Podcasts about Dave Hickey

A conversation with art critic and author Jarrett Earnest about the new book “Feint of Heart”, in which Earnest has compiled a kaleidoscopic collection of art essays by the late Dave Hickey. Spanning 1982-2002, the assembled works reflect the intelligence, humor and wit that epitomize Hickey's contribution to the world of art.https://www.davidzwirner.com/collect/feint-of-heart-art-writings-bookhttps://www.amazon.com/exec/obidos/ASIN/1644231271?tag=simonsayscomhttps://www.simonandschuster.com/books/Feint-of-Heart-Art-Writings/Dave-Hickey/9781644231272

In this computerized age, we tend to see memory as a purely cerebral faculty. To memorize is to store information away in the brain in such a way as to make it retrievable at a later time. But the old expression "knowing by heart" calls us to a stranger, more embodied and mysterious take on memory. In this episode, Phil and JF endeavour to recite two poems they've learned by heart, as a preamble to a discussion on poetry, form, and the magic of memory. Details on Shannon Taggart's Symposium @ Lily Dale (https://www.shannontaggart.com/events/2024) (July 25-28). Support us on Patreon (https://www.patreon.com/weirdstudies). Buy the Weird Studies soundtrack, volumes 1 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-1) and 2 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-2), on Pierre-Yves Martel's Bandcamp (https://pierre-yvesmartel.bandcamp.com) page. Listen to Meredith Michael and Gabriel Lubell's podcast, Cosmophonia (https://cosmophonia.podbean.com/). Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! REFERENCES Samuel Taylor Coleridge, “Kubla Khan” (https://www.poetryfoundation.org/poems/43991/kubla-khan) Elizabeth Barrett Browning, “A Musical Instrument” (https://www.poetryfoundation.org/poems/43729/a-musical-instrument) Dave Hickey, “Formalism” (https://approachestopainting.wordpress.com/wp-content/uploads/2013/01/19135319-hickey-7-formalism-036.pdf) from Pirates and Farmers Weird Studies, Episode 109-110 on “The Glass Bead Game” (https://www.weirdstudies.com/109) Samuel Taylor Coleridge, Biographia Literaria (https://www.gutenberg.org/files/6081/6081-h/6081-h.htm) Weird Studies, Episode 42 with Kerry O Brien (https://www.weirdstudies.com/42) Francis Yates, Giordano Bruno and the Hermetic Tradition (https://bookshop.org/a/18799/9780226950075)

I first encountered Alec Ounsworth back in 2005 or 2006, when I was an arts writer for the Valley Advocate, an alt weekly in western Massachusetts that now, like so many other alt weekles, exists only in zombie form.The National was playing at the Iron Horse, Northampton's storied small music venue, and I got tickets to go see them. Opening for them was Clap Your Hands Say Yeah, the band that Ounsworth had founded and fronted not too long before. I had a vague sense of who they were, and that they were hip, but I didn't know the degree to which they'd blown up since the tour was booked with them as merely an opening act.In the interim they'd gotten bigger—more able to attract fans—than The National. The show was packed for their set, and then when they were done most of it emptied out. I'd never seen something like that before in my life, and haven't since (why if you've already paid for a ticket would you leave when you could get more good music!?).Since then, Ounsworth has made an excellent career for himself (he still tours under the band name, but it's entirely his operation; band members are hired for shows when needed), which is to say that he's had his ups and downs. He's no longer bigger than The National, and hasn't had a hit on the charts in a while. He continues, however, to be able to book and sell out shows in the U.S., Europe, and Japan. He supports himself and his family as a musician. He collaborates with other fancy people in the industry. As I suggest to him in our conversation, he now seems to have “just the right level of fame,” where he can do most of what he wants but can also live a very regular, non-celebrity-esque life. I connected with Alec in a more individual way a few years ago when I was hawking my book on Dave Hickey and looking for eminent people who were Hickey fans who could maybe be persuaded to blurb or otherwise offer some kind of promotional boost to the book (this is how I ended up with the Steven Soderbergh blurb, along with some inside knowledge about Soderbergh's taste in gifs). Ounsworth was one such fan. I managed to reach him and send him a copy of my book; in turn, he sent me a lovely vinyl copy of his 2021 album New Fragility.We talk about the arc of his career, the continuing wisdom of his choice to stay independent of record labels throughout, the art of evolving as a musician without pandering, the challenge of parenting as a touring musician, and various others things. It's a good conversation.One quick note about an aspect of the conversation that is slightly misleading. The opening premise is that we will discuss Jason Farago's article on the challenge of AI to music, “A.I. Can Make Art That Feels Human. Whose Fault Is That?” We don't really do that, but it doesn't really matter. I'm bored of AI. You probably are too.Eminent Americans is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Eminent Americans at danieloppenheimer.substack.com/subscribe

Hear from Dave Hickey, the EVP & President of BD Life Sciences, as he shares how leaders can cultivate high-performing teams and innovate at scale.From how to apply the servant leadership framework, to his insights gained from leading the global operational, commercial, and financial performance of BD Life Sciences; this episode is a must-listen for aspiring leaders.Discussions in the episode:Biggest leadership challenges within a multinational organizationWhy culture fit mattersDriving decision-making with accountabilityAdvice to leaders at the start of their journey Click here to reach out to Peter Rabey direct Like this show? Please leave us a review. Every review helps. 

Gajin Fujita is a graffiti artist whose work transcends boundaries and seamlessly blends the rich tapestry of Japanese tradition with the vibrant energy of Western urban culture. In this episode, Fujita talks about his early days as a graffiti artist in tagging crews like KGB and KIIS and his current status as a major star in LA's downtown art scene. He also shares how he blends Japanese techniques and symbols with Western urban pop culture to create visually contrasting masterpieces that transcend space and time. Born in 1972, Gajin Fujita is the son of Japanese parents – a fine art painter father and art conservator mother – who raised him and his brothers in Boyle Heights, a historic immigrant neighborhood just east of Downtown Los Angeles and the L.A. River. As a teenager, Fujita became fascinated with graffiti, joining the tagging crews KGB (Kidz Gone Bad) and KIIS (Kill to Succeed). Through graffiti, Fujita followed his own path towards fine art and received his BA from Otis College of Art & Design, Los Angeles, and his MFA from the University of Nevada, Las Vegas, where he found mentorship under art critic Dave Hickey. Reverence for Japanese art history and pride for his identity as an L.A. native assert equal importance in Fujita's work. Lauded by Christopher Knight of the Los Angeles Times as “the most important 21st-century iteration of graffiti's influence on art,” Fujita's paintings incorporate graffiti language, traditional iconography drawn from Edo-period woodblock prints, and symbols of West Coast culture.

The government is desperate to spread the wealth of the technology boom evenly around the country and dilute the concentration of investment in Dublin. To that end the technology hub Platform 94 - which used to be known as the Galway Technology Centre - opened its brand you extension in Galway at the weekend and aims to attract cutting edge start ups to the West. Dave Hickey, Chair of Platform94 joined Joe this morning on the show.

