Podcasts about chesters

Little Anthony and the Imperials: A Doo-Wop Legend Who Still Shines BrightIn the golden age of American music, few voices soared as high—or cut as deep—as that of Little Anthony. Born Jerome Gourdine in Brooklyn, Little Anthony became one of the most distinctive and emotional falsettos in soul, doo-wop, and classic pop music history. As the lead singer of Little Anthony and the Imperials, his voice helped define an era, touching hearts with hits like “Tears on My Pillow,” “Goin' Out of My Head,” and “Hurt So Bad.” His music not only broke chart records but also broke barriers between genres, blending doo-wop harmonies, soul grooves, and pop sensibilities in a way that left a lasting mark on American R&B history.Before the spotlight, Little Anthony grew up in a neighbourhood immersed in gospel and street-corner harmonies. Young Jerome began singing doo-wop as a teenager. He joined a vocal group called The Duponts, who released a single in 57.His big break came when he joined The Chesters, a vocal group that would soon rename itself The Imperials. With Jerome now taking center stage as “Little Anthony”—a nickname given by a legendary due to his youthful appearance and high-pitched voice—the group's sound clicked immediately. His natural falsetto became their signature.In 58, the group signed to a label. Their debut single, “Tears on My Pillow,” exploded on the charts. With its raw emotion, aching falsetto, and lush harmonies, the song became an anthem of teen heartache and a pillar of 1950s American pop.From that point, Little Anthony and the Imperials embarked on a journey that would bring them lasting fame. They followed up with hits like “Shimmy Shimmy Ko-Ko Bop,” “I'm on the Outside (Looking In),” “Goin' Out of My Head,” and “Hurt So Bad.” It was Little Anthony's voice that made the group stand out during the changing tides of 60s music, when the British Invasion and Motown were reshaping the industry.Songs like “Goin' Out of My Head” became pop-soul classics, covered by countless artists across genres—from Frank Sinatra to The Lettermen.Their sound matured in the 60s, becoming more orchestrated and polished. Working with producers like Teddy Randazzo, they crafted sophisticated, adult-oriented pop-soul that prefigured the lush soul ballads of later decades.In 2009, Little Anthony and the Imperials were inducted into the Rock and Roll Hall of Fame. The induction was presented by Smokey Robinson, who praised Anthony's emotive voice and the group's groundbreaking blend of genres. Unlike many of his peers, Little Anthony has remained active well into his 80s, still taking to the stage with the same passion and charisma that made him a star in the 50s. Whether singing at doo-wop revival shows, soul festivals, or headlining his own concerts, Little Anthony still delights audiences wherever he goes.His presence remains strong on platforms like PBS specials, oldies cruises, and classic soul tours, where fans young and old gather to hear the voice that made them fall in love with music in the first place.Little Anthony's music is more than a nostalgic reminder of the past—it's a living, breathing testament to the power of vocal harmony, heartfelt songwriting, and soul-stirring performance. His contributions helped shape not only the sound of doo-wop but also the emotional core of American soul and pop. His hits continue to be rediscovered by younger audiences and sampled in modern tracks, proving the timeless appeal of his work.As the frontman of one of the most influential vocal groups of all time, Little Anthony remains a legend—not just for his voice, but for his passion, resilience, and devotion to the music.

There's still a chill in the crisp Spring air, as your lovely Creeps try new flavors of Sprite Chill: Strawberry Kiwi and Cherry Lime! One of them is zero, I don't remember which one, don't ask me. We also tried Chester's Cheddar Jalepeno popcorn after drinking soda, instead of washing it down because we're crazy people.Then, Matt reads a very recent NPR headline about a babysitter, at a family's home in Kansas, checking under the child's bed for "monsters" and finding a real person under there instead. Kelsey then tells a brief story about a weird dasher.The Creeps also talk about hardcore cough drops, rollin with the Coke Boiz, the perfection of all things cherry limeade, Kelsey hopping onto the forgetting allergies train Britt is already a conductor on, price rage, falling for weird classic advertising, and killing Matt with Kiwi unsuccessfully.

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Episode #138. Creativity is the skill featured in this episode, however being creative is not a department or a job title; it's a skill and mindset that every marketer can harness to keep evolving in pursuit of new, innovative ways to solve problems. Joining Abby is Kevin Chesters, a marketing strategist with over 25 years of experience both agency and client-side, including being the former Head of Strategy at BT and CSO of W+K London, plus Dentsu, McGarryBowen and Ogilvy. Kevin's first book, 'The Creative Nudge' was an Amazon best-seller and he shares the concepts from his book in this podcast. In this episode, Kevin shares his definition of creativity, ‘nudge theory' where small changes can lead to significant impacts, 9 behaviours to rediscover your creativity and how marketing leaders can create an environment for creativity. Plus Kevin shares his advice for reviewing creative respectfully and his career highs and lows. 00:00:00 Welcome and Creativity in Marketing 00:02:00 Defining Creativity 00:03:32 Why is Creativity vital to stand out? 00:06:09 Kevin's Nudge Theory Explained 00:08:12 Nine Behaviours to Rediscover Creativity 00:15:12 How to Create Conditions for Creativity? 00:17:56 Being Willing to Challenge the Status Quo 00:21:56 Creativity and Human Evolution 00:24:51 How to Review Creative Ideas? 00:33:12 Reviewing Creativity and Giving Feedback 00:37:29 Kevin's career Highs and Lows 00:48:18 Advice for Marketers Host: Abigail (Abby) Dixon FCIM/ICF | LinkedInGuest: Kevin Chesters | LinkedIn The Whole Marketer podcast is here to support and empower the people behind brands and businesses with the latest technical tools, soft and leadership skills and personal understanding for a fulfilling marketing career and life as a whole. For more info go to www.thewholemarketer.com

Episode #138. Creativity is the skill featured in this episode, however being creative is not a department or a job title; it's a skill and mindset that every marketer can harness to keep evolving in pursuit of new, innovative ways to solve problems.  Joining Abby is Kevin Chesters, a marketing strategist with over 25 years of experience both agency and client-side, including being the former Head of Strategy at BT and CSO of W+K London, plus Dentsu, McGarryBowen and Ogilvy. Kevin's first book, 'The Creative Nudge' was an Amazon best-seller and he shares the concepts from his book in this podcast.  In this episode, Kevin shares his definition of creativity, ‘nudge theory' where small changes can lead to significant impacts, 9 behaviours to rediscover your creativity and how marketing leaders can create an environment for creativity.  Plus Kevin shares his advice for reviewing creative respectfully and his career highs and lows.    00:00:00 Welcome and Creativity in Marketing  00:02:00 Defining Creativity  00:03:32 Why is Creativity vital to stand out?  00:06:09 Kevin's Nudge Theory Explained  00:08:12 Nine Behaviours to Rediscover Creativity  00:15:12 How to Create Conditions for Creativity?   00:17:56 Being Willing to Challenge the Status Quo  00:21:56 Creativity and Human Evolution  00:24:51 How to Review Creative Ideas?  00:33:12 Reviewing Creativity and Giving Feedback   00:37:29 Kevin's career Highs and Lows   00:48:18 Advice for Marketers   Host: Abigail (Abby) Dixon FCIM/ICF | LinkedIn Guest: Kevin Chesters | LinkedIn   The Whole Marketer podcast is here to support and empower the people behind brands and businesses with the latest technical tools, soft and leadership skills and personal understanding for a fulfilling marketing career and life as a whole. For more info go to www.thewholemarketer.com 

Meet Olivia Shike—a trailblazer in the hog community. Olivia has been making waves this year with her Chesters at three national shows and then winning the Illinois State Fair market barrow show. In addition to pigs, she also shows horses, she's involved with Queen contests and livestock judging. 

