Avant-garde art movement in the early 20th century
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2 episodes with dadaist
2 episodes with dadaist
2 episodes with dadaist
2 episodes with dadaist
2 episodes with dadaist
2 episodes with dadaist
2 episodes with dadaist
2 episodes with dadaist
2 episodes with dadaist
Send us a textRobbie and Macca managed to get their shit together just long enough to record another episode of A-League Off Air... inspired by Aideen Keane and Maja Markovsvski's choregraphed celebration, the deconstructed Dadaist poetry of Andy Harper and Macarthur FC's vagina jerseys, we leave no stone unturned in our weekly game by game review of the Isuzu Ute A-League - warts and all! It's even got - porca miseria - a BBQ chicken pizza!#soccer #football #aleagues
Neoborn Caveman throws pure Dadaist chaos at "their" control matrix today. When AI merges with nukes, fake milk makes humans sad, tech lords sue their own shadows, and real chickens show more masculine energy than modern males - there's only one sane response left: Go full Dada on their system! Hear how their reality code crashes against natural truth, from Joyce's banned brain-streams to mountain silence that heals what their noise broke. Mixed with wild historical facts about courtroom rats and dancing plagues that'll scramble their reality software. Warning: Contains actual truth, genuine rooster energy, medieval fish-sauce desserts, and zero artificial sweeteners for your mind. Side effects include sudden bursts of natural wisdom, system crashes in your programming, and the urge to answer their control matrix with pure, beautiful nonsense. Because when madness becomes normal, sanity wears a jester's hat......... Hosted on Acast. See acast.com/privacy for more information.
Strap in for a wild ride through the cannabis revolution with Peter Barsoom, the mastermind behind 1906, where ancient botanicals meet modern science in a dazzling maze of Dadaist innovation. In this episode, Peter takes us behind the scenes of crafting cannabis products that aren't just about getting high—they're about elevating your well-being. From the gritty details of pioneering the industry's first fast-acting edibles to redefining everyday wellness, Peter shares how his Wall Street savvy catapulted 1906 into the spotlight of the green rush. Tune in as The ACID Capitalist lights up on some yellow GENIUS pills and gains perspective on the burgeoning world of bespoke cannabis with insights only a veteran like Peter could offer. It's not just a podcast; it's a gateway to the new age of enlightened Investment Dadaism. And there's more…The ACID Capitalist and 1906 are collaborating and offering a $5 discount off any tin purchased with the code ACIDCAPITALIST. We're not just rejecting traditional investment conventions, we're gone challenge the established norms of risk markets.⬇️ Subscribe on Patreon or Substack for full episodes ⬇️https://www.patreon.com/HughHendryhttps://hughhendry.substack.com⭐⭐⭐⭐⭐ Leave a five star review and comment on Apple Podcasts!
Chava Shapiro is the founder of the Jewish Zine Archive, an archival collection of Jewish zines and a digital Jewish cultural space. They join Lex Rofeberg and Dan Libenson for a conversation related to their upcoming UnYeshiva mini-course, Unraveling Jewish Zines: From Rashi to the Haggadah to Instagram, which will explore the intersection of Jewish identity, DIY ethos, and artistic innovation through the lens of zine culture.Learn more about (and register for) Chava Shapiro's UnYeshiva 3-week mini-course, Unraveling Jewish Zines: From Rashi to the Haggadah to Instagram, which starts on May 22nd! Check out our other 3-week mini-courses via www.judaismunbound.com/classes -- financial aid is available for all of them, just fill out this form.Access full shownotes for this episode via this link. If you're enjoying Judaism Unbound, please help us keep things going with a one-time or monthly tax-deductible donation -- support Judaism Unbound by clicking here!
In Episode 14, the second part of my conversation with Brandon Spivey, an old friend and cultural provocateur, we delve into his experiences traveling to Europe in the mid-1980s. During this time, he actively participated in several riots in Berlin as a member of the Black Bloc—an anarchist organization committed to confronting governments and the banking system through direct action. Our discussion extends to his discovery of Dada art, particularly his appreciation for the works of George Grosz. Returning to London, we explore Brandon's visits to the 121 Centre in Brixton, along with various squatted venues and spaces. Throughout these encounters, he shares stories of culturally and politically significant individuals who left a lasting impact on him. Wrapping up our conversation, we touch upon his introduction to the harder techno scene in the 1990s. We also delve into the parties and clubs that influenced his early foray into music production, ultimately leading to his releases on underground techno labels. I asked Brandon to write a short description to describe himself and it is reproduced below"Brandon Spivey is 56. Has a love of life, music , art and rebellion.He has lived in a number of countries. Enjoyed many riots.Hospitalised a number of authoritarian undesirables.Written 'No Comment, The Defendants Guide to Arrest' .He gave up drink and drugs in 1989 to focus on being a c#nt. He has interest in all aspects of working class art, music and culture.In summary:Electronic music producer, Film Maker, Building worker and Trouble maker. Interested in Musicology and Dadaist art. A proud advocate of free speech and a supporter of peoples right to attack their oppressors.He mocks identity politics bullshit and is proudly anarchist and a born anti authoritarian."Support the showhttps://www.youtube.com/@ControlledWeirdnesshttps://open.spotify.com/artist/20nC7cQni8ZrvRC2REZjOIhttps://www.instagram.com/controlledweirdness/https://controlledweirdness.bandcamp.com/Theme song is Controlled Weirdness - Drifting in the Streetshttps://open.spotify.com/track/7GJfmYy4RjMyLIg9nffuktHosted from a South London tower block by Neil Keating aka Controlled Weirdness. Tales from a Disappearing City is a chance for Neil to tell some untold subcultural stories from past and present, joined by friends from his lifelong journey through subterranean London. Neil is a veteran producer and DJ and has been at the front line of all aspects of club and sound system culture since the mid 80's when he first began to go to nightclubs, gigs, and illegal parties. His musical CV includes playing everywhere from plush clubs to dirty warehouses as well as mixing tunes on a variety of iconic London pirate radio stations. He has released music on numerous underground record labels and was responsible for promoting and playing at a series of legendary early raves in the USA at the start of the 90's. He still DJ's in the UK and throu...
Coucou everyone! The New York Times described him as a “futurist, couturier, mystic, madman, Dadaist, sculptor, architect, astrologer, perfumer, artist and prophet.” Salvador Dalí called him the "second genius of Spain" - we're diving into the wild life of the beloved genius Paco Rabanne, who was more eccentric than we ever realized! Then Kate shares details on a medieval pagan festival - the Feast of Fools. Wild times ahead! Main topic sources: Paco Rabanne obituary Paco Rabanne: Celebrated designer dies aged 88 Paco Rabanne, Couturier of the Space Age, Dies at 88 Paco Rabanne wiki Minitopic sources: Brittanica: Feast of Fools Feast of Fools Wiki Recommendations: Kate's recommendation - World Market advent calendars Cat's recommendation - @emilywoodmakeup on TikTok Don't forget to follow us on Instagram & Tiktok :) Cover art and logo by Kate Walker Mixed and edited by Catherine Roehre Theme song by Lumehill Thank you all - ciao! --- Support this podcast: https://podcasters.spotify.com/pod/show/europhile/support
In episode 13, I am joined by my old mate and cultural hooligan, Brandon Spivey. We delve into his initiation into radical music and subculture, recounting his upbringing in 1970s Macclesfield and subsequent relocation to Manchester in the 80s. As a class-conscious anarchist and anti-authoritarian, he actively opposed the system and confronted fascists on the streets, participating in protests and riots across the UK and wider Europe. Our conversation explores the impact of punk rock, Northern working-class dance culture, and Brandon's close association with Dave Godin, the man credited with coining the term "Northern Soul" and contributing to Motown's success in this country. We also touch upon his friendship with the founders of Eastern Bloc in Manchester, his first encounter with early Detroit techno, and the significance of working-class Northern culture in the realms of art and music. Brandon has been prolific in releasing a diverse array of hard, uncompromising, and weird electronic records since 1993, drawing inspiration from his deep appreciation for acid house and Detroit techno. I asked Brandon to write a short description to describe himself and it is reproduced below."Brandon Spivey is 56. Has a love of life, music , art and rebellion.He has lived in a number of countries. Enjoyed many riots.Hospitalised a number of authoritarian undesirables.Written 'No Comment, The Defendants Guide to Arrest' .He gave up drink and drugs in 1989 to focus on being a c#nt. He has interest in all aspects of working class art, music and culture.In summary:Electronic music producer, Film Maker, Building worker and Trouble maker. Interested in Musicology and Dadaist art. A proud advocate of free speech and a supporter of peoples right to attack their oppressors.He mocks identity politics bullshit and is proudly anarchist and a born anti authoritarian."Support the showhttps://www.youtube.com/@ControlledWeirdnesshttps://open.spotify.com/artist/20nC7cQni8ZrvRC2REZjOIhttps://www.instagram.com/controlledweirdness/https://controlledweirdness.bandcamp.com/Theme song is Controlled Weirdness - Drifting in the Streetshttps://open.spotify.com/track/7GJfmYy4RjMyLIg9nffuktHosted from a South London tower block by Neil Keating aka Controlled Weirdness. Tales from a Disappearing City is a chance for Neil to tell some untold subcultural stories from past and present, joined by friends from his lifelong journey through subterranean London. Neil is a veteran producer and DJ and has been at the front line of all aspects of club and sound system culture since the mid 80's when he first began to go to nightclubs, gigs, and illegal parties. His musical CV includes playing everywhere from plush clubs to dirty warehouses as well as mixing tunes on a variety of iconic London pirate radio stations. He has released music on numerous underground record labels and was responsible for promoting and playing at a series of legendary early raves in the USA at the start of the 90's. He still DJ's in the UK and throu...
In Episode 4: Great Jones Street, DDSWTNP listen in on a rock icon in retreat on the Lower East Side, Bucky Wunderlick, who leaves his fame and music career behind as other characters descend into terrorism and fascism in pursuit of a drug said to wipe out language itself. Will Bucky “return with a new language,” fall prey to a violent hippie commune that seems to evoke the Weather Underground, or engage some other “terminal fantasy”? Subjects include the aesthetics of poetry, silence, and guttural sounds; the contradictory American quest for “revolutionary solitude”; and what a “counter-archeology” of 1970s New York has to offer. #dogboys #preemptingthemarket #beastislooseleastisbest #diamondstylus #pulseredactor #yapplesyapplesyapples #doubledfeat Texts referred to in this episode: Definition of “nonce” words: https://en.wikipedia.org/wiki/Nonce_word One rendering of Hugo Ball's Dadaist poem “Gadji Beri Bimba”: https://www.youtube.com/watch?v=aiKHSeDlU1U John Cage on visiting an anechoic chamber in “Indeterminacy”: https://www.lcdf.org/indeterminacy/s/6 DeLillo reads from a CIA memo on torture (“here several lines are redacted”) at the 2009 PEN event “Reckoning With Torture”: https://www.youtube.com/watch?v=4ZFf6NYTkrM&t=26s DeLillo and Greil Marcus discuss Bob Dylan and Great Jones Street at the 2005 Telluride Film Festival: https://greilmarcus.net/2014/10/17/greil-marcus-and-don-delillo-discuss-bob-dylan-and-bucky-wunderlick-2005/ Rainer Maria Rilke, “Ninth Duino Elegy”: https://web.ics.purdue.edu/~felluga/eng241/rilke.html William Butler Yeats, “The Second Coming”: https://www.poetryfoundation.org/poems/43290/the-second-coming
For Love & Design with Ross Lovegrove | Sustainable Future | Industrial Designer
Ep. 5. AI has the ability to reference the past, present and future of design in an instant. It's forced designers to re-think not just what they create, but why they do it. No more art for art's sake. Far beyond making work that just looks nice, creatives must consider the cognitive meaning behind their work, so AI doesn't get the upper hand. This poses a challenge: how to balance authentic creative design with work that has deeper intellectual purpose.In this conversation, Ross and Ila debate whether visual and cognitive are separate creative modus operandi - where visual design simply looks nice, but cognitive design attempts to convey richer intellectual meaning. Or are these considerations inextricably linked? This episode discusses the lasting imprint of Ross's iconic monolith chair, explores the cerebral quality of seemingly mindless work by Jackson Pollock and touches on the cognitive fuel of the post-war Dadaist movement. Ross and Ila will explore how creatives can perform the visual vs cognitive balancing act within the confines of the current socio-political order.Mentioned in this episodeAntony GormleyDadaismDuchamp's FountainRichard SerraMonolith ChairIsamu NoguchiDegas - BallerinaNaum Gabo*****More info on Ross at RossLovegrove.comFollow us on Instagram:Ross LovegroveIla ColomboFor Love & Design podcast*****Want to create your own podcast? Contact Fascinate Productions to bring it to life
Hugo Ball was a German sound poet, theatrical performer and mystic. He and his partner Emmy Hennings were the original catalysts of the infamous Dadaist art movement which they started in Zurich, Switzerland around 1916. What may be surprising to learn is that Hugo Ball was a Catholic and his bizarre forms of art were deeply informed by his theology. Joining me for this episode is visual artist, writer and art critic Jonathan Anderson. Jonathan writes about Hugo in his book, Modern Art & the Life of A Culture. Join the Makers & Mystics Creative Collective
Okay, okay, okay, Cape Town-based artist Dada Khanyisa isn't a Dadaist, so maybe the title here is misleading. But they are having a solo show currently at the Johannesburg Art Gallery and they are part of the roster of the great Stevenson gallery and they are making work that is both politically astute but also about this ideas of what they say is "going out culture, but also going in culture." So even if it's not Dadaism, it's Dada-ism. On this episode of the Radio Juxtapoz podcast, we sit down with the Cape Town-based artist about imagination versus reality and the trickiness of the balance, tolerance training and the continuing emerging career of one of the brightest stars of South African art today. The Radio Juxtapoz podcast is hosted by FIFTH WALL TV's Doug Gillen and Juxtapoz editor, Evan Pricco. Episode 123 was recorded in October 2023 in Margate and Cape Town. Follow us on @radiojuxtapoz
Our new "Too Fab For Florida" series celebrates the gifts and wisdom of people in the queer, trans and drag community as a counter-narrative to the relentless assault on their community.This week continues with Lady Karley Dada Marx, an American drag performer, painter, and pop artist. They are from Chicago, Illinois. Marx's drag persona and name are a play-off of Karl Marx, Marxistaesthetics, the intersections in critical and queer theory, and deeply political-Dadaist influences. To listen to all the QuoirCast podcasts, head on over to Patheos.To support Heretic Happy Hour on Patreon, click here!