In this episode of the podcast, I talk to and Gary Kornblau about the 30th anniversary edition of Dave Hickey's seminal 1993 book The Invisible Dragon: Four Essays on Beauty. Blake is currently a fellow with the Center for Advanced Study in Sofia, Bulgaria, as well as the author a great (which is to say, very flattering) review of my 2021 book on Hickey, and he was a stalwart participant in the Substack “book club” I organized on the new edition of Dragon. Gary is faculty at the ArtCenter College of Design. More pertinently, he was Dave's great editor, having plucked him out of obscurity to write for art Issues, the small LA-based journal that Gary founded and edited. He was the one who gave Dave just the right amount of rein to do his best work, and also the one who conceptualized and edited both Invisible Dragon and Dave's subsequent book Air Guitar. The episode covers a lot of ground, including the impact of the original version of the book, the reasons why Gary decided to put out a 30th anniversary edition, and Gary's decision to use the opportunity to try to “queer” Dave. It's a blast. I hope you listen. I also wanted to take the opportunity to run the below excerpt from my book on Dave. It covers the background to the writing and reception of Invisible Dragon, and is, IMO, a mighty fine piece of writing in its own right. Hope you enjoy.On June 12, 1989, the Corcoran Gallery of Art in Washington, DC, announced that it was cancelling Robert Mapplethorpe: The Perfect Moment, its scheduled exhibition of photographs by the celebrated American photographer, who had died of AIDS in March. The Corcoran's primary motive in cancelling was fear.Only a few months before, a long-simmering debate about the role of the federal government in funding the arts had boiled over in response to Piss Christ, a photograph of a small icon of Jesus on the cross floating in a vitrine of urine. Its creator, Andres Serrano, had received a small chunk of a larger grant from the National Endowment for the Arts (NEA), and the offending photograph had been included in a touring exhibition that was also funded by federal money. During that tour, the photograph caught the eye of the American Family Association, a conservative Chris­tian advocacy group dedicated to fighting what it saw as anti-Christian values in entertainment and the arts. They rang the alarm.Soon after, New York Senator Alfonse D'Amato called out Piss Christ from the floor of the Senate. He tore up a reproduction of the photo and denounced it as a “deplorable, despicable display of vulgarity.” North Carolina Senator Jesse Helms, who would soon lead the charge against Mapplethorpe, added: “I do not know Mr. Andres Serrano, and I hope I never meet him. Because he is not an artist, he is a jerk. . . . Let him be a jerk on his own time and with his own resources. Do not dishonor our Lord.” Patrick Trueman, president of the American Family Association, testified to Congress that governmental support of work like Piss Christ would make it less likely that prosecutors would pursue or win cases against child pornographers.The ensuing congressional battle, over funding for the NEA, became the first in a series of broader cultural and political battles that would come to be known, in retrospect, as the “culture wars” of the 1990s. These battles would range not just over sex and politics in the arts, but also over issues like gays in the military, federal funding for abor­tion, and control over history and social studies curricula in the public schools. It was “a war for the soul of America,” as Pat Buchanan framed it at the 1992 Republican Party convention, a contest over whether the nation would continue to secularize and liberalize or would return to a more conservative social equilibrium.The full contours of the conflict weren't immediately evident in the aftermath of the Serrano affair, but it was very clear, right away, that the Mapplethorpe exhibit was another grenade ready to go off. Its orga­nizers at the University of Pennsylvania had received NEA money, and the Corcoran Gallery, walking distance from the White House, was too visible an institution to slide by the notice of people like Helms and D'Amato. So the Corcoran begged off, hoping to shield themselves from the shrapnel and avoid giving conservatives another opportunity to question the value of federal funding for the arts.Instead, they got fragged by all sides. By fellow curators and museum administrators, who believed the Corcoran's appeasement would only encourage more aggression from haters of contemporary art. By civil lib­ertarians, who saw the Corcoran's actions as an example of how expres­sive speech was being chilled by the culture war rhetoric of the right. By a major donor, a friend of Mapplethorpe, who angrily withdrew a promised bequest to the museum of millions of dollars. And, of course, by the conservatives they had been hoping to appease, who accurately recognized the blasphemy in Mapplethorpe's federally funded portraits of sodomites doing naughty things to each other and themselves.Piss Christ had been useful to the conservative cultural cause as an example of how homosexual artists were taking taxpayer money to spit on the values that decent Americans held dear, but it wasn't ideal. How blasphemed could a good Christian really feel, after all, by an image of Jesus as reverential as what Serrano had in fact made? His Christ was bathed in glowing red-orange-yellow light, the image scored by dots and lines of tiny bubbles that come off almost like traces of exhumation, as if the whole thing has been recently, lovingly removed from the reliquary in which it's been preserved for thousands of years.“I think if the Vatican is smart,” Serrano later said, “someday they'll collect my work. I am not a heretic. I like to believe that rather than destroy icons, I make new ones.”Mapplethorpe's pictures, though, were something else entirely, a real cannon blast against the battlements of heterosexual normativity. Where Serrano was mostly using new means to say some very old things about the mystery of the incarnation and the corporeality of Christ, Mapplethorpe was using orthodox pictorial techniques to bring to light a world of pleasure, pain, male-male sex, bondage, power, trust, desire, control, violation, submission, love, and self-love that had been ban­ished to the dark alleyways, boudoirs, bathhouses, and rest stops of the West since the decline of Athens. And he was doing so masterfully, in the language of fine art, in the high houses of American culture.There was Lou, for instance, which could have been a photograph of a detail from an ancient bronze of Poseidon except that the detail in question is of Poseidon's muscled arm holding his cock firmly in one hand while the pinky finger of his other hand probes its hole. In Helmut and Brooks, a fist disappearing up an anus plays like an academic exercise in shape and shadow. And in the now iconic Self-Portrait, Mapplethorpe has the handle of a bullwhip up his own rectum, his balls dangling in shadow beneath, his legs sheathed in leather chaps, his eyes staring back over his shoulder at the camera with a gaze so full of intelligence and vitality that it almost steals the show from the bullwhip.In response to these kinds of beautiful provocations, the outrage, which had been largely performative vis-à-vis Serrano, became rather genuine, and the whole thing escalated. By July, a month after the exhibition at the Corcoran had been cancelled, Congress was debating whether to eliminate entirely the $171 million budget of the National Endowment for the Arts. By October, a compromise was reached. The NEA and its sister fund, the National Endowment for the Humanities, would get their usual rounds of funding, minus a symbolic $45,000 for the cost of the Serrano and Mapplethorpe grants. They would be pro­hibited, however, from using the monies to support work that was too gay, too creepy in depicting children, or just too kinky. Exceptions were made for art that violated these taboos but had “serious literary, artis­tic, political, or scientific value.” But the point had been made, and the enforcement mechanism, in any case, wasn't really the articulated rules. It was the threat of more hay-making from the right and, ultimately, the implied promise that if NEA-supported institutions kept sticking their noses (or fists) where they didn't belong then it wouldn't be too long before there wouldn't be any NEA left.A few months later, in April 1990, the Contemporary Arts Cen­ter in Cincinnati, Ohio, took up the Mapplethorpe baton by opening their own exhibition of The Perfect Moment. Hoping to head off trouble, they segregated the most scandalous of the photos in a side room, with appropriate signage to warn off the young and the delicate. They also filed a motion in county court asking that the photographs be preemp­tively designated as not obscene. But the motion was denied, and the separate room proved insufficient buffer. When the exhibit opened to the public, on April 7, its attendees included members of a grand jury that had been impaneled by Hamilton County prosecutors to indict the museum and its director for violating Ohio obscenity law. Of the more than 150 images in the exhibit, seven were selected out by the grand jury for being obscene. Five depicted men engaged in homoerotic and/ or sado-masochistic acts, and two were of naked children.The trial that followed was symbolically thick. Motions were filed that forced the judge to rule on fundamental questions about the mean­ing and political status of art. Art critics and curators were called in to witness, before the largely working-class members of the jury, to the artistic merit of Mapplethorpe's photography. The indictment read like an update of the Scopes trial, captioned by Larry Flynt, in which “the peace and dignity of the State of Ohio” was being ravaged by bands of cavorting homosexuals.The jury issued its verdict in October 1990, acquitting the museum and its director. It was a victory for the forces of high art and free expres­sion, but a complicated one. The exhibition could go on. And Map­plethorpe's photographs—indeed, the most outrageous of them—had been designated as art by the State of Ohio and by a group of decent, law-abiding, presumably-not-gay-sex-having American citizens. But the cost had been high. Museums and galleries everywhere had been warned, and not all of them would be as willing as the Contemporary Arts Center of Cincinnati to risk indictment and the threat of defunding for the sake of showing dangerous art.Perhaps most significantly, the National Endowment for the Arts, and its new director, announced a shift in funding priorities in order to take the institution out of the crossfire of the culture wars. Less and less of their money, it was decided, would go to individual artists and exhibitions, and more of it would go to support arts enrichment—to schools, outreach programs, arts camps, and educational campaigns. Mapplethorpe and Serrano were out. Sesame Street was in.For Dave Hickey, a critic and ex-gallery owner, it was, finally, all too much. Not the opportunism of the Hamilton County sheriff and his allies. Not the predictable huffing from the bow-tied brigades, who took to the pages of their tweedy magazines to bellyache, as always, about what a precipitous decline there had been in cultural standards since the 1960s ruined everything. Not even the rednecking of the senator from North Carolina was the problem for Hickey.Each of these parties was performing its assigned role in the passion play of American cultural politics. Narrow-minded prosecutors would always try to run dirty pictures out of town. New Criterion-ites would avert their eyes from new art. Senators from North Carolina would dem­agogue about queers from New York City. You could be angry at having to contend with these actors, but you couldn't genuinely feel betrayed. You knew where they stood from the get-go, and half the joy of art, and of the artistic life, lay in trying to figure out how to shock, outwit, or seduce them.The betrayal, for Hickey, came from his colleagues, from the crit­ics, curators, gallerists, professors, and arts administrators with whom he had been uneasily mixing since the late 1960s when he dropped out of his doctoral program in linguistics to open an art gallery in Austin, Texas. They had been handed a rare opportunity to represent for all that was queer and decadent and artsy-fartsy in American life, to make the case that this—beautiful pictures of men seeing what it felt like to shove things up their asses—wasn't the worst of America but the best of it. And they had whiffed.“The American art community, at the apogee of its power and privi­lege, chose to play the ravaged virgin,” wrote Hickey, “to fling itself pros­trate across the front pages of America and fairly dare the fascist heel to crush its outraged innocence. . . . [H]ardly anyone considered for a moment what an incredible rhetorical triumph the entire affair signi­fied. A single artist with a single group of images had somehow managed to overcome the aura of moral isolation, gentrification, and mystifica­tion that surrounds the practice of contemporary art in this nation and directly threaten those in actual power with the celebration of margin­ality. It was a fine moment, I thought . . . and, in this area, I think, you have to credit Senator Jesse Helms, who, in his antediluvian innocence, at least saw what was there, understood what Robert was proposing, and took it, correctly, as a direct challenge to everything he believed in.”The Corcoran had been bad enough, throwing in the towel before an opponent had even stepped into the ring. But far worse, for Hickey, were the ones who had shown up to fight but had misread the aesthet­ical-political map so badly that they had gone to the wrong arena. The fight, he believed, should have been over whether it was okay or not in our culture to make beautiful the behaviors that Mapplethorpe had made beautiful. The fight should have been over what Mapplethorpe had done with his art. Instead, the public got bromides about free expression and puritanical lectures about the civilizing function of arts in society. Worst of all, in Hickey's eyes, was how quickly the art experts ran away from the rawness of Mapplethorpe's work, characterizing him as though he were a philosopher of aesthetics, rather than an artist, as though he chose and framed his subjects for the sake of what they allowed him to say, propositionally, about the nature of light and beauty and other such things.“Mapplethorpe uses the medium of photography to translate flowers, stamens, stares, limbs, as well as erect sexual organs, into objet d'art,” wrote curator Janet Kardon in her catalogue essay for the exhibition. “Dramatic lighting and precise composition democratically pulverize their diversities and convert them into homogeneous statements.””When it came to it on the witness stand in Cincinnati, even the folks who had curated the exhibition, who surely knew that Mapplethorpe would bring the people in precisely because he was so titillating—Look at the dicks! Hey, even the flowers look like dicks!—couldn't allow them­selves even a flicker of a leer. So Hickey called them out.In a series of four essays written between 1989 and 1993, which were assembled into the sixty-four-page volume The Invisible Dragon, he launched a lacerating critique of American art critical and art historical practice. It was so unexpected, and so potent, that by the time he was done, his own intervention—a slim, impossibly cool, small-batch edi­tion from Art issues Press—would be as transformative in the art critical realm as Mapplethorpe's photographs had been in the photographic.The Invisible Dragon began with a story. It wasn't necessarily a true story, but it was a good one. So good, in fact, that it has conditioned and, in significant ways, distorted perceptions of Hickey ever since.“I was drifting, daydreaming really,” wrote Hickey, “through the wan­ing moments of a panel discussion on the subject of ‘What's Happening Now,' drawing cartoon daggers on a yellow pad and vaguely formulating strategies for avoiding punch and cookies, when I realized I was being addressed from the audience. A lanky graduate student had risen to his feet and was soliciting my opinion as to what ‘The Issue of the Nine­ties' would be. Snatched from my reverie, I said, ‘Beauty,' and then, more firmly, ‘The issue of the nineties will be beauty'—a total improvisatory goof—an off-the-wall, jump-start, free association that rose unbidden to my lips from God knows where. Or perhaps I was being ironic; wishing it so but not believing it likely? I don't know, but the total, uncompre­hending silence that greeted this modest proposal lent it immediate cre­dence for me.”Hickey, an experienced provocateur, had been expecting some kind of pushback. (Beauty?! That old thing? The issue of the '90s? You gotta be kidding me.) When he got none, he was intrigued. His fellow panelists hadn't jumped in to tussle. The moderator didn't seem ruffled. No one from the audience harangued him after he stepped down from the dais. Rather than setting off sparks, he had soft-shoed into a vacuum, which meant he had misjudged something, and in that misjudgment, he sensed, there lay potential. (“I was overcome by this strange Holme­sian elation. The game was afoot.”) He began interrogating friends and colleagues, students and faculty, critics and curators for their thoughts on beauty and its role in the production, assessment, and consump­tion of art. What he got back, again and again, was a simple and rather befuddling response: When asked about beauty, everyone talked about money. “Beauty” was the surface glitz that sold pictures in the bourgeois art market to people who lacked an appreciation for the deeper qualities of good art. It was a branding scheme of capitalism and the province of schmoozy art dealers, rich people, and high-end corporate lobby deco­rators. Artists themselves, and critics and scholars, were more properly concerned with other qualities: truth, meaning, discourse, language, ideology, form, justice. There were high-brow versions of this argument in journals like Art Forum and October, and there were less sophisticated versions, but the angle of incidence was the same.Hickey was stunned. Not by the content of such an argument— he knew his Marx and was familiar with left cultural criticism more broadly—but by the completeness of its triumph. He hadn't realized the extent, almost total, to which beauty had been vanquished from the sphere of discursive concern.“I had assumed,” he wrote, “that from the beginning of the sixteenth century until just last week artists had been persistently and effectively employing the rough vernacular of pleasure and beauty to interrogate our totalizing concepts ‘the good' and ‘the beautiful'; and now this was over? Evidently. At any rate, its critical vocabulary seemed to have evap­orated overnight, and I found myself muttering detective questions like: Who wins? Who loses?”The quest to reconstruct what had happened to beauty soon evolved for Hickey into a more fundamental effort to understand what even he meant by the term. What was he defending? What was he trying to res­cue or redeem? The critical vocabulary and community he had assumed were there, perhaps fighting a rearguard battle but still yet on the field, had winked out of existence without even a good-bye note. It was left to him, in the absence of anyone else, to reconstitute its concepts and arguments, restock its supply chain and armament.So he did, and he called it The Invisible Dragon. The issue, he wrote, is not beauty but the beautiful. The beautiful is the visual language through which art excites interest and pleasure and attention in an observer. It is a form of rhetoric, a quiver of rhetorical maneuvers. Artists enchant us through their beautiful assemblages of color, shape, effects, reference, and imagery, as a writer ensnares us with words and sentences and para­graphs, as a dancer enthralls us with legs and leaps, as a rock star cap­tures us with hips and lips and voice. The more mastery an artist has of the rhetoric of the beautiful, the more effectively he can rewire how our brains process and perceive visual sense data. It is an awesome power.Beauty, in this equation, is the sum of the charge that an artist, deploy­ing the language of the beautiful, can generate. It is a spark that begins in the intelligence and insight of the artist, is instantiated into material being by her command of the techniques of the beautiful, and is crystal­lized in the world by its capacity to elicit passion and loyalty and detes­tation in its beholders, to rally around itself constituencies and against itself enemies. Like all arks and arenas of human value, beauty is his­torically grounded but also historically contingent. In the Renaissance, where The Invisible Dragon begins its modern history of beauty, masters like Caravaggio were negotiating and reconstructing the relations among the Church, God, man, and society. They were deploying the tools of the beautiful to hook into and renovate primarily theological systems of meaning and human relation. In a liberal, pluralistic, commerce-driven democracy like America, the primary terrain on which beauty was medi­ated, and in some respects generated, was the art market.To dismiss beauty as just another lubricant of modern capitalism, then, was to miss the point in a succession of catastrophic ways. It was to mistake the last part of that equation, the creation and negotiation of value on and through the art market, for the entirety of it. It was to mistake the exchange of art for other currencies of value, which was a human activity that preceded and would persist after capitalism, for capitalism. It was to believe that the buying and selling of art in modern art markets was a problem at all, when, in fact, it was the only available solution in our given historical configuration of forces. And it was to radically underestimate the capacity of beauty to destabilize and reorder precisely the relations of politics, economy, and culture that its vulgar critics believed it was propping up.Beauty had consequences. Beautiful images could change the world. In America, risking money or status for the sake of what you found beautiful—by buying or selling that which you found beautiful or by arguing about which objects should be bought or sold on account of their beauty—was a way of risking yourself for the sake of the vision of the good life you would like to see realized.The good guys in Hickey's story were those who put themselves on the line for objects that deployed the beautiful in ways they found per­suasive and pleasure-inducing. They were the artists themselves, whose livelihoods depended on participation in the art market, who risked poverty, rejection, incomprehension, and obscurity if their work wasn't beautiful enough to attract buyers. They were the dealers, who risked their money and reputation for objects they wagered were beautiful enough to bring them more money and status. They were the buyers, who risked money and ridicule in the hopes of acquiring more status and pleasure. They were the critics, like Hickey, who risked their rep­utations and careers on behalf of the art that struck them as beautiful and on behalf of the artists whose idiosyncratic visions they found per­suasive or undeniable. And finally they were the fans, who desperately wanted to see that which they loved loved by others and to exist in com­munity with their fellow enthusiasts. The good guys were the ones who cared a lot, and specifically.The villains were the blob of curators, academics, review boards, arts organizations, governmental agencies, museum boards, and fund­ing institutions that had claimed for themselves almost total control of the assignment and negotiation of value to art, severing art's ties to the messy democratic marketplace, which was the proper incubator of artis­tic value in a free society. The blob cared a lot, too, but about the wrong things.“I characterize this cloud of bureaucracies generally,” wrote Hickey, “as the ‘therapeutic institution.'”In the great mystery of the disappeared beauty, the whodunnit that fueled The Invisible Dragon, it turned out that it was the therapeutic institution that dunnit. It had squirted so many trillions of gallons of obfuscating ink into the ocean over so many decades that beauty, and the delicate social ecosystems that fostered its coalescence, could barely aspirate. Why the therapeutic institution did this, for Hickey, was simple. Power. Control. Fear of freedom and pleasure and undisciplined feeling. It was the eternally recurring revenge of the dour old Patriarch who had been haunting our dreams since we came up from the desert with his schemas of logic, strength, autonomy, and abstraction, asserting control against the wiles and seductions of the feminine and her emanations of care, vulnerability, delicacy, dependence, joy, and decoration. It was the expression of God's anger in the Garden of Eden when Eve and Adam defied Him to bite from the juicy apple of knowledge and freedom.In one of the most extraordinary passages in the book, Hickey turned Michel Foucault, a favorite of the blob, back on the blob. It was Fou­cault, he wrote, who drew back the curtain on the hidden authoritarian impulse at work in so many of the modern institutions of social order, particularly those systems most committed to the tending of our souls. Such systems weren't content with establishing regimes of dominance and submission that were merely or primarily external. Appearances canbe too deceiving. Too much wildness can course beneath the facade of compliance. It was inner consent, cultivated therapeutically through the benevolent grooming of the institutions, that mattered. Thus the disciplined intensity with which the therapeutic institution had fought its multi-generational war to crowd out and delegitimize the market, where appearance was almost everything and where desire, which is too unpredictably correlated with virtue, was so operative.“For nearly 70 years, during the adolescence of modernity, profes­sors, curators, and academicians could only wring their hands and weep at the spectacle of an exploding culture in the sway of painters, dealers, critics, shopkeepers, second sons, Russian epicures, Spanish parvenus, and American expatriates. Jews abounded, as did homosexuals, bisex­uals, Bolsheviks, and women in sensible shoes. Vulgar people in manu­facture and trade who knew naught but romance and real estate bought sticky Impressionist landscapes and swooning pre-Raphaelite bimbos from guys with monocles who, in their spare time, were shipping the treasures of European civilization across the Atlantic to railroad barons. And most disturbingly for those who felt they ought to be in control— or that someone should be—‘beauties' proliferated, each finding an audience, each bearing its own little rhetorical load of psycho-political permission.”After getting knocked back on their heels so thoroughly, wrote Hickey, the bureaucrats began to get their act together around 1920. They have been expanding and entrenching their hegemony ever since, developing the ideologies, building the institutions, and corralling the funding to effectively counter, control, and homogenize all the unruly little beauties. There had been setbacks to their campaign along the way, most notably in the 1960s, but the trend line was clear.In this dialectic, Mapplethorpe proves an interesting and illustra­tive figure. He was so brilliant in making his world beautiful that the therapeutic institution had no choice but to gather him in, to celebrate him in order to neutralize him, to pulverize his diversities and convert them into homogeneous statements. But it turned out that he was too quicksilver a talent to be so easily caged, and the blob was overconfident in its capacity to domesticate him. It/they missed something with Map­plethorpe and made the mistake of exposing him to the senator from North Carolina and the prosecutor from Hamilton County, who saw through the scrim of institutional mediation. All the therapeutic testi­mony that followed, in the case of Cincinnati v. Contemporary Arts Center, wasn't really about defending Mapplethorpe or fending off conservative tyranny. It was about reasserting the blob's hegemony. In truth, Senator Helms and the therapeutic institution were destabilized by complemen­tary aspects of the same thing, which was pleasure and desire rendered beautiful and specific.“It was not that men were making it then,” wrote Hickey, “but that Robert was ‘making it beautiful.' More precisely, he was appropriating a Baroque vernacular of beauty that predated and, clearly, outperformed the puritanical canon of visual appeal espoused by the therapeutic institution.”Confronted by this beautiful provocation, the conservative and art establishments, whatever they thought they were doing, were, in fact, collaborating to put Mapplethorpe back in his place. The ostensible tri­umph of one side was the secret triumph for both. It was beauty that lost. The Invisible Dragon was a howl of frustration at this outcome. It was also a guerrilla whistle. Not so fast . . .Eminent Americans is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Eminent Americans at danieloppenheimer.substack.com/subscribe