Kevin Chesters has CSO'd it all - Ogilvy, Wieden + Kennedy, Dentsu and more. He's started a business. He's sold a business.  He's also started writing a book and finished writing a book, which is the hardest part of starting to write a book. It's called The Creative Nudge. Kevin is speaking at our fourth Sweathead Do-Together about how to say your ideas in a few words. In this chat, we touch on this topic but we spend a lot more time on being diagnosed with being on the autism spectrum as an adult.  Links: Kevin: http://www.kevinchesters.com Mark: http://www.instagram.com/markpollard The Sweathead Do-Together: http://www.sweathead.com

This week, we went fishing in a Levi's Creek to catch TED speaker, co-author of ‘The Creative Nudge' and enthusiasm enthusiast, Kevin Chesters. His Twitter bio says he's a “tall bald bloke from Penzance”. And whilst that might be true, it does rather undersell the fact that perched atop that tall body, and in that bald bonce, are some serious smarts. For Kevin is a Chief Strategy Officer, formerly strategy head at Ogilvy, Wieden + Kennedy, Saatchi, Dentsu, with a client-side cameo at BT, a visiting lecturer in creativity at several universities, a TEDx speaker, co-author of ‘The Creative Nudge' and an absolute advocate for walking in stupid and talking in smarts.  We discuss his journey from his beginning manning boying a vegetable stall, flirting with journalism, getting past ‘A' in the careers dictionary, the importance of fostering creativity in all fields (including muddy ones), executional skill, breaking category norms, sifting through the interesting to find useful, enthusiasm, neurodiversity, walking in stupid, finding the world endlessly fascintating, big agencies, little agencies and so much more. ///// Kevin's website  Follow Kevin on LinkedIn Here's his book, co-written with the brilliant Mick Mahoney His TED Talk Levi's – Creek by BBH, 1993 ///// Timestamps (03:17) - Kevin's early jobs and first steps in the advertising industry (07:34) - His initial lack of interest in advertising and his pivot from journalism (10:04) - The impact of iconic ads like Levi's Creek on Kevin's career (19:04) - The value of diverse experiences in building a successful career (23:03) - Defining creativity and its importance in business and life (27:37) - Breaking category norms (31:06) - The concept of bravery in marketing (34:42) - Bringing Fresh Perspectives to Meetings (36:38) - Practical tips for fostering creativity in the workplace (45:05) - Listener questions including Mark Earls about the role of enthusiasm (47:08) - The impact of neurodiversity on Kevin's approach to strategy Kevin's book recommendations are:  The Creative Nudge: Simple Steps to help you think differently by Kevin Chesters and Mick Mahoney The Victorian Internet by Tom Standage Legacy by James Kerr An Astronaut's Guide to Life on Earth by Chris Hadfield The Rebuilders by Sara Tate & Anna Vogt (Sara's appearance on Call to Action® https://gasp.agency/media/call-to-action/sara-tate) ////

Marching 73 miles from coast to coast across the narrowest neck of England, Hadrian's Wall was the north-west frontier of the Roman Empire for nearly 300 years and yet there is still so much we don't know about it: only 5% of the wall has been excavated and 7% is viable today. Tony is joined by leading archaeologist Richard Hingley and Collections Curator for Hadrian's Wall and the North East at English Heritage, Frances Macintosh, to give him the low down on how and why Hadrian's Wall was built, by whom and what it means to us today. Hosted by Sir Tony RobinsonX | InstagramWithProf. Richard Hingley | https://richardhingley1.wordpress.com/ Professor Emeritus in Archaeology at Durham University. An expert on Hadrian's Wall, Richard is the author of Conquering the Ocean: The Roman Conquest of Britain (Oxford University Press) and Hadrian's Wall: A life, (Oxford University Press). https://global.oup.com/academic/product/conquering-the-ocean-9780190937416?cc=gb&lang=en& | https://academic.oup.com/book/27846. Dr. Francis Mackintosh | @englishHeritage | @wallcurator Collections Curator for Hadrian's Wall and the North East at English Heritage. An archaeologist by training, Francis specialises in Roman small finds, having completed her PhD on the Clayton Collection material, on display at Chesters. Follow the Show: X @cunningcastpod Instagram @cunningcastpod YouTube @cunningcast Credits: Series Producer: Melissa FitzGerald X @melissafitzg Executive Producer: Dominic de Terville Cover Art: The Brightside A Zinc Media Group production If you enjoyed my podcast, please leave us a rating or review. Thank you, Love Tony x Hosted on Acast. See acast.com/privacy for more information.

Keev and Chester discuss the vibes for each of the 18 teams that missed the playoffs plus Chesters (more than one) give their 2023 NFL awards. This episode's outro is One More Time by blink-182 (h/t Crumley). Learn more about your ad choices. Visit megaphone.fm/adchoices

Following diagnosis of HIV/AIDS in 2006, Roland campaigned for disability rights in the Foreign & Commonwealth Office as Diversity & Equality Officer and Learning & Development Adviser. He was elected Chair of the Disabled Staff Network is now a self-employed Consultant. A Fellow of the Royal Society of Arts (RSA), member of the Chartered Institute of Personnel and Development (CIPD), the Chartered Institute of Management (CMI) as well as the Institute of Training and Occupational Learning (ILM). Author of ‘Ripples from the Edge of Life' (www.ripplesfromtheedge.com), Roland is awarded Best Personal & Professional Coaching Company - South England and Disability & Inclusion Consultant of the Year - Greater London (2016 HR & Training Awards: CV HR Magazine). He co-founded the disability mediation standards for the College of Mediators; and is a finalist in the 2019 National Diversity Awards (Role Model for Disability). You can connect with Roland on LinkedIn and Twitter If you enjoyed this episode, please hit subscribe so you get all the recent conversations with professionals from around the world working with Quality.

In this episode we talk with Dominic of Athletics West Chester.  He is the track coach at Iona Prep in New Rochelle NY.  He runs North East Speed summit in the fall and Speed camps twice a week in the summer.  He is responsible for bringing professional track athletes to the Armory track camps.  Dominic has some of the fastest kids in the NY metropolitan area. He routinely helps his athletes get scholarships to D1 universities 

Jack Chester, an overworked air traffic controller, takes his family on vacation to the beach. Things immediately start to go wrong for the Chesters, and steadily get worse. Jack ends up in a feud with a local yachtsman, and has to race him to regain his pride and family's respect.Follow us on social media at Facebook & InstagramIf you have any questions, show suggestions etc then email us at retrolife4you@gmail.com You can keep up with the podcast at our website at www.retrolife4u.com We would love it & very much appreciate it if you supported the podcast and you can do so by rating and reviewing us on Apple & Spotify. Also by sharing us with your friends!

Deutsche Sprache, fremde Sprache? Nicht für Chester Chen. Am Goethe-Institut Taipei kümmert er sich um Sprachkurse und Prüfungen. Weil er selbst Deutsch von der Pike auf gelernt und auch unterrichtet hat, weiß er genau, wie Taiwaner besser und effektiver Deutsch lernen können. Im Taiwancast verrät Chester seine besten Tipps – und auch, warum es auf Deutsch viel direkter zugeht als auf Chinesisch. Wer ihm zuhört, versteht besser, wieso die deutsche Sprache für manche Taiwaner eine echte Hürde ist, während andere sie scheinbar mühelos meistern. Wir sprechen auch über Deutschland, und Chester verrät, wieso ihm München nach seinem ersten Besuch dort besser gefällt als Berlin. FOLGE 32 – KAPITEL: 05:36 Deutschkurse am Goethe-Institut Taipei 09:39 Wie Chester Deutsch gelernt hat 22:58 Wie Chester sein Deutsch perfektioniert hat 28:40 Deutsch ist sehr direkt 35:16 Deutsch für Anfänger 47:30 Chesters erste Reise nach München MEHR ZUM PODCAST: Zu den Links und Shownotes: https://intaiwan.net/2023/05/30/deutsch-lernen-taiwan-goethe-institut-wenzao Alle Folgen in der Übersicht Taiwancast-Shop (Merchandise) Taiwancast bei Spotify Taiwancast bei Apple Podcasts / iTunes RSS-Feed Taiwancast bei YouTube Taiwancast unterstützen bei Patreon Auf Twitter: Taiwancast / Klaus / Mariano Auf Twitter: Taiwancast / Klaus / Mariano Auf Mastodon: Klaus / Mariano Feedback als Audiokommentar hinterlassen: Datei per Mail an podcast (at) taiwanreporter (punkt) de, oder hier aufsprechen: (04765) 407 9995 bzw. +49 (4765) 407 9995 (bitte angeben, wenn es nicht im Podcast gespielt werden soll) Folge direkt herunterladen

What has happened to primary care in Bendigo? Lisa Chesters, Federal MP for Bendigo heads to Canberra to ask the big questions.See omnystudio.com/listener for privacy information.

Legendary 1960s roadie, Neville Chesters, talks about The Who, Jimi Hendrix... and his adult films. The post Neville Chesters R.I.P: How Jimi Hendrix's Roadie became a Porn Producer – Podcast 77 (reprise) appeared first on The Rialto Report.