Un libriccino pieno di piccoli esperimenti artistici da portarsi dietro e da usare come passatempo al posto dell'onnipresente cellulare. Vi metto un link in fondo alla pagina (da quello che ho visto online mi sa che in italiano è stato pubblicato con un'orribile copertina viola e nel formato tradizionale dei libri... spero di abagliarmi, ma al link in fondo alla pagina trovate anche estratti dalle pagine in originale).TRASCRIZIONE [ENG translation below]Per molte persone Yoko Ono è solo quella che ha fatto sciogliere i Beatles. Invece Yoko Ono già molto prima di incontrare John Lennon era un'artista multiforme, già affermata e anche conosciuta.Non solo, anche un fatto che poche persone sanno è che John Lennon è stato probabilmente il terzo marito di Yoko Ono e che aveva sposato giovanissima un compositore di musica sperimentale, contro il volere dei suoi genitori, e poi aveva sposato un produttore cinematografico.Ma non voglio parlarvi della vita privata di Yoko Ono, che saranno pure fatti suoi, voglio parlarvi di Grapefruit, pompelmo, un libriccino che lei ha pubblicato nel 1964 e che forse è quello più conosciuto tra le sue pubblicazioni nel mondo delle persone che si interessano di arte.È un libriccino minuscolo, piccolo piccolo, sta in una mano, di formato quadrato, carinissimo, con una copertina gialla, appunto, tipo pompelmo. È un libro che nel titolo dice, libro di istruzioni e i disegni di Yoko Ono. Fu pubblicato per la prima volta in edizione limitata con 500 copie, appunto nel 1964, poi da allora è stato ripubblicato diverse volte e io qualche giorno fa sono riuscito a trovarne una copia senza ordinarlo tramite internet.È un libro carinissimo, con piccole, piccole in ogni pagina una piccola storia, no, non è una storia, delle piccole istruzioni, dei piccoli suggerimenti divisi per tematiche. Quindi c'è una parte dedicata alla musica, alla pittura, gli eventi, alla poesia, agli oggetti, ai film e alla danza.Vi faccio qualche esempio. Prendo uno che è nel capitolo dedicato alla musica: 'John Lennon, visto come una giovane nuvola.' Questo è il titolo 'pezzo teatrale - Scena prima: apre e chiude dentro la testa di John. Scena seconda: apre e chiude dentro la testa di altre persone. Scena terza: apre e chiude dentro il cielo.' Finito. Ecco, tutto qua.Vi faccio un altro esempio, sempre quello nel capitolo della musica. 'Brano per voce di soprano. Grida. 1 contro il vento, 2 contro il muro, 3 contro il cielo'.Come vedete sono piccoli esercizi di che ne so, di scioltezza del cervello e del corpo e della voce e dell'anima e tutto quanto da queste traspare il fatto che Yoko Ono ha iniziato la sua carriera da artista nei movimenti di avanguardia neo dadaisti, quindi anche perdita di significato, altri significati, e poi comunque è stata molto impegnata nelle lotte sociali anche insieme a John Lennon.TRANSLATIONFor many people Yoko Ono is just the one who broke up the Beatles. But Yoko Ono already long before she met John Lennon was a multifaceted artist, already established and also well-known. Not only that, another fact that few people know is that John Lennon was probably Yoko Ono's third husband and that she had married an experimental music composer at a very young age, against her parents' wishes, and then married a film producer.But I don't want to tell you about Yoko Ono's private life, which may be her own business, I want to tell you about Grapefruit, a little book she published in 1964 and which is perhaps the best known of her publications in the world of people who are interested in art.It's a tiny little book, tiny little, fits in one hand, square in size, super cute, with a yellow, indeed, grapefruit-like cover. It is a book that in the title says, instruction book and drawings by Yoko Ono. It was first published in a limited edition with 500 copies, in 1964, then since then it has been republished several times and I a few days ago managed to find a copy without having to order it through the internet.It's a very cute book, with little, little on each page a little story, no, it's not a story, little instructions, little hints divided by themes. So there is a part devoted to music, painting, events, poetry, objects, films and dance.Let me give you some examples. I'll take one that is in the chapter on music: 'John Lennon, as a young cloud.' This is the title 'Theatre piece - Scene 1: opens and closes inside John's head. Scene 2: opens and closes inside other people's heads. Scene 3 : opens and close sky. ' Finished. That's it, that's all.Let me give you another example, again the one in the music chapter. 'Voice piece for soprano. Scream. 1 against the wind, 2 against the wall, 3 against the sky'.As you see they are little exercises of.. how to describe them, of looseness of brain and body and voice and soul and everything, from these shines through the fact that Yoko Ono began her career as an artist in the neo Dadaist avant-garde movements, so also loss of meaning, other meanings, and then anyway she was very involved in social struggles also together with John Lennon.LINKUn articolo sul libro Grapefruit (che da quello che ho visto online mi sa che in italiano è stato pubblicato con un'orribile copertina viola e nel formato tradizionale dei libri... spero di sbagliarmi, ma su questo link trovare anche estratti dalle pagine in originale) https://www.rapso.org/post/grapefruit-yokoono
Il flipper occupa un posto particolare nell'immaginario di unsacco di gente. E questo vale anche per me, anche se io il mio primo flipper l'ho incontrato tra le pagine di una demenziale commedia di Dario Fo. Comunque mi segno da qualche parte una nota: andare a visitare il Museo del Flipper (vi metto il link al sito del museo in fondo alla pagina).TRASCRIZIONEIl mio primo incontro con un flipper avvenne quando ero bambina, avevo circa dieci anni e una ragazza, una studentessa fuorisede che abitava vicino a casa mia aveva una grande biblioteca piena di libri e me ne prest uno intitolato Gli arcangeli non giocano a flipper.È un una commedia di Dario Fo, all'epoca non avevo idea di chi fosse Dario Fo, naturalmente, però lo lessi con grande interesse. Non ricordo quasi niente perché era una cosa molto strampalata, molto divertente, molto molto dadaista. Però ricordo che c'era il flipper nel titolo. Io ero una bambina, non non andavo nel bar a giocare a flipper, figuriamoci, poi all'epoca le ragazzine non andavano a giocare a flipper.Più avanti nella vita invece i flipper li ho incontrati e ci ho giocato anche con con molto piacere, anche se non con troppo successo, non sono mai stata particolarmente brava, però continuo a trovare i flipper e degli oggetti incredibilmente affascinanti e mi dispiace molto che ormai non si trovino più quelli completamente meccanici, ormai sono quelli, i pochi che si trovano sono elettronici, sembrano più da videogioco che da flipper meccanico, e la maggior parte delle persone che prima giocava a flipper nei bar ora se lo vuole continuare a fare lo fa online.La storia del flipper è molto, è stata molto combattuta perché c'è stato anche un periodo della storia dove, almeno negli Stati Uniti, non mi risulta che questo fosse accaduto in Italia, però negli Stati Uniti dagli anni '40 fino alla metà degli anni '70 era illegale giocare a flipper e le stesse macchine, i flipper erano illegali, per cui c'era la polizia che andava in giro, arrestava o molestava i proprietari dei flipper, e i flipper venivano raccolti, portati tutti insieme in un... da qualche parte, e venivano rotti a colpi di martello davanti al pubblico che, immagino, sarà stato lì ad applaudire.Immaginate che scempio, che spreco pazzesco di queste macchine meravigliose e bellissime. Sì, perché era proibito, perché veniva considerato un gioco d'azzardo, poi a un certo punto qualcuno ha dimostrato, guardate, non è un gioco d'azzardo, un gioco di bravura se si impara a fare così così cosa si vince, e allora a metà degli anni '70 nel 1976, che negli Stati Uniti non fu più illegale giocare e possedere un flipper.Perché oggi vi sto parlando del flipper? Perché ho letto che a Terni hanno aperto da pochissimo il museo del flipper, un museo dove non solo si può andare e ripercorrere la storia di questo affascinante oggetto, ma dove i visitatori possono anche metterci le mani sopra e giocare. Vi metto naturalmente i dati del Museo di Terni nelle note del programma e vi invito a fare un viaggio al Museo del Flipper. Buon gioco!TRANSLATIONMy first encounter with a pinball machine took place when I was a child, I was about ten years old and a girl, an out-of-town student who lived near my house had a large library full of books and she lent me one entitled Archangels Don't Play Pinball .It is a play by Dario Fo, at the time I had no idea who Dario Fo was, of course, but I read it with great interest. I remember almost nothing because it was very wacky, very funny, very very Dadaist. I remember there was pinball in the title, though. I was a little girl, I didn't go to the bar to play pinball, let alone, then at that time little girls didn't go to play pinball.Later in life, on the other hand, I encountered and even played pinball machines with lot of pleasure, although not too successfully, I was never particularly good at it, however I still find pinball machines and objects incredibly fascinating and I am very sorry that you can't find completely mechanical ones anymore, now the few that you can find are electronic, they look more like video games than mechanical pinball machines, and most people who used to play pinball in bars now if they want to continue to do it they do it online.The history of pinball is very, has been very much fought over because there was also a period in history where, at least in the United States, I don't know if this had happened in Italy, but in the United States from the '40s until the mid-1970s it was illegal to play pinball and the machines themselves, the pinball machines were illegal, so there were police going around, arresting or harassing the owners of the pinball machines, and the pinball machines were collected, brought all together to a... somewhere, and smashed with hammers in front of the audience who, I imagine, must have been there cheering.Imagine what a waste, what a crazy waste of these wonderful and beautiful machines. Yes, why was it banned, because it was considered a game of chance, then at some point someone proved, look, it's not a game of chance, it's a game of skill, if you learn to do so and so, you win, and in the mid '70s in 1976, in the United States it was no longer illegal to play and own a pinball machine.Why am I telling you about pinballs today? Because I read that in Terni they have very recently opened the pinball machine museum, a museum where you can not only go and trace the history of this fascinating object, but where visitors can also get their hands on it and play. I will, of course, put the details of the Terni Museum in the program notes and invite you to take a trip to the Pinball Museum. Have a good game!LINK:Il Museo del Flipper di Terni https://www.museoflipper.it/La commedia di Dario Fo Gli arcangeli non giocano a flipper https://it.m.wikipedia.org/wiki/Gli_arcangeli_non_giocano_a_flipper
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
Robyn Hitchcock is an English singer-songwriter and guitarist who led “The Soft Boys” in the late 1970s and released the classic Neo-psychedelic album, “Underwater Moonlight”, which influenced bands such as R.E.M. Robyn also had a successful solo career, with songs like “I Often Dream of Trains”. On this episode, Robyn and Jack talk about Robyn's life and music - and The Beatles! Check out Robyn's website: https://www.robynhitchcock.com/ Follow Robyn on Twitter: https://twitter.com/RobynHitchcock Listen to Robyn's new album "Shufflemania": https://open.spotify.com/album/4sJg5nUnMNjzxsGWXcqFy2?si=upx-Dz99QqCiAvP2-m2WiA If you like this episode, be sure to subscribe to this podcast! Follow us on Twitter and Instagram. Or click here for more information: Linktr.ee/BeatlesEarth ----- The Beatles were an English rock band, formed in Liverpool in 1960, that comprised John Lennon, Paul McCartney, George Harrison and Ringo Starr. They are regarded as the most influential band of all timeand were integral to the development of 1960s counterculture and popular music's recognition as an art form. Rooted in skiffle, beat and 1950s rock 'n' roll, their sound incorporated elements of classical music and traditional pop in innovative ways; the band later explored music styles ranging from ballads and Indian music to psychedelia and hard rock. As pioneers in recording, songwriting and artistic presentation, the Beatles revolutionised many aspects of the music industry and were often publicised as leaders of the era's youth and sociocultural movements. Led by primary songwriters Lennon and McCartney, the Beatles evolved from Lennon's previous group, the Quarrymen, and built their reputation playing clubs in Liverpool and Hamburg over three years from 1960, initially with Stuart Sutcliffe playing bass. The core trio of Lennon, McCartney and Harrison, together since 1958, went through a succession of drummers, including Pete Best, before asking Starr to join them in 1962. Manager Brian Epstein moulded them into a professional act, and producer George Martin guided and developed their recordings, greatly expanding their domestic success after signing to EMI Records and achieving their first hit, "Love Me Do", in late 1962. Lennon, McCartney, Harrison and Starr all released solo albums in 1970. Their solo records sometimes involved one or more of the others; Starr's Ringo (1973) was the only album to include compositions and performances by all four ex-Beatles, albeit on separate songs. With Starr's participation, Harrison staged the Concert for Bangladesh in New York City in August 1971. Other than an unreleased jam session in 1974, later bootlegged as A Toot and a Snore in '74, Lennon and McCartney never recorded together again. Two double-LP sets of the Beatles' greatest hits, compiled by Klein, 1962–1966 and 1967–1970, were released in 1973, at first under the Apple Records imprint. Commonly known as the "Red Album" and "Blue Album", respectively, each has earned a Multi-Platinum certification in the US and a Platinum certification in the UK. Between 1976 and 1982, EMI/Capitol released a wave of compilation albums without input from the ex-Beatles, starting with the double-disc compilation Rock 'n' Roll Music. The only one to feature previously unreleased material was The Beatles at the Hollywood Bowl (1977); the first officially issued concert recordings by the group, it contained selections from two shows they played during their 1964 and 1965 US tours. The music and enduring fame of the Beatles were commercially exploited in various other ways, again often outside their creative control. In April 1974, the musical John, Paul, George, Ringo ... and Bert, written by Willy Russell and featuring singer Barbara Dickson, opened in London. It included, with permission from Northern Songs, eleven Lennon-McCartney compositions and one by Harrison, "Here Comes the Sun". Displeased with the production's use of his song, Harrison withdrew his permission to use it.Later that year, the off-Broadway musical Sgt. Pepper's Lonely Hearts Club Band on the Road opened. All This and World War II (1976) was an unorthodox nonfiction film that combined newsreel footage with covers of Beatles songs by performers ranging from Elton John and Keith Moon to the London Symphony Orchestra. The Broadway musical Beatlemania, an unauthorised nostalgia revue, opened in early 1977 and proved popular, spinning off five separate touring productions. In 1979, the band sued the producers, settling for several million dollars in damages. Sgt. Pepper's Lonely Hearts Club Band (1978), a musical film starring the Bee Gees and Peter Frampton, was a commercial failure and an "artistic fiasco", according to Ingham. Accompanying the wave of Beatles nostalgia and persistent reunion rumours in the US during the 1970s, several entrepreneurs made public offers to the Beatles for a reunion concert.Promoter Bill Sargent first offered the Beatles $10 million for a reunion concert in 1974. He raised his offer to $30 million in January 1976 and then to $50 million the following month. On 24 April 1976, during a broadcast of Saturday Night Live, producer Lorne Michaels jokingly offered the Beatles $3,000 to reunite on the show. Lennon and McCartney were watching the live broadcast at Lennon's apartment at the Dakota in New York, which was within driving distance of the NBC studio where the show was being broadcast. The former bandmates briefly entertained the idea of going to the studio and surprising Michaels by accepting his offer, but decided not to. With a career now spanning six decades, Robyn Hitchcock remains a truly one-of-a-kind artist –surrealist rock 'n' roller, iconic troubadour, guitarist, poet, painter, performer. An unparalleled, deeply individualistic songwriter and stylist, Hitchcock has traversed myriad genres with humor, intelligence, and originality over more than thirty albums and seemingly infinite live performances. From The Soft Boys' proto-psych-punk and The Egyptians' Dadaist pop to solo masterpieces like 1984's milestone I Often Dream of Trains and 1990's Eye, Hitchcock has crafted a strikingly original oeuvre rife with sagacious observation, astringent wit, recurring marine life, mechanized rail services, cheese, Clint Eastwood, and innumerable finely drawn characters real and imagined. Born in London in 1953, Hitchcock attended Winchester College before moving to Cambridge in 1974. He began playing in a series of bands, including Dennis and the Experts which became The Soft Boys in 1976. Though light years away from first wave punk's revolutionary clatter, the band still manifested the era's spirit of DIY independence with their breakneck reimagining of British psychedelia. During their (first) lifetime, The Soft Boys released two albums, among them 1980's landmark second LP, Underwater Moonlight. “The term ‘classic' is almost as overused as ‘genius' and ‘influential,'” declared Rolling Stone upon the album's 2001 reissue. “But Underwater Moonlight remains all three of those descriptions.” Hitchcock embarked on his solo career with 1981's Black Snake Diamond Röle, affirming his knack for eccentric insight and surrealist lyrical hijinks. 1984's I Often Dream Of Trains fused that approach with autumnal acoustic arrangements which served to deepen the emotional range of his songcraft. Robyn Hitchcock and The Egyptians were born that same year and immediately lit up college rock playlists with albums like 1986's Element of Light. He signed to A&M Records in 1987 and earned early alternative hits with “Balloon Man” and “Madonna of the Wasps.” Hitchcock returned to his dark acoustic palette with 1990's equally masterful Eye before joining the Warner Bros. label for a succession of acclaimed albums including 1996's Moss Elixir and 1999's Jewels For Sophia. Having first reunited for a brief run of shows in 1994, The Soft Boys came together for a second go-around in 2001, this time releasing Nextdoorland to universal applause. Hitchcock joined the Yep Roc label in 2004, embracing collaboration with such friends and like-minded artists as Gillian Welch and Dave Rawlings (2004's Spooked) and legendary producer Joe Boyd (2014's The Man Upstairs). Beginning in 2006, Hitchcock released a trio of albums backed by The Venus 3, featuring Peter Buck, Scott McCaughey and Bill Rieflin. Hitchcock moved to Nashville in 2015 where he quickly found a place among the Music City community, recording 2017's self-titled album Robyn Hitchcock with an array of local talent including co-producer Brendan Benson. In 2019, Hitchcock joined forces with XTC's Andy Partridge for the four-song EP, Planet England. Indeed, Hitchcock has proven an irrepressible collaborator throughout his long career, teaming with a boundless series of fellow artists over the years, including R.E.M., Grant-Lee Phillips, Jon Brion, The Decemberists, Norwegian pop combo I Was A King, Yo La Tengo to name but a very few. Along with his musical efforts, Hitchcock has appeared in a number of films, among them collaborations with the late Jonathan Demme on 1998's concert documentary Storefront Hitchcock as well as roles in 2004's The Manchurian Candidate and 2008's Rachel Getting Married. An inveterate traveler and live performer, Hitchcock has toured near constantly for much of the past four decades, playing countless shows around the world, from Africa to the Arctic. Locked down in Nashville and London by the global pandemic of 2020, Hitchcock and his partner Emma Swift began their Live From Sweet Home Quarantine livestream series, performing weekly sets joined by their two cats, Ringo and Tubby. 2021 saw the publication of Hitchcock's first book, Somewhere Apart: Selected Lyrics 1977-1997, featuring 73 songs and 34 illustrations in a beautiful cloth-bound edition from his own Tiny Ghost Press. His new album Shufflemania! is out on October 21, 2022 on Tiny Ghost Records.
Adrian Clarke, Amy Lawrence and Michael Cox discuss the 3-1 defeat to Man United. Plus, a look ahead to the trip to Zurich - the home of Dadaism and muesli, no less - and we wonder which Arsenal players past and present would make up the staff room at Gooner High?PART 1a: Fast Times at Gooner High (01m 30s)PART 1b: United 3 - 1 Arsenal (05m 30s)PART 2a: Zurich in the Europa League preview (22m 00s)PART 2b: Dadaist or Zurich player quiz (25m 30s)PART 3: Plugs, songs and farewells Hosted on Acast. See acast.com/privacy for more information.
Adrian Clarke, Amy Lawrence and Michael Cox discuss the 3-1 defeat to Man United. Plus, a look ahead to the trip to Zurich - the home of Dadaism and muesli, no less - and we wonder which Arsenal players past and present would make up the staff room at Gooner High? PART 1a: Fast Times at Gooner High (01m 30s0 PART 1b: United 3 - 1 Arsenal (05m 30s) PART 2a: Zurich in the Europa League preview (22m 00s) PART 2b: Dadaist or Zurich player quiz (25m 30s) PART 3: Plugs, songs and farewells Learn more about your ad choices. Visit megaphone.fm/adchoices
A rudimentary but sincere look into the Dadaist movement, and how it has affected the world today. Join us as we dive into the origins of dadaism and discuss influences and key players that contributed to the movement. Challenge the conventional and dispute norms in this brief conversation on an artistic and philosophical movement that changed art.
Arthur Hughes, known for his roles in The Archers, in which he plays Ruairi, and the BBC2 drama Then Barbara Met Alan, details the significance of his portrayal as Richard III in the new RSC production as a disabled actor. Earlier this month the literary world was shocked by the announcement that after 50 years the Costa Book Awards, formerly the Whitbread, would be no more. What did this announcement mean and how healthy is the outlook for book prizes in the UK? Damian Barr was a judge last year and joins Tom to make a proposal for a new national prize alongside commentator Alex Clark. We Are Invisible We Are Visible is a day of Dada-inspired art works and performances in UK art galleries by deaf, disabled and neurodivergent artists. Organiser Mike Layward explains why he wanted to bring Dada and disability together, while performance artist Aaron Williamson and curator and printmaker Mianam Yasmin Bashir Canvin discuss their respective Dadist offerings, the performance Hiding in 3D at the Ikon Gallery Birmingham and This Is Not a Pipe at the Hepworth Wakefield Gallery. Presenter: Tom Sutcliffe Producer: Harry Parker Photo: Ellie Kurttz, RSC
Magnus records the unique artistry of Willie Leece, the modest creator of a unique style of rural assemblage sculpture. The ‘Hedge' art works of this quietly thoughtful Manx farmer are selected to be hung alongside a blockbuster travelling Tate Gallery exhibition for a giant of the twentieth century's artistic fraternity, Herr Kurt Schwitters. An unforeseen consequence of the Dadaist's exhibition propels Magnus towards entering his artistic endeavours for London's Royal Academy of Art summer exhibition. . ‘Commander Benedict Forksbeard – The Startled Speed Reader' and ‘Longnose Peggchin – The Sentimental Viking Poet' are hung, but not as expected.
Magnus's photographs preserve the singular contribution made to the world art scene by a modest Manx farmer's unique creative flair.The incomparable and unrecognised ‘Hedge' sculptures of Willie Leece are jointly exhibited with a giant of the twentieth century's avant-garde art fraternity; a onetime ‘Most Loyal Enemy Alien' of King George VI, Herr Kurt Schwitters.
Comedian and science educator Kyle Marian joins us to talk sexual health, Dadaist icons and science! Kyle is incredibly funny and you can catch her at our live show on Thursday March 31st at the Art Bar & Cafe in Brooklyn. Check the link for more details! Sorry this is on Zoom! https://www.eventbrite.com/e/hot-goss-with-trash-at-the-art-cafe-bar-tickets-292906720887?aff=erelexpmlt 3 eps left! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/hotgosswithtrashcomedy/message
Pokemon, Çok Büyük ve Uzun Güller, Haters Gonna Hate ve dahası...