Small businesses need to prepare for the holiday shopping season; utilizing business tips and technology tools that will boost the customer experience and build customer loyalty. Here to help is tech expert Dave Hickey of Verizon Business. Dave will be available to discuss how small businesses can take advantages of technology and tools that they can incorporate from online to the point of sale all while being mindful regarding cybersecurity threats. Additionally, Dave can discuss the findings of Verizon's 2023 State of Small Business survey and the outlook of small businesses during the 2023 holiday season.Dave Hickey is Vice President of the Verizon Business West Business Markets, overseeing all Mid-Markets business sales. He is responsible for an organization of approximately 850 sales professionals and leaders working with customers in the mid-market space, helping them advance technologically to grow their business. Dave joins Mark Alyn on this edition of Late Night Health. For information visit www.Verizon.com/Business.

Small businesses need to prepare for the holiday shopping season; utilizing business tips and technology tools that will boost the customer experience and build customer loyalty. Here to help is tech expert Dave Hickey of Verizon Business. Dave will be available to discuss how small businesses can take advantages of technology and tools that they can incorporate from online to the point of sale all while being mindful regarding cybersecurity threats. Additionally, Dave can discuss the findings of Verizon's 2023 State of Small Business survey and the outlook of small businesses during the 2023 holiday season.Dave Hickey is Vice President of the Verizon Business West Business Markets, overseeing all Mid-Markets business sales. He is responsible for an organization of approximately 850 sales professionals and leaders working with customers in the mid-market space, helping them advance technologically to grow their business. Dave joins Mark Alyn on this edition of Late Night Health. For information visit www.Verizon.com/Business.

Reading list for episode:* “John Pistelli,” by Blake Smith* “The Souls of Yellow Folk, by Wesley Yang,” by John Pistelli* “The Souls of Yellow Folk—A Review,” by Daniel Oppenheimer* “Platonic Complex: Why Do the Intellectuals Rage?"“ by John Pistelli* “The Face of Seung-Hui Cho,” by Wesley YangCritic, novelist, and sorta-academic and I have two things on our agenda for this episode of the podcast. The first is , the author of the 2018 essay collection The Souls of Yellow Folk and arguably the single most influential writer of the past decade when it comes to articulating the basic premises of the more substantive anti-woke perspective. John and I both wrote early reviews of Yang's book, and both of us have remained relatively close Yang-watchers.My review, though it included a few modest criticisms of the book, was immensely admiring. Of the book's centerpiece essay, “The Face of Seung Hi Cho,” I wrote:There aren't many essayists alive today who can sustain the level of brilliance Yang maintains in the essay for as long as he does. Zadie Smith can do it. Dave Hickey and Joan Didion could do it once, but are too old now. David Foster Wallace could do it, but although he should be alive, he is not. Ta-Nehisi Coates looked like he was on his way toward being able to do it, but he made other choices. A few other writers, maybe, but not many.The essay doesn't just teem with sentence-level excellence. Through all the micro-level fascination Yang has a larger point to make about what it is like to be an unlovable young man in America, a loser in the sexual and cultural marketplace, and the ways in which that loserdom intersects with and reinforces the experience of Asian-American-ness.John's review of Yang's book is a much more mixed assessment. He thinks some of it is brilliant, some not, and in general takes it to task for being a rather slapdash collection of things that don't entirely hang together. He also makes the case (accurately I think, though I don't have the theory background to confidently affirm) that Yang misdiagnoses the theoretical ancestry of wokeness and identity politics. For Yang it is post-structuralist theory that sets the stage. John writes:A deeper flaw … makes itself known in the concluding pages of this book, when in essays from 2017 Yang provides a detailed critique of the social justice left. He accuses its activists of having absorbed a set of lessons from poststructuralism that posit both language and institutions as nothing other than vectors of power, obviating the old liberal ambition to reform institutions by using language to persuade a majority to abandon its prejudices and alter its practices. By contrast to the social justice left's radical ambition to bring in an egalitarian millennium through linguistic and institutional engineering, Yang concedes the manifold injuries social life deals to those who have lost its lottery while also worrying that attempts to reduce harm through new forms of undemocratic social control may only entrench new hierarchies under the false labels of peace and equality.Why do I call this theory flawed? … Social-justice theory comes ultimately from Marxism, which is the attempt to overcome existential alienation by altering power relations within political and social institutions. Marx began as a Romantic rebel and ironist, hailing Prometheus and imitating Sterne, until he became convinced that his alienation could be ameliorated through a total social transformation, one premised on what we now call identity politics. What differentiated Marx's scientific from his precursors' utopian socialism was precisely the identification of a mechanism—in the form of a social class—that could effect the transformation of an inegalitarian society to an egalitarian one. A social class whose exploitation was the engine of the entire system could, by resisting that exploitation, bring the system to a halt; having been exploited, this class would not replicate exploitation in its turn but rather abolish the class relation as suchJohn and I talk about the brilliance of Yang at his best; his snarky aside, in his review, about my review; his subsequent penance for his snarky aside; the possible connection between Yang and old school neocon Norman Podhoretz; and Yang's recent descent into anti-trans, anti-woke monomania.The other thing on our agenda is the emergence of a newly influential cohort of writer intellectual types who earned their PHDs in humanities fields—in particular English and English-adjacent departments—who are exerting influence primarily through non-academic channels. They are writing for high or middle brow magazines—The Point, Compact, American Affairs, Tablet, etc—or, as in John's case, they're writing the vast majority of their words for their own websites and newsletters. I proposed this to John in an email exchange before our conversation, and he wrote:I do see what you're getting at with the post-/para-academic set and the full emergence of the humanities into the online public sphere. ... I would personally draw a distinction between people I see as trying to transmit to the public the current ethos of their academic fields ( would be the chief example here, probably also and Jon Baskin) and more strictly renegade figures making a public bricolage of academic theories past and current extra-institutional or countercultural energies (e.g., Geoff Shullenberger and, well, me), with Blake Smith and JEHS somewhere in the middle). From the perspective of a certain kind of, say, economist, though, this might be the narcissism of small differences, as we're all talking various sorts of unverifiable gibberish! (Not meant as self-deprecation: I am only interested in unverifiable gibberish.)Some of these folks have academic posts, but often rather marginal ones (John is adjunct at the Minneapolis College of Art and Design, for instance; is at the City University of Paris). Other have left the academy entirely. That these people constitute a coherent group, I should say, is very much a hypothesis in progress. I described it to John, when inviting him on the podcast, as a "very wobbly, inchoate hypothesis." My hope is that it is slightly less wobbly and inchoate by the end of our discussion. John  is the author of four novels—The Class of 2000, The Quarantine of St. Sebastian House, Portraits and Ashes, and The Ecstasy of Michaela—as well as diverse short fiction, poetry, and literary and cultural criticism that has appeared in many venues. He writes a weekly newsletter on literature, culture, and politics at SubStack. A longtime teacher with a Ph.D. in English, he has uploaded the lectures for two full university literature courses at YouTube, alongside other lectures, audio essays, and audio fiction. His fifth novel, Major Arcana, is currently being serialized for paid subscribers to his newsletter. I reached out to John after , a writer we both follow, wrote a whole post on his newsletter about how great John is. Here's a bit of what Blake wrote about John:John Pistelli is my favorite critic—one of the few people I ‘read,' in the sense of regularly checking his substack/tumblr (GrandHotelAbyss) and recommending to my friends (I am a very poor ‘reader'; I don't have much room in my head for contemporaries, or maybe I already have too much room devoted to them and have to tetchily defend the cramped remainder from my own tendency to envy, revile, etc., them—one of the reasons my Twitter is locked!). He's erudite—with an easy, expansive mastery over the modern canon and its scholarly-critical adjuncts—and abreast of ‘internet culture' in ways that I'm not but (mostly) appreciate someone else being (more from the implied ‘however' later).Eminent Americans is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Eminent Americans at danieloppenheimer.substack.com/subscribe