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

This episode welcomes three Larkin100 trustees to look back on 2022; Graham Chesters, Phil Pullen, and teacher, writer and poet Vicky Foster who has a very particular connection to Hull and the work of Philip Larkin. Vicky Foster Poet Hull Please watch and subscribe; https://www.youtube.com/@thephiliplarkinsociety1930/featured PLS Membership and information: The Philip Larkin Society – Philip Larkin Presented by Lyn Lockwood. Theme music: 'The Horns Of The Morning' by The Mechanicals Band. Buy 'The Righteous Jazz' at their Bandcamp page: https://themechanicalsband.bandcamp.com/album/the-righteous-jazz Audio editing by Simon Galloway. Follow us and get it touch on Twitter - https://twitter.com/tiny_air Find out more about the Philip Larkin Society here - http://philiplarkin.com/

Levi and Ivy go on an amazing journey to the jungle where they meet a new friend Chester the chimpanzee! Chester gives them a magical tour around the jungle and take the to his tribe, but Chesters brother who is the leader of the chimpanzee's does not want any humans in the jungle and orders them to leave. Chester wants to gain favor with his brother and his fellow monkeys so he finds the largest banana ever and with the help of Levi and Ivy, he brings the banana to everyone and in the end Chesters brother allows Levi and Ivy to stay. Welcome to Lively Lewis Stories!! You may know us from The Lively Lewis Show!! This is our podcast where siblings Levi and Ivy go on incredible adventures, where they learn and model positive life lessons. These imaginative stories of Levi's energetic personality and Ivy's spunky silliness will keep you engaged, laughing and learning episode after episode! Our goal is to create a safe environment for kids to listen and learn about strong values, big imaginations, humorous pretend play, and healthy family dynamics. Our stories are great for bedtime stories, car rides, or just for fun! Thanks for listening!! Lively Lewis Show: https://www.youtube.com/@LivelyLewisShow Lively Lewis Vibes: https://www.youtube.com/@LivelyLewisVibes LinkTree: https://linktr.ee/livelylewis

Hey There, Hi There, Ho There and welcome to another Disneyland Paris Show! We're back with the latest news, audience trip reports and fun from everyone's favourite Disneyland park! In this week's show, we catch up on all the news from the last 2 weeks and The Chesters give us an insight into their recent trip to the parks. Listen to our shows on your favourite podcast client: DLP Show - https://link.chtbl.com/DlpShow Classics Show - https://link.chtbl.com/37disneystreet Get in touch with the show: Twitter @37DS | Instagram @37disney_street | Facebook facebook.com/37DisneyStreet | email mailbox@37disneystreet.co.uk Check out our new merch on teepublic: https://www.teepublic.com/user/disneystreet Support us on Patreon and catch the Extra Magic Time Show: https://www.patreon.com/37disneystreet

As reaching $100 million in ARR continues to be a critical milestone for SaaS players, UserZoom CEO Alfonso de la Nuez and CMO Sophie Chesters will explain how they have taken UserZoom's business to the next level since its founding in 2007 and share ten relevant lessons learned during UserZoom's journey to $100 million in ARR in the user experience management space.   Full video: https://youtu.be/ldf7eOfuDkg   Want to join the SaaStr community? We're the

My guest today is none other than best-selling author, Chester Elton. Chester Elton has spent two decades helping clients engage their employees to execute on strategy, vision, and values. In his provocative, inspiring, and always-entertaining speeches, the #1 bestselling leadership author provides real solutions to leaders looking to manage change, drive innovation, and lead a multi-generational workforce. Elton's work is supported by research with more than 1 million working adults, revealing the proven secrets behind high-performance cultures and teams. Chester has been called the “apostle of appreciation” by Canada's Globe and Mail, “creative and refreshing‚” by the New York Times, and a “must read for modern managers” by CNN. The author of numerous books including; Anxiety at Work and Leading with Gratitude. This show is dedicated to Chesters journey, this conversation is what we make it. This is Counsel Culture. Learn more at www.ericbrooker.com | www.cultureworks.com  iTunes - https://podcasts.apple.com/us/podcast/anxiety-at-work-with-adrian-gostick-chester-elton/id1549312484

Welcome back Witches!  We wanted to do something a little different for our 13th episode, so for this week we will focus on the number 13 and the history and superstitions surrounding this spooky number!  We had a lot of fun researching this one and we hope that you all enjoy it as much as we do!  So get in losers, and lets discuss Spooky 13 and all its lore. We would be forever thankful if you leave our podcast a 5-Star review. If you really loved the show and want more Get in Loser content, check out our Supercast link below, or search the Supercast website for Get in Loser, We're Doing Witchcraft. You can also find us at our Buy Me a Coffee link below.  There you can purchase a membership to our podcast and obtain exclusives like, getting episodes early, shout outs on the show, access to our “Ask me anything” forum, our monthly newsletter, a promo code for merchandise, and more. You can also find us on Facebook, Twitter and Instagram @GetinWitches, on TikTok @weredoingwitchcraft or email us at weredoingwitchcraft@gmail.com. You  can support our show through our Supercast: https://getinloserweredoingwitchcraft.supercast.com/ Buy Me a Coffee: https://www.buymeacoffee.com/getinwitches   Music by Darren Curtis- My Dark Passenger----more---- References Maranzani, Barbara. What's So Unlucky About the Number 13?. (2013, updated 2021). History. https://www.history.com/news/whats-so-unlucky-about-the-number-13 Kelly, Aliza. Why Do People Think the Number 13 Is Unlucky?: Let's Talk About Triskaidekaphobia. (2018). Allure. https://www.allure.com/story/why-is-number-13-unlucky Bobic, Chrissy. Why is the Number 13 Unlucky? The Superstition Has a Long History. (2021). Distractify. https://www.distractify.com/p/why-is-the-number-13-unlucky Conradt, Stacy. 13 Reasons People Think the Number 13 is Unlucky. (2017). Mental Floss. https://www.mentalfloss.com/article/23266/13-reasons-people-think-number-13-unlucky Ferre, Lux. Number Thirteen (13). (2018). Occult World. https://occult-world.com/number-thirteen-13/ Mulvania, Andrew. 18 Superstitions from Around the World. Google Arts & Culture. https://artsandculture.google.com/story/18-superstitions-from-around-the-world/QQIyTWmzJ9QvLg Melina, Remy, 2011. Live Science. https://www.livescience.com/14147-number-13-bad-luck.html https://www.bbc.co.uk/newsround/16543009 Skaftun, Emily 13 June 2014. https://www.norwegianamerican.com/blame-loki-for-your-bad-luck/ Chesters, Crystal August 13, 2021. https://inews.co.uk/light-relief/friday-13th-unlucky-why-meaning-beliefs-explained-338205 https://lifestyle.allwomenstalk.com/of-the-most-interesting-and-common-superstitions/  

THE BIGGEST LITTLE FARM: THE RETURN is a short documentary special on Disney Plus. It's a follow-up to a 2018 documentary by farmers John and Molly Chester. As the Chesters document their 10-year journey in creating a thriving, complex ecosystem of farm animals and fertile soil, they also deal with loss, droughts, predators, and other challenges to their farm. In just a 30 minute runtime, the Chesters celebrate the beauty of Creation, animal birth, and the complex ecosystem of animals and wildlife.