Hrishikesh Hirway is a prolific creator: A podcaster, a newsletter writer, a TED speaker, a composer, and more. And he's also a musician who has collaborated with everyone from Lakeith Stanfield to Yo-Yo Ma; his first EP since 2011, Rooms I Used to Call My Own, comes out March 30. Today on Follow Friday, Hrishikesh talks about four of his favorite people he follows online, including a collaborator who helped him get over writer's block while making that album: Someone he just started following: Sumesh Hirway, http://instagram.com/sumeshhirway (@sumeshhirway) on Instagram Someone he doesn't know in real life, but wants to be friends with: Rose Matafeo, https://twitter.com/Rose_Matafeo (@rose_matafeo) on Twitter and https://www.instagram.com/rosematafeo/ (@rosematafeo) on Instagram Someone super-talented who's still under the radar: John Mark Nelson, @johnmarknelson on https://twitter.com/johnmarknelson (Twitter) and https://www.instagram.com/johnmarknelson/ (Instagram) Someone who's an expert in a very specific niche he loves: Erik Agard, https://twitter.com/e_a_rly (@e_a_rly) on Twitter And on https://www.patreon.com/followfriday (our Patreon page), you can pledge any amount of money to get access to Follow Friday XL — our members-only podcast feed with exclusive bonus follows. That feed has an extended-length version of this interview in which Hrishikesh talks about someone he has followed forever: The award-winning artist and illustrator https://www.instagram.com/boygirlparty/ (Susie Ghahremani). Also: Follow Hrishikesh @HrishiHirway on https://twitter.com/hrishihirway (Twitter) and https://instagram.com/HrishiHirway (Instagram), and subscribe to his newsletter, https://hrishikesh.bulletin.com/ (Accept Cookies) Follow us @FollowFridayPod on https://twitter.com/followfridaypod (Twitter) and https://www.instagram.com/followfridaypod/ (Instagram) Follow Eric https://twitter.com/HeyHeyESJ (@heyheyesj) on Twitter Theme song written by Eric Johnson, and performed by https://www.fiverr.com/yonamarie (Yona Marie). Show art by https://www.fiverr.com/dodiihr (Dodi Hermawan). Thank you to our amazing patrons: Jon, Justin, Amy, Yoichi, Elizabeth, Sylnai, and Matthias
Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Tristan Tzara (born 1896, Moineşti, Rom.—died December 1963, Paris) was a Romanian-born French poet and essayist known mainly as the founder of Dada, a nihilistic revolutionary movement in the arts, the purpose of which was the demolition of all the values of modern civilization.The Dadaist movement originated in Zürich during World War I, with the participation of the artists Jean Arp, Francis Picabia, and Marcel Duchamp. Tzara wrote the first Dada texts—La Première Aventure céleste de Monsieur Antipyrine (1916; “The First Heavenly Adventure of Mr. Antipyrine”) and Vingtcinq poèmes (1918; “Twenty-Five Poems”)—and the movement's manifestos, Sept Manifestes Dada (1924; “Seven Dada Manifestos”). In Paris he engaged in tumultuous activities with André Breton, Philippe Soupault, and Louis Aragon to shock the public and to disintegrate the structures of language.In about 1930, weary of nihilism and destruction, he joined his friends in the more constructive activities of Surrealism. He devoted much time to the reconciliation of Surrealism and Marxism and joined the Communist Party in 1936 and the French Resistance movement during World War II. These political commitments brought him closer to his fellowmen, and he gradually matured into a lyrical poet. His poems revealed the anguish of his soul, caught between revolt and wonderment at the daily tragedy of the human condition. His mature works started with L'Homme approximatif (1931; “The Approximate Man”) and continued with Parler seul (1950; “Speaking Alone”) and La Face intérieure(1953; “The Inner Face”). In these, the anarchically scrambled words of Dada were replaced with a difficult but humanized language.From https://www.britannica.com/biography/Tristan-TzaraPreviously on The Quarantine Tapes:Ngũgĩ Wa Thiong'o about Tzara, at 04:50: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-137-ngg-wa-thiongoFor more information about Tristan Tzara:“How to Make a Dadaist Poem”: https://www.writing.upenn.edu/~afilreis/88v/tzara.html“Tristan Tzara exhibition: the man who made dada”: https://www.theguardian.com/artanddesign/2015/nov/28/dada-tristan-tzara-avant-garde-exhibition
Episode 5, 2021: Hindemith's Kammermusik no. 1 Wednesday 22 September 2021 Born in Hanau, Germany in 1895, Paul Hindemith was cultivated as violist, violinist, pianist and percussionist. He was also “one of the most practical, but also the most overlooked composers of the last century.” Considered an avant-garde composer in the 20s, Hindemith's Kammermusik no.1 features twelve solo instruments and reflects its composer's Dadaist response to chamber music. In this episode of ANAM Radio, ANAM's Head of Piano, Timothy Young (Margaret Johnson Chair of Piano) talks to Phil Lambert (ANAM's Music librarian) about how he first came about Paul Hindemith and his works, and some of the things that he has learned about how to write music from the prolific musician and composer.
Full transcript: https://followfridaypodcast.com/morgan-sung (FollowFridayPodcast.com/morgan-sung) Over the past 18 months, internet culture has become, simply, culture. And one of the top writers documenting and explaining the latest trends is Mashable's Morgan Sung. However, as she explained in one of her most-shared pieces — "https://mashable.com/article/bimbo-tiktok-meme-feminism (Bimbos are good, actually)" — Sung also sees the appeal of not being as savvy as she is. "As someone who's painfully online, I think if you're going to have any sort of online presence or even just engage with online culture at all, you're expected to be on top of the discourse," she says. "You have to know everything at once. It's a lot of reading, and sometimes I'm tired." On today's podcast, Sung talks about four of the accounts that have defined the pandemic-era internet for her: A https://twitter.com/bettinamak (food writer and photographer) who understands how class and race intersect with our diets; a https://www.instagram.com/afffirmations/ (Dadaist meme account) that reminds you you're not crazy; a https://www.tiktok.com/@madeline_pendleton (34-year-old punk) who has become TikTok's cool aunt; and a https://www.instagram.com/blackforager/ (passionate forager) who wants nature to be celebrated, not avoided. You can get bonus episodes of Follow Friday every week — including an extra follow recommendation from Morgan, coming soon — when you https://www.patreon.com/followfriday (back Follow Friday on Patreon), starting at just $1 a month. Follow us: - Morgan is https://twitter.com/morgan_sung (on Twitter @morgan_sung) and https://www.instagram.com/morgansung/ (on Instagram @morgansung) - This show is on https://twitter.com/followfridaypod (Twitter), https://www.instagram.com/followfridaypod/ (Instagram), and https://www.tiktok.com/@followfridaypod/ (TikTok) @followfridaypod - Eric is https://twitter.com/HeyHeyESJ (on Twitter @heyheyesj) Patreon: https://www.patreon.com/followfriday (Patreon.com/followfriday) Leave a review: https://lovethepodcast.com/followfriday (LoveThePodcast.com/followfriday) Theme song written by Eric Johnson, and performed by https://www.fiverr.com/yonamarie (Yona Marie). Show art by https://www.fiverr.com/dodiihr (Dodi Hermawan). Thank you to our amazing patrons: Jon, Justin, Amy, Yoichi, and Elizabeth This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Support this podcast
Today's Quotation is care of Tristan Tzara.Listen in!Subscribe to the Quarantine Tapes at quarantinetapes.com or search for the Quarantine Tapes on your favorite podcast app! Tristan Tzara (born 1896, Moineşti, Rom.—died December 1963, Paris) was a Romanian-born French poet and essayist known mainly as the founder of Dada, a nihilistic revolutionary movement in the arts, the purpose of which was the demolition of all the values of modern civilization.The Dadaist movement originated in Zürich during World War I, with the participation of the artists Jean Arp, Francis Picabia, and Marcel Duchamp. Tzara wrote the first Dada texts—La Première Aventure céleste de Monsieur Antipyrine (1916; “The First Heavenly Adventure of Mr. Antipyrine”) and Vingtcinq poèmes (1918; “Twenty-Five Poems”)—and the movement's manifestos, Sept Manifestes Dada (1924; “Seven Dada Manifestos”). In Paris he engaged in tumultuous activities with André Breton, Philippe Soupault, and Louis Aragon to shock the public and to disintegrate the structures of language.In about 1930, weary of nihilism and destruction, he joined his friends in the more constructive activities of Surrealism. He devoted much time to the reconciliation of Surrealism and Marxism and joined the Communist Party in 1936 and the French Resistance movement during World War II. These political commitments brought him closer to his fellowmen, and he gradually matured into a lyrical poet. His poems revealed the anguish of his soul, caught between revolt and wonderment at the daily tragedy of the human condition. His mature works started with L'Homme approximatif (1931; “The Approximate Man”) and continued with Parler seul (1950; “Speaking Alone”) and La Face intérieure(1953; “The Inner Face”). In these, the anarchically scrambled words of Dada were replaced with a difficult but humanized language.From https://www.britannica.com/biography/Tristan-Tzara For more information about Tristan Tzara:“How to Make a Dadaist Poem”: https://www.writing.upenn.edu/~afilreis/88v/tzara.html“Tristan Tzara exhibition: the man who made dada”: https://www.theguardian.com/artanddesign/2015/nov/28/dada-tristan-tzara-avant-garde-exhibition
To celebrate the launch of Radisson Red Rosebank, Texx Talks has teamed up with the Radisson Group to spotlight four individuals that represent their four pillars of art, music, design and fashion. First up is Usha Seejarim, who designed the giant pair of red angel wings that sit at the entrance of the Radisson Red Rosebank. She is best known for her reinterpretation of ordinary and domestic objects, making use of everyday items like safety pins, wooden pegs, irons and brooms, giving her work a distinctly Dadaist influence. Radisson Red presents a playful twist on the conventional, and the latest edition to their family is Radisson Red Rosebank in Johannesburg, a super slick hotel in the beating heart of Johannesburg's “Art Mile” Radisson Red gives you the chance to tune in and out, switching effortlessly between business and pleasure, and in this special four-part series, I'll be highlighting 4 individuals that represent Radisson Red's 4 pillars, through art, music, design and fashion. Be sure to check out Radisson RED Rosebank, Johannesburg at radissonhotels.com and across all social platforms @radissonredrosebank Or if you're in the Rosebank area, why not take a stroll past Radisson RED and snap your own selfie in front of their statement red angel wings - everyone's welcome! For our growing back catalogue of awesome, head on over to www.texxtalks.com or follow us on Facebook Instagram Twitter for updates, things you need to hear. Also: make sure you follow Texx and the City on Facebook, Twitter and Instagram or all of your music news.
What makes a good manifesto? Are they better if they are sloganeering or questioning? Radio 1's Greg James and co-writer Chris Smith's new book is like a manifesto for the imagination, Malika Booker co-founded a poetry workshop that has transformed the literary landscape, and Kathryn Williams' songs always chart new territory - they join Ian McMillan to help him shape The Verb Manifesto which will be launched in the autumn. Malika Booker founded the poetry workshop 'Malika's Poetry Kitchen' alongside fellow poet Robert Robinson twenty years ago, inspired in part by the American writer June Jordan's ideas in 'Poetry for the People: A Revolutionary Handbook' . The workshop has included many of our most exciting poets, and an anthology celebrating the workshop is published on 5th August, called 'Too Young, Too Loud, Too Different' ( edited by Maisie Lawrence and Rishi Dastidar). Greg James and Chris Smith have turned an idea that came to Greg in a dream, into a novel for children called 'The Great Dream Robbery'. With a an acute ear for the sound of language, and a Dadaist expertise in the absurd , Greg and Chris celebrate the power of the imagination and the power of Llamas ( with bananas) - but will these things make it into our manifesto? Celebrated for her songwriting, Kathryn Williams' first novel 'The Ormering Tide' (Wrecking Ball Press) may have a listening manifesto at its heart. Its narrator is a curious listener, both to the natural world, and the people on her island. It's Rozel's listening which gives the reader hints of something mysterious that happened a long time ago -and which unsettles the present. As Kathryn has such an acute sensitivity to place, we asked her to write a special song to celebrate the places where manifestos are conceived.
The Art on a Postcard Summer Auction artist in question today is Michael Scoggins. In the episode Rosa and Michael talk about democratising art, elitism within the art world, connecting with your child in your creative practise and much more. Michael Scoggins is an American artist best known for his works on notebook paper which feign the attitude of a petulant adolescent doodling. Similarly to the works of David Shrigley, the artist utilizes cynicism, irony, and novice drawing. Scoggins came to this style by revisiting his own childhood sketchbooks and realizing how disarmingly truthful they were in comparison to the paintings he had been making as an adult. His alter-ego, a personality reminiscent of the Dadaist tradition, Michael S., presents the artist as an uninhibited child. Born in 1973 in Washington D.C., he received his MFA from the Savannah College of Art and Design in 2006. Today, his works are in the collections of The Museum of Modern Art in New York, the Hammer Museum in Los Angeles, CA, and the Telfair Museum of Art in Savannah, GA, among others. Scoggins lives and works in Brooklyn, NY. Michael Scoggins has generously donated Lots 311 and 312 to the Art on a Postcard Summer Auction to help raise money for The Hepatitis C Trust. Bidding starts at just £50 for each lot. 24th June- 8th July 2021 artonapostcard.com/pages/summer-auction-2021 Learn more information about The Hepatitis C Trust on their website: www.hepatitisctrust.org.uk Got questions for Rosa? Get in touch at: rosa.torr@hepctrust.org.uk
Why is an urinal considered a piece of art? What does the word Dada represent? What are Dada soirees? What does Dadaist poetry sound like? And can everything and anything become a work of art if we chose to declare it art? In this episode, you'll find out the answers to these questions and learn more about the famous art movement called DADAISM. #Dadaism #Art #CuriousMuse
It takes a brave person to even attempt to bring back the "Cut Price Life Hacks" segment, it's takes an imbecile to try and cram it into a Gannon's Golden Games, but that's what Paul has done this week, and he may live to regret it. Elsewhere in the podcast, Eli is on a sauce and noodle mission and he is sick and tired of Paul's constant harassment, so he is taking it to HR. Again. In retaliation, Paul also goes to see the management... They may be losing their minds. Will an underwhelming Country Urban Noodle Testlab Kitchen segment make things all better? The answer is no. Not at all! Join us for another bargain basement podcast adventure! Share & Enjoy. Photos/Videos for this episode can be seen at https://www.thecheapshow.co.uk/ep-228-aural-dadaist-nightmare And if you like us, why not support us: www.patreon.com/cheapshow Oh, and you can NOW listen to Urinevision 2020 on Bandcamp... For Free! Enjoy! https://cheapshowpodcast.bandcamp.com/album/urinevision-2020-the-album If you want to get involved, email us at thecheapshow@gmail.com And if you have to, follow us on Twitter @thecheapshowpod or @paulgannonshow & @elisnoid Like, Review, Share, Comment... LOVE US! Also, you can NOW see Eli star in "Ashens & The Polybius Heist", download it from here: https://www.watchpolybiusheist.com MERCH Official CheapShow Merch Shop https://www.redbubble.com/people/cheapshow/shop Www.cheapmag.shop www.tinyurl.com/rbcheapshow Paul is writing a book! Want to help make it happen? https://unbound.com/books/ghosts/ Send Us Stuff CheapShow PO BOX 1309 Harrow HA1 9QJ
What's up to my vociferous viperfish and perspicacious peccaries! Welcome back to the BNP y'all! Thank you for tuning in and supporting the show, and thank you for spreading the word about the BNP !This episode is a mixture of veggies and sweets. Audible nom-noms include surrealist robots, Dadaist skits, poems, and politicians saying hella weird shit mixed with dark wave ambient vibes. For your veggies, we do a quick primer on the declassified documents that outline a gnarly as fuck, truly fucked vibes CIA Mind Control program known as MK-Ultra, which operated in earnest from 1953-1973. To think that projects like these haven't morphed and camouflaged themselves thru time and into the present strikes me as naïve. Also included is an inspiring clip from Nelson Mandela, as well as Abby Martin speaking eloquently about the need for empire babies to "look after our own backyard" before criticizing the human rights of other nations. I can haz financial supportz? Mew? mew mew? Help me stay on the air for as little as $1/month @ www.patreon.com/noetics. I can haz followers? BNP on IG @conantannerI can haz feedbackz? Email: barbarian.noetics@gmail.comUntil next week everyone, Be good to yourselves and to one another. One Love, ConanTRACKLIST FOR THIS EPISODE DGP Beats - West Coast G-Funk Type Beat 2020Dykotomi - Corvid CrunkDreamy Records - Summer Feelings Lo Fi Hip Hop (Mix) Roy Rogers - Ride Concrete Cowboy Ride Vic Mensa - FR33DOM feat. ZacariDead Can Dance - Dionysus (Album) Salome MC - Riddle Erika Banks - I'm GreatEl Búho - Xica Xica (feat. Uji & Barrio Lindo)Durand Jones and the Indications - Sea Gets Hotter Rising Appalachia - Spirit's Cradle Abby Martin and Leslie Lee III, speaking on the Katie Halper Show (Excerpt from Podcast)J Dilla - Sunbeams (Extended Mix)Rebeca Lane, Nakury, Audry Funk - Somos Guerreras Support the show (http://www.patreon.com/noetics)
*NOTE: This episode was recorded during the winter storm that rocked The South in February 2021* For more info, episodes, and ways to support visit whatisblackpodcast.com. There is so much that can be said about photographer, chair sculptor, burgeoning musician... You know what, you'll have to listen to the episode to hear the myriad things Cary can do, or is learning how to do. In this episode, we talk about how a fascination with chairs lead to the Dadaist adjacent, stacking sculpture project chairs are people. We then segue into what happens when it all falls down and learning the best lessons from failing forward, and picking up the pieces for his fine art jigsaw puzzle project timeless.goods. Finally we dive head-first into our shared love of Japan and the ease at which it was to exist while being Black there. SPOILER ALERT: Police actually know how to do their jobs there. For more info on Cary and his work, check out all these social media profiles: @cary.fagan / @chairsarepeople / @timeless.goods / @cf.filmstudios. You can also visit https://cary-fagan.com/ for his collected portfolio. For more on Jason, visit https://solo.to/mckoycreative
Words fail a band like the Melvins, but people try a lot of stupid ones anyway.(“Dadaist.” “Original.” “Transgressive.” Give us a break.)They’ve belligerently flogged any attempt to pinpoint their essence for nearly 40 years, but Stoner Witch remains a reliable mall directory for the Melvins’ vast and wild discography. Grab yourself some pretzel bites.Follow us on Instagram and Twitter (@tunedig) for more info about the songs that didn't make the episode. Check out more episodes at https://tunedig.com.