“Things don't happen in Las Vegas. Things are happened in Las Vegas. All actions in the town are so meticulously predicted and orchestrated that spontaneity itself exists only as the ghost of compulsion.”  –Rolf Potts (in 1998) In this episode of Deviate, Rolf and Ari discuss Rolf's 1998 Las Vegas essay "The Mystical High Church of Luck," and their relationship to their early creative work (2:30); how the experience of Las Vegas depends on what stage of life you're in, how Vegas compares to New Orleans, and how Rolf and Ari have a hard time enjoying themselves when they go there (14:00); the stereotypes that surround Las Vegas, why it is difficult to write about, and how one might find original experiences there (30:00); what it would be like to live in Las Vegas, and the mysteries and mechanics of "luck" (47:00). Ari Shaffir (@AriShaffir) is a comedian, writer, podcaster, and actor. He is the host of the Skeptic Tank podcast. His latest comedy special, JEW, is available on YouTube. Las Vegas Links: The Mystical High Church of Luck, by Rolf Potts (1998 essay) Circus Circus Las Vegas (hotel and casino) Caesars Palace (casino resort in Las Vegas) Ghostbar (Las Vegas nightclub) History of Las Vegas Rat Pack (20th century Las Vegas entertainers) Casino (1995 film) At Home in the Neon, by Dave Hickey (essay) Fear and Loathing in Las Vegas (Hunter S. Thompson novel) The Hangover (2009 American comedy film) Las Vegas, Tis of Thee, by Richard Todd (essay) Fremont Street (popular gambling street in Las Vegas) Las Vegas Strip (popular gambling street) Valley of Fire State Park (recreation area near Las Vegas) Red Rock Canyon National Conservation Area SEMA auto show (car accessory convention) Las Vegas Souvenir & Resort Gift Show (convention) Other Links: Van Life before #VanLife (Deviate episode) Salvador Dalí Museum (St. Petersburg art museum) Atlantic City (casino resort city in New Jersey) March Madness (college basketball tournament) Joe Rogan (American comedian and podcaster) Odyssey: Driving Around the World (TV documentary) Antoni Gaudí (Catalan architect) Easy Rider (1969 road-trip film) Roseanne (American TV sitcom) High Fidelity (2000 American film) Portlandia (America TV series) Souvenir, by Rolf Potts (book) TraveCon (convention) Foxwoods Resort Casino (Connecticut tribal casino) Steven Soderbergh (American filmmaker) Shepard Fairey (American artist) Tim Ferriss (American author and investor) Pablo Picasso (Spanish artist) Wandering Jew (plant) Psychogeography (creative exploration of places) Rock and Roll Hall of Fame (museum in Cleveland) The Deviate theme music comes from the title track of Cedar Van Tassel's 2017 album Lumber. Note: We don't host a “comments” section, but we're happy to hear your questions and insights via email, at deviate@rolfpotts.com.

A collection of essays by the late, great Dave Hickey!!!!!

September 8-14 are Verizon's Small Business Days, an opportunity for small and mid-sized businesses to meet with a Verizon Business expert to learn how their business can digitize as well as take advantage of limited-time offers. In conjunction with this window, Verizon Business will be releasing a survey with new data on how small businesses are leaning into new tech and cutting-edge services designed to help businesses grow. The survey also covers their outlook for both their business, expectations this holiday season, and the economy overall. Small business tech expert Dave Hickey of Verizon shares the newest findings of their small business survey. The 8th kicks off Verizon Business' ‘Small Business Days' where small businesses can speak to a Verizon Business expert for a review of their business connectivity and learn about real-time solutions that will help them be successful in the marketplace and overcome inflation and economic concerns. Dave Hickey is VP of the West Business Markets where he oversees all Mid-Markets business sales. He is responsible for an organization of approximately 850 sales professionals and leaders serving the mid-market businesses. Dave visits with Mark Alyn.

September 8-14 are Verizon's Small Business Days, an opportunity for small and mid-sized businesses to meet with a Verizon Business expert to learn how their business can digitize as well as take advantage of limited-time offers. In conjunction with this window, Verizon Business will be releasing a survey with new data on how small businesses are leaning into new tech and cutting-edge services designed to help businesses grow. The survey also covers their outlook for both their business, expectations this holiday season, and the economy overall. Small business tech expert Dave Hickey of Verizon shares the newest findings of their small business survey. The 8th kicks off Verizon Business' ‘Small Business Days' where small businesses can speak to a Verizon Business expert for a review of their business connectivity and learn about real-time solutions that will help them be successful in the marketplace and overcome inflation and economic concerns. Dave Hickey is VP of the West Business Markets where he oversees all Mid-Markets business sales. He is responsible for an organization of approximately 850 sales professionals and leaders serving the mid-market businesses. Dave visits with Mark Alyn.

@markasher32 talks with Dr Ravi Singh about NFT's plus we play Stump the Chump for @DaveandBusters gift cards plus Dave Hickey of @Verizon talks about tech for small business and our crosstalk twith Steve Jurich #NFT #SocialPayMe #Blockchain #games #fun #NFL #retirement #annuities #tech #smallbusiness  

The word “coopetition” was coined by a Harvard and Yale professor. At its core, the term embraces game theory and embodies the idea that businesses can gain strategic advantages through interdependency and collaboration with competing firms. It may sound counterproductive for the traditional competitive market economy, but research proves that it's an opportunity to elevate industries' full capacities. Host of Verizon Business's The Podcast, Daniel Litwin, was joined by Verizon executives Dave Hickey, Arleen Cauchi, and Sarah Marsh. According to Marsh, “[coopetition is] more relevant than ever; business challenges are getting much more complex,” and businesses understand that their counterparts are “competitors in some instances and partners in others.” Cauchi pressed that successful coopetition stems from businesses aligning ethos and agreeing on the ‘why' — why they are coming together, and why working in partnership makes more sense than being isolated in a silo. Cauchi distilled coopetition simply down to “1+1=3,” where if one partner has a great sales team and the other has a strong marketing team, their collaboration ultimately increases their market share. After two years of chaotic disruption caused by the pandemic, businesses and even countries are embracing new methodologies and practices. For example, the world witnessed mass coopetition during the pandemic: countries shared research, companies collaborated to develop the vaccine, and pharmaceutical giants — typically pitted against each other — even joined forces. Coopetition is a unique solution that allows companies to become more agile and responds to market needs more effectively by compounding the incremental value that businesses can ultimately offer the customer. To learn more about the Verizon partner network, visit Verizon's website or tune in to more episodes on your preferred podcast platform.

Hosts Gregg Masters and Fred Goldstein meet Dave Hickey executive vice president and president of the Life Sciences segment of BD (Becton, Dickinson and Company), a leading global medical technology company headquartered in Franklin Lakes, New Jersey. Dave oversees the global operational, commercial and financial performance of the two businesses that comprise the Life Sciences segment: BD Biosciences & Integrated Diagnostic Solutions. They discuss BD's rapid and reliable detection of the SARS-CoV-2 virus and thus the disease of Covid-19. To stream our Station live 24/7 visit www.HealthcareNOWRadio.com or ask your Smart Device to “….Play Healthcare NOW Radio”. Find all of our network podcasts on your favorite podcast platforms and be sure to subscribe and like us. Learn more at www.healthcarenowradio.com/listen