This episode of the Korea Now podcast features an interview that Jed Lea-Henry conducted with Robert Winstanley-Chesters. They speak about the plagiarism scandal that surrounded Charles Armstrong and his book ‘Tyranny of the Weak', the nature of the plagiarism and academic corruption involved, the extraordinarily immoral response from much of the Korean Studies community who chose to defend Armstrong and publicly attack the people making the allegations, the history of such behaviour within the Korean Studies community, as well as deeper questions concerning authorship, co-production, authenticity, intellectual ownership, provenance, truth and objectivity. Robert Winstanley-Chesters is a human geographer, Lecturer at University of Leeds and Bath Spa University, a Teaching Fellow at the University of Edinburgh, and Member of Wolfson College, Oxford, formerly of Birkbeck, University of London, Australian National University and Cambridge University. He is author of “Environment, Politics and Ideology in North Korea” (Lexington, 2014), “Vibrant Matters(s): Fish, Fishing and Community in North Korea and Neighbours” (Springer, 2019) and "New Goddess of Mt Paektu: Myth and Transformation in North Korean Landscape” (Black Halo/Amazon KDP 2020). You can follow Robert's academic work at: https://anu-au.academia.edu/RobertWinstanleyChesters and Robert Winstanley-Chesters (researchgate.net) * Robert's article on which this is interview based is: ‘Authorship, Co-Production, Plagiarism: Issues of Origin and Provenance in the Korean Studies Community' Authorship, Co-Production, Plagiarism: Issues of Origin and Provenance in the Korean Studies Community | Robert Winstanley-Chesters - Academia.edu * The paper by Robert Winstanley-Chesters 'Authorship, Co-Production, Plagiarism: Issues of Origin and Provenance in the Korean Studies Community' is part of a writing and research project led by Professor Vladimir Tikhonov of the University of Oslo and Associate Professor Adam Bohnet of the University of Western Ontario titled 'Unpicking the Hegemonic Threads in the Production of Korean Studies in English: Eurocentrism, Cold War Logics and Questions of Authorship.' This project based at the University of Oslo, in Norway has engaged in a series of workshops and writing sessions between 2019 and 2022 funded by the Academy of Korean Studies 2020 Korean Studies Grant program (AKS-2020-C-16) and the project is grateful for their generous support. Other materials referenced in the interview: *** Revoking a Recommendation by B.R. Myers Revoking a Recommendation — B.R. Myers – Sthele Press *** On Academic Ward Bosses by B.R. Myers On Academic Ward Bosses — B.R. Myers – Sthele Press *** Table of 98 Examples of Source Fabrication, Plagiarism, and Text-Citation Disconnects in Charles K. Armstrong's Tyranny of the Weak (2013) Tyranny-of-the-Weak_Table-of-98-Cases.pdf (sthelepress.com) Support via Patreon – https://www.patreon.com/jedleahenry Support via PayPal – https://www.paypal.me/jrleahenry Support via Bitcoin - 31wQMYixAJ7Tisp773cSvpUuzr2rmRhjaW Website – http://www.jedleahenry.org Libsyn – http://korea-now-podcast.libsyn.com Youtube – https://www.youtube.com/channel/UC_qg6g1KyHaRXi193XqF6GA Twitter – https://twitter.com/jedleahenry

Kev Chesters is the co-founder of Harbour Collective and co-author of "The Creative Nudge: Simple Steps to Help You Think Differently". Previously Kev has been Chief Strategy Officer at Ogilvy UK, Head of Planning at W+K and Planning Director at S&S.What we covered in this episode: How Kev got sued by Dr Dre Bumping into famous people in urinals Why creativity in business really matters The power of advertising to sell jeans Why creative is not the same as making ads The creative power of business constraints How dancing horses can sell mobile tariffs The feel good power of internet memes Why creativity is the underdog's most competitive advantage How short deadlines actual reduce creativity Why nothing good ever came out of a workshop The importance of never giving up Jon's most creative achievement with no budget What would you do if your budget was your Dad's money The power of discontent to drive creativity How being scared signals real creativity The tyranny of average that holds us back from being brave Why creative is the only key to progress How to create the conditions for creativity to thrive Why anybody can be creative in the broadest sense The twin conspiracy of biology and societal conditioning The power of positive dissent and why consensus should be killed Why ‘the meeting' is never the actual meeting What you can learn from the Devil's advocate The importance of failure to our success Getting used to the feeling of fear Creative nudges that will help you become more creative How algorithms are great for efficiency but terrible for exploration The importance of being unreasonable What we can all learn from Lady GaGa

Speaker: Squad Preach // Date: Sunday 21 November 2021

Sam, Roshane & George look back on the win against Spurs, consider our chances of a top 4 finish and analyse the facial hair of young midfield starlet, Dan Chesters. PLUS! Are we bigger than both Man U and Barca?

I finally took the time to look at a different perspective of our collecting hobby which is framing and I invited one of my favorite guys from the Facebook groups who is an actual framer for many many years, Tom Chesters aka @even_dogs_in_the_wild from @bayframing everyone. We will talk how a the framing magic is done and how nice it actually is to get your frame from the local framer. Stay tuned and head over to our Instagram profile @dropmagofficial or check us out on YouTube for the full video and don't forget to smash that like button! __________________________ #speedround #illustration #drop #dropcast #movieposter #design #art #artwork #graphicdesigner #posterartist #interview #podcast #framing #tomchesters #bayframing #upthewall #decor #home #wallspace --- Send in a voice message: https://anchor.fm/dropmag/message

On this week's Campaign podcast, acting news editor Simon Gwynn and UK editor Maisie McCabe discuss one of the biggest stories to hit adland in recent years: the outcome of the JWT employment tribunal, and how coverage unfairly focused on Wunderman Thompson's Jo Wallace. Simon and Maisie then talk about one of the week's biggest new reviews – the consolidated global media account of food delivery giant Just Eat Takeaway – followed by some of the latest ads. In the second half of the episode, Maisie speaks to Kev Chesters and Mick Mahoney, strategy and creative partners at Harbour Collective, about their new book The Creative Nudge, and why it pays to ask "What would Gaga do?". "Being unreasonable means being prepared to dissent," Chesters says. "One of the problems we have in business is we reward consent... You can't be creative if it's not different – you have to be prepared to reward dissent."

Through counselling, Gam anon and researching addiction, Erica managed to separate the person from the addiction. The person she married was not the person who did those reckless things, but there was much anger and hurt. She couldn't throw the towel though because she knew it was his addiction that was causing his behaviour. When she first found out about the gambling she felt duped and angry but looking back she realised there were some missed red flags. Patrick would always have a reason for why her debit card didn't work and she believed him but now she thinks should she have demanded proof or better answers?

As Matt and Chester ride the range, talking about Chesters troubles, they come across a wagon with a broken wheell. With a shotgun barrel point Matt's way, he soon figures…

The boys are back with a classic boys pod! They talk Chets, Chesters, Cleveland, pissing outside, Will gets his bike stolen, and more!! EMAIL US: gooddadanduglypod@gmail.com   FOLLOW US: Twitter: @goodddaduglypod, @schrotime, @winnerwill, @caseyjsalengo IG: @gooddadanduglypod, @schrotime, @will.the.winner, @caseyjsalengo   PATREON: www.patreon.com/gooddadugly    

Described as one of the most complete cavalry forts that survives in Britain, Chesters Roman Fort is also home to the best preserved military baths on the island. In this episode, English Heritage Curator Dr Frances McIntosh takes Tristan around the site, and explains how it can tell us more about everyday life on this far flung frontier. See acast.com/privacy for privacy and opt-out information.

Welcome to another Strettycast, the Manchester United podcast, with myself and Mike. In this episode, we are joined by Heath Chesters, a Mancunian who fell in love with Granada and worked for the club. We talk about Diego Martinez, the 40-year-old manager who is seen as the next big time coming out of Spain at the moment. Not forgetting familiar face Roberto Soldado after netting 10 goals for the La Liga outfit this season. You can subscribe to the Strettycast on Apple Podcasts, Spotify and aCast. If you’re a fan of the show, please leave us a rating/review on Apple Podcasts. See acast.com/privacy for privacy and opt-out information.

Today we talk with LITTLE ANTHONY about some of the highlights of his 60+ year career in music.  He talks about Buddy Holly, Elvis & Smokey Robinson to name a few of people he's met and known over the years.  We cover topics like segregation in the 50s, Religion, and his gift of an incredible voice!  It's an interview not to be missed!   ABOUT LITTLE ANTHONY: Little Anthony and the Imperials, American rhythm-and-blues vocal group whose career straddled the eras of doo-wop and soul music. The Imperials were formed in New York City in 1958 as a new incarnation of a short-lived group called the Chesters. The vocal combo's original members were Jerome Anthony Gourdine, Clarence Collins, Ernest Wright, Jr., Tracy Lord, and Nat Rogers    The Imperials found instant success with their second single, “Tears on My Pillow” (1958), a doo-wop ballad distinguished by Gourdine's youthful falsetto. While introducing the song on the radio, influential disc jockey Alan Freed, an early supporter, called the group Little Anthony and the Imperials (in reference to Gourdine), and the moniker stuck. After a number of less-successful releases, a brief departure by Gourdine, and the replacement of Lord and Rogers, the group hit its stride in the mid-1960s. Producer-songwriter Teddy Randazzo brought the Imperials' vocal style in line with the popular soul sound of the day, resulting in a string of pop and rhythm-and-blues hits, including “I'm on the Outside (Looking In)” (1964), “Goin' out of My Head” (1964), and “Hurt So Bad” (1965).   By the mid-1970s the group's commercial fortunes had waned and the lineup had gone through several changes, most notably the 1969 departure of Wright. Gourdine left in 1975. The Imperials carried on for four more years but never achieved another American hit. Gourdine, Collins, and Wright reconvened in 1992 with latter-day member Sammy Strain (who had since joined the O'Jays) for a successful appearance at New York City's Madison Square Garden. Thereafter, the group continued touring with varying lineups into the early 21st century, releasing a new album, You'll Never Know, in 2008. Little Anthony and the Imperials were inducted into the Rock and Roll Hall of Fame in 2009.   You can find JIM AND MIKE TALK MUSIC podcast on Apple Podcasts, Spotify, Iheart Radio, and almost anywhere you listen to podcasts.  We also have a YouTube Channel where we feature a couple video segments from our interviews.