Cross of Crying Dogs is a Dadaist manifesto, a call to (in)action from an exasperated population forcing us to ask, "How many crosses is too many crosses to bear? And who’s cross am I really carrying?" The answers don't matter though, cause all of us'll be buried in the rubble of the crosses we failed to bear soon enough - at least that's what these crying dogs are saying. ########## written by Justin Evans and directed by Lyubomir Parushev, with sound by Lyubomir Parushev and Zach Trebino featuring Andrew Clark, Justin Evans, Lexi Hauck, Rachel Thomas-Levy, and Zach Trebino
No need to wonder what to do for pleasure this week because, JON KING from the legendary Gang Of Four comes to Turned Out A Punk! Listen in as he & Damian talk about: cinematic influence, the Dadaist nature of punk, psychedelic Hawkwind shows & fighting Nazis at the Fenton! NOT TO BE MISSED! & don't miss the new Gang Of Four "77-81" Boxset on Matador Records!! Also Touched On: The influence on the present day trying to never be in a genre Dr. Feelgood: UK proto-punk the disappointment of the Clash toilet reverb: “it sounded shit” being sampled by Run The Jewels’ “We were pretty good at being difficult” Refusing to compromise for Top Of The Pops A friend’s dad with a crack and peel Velvet Underground Marc Almond getting whipped as an opener Having to deal with the first wave of Nazi punks The Mekons Sham 69 & TONS OF OTHER GOODNESS BROUGHT TO YOU BY VANS
Autor: Probst, Carsten Sendung: Fazit Hören bis: 19.01.2038 04:14
LISTENThis episode the OGs let art lift them out of dark times. Cubist? Dadaist? Surrealist? Join the OGs in their general befuddlement about art... but their joy in what they like. Also, OG Shawn is a Golden Flower. OG Eric's blue obsession. And... is Shawn Banksy?Join the conversation (and see our artifact album) on our Facebook: facebook.com/oldguyswholovethings and talk to us via email: oldguyswholovethings@gmail.comOLD GUYS T-SHIRTS: https://www.redbubble.com/people/oldguys/exploreOLD GUYS WATCH CLUB (YouTube playlist): https://www.youtube.com/playlist?list=PL_lfD1EhrKokbJiiyG9mYVI8gvBslswEvOLD GUYS SPOTIFY PLAYLIST: https://open.spotify.com/playlist/4cChDIOuO6HfHo9QryZQKd?si=e3E0JXlxQSOx21T9gbwmjQFind Shawn online: http://www.gruegallery.com and https://www.shawndooleyart.com and http://www.dooleyfreelancedesign.comFind Eric online: http://www.epschwartz.com (all music by Eric)
Dirt Room talks about their debut album
What's up beautiful 99%-ers!This is a special 'micro-sode' edition of the BNP. I don't have a ton of time today because I gotta scamper off to work soon, but I had to voice my thoughts regarding the medicinal benefits of tonic water for fighting off Covid-19 (and malaria to boot!), as well as the ugly truth behind this supposed "rescue package" our dear leaders in D.C have put together in response to the current national and global health and economic crisis. This "stimulus" is nothing but a 2nd, vastly more massive edition of the 2009 corporate bank bailout, signifying a generational economic realignment and redistribution of wealth away from working class people and into the pockets of the oligarchic ruling class. We mustn't let fear and our fight or flight response blind us to the grim reality of this bill. We need to educate one another and resist this further consolidation of wealth by the 1%. We need to support each other, and especially our brothers and sisters who work cash jobs and are not eligible for unemployment benefits.This bill is also not a $2.2T dollar package as the corporate media is telling us. It's a $10T giveaway. The Fed is printing $4 Trillion dollars for "loans" to businesses and banks (who are NOT legally bound to actually re-lend to working people, and in fact if 2009 is any indication, largely won't) and is printing a further $4 Trillion dollars for the insurance industry (must be nice to be the insurance industry). Meanwhile, the working class gets a paltry one time payment of $1200 sometime in May, which doesn't even cover people's gentrified rent for April. The immiseration of the working class as a result of this biological health crisis cannot be overstated. Workers needs universal basic income for the duration of this crisis. A one-time payment of $1200 is laughably inadequate. So get your yellow vests ready friends. We will need to make our demands in the street once this health crisis is over. I'll be giving away free Dadaist paintings for every surveillance drone that's disabled. TRACK LIST FOR THIS EPISODE:Ana Tijoux - Somos Sur (feat. Shadia Monsour)Ana Tijoux - Antifa DanceAna Tijoux - Sacar La Voz (feat. Jorge Drexler)Support the show (http://www.patreon.com/noetics)
Adult Swim has been the home for many influential pieces of alternative comedy, but Childrens Hospital is a series that helped the fledgling network establish their brand. The Dadaist comedy helped bring live-action to the programming block as well as an enviable cast and crew of comedic talent.Childrens Hospital was a jewel in Adult Swim's line-up for the seven seasons that it ran. However, the series has decided to gloriously return in the form of a police procedural parody series on Netflix, Medical Police. Medical Police retains the absurdity of Childrens Hospital, but gives it a glossy action makeover and makes Drs. Owen Maestro (Rob Huebel) and Lola Spratt (Erinn Hayes) the series' driving forces. The result is one of Netflix's silliest series in ages and a very worthy follow-up to Childrens Hospital.We got the opportunity to talk with Rob Huebel and Erinn Hayes about their return to the characters Owen Maestro and Lola Spratt, how Medical Police differs from Childrens Hospital, and their favorite moments from subverting action tropes. See acast.com/privacy for privacy and opt-out information.
Bonjour and welcome to another episode of your fave pod. Your cherished co-hosts take to their recording studio to remix this week’s episode and improve it, much like Mary Ann/Marianne/Marlyn’s singing. From Lottie’s bops to Claude’s nod, via Lord Sugar’s Dadaist airing of a 20-year beef with The Sugababes, you’d have to show real naive-eh-tie not to enjoy this classic ep. Remember to subscribe and leave ALL FIVE stars, and to follow ALL THREE on Twitter, where you can let us know how long you’ve been in the music industry.
Rev. Fred Lane (c. 19??) is a simultaneously enigmatic and notorious persona who is responsible for creating what is arguably the most obscure, strange, darkly comedic, psychotic, perplexing, and uniquely American music that has ever been recorded. The collected works of Fred Lane constitute an improbably rare body of music that brazenly rides the line between order and chaos; taking the listener into realms that are all the way out, and yet somehow oddly (and perhaps unsettlingly) familiar. It is a music that is impossible to penetrate the mystery of and exists outside of conventional time in a universe all of its own. The intrepid few that miraculously stumbled across these rarefied recordings have largely become rabid & cult-like fanatics. One especially obsessive lifelong fan even created a Rev. Fred Lane documentary that took over 19 years to complete. Remarkably, Fred Lane and his swinging ‘pataphysical cult from an alternate dimension (SEE: Ron ‘Pate's Debonairs featuring Rev. Fred Lane + Fred Lane and his The Hittite Hot Shots) only performed TWICE in their entire existence. All of the band members were credited on the albums with fake aliases created by Lane, with monikers such as Dick Foote, Omar Bhag-dad-a, Dimples LaCroix, Ron ‘Pate, Abdul Ben Camel, Cyd Cherise, Shep Estrus, E. Baxter Put, Whitey Stencil, “Bill” The Kid Dap, and Motor Hobson. Several bizarre and fantastical rumors surfaced over the years, some claiming that Lane had become a demented recluse and/or nazi living in a pyramid and constructing sculptures out of vegetables. Were any of the rumors true? Was it all some kind of elaborate ruse? Probing deeper into the story of Rev. Fred Lane, one discovers that the character emerged from the mind of T.R. Reed; a man who grew up in rural Tuscaloosa, Alabama and eventually fell in with a crowd of intensely crafty & diligent freaks known as Raudelunas. Raudelunas was a motley crew of deviant Southern artists and musicians in the mid-1970s who modeled their behavior & actions off of the early European Dadaists, Surrealists, and Futurists— attempting to freak out, subvert, and unleash as much explosive mayhem and chaos as they could possibly muster upon their stiflingly conventional-minded college football town. French proto-Dadaist/symbolist writer and madman Alfred Jarry (creator of ‘pataphysics) served as something of a patron saint. Lane was summoned into being as a sort of swaggeringly megalomaniacal MC for the group's various presentations in order to terrorize, humiliate, and provoke the audience. During these years he also began creating bizarre sculptures using different collage techniques. He also produced several publications including “Naked Women Overthrow The Government Quarterly”, “Liquid Basketball”, and “Steamed Plywood Triannual”. Among Raudelunas' myriad activities and high jinks, they were among the very first Americans to perform and record what eventually came to be known as “free improvisation” (which they initially referred to as “Headache Music”)— a kind of meta-music or proto-music in which participants don't know what they're doing until they're doing it. LaDonna Smith (aka D.P.B. Smith) and Davey Williams (aka Cyd Cherise) were two of the more dedicated players who emerged from this group and quickly went on to become internationally recognized luminaries in the field. After the release of “Car Radio Jerome” in 1986, Reed/Lane abandoned any sort of public or professional involvement in music in order to pursue crafting and selling his mobile sculptures (alternately referred to as “creachters” and “whirligigs”) at folk art festivals all around the country— a career path he continues up to the present day, along with his wife and fellow artist Jeanie Holland. However, in recent years, prompted by EXILE HOUR co-host Evan Philip Lipson (aka Lipps Epsom) with some assistance from Shaking Ray Levi Society co-founder Bob Stagner (aka Fob Stengel), Lane began quietly working
The Alsace artist, Hans Arp, had already played a central role as artist and poet in the Dadaist movements in Zürich and Paris. Humour and irony also characterised his later work, especially the reliefs.
We’re still getting used to being live in front of no audienceI’M THE PRODUCER!Evologo beef. Whole trucks of it. Prepare to be ruined foreverImpossible tangentStarsector rulesSpacestation 13 synopsis. SPACE LUBERimworld is exactly the same as it always was.Deepcock galactits update Keynan waxes dire need for control in life over prison architectHey games industry, more asymmetrical multiplayerCuz it roolz - owen“No joke zone”Thinking reacts only to keynans time management jokesGame does not age well and is for a VERY specific demoMatt: asshole content fracker. Ruining the videogame environmentThis game is a choc a bloc with fun cruft stuff to doEveryone else seems to like wedding quake a lot more than mePolyblanc throws his gun when he runs out of bulletsOwen: bespoke assets screedSupport developers?This game is very niche, what were they expecting?Demolition man references. Hooray!Jazzpunk is a television show in quadcowMustache offset, callbacksJazzpunk doesnt really care if you are laughing WITH it.This game has one of the best ads of all time“Things that cost rent” diatribe about shoesThis game should be in VRJazzpunk is unafraid of how weird it isLean on a virtual desk: everyone knows one person who did thatListen to owen, he has good ideasEngine specific asset viewerTom haverford is basically a racoonYou have to be dying to enjoy this game (over 25)“We didn’t understand anything you were doing but we support you”I suddenly say cube for no reason and we start talking about the best part of the game80’s cyberpunk oriental scareAlt history is hard and no one wants to hear me go on about it2 payday 20 spelunkyJosh makes a mean pigNOT EVERYTHING IS KAYFABE2 FNVShoes in the ceiling1 tie fighterWhy aaron whyThe nostalgia flavor rhymes. FUCK OFF2 alpha centauriFuck tennisIs basketball a derivative of tennisYOU DIDN'T KNOW THAT WHEN YOU MADE YOUR ARGUMENTA little BP loreMeta feelingsGuybrush threepwood thrives in jazzpunk landI never said i hate guybrushFalse start ending the episodeMatt busts out the old school insultsMany silver toilet skullsShadowrun HK next timeHe has never gotten that joke
In 1919, two competing art movements went head-to-head in Paris. One was the Return to Order, a movement about purity and harmony. The other was Dada, a movement about chaos and destruction. Their collision would change the trajectory of Western art. Hugo Ball established the Cabaret Voltaire in Zurich, where Dada came to life in February 1916. In this photo, he's dressed in his "magic bishop" costume. The costume was so stiff and ungainly that Ball had to be carried on and off stage. You can hear the entire text of Ball's "Karawane" on Youtube (https://www.youtube.com/watch?v=z_8Wg40F3yo). You can also read the text (https://poets.org/poem/karawane). Marcel Duchamp arrived in New York to a hero's welcome, a far cry from the disdainful treatment he was receiving in France. He was hailed for his success at the 1913 Armory Show, where his painting "Nude Descending a Staircase" was the hit of the show. "Nude Descending a Staircase" was considered radical art, but it was still oil paint on canvas. Duchamp would soon leave even that much tradition behind. Francis Picabia was handsome, rich, dashing, and about as faithful as an alley cat. That he wasn't court martialed for neglecting his diplomat mission to Cuba for artistic shenanigans in New York was entirely due to his family's wealth and influence. He was also well known in New York for his visit there during the Armory Show. Picabia abandoned traditional painting for meticulous line drawings of mass-produced items, including this work, titled "Young American Girl in a State of Nudity." Duchamp horrified New Yorkers when he presented "Fountain" to an art exhibit as a work of sculpture. A urinal may not seem particularly shocking now, but it violated any number of taboos in 1917. While "Fountain" is generally atttributed to Duchamp, it is possible, although by no mean certain, that it was actually created by the Baroness Else von Freytag-Loringhoven. A German ex-pat, she was creating art out of ready-made objects more than a year before Duchamp and lived her life as a kind of non-stop performance art. Whatever her role in "Fountain," she deserves to be better remembered as a pioneering modernist. After he returned to Europe, Picabia's art became less disciplined and more outlandish. He titled this ink-blot "The Virgin Saint." Picabia also published a Dadaist journal, in which he published this work by Duchamp. It's a cheap postcard of the "Mona Lisa" to which he added a mustache. The title "L.H.O.O.Q. is a pun in French; it sounds like "she has a hot ass." Tzara and other Dadaists in Paris devoted themselves to events and performances. This is a handbill for a "Festival Dada" that took place on May 26, 1920. Tzara and Picabia are listed as performing, along with several other prominent Dadaists including Andre Breton, Louis Aragon, and Paul Eluard. These evenings became increasingly frantic and nihilistic as Dada wore on. By 1919, Pablo Picasso part of the artistic establishment and no longer a radical on the edges of society. In 1911/1912, Picasso paintings looked like this--this is "Ma Jolie," a dense, complicated, frankly intimidating Cubist painting. Ten years later, he painted this work, Woman in White. With its clarity, beauty, and nods to tradition, it is a prime example of Picasso's embrace of neo-classicism after the Great War. The impulse to create clear, simple, ordered art existed in many European countries. In the Netherlands, Piet Mondrian worked in the Neoplasticist movement creating his iconic grid paintings. This is "Composition No. 2" from 1920. At the same time, in Germany the Bauhaus was established. As a school of arts and crafts, it taught a stripped-down, clean aesthetic that applied to everything from architecture to furniture design, industrial design to graphic design. This poster advertising a 1923 exhibition is a good example of Bauhaus design and typography. The Surrealist movement arose out of Dada's ashes in the mid- to late-1920s. It combined the traditional painting technique of neo-Classicism with the bizarre imagery of Dada. Salvador Dali's "Persistence of Memory," for example, is a technical masterpiece, with masterful execution. It's also impossible and, frankly, disturbing. T.S. Eliot's "The Waste Land" gives the impression of randomness, of lines picked out of a coat pocket. In fact, it is painstakingly constructed and shows as much technical skill as Dali's clocks. You can read the poem (https://www.poetryfoundation.org/poems/47311/the-waste-land), or listen to Alec Guinness read it (https://www.youtube.com/watch?v=Hcj4G45F9pw)--or maybe do both at the same time. This meme was created in 2013 by cartoonist KC Green. It captures the Dadaist attitude that shows up in popular culture a great deal here in 2019--a sense that the world is really weird right now. Please note that the links below to Amazon are affiliate links. That means that, at no extra cost to you, I can earn a commission if you click through and make a purchase. (Here's what, legally, I'm supposed to tell you: I am a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for me to earn fees by linking to Amazon.com and affiliated sites.) However, I only recommend books that I have used and genuinely highly recommend.
A very different kind of movie for the show today. Carl Rowland joins me to talk about Freddy Got Fingered; a movie which has been described as both the worst movie of all time and a Dadaist masterpiece: which is it? Is it a good or a bad date movie? How long do we stay on topic? How much does Carl hate DC? Find out here
Michael & Ethan In A Room With Scotch - Tapestry Radio Network
Michael & Ethan continue in their discussion of Station Eleven by Emily St. John Mandel, really getting into the nitty-gritty of why anything even matters. But is that inherently nihilist? Find out today on Michael & Ethan in a Room with Scotch! In this episode:It will inevitably turn into a Dadaist digression on the environment and the solipsistic nature of man.This book is both Shakespearean and American.They confuse characters.They talk too much (is that possible) about Shakespeare.Both of them agree, “It’s not Sartre.”Michael asks impossible questions.Ethan brags.Find out which letter is the most skeptical of the entire alphabet, according to Michael.There is no fourth wall.Lydia is a butt.Michael blows wide the paradigm.Michael gets real, full of the paranoid shakes.Ethan challenges us to look up Love Story. Maybe this is it?Their next book will be Things not Seen by Andrew Clements. Join the discussion! Go to the Contact page and put "Scotch Talk" in the Subject line. We'd love to hear from you! And submit your homework at the Michael & Ethan in a Room with Scotch page.Donate to our Patreon!Your Hosts: Michael G. Lilienthal (@mglilienthal) andEthan Bartlett (@bjartlett)"Kessy Swings Endless - (ID 349)" by Lobo Loco. Used by permission."The Grim Reaper - II Presto" by Aitua. Used under an Attribution-NonCommercial-ShareAlike License."Thinking It Over" by Lee Rosevere. Used under an Attribution License.