Your earbuds will pass out before half-time is over on a combination of hot wings and Tecate when Big Lucks, Ol' Blue Eyes, Schwartz and Chumahan pancake tackle Brian Flores's lawsuit against the NFL refusing to hire Black Coaches, etc., what the lawsuit actually says, Bill Billecheck's surprise text, the infamous $100K to throw games from the owner, then turning into the masterful Schwartz-pick for SuperBowl LVI, Sean's recovery from the Niner Downer, which then turns into a Motivation show to get you further on your game and Schwartz confronting the inner demons left in the wake of his Father's exit out of his life, LIFE'S TEN YARD FIGHT is in this episode. Real talk.Send your crazy shit to: hluckshow@gmail.comNFL masterclass to prepare for the Superbowl: https://www.hardluckshow.com/podcast/episode/2d447f00/hls-ep-272-antonio-brown-wtfhttps://www.hardluckshow.com/podcast/episode/1c5e44f8/hls-ep-268-john-madden-boomTRANSCRIPTHLS: Ep. 284: SB LVI, Flores NFL Lawsuit & Father/Son InnerworkSpeakerSpeakerSpeakerSpeakerSpeakerAnd you know what? I might next week meeting myself just because I don't want to affect your audio. You know what, and see Brian right now and we're going to get them on. And then we're going to find out what time he's coming on. It might've been Spain. We were playing a lot of spades at that time. I don't remember a card game named Queens, but it's very possible.You can remember a little details like that, that I don't, and the odds of being stoned was really high. So, but I do remember going to the bar. That's not true. And I can't remember. Brian might have Brian. Oh,Brian Stevens put the bottom of it against the top of that. There you go. It's on speaker. Is it on speaker? Put the bottom of your phone, the edge. Please leave your message for 4 1 5 3 6 8 8 3 5 2. No, I bought her a car. So she's leaving. Well, no, that's not true. She, I let her use my car and then some things happen.She had a friend of hers died and then she went kind of weird and I had to go back and get my car. That's all. Hmm. Hmm.All right, let's go. Ready? Yeah, we ready? Yup. You ready? I've been New York. Made it 20, 22. I got it with the hard luck podcast. No, this is worse with the hard luck show. Come check us out Monday, Wednesday, Friday, bitch, bitch.good morning as rom the hard luck show your host, lucky to beat you out. That's right. Certified west SAC. She can cross from me.bone American, Indian, Southern California, and elegant barbarian. Also known as the come on. Come on,come on, come on,come on,come on.blue eyes. Yeah. So your hero, Sean Lewis certified audio professional, uh, engineerand I can't believe it either.ordinary thing walking onextraordinary show runner, right back up bird on old man, Mr. Brianfella, me to reintroduce myself.yeah. It's Ali on the visuals. You already know. Yeah. You know what time it is? Come on over here now, Robert wafer get on over here. So the one in my pocket, come here and get it. Strawberry away. Huck's pocket. All right. That's not true now. Oh, Brian said I'm driving. I'll call you soon. Oh, okay. That's not true.I'll wait to get that guy back on here, man. Oh, he's coming on. What do we got? Whoa, I know you'd be more excited this morning. The morning. Oh, wait in the morning. But I know that Sean would be more excited about this show. Had his Niners on the deed last week. Hey man, this is in a beat. Listen guys, wait a minute.Stop. Maybe Sean say by the bell. What's up brother. Where are you? Bottom of the dude. I have your number locked in that yet. So I didn't know. It was fucking texting you, calling you like, who is this man? How has that supposed to make me feelcoming to LA? I'm trying to carry your ass and all of a sudden, you don't know me. Yeah. Brian, what's up, man. You, what are you doing? And how are you? How's your foot. I was my foot. How's the foot. And how are you feeling? I'm on fucking, you know, doing what I'm doing, trying to survive. What do you know? I got you Mohan.Sean. We're all here. What, what are you actually doing though? Bronx? Like, oh, he got jokes. Hey, I just saw your car. Get. Uh, Hey, it's nice. It's nice to hear from you guys. How you guys doing? Ah, Brian Stevens. Where are you at? Where are you? Where are you? I'm in Utah. And you don't want me to fucking Lando LDS.Oh, so are you joining the Mormon church? Is that true? Absolutely not. Or you're not trying to get like three wives. No, I be I'm cool. I'm cool. Just want to do it. I'm not even sure I could handle. All right. And, uh, do you still have your car? Did you get a new car? No, I should get the same one. The blue one.And is your, is your probation officer? Cool. Would you still,oh, when you were supposed to call me when you discharged July 6th? Well, you knew I was off. Schwartz is going to try six. Schwartz is going to take, Hey, Schwartz is going to take you to crazy girls, crazy girls, bro. You want see some shit. Relap dance. They're talking about getting you some lap dances. When you come back to LA, are you down with that?I'm ready. Let's go. I'm ready to come back to LA. I start a new job on Monday on the four cheat. So are you working zone the cars? Are you still doing the salesman? Never changed through dues, but you were working at, um, what was it? Your work? No, I worked at a, I'm working at a medical, uh, plane where they it's a shipping receiving warehouse.Wait, where were you just working at? I was doing the delivery for who? Oh, Domino's I still do the other side. Oh, that's Domino's too. Most of the time you were doing a little bit, you were working for Amazon, right? I mean, what do I got to remember your life or what man? You were just working in Amazon the last time I talked to you.So you're now not working at Amazon and now you're working at Domino's toOkay. It lifts. Yes or no lifts still going. And the new place is shipping and receiving for a medical. Yeah. For a medical place. They make, uh, it's a, it's a plastic. And when they make plastic molds for you bags, they make plastic molds for dildos, for dildos. They do that on the side, the left side of the right side, right in the middle.Right in the middle. What are you guys doing? You guys doing right now? You just finished? Nah, we're just hanging out. Sitting here. We got fucking two female strippers sitting here from silver rain from silver rain, Angela and Renee. Hello, Angela and Renee. So we call because we cause a. They're like, yeah, there are no more nice guys.There are no more nice guys. And I'm like, yes, there are. And they're like, no, there's no guys that are gentlemen. And they all treat women like, shit, I go, I go, listen, we have a guy handsome, six foot, two with a big font lawn, older guy. Did he gain? He did a bunch of time in prison, but there's a sweetest guy.And they're like, oh my God, we, whoever I go, we're going to bring him on air. And he is the real deal. He's a gentleman. Absolutely give him my number. But we told them, we told them no games, no head chips, no gold diggers, all that stuff because we talk God, because that seems really does all that exists these days.I know. I know. Thank God I got married when I did ladies out there as well. Right. I mean, it's just been one bad experience after the other, with, for these women. For Brian for Brian, Dan, dude. I mean the fuck's wrong with you and then, and then, and then like they take advantage of you.already the problem with the last one. She didn't even explain anything. Just left you hanging. Yeah. Yeah. Well, we, you know, we still talk we're good friends. Oh, you do right. But the one that left you hanging you're good friends with what's she going to be hanging? I was like, we were getting married or anything.The one that you said, I don't even know what happened. She just stopped talking to me. She got cold feet and backed out. So yeah, we still talk and we've been friends for five years ago. Oh, oh, oh, okay. Yeah. I've known him for a long time, right? This is a no fly by night thing. Listen, Brian, just jump into you.Don't just jump into. You just because you're all in, you're all hard, but, uh, but, uh, but the gold diggers on the fucking on Instagram, bro, how are they all calling and getting ahold of you and asking you to deposit money in their account? Why are you like always, but why? What are you, but what is that? How you.Why you looking at the wrong profiles? They call me. I always put touch your never give your number. Okay. We got it, right? No, because no, because they know that Brian Stevens is a gentlemen and they know that they can take advantage of, because his profile said something like, um, um, um, uh, lonely and looking for love or something.Right, right. What was it that you had as the title? You had something like that. And they're like, look, if you guys only show was going to go on, rather I I'm. When are you coming? You have an open invitation, even drill down yesterday. Dude, you drying. We want you to on the show, we want you to come in LA. Uh, you can stay the night over at, at my sober living.You can spend the night, come on. Maybe I'll come next to me. I'll come toin the morning. Hey Brian, you can come in and you could sit through the shows with us and do. Come on man. Let's do it. Alright. Alright. Let's do it. We will go next Saturday. I'll be the I'll come down Friday night and hang out. Like he absolutely. I'm being serious, bro. I'm not fucking, oh, we're not playing either.You're going to come on. You're going to come Friday and spend the night and do the show Saturday and then go, Rachel, Sterling's going to be here. Yes. You had her run enough, bro. You can listen to all our episodes. Wow. Yeah. Well, she was, she was asking about you. Boom. She was asking about you. I'm not her type shit.Well, I don't think she's looking for, what is she is she w she be considered a gold Digger. I don't make your money. So it makes her own gold. She's looking for a guy to help her. She's looking for a guy to help her organize her money. Can you do that? I'm the guy, listen, she's looking for a guy. That'll just start, stop hurting.Oh my God. Is that just that's terrible. She, she guy, are you that guy, would you not, would you not hurt her? Would you treat her right? Well, of course I would. If I was to tell the class, you're not willing to ride, that was written by three sisters and a mother though. So that's why I get that, that side of me from.You know, what's up. All right. So there you go, ladies. See ladies, this is a candidate. These girls are blushing. They're blushing. So I'm going to fucking new. I don't think these ladies should come anywhere near Brian because they might not be good enough for bright. Yeah. Oh, serious. No, I mean, from a, uh, this girl here with the big tits.Oh, I'm sorry. Come on. See, she's taking my, but Hey, I don't want you taking my buddy for a ride. I don't want you taking my buddy for a ride. Brian he's been hurt enough. Brian, Brian, you need an equal partner, right? You don't need to be doing everything on a big deal. Of course not a deal breaker. What about this Asian girl with the, with the substance, right.You're looking for as foundation in real talk. We can build off that. Not add to somebody can build on exactly. You don't need an, you don't need a kid. You need a partner. Yeah. I got a woman, a woman, real one. Right. He doesn't need me to support her independent woman. Right. You guys are a team. How can you build an empire?If you don't have somebody who's willing to put as much time in it as you are for us. Right. That doesn't even have a foundation. That's right. You don't need a pit. You need a foundation. Right? Who needs the pits? Yeah.I haven't been to a strip club in forever. I mean, we've got a lap dances waiting for you over, out here. Oh yeah. Hey, that's why he's coming next. You come down here, you get a choice. You get a choice. It's either it's either a dance on the lapse or relapse. Okay. That sounds good. All right. Listen, can you handle strong nipples?Because these girls got big nipples, man. Okay. All right. Hey ladies, can you handle, uh, Mr. Steven sourdough? Because he's got a pretty big Johnson.I fucking tell me shit. I'm like, okay, that's great, bro. He goes, nah, check this out. He put videovideo. He's very proud of himself. You guys he's busting. I bet he got video. He carries in his back pocket. If you doubt him, you don't doubt Brian he'll bust the Ville, put the video. He's got a GoPro tied around it right now. Got it looked like they were fucking doing this fucking tooth extraction on me.He calls it. He kept trying to do a tooth extraction on her with a fucking hose, with a Firo. They call it, they call it the cam. I partner, well, listen, next week. I'll call you before this weekwas going to the embarrassment. He's rubbing himself while you talk. Knock that shit off. Knock that shit up. Don't go beating the brakes off. Nobody. All right. They put you in jail here for that shit. Right? All right, Brian, I've talked to you during the week. Any cuts next next week is on, right? Okay. All right.Bye guys. Hey, so listen, you know, speaking of, um, Brian Stevens, you know, when we had Ray, Rachel Sterling in here with Brian, right. And we had that massive blowout where he confessed to being a Trump supporter and all that other stuff. Do you remember that? The one where I have a little video? Yeah. Listen, there's a quote that you do in there because you do you get to a frustration point where you've tried to explain to your buddy a million different ways like RO you're attracting like a weird.And he doesn't hear it. Right. And he's fighting and fighting and fighting and filing. We have like Rachel Sterling there and we asked her like, to look at his profile and like, okay, can you get a sandwich picture? Look at these eggs. I read you really look at the toast. I mean, look at the toast and how it's crispy on one end, how it's burned right in the middle.Putting the rest of the bread is pickle. Like really think that in take a look and really look at the salt and pepper that looks like it's in a camper. Like something like mobile, some mobile fucking home somewhere. So then she gets ready to tell him. And for some reason you make this quote, listen to this, and maybe you can help explain like what your frustration for context, frustration level was here.Okay. And relax, because this is a fuck a woman that we're not telling her what to say. Tell him, listen to this, listen and relax, because it's a fucking woman that we're not telling you what to say. What do you think it was like a setup or some shit? Yeah, he was, he was kinda treating us like to hear her, take it in, man.This is all fucking woman. It's so need this right now. And then listen, here's another one from Steve that I love that I put up in here. And just in case, this is when I told Steve shortly, before I quit energy drinks. Right. And Steve was like, well, how many energy drinks do you drink? And I'm like, oh, I'm about five, six a day.And this is, and this is how you. No it is. You're like, dude, you went straight surfer. That's not straight shaggy. And I've said so many things to you. You've never been like, that's not really due until I told you, I drank that many energy drinks that like sets you off. Right. So we got a big game coming up next week.Oh, I'm sorry. I like your little segue. Hey buddy. Nodrop the hammer crowbar. No, but the best that you got about the fucking Superbowl, he didn't give me like a fucking fuck up super bowl title. Seriously. Like its eyebrows started to Twitch and I go shit. What about the man? Well, you entered into the whole thing going well, I think dad can be a little bit.Yeah, no. Yeah, no, I mean, it is, but it's sort of, Hey, now listen. What's the best of it is just coming right into the fucking little, the loss of 49ers. We'll just start in that way. He falls through the roof when he's like, Hey, we got a big game coming up, which it's like the super bowl. It's all aimed at shot.Hi Sean. Yeah. But then when he, but then when he looks at me, Schwartz does this thing where he gets a little nod. Like he goes, come on wine in the dark. Right.He was like, come on, motherfucker. Yeah. Hey man, you looked at me like, I, you know what, man, any, any bit of sports bro gets me and gives me a, a twinkle in my eye. And, uh, more than that, he had a twinkle, like you got the antidote, huh?You know what happens is you say stuff and then you run you Peter out. Like you go like what?You kind of spin on it. Yeah. So look, so look, it, we've been dancing around it and fucking around and all this other shit, but we got a bunch of fucking NFL fucking shit happened. Right? I mean, anything that could happen in a pretty much one single day, you got the retirement of Tom Brady, the lawsuit from the ex Miami head coach chorus class action.I read, I read the class action. I read it. Okay, cool. I want to hear what you think about that from a, obviously from a lawyer's point of view, right? And then in the super bowl, we got the bangles versus the ramps. And I think we should, and I think you're right Schwartz to start here, but I think we need to turn to, uh, old blue eyes.Right? Who was playing the they're not even supposed to be their game for a while. Oh yeah. It was total reverse psychology, fucking superstition. And you know what? I'll tell you one other thing. I watched that game, the highlights, right. And I'm like, man, the Niners really should have won that game. Blew it.They fucking, you blew it. Right. Sean, did you watch that game from the outside in? How do you, like, where are you at when you watch that game? Like where do you sit. Uh, I said, I stand, I've moved around. Okay. So first of all, I go into that game thinking, uh, you know, they had a great season, so no matter what happens, I'm cool.Right. But then the game starts and I'm like, oh fuck. The first step first I've done. I'm like, yeah, I know a big, you know, Hey, it's this warm up, warm up, whatever, you know, they're probably going to lose. It's all good. You know, whatever we have had a great season, but then when they get up, oh shit, oh, to the super bowl, I hate my hopes get up and they go to half-time and looking at all.How much more game. Right. And mind you like burn the clock, burn the clock, and you got to remember, they came out with a turnover early on in the game that set them up. And if you're anything like me, you start getting nervous. Cause you're like, that's the kind of like, shit that happens. That turns into a blowout and that these people are mentally ready to win this motherfucking game.And, and you also have the fact that this is, he already knows that the bangles are the appoint on that's true. The super bowl. So he's not just starting to dream that they're going to beat the Rams. What they're going to go to the super bowl and win this fucking cause they already beat the bangles.There's a chance. There's a real chance. Now he got a chance. How do you do this? This the, the half the half's gotta be fucking torture. Like what do you do? You go, you make some hot dogs. You know what I'm I'm uh, I constantly followed. I have like a special feed. That's just like all kind of like football related shit.Did you like that monkey with the shit implanted in its brain, bro? Yeah, only it's a little football chip. Yeah. He's got a football chip chip chip. Right, right. I got to tell you guys I'm like, I mean, not to get off the subject, but I'm already into the next season and you're following. And you sell it out, but I actually call blue eyes up because the Niners had fallen on some pretty hard times for a minute there.Right. And a Seahawks are now down in the dumps. Yeah. Right. Yeah. So I called up a blues and I'm like, how do you survive this man? Like, what do you do? And he gave me some pointers. That's been surviving it his whole fucking life. I know, but I asked him for the pointers. What do you do? Gorgeous was a long time.No, but dude, but think about this though, really? Because if you think about the Niners had been in the Superbowl, like this would have been the third time in the last, like five years, if they would've made it. Right. Which is fucking nuts, you think that they haven't been good? I think there's like a 15 year chunk in between them to say one Mike Singletary and like all those other years, chip Kelly and TA Chama Sula and all this other shit.But like, I mean the Harbaugh years were fucking fantastic. Yeah, but like, so what did you tell when I called you up? And I'm like, man, how do you get through a fucking loser season? Can't remember what I told you. Jesus Christ. You can't remember shit because of that chip in your head. He was like, bro, it's all about next season.What you do. Oh, you get excited about the draft. You start getting into all that, let