Roland Chesters is an author, thought leader, and compassionate leader in the diversity world. Following a life-changing diagnosis of HIV and AIDS in 2006, he became a campaigner for diversity and inclusion and a vocal advocate for people living with HIV. Roland was a finalist in the 2019 National Diversity Awards as a Positive Role Model for Disability. He joins the Next Pivot Point podcast to share: Labels to avoid when talking about disabilities How 80% of disabilities are not visible Why managers are critical to talking about disabilities at work Connect with Rolland Chesters at https://www.ripplesfromtheedge.com/. Find Julie at https://nextpivotpoint.com/ or @nextpivotpoint.

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Do you know your Bournes from your Burghs, your Casters from your Chesters, your Kils from your Kirks? This week we’re having another look at place names and the fascinating stories behind some of our nationally treasured locations. Gyles and Susie tell us why Plymouth Hoe is not a misogynistic slur, why the God Thor never visits The Devil’s Punch Bowl and and where the oxen used to cross the river. Plus a hair-raising story from Halifax and a cry for compassion from Durham and Cornwall! Susie's trio: Quignogs- ridiculous ideas or conceits  Finnying- timid or fearful  Nickerers- new shoes that creak  A Somethin’ Else production If you would like to get in touch with Gyles and Susie with any questions, please email purple@somethinelse.com. Our fabulous new range of merchandise is now live at https://kontraband.shop/collections/something-rhymes-with-purple PLUS for this first week we are giving you 10% off all items if you use the code purple2021. So whether you’re buying a treat for yourself or a gift for a Purple loved one then now is the time to do it.

Do you know your Bournes from your Burghs, your Casters from your Chesters, your Kils from your Kirks? This week we’re having another look at place names and the fascinating stories behind some of our nationally treasured locations. Gyles and Susie tell us why Plymouth Hoe is not a misogynistic slur, why the God Thor never visits The Devil’s Punch Bowl and and where the oxen used to cross the river. Plus a hair-raising story from Halifax and a cry for compassion from Durham and Cornwall! Susie's trio: Quignogs- ridiculous ideas or conceits  Finnying- timid or fearful  Nickerers- new shoes that creak  A Somethin’ Else production If you would like to get in touch with Gyles and Susie with any questions, please email purple@somethinelse.com.

For episode 24, we reflect on the greatest to ever wear #24 and one of the greatest to ever pick up a basketball for the year anniversary of the untimely accident on 1/26. Favorite Kobe moments and our Super Bowl predictions are among this week's topics. RIP Kobe & Gigi Bryant, the Altobellis, the Chesters, Christina Mauser, and Ara Zobayan. Recorded 1/25/21 Follow us on Twitter for updates (http://twitter.com/DLICYPodcast) and make sure to sub to our YouTube channel (https://www.youtube.com/channel/UCpVm2CfTOsIWEzDbC8z5h0w/featured)! Thanks for listening!

Bryan Chesters grew up in the suburbs of Chicago, IL.  He has performed on stage and screen in Chicago, NYC, and Los Angeles. He received both his BA (Music) and MFA (Theater) from UCLA (Magna cum laude).   He has taught acting at UCLA, YPS Studio, LA School of the Arts, Arts Camp & LAUSD. You may recognize Bryan from TV/Film acting credits include: WAR DOGS (w/Jonah Hill & Miles Teller), MAD MEN (Dir. Jon Hamm), MODERN FAMILY, ANGER MANAGEMENT, Grey's Anatomy,  A Lesson in Love (Starring Kristy Swanson) & Jet Set, Good Trouble (Freeform), A Haunting At Silver Falls: The Return (Netflix).While also owning and teaching his own acting class, Actors Theater Los Angeles Bryan founded and his own DJ/MC company Let's Party LA. This Entertainment is a DJ/MC company that provides “Entertainment for all Occasions”! He created Let's Party LA back in 2001 and has been entertaining So-Cal audiences ever since.

Viajamos a la provincia de Britania al norte del Imperio Romano. Al año 117 dC Acaba de fallecer el emperador Trajano y desde la parte oriental del imperio, el sucesor Adriano viaja a Roma para proclamarse jefe de gobierno. Su primera decisión va a ser dejar de expandir Roma para dedicarse a consolidar los territorios conquistados. En la isla de Gran Bretaña, las constantes rebeliones y la inestabilidad hacen que Adriano decida algo sin precedentes hasta el momento: la construcción de un enorme muro de costa a costa que definirá la frontera física de Britania con las tierras del norte. Una obra monumental que va a llevar 10 años de trabajo con más de 15.000 hombres implicados en el proyecto. Hoy os hablaré de los principales yacimientos y de la importancia de los hallazgos realizados en Vindolanda, Housesteads, Chesters y Corbridge. Puedes encontrar el resto de los capítulos del podcast aquí y en plataformas para audios y podcasts como Spotify, Apple podcast, Google podcast, iVoox, etc… Envía tu pregunta, consulta o sugerencia para el podcast. ¿Quieres venir a Escocia en uno de nuestros tours? Busca tus fechas en www.mundoescocia.com ¿Quieres venir a Escocia por tu cuenta? Reserva una asesoría online para revisar o planificar tu ruta ideal y que tu viaje en coche o autocaravana sea perfecto. Gracias por seguir Escocia sin límites en Instagram y Facebook y por tus valoraciones en Ivoox y Apple Podcast --- Send in a voice message: https://anchor.fm/escocia-sin-limites/message

We're joined by English Heritage properties historian Andrew Roberts and collections curator Frances McIntosh to discuss the story of Chesters Roman Fort on Hadrian's Wall, which remains the most complete Roman cavalry fort in Britain. Discover what life was like for the men stationed here, the importance of the cavalry and the story of John Clayton, who excavated the fort from 1843 until his death in 1890, helping to save this section of Hadrian's Wall and unearthing many of the objects on display in the fort's museum. To discover more about Chesters Roman Fort or to plan a visit, go to www.english-heritage.org.uk/chesters

Professor Graham Chesters, the new Chair of the Philip Larkin Society, joins us to talk about how came to Hull University, inadvertently following the footsteps of Larkin. Graham also tells us about his relationship with Philip Larkin both as a university colleague and a neighbour in Hull and some of his more disconcerting and memorable encounters with Larkin. Graham talks about his involvement with the Philip Larkin Society and the impact of Covid on the Society. Graham also talks to us about the Larkin poem Absences. A couple of little technology gremlins sneaked in here, so apologies for the occasional dip in sound quality. Contemporaries of Larkin mentioned: Garnet Rees (Chair of Modern French Literature at Hull), Vernon Watkins (Welsh poet), Brynmor Jones (Vice Chancellor of Hull University), George Orwell, Dylan Thomas, Seamus Heaney, Eddie Dawes (founding Chairman of the PLS), Maeve Brennan (Larkin’s sub-librarian and lover), Monica Jones (Larkin’s partner), Betty Mackereth (Larkin’s secretary), Carole Collinson (PLS Membership Secretary), James Booth, biographer of Larkin, Life, Art and Love (2014). Other texts: Larkin: A Writer’s Life by Andrew Motion (1993), The Sight of Death by TJ Clarke (2006). French literature: Les Fleurs du mal by Charles Baudelaire (1857), Rimbaud, Mallarme, Roland Barthes. Larkin poems discussed: As Bad as A Mile, Absences, I Remember, I Remember. Presented by Lyn Lockwood. Theme music: 'The Horns Of The Morning' by The Mechanicals Band. Audio production by Simon Galloway. Follow us and get it touch on Twitter - https://twitter.com/tiny_air Find out more about the Philip Larkin Society here - http://philiplarkin.com/

Hello hunks! Welcome back to the podcast! This week we're talking about S12E16 - Ladies Drink Free, in which an older werewolf gaslights a young high school student into being his werewolf GF, seemingly without her consent? We didn't really talk about that in the episode but that seems weird, fam! Also, Claire is there. Hi Claire! Monster of the Week is on Patreon (https://patreon.com/monsteroftheweek)! If you want to directly support the show and ensure we keep putting out that sweet hashtag content week to week, consider pledging. You get some sweet rewards like early access to weekly episodes, access to our Discord, exclusive podcasts, and more! Monster of the Week is also on Twitter (https://twitter.com/motwcast), Instagram (https://www.instagram.com/monsteroftheweekpodcast/), and Tumblr (https://monsteroftheweekpodcast.tumblr.com/). Jeremy is on Twitter (https://twitter.com/jggreer), and you probably shouldn't follow him unless you know what you're doing. Chris is on Twitter (https://twitter.com/localbones), and you probably should follow him if you like #hunks and #swords. Like that intro? The music was done by our friend bansheebeat (https://twitter.com/bansheetweet), who is a fantastic music producer. The vocals are by Heather Millette (https://heathermillettemusic.bandcamp.com/releases), the most emo girl from Boston and also our very good friend. If you really like that intro, we made an entire music video (https://www.youtube.com/watch?v=LNjbrC1S-CI) for it. It's awesome. Please watch.