Hi Friend, Welcome to a special 2018 Christmas Eve Episode of Sally’s Performing Arts Lab Podcast. Today, we’re going to talk about my upcoming guests now that 2019 is right around the corner. I’m your SallyPAL podcast host, Sally Adams. I talk to people about creating original work for a live audience. Send an email anytime to Sally@sallypal.com. Although I’ve been away from podcasting for a few months, I am still out here supporting new works wherever I see the opportunity. As 2018 draws to a close I wanted to share some thoughts before I kick into twice a month podcast uploads again. After producing over 50 episodes of SallyPAL, I took a break from podcasting. It was only supposed to last a month to make time for some other projects. But I got out of the habit of regularly editing and posting and after a few more weeks I was almost embarrassed to start again. It’s like that feeling you get when you forget to send a baby gift and then 2 years later you figure it’s probably too late to send that onesie you were maybe going to buy. But enough about me and my nieces… There are some things on the horizon that are really too exciting to ignore and I want to share them with my Sally PALS! So let me start by letting you know about the guests I have coming up in the next few months: Upcoming Guests Chris O’Rourke is a playwright, director, drama coach and critic with a Masters in Modern Drama. Chris was National Theatre Critic for com until July 2016 when Examiner.com ceased. During that time he extensively reviewed in Ireland and abroad. Chris is artistic director of Everything is Liminal and Unknown Theatre which specializes in originating works with young people from high risk backgrounds. Peyton Storz performs with the groundbreaking comedy Splatter Theater in Chicago. Peyton graduated from Columbia College Chicago with a BA in Comedy Writing and Performance, and has trained at The Annoyance Theater and The Second City in Chicago. She hails from my hometown, Tulsa, Oklahoma. Amber Harrington teaches theatre at Edison Magnet School in Tulsa, Oklahoma. With nearly 18 years of experience she has been named Teacher of the Year, won countless awards with her students, and has created programs for her theatre kids that are imitated throughout the state. Her student playwriting program is the first of its kind in Oklahoma and has produced two national award-wining playwrights. Amber is also a Folger Shakespeare Teaching Artist. Reed Mathis is making fresh music in The Bay Area. Reed tours with his own band and works as a studio musician blending his love of classical music (Beethoven in particular) with his spectacular bass-playing skills. Reed is a former member of Tea Leaf Green. He’s also played bass with Grateful Dead members Phil Lesh, Mickey Hart, and Bill Kreutzmann. He has also played with the Steve Kimock Band, and was a founding member of Tulsa progressive jazz band Jacob Fred Jazz Odyssey. Stick close because I also have an interview promised with J.D. McPherson as soon as his touring schedule lets up. Big news in public domain works and what it means for creatives: If you’re not sure exactly what the term public domain means, according to Google’s online dictionary, “public domain is the state of belonging or being available to the public as a whole, and therefore not subject to copyright.” This is a pretty big deal for creatives in general. But especially for arts teachers. Many of you may remember being admonished by your choir teacher or your drama director to get rid of your photocopies after a performance because the works were copyrighted and you did not have permission to keep those copies. In just a few days that will no longer be true for works published in 1923. Works published in 1922 and before have been available for 20 years. I know this because in 2013 I wrote a musical for my students that borrowed songs from 1922 and earlier including the well-known, “Be It Ever So Humble, There’s No Place Like Home”. A recent article in the Smithsonian magazine highlights a lot of the things that are important to artists regarding works in the public domain. According to the article on January 1, 2019, “all works first published in the United States in 1923 will enter the public domain.” Because of a weird discrepancy with the law, it’s been 20 years since there’s been any mass release of work into the public domain. The last time it happened was 1998 and Google didn’t even incorporate as a company until September of that year. That means the explosive growth of digital art hasn’t legally included variations on work from this period in part because works published in 1923 haven’t been in the public domain. Some of the work has been available, of course, without alteration, through publishers and for a price. 1998 was the year that public domain releases stopped because the Sonny Bono Copyright Term Extension Act added 20 years to the wait time for published works to enter the public domain. The bill was named for Congressman Bono posthumously although he did put his signature on the legislation. It’s complicated, just like copyright law so I’ve included some deep dive links for anyone who needs more. And don’t get me started on global copyright. It’s a hot mess. Next week, though, you’ll have total and free access to things like Robert Frost’s “Stopping by Woods on a Snowy Evening,” which, although written in 1922, was not published until 1923. The laws for these earlier works is different from works in the digital age. Nowadays, a work has a copyright as soon as it’s created. I’m not kidding when I say this stuff is ridiculously complicated. I’ll include a link to a great Brad Templeton website on copyright, plagiarism, and some other topics you might find interesting. Other things entering the public domain? Well, how about the unforgettable pop hit, “Yes, We Have No Bananas,” or the songs “Who’s Sorry Now?” and the flapper hit, “The Charleston”. The film debuts of Marlene Dietrich, Douglas Fairbanks, Jr. and Fay Wray will be available for general public use. There won’t be any Disney fare available until 2024. At the time the law changed, Mickey Mouse’s film debut, Steamboat Willie, would have been public domain in 2004. But the Disney Corporation lobbied to retain the rights to its creations over two decades into the next century. They didn’t have to lobby all that hard as both the House and Senate had corporate-leaning Republican majorities and President Clinton wasn’t looking to make public domain law a part of his platform. The 1998 law gave Steamboat Willie an extra 20 years before he would steer into un-copyrighted waters. What’s really exciting now is that digital collections like Internet Archive, Google Books and HathiTrust will be storing seminal works from the early days of American Modernism. D.H. Lawrence, Virginia Woolfe, Claude McKay, Sigmund Freud, George Bernard Shaw, Louis Armstrong, Gertrude Stein, and so many others. Members of the Harlem Renaissance, the DaDaist school, and the Algonquin Roundtable all feature prominently in 1923. This new surge of old works in the digital age allows for current creatives to freely play with the works of important artists of the era bridging WWI and the Great Depression. Works entering the public domain can be altered indiscriminately. You could even claim p.d. work as your own, but that’s not art, that’s plagiarism. As artists we are always standing on the shoulders of giants. Give attribution whenever you can. And do your homework. Look at the context for works that you use. Collaborating with ghosts expands our artistic horizons. It’s an exciting way to learn from our predecessors. Teachers will be free to share these works with their students and scholars can print important poems and essays many of us have never read. It’s only one year, but I think you’ll find that 1923 was a very good year, indeed. SallyPAL Shoppe opening – Stay on the lookout for the SallyPAL Shoppe. I’ll have t-shirts, coffee mugs, all the usual fun high-quality performing arts kitsch at decent prices. If you don’t see anything in the store yet, stay tuned! You’ve heard from my son Will Inman before and he’s back to talk about the new release of 1923 published works into the public domain, plagiarism, sharing your work, educational theatre, and some other cool stuff. Will’s plays have been produced in theaters from Texas to New York. He is currently a Cadence Pipeline New Works Fellow with Cadence Theatre in Richmond, Virginia. He’s been a featured student playwright with the VSA Kennedy Center plays, been performed with Tulsa SummerStage and Fringe festivals, Writopia Labs Comedy Playwriting Festival Houston University, Rogers State University, a portion of his play, The Lesbian Exhibit, was performed at Torrent Theatre in New York City, and last year he won the inaugural Edward Albee Playwriting Award by Theresa Rebeck for his play Winners. Concise Advice from the Interview - 5 bits of advice about using public domain work: DO give attribution when you use someone else’s work. It’s not a requirement, but it’s important to recognize the work of other artists, especially if it inspires you. Develop a sense of context for the work you are modifying. Find out something about the history and culture of the originating artists to give depth to your work Dig around in the available digital archives and learn more about public domain works. It’s creative, it’s fun and it’s educational! Learn more about copyright law. As an artist, it’s up to you to know the difference between plagiarism and responsible evolution of artistic work. Don’t just crib work, use the public domain to inspire all new original works of theatre, music, and dance. Check out the blog, SallyPAL.com, for articles and podcast episodes. You, too, can be a SallyPAL. Thank you for following, sharing, subscribing, reviewing, joining, & thank you for listening. If you’re downloading and listening on your drive to work, or commenting and reviewing like my sister does, let me know you’re out there. Storytelling through performance is the most important thing we do as a culture. That’s why I encourage you to share your stories because you’re the only one with your particular point of view. And SallyPAL is here with resources, encouragement, and a growing community of storytellers. All the stories ever expressed once lived only in someone’s imagination… Now… Go Pretend!
This week on a very special episode of Secretly Timid we discuss whether 45 is a Dadaist, how easy or hard it is to get to the right apartment sober, aaaand then things get a little heated. This week’s featured … Continue reading →
In this podcast, Cody Gough and Ashley Hamer discuss the following stories from Curiosity.com to help you get smarter and learn something new in just a few minutes: NEAT Is How Your Body Burns Calories Without Exercise A 15-Year-Old Girl Heard Amelia Earhart's Last Transmission This Is The Odd Writing Technique Used by David Bowie, Kurt Cobain, and Bob Dylan If you love our show and you're interested in hearing full-length interviews, then please considersupporting us on Patreon. You'll get exclusive episodes and access to our archives as soon as you become a Patron! Learn about these topics and more onCuriosity.com, and download our5-star app for Android and iOS. Then, join the conversation onFacebook,Twitter, andInstagram. Plus: Amazon smart speaker users, enable ourAlexa Flash Briefing to learn something new in just a few minutes every day! See omnystudio.com/listener for privacy information.
The Hermit's Lamp Podcast - A place for witches, hermits, mystics, healers, and seekers
This week Andrew is joined by the wonderful Lucia! A fun, and artisticly rich episode with discussions of their Art, and practice and how it can move us all forward to the future. Connect with Lucia on her website, and don't forget to check out the Oracle of Initiation while you're at it. Be sure to give her instagram as follow aswell: @mellissaelucia Think about how much you've enjoyed the podcast and how many episodes you listened to and think consider if it is time tosupport the Patreon You can do so here. If you want more of this in your life you can subscribe by RSS , iTunes, Stitcher, or email. Thanks for listening! If you dig this please subscribe and share with those who would like it. Andrew ANDREW: Welcome to another episode of the Hermit's Lamp podcast. I am here today catching up with Mellissae Lucia. Who ... We've been ... I had Mellissae on ... five years ago? I didn't look it up before we started but it has definitely been awhile. And, a lot of things have changed for both of us during that time. But, as we've been going through our lives, I've been watching the amazing artwork, and the sort of interplay of artwork as magic, artwork as divination, artwork as life, that mirrors a lot of pieces of my own journey as well, and, you know, also, the conversations I had in a previous episode with Syrus Ware as well. So, I wanted to have Mellissae on to talk about this and to talk about a bunch of other stuff. So, if you haven't listened to that first episode, there'll be a link in the show notes. Go find it and give it a listen and freshen up, because we're definitely going to reference a few things from it. But, for those who haven't been following you, Mellissae, who are you? LUCIA: Hi! ANDREW: What are you up to? What's going on? LUCIA: Hi Andrew, delighted, delighted to be here! I am Mellissae Lucia, and I've changed a lot in the last couple years, and I'm very pro name changes [laughs]. ANDREW: Uh huh. LUCIA: It drives some people insane! But I'm going by Lucia these days, partially because of the graffiti. Also, when I thought about, what's my graffiti name going to be? ANDREW: Uh huh. LUCIA: Lucia came up. ANDREW: Perfect. LUCIA: And so, I am Lucia, and, the people who have known me for so many decades, if you call me Mellissa or Mellissae, it's all gonna work. ANDREW: Mmmhmm. LUCIA: And I am an artist, and an oracle, an empath, an entrepreneur, and I am a person who follows the signs and follows the synchronicities, and has found this ability to have courage, but also joy, drive everything that I do. And, so there's a whole variety of things that I do, from having created a visionary deck in the New Mexico desert, down in graffiti tunnels, called the Oracle of Initiation. I teach online courses, I teach in person, and adventure is the greatest joy of my life. ANDREW: Mmmhmm. Well, so you mentioned one thing in passing here, which I want to sort of talk about first, right? What ... Tell me about the graffiti. [bursts out laughing] ANDREW: Like, what is it about graffiti for you? And even more so, how did that move you to change your name? LUCIA: [still laughing] Ohhhhh ... Well, I've had a lot of different spiritual names, and Mellissae Lucia is my pen name, and when I was writing my oracle book in ... 2011, that I was writing the book ... to go with this six-year project of making my Oracle of Initiation deck. ANDREW: Mmmhmm. LUCIA: And [sighs], my legal name is Melissa Weiss Steele. So, that's my father's name, and my deceased husband's name, and I like that ... There's a very traditional side to me, actually, that likes the solidness of that name. But I wanted a more magical name and I wanted a name that was going to possibly ... What I found is that mystics, empaths, whatever words you want to call us ... That we struggle with being seen. That there have been so many lifetimes of being killed for who we were that there's some really pretty serious base chakra issues about: Am I going to be taken out in this lifetime for letting everybody know that I'm psychic? ANDREW: Hmm. LUCIA: And you know, creative, whatever, intuitive, words you want to use. And so, Mellissae Lucia--in some ways, it also was Tibetan numerology, so it was designed to be auspicious in abundance and connection. But I wanted it to be this public face, this filter for the woo woo side, of going out into the world. So, I like name changes. And the last couple of years, as I say, I'm gonna be, we're gonna talk about this, but I'm gonna be 50 this year. I'm the happiest I've ever been in my whole life! It's like things have landed. I've integrated. And all of my gifts are now available to me, a lot of them, in ways that I've dreamed of, that I've worked towards for decades. ANDREW: Mmm. LUCIA: So, the Lucia, for the graffiti ... I fell in love ... well, I fell in ... There's a song from ... I mean, there's a phrase from the movie Brown Sugar, about when did you fall in love with hip-hop? ANDREW: Mmmhmm. LUCIA: I fell in love with hip-hop when I was 12 years old, at the middle school. And I was in Seattle, Washington. And this was Grandmaster Flash. So, this was 1980. This gentleman walked behind me, this young guy in middle school, and started singing the words to the song "It's Nasty," which is amazing. And my whole body lit up! And, you know, I was pretty shy as a young one, and I went, "What the hell is that?!" ANDREW: Uh huh. LUCIA: And, like, it owned me from then on. And I am an 80s/90s hip-hop fanatic, and talk to me about it any time. And to me that's our tribal roots. That's our ... That's the basis ... Those are our bards, our griots, those are our contemporary truth tellers. Hip-hop is one of those places, you know, the tribal beat and all of that. That's why it's worldwide because it's archetypal. So, graffiti is part of that. And when ... In the mid-80s, my mom took me to Paris, bless my mom, and in Paris, they had this stencil graffiti that was INsane. ANDREW: Mmmhmm. LUCIA: The skill level was off the charts of this stencil graffiti that was all over Paris. And I, once again, I'm a very passionate person. I fell head over heels in love with the graffiti. And for some reason, it took me decades to do it myself, but I do wheat paste, and I do my collages, my digital physical collages. And they're very pop culturey, irreverent, punk rock. [laughs] We're both punk rock; that's part of one of our connections, and so ... ANDREW: Mmmhmm. LUCIA: But you need it. You need a name, you need a tag. I don't ... I'm not aerosol, so I'm not spraying my tag. But you want to ... This this is a conversation with "Oh, look at that, mmmhmm. There's some of my Andy Warhol..." I've collaged some of the Andy Warhol Polaroids cause they're brilliant. ANDREW: Mmmhmm. LUCIA: But it ... So, the name change, I wanted to name a hashtag, so it's hashtag Lucia graffiti [laughs]. Go on Instagram; it's all over Instagram! ANDREW: Nice. LUCIA: But it's ... It's been this incredible joy, because ... You know Adam Ant, we're gonna bust out the 80s. [singing] "You don't drink, don't smoke. What do you do? You don't drink, don't smoke ..." I don't drink, I don't smoke, I don't generally do drugs, but I need some risk. I need some challenge. I need something that's disobedient, that's rebellious. But I choose to not be incarcerated. I choose to not have my life fall apart from addiction, so, I need things that are going to give me that risk, like trespassing, without taking my life. So, graffiti is that for me. It's sharing my art, a conversation with the other street artists, self-sanctifying myself. And I get my risk, my adrenaline risk and I love it. ANDREW: Is that a ... Do you think that's a punk rock thing? Is that also part of your empath stuff? Like where does that need for risk come from? LUCIA: I am ... I'm a very ... It's funny, if you meet me I actually come across as pretty friendly. ANDREW: Mmmhmm. LUCIA: I'm pretty sweet to a certain degree. I mean if you can read energy, you can tell that there's a lot going on, but generally my public face is pretty friendly. ANDREW: Mmmhmm. LUCIA: Which has its complexities to it. People judge that in some ways. But I can also burn paint off the walls. And so, I think there's always been a broad range of impulses within myself. Like the Martha Stewart side and then this hard-core mystic side. And so, I think that somehow that risk helps me to integrate some of these complexities. Like there's this part of me that's really ancient and doesn't want to become a junkie, but I want some of those feelings of what it might feel like. Or, you know, like have so many sexual partners that you get sexual diseases or whatever. I haven't done that. And so, but I need ... My level of intensity needs that sometimes. ANDREW: Hmm. LUCIA: But I think it is ... I think that's why I was drawn to punk rock, why I am drawn to hip-hop, is that they're very fierce ... ANDREW: Right. LUCIA: Energies. And they're very rebellious maverick energies. ANDREW: Yeah. I ... Cause I have that adrenaline piece, right? Like I need that kick of adrenaline somewhere, you know? And when I was younger, it used to sort of be ... There was this moment. I went skydiving with a bunch of people I was working with ... LUCIA: [laughing] ANDREW: Everyone's like, "Let's go skydiving." I'm like, "Great, let's go, let's do it, I'm ready." And at the time, I was doing like, downhill mountain biking and full contact martial arts, and like all this stuff. And so, I climbed in the plane with everybody else, and as it took off, I had a little butterfly in my stomach, and then it got to be my turn, and I jumped out, the chute opens, and I sort of float to the ground and so on. And I remember landing and going, "Yeah, that was cool." LUCIA: [laughing] ANDREW: And everyone else was like, "Oh my God, oh my God, that was the best thing ever!" And like a couple days later, I had this moment of like, I think I need to slow down. I think that I just have such a different relationship to adrenaline, to excitement, and to risk that ... That I was like, I don't know where else this goes, and I don't know that if I allow it to continue ... LUCIA: [laughing] ANDREW: That it doesn't end up unchecked in some really dangerous way, or, you know? The cost starts to get higher and higher, right? LUCIA: Right. ANDREW: So. Yeah. LUCIA: Well, and you're also ... You're a father. So, you're a father and you're a partner. ANDREW: Mmmhmm. LUCIA: And so, I would imagine ... I didn't get kids in this lifetime. But I would imagine that that could be a piece of it. But what do you do now for that need? ANDREW: I rock climb. Like at a gym. So, you know. LUCIA: Mmmhmm. ANDREW: Relatively safe. But definitely sort of out there, pushing myself, and you know, it's ... You know, when I'm like 20, 30 feet up the wall at the gym, and I'm like, trying to make the next move and don't think I can make it, you know, or not sure I can make it. There's nothing else, right? There's no thoughts, there's no feelings, there's just this complete presence in the moment and the focus on that. LUCIA: Yeah! Yes. ANDREW: And then, either the elation of completion -- Oh, I did make the move! — Or the zing of adrenaline as I miss the move. And then the, and then the, like, oh, and the rope caught me, which is cool, and now I'm going to try it again next week, and next week I'll get it. You know? So. LUCIA: Well, and this is something, this is really beautiful. This is something that I've been thinking about a lot. As I alluded to earlier, I'm 50 this year. ANDREW: Mmmhmm. LUCIA: And I'm the happiest I've ever been. Like some thing, some critical mass, has happened. And being an empath, I've become an empowered empath, is the words that I'm using for it. Now, and I'm still working on articulating this, like I'm catching up with who I am. But there's some piece ... I've been ... Because I'm a teacher, I'm a systems maker, I design online courses, I teach workshops, I'm fascinated with the steps of how you create things. That's ... As I say, I have a very visionary mind. But I also have a very practical Capricorn systems mind: "What are the seven steps that we need? And what are the 14 steps that come off of each of the seven steps?" I love designing things, and so I've been thinking about what happened for me, that was applicable to other people, to have this critical mass of confidence? ANDREW: Mmmhmm. LUCIA: Because what I found, with empaths, and with people who are pretty sensitive, and so pretty much anybody who's listening to this podcast is an empath, you're gonna be a highly sensitive person. ANDREW: Most likely. LUCIA: And what I've found ... Right? Right? All of us. That's who we are. And so, I've been sitting with this ... I call it the confidence gap. And I had this for decades, so that's why I understand this. ANDREW: Mmmhmm. LUCIA: Is because we are such weathervanes for other people's issues, because we can feel them, depending on what type of an empath you are. We don't always know our own voice, or our own center, we're usually battered around by everything that's around us, and so what I found was, I became ... My controlling perfectionist would come up. ANDREW: Mmm. LUCIA: And, what I've done over the last couple of decades ... The couple of things that I've come to at this point ... Like I say, I'm still working on articulating this ... Is courage and joy. But there's this ... For me, there's this critical mass where you have to be willing to step out of your comfort zone over and over and over again. It's like a training. ANDREW: Mmmhmm. LUCIA: It's energetic cross training. But it has to be driven by joy. There has to be some passion at some points and sometimes it's hard. I'm not gonna say it's always a cakewalk. But, those two things ... If you don't have those two things, they work together, like there is this ... You gain the confidence, you gain the power, you gain the ability to trust yourself through doing those things that are out of your comfort zone, but it has to be fun as hell at