that carry, carry your broken heart. Oh, the first and second year players that are going to be getting into that third year. That show me year when they're coming into their own. They got a lot, they got a few guys in the defensive backfield that, that have that.And so their defense, I mean, Niners are actually pretty well situated. Leave that they are. I believe that they're going to be one of the preeminent teams in the NFC. I think it all depends on if they're going to actually make a running compete for not only winning the division, but winning titles is going to be if Trey, Lance is the real deal because they're giving up on Jimmy G I mean, Jimmy G at his exit press conference.You know, he said, I, you know, I'm looking forward to getting traded to a team that, uh, that's all about winning right now. So I think which everybody kind of knew the writing was on the wall, that this was it. No matter how far he took it and they loved Jimmy G and all that, but they're moving away from him and they're going to give the keys to one guy yeah.To a kid. Now he's supposed to be great, but he's a kid, he's a kid, nonetheless. And when you make a bet like that on your franchise, in the NFL, getting it wrong can set you back years because if you have. All they have studs, bossa, Kittle, uh, Fred Warner, like gasoline defensive line, the defensive backfield.I got James who's really good. Um, uh, the running back, uh, I can't even think it was named Elijah Mitchell most or right. Debo. Right. He most are like all these guys, but if you get in a quarterback, that's not the real deal. You're going to have two or three years of waste, or let's say two years of wasted years for those other guys.Hold on a second. So listen, all of that is if you're working with management in an owner, that's trying to win, right. And so this kind of like quarterback, curve, ball, a pig, and a poke, all that bullshit. Right. Brian Boswell and all that shit. Right. That's if you're working with guys that are trying to be honest up at the front office, problem is right as the ex head coach of the Miami dolphins fucking said.His fucking owner was telling him to throw games and he'll give him an extra, a hundred thousand dollars per loss fucking, or that's so insane because it goes at the integrity manifests. I, yeah, cause I was peeping up on that. Say it again. So ex head coach who had back to back winning seasons for the dolphins African-American head coach.I think we need to know that right. For African American history month, for sure. You're right. Black, black fucking coach, his own, or told him every game you lose, I'll give you an extra a hundred grand. So if he lost 11 games straight, he'd be $1.1 million richer on top of what he's getting paid. Right. And this was the year before Joe burrow was slated to come out and be the number one pick, which he was for the bangles.Think about. Really think about that. Think about a head, uh, the owner throwing games. Now, now you might say, you might, you might do the calculus and say, well, the guy wants the top pick, God wants a top pick. You gotta do what you gotta do. But think about all of the guys on the team that are depending on the head coach to call the right place, to make the right moves, to win games so that they would have stats that their bonuses are tied to.And also the sacrificing of their bodies in their lives. I mean, this is not, this is not any normal job. W every fucking play can be their life, listen to this. And not only could every play be their last, but, but their paychecks, their worth in the league is partially tied to how these games go. And if they got a head coach, that's being told.Call the wrong players, do the wrong shit. Make sure you lose these games and I'll give you a hundred grand. Yeah. And maybe it would be for a pig. Maybe. I don't know exactly. I do the whole thing. I would. Here's what I'm thinking too, when you really, really think about it. Who else is just think about it in simply economic terms, money money-wise son.How many toes are those guys stepping on with their, a little conversation on all the other guys that are gambling? Oh right. Think about that. Think about what Vegas thinks of that. If they're not privy to that. Well, you're now stealing money from people. Much bigger than who you guys are. Right. You know what I'm saying?You're now fucking up action. You're these consequences. These have ripple effects of people much, or you're getting they're in on it, or you're guaranteeing action for some big people. And I, and I think that this, if it's actually true as alleged in the story, I think this story actually has a better chance of putting a dent in what we now know is the NFL than even the head injury and CTE shit, because this T bet gambling is such a huge part of the NFL fantasy football is such a huge part of the NFL.And this goes directly at the integrity of the game. Well, let's throw the icing on the cake here and, and the owner of the Miami dolphins that same year, 2019, ha what he sung $18 million. Into buying or, uh, investing in some sort of gambling right. Endeavor. Yep. So I'm not sure he knows something and sports bet, but yeah.And all right, so going maths, no, there's no way that you can tie those two together, man. It's it's too. You mean gambling and sports? No. Having like somebody in that position and messaging, that is a, what do they call it? Conflict of interest. Well, never before. Really? I mean, you could say that, but that's how, if this turns out to be true, I mean, that's, you're right.If you are owner or. Somehow connected to a professional franchise team. That's what happened to Eddie DeBartolo. You shouldn't be able to have ownership or be evolved or act, but it connected at the same time as anytime a bedding and anything. I mean, we all know that that would make sense. That's those constraints have been loosened the last couple years as, as bedding has become legal in a lot of states.Well, well, so now, so now let me put this in, in, in a, in a perspective, because you know, a long with this lawsuit when I was going through it, right, the owner of the dolphins had Brian Flores out on his yacht for a fucking lunch. Okay. We're talking about Florida. They came back from lunch and the owner said, by the way, I've got a prominent quarterback that's coming down that wants to meet.I wonder who that is. A prominent quarterback that remain nameless in the complaint. He was Bree had heavy. He went to Tampa. Yeah, it has to be Brady. There's the new England Patriot connection with Brian Flores. He was there for years. Um, no. And the dolphins were one of the teams that it was talked about that he may go through.And Brian Flores, because he's an honest dude did not want to meet with that guy. Yep. And that was when the owner turned around and said, you know, this Brian Flores is a real pain in the ass. He doesn't want to fucking play. And when you get that kind of repetition, it's kind of like Hollywood when you're an actor and you're like, Hey man, you ain't paying me.Right. This is all fucked up. You know what? You got this fucking guy with caps in a gun and he's one around firing it off. That's dangerous. And then you say some shit that's real like that. And they go, there's a problem. It's hard to work with. And that's a Telegraph to everybody that's on the inside.Yeah, he's not going to cheat the way we want him to cheat. And so you're out and in that also complaint, he was alleging because there's a rule in NFL where, because they've already acknowledged, they've already said the NFL is like, yeah, we don't have black quarterbacks. We don't have black coaches.Everybody's seen it as a problem for since time immemorial. Yep. There was a time when certain individuals were proud of that fact, because it's like, yeah, we still got our plantation. We're still doing our thing. So then they were like, all right, well, at least include some minorities in the interview process and the Rooney rule.Right. Rooney, Mickey Rooney. Did you ever see his hand? So the thing is, is so he goes for art Rooney rhino. So he goes, uh, so Brian Floris is texting with bill Bella. Right. And now these are supposed to be bonafide interviews. When you go on a head coaching, like you go there, it's the Rooney rule. Do you going to get in there?And you're going to get a fair shot. They're gonna look at the objective criteria. You ain't gonna fuck around. I ain't going to be any of bullshit. And bill a check, text him and say, Hey, I just heard from your, their guy, man. Right. Three days before Brian Forrest goes in for an interview three days before everyone that's doing the interviewing, that's telling them you got fair shot, buddy.Come on in. And these interviews are brutal. Like it ain't no like, you know, filling out some shit for seven 11 and hoping they don't call your fucking parole. Right. It's fucking like all day. How do you do? But so multiple people that kind of bullshit. And uh, then bill check hits him back on text and it's in bill check is named and bill a check, uh, as Texas is shown and it says, oh my bad.They picked someone else already. Sorry about that. The ability to catch some insight on, I think it was a New York giants. Yeah. Yeah. And it was because actually the guy who the giants hired was a coach on his staff and a coach that actually worked with Brian Flores years ago, a guy Brian , um, quarterback's coach for longtime quarterbacks coach for the page.So, so essentially what bill check's texts did was let Brian Flores know three days before that that selection had already been made. And that this Rooney rule interview was just a check the box for PC bullshit.And then, then Bella check in trouble too. No, I think, I think Bella check actually from what I'm looking at it and thinking about it, I think bill check is actually helping Brian flora. I think bill check is on the side of this should be real fucking things. And you can use my name and text to build up the case that all this shit that they're not following in.Good faith. The Rooney rule bill check is behind. I think helping Flores cause his, his tax is the proof that everyone in the fucking community knew that the decision was already made. Even though they're pretending like they're really going to interview you because they just won't be able to say they talk to a black coach before they hire them.And the giants are actually sorry to interrupt the giants, I believe are the only team in the NFL that has never had a prominent, like a coordinator or a head coach African-American they had an African-American GM for a bit, but they're notoriously known throughout the league, um, as not being inclusive in terms of that, you know, right.Having a. Equality amongst the ranks. And then what were you going to say, Sean? I was going to say he also had an interview with the Broncos. Right. And he met them. He went out, he went to Denver and met them. Right. And they all showed up. Everybody who was in the interview, I guess, hung over, including John LA, just over an hour late.Right. And they were like, uh, like they don't give a fuck as John Elway would probably do you, you, yeah. I hate John L a lot of people do. I hate his teeth and I hit his face. A lot of people do. I hate his teeth and his face, so that's what's going on. So, but it's a class action on behalf of right. All the other coaches right.Of color are getting shafted and mistreated and, and other coaches that are. Having losing seasons. And that's all very understandable. Then you have a coach with two back-to-back winning seasons, but he's black and he doesn't want to throw games now he's right. And I mean, dude, like this last year, the dolphins beat the Patriots twice.That's an AFC east. And the fact that he's beaten up on Bella check and giving him a hard time, if that coach was white, he's never getting fired. Dude. Never getting fired. That guy did it with a subpar roster, a subpar quarterback. And you know what? This guy, all, all reports about this guy is he's not looking for a payday.He's looking for real change. And so we're going to see he's willing to ruin his career to do it. Yeah. He's willing to say, fuck it. Somebody's got to step up and take the fucking head. Right. And I'm going to do it because this fucking bull. This ain't this ain't football, this ain't John Madden's football, right?That's about skill wit and heart. And all of this is a fucking, uh, uh, it's a, it's not a free market. It's a fixed market, a lie, but that was all about sacrifice to men. You sacrifice your body, you sacrifice for your brothers, you sacrifice, um, you know, fame, look at the guys who blocked for the running backs.You know, a lot of these guys, let me, let me, let me ask you this to take it there. What do you think is going to happen for this fucking Superbowl man? What what's going to happen, man? Where was this fucking thing? I mean, I got my opinions. I want to hear some LA LA Rams in the super bowl in LA. I went so far.Not that I really wish that you didn't bring that up. This may never happen again. Like this is good. Very well. Never happen again. Has that happened? It happened last year. The bucks. It's crazy that it's happened two years in a row, but last year, the super bowl was at Raymond James stadium, the bucks home field.They played in it and they won right now first year. So far, we get the super bowl and the fucking lambs. I mean, the Rams are in it, you know? W w is that your that's like your sorta like LA yeah, the lambs. I mean the rent. All right. But listen to me, the man. Right. But listen, the reason why I don't want you to, well, as you can set, it said in Las Vegas next year, Allegiant, and that means the Raiders.Sure, man, I'm sick and tired of these fucking I hate, I fucking hate that. All of the fucking. Stadiums or whatever the fuck they're called these days are all named after shit ass companies, Allegion, even stupid, dumb American coming. Allegiant. What about crypto.com arena? The new staple center. You know what?Let's go back to motherfucking Christmas day. They changed it. I mean, what does it mean anymore? What else is present your children? Next reason why I trip out about this is because I'm, um, I'm torn. I'm torn now. Listen, I love the fact that LA is in the Superbowl. Okay. Listen. I know people run around and I saw canal's fucking post he's down for the ransom Las LA.Do I get off? I'm not against it, but I'm torn because I also love the bangles and I don't even know why, but I love the motherfucking Cincinnati goddamn bangles and eight story, man, man, skyline chili, middle America, Dave Hickey, shuffle shuffle, and I'm sitting there and I'm like, what do I do? I can't, I can't not root for the LA Rams, but I also, can't not root for the fucking bangles.What are we asked Luxe? We know what he's doing. We know who he's riding. No, no, no, no, no. He's talked a big one about the young quarterback over sign. Oh man. I that WK RP. What do you leave that out on the fucking side, Joe is my favorite football player. He's. And I've been knowing him a long time ago, bro.And I give you props because you've been on him from the job. Yeah. I've loved Joe Burroughs. He's my favorite quarterback. I got to root for that guy and stick with that guy. Uh, when the Raiders were in it, I wasn't with the Raiders. Right, right. Isn't that right? Yes. I'm from Los Angeles. I guess. I love LA, but the LA Rams, my LA team, the Raiders were that's my team, I to with it, but I ain't giving up on Joe.So I got a role with Cincinnati on this. I'm sorry, you guys, I got a role with Joe burrows on this. I believe once they win one, then I'll back up off of it and I'll stay up off of that. But let my guy get one. I got a route with them support. Do you actually think they're going to win? Oh, all that bullshit.I said tell you this, man. I believe from the gate that George Joe bros is the type of quarterback that can lead a team to victory. I think he would have already, if he wasn't injured, I hear this already what happened? And I think he is going to win. And I absolutely feel like I believe it's in his destiny to do this short prediction.Where are we going? And who do you back? And don't be fucking trying to be Mr. Nice all the time. Come on. Um, I am going to probably not care who wins. No, no, no. I won't be disappointed if, and that's not often. No, no. You got to pick one or, or you have to fuck Ruby and hell. Okay. So let's go pick one, pick one.I will say that, uh, the Rams are going to win the super bowl by a score of 31 to. 20, wow. Or 34 to 20. And I'm going to tell you why, because if it gets a touchdown or less, I actually liked the bangles to pull it off. But if they can keep it at least a two score distance between themselves and the bangles, I think that they'll Del finish it off.Um, I think that Joe burrow will probably win a super bowl in his career. I think it's too early for them. Um, I, I like him. I think that they have too many holes on their defense that the Rams and Sean McVay will exploit. I want to say something to, and it's obvious with that answer. Right. But no, I do trust Schwartz and.About what there by, because these guys are, they're paying way more attention to football than I oh, well, okay. But I am a I'm. I am, you know, I, and you're on my side. I'm on your side. Okay. Now fucking, oh, blue eyes, one half of the hound of hell, the second half of the hound of hell to, I would love for the bangles to win, but the Rams are going to obliterate them.That whole line is going to get victimized victimized. I'm telling you, dude, it's going to be fucking, it was to not see the second half they were saying that wasn't going to happen. And not Joe burrow may not see the second half. He might not see the second quarter telling you, man, that line is going to fuck them up.The Niners have a way better line and they got fucking. They're in the line, got pushed around. They're the number one line and fucking defensive line in the, in the league. And then you're looking at the bangles probably have like, yeah, but did you see, this is 29 30, something like that, but did you see Burroughs running around?This is what gives me. 