Today the podcast is haunted by the wildly long-running TV series Supernatural. We talk about Sam and Dean Winchester's codependent relationship (and Sam's ever-evolving hair) as we find out which characters we are. Would we survive an episode of the show? Probably not, but we're happy enough not to find out. Plus: some bad news about mice.

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2020.09.07.286013v1?rss=1 Authors: Wiltshire, C. E. E., Chesters, J., Krishnan, S., Healy, M., Watkins, K. E. Abstract: Developmental stuttering is a speech motor disorder characterised by difficulties initiating speech and frequent interruptions to the speech flow. Previous work suggests that people who stutter (PWS) have an overactive response suppression mechanism. Imaging studies of speech production in PWS consistently reveal greater activity of the right inferior frontal cortex, an area robustly implicated in inhibitory control of both manual and spoken responses. Here, we used a manual response version of the stop-signal task during fMRI to investigate neural differences related to response initiation and inhibition in PWS. Behaviourally, PWS were slower to respond to 'go' stimuli than people who are typically fluent (PWTF), but there was no difference in stop-signal reaction time. Our fMRI results were consistent with these behavioural results. The fMRI analysis revealed the expected networks associated with manual response initiation and inhibition in both groups. However, all contrasts between the two groups were characterised by overactivity in PWS relative to PWTF. This overactivity was significantly different for the initiation of responses (i.e. the 'go' trials) but not for response inhibition (i.e. the 'stop' trials). One explanation of these results is that PWS are consistently in a heightened inhibition state, i.e. areas of the inhibition network are more active, generally. This interpretation is consistent with predictions from the global response suppression hypothesis. Copy rights belong to original authors. Visit the link for more info

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Welcome everyone to The Man Cove Wellbeing Talk Show and the 'My Trauma, Your Trauma' show. Our interview series. We also have our magazine show. Packed with short segments on all things trauma recovery and wellness info available on on our channel now. The intention of the show is to hear from experts and also those who have experienced trauma -- We want to open up the conversation on trauma in a light, open and explorative way. Be it childhood trauma, PTSD from combat, abuse or generalized life traumas such a car accidents, losing loved ones and brake ups -- TODAY'S SHOW - SERIES 2 - EPISODE 2 -- Owen talks Roland Chesters. Who is a self-employed Disability Development Consultant and has his own company, Luminate. Roland Chesters who was given just two weeks to live after being diagnosed with HIV . Roland is now a campaigner for disability rights. Today we will talk about the impact any form of disability has on our mental and emotional health -- Our Guest Details -- Roland Chesters Luminate -- Website - https://luminate.uk.com/ -- Based in the UK -- More on Man Cove Wellbeing -- The men's mental health movement - Visit our LinkTree page for all our platforms and websites - https://linktr.ee/mancovewellbeing  -- Help us to keep creating videos and offering even more content to men all over the world. We can do so much more with patron support. Come and find out how you can become a Member via Patreon and join the movement today https://www.patreon.com/MCW  -- If you are in need of support regarding anything you have seen here today then please contact the support services listed below. You can also visit our directory of content providers who also offer a range health and wellness treatments, therapies and classes. Please contact a health professional if you need help -- UK -- The Samaritans - https://www.samaritans.org/ -- Mind - The Mental Health Charity - https://www.mind.org.uk/  -- USA -- National Suicide Prevention Hotline: 1 (800) 273-8255 National Domestic Violence Hotline: 1 (800) 799-7233 LGBT Trevor Project Lifeline: 1 (866) 488-7386 National Sexual Assault Hotline: 1 (800) 656-4673 Crisis Text Line: Text “HOME” to 741741 -- Australia Helplines and online support https://www.mhc.wa.gov.au/getting-help/helplines  -- Downloadable Resources Prevent Suicide - Grassroots https://www.prevent-suicide.org.uk/   -- More afforadable Online Counseling https://www.betterhelp.com/about/ -- PODCAST DISCLAIMER - PLEASE READ BEFORE LISTENING -- Welcome to Man Cove Wellbeing. As always please read the disclaimer in the description of podcast and also put yourself first as the following content may bring things up for you that feel uncomfortable. Look after you and take a break from the podcast if you need too. The PODCASTS on this channel and it's content are not a substitute for the support and guidance of a qualified health professional. We are here to share information that may be useful to our viewers and we hope you enjoy. Links to organizations that can support you are in the description. The content taken from books, blogs and articles for this video are designed to showcase the information and does not mean the authors or writers are affiliates of Man Cove Wellbeing. The views, opinions and theories shared via this video, channel and MCW as a whole do not representative of the individual views, opinions and beliefs of the narrators, producers or creators and of this channel and movement as a whole. If you would like to take part or offer content to Man Cove Wellbeing please contact us at team@mancovewellbeing.com

Buddy is joined by good friends Simon (Take My Tone) and Lance to dive into Linkin Park. Our first experiences with the band, their influence on our musical tastes, Chesters passing, our thoughts/favourites and rankings of each album and the evolution of their sound.HOST:· Buddy Watson – https://twitter.com/buddywatson12· Radio Watson – https://twitter.com/RadioWatson_ GUESTS:· Take My Tone – https://takemytone.com/· Simon Blackburn – https://twitter.com/precisepath· Lance Oostenbroek - https://twitter.com/lancemo CREDITS:Art By: Simon Blackburn – https://twitter.com/precisepathMusic By: Mr Brown Beats – https://soundcloud.com/mrbrownbeatsVideo By: Firing Squad Media – https://firingsquadmedia.net/

Here's something really lovely for your Friday - a poem written and read by our very own Mark Chesters that gently leads us to asking questions of ourselves and of this season. Shhh for a while and listen - is there a thoroughly extraordinary normal that's calling out to you? You can view this devotional on Youtube at https://youtu.be/mvrmeBq8lYQ We're making regular, short devotional videos to help people in their thinking, meditation and prayer. These videos are available at youtube.com/onechurchbrightonchannel.

Hear Lisa's stance on the new COVIDsafe Ap, the reason as to why Victorias CV19 restrictions haven't been lifted like other states, and how it's good news today for those on the Job Seeker Payment. 

This is a truly lovely way to spend 12 minutes. A beautiful encouragement from Mark Chesters towards gratitude, haikus, and sitting in the glow of the sun. We're making regular, short devotional videos to help people in their thinking, meditation and prayer. These videos are available at youtube.com/onechurchbrightonchannel.