some point too, to really enliven you and so. Just thinking about, you know, all these pieces that we're talking about, the risk, but also the presence, you know, it's like being in the zone. And everybody has different things that bring them into the zone, but that's what feeds one's ability to be more embodied and confident in yourself. And so, I think that's really important for revisionaries. We're the new myth makers and the visionaries. But so many empaths and incredibly creative people that I know are shut down and really not able to be or willing to be seen in the world and share their gifts because of this confidence gap. And so, you know, it's my soapbox to try to figure out how to help us become more embodied and confident. ANDREW: Mmmhmm. LUCIA: So, I love hearing your risk stuff. That was great. ANDREW: Yeah, and I think that that's ... I mean that's certainly been a lot of my experience, you know, when I was younger, I was definitely shy, and introverted, and so on, you know? LUCIA: Mmmhmm. ANDREW: And I don't even remember why it started, but at some point, I decided that if I was afraid of something, I should do it ... LUCIA: Yeah! ANDREW: And if I was really afraid of something, I should do it twice as fast, right? And that led me to the place where I then decided I needed to back off from that, too, but I think, you know, sort of looking at that kind of how do we step into our discomfort and work with that, right? How do we step into that and make magic in that space, right? Because ... LUCIA: Right! ANDREW: You know, it's one of the options that we can use to generate energy. To convert and change it into something else, right? You know? LUCIA: That is beautifully—I'm a big notetaker, I'm a scribe. And when — ANDREW: Uh huh. LUCIA: Because ideas are elusive. This is one of the things I teach people in my courses, is, you gotta write this stuff down — ANDREW: Yeah. LUCIA: Cause it floats through like the wind. ANDREW: Sure. LUCIA: So, I love that idea about how do you create—It's alchemy. I mean it's really, it's alchemy. This —When you step in, when you show up, and you say, "Okay, I'm going to do something that's out of my comfort zone," and you know, I believe we have this whole corporation of guides and ancestors and spirits around us who are supporting us. I ... ANDREW: Mmmhmm. LUCIA: You know some of us have the higher self idea that it's all our higher self, and we are in this ascension process, I believe, and becoming gods incarnate. And, I do believe that there are distinct beings that are helping to guide us. And so — and a destiny and all of that — and so, at least what I've seen, is, you show up, you make those leaps of faith, the universe will meet you. Now maybe not in the timeframe. That's another tricky thing, is timing. But you — this doesn't go unnoticed. Like you are building this ... this confidence bank account. ANDREW: Mmmhmm. LUCIA: And so, I, you know, I love that idea, about the magic, the alchemy, of showing up, and then doors opening. ANDREW: Well, you know, for me, one of the things that I've sort of — I've talked about in a few places, like in an episode I did where I was the guest recently with Fabeku, if people want to go back and look at it. But I was talking about these portraits that I do, these magical portraits, you know ... LUCIA: Mmmhmm. ANDREW: And how these magical portraits ... And working with portrait and image and you know, playing around with growing my Dali-esque mustache ... LUCIA: [laughing] ANDREW: ... and all these things. They're all acts of magic, right? They're all acts of transformation. They're all me turning this energy back towards myself, and working on that ... LUCIA: Mmm. ANDREW: And one way or another, to liberate that. You know, you're a person who's done a lot of portrait work and also, you know, other sorts of representative stuff with yourself. You know, what are you doing with that these days? How is that in your orbits? LUCIA: Oh, that's such a yummy yummy yummy yummy question. I like flipping paradigms. I think that that's the punk rocker in me! [laughs] ANDREW: Mmmhmm. LUCIA: I like this and the ... You know, the spiritual, mystical teacher/student in me. I like this, you know, it's Oden hanging upside down in Yggdrasil and getting runes, you know, and sacrificing things. I like this idea of flipping things and finding the power in them. And so, something that ... And in my oracle deck, the Oracle of Initiation, that photography series, the painted body, they look—If you haven't seen the Oracle of Initiation—the images look like petroglyphs coming alive off of a cave wall. They are these beings of light, particularly the graffiti tunnel ones. And there's no Photoshopping or editing to the images, and those were done between 2007 and 2008. And that was before the word "selfie" had come into the common lexicon ... ANDREW: Yeah. LUCIA: And, I — they're sacred selfies. There's somewhere between 40 and 50,000 images because it was a ritualistic ceremonial process. I—the camera became—I became one with it. It was held in my hand, but I was dancing between the worlds. They let me take pictures between the worlds. And so, that whole process, that was the enormous game changer, and, as I say, I like to try to figure out how to support other people's transformation. There's only a tiny percentage of people who want to go get nude and tribally painted in graffiti tunnels and on the land and do this. Now the people who want it, want it. But, there is this piece about becoming other through this witnessing process. And so, now I'm doing—you know, what is it, 12 years later? Am I doing the math right? Yeah, 12 years later. I've been ... I have an online class called Sacred Selfies. Now, so selfies get this bad rap. It's like this—it's everything that's wrong with social media. It's these young people, who are self-absorbed, aren't self-referenced, and are trying to get attention, and the duck lips and the tits and It's — no! This is self-portraiture, and witnessing of oneself is an ancient process. And it's a way of recognizing who you are, finding self-authority, self-agency, and it's fun! Like everything that I want to do is fun! It may be intense, but it also needs to be fun. And so, the sacred selfies ... ANDREW: Well, you could go to an art gallery, that has like— LUCIA: Yeah! ANDREW: A big selection of work from the last couple hundred years or the last hundred years anyway, maybe even more ... LUCIA: Yeah! ANDREW: You're going to see plenty of portraits of the artists doing portraits of themselves. Right? This impulse to be seen and to understand how we are seen or how we present ourselves in the world is part of the classic human conundrum, right? Like ... LUCIA: It's so simple! ANDREW: That's why we have an ascendant, right? In astrology. Like ... LUCIA: Right! ANDREW: It is an element that is a part of our nature of the world, right? LUCIA: Yes. ANDREW: You know, and I'd be curious, how does our ascendant influence our feeling about selfies? Now there's a wonderful inquiry to — LUCIA: Right! Well, that — ANDREW: Pass on to some of my astrological friends. LUCIA: [laughing] Ask them! Well, and that's the sacred selfies piece. And Carolyn Myss, one of the teachers, interesting spiritual teachers. She said a really interesting thing some years ago that really struck me. She said, historically, as spiritual beings and guides and teachers, we've done this hollow bone thing. We've done this thing where we want to get out of the way, be an agent of spirit, and just like, the ego is gone. Like, we just are this hollow bone. You know, it's classic, you hear it. She said, particularly since the 80s, we've been doing this interesting thing where we're weaving, or merging, our ego selves, like our earth plane selves, the integrated ego, cause ego's not bad— Ego, if it's in a wounded state, it has its issues— ANDREW: Mmmhmm. LUCIA: But ego, unto itself, you wouldn't get out of bed or be able to interface with people on the earth plane if we didn't have an ego. So, she said what we're doing is, we're integrating this hollow bone, surrender sacrifice sort of a classic historic energy of the healer/transformer, and we're bringing our ego along with it, we're bringing the personality, in a really integrated beautiful expansive way. And I love that! So, to me sacred selfies — that's what you're doing when you're playing with it in a really intentional way like that. ANDREW: Mmmhmm. Well, and I think that, you know, this relationship to the ego and the idea that, you know, I mean, for me, the ego needs to be, to borrow a phrase from like kind of ceremonial magic about this stuff, right? It needs to be redeemed, right? By the higher self. LUCIA: Yes. Yes. ANDREW: But it doesn't get to be abandoned. Right? LUCIA: No! ANDREW: You know, like if we think that we're going to ditch our shadow self at some point — LUCIA: [bursts out laughing] Good luck! ANDREW: Be free of that business! Right? LUCIA: [laughing] ANDREW: But like, there's this notion that we'll somehow be complete and free of all of these things, but like, that's not what Jung meant by integration, right? Like, that integration process is a process of having a living, dynamic communication between all of those pieces, that is balanced, monitored, adjusted as it needs to be, and continuous, right? Like, we don't reach the end of the work. Right? You know? And I remember talking to my, you know, one of my Lucumí elders, and he was like, one of the biggest mistakes people make is that they think that being a priest means that this person's going to be perfect or that being a priest makes you perfect. And it's like, it doesn't. You know? It's just another layer of things. And all of your human foibles, and all of your need to do your taxes and all of these other things — LUCIA: [laughing] Ohhhh.... ANDREW: And all of your desire exists, you know? And you gotta roll with it. And you gotta balance it, and you know, work on it, and keep it where it needs to be. It's ... You know, you don't get to take your hand off the steering wheel, right? LUCIA: Right. I love that. I love how you said all of that, that piece is that you — Living, dynamic, communication, and that's what, you know, clearly, culture as we've known it is melting down because it's needed to. Right? Nobody can miss that. And I ... What you are talking about, you know, speaking to your elder about—I call that— This idea— It's very prevalent in our tribe, of spiritual perfectionism. ANDREW: Mmmhmm. LUCIA: And to me, there's this idea, that somehow, I'm supposed to be relaxed, and forgiving, and let anybody do anything, that's bullshit. There is discernment with relationships, with what is going on, and so, I feel, what we're seeing in the outer world and then working through in ourselves, is these last vestiges of these inherited — I called them lineage codes — but inherited shadows, you know, the ugliness of the racism, and the sexism, and all these sorts of things. And that we, you know, there's, we're throwing bombs into these things, and if we popped the boil, it's all out there, you know, it's all been there, but now, it's being seen in a way, in certain communities and certain cultures, it's not hidden anymore, the shit that's going down. And so, you ... Along with the bringing joy into the work that you do, there's also some points where you gotta get real, and figure out how to release and integrate some of this baggage, this, you know, epic baggage, that we've inherited of wounds. ANDREW: Sure. Yeah, I mean, we all come from cultures that have all sorts of unhealthy things in them. You know, I mean, there's no culture that I know of, that I would say is free of it, you know? And, you know, and as we become hopefully wiser, maybe more literate about how bias and prejudice and the, you know, all the effects of history and culture play out, you know, it becomes part of our work to cut that away. And to free ourselves from that, you know? And that's not easy either, right? LUCIA: Nope. ANDREW: Back to the courage piece, you know? It takes courage to look at that and say, "Huh, I was being an asshole there, huh, look at that, that's a really, you know, inappropriate notion, that I inherited from here, from there, from I don't even know where," right? LUCIA: Right. ANDREW: And to have the wherewithal to sort of look at that and try and chip away at that, but in the same way, as the integration process, that's also an ongoing piece of work because, you know, we can only understand as much as we understand and we can only work from what we know, and as we as individuals, and to some extent, you know, collectively, as well, have become clear, and have better models, and an understanding of these things, then we have the space to do more work and to become freer or better integrated still, you know. Yeah. LUCIA: Exactly! That, Andrew! That! [laughing] ANDREW: Just go and do that, everybody! Just go and do those things! [laughing] LUCIA: [laughing] ANDREW: So, one of the things I'm curious about, is, I've been seeing a lot of, in your work and in other places, a return of Dada, and a return of sort of surrealism, you know, and ... LUCIA: Yes. ANDREW: I've been bringing it back around in my Land of the Sacred Self Oracle that I've been doing, and you've been doing it in your cutout work and in other places. Why do you think Dada is so important? Why is he coming back? LUCIA: Well, that's a beautiful question. I grew up in a family of professional artists, and what I didn't realize when I was growing up, was that that was uncommon, that everybody didn't get this ... Everybody ... ANDREW: Uh huh! LUCIA: And my family's amazing. I mean, my family is as amazing as they are wounded, and my family is epically amazing. ANDREW: Mmmhmm. LUCIA: And so, even as a kid, there was this ... What I found is that people who have embraced their curiosity, who have embraced their creativity ... This doesn't always mean your job is going to be being an artist. But this is about being alive, and curious, and full of wonder. This has a very childlike energy in it, in a wonderful way, and so I grew up with people who were always messing around and exploring and breaking outside of boxes and looking at things in different ways. So, we would— One of the classic surrealist Dadaist games is the exquisite corpse. ANDREW: Mmmhmm. LUCIA: Which you can do with words and you can also — we would do it with drawings — and it's basically this process of taking a piece of paper, folding it into different sections, and deciding if you're going to do a human figure, or just something that's random, and each section that is folded ... A person in a group does some drawing and then continues the lines of that drawing down to the next folded section. Well, then they hide, they fold over their section, so that the next person just sees these leader lines ... ANDREW: Mmmhmm. LUCIA: And they start their drawing, you know, they were told they got, you know, the torso or the body. They do their torso of the body and their style with their vibe. And then you unfold it, and you have this miraculous montage, this collage, of everybody's goofy, strange, wonderful ideas of what this figure or open-ended thing was. And it's so delightful! And so interesting, and so strange. I love things that are odd. And I've always loved things that are odd. And odd connections, and so the Dadaists and the surrealists, who were— A couple of movements, if you don't know —Art, cultural movements in the early 20th century, early last century, into the, you know, probably, 40s, 50s — and they were groups who were very connected to dreams, very connected to randomness, they wanted to— I call it getting— I'm going to swear, is it totally bad if I swear here? ANDREW: You've already been swearing. Go ahead. Carry on. LUCIA: So, get the fuck out of the way! Like that's one of my tenets, Because as I said earlier, my empath became very controlling and perfectionistic to try to manage how scary the world was when I was younger, so for me, all of my art Is about getting the fuck out of the way. ANDREW: Yeah. LUCIA: And, because I believe that there is this dialogue, this incredible rich dialogue that the universe wants to play with us and co-create with us, and ... But you've got to get out of the way ... ANDREW: Yeah. LUCIA: You've gotta not be uptight. And, let randomness blow you away. And so, to me, I think that part of ... And also, historically ... But particularly the Dadaists were during the first world war. So, they were also reacting to this absolute horror that was happening in Europe, particularly across Europe, of all of that of the war. And so, they were trying to find a way to connect, to humanize, to not lose their humanity, and to try to bring some play and joy into a world that was horrific. And I feel like in some ways, we're there again, in some ways, we're a lot more — I don't know if we're more addicted — but we're more distracted, with the Internet, you know, they didn't have the Internet and things, you know, porn that you can access at any moment. And I'm not anti feminist porn, so don't go there, but I'm just saying this is a distraction for people, and so I think that we are looking, I think people are hardwired for magic, for ritual, for ceremony, for surrender, and I think most people have lost access to that. So, to me, the surrealism and the Dadaness, and the things that I do where I ... You make your own handmade cards, and I called them funky fortunes, but I have also called them Dada divination, wild style divination ... Is that this is a way to get you out of the way and remind you that the world is enchanted, the world is magic, and there's actually clear directives and messages in that. So that, you know, like you… The Dadaists would cut up, take a poem, cut it up into all of the different words, shake it up in a bag, pull the words out one by one, and glue them back down onto a piece of paper to get this new thing. When you do that, really interesting, not random, NOT RANDOM, things occur. And so, to me, I've done a bunch of videos on unorthodox oracles ... ANDREW: Mmmhmm. LUCIA: I like to mess around. I am irreverent. That's the punk, that's the hip-hop in me. So, I think that we are trying to remember that the world is enchanted, trust that in ourselves, and we want that interface as a balm to the world blowing up. ANDREW: Hm. [cross talking at 33:00] I mean, yeah, I think, I definitely think that ... Well, I think that this notion of re-enchanting the world right, that comes out, I've heard a variety of people talking about it. You know, I think that that's, that's an important thing, right? When people ... I like a quote from Terrence McKenna, right? When you find yourself lost or when the world doesn't make sense, or when horrific things happen or so on, right? When we find ourselves in what feels like it might be a dead end, we start looking backwards for some semblance of sanity somewhat, right? LUCIA: Mmmhmm. ANDREW: And, I feel like in this sort of, in the modern era in which we live, you know, there's this weird mix of scientific materialism and fake news and actual war and genocides and horribleness and, you know, all of the race and crimes against women, you know, and all of the things that are going on, as that stuff emerges, it's part of that sort of deconstructing what's going on and seeing what's really happening there, right? LUCIA: Mmmhmm. ANDREW: And, not that it hasn't been there all the time but it's more visible than it ever has been, for many people. LUCIA: Yes. ANDREW: Not for everybody. LUCIA: Sure. ANDREW: Cause, obviously anybody who is the subject of those problems, and crimes, is fully aware. Many communities have always been aware. But ... But like a lot of people start looking backwards for what makes sense, right? LUCIA: Mmm. ANDREW: And so, there's this sort of return to more magical ways, a lot of people are looking to get back to living magical lives, and the saints are returning to people, in a common practice, LUCIA: Mmmhmm. ANDREW: And art is regaining its magic, you know? It's shedding some of this sort of legacy of postmodernism and all that kind of stuff that for me, didn't go anywhere, you know? LUCIA: [laughs] ANDREW: You know, I went to art school and I was fully in all that stuff for a while, which is why I made no art when I left art school. I was like, this is all bullshit, I have no interest in this at all. LUCIA: Yeah. ANDREW: And, it's not that I don't see things in it that could be interesting, but it just wasn't me, right? And so, finding my way back to surrealism and to the magic of those dream and trance states and all of those things — to me that's where a lot of the power is, and that's where the power to change myself and others is, which is what I'm really interested in, you know? LUCIA: Yes. ANDREW: And so, like when I was working on my oracle deck, it would do these drawings, and I would start just by making a shape, right? On the page, or on the screen cause I was drawing digitally. And I'm like, "All right, what's inside the shape?" And then I would like, basically turn it inside out in my mind, and go inside the shape and find out what was in there, and I was like, "Oh! Is there something outside the shape now?" It was this sort of, almost perpetual Escher-like shifting between perspectives. LUCIA: Mmm. ANDREW: And then at the end I was like oh, and now the dream is finished revealing itself, all right, this one's done. Next. And, that lack of trying to control it ... LUCIA: Mmmhmm. ANDREW: I think is so important right? Kind of like your process with your Oracle of Initiation. You know, you didn't sit down and think, I'm gonna control all these things, you went and did a thing, and in that process, that, as you put it, the between the world's vision emerged, right? LUCIA: Oh, I just — Oh, Andrew, I love so many things about what you said. So, you know, part of what I feel really is a natural ability with all humans is ability to be much more intuitive, much more instinctive, and once again, you know, this gets back to the addictions in some ways, and the other people's voices that need to be clutter cleared. I believe that we really all have this ability to be very tuned in ... ANDREW: Mmmhmm. LUCIA: But only a certain percentage of people have apprenticed to that skill, and, you do need ... I mean, some people come in with a certain ... I came in obscenely psychic. I am super psychic. And very very very very empathic. For about 20 years, I had a hard time leaving the house. I was in the cave. I was in the mystic's cave for 20 years. But, I do believe that we naturally really have ... And that artists, that's part of what artists apprentice to is this, the muses, the getting the fuck out of the way, whatever you want to call it, and that you, what you're saying about, you do the circle, and then, you like merge into the circle. But like, what's in the circle? Like the circle is this field, this entity, this creation field, and I believe that everybody actually has access to that. You know, there'll be different mediums that people will use in different ways that you use it, but that's what I feel is really something that's lacking is that people's ability to access that because it's SO nourishing on a core level back to this zone. You know, that's what I found when I made my oracle deck, was this— I went back to what I truly loved. I went back to what the core aspects of myself were and, as I say, this is why, at 50, when, in this culture, for women, you're supposed to be freaked out, because your value is going down, because I still believe, for women in this culture, the main ticket that we have, the main value, is attractiveness, and then that's a massive issue that, we won't go into all that. But I figured out how to tap into and source this massive curiosity and joy and creative passion— obsession, basically, that I have —And it feeds me like nothing else has ever fed me! And so, you know, what you're talking about, I feel like that's just really an enormous piece of everything that we're talking about about the integration and the finding our power, and the living our lives that we want to lead, is this access to this. ANDREW: Mmmhmm. Yeah. Well, it's one of the things that, because I have the store, and stuff like that, people are often asking me, like, "Well, how did you become successful? How did you make all this happen?" LUCIA: Mmmhmm. ANDREW: And nobody really likes the answer. LUCIA: [laughing] ANDREW: Cause the answer is mostly I made a lot of art, and I kept showing up. [Laughs] LUCIA: [laughing] ANDREW: And I'm telling them the answer. Right? Because for me, being in that zone and being creative and making things, everything that I need to do to support that shows up when I commit to that process. Right? LUCIA: Mmmmmmm. ANDREW: And when I don't commit to that process, then everything that I, everything that I do— It isn't always more labored, but it can definitely be way more labored —And I'm like, "Oh yeah, I haven't made art in a couple weeks. Shut up and go make some art, Andrew." And then, all of a sudden, everything flows from there, right? LUCIA: Well, and this, I think that this is some, you know, a piece, we could go back to that piece about courage, courage/dedication is ... Nobody else ... Elizabeth Gilbert's recent book, Big Magic, I feel like it's the modern version of The Artist's Way. You know, it's the next step in this. And, right now I'm actually listening to Questlove, from the Roots. His book on creativity that I'm really excited about. But, part of