'cause man. He did a fucking fantastic job. I mean, there was Tufts, fantastic job. He was in the grasp and it was clear. He was sacked and he somehow got out. God, he's magical, man. He is fucking magical. Now that's the thing. That's the thing. He's mobile. If he can fucking buy a little time to figure out he could pull it off, dude.Cause he's accurate. He rolls out. He's filling some yard. Oh my God, leave a little open gap. He's going to run that. He's not afraid to run. I'm saying if the O-line can do just enough to give him five fucking seconds of, of a lead time, you know, with his feet, but can his receivers, does he have the receivers to show Nixon the receiver, but Jamar chase.I mean that, guy's the truth, man. Like T came with him. That's a kid who came from LSU. But, um, I mean, I think he's literally taken over 25 sacks just in the playoffs and he hasn't played anybody. Aaron, Donald is going to be on the other side, fucking staring at him that motherfucker, the problem is an Aaron Donald, cause they'll put they'll double team him or whatever it would, problem is the problem is everybody else double teams.Right. And there'll be fucking Miller. Oh my God. Well, how deeply is Kansas city's deal. Yeah, not that deep. I mean, they're okay. But they're, they're not everybody was saying that their defense was well, maybe people did, but they're fucking idiots because Chris Jones is like, great. And that's about it. But, um, ah, I mean, dude, you're talking about world, the differences between the Rams, defense and defense in, in whole, um, not just a defensive line.And I mean, man, I, I just ate very tough for an NFL quarterback in year two to win the super bowl. I loved it there. And literally if they beat the Rams, I'm not a Rams fan, so I'm not going to be disappointed. And did the Rams have to be in LA before you have to get behind the Rams? Because, because you're from LA, I want the LA team that I support as the charters.If anything, what are they? They play it so far. I haven't, I feel like for some reason I didn't even, I know that they exist, but it's a smart, it's the smartest move ever. They put that stadium and they're not only going to have Superbowls and see, you know, college title, games, concerts, but they have two NFL teams.So every week of the NFL season, they have a home game. All right. So check this out. So. Uh, so we've got it all, but I want to turn it to motivation real quick. Uh, Steve, you, I know it's a fucking big Lux fucking segue. Yeah. But we're going, we're talking about winning. We're talking about championships.We're talking about what it takes to get over on the top. And so we been putting together, right. We're working on putting together a motivational audio book five, the hard way. The five, no, the hard five, the hard five, five key concepts. Yes. So because of that, I want to get your, and where are you going?Schwartz. We all need to know. We don't need any notes. You don't need to be reading off where it's where improv. And right now don't worry about that. I'm not going to go too deep into it because there's a lot and kick your weird coal, black thinkers off that. Cut their fingers. Look crazy. Look like you got, they look it's crazy.They look like they got nothing but nicotine and Tarlow. And remind me of my auntie Gloria. All right, now look, I see. Okay. What is it? Is that what that is? My packing thumb, bro. Packing what? Jesus Christ. All right. Now look, I want to get your, since we're experts in motivation Schwartz, you're a disciplined, motivated dude.Yes we are. I want you to listen to this. This I think is maybe one of the best things and I'm going to stop it. And I'm going to ask for your reactions because I think this is good. It's good for our audience. You going to get 50%.you think you're gonna get 70%? You think you're gonna get 80? I watched y'all. I watched y'all. Y'all good, but you need to be great in this league. You're real good at what you do, but some of you don't finish. You look good in the first you look good in the second you look stuff, but the fourth with the last three minutes, I can tell, I can tell what the last three, listen to me.The real beast. The real beast is the last four minutes. The real beast. That's when they legs give out the real beats, when they tired, the real beef, find a way to pull something out when nobody else ain't got nothing. What do you think? What do you think, man? It's all about the fourth quarter, bro. Oh, it's all about the fourth quarter.We, I, I did some, I talked about it one day. I talked about it, talking about this guy that gave a speech that COVID. A football team that was never supposed to win their championship. And it was like they had trained and worked all four, the fourth quarter, their whole mindset, all was all about the fourth quarter.And that's how they got, and they won and they beat this, you know, it was beat because they were done in the fourth and these guys were ready to go in the fourth. Like they were in the first and it's a, so there was like a story about it. And then the coach says in his thing, he goes life. I wasn't coaching them to win that I was coaching them for life so that they go through their life.It's all about like the fourth quarter minutes, how you it's, it's there, man. Everybody can do whatever, but it's when you know how you pull through, when everything is on the line, you know what I mean? What do you think is the fourth quarter of life? Hey guys, we need to do a spot about family. Sounds, family sound.Yeah. My family sounds. Yeah, man, they got a whole hookup hace one as it. It's good. Let me tell you, they can do an hour long podcast about your memories, your history, your family. No way. Yeah. Yes. Way family sounds team. They have not only do they assemble a guys that have extensive experience in recording podcasts and editing them, right?Like seal team six, but for podcasts, but they also will use your family's voices. And on top of it, they hook you up with an initial interview and they find the right producer to work with you and your family. Like you said, they'll use your voice. Uh, Schwartz, how long does that initial interview take 30 minutes, right?To learn more about family sense, please visit www family-sounds.com backslash lucky 17. That's our unique code. That's our unique code. That's our unique code there you got is our unique code. Family sounds your memories in a podcast. Marion watch Mary Bean, Jennifer Lopez, Owen Wilson Maluma marry me directed by in theaters and streaming all the old peacock.Sign them now. Visit peacock tv.com. I think that would go through like many fourth quarters of life throughout life. Like, and it's finishing on some things, but the fourth quarter I look at is like the, maybe the, the final chapters you might refer to. Which for me, I feel like I'm in the fourth quarter of my life.So right now this, this, this speech, this, when it legs give out, when there's nothing left, when you're getting tired, when you feel like you got nothing left, when, when it seems like you're in that mode right now, when the muscles and the shiny smile and start going away and some of them and the gray hair and the thing, and what's going to carry you through is whatever you invested in the first three quarters.And if you invested nothing, then that fourth quarter, ain't going to look good and you're going to lose Schwartz. What quarter of life are you in right now? I'd say I'm probably in the second or late second or third. What do you hear when you hear this man? Eric Thomas, man, it makes me want to fucking, it reminds me of.Being that was always kind of sports, what that meant to me. And that's kinda how I, I was all the time. And so I hear that shit. I fucked my leg. Start to Twitch. You got twitchy legs, Sean, what are you hearing? What court are you in? I'm not a C I don't that it doesn't ring true for me. Like the, my lifetime.Right? What to me fourth quarter means when you're lonely, when you're broke, when you're depressed, when you're sad, like all these types of things, when you're feeling like shit and you don't want to get out of bed, or you don't want to fucking get on the phone and talk to anybody, you just want to be by yourself.Cause you're feeling the fucking depressed or in your shit. That's when it matters. That's what, when he says that that's what fourth quarter means to me. I'm from the trade I've watched period Sanders do it. I watched Barry no yards in the first quarter. No yard. The lines were sorry. Offensive line was.There was killing Berry, some kind of weight on the fourth quarter. When the big boys, when the linebackers got little tired, fourth quarter, four minutes left when they was giving out Barry boom, 80 yards touchdown. I'm like Barry, why you ain't got no dance? I know I'm old. Go back and watch Barry. He never was dead.I said, Barry, why are you in dad's? Cause he said, I know him. I'm a no I'm no I'm going to get to the end zone. It's going to be a regular thing. I'm going to get to peace mode. Write that down, write that down. Beast mode, write that down. Write that down. Beast mode. You know who he's talking to right now?He's talking to San Francisco, he's talking to San Francisco, San Francisco hired this guy to come in. I know. And I get it. And I think that's a wonderful, but I'm the only one getting fucking funnies from the fucking irony. What's the irony because the NFC title game, they fucked off the fourth quarter.No. He's telling him, you got to listen to this. He was brought in to motivate these motherfuckers. And when Sean was saying, they went a little further than I think they're supposed to go, he's there telling them, but you're right. And he was being honest. This guy was paid. He gets 70 grand, 80 grand to come in and do this shit.Right. And he was telling him, I watched you all and you're gray. You're good. But I seen you in the fourth quarter and you start to fucking give out. And just as you pointed out short, it is ironic that the game they lost, they should've won. And that goes right to the fucking heart of the mat. And I, but Sean, I'm not trying to talk shit about them.I really, no, no, no, but I'm serious. I don't want you to think I'm saying that. Not only did they, and that happens, firstly, in playoffs, man, people give up leads that that's what happens, but there was a specific play that like literally there couldn't have been an easier place for the right listen, this is why it's they say winners win, losers, lose.They also say winners win and losers make excuses. So now listen to what I'm saying to you. What he's trying to do is break through a loser mentality for a pretty decent team. He's trying to break through a loser mentality. Steve, you ever had an experience of having team members that fucking have a loser mentality and no matter how much shit they talk in the first quarter, whatever you're dealing with at the very end, they don't show up.They show up empty and they fucking take the whole thing. Fucking lazy fraud, fake that's right. And a lazy fraud fake. And so I'm saying I'm watching this dude. I listen to this every morning. Right now, first thing I do, when I get up lazy fat fraud, fake desk losers lose, they lose because they got a mindset of losing.They want to lose. They say they don't want to lose, but they don't want to put in the work. Every single day. All right. On three, every single day, 1, 2, 3. Come on. Y'all you hear that? That San Francisco, every single day, I flew, I flew five hours to get here and give me some energy. That was, I just told you I was in Dubai.That was a 13 hour flight. I was just in Chicago and then I had to go to Milwaukee. Then I went back, drove three hours to get to the airport in Detroit. Come on, give me something once two, three, come on 1, 2, 3, 1, 2, 3. And if you not willing to do what every single day, you're not going to beat the man.That's doing it every single day. I'm not the best. I'm not better than Tony Robbins, Zig Ziglar, Les brown. I'm not the best, but they have not outworked me. You hear? Yeah. When I work with me, are you listening to that? You're not going to beat the guy. That's doing it every single day. If you're not doing it every single day,Zach are you going to beat that guy? How are you going to beat that? If you're not doing it every single day, you have no business. You don't have to be the greatest. You just have to work the hardestyou could send the toughest motherfucker. You want into that jujitsu studio. And you'd take some kid that fucking weighs 90 pounds, but fucking studies every day in that motherfucker. And he's going to print soul up that big guy has no business walking in there thinking he's going to walk there down.How many guys can you think of right now without saying names that aren't really doing it every single day and they're getting the results. They're getting the goddamn results that they're, ain't doing it every single day. How many guys do you know right now? Right now, Sean, how many guys, you know right now.They want the results of every single day, but they ain't go, come on, come on. I mean, everybody, I know everybody, I will know once, once the recognition or the muscles or whatever it is, the money, the money, the real, right. Some people walk into a room and they go, I ain't got no motherfucking respect. I should be being respected right now, because guess what?I'm here. So you should respect me. I'm entitled to it because X, Y, and Z, but they ain't doing it every day. They ain't setting the fucking bar high enough for themselves to be command. Any respect for men.They better than me. Nice big brother to me. I got a GED dark on it. It took me 12 years to get a four year degree. They better than me. I just get up every day at three and get you a video. I just get up everyday at 12 and give you another one. I just get up at five and give you another, I'm not the best.I'm a beast. I'm not the fastest. Like I won't tell you all the secret. Please don't share this away from you because I'm about to develop it and make it into like a shirt. You all see people be having the lions you ever seen people like with the shirts, with the lions, they tattoo a liar. You know, the lion is 30%.Do you know that the hunt, the hunting rate of a lion is 30%. So if a lion come after you, you've got to say you got almost a 70% chance, like make, getting up, getting away from a man, go watch it on TV. You got a chance to get away from a man. Go watch it. Like the live ride, jump on top. And then I'm out.Sometimes you'll see two lines on top and some kind where they still get out. Y'all know who the real king of the jungle is. Do you know, do you know who the king of the jungle is? What you guess what's the hippo, right, Steve? Um, what are you guessing? The elephant is. The African wild dog, they got an 83% chance when they come get your button, it's an 83% chance.They gonna kill you. A lion only got like 30, 33, but the reason why the lion is considered the king of the jungle is because of his main cause of the way he look. And he roars the hyena don't look like that, but I bet you, if you pay attention, you will see a lion's mouth in the high end. You'll see a lion head and the hyena mouth.Why? Because the hyena knows that he got that look, but he ain't necessarily up to be the king of the jungle. You got it. Okay. So let me tell you why the African wild dog number one, they can run like about 60, 70 miles per hour. That's not impressive. The cheetah can do that, but the cheetah can only do it for about a mile.Then boys can do it for about five, six miles. Imagine somebody chasing you at 60 miles per hour for five, you going to get tired. They run in packs and watch this. When y'all got to write this one down, they communicate like no other animal. Could they communicate to one another? If y'all want to be champions, you got to communicate to each other.Number one, I need my, my seniors, my bets, those who know that this ain't no game. This is life. You gotta be a leader. Y'all you gotta hold these boys accountable, man, for real man, you can't let these dudes come in. When they want to come in, eat whatever they want to eat. When they want to eat, do whatever they want to do when they want to do it.Why? Because your success is more, you worked out today. How many hours you work out? Three hours. He only three hours. Y'all y'all got to hold people accountable. Who you running with? Hold people accountable. What does that make you think about Steve? When you hear a guy talking about that, and he's saying the older dudes, they got to hold the younger dudes accountable.You can't just let them come in and do what they want to do. I agree, man. You look like you're thinking, bro Schwartz, what do you hear? It's funny. It's similar. What I've heard when they talk about like Navy seals, about how a lot of them aren't like necessarily the best at everything, but same thing like with the dogs totally translates to a sports team or a business or whatever.When you have communication, when you have effort, when you have all that it's um, and it's a big thing for a team. I think it's a great. Great lesson in great words. And see, I hear that, man. I hear that. And I, I get convicted. I get convicted, man. I'm a fucking, I get turned on fire inside. I burn inside a burn bro, a fucking burn.And I, and I, and I sit down and listen to that and I go, where am I at on that? Fucking, where am I at serious? I don't fucking play games with his shit. I asked myself, where am I at? You know, it's not a joke to me. It's not a game to me. It's not a fucking, this is why sometimes right? I go over the top, right?I think in my cell phone, I see this shit. I get so fucking crazy. And I think to myself, like, you know, my legal team, my podcast team, my family team, where am I at? Am I communicating? Am I showing up every day with a high energy, high effort. Right? Wow. I can think about what we're going to do with this motivation.I think about this audio book. I think about fucking knowledge. I think about all the shit I go through to be able to show up here with fucking things. It ain't something that come natural to me. It seems like it does because I put so much work in man. When I was in school, do you know that they used to shit on me for the, my writing is the shit on me.I hated English. I hated English at UC Berkeley. I hated English. I had to go to a substitute school for one semester because my writing was sub par. I was raised on the resume. And then I was raised at one and one of the worst high schools in America called five high school. If you're listening to this five high school, you're a shithole Podunk loser teachers' loser system.Really the name of the school, five high school fuck five high school. And I, I was at, I had to go to CSU Hayward for one quarter, work them to like writing essays and stuff like that. That's right. Yeah, that's right. And you know, there was an old lady, professor smelled like pee BP, and I wrote my fucking paper right when she was serious.And she was one of these, these fucking old ladies with the fucking chain on her goddamn. Okay. And she pulled me aside secretly and say, come into my office. I need to talk to you about your paper. And I thought I was going to get her in a war. That's a dumb, I am. Well, no, because it's one thing to know the subject and like, but you have to know how to set up an actual paper and an essay and stuff like that.Is that kinda what happened? Like you knew the shit, but she was like, you're fucking, what is your purpose in telling me that what, I'm not, I'm not, I'm not getting mad. I was asking, you know, why would you, why would you add that comment right here? Not, not, not for, not for a podcast reason. I'm asking like emotionally or inner, what was that comment?So, oh no, I, I I've had experience with that way back in the day. And, and it was, um, an issue for me too and writing papers. So that's why I was sharing that. That's why I said that. Cause it kinda felt like you were relieving the pressure on me a little bit. Well, you know, the subject you Mohan, you just don't know how to set it up yet.Right? Cause I said I was so dumb. I thought I was going to get. I thought she was pulling me aside to say, man, you rat like Billy, the kid shoots. And when I walked in there and she looked at me and she said, you think you're going to get into Berkeley? Right. Oh, you know, you think you're going to get into Berkeley right in like that.And she pointed out the stuff and it was embarrassing. Oh bro. My fucking spine curdled. I have fought tooth and nail every step of the way to become a better writer. And I'm still not that great, but I'm better now. I only bring that up to say that I put a lot of energy into all this. The thing that does come easy to me talking that comes easy to me, but the other shit don't.So I'm asking you Schwartz, when you hear all this. What is an area in your life that you feel like I can level up Jesus so many, but I I'm trying to level up recently on just taking care of my, my mental health. Um, so that's, that's an area right now that I'm trying to, I'm actively trying to work on. And in what way are you going to take care?Of what way have you not been taking care of your mental health? Well, I've been not setting boundaries with family members, um, and, or setting the boundaries, but not unfortunately, due to some, you know, a lot of dysfunction, there's a dance that I've gotten in with certain family members where, whether it's consciously or subconsciously.They know, regardless of me screaming to them, telling them that I can't do it, that when it comes down to it, I will do it. And no matter me saying, no, no, no, I can't do this anymore. It's bad for me. I can't, you know, and they'll know that I'll do it. And the other fucked up part is that I know that I'll do it.Right. It's part of you doing it saying you can't do it. Right. And it's, and it's really, really fucked up. And it's gone on for a lot of years and um, wait, stop. Why are you going to do it? Why am I going to do it? Yes. Because, um, because I, I deserve to have that and to care enough about myself to do that in the main, why are you going?Why when you say I can't do it, you and everybody guilt. So guilt comes from committing a crime. Or, uh, violating a rule. Right? So what crime or rule did you violate for you to have the guilt to make you do something you don't want to do? No, it's just, it's, it's like inherent in me to not, to, to not have to be there for family and stuff like that.Do you feel that you're the last house on the block to be there for people who are just going to use you use you up and let you die at cancer and they are going to be gone already and you ain't going to, you're going to be alone. So what is it that you've done that has led you to be in a situation where you're the last house on the block for people who ain't going to be there for you?I don't know. I haven't done anything to, I got a question just the right along those lines in. Um, the question might be, when was it that you forgot in this whole equation? That this was your life? Oh, like your life, right? I don't know. I don't know, man, to be honest with you, but I know they do a lot of living for others.I'm at oh 100%. I am, but I'm actually like really happy about some recent tough developments that have, you know, kind of, no, the question was, how old do you think you were when yo