I'm thrilled to introduce my next guest, Lisa Chesters, on episode 6 (Day 6) of my podcast "GOING VIRAL: Staying Sane, Healthy & Connected during the Coronavirus Outbreak of 2020." **Please Note: The opinions expressed in this podcast are my own and my guest's own. If you are experiencing COVID-19 symptoms, please call 911 or consult your doctor.** -->Lisa Chesters lives with her family in Los Gatos, CA in a scenic & somewhat rural area in the Santa Cruz Mountains. We met as graduate students at Georgetown University in Washington, DC and have had many adventures together throughout the years, most notably in Paris and Amsterdam. We were supposed to have our 20th reunion with our grad school crew (Communication, Culture and Technology) this May, but will take the reunion online to reconnect virtually with our friends across the world. -->Working in Silicon Valley, Lisa is the Head of Marketing for pHin, a smart technology device used in swimming pools and hot tubs to maintain proper pH levels. She mentioned there has been a surge in sales since all customers are homebound during the COVID-19 quarantine. Great news for her company! -->Lisa is a very smart, passionate and witty friend who I love laughing with. She is a true wine connoisseur, living in the heart of Wine Country...and she is happy to report, her local wineries are doing home deliveries! She recommends the Blue Apron meal delivery service for family dinners. During this difficult time, Lisa reminds us to use our common sense, take the quarantine seriously, and see this time as a gift to bond with our families, enjoy the outdoors and live our lives in the most positive way. -->You can find Lisa at: -->LinkedIn: https://www.linkedin.com/in/lisachesters/ Thank you very much! -->Find us at: www.techsavvycoach.com/hustleandheartpodcast -->Facebook.com/hustleandheartpodcast -->Follow, Connect and DM us on Instagram: @hustleandheartpodcast if you would like to be our guest and Zoom or Skype in! ............................ #coronavirus #covid19 #newnormal #losgatos #pHin #santacruz #siliconvalley #keepsane #strongwomen #mothers #BFF #quarantine #socialdistancing #podcast #podcastlife #georgetown #hoyas #cct #amsterdam #paris #washingtondc #outbreak #pandemic #hustleandheart #hustleandheartpodcast #goingviral #commonsense #stayhome #wearamask #winecountry

Tune into the 21st Episode of the Cultural Bliss Podcast, as we discuss the tragic helicopter crash that claimed the lives Kobe Bryant, Gianna Bryant, Payton Chester, Sarah Chester, Alyssa Altobelli, Keri Altobelli, John Altobelli, Christina Mauser and Ara Zobayan. Other Topics discussed: The Legacy of Kobe Bryant and his effect on our lives, Gayle King interview with Lisa Leslie, The Aaron Hernandez Documentary, NBA predictions and much more!!! Prayers go out to The Bryant Family, The Altobellis, The Chesters, The Mausers and The Zobayans. --- Send in a voice message: https://anchor.fm/CULTURALBliss/message

Western Wednesday!

Western Wednesday!

Den sølle internet trold Larry tjekker ind på et billigt motel, på vej mod et familiebryllup, han på ingen måde har lyst til at deltage i. Her bliver han offer for opsynsmanden Chesters skæg og ballade, for det er 1. april i dag, så man må godt lave sjov med folk. Chesters sjove påfund bliver dog hurtigt ret grove. http://www.ikassenshow.dk/2019/12/i-kassen-573-into-dark-im-just-fcking.html

Two species, one legend! Al Schminke is truly an icon in both the sheep and swine rings backed by years of knowledge and success. From the "Pilgrimage", to 6 figure bucks, this man has managed to continue a legacy we all hope to achieve. We can also appreciate that Al married-up...seems to be a commonality between the 3 of us. We hope you enjoy the history and stories as much as we did. This right here is what Al would call a goodin'.Time is running out to get the showpig.com e-blast special! Take advantage while it lasts!Buy your merch! https://stocktalk-podcast.com/shop/Support the show (https://www.facebook.com/TheStockTalkPodcast/?modal=admin_todo_tour)

In this episode, the guys welcome self published author and CCSU D1 athlete, Sabrina Chesters. Learn about the process in writing and publishing your own book, the intense workload of a student athlete and what it takes to manage it all. Special thanks to Scooped Up! for their track "Get Bent" at the end of the episode. Get Sabrina's book Charlotte on Amazon! 

Hey Broomheads! Rach and Pat are back on #DEEEMP to discuss new principals, new relationships, and new Chesters! Just a programming note, #DEEEMP will be away for the next two weeks, so drink this one in slowly and we'll see you after Thanksgiving, but before Christmas!

In this inaugural episode of Author-to-Author, Catholic author Dr. Cynthia Toolin-Wilson interviews Sabrina Chesters, a First-Time Author of a Book Called Charlotte (October 28, 2019)

In this episode of I Thought You'd Like to Know, Catholic author Dr. Cynthia Toolin-Wilson interviews Sabrina Chesters, author of a book entitled Charlotte, available on Amazon at https://www.amazon.com/Charlotte-Sabrina-Chesters/dp/1796062812 (October 28, 2019)

In this episode of I Thought You'd Like to Know, Catholic author Dr. Cynthia Toolin-Wilson interviews Sabrina Chesters, author of a book entitled Charlotte, available on Amazon at https://www.amazon.com/Charlotte-Sabrina-Chesters/dp/1796062812 (October 28, 2019)

In this episode of I Thought You'd Like to Know, Catholic author Dr. Cynthia Toolin-Wilson interviews Sabrina Chesters, author of a book entitled Charlotte, available on Amazon at https://www.amazon.com/Charlotte-Sabrina-Chesters/dp/1796062812 (October 28, 2019)

to the tune of Carry On My Wayward Son This is Monster of the Week It's with Chris and Jeremy This week's episode has a lot of Songs But it's still full of loooooooore Hello and welcome back friends! This week we're discussing S10E05 - Fan Fiction, in which the boy's go investigate a missing teacher and find a whole bunch of meta craziness! Despite Dean's insistence there isn't any singing in Supernatural, we have a whole EP's worth of music about the boys, including a heartbreaking cover of Carry On My Wayward Son that we love to bits. Enjoy! Monster of the Week is on Patreon (https://patreon.com/monsteroftheweek)! If you want to directly support the show and ensure we keep putting out that sweet hashtag content week to week, consider pledging. You get some sweet rewards like early access to weekly episodes, access to our Discord, exclusive podcasts, and more! Monster of the Week is also on Twitter (https://twitter.com/motwcast), Instagram (https://www.instagram.com/monsteroftheweekpodcast/), and Tumblr (https://monsteroftheweekpodcast.tumblr.com/). Jeremy is on Twitter (https://twitter.com/jggreer), and you probably shouldn't follow him unless you know what you're doing. Chris is on Twitter (https://twitter.com/localbones), and you probably should follow him if you like #hunks. Like that intro? The music was done by our friend bansheebeat (https://twitter.com/bansheetweet), who is a fantastic music producer. You should go listen to all of his various projects because they all rule. He found Maddie (https://twitter.com/mmjackets) for the vocals, and Chris and I can't apologize enough for asking her to sing "show us the feet" but we're so happy she rolled with it.

Sports correspondent Jilly Schmaltz covers the Chesters golf tournament while the world's biggest flash mob goes on in Los Santos. Weazel News reporter Amanda Hugnkiss is baffled, trumped, tethered, cropped. Bored? Dateless? Roll on over to D&D club to master some dungeons. … More Season 1 Ep 10: Interview with the Zompire

Perhaps we're all on a journey looking for home. Gary Chesters walked the Camino earlier this year, pretty much on a whim. He just knew he had to do it to free him up to begin a new phase of his life. Listen to his voice and energy change as he talks about changes HE went through on the Way. It's awesome. Dream a new dream!

Frances joins David in the second TRAC episode to discuss her role as curator of Chesters Roman Fort, and her PhD/new book on the Clayton Collection housed at Chesters. She talks about the collection's founder John Clayton, the impact of antiquarians, the difficulties in adding enough strings to your archaeological-bow, but also how rewarding a career it can be. You can find Frances on Twitter at: @wallcurator  The _Clayton Collection: https://www.barpublishing.com/the-clayton-collection.html_

This episode we discuss the Commanders season kickoff, the boring superbowl, national signing day and Charlie discovers what youtube is.  We also review Chesters hamburgers.

December 1 is World AIDS Day and Roland Chesters was diagnosed with HIV/AIDS in 2006 and given two weeks to live at the time of his diagnosis. In his book, Ripples from the Edge of Life, Roland gathers stories from 13 other people diagnosed with HIV/AIDS between 1982 and 2015 and how they have managed their diagnosis and the in particular, the mental ill health created by the stigma that still surrounds HIV/AIDS. In this episode of Healing Ties, Roland shares his story about his diagnoses while encouraging others to do the same. Listen in and learn how Roland Chesters is creating Healing Ties all around us.

December 1 is World AIDS Day and Roland Chesters was diagnosed with HIV/AIDS in 2006 and given two weeks to live at the time of his diagnosis. In his book, Ripples from the Edge of Life, Roland gathers stories from 13 other people diagnosed with HIV/AIDS between 1982 and 2015 and how they have managed their diagnosis and the in particular, the mental ill health created by the stigma that still surrounds HIV/AIDS. In this episode of Healing Ties, Roland shares his story about his diagnoses while encouraging others to do the same. Listen in and learn how Roland Chesters is creating Healing Ties all around us.