what is happening, I think in, in the world, is this need to sanctify ourselves, is, you know, that's partly what Elizabeth says in Big Magic. She gives a lot of really, actually very practical good information about actually owning yourself as a creative person. And so, you did that. you said on some level — there is —I want to do this, there is value for it, I'm not going to let everybody else have ideas about why I shouldn't do this and I'm going to do it and I'm going to keep showing up. And that's a huge issue, I think, for a lot of people, and I think women, in the Western world, have had, not that men don't have their struggles, and I don't want to totally do a gender separation thing, ANDREW: Mmmhmm. LUCIA: But there are some messages that women have gotten about being very accommodating and taking care of everyone else. ANDREW: Sure. LUCIA: So, what I found, working with women, and being, having the people pleaser in myself, is that there's this road to believing that your visions are worth pursuing. And then having the courage to keep showing up and showing up and showing up because it's a bit of magic and alchemy and then it's a bit of down and dirty doing it, doing it, doing it, doing it. And so, that's what you did! So that's so beautiful and so essential. So essential. ANDREW: Well, and you know, and as somebody who is raising two female-identified kids, right? LUCIA: Mmmhmm. ANDREW: I see a lot of these things. I'm always looking at what are the messages they're getting, what are they being told, what's being reinforced, where can I give them a bit more punk rock to say fuck that shit, you know? Cause, like — LUCIA: Go, dad, go! ANDREW: You know, it's great! So, you know, my kids — we give them more freedom than many people are comfortable with, right? In our neighborhood and stuff like that. You know, we let them go to the playground by themselves and so on. You know, and I think that it's important, and I think that, from my perspective, and from a [garbled 42:40] perspective, it's not that dangerous, you know? It's not, you know, it's not a problem now. But it freaks parents out, right? LUCIA: Mmmhmm. ANDREW: It freaks adults out a lot to see, you know, kids out by themselves anywhere. You know? And if you're not, like, 15, they're like eyeballing you and be like, where's the parent, right? LUCIA: Right. ANDREW: And so, last summer, my youngest was over going to the playground with her sister, and some adult was like, "Are you by yourself? Where are your parents?" And she gave the best answer, which is, "That's none of your business." And kept going! LUCIA: [bursts out laughing] ANDREW: And I'm like, yes, exactly! Right? Because, because we don't have to, we shouldn't, capitulate, you know, I mean, I might have been more graceful or polite or something about that, but you know, it's perfect! And it's clear and it's a firm answer and, you know, people want it both ways, right? They want, like, don't talk to strangers because it's dangerous, but let us intercede and you know, treat us with respect and talk to us, right? It doesn't work that way! You know? And that's not — that's not real, right? So. LUCIA: You are raising riot grrls, and I love you! ANDREW: [laughs] LUCIA: Thank you! Well, and, you know, part of it also is, I feel that, with this, because, you know, being 50, I was a kid in the 70s, and there was, depending on where you lived, there was a lot more freedom in the 70s, we didn't have media that was so sensationalized, and every parent didn't think constantly, "My child is going to be abducted." The amount of children that are abducted by strangers is like being hit by lightning. If children go somewhere, it's usually a disgruntled parent or a family member or something. And I'm not saying that that's okay. But ... But what, and in the 70s, we messed around in the ravine, in the gully, that was down the way, without adults around, you know? I studied the early childhood education and I was a nanny for years. And so, this is a — ANDREW: We — I lived at the edge of town— LUCIA: Yeah? ANDREW: Where I grew up? And we would hike, I think it's five kilometers, five miles, something like that, to the summer camp, when it was closed, that was in the woods, a good hike there, and play on their playground and climb on the buildings and whatever, when I was like in public school. You know, like, I don't know, maybe 10 years old, probably less, you know? LUCIA: Yes! ANDREW: Nobody knew where we were! LUCIA: No! ANDREW: You know we were so far in the woods, right? There was nobody around, and there was nobody there! You know? And nothing ever happened. And again, not to say that stuff didn't happen elsewhere that I wasn't a part of, but like, you know. LUCIA: But you — you know — I mean, really, you know, generally, the ... Like, a kid will break their arm or something. I mean, it was like — but that's not— That's not —What I learned in studying early childhood education is, what I feel is, we are creating weak people. We are creating people who don't understand their instincts, who don't have stamina, and when you leave, children are not supposed to be with adults 24/7. Adults don't want to be with children 24/7. No disrespect to children. ANDREW: True fact! [laughs] LUCIA: Nobody that, you know — that's — but, so, when kids are alone, there is a tremendous amount of social interaction and power and confidence and jockeying that they learn, that when adults are hovering around, they don't have, and there's things about their edges and their boundaries. It's one big long rite of passage that they need, and I'm actually fairly concerned about what this means that kids are sitting in front of a device shut up in a house, for their health, for their spiritual and energetic stamina. And so, but what I love about your riot grrls, your beautiful riot grrls, is that they're— You're teaching them also to trust their instincts. We don't trust — particularly girls — to trust their instincts. And so, going to the park alone, your girls are going to be alert. You know, your girls are not going to be — they'll understand that this is a privilege that they have, and they're going to learn and hone their stamina to read the vibes. And that's what you have to do in life. And if, if something doesn't feel right, well, you run home! Your girls would run home! Right? ANDREW: Mmmhmm. No, for sure! LUCIA: Yeah that's — ANDREW: I mean, I think it's interesting. I don't worry about the digital age and the impact of tablets and things or whatever on people. I'm curious about what they're going to do with it. Because I think that sooner or later, right? LUCIA: Yeah. ANDREW: All these impulses that you and I are talking about, that we've explored and brought out and whatever, those are just human impulses, right? LUCIA: Mmmhmm. ANDREW: And, growing up in a more digital age or, you know, where stuff's happening in other ways, sooner or later, those impulses are going to gain enough momentum or have enough urgency that they're going to emerge from those people too, right? LUCIA: Right. ANDREW: And then they're going to show us something we've never seen before. LUCIA: Yes! ANDREW: I'm very fascinated about that. I have this— This oracle that I made for myself, and a lot of it's just sort of little things that I feel like I need to be reminded of. And one of the sayings on one of the cards is, "The youth know the way." LUCIA: Oh! ANDREW: And I'm like, all right! When it comes up, I always — it makes me think about, what are they know? You know, and like, not in a like, old man shaking their fist, what do they know? Although I have old man moments too, right? LUCIA: [bursts out laughing] ANDREW: But like, what do they know? What are they doing? What's going on? What is the meaning that they're perceiving in this? What is the value to them, right? LUCIA: Right! ANDREW: And, you know, when we can run into those things with curiosity, you know, I think it's fascinating, and for me, then I get to sort of experience something new. And I get to think about things in a different way, and to me that's wonderful, it's not easy to always sustain that kind of approach and it's not always easy to access what's going on with those people. Because, you know, 16-year-olds don't, really don't want to talk to me necessarily? You know, certainly not random ones on the street, right? LUCIA: [laughing] ANDREW: But I'm curious, you know? And it's one of the great things — like I'm a scout leader for my kids' cub troop, right? And to spend time with those youth, and, you know, they're 8 to 11-year-olds. And then at bigger things, you know, there are teenagers and other ages there as well. For me I get to see what they're about and what they're doing and what they're interested in. And when I'm at my best, I get to be like, "Wow, what are you getting from that? What's inspiring about that?" You know? LUCIA: Yeah. ANDREW: "What need is that fulfilling in you? And how come I don't understand it at all?" You know? And it certainly, it can be fascinating. So. LUCIA: Well and I feel like, with some of the younger people, and some of the millennials that I've connected with, they came in with a different operating system than we did. That their whole structure of how they're wired is very different than what we got and what we inherited, what the cultural expectations, the boxes, the prejudices, that they — what I've seen— You know, they get bashed for being self-absorbed and all of that. But what I've also seen is that they have this visionary— These visionary aspects to them that are epic, that blow me away! The visionary in me goes, "Wow! I'm a model T car and you're a rocket ship!" And so I do, I wonder what, like you say, I don't even know, I feel like I came in to help anchor some of those folks and then the folks more of my age who are those in between, we're pretty visionary, particularly for our time frame, but we got nothing on what those younger people have, and you're right, they're going to do things, make the science fiction moods that we found of having a TV in our hands, they're gonna make that look like that's kindergarten. ANDREW: Yeah. LUCIA: And so, I'm pretty thrilled about it too. ANDREW: Well and I think that that's a great mantra or you know, something to sort of both embody and keep the ego in check, right? I'm visionary for my generation, I'm visionary for my time, I'm visionary for my upbringing, you know? Because like, we look back and especially because like I've read a lot of stuff by, you know, cause I was into ceremonial magic and into sort of Crowley stream of stuff, you know, the guy was visionary for his time, in certain ways, in certain aspects. LUCIA: Yeah! ANDREW: You know? And he was totally horrendous in many ways. LUCIA: [laughing] ANDREW: Because of his time, and because of his upbringing. And because of his personality, you know? LUCIA: Right. ANDREW: And, you know, I hope that I never have as many downfalls is that dude had. But, to think that we don't have them, right, is just folly, right? You know? LUCIA: It is folly; it's all folly! I mean that— That— I mean that's really— It is— We, as humans, I think we get all caught up, and we get ... We get into all these spins. The reality is we're a bunch of goofballs. I mean, that's the reality of it, and were just stumbling around like toddlers, all of us, and anytime you think you really know, you're totally sure, good luck with that! How's that working for you? I mean, you know, that's— You gotta — You know, that's the thing, of being a recovering perfectionist, I can laugh at myself now. Before I judged myself. Judged myself terribly. Now I go, "Oh yeah, you're insecure there, oh you're, you know, being kind of neurotic or whatever it is. And then I like kind of laugh, and pat myself, like, "Oh, baby, you're so clay footed! Isn't that fun?" ANDREW: Uh huh. LUCIA: It's a miracle. So, I think— That's what I would hope for all of my brethren listening to this: Can you come to this place where you love and accept yourself enough, even laugh at yourself! ANDREW: Mmmhmm. So, this kind of brings it to one of the other things that I wanted to chat about with you though, right? It's been a real journey for you, right? LUCIA: Mmmhmm. ANDREW: Like, you were saying 12 years ago was when you made the Oracle of Initiation, right? Or something like that? LUCIA: Yeah. ANDREW: And now here you are living that in an embodied way, much more, you know, and with other people in a much more embodied way, right? LUCIA: Yeah. ANDREW: How did that journey happen? How did that go for you? LUCIA: [sighs] It's ... Never in a million years, could I have told you that I would have this life that I have now. And I think that's true for everybody— ANDREW: Yeah! LUCIA: But I went down some really alternative paths. You know, I took some paths that were not taken, some serious, right turns, left turns, off of where I was coming from. And it helped me have the life that I always dreamed of that I didn't even realize was possible, like, to tell — I've gone from a model T car, from a Big Wheels, you know, a Big Wheels toy, to a rocket ship, in the growth game that I've had. And, part of it was not by choice. My own issues of safety and security and control—I wouldn't have left the life that I had at that point in Seattle. I grew up in Seattle in a family professional artists. And was always very creative and independent in my own way, but I also really wanted kids. I wanted kids more than anything. I loved kids. And I actually still love kids. I just don't want to give them the time that they deserve. I have another dialogue that I want. My creativity is my dialogue. And so, kids are not going to get that dialogue from me, you know. Other people think you can take some for the team and raise the kids. But ... My ... You know the journey of wanting to be married and have this Martha Stewart sort of a lifestyle— I come from a family of designers, and architects, and artists. And I love homemaking. I have a homemaker in me. I love food, I love beautiful design. But that— I didn't realize how mystical I was. I didn't. I had forgotten. I had blocked a lot of it off. Of how intuitive I was, how psychic I was. And so, the universe and myself conspired to send me in this totally different trajectory than where I had been. And my husband died of cancer when he was 37. I was 33. And he was wonderful. And I'm not just putting him on a pedestal because he's dead. He was a gift from the angels. He was so much healthier than me. He was a very healthy, loving, integrated man. To be honest, I've only — I've met a small amount of men who have had the access to heart and love that he had. He was extraordinary. And, he died. And I didn't have kids, and I had some resources, I didn't have to go get a 9-to-5 job, and I spent basically seven years on a quest to revitalize who I was, defined who I was, and I always knew that art was central to who I was. Like I, I breath, I, every cell in my body is art, I am living art. Adventure. I love exploring! That's the happiest ... I'm the happiest in my whole life when I'm exploring. And then, spirituality in the land. You know there was my spirituality, my mystical spirituality was evolving. But so, in that seven years on that quest, I did about 15 lifetimes worth of study, and engagement, and incredible teachers, and learning, and then I made the oracle deck. You know, I made this deck. And so, we're going to— After this, let's talk about the dreams. You know, the last interview that you and I did. I had had some dreams about you and your Orisha deck. ANDREW: Yeah. LUCIA: But my oracle deck predominantly came out of dreams. I was having dreams, other people were having dreams, these amazing dreams of animals and humans shapeshifting. Of people getting up off of one divination card and moving to another, like being alive, and I followed the stepping stones. I followed the path, I courageously— And you know, here's another thing about courage and following your path— I will bet you, I would bet you money, I would bet you something, that if you paid a survey of people enough money to live two years, three years, five years, and follow their passion and go for theirs, there would still only be a small percentage. There's something that you have to click in to go for it. And people ... a lot of people say it's the money. And I have the mortgage and ... and kids do make it different. I'm humbly ... I don't have kids, I'm humbly saying that you make different choices when you're responsible for children, I'm very humble about that. And still, you still can make other choices and I, something in me had the ability to tap into this courage and this fierceness and this not knowing and follow these impulses and that's how I ended up in New Mexico with the structure— It took me six years to do the deck —But the structure of the deck was all in place. But the artwork of these dreams of the animals and humans shapeshifting and the light beings moving around. It wasn't happening in 2D art processes. I got a new camera. This was before my iPhone adventures. Now I'm obsessed with what iPhones can do. ANDREW: It's amazing. LUCIA: It's amazing. But, I had this epiphany, my work comes through epiphanies and I was driving along, and I had done this — I had been trained in this body of work called the Earth and Body series. They were sacred selfies. This was from 2005 to 7 that I took around the world. And I learned how to get out of the way and be drawn to locations. I would disrobe so that I would be vulnerable and connected to the earth, like becoming primal, back to the earth. I'd hold the camera in my hand, you know, it became an extension of my body, and I would take these mystical opening between the veils pictures. And so, when I got to New Mexico, found some new graffiti and tunnels, that was vibrating in a different way ... You know, like my mystical capacity had opened more, my conduit was more open, and then this epiphany came, of taking those nude Earth and Body photos, and there were 20 to 25,000 of those, and taking it to the next level and tribally painting myself and adorning myself. Which I had done, I had done sacred selfies since I was a kid with Polaroids, with photo booths. It's just one of my jams. It's one of my things. And so, I started doing ... in June 2006, I went down into this graffiti tunnel that I found, had gotten paint at the theater store, had all of these horns and scarves and amber necklaces and things. And I took these pictures with a new camera that you ... that would ... it was more sophisticated, and you could get pictures in lower light. As part of how my images happened is about ISO and about sparkly things and some ambient light in tunnels. And the graffiti. And, I took these photos and they blew me away. And so, this was this whole journey, this whole trust walk, and when I started it, I didn't know I could do such an epic project, and ... ANDREW: I think it's such an important thing to note, too, right? LUCIA: Yeah. ANDREW: I think that if people knew what it would be at the end ... LUCIA: Mmmhmm. ANDREW: They would probably never start. Right? LUCIA: They wouldn't, cause it's too hard. ANDREW: It's too hard. It's too far from where they are. The innovations and inspiration that the journey or the road provides aren't there in the beginning ... LUCIA: Yeah. ANDREW: So, it's one of those things, right? You ... Starting the process and allowing and trusting that the process will come forward to something is the big ... is one of the biggest things, right? You know? And it's tough when you don't have history with it to trust it, right? It gets easier with time, but ... LUCIA: Mmmhmm. ANDREW: Yeah. LUCIA: Completely true. And that's it, I mean it's tough to trust it when you -- I'm writing this down -- when you don't have history, and that was the thing that gave me history. That was the thing that has changed my life, where I saw, because I'm, as I say, I was very insecure for many years, and I am a good synthesizer, I have a brain that is able to synthesize things well. I'm ... You know, we also have this culture where people are not supposed to be proud of what they have, particularly women, like you're supposed to be humble, people will think you're arrogant. No, fucking own what you're good at. So, I'm smart. I can synthesize and make connections. You know, that's the visionary plus the structure person. And I didn't realize how skilled I was at that because I was insecure. So, in, you know, in my oracle book, it's 300 pages and I'm so proud of it. It's my woo woo Ph.D. I got my Ph.D. You know, we don't get -- I should have a Ph.D. in the woo world behind my name from that deck. ANDREW: I felt the same way when I made ... I did this ten week, two-and-a-half-hour class, course on the Thoth tarot, right? LUCIA: Whoa.... ANDREW: I was like, when I finished that, I was like, that's my Ph.D. That's it right there. LUCIA: There it is! Right? The decades and decades that we've been studying with this. And so, that ... doing that project ... and as I say, it took me six years to physically make it and then publish the book, and then, we're 12 years in now, and there's always a learning curve with print on demand and self-publishing and all of that. But it ... it was the game changer. And as I say, not everybody's going to do that. But you've got to find something that is like that, that is your game changer if you really want to anchor in your visionary self. You're going to have to over and over again show up and do things that are out of your comfort zone, and you're going to need to love it on some level, or you won't keep doing it. ANDREW: Yeah. LUCIA: And so now, I'm at this point finally, I'd say probably 20, 25 years' worth of what I've visioned, what I've prayed for, you know, it's a combination of working for it, and then there's some grace. Like you don't earn it. Like somehow it just anchors in. It's both/and. And now it's just anchored in and now I finally ... like I feel myself in my body ... Cause empaths also have a hard time being in their body cause this world is really loud. But I'm finally in my body in a way, and I've come out of the cave, you know, I'm not in the mystic's cave anymore, that 20 years is over, and when I'd show up and teach at conferences and workshops and public speak, I kind of stand there in myself and go [gasps]: "Wow! This is so cool! Like, I'm in my skin. I'm happy with myself." And if I, you know, make a mistake, or I do something, or I say something, you know, I'll stick my foot in my mouth sometimes, I don't shame myself for months any more. I'm like, well that was kind of awkward. And we move on! ANDREW: Yeah. LUCIA: It's so ... So, literally, I got the keys to the kingdom through following this path and now also I'm starting ... I didn't make a lot of money for a long time. You know, I had other money that I was living on. You know, this is also something that people don't talk about. If you don't have the confidence to feel that you're going to be able to magnetize other people, don't quit your day job. You will not have a thriving career as a woo woo person if you haven't sanctified yourself. And I work with people around this. ANDREW: And it is, it is not easy. Right? LUCIA: It is not fucking easy! ANDREW: When I started ... you know, cause for a long time, I wasn't in the bigger tarot community or in the bigger spiritual community. I was just, you know, working at a shop in Toronto and just doing my thing, and when I started going around and meeting people, I was amazed at how few people were making their living ... LUCIA: Yes! ANDREW: Doing stuff ... LUCIA: Yes! ANDREW: And I was making my living doing it, and how many people were being supported by their partner ... LUCIA: Yep! ANDREW: Or had a day job or all these things, and no shame on that ... LUCIA: Yeah! No! ANDREW: You do what you gotta do ... LUCIA: Exactly. ANDREW: But the perspective that I had seen and that many people kind of cultivated was that they were ... that they were making it, but they weren't making a living, they were, you know, they weren't making enough money to support themselves. LUCIA: Solely on that work. ANDREW: Solely on that work. And I think that that is a thing that very few people talk about, and a lot of people sell the dream and a lot of like, woo woo, blah blah marketing types and coaches or whatever sell people on that, and it's not that it's not possible,
On this episode of IVM Likes, Sharanya is back in the studio alongside Navin and Abbas. Navin recommends a documentary that captures an actor's crazy descent into method acting, Abbas recommends a book that takes a look at the early years of a famous comedian and Sharanya recommends a TV show that blurs the line between reality and fiction. In the discussion round, they discuss why biopics in India fail to leave a mark. Is it the lack of interesting subjects or just too many people taking offense? You can listen to this show and other awesome shows on the IVM Podcast App on Android: https://goo.gl/tGYdU1 or iOS: https://goo.gl/sZSTU5 You can check out our website at http://www.ivmpodcasts.com/
Out of the cacophony of the universe came forty five minutes of cracking conversation with Burning Man co-founder, author, culture-jammer, DADAist, performer, urban explorer and a co-founder of the amazing Suicide Club and Cacophony Society — John Law! John Law is one of the co-founders of the Cacophony Society, a Culture jamming group with open membership, … Continue reading "John Law: DADA, Burning Man, Cacophony Society & Suicide Club!"