In this episode of Causes or Cures, Dr. Eeks chats with Dave Hickey, president of Life Sciences at BD about their new AI-powered, smartphone-enabled, at-home test for COVID-19 called BD Veritor. We discuss the importance of testing, how accurate the test is, cost and accessibility, which are two current and concerning barriers for many people. You can visit BD's website here. To contact Dr. Eeks, do so through bloomingwellness.comOr follow her on Instagram here.Twitter here.Or Facebook here.Subcribe to her newsletter here!

We drill down on diagnostics – including COVID-19 testing – with Dave Hickey, newly promoted executive vice president and president of the life sciences segment of BD and Brooke Story, who took over his post as worldwide president of integrated diagnostic solutions. How did BD handle the crushing demand for at-home tests and where is diagnostics headed in the future. Paul Grand, CEO of Medtech Innovator, sits in with Chris Newmarker and Tom Salemi on this week's Newmarker's Newsmakers. He also delivers some important deadlines for medical device startups. This week's Newsmakers include Medtronic, Edwards Lifesciences, Distal Motion, Respironics and ZimVie. Find out more about Medtech Innovator at MedtechInnovator.org. Register for DeviceTalks at devicetalks.com. Use the discount code mentioned in this episode! Subscribe to this podcast on any major podcast channel.

The Interview:Dave Hickey was an inspirational character—a writer of essays and songs, an astute art and literary critic, a one-time gallerist and, certainly, an art-world provocateur.Hickey published his two most famous books in the 1990s, The Invisible Dragon—a call to reconsider beauty in art—and Air Guitar, a cult classic essay collection that exposed the more personal and venerable style of cultural criticism.Dave passed away at the age of 82, a few weeks after we recorded this interview with his biographer, Daniel Oppenheimer. Hickey's pariah status had by then waned, but he was the last of a certain school of rebel writers of the 1960s and 1970s who could still churn out consistently good work.Based in Austin, Texas, where Dave got his start as a gallerist—having opened A Clean, Well-Lighted Place in 1967—writer and now biographer Daniel Oppenheimer charts Hickey's life and times in