December 1 is World AIDS Day and Roland Chesters was diagnosed with HIV/AIDS in 2006 and given two weeks to live at the time of his diagnosis. In his book, Ripples from the Edge of Life, Roland gathers stories from 13 other people diagnosed with HIV/AIDS between 1982 and 2015 and how they have managed their diagnosis and the in particular, the mental ill health created by the stigma that still surrounds HIV/AIDS. In this episode of Healing Ties, Roland shares his story about his diagnoses while encouraging others to do the same. Listen in and learn how Roland Chesters is creating Healing Ties all around us.

December 1 is World AIDS Day and Roland Chesters was diagnosed with HIV/AIDS in 2006 and given two weeks to live at the time of his diagnosis. In his book, Ripples from the Edge of Life, Roland gathers stories from 13 other people diagnosed with HIV/AIDS between 1982 and 2015 and how they have managed their diagnosis and the in particular, the mental ill health created by the stigma that still surrounds HIV/AIDS. In this episode of Healing Ties, Roland shares his story about his diagnoses while encouraging others to do the same. Listen in and learn how Roland Chesters is creating Healing Ties all around us.

Roland Chesters is today's guest on The Segilola Salami Show. Roland shares with us his journey being diagnosed with HIV/AIDS and being told that he had only 2 weeks to live to still being alive 12 years later and writing a tell-all memoir/self-help book. I assure you, you need to click play now to listen Read more about Roland Chesters: You are not your diagnosis[…] The post Roland Chesters: You are not your diagnosis appeared first on Segilola Salami. Segilola Salami teaches a course on grief resolution https://www.segilolasalami.co.uk/membership-account/unresolved-grief-live-course/?utm_source=Segilola%20RSS%20feed&utm_medium=Online&utm_campaign=grief%20course

Vi tar nok et dypdykk ned i idioter som har eid fotballklubber, og begynner i Spania med tjukkasen på elefanten i Madrid: Jesus Gil y Gil. Og på grensa mellom England og Wales ligger Chester City, en klubb som hadde en rekke med forferdelige eiere: bl.a. Terry Smith, mannen som lente seg på bønn før kamp, og Stephen Vaughan, mannen med litt for mange tilknytninger til et kokainimperie.Og: vi sparer på spørsmål om TUIL, indisk fotball, spermsponsorer og Christian Titz. See acast.com/privacy for privacy and opt-out information.

Today’s guest is Rock N Roll Photographer Chester Simpson. Chester learned all the secrets of the photography business from legends such as Ansel Adams and Jim Marshall who took him under their wings, Both told him that he should always help other photographers which is an approach I really relate to.    In this interview, we’ll talk about Chesters experiences and stories from his last 38 years. However, the main focus in this episode is the part of our industry where almost everyone is struggling with: the business side of concert photography. Chester will share his approaches when it comes down to sell your photos, work with bands as well as we’ll go deep into specific pricing for band shoots as well.

In this episode we're joined again by Elizabeth Chesters, a user experience, accesibility, and inclusive design extraordinaire. We continue our discussion from episode 31, and talk more about what it means to design a product or service in an 'inclusive' manner, e.g. designing for people with impairments, either permanent or situational.Further reading suggestions from El: Mobility and Accessibility Cultural Accessibility 7 Things Every Designer Needs to Know about Accessibility Follow El: @echesters on Twitter echesters.co.uk El on Medium

Dr. Jennifer Chesters joins Peter Reitzes to discuss her research on transcranial direct current stimulation in stuttering treatment. Chester and colleagues current study on this topic is available at no charge. Jennifer Chesters, MA, MSc, DPhil, is a neuroscience researcher and speech and language therapist at the Oxford Department of Experimental Psychology. Dr. Chesters is a […] The post Transcranial Direct Current Stimulation in Stuttering Treatment (Ep. 640) appeared first on StutterTalk: Changing how you think about stuttering.

In this episode we are joined by Elizabeth Chesters, a user experience consultant, human-computer interaction student, and software developer. We ask her about her job, what HCI is, and what's in store in the future for how we interact with our devices. The Man Who Lied to His Laptop, by Clifford Nass City University of London, Centre for Human-Computer Interaction Design Follow El: @echesters on Twitter echesters.co.uk Intro/outro music: JACKS – Runaway Fashion

"I always came in for one of the demons."Hosted by Christine Lakin and Alaa Khaled, Worst Ever believes that pain is best served funny.On this week’s Worst Ever, actor Bryan Chesters (Mad Men, Modern Family) shares a legendary worst ever audition for the tv show Charmed, his time as a substitute teacher, those salad days of youth, and more!Follow Bryan Chesters on Instagram: https://www.instagram.com/bryanchestersla/ On Twitter: https://twitter.com/BryanChesters1Keep up with Worst Ever Podcast:https://www.instagram.com/worsteverpodcast/ http://facebook.com/worsteverpodcast https://twitter.com/WorsteverpcProduced by Steven Ray Morris https://twitter.com/StevenRayMorris See acast.com/privacy for privacy and opt-out information.

Lucy is the editor of Ethos, a magazine reporting on ethical and progressive businesses and business people. We chat about Ethos' crowdfunding campaign from last year, their collaborative publishing projects, and the balance between their print and digital efforts.

In this week's episode, we discuss The 90's Nickelodeon cartoon golden age, I Am Legend alternate endings, Blade Runner, and you'll find out which Chester is the worst of the Chesters. Listen up!!!

Sam Leamy, Connor Walsh and Michael Mclaughlin review the weekends Premier League games. Connor compares the current people market as Squids!

Dieses Interview kann es so kein zweites Mal geben. Der große, rote, ein wenig wie ein Bordell anmutende Bus, die engen Straßen von Kreuzberg und diese Nähe und Gemütlichkeit mit dieser Band, noch einmal geht das so nicht. Go Go Berlin haben damals in einer kleinen Kneipe am Görli, veranstaltet vom Nordlicht Klub, im Chesters gespielt. Ich habe einen Großteil ...

Gunsmoke Chesters Hanging 2-12-55 http://oldtimeradiodvd.com 1864

Gunsmoke Chesters Hanging 2-12-55 http://oldtimeradiodvd.com 1864

The 5th Yarn Audio podcast is mixed by @shrednock, aka Koen Nutters; a Dutch, Berlin based DJ and musician who, together with his Urban Mutations crew, runs two monthly nights at »Paloma Bar« and at Neukölln's favorite bar »O Tannenbaum«. They play an engaging mix of multi-stylistic club music, pushing structural boundaries without losing focus on the dancefloor, and keeping the night as varied as possible. This mix lays its focus on bass heavy Bristol tunes along with some Grime 2.0, some Club Constructions and a little Fade to Mind R&B. Bookheaded by two cuts from one recent and one upcoming PAN release. All with a lot of space and a lot of creative arrangement and tight but organic mixing by MFK. Next to DJ-ing, KN is also part of several experimental music groups such as @t-h-e-p-i-t-c-h, Konzert Minimal and The New Silence. Check out their upcoming event at Chesters! www.urbanmutations.com www.thepitch.tk www.konzert-minimal-berlin.tk Upcoming events in Berlin: https://www.facebook.com/events/525011717580442/ https://www.facebook.com/events/1389427004629314/ Tracklist: var_len - Rene Hell Slope - Joe 95 - New York Transit Authority Beneath Radar (Kowton Mix) - Peverelist and Kowton Keyhole - Addison Groove & Die B Storm - NA 500 Years - Jam City Rough - Beneath Prescient - Visionist Circles - Visionist Throw - Laurel Halo Ride VIP - Special Request Lowout (Teeth Remix) - LAS Crimson (Beat Ritual Mix) - Pearson Sound Cherry Coffee - Kelela Seit Nuin - Dalglish

Gunsmoke. April 2, 1961. CBS net. "Chesters Inheridence ". Sponsored by: Pepsi, Buick, Kellogg's cereals.William Conrad, Parley Baer, Georgia Ellis, Howard McNear, Ralph Moody, Vic Perrin, John Dehner, John Meston (writer), George Walsh (announcer).

Gunsmoke. April 2, 1961. CBS net. "Chesters Inheridence ". Sponsored by: Pepsi, Buick, Kellogg's cereals.William Conrad, Parley Baer, Georgia Ellis, Howard McNear, Ralph Moody, Vic Perrin, John Dehner, John Meston (writer), George Walsh (announcer).