Ceci n'est pas un target, and other bewildering and profound pronouncements by conceptual neo-Dadaist (with abstract Pop Art sensibilities) Jasper Johns. See the image: http://www.thelonelypalette.com/episodes/2017/9/21/episode-22-jasper-johns-target-1961 Music used: The Andrews Sisters, "Bei Mir Bist Du Schoen" The Blue Dot Sessions, "Soothe", "Helado", "Chapel Donder", "The Summit" Jason Leonard, "Ritual Six" Joe Dassin, “Les Champs-Elysees" Support the podcast! www.patreon.com/lonelypalette
Vomitface tell us about journalist who enjoy their music but don't like writing about them, how growing up in Tennessee can make you a young Dadaist, and that they are really good at almost kissing.
Life's New Normal Podcast with Host Long Jump Silver Medalist John Register
Marwin "Marz" Timms is a local Chicago comedic improviser who uses his skill not only to inspire his audiences, but also to push himself. Hear what he discovered about himself in the ove ten years he has been studynig this craft. Chicago Improv/sketch/standup Timms, a Dadaist in sensibility and “nerdy, yet urban,” will stop at nothing for a laugh. In the coat-and-tie-wearing percussive duo Tony Symbals and Cocoa, the baby-faced Timms plays only a tiny set of cymbals, accompanied by the imposing Keith Smitherman bashing away at a drum kit made for a child. The two take absurdly long, silent onstage bottled-water breaks between numbers. Timms elicits even more squeals with Pimprov, a dressed-to-kill, so-wrong-they’re-right all-black quartet so funny you’ll shoot beer through your nose. NOW PLAYING: Timms is a member of The Annoyance Theatre. Also, catch Pimprov in an open run Fridays at 10:30 p.m. at the Chemically Imbalanced Theater. Leadership lessons galore for you to use in your life. About The Host John Register is a long jump silver medalist and American record holder from the 2000 Paralympic Games in Sydney, Australia. His business, Inspired Communications International, LLC, shows business leaders how to "Hurdle Adversity, and create their new normal" through his change management experiential keynotes. Folllw John on all social media platforms at Johnregister.com
Guest Tom Aznable (@TomAznable) joins Evan and David to talk about The Legend of Zelda: Breath of the Wild, the trailer for Netflix's live-action Death Note movie, their bizarre Genericon adventure (featuring Studio Trigger, MD Geist, and a very large, very cold house), and the 1984 mecha anime Panzer World Galient. Plus, existential questions about Mario, an intervention for Evan's lack of 2-D attraction, and tips on getting into Gundam. Topics include: boning the shark, the Dadaist art form of Gachimuchi, and MD Geist 3 Kickstarters. Send us feedback at podcast@anigamers.com! Show notes, links, comments, and more can be found at http://anigamers.com/podcast.
Guest Tom Aznable (@TomAznable) joins Evan and David to talk about The Legend of Zelda: Breath of the Wild, the trailer for Netflix's live-action Death Note movie, their bizarre Genericon adventure (featuring Studio Trigger, MD Geist, and a very large, very cold house), and the 1984 mecha anime Panzer World Galient. Plus, existential questions about Mario, an intervention for Evan's lack of 2-D attraction, and tips on getting into Gundam. Topics include: boning the shark, the Dadaist art form of Gachimuchi, and MD Geist 3 Kickstarters. Send us feedback at podcast@anigamers.com! Show notes, links, comments, and more can be found at http://anigamers.com/podcast.
Konrad Weiß wiederentdecken »Wieder entdeckt« ist eine Veranstaltungs-Reihe in der Literaturwerkstatt Berlin, die sich auf die Suche nach Solitären in der Poesiegeschichte begibt. Der Dichter Norbert Hummelt stellt sie uns im Gespräch mit Fachleuten und kundigen Menschen vor. Es gilt, einen vergessenen Dichter neu zu entdecken: Konrad Weiß, geboren 1880 in Rauenbretzingen, Hohenlohe, gestorben 1940 in München. Er schrieb anders, als es das 20. Jahrhundert gern lesen wollte. Er schrieb nicht politisch und malte auch nicht die Natur als Fluchtraum aus. Er lobte nicht die Technik und war kein Dadaist. Er war Mystiker. Der Katholizismus war seine geistige Heimat. Seine Gedichte sprechen von der Seele und ihrer Stellung zu Gott. Und warum sollte man ihn kennenlernen? Er schrieb großartige Gedichte, befremdlich schön, Wunderwerke der Verskunst, voller Rätsel, nah am Gebet, an der Beschwörung, zu einer Zeit, als Benn seine »Morgue« schon längst veröffentlicht und die Moderne Fahrt aufgenommen hatte. Er ging einen einsamen Weg. Konrad Weiß, Sohn eines Metzgers und Landwirtes, studierte katholische Theologie, Germanistik und Kunstgeschichte. Später arbeitete er als Journalist in München. 1918 erschien bei Kurt Wolff in Leipzig sein erster Gedichtband Tantum dic verbo (»Aber sprich nur ein Wort«), sein Werk umfasst mehrere hundert Gedichte, Aufsätze, Prosastücke, Hörspiele, Dramen. Nachdem sie jahrzehntelang nur antiquarisch zu erwerben waren, hat Norbert Hummelt 2005 unter dem Titel Eines Morgens Schnee 59 seiner Gedichte in der äußerst verdienstvollen Lyrikedition 2000 veröffentlicht. Norbert Hummelt und Christian Lehnert im Gespräch Christian Lehnert (*1969 Dresden), Dichter, Pfarrer und zur Zeit wissenschaftlicher Geschäftsführer am Liturgiewissenschaftlichen Institut der Universität Leipzig und Norbert Hummelt (*1962 Neuss) stellen Konrad Weiß vor und blättern sein Werk neu auf. In Lesung und Gespräch: Christian Lehnert (Autor und Theologe, Leipzig), Moderation: Norbert Hummelt (Autor, Berlin).
Konrad Weiß wiederentdecken »Wieder entdeckt« ist eine Veranstaltungs-Reihe in der Literaturwerkstatt Berlin, die sich auf die Suche nach Solitären in der Poesiegeschichte begibt. Der Dichter Norbert Hummelt stellt sie uns im Gespräch mit Fachleuten und kundigen Menschen vor. Es gilt, einen vergessenen Dichter neu zu entdecken: Konrad Weiß, geboren 1880 in Rauenbretzingen, Hohenlohe, gestorben 1940 in München. Er schrieb anders, als es das 20. Jahrhundert gern lesen wollte. Er schrieb nicht politisch und malte auch nicht die Natur als Fluchtraum aus. Er lobte nicht die Technik und war kein Dadaist. Er war Mystiker. Der Katholizismus war seine geistige Heimat. Seine Gedichte sprechen von der Seele und ihrer Stellung zu Gott. Und warum sollte man ihn kennenlernen? Er schrieb großartige Gedichte, befremdlich schön, Wunderwerke der Verskunst, voller Rätsel, nah am Gebet, an der Beschwörung, zu einer Zeit, als Benn seine »Morgue« schon längst veröffentlicht und die Moderne Fahrt aufgenommen hatte. Er ging einen einsamen Weg. Konrad Weiß, Sohn eines Metzgers und Landwirtes, studierte katholische Theologie, Germanistik und Kunstgeschichte. Später arbeitete er als Journalist in München. 1918 erschien bei Kurt Wolff in Leipzig sein erster Gedichtband Tantum dic verbo (»Aber sprich nur ein Wort«), sein Werk umfasst mehrere hundert Gedichte, Aufsätze, Prosastücke, Hörspiele, Dramen. Nachdem sie jahrzehntelang nur antiquarisch zu erwerben waren, hat Norbert Hummelt 2005 unter dem Titel Eines Morgens Schnee 59 seiner Gedichte in der äußerst verdienstvollen Lyrikedition 2000 veröffentlicht. Norbert Hummelt und Christian Lehnert im Gespräch Christian Lehnert (*1969 Dresden), Dichter, Pfarrer und zur Zeit wissenschaftlicher Geschäftsführer am Liturgiewissenschaftlichen Institut der Universität Leipzig und Norbert Hummelt (*1962 Neuss) stellen Konrad Weiß vor und blättern sein Werk neu auf. In Lesung und Gespräch: Christian Lehnert (Autor und Theologe, Leipzig), Moderation: Norbert Hummelt (Autor, Berlin).
We meet yet more interesting characters whilst walking in rural Sheffield, including a married couple with a grudge against their neighbour and an apparent cure for blindness. Yes it might be august but that doesn't stop me doing a monologue all about Father Christmas. And who will win in the battle between the mugger and the Dadaist poet? Find out in the 33rd omnibus edition of David's Daily Digital Dollop.
ON today's walk, we celebrate the triumphs of the underdog, plus our game of Name That Tune rolls on.
This is a weird one! Jazzpunk is comedy adventure game with a Dadaist bent developed by indie duo Necrophone Games and published by Adult Swim. It was released in February 2014 on Steam for PC,...
Booksplode strikes back with a vengeance as Paul Montgomery, Josh Flanagan and Jeff Reid dissect the Dadaist oddity that is Frank Miller and Lynn Varley's The Dark Knight Strikes Again. Published 15 years after the landmark mini-series The Dark Knight Returns, this three-issue sequel was a notorious departure in form and lucidity. We're not going to claim to understand it entirely, but one of us with glasses might hail it one of the best and most important works of all time. It's Josh. He kind of says that. Learn more about your ad choices. Visit megaphone.fm/adchoices
"Infinite" from the movie Dead Man (music by Neil Young, William Blake read by Johnny Depp) Daniel Pinchbeck: "2012: The Return of Quetzalcoatl" BitToryn: "Pharaoh's Awakening" WOOM: "Quetzalcoatl's ship" The Itzamna Collective: "we are united in defeat [ft terence mckenna]" Medwyn Goodall: "The Time Keepers" Kishi Bashi: “It All Began With a Burst” Pond: "Fantastic Explosion Of Time" iON remarks on 2012 Kev Hopper: "Whispering Foils" Native Flute Ensemble: "Temple of the Dream Jaguar" Jackpot: "Fleas on the Tail of Time" Bill Hicks: "Time To Evolve Ideas" Shoji Tabuchi: "Time Changes Everything" Deja DeMoss: "Maybe Your Math is Wrong" Memphis: "Apocalypse Pop Song" iON comments on the Mayan Calendar ▒✺▒▒/Lost Temple_落 "Quetzalcoatl" Tame Impala: “Apocalypse Dreams” Terence McKenna: "Timewave Zero" Blur: "Under The Westway" Manual Of Evasion LX94: Edgar Pêra's Dadaist film about Time. Starring Terence McKenna, Robert Anton Wilson & Rudy Rucker "The ancient tradition that the world will be consumed in fire at the end of six thousand years is true, as I have heard from Hell. For the cherub with his flaming sword is hereby commanded to leave his guard at the tree of life, and when he does, the whole creation will be consumed and appear infinite and holy whereas it now appears finite & corrupt. This will come to pass by an improvement of sensual enjoyment. But first the notion that man has a body distinct from his soul is to be expunged; this I shall do, by printing in the infernal method, by corrosives, which in Hell are salutary and medicinal, melting apparent surfaces away, and displaying the infinite which was hid. If the doors of perception were cleansed every thing would appear to man as it is, infinite. For man has closed himself up, till he sees all things thro' narow chinks of his cavern." ~ William Blake, The Marriage of Heaven and Hell Subscribe to my YouTube channel: transpondency Subscribe to transpondency.blip.tv Follow me on twitter Email: suburban@transpondency.com Call my voicemail: 1 (716) 402-1462
Throughout last century, different groups of artists across Europe were experimenting with bold ideas and forms. Max Ernst was a Dadaist and Surrealist, and Paul Klee part of the Bauhaus movement.
We have hit the 50th episode of the Spiraken Manga Review and that is awesome. Xan promises not to podfade and will hit the 150 mark. In this episode Xan Reviews Tohru Fujisawa's "GTO: Great Teacher Onizuka" Several things are revealed in this episode including why May-san left the show, how was the Sakura Matsui and also what is Xan's real name.If you were at the Brooklyn Botanic Garden and were unable to meet with xan, you can get a free manga and/or a spiraken manga review T-Shirt, if you email a picture of you at the Sakura Matsui to him. Check Out Xan's Article on Anime3000.com as well as his sidekickery on the Fightbait Anime & Gaming Podcast And finally, we are still looking for the voice of THE WHEEL OF MANGA. Send an mp3 or a voice mail of you saying Wheel of Manga and see if you can become the wheel of manga voice. Thanks to Hikari & Ruby's entry in this contest and also check out Up a Paddle Podcast. it's cool Music For Episode: Intro Music-Driver's High by L'Arc en Ciel (GTO OST),Background Music -News Theme By Lalo Schifrin(Eyewitness News ),Background Music -Hitori no Yori (Back Sound) By Porno Graffiti(GTO OST),Ending Music -Last Piece By Kirari(GTO OST) Our Website http://spiraken.podbean.com Our Forum http://spiraken.rapidboards.com Our Email Spiraken@gmail.com My Email xan.spiraken@gmail.com Our Twitter Spiraken Xboxlive Gamertag Xan Spiraken Our Voicemail 206-426-6665 (monk) Random Question of the Week: Where was the original Dadaist from?
Please beware: These are early vintage shows from a podcast that evolved gradually over 18+ years and 800+ episodes and sounds very different today. If you're new to Into Your Head, please try my later shows first. t's the 100th Into Your Head! Two and a half hours of pure, unmitigated drivel. Tonight's Topics Include: Rules of biscuit sandwich-making, Reaching the 100 pinnacle, Unseen bears in woods, Allocating eyes to humans, Defining your personal universe……and that's just the first eight minutes of our longest, most packed show ever.Also: Tons of other stuff, including several brand new musical numbers, a lecture or two from Joanne, Frank from The Overnightscape tastes a green liquid gum thing that's been chewed by his cats, and additional audio entertainment from Eddie at Conspiracast and Manny. Record an online voicemail, post in the guestbook, e-mail us, mingle – Click here. Want to contribute a segment for future shows? Go ahead. Anything humorous welcome, just send us your audio. The promos are for Dadaist's Cabaret and Conspiracast. Thanks Manny and Dave for additional topic suggestions. License: Creative Commons Attribution-NonCommercial-NoDerivs 4.0 International – It is mandatory to reproduce this attribution for each episode: “Neal O'Carroll via IntoYourHead.ie – Many episodes findable forever on Archive dot org.”
Mon, May 02 2005 Mister Ron's Basement #26 Some catchy Dadaist music, and a wisp of poetry from Kurt Schwitters. Time: approx four minutes The Mister Ron's Basement Full Catalog can be found at: http://ronevry.com/Mister_Rons_Full_Catalog.html
Melvyn Bragg and guests discuss surrealism. ‘Si vous aimez L'amour, vous aimerez Surrealisme!'. If you like Love, you'll love Surrealism! Thus was the launch of the surrealist manifesto publicised in Paris in 1924. In that document the formerly Dadaist poet André Breton defined his new movement, “Surrealism is pure psychic automatism, by which it is intended to express…the real process of thought. It is the dictation of thought, free from any control by reason and of any aesthetic or moral preoccupation”.Surrealism is about sex, the unconscious, repression and desire and seems to carry more than a distant echo of the Doctor from Vienna. How much was their notion of ‘pure thought' influenced by the writings of Sigmund Freud and the new technique of psychoanalysis being developed at the time? Did the surrealists manage to release the secrets and wonders of the human psyche, or was their wild foray into melting clocks, floating euphoniums and automatic writing simply a wasted journey into nonsense?With Dawn Adiss, Professor of Art History and Theory at the University of Essex; Malcolm Bowie, Marshal Foch Professor of French Literature at Oxford University and a fellow of All Souls College; the psychoanalyst Darian Leader
Melvyn Bragg and guests discuss surrealism. ‘Si vous aimez L’amour, vous aimerez Surrealisme!’. If you like Love, you’ll love Surrealism! Thus was the launch of the surrealist manifesto publicised in Paris in 1924. In that document the formerly Dadaist poet André Breton defined his new movement, “Surrealism is pure psychic automatism, by which it is intended to express…the real process of thought. It is the dictation of thought, free from any control by reason and of any aesthetic or moral preoccupation”.Surrealism is about sex, the unconscious, repression and desire and seems to carry more than a distant echo of the Doctor from Vienna. How much was their notion of ‘pure thought’ influenced by the writings of Sigmund Freud and the new technique of psychoanalysis being developed at the time? Did the surrealists manage to release the secrets and wonders of the human psyche, or was their wild foray into melting clocks, floating euphoniums and automatic writing simply a wasted journey into nonsense?With Dawn Adiss, Professor of Art History and Theory at the University of Essex; Malcolm Bowie, Marshal Foch Professor of French Literature at Oxford University and a fellow of All Souls College; the psychoanalyst Darian Leader
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