice won the Grand Slam   

A conversation about personal voice, sexuality and the New York school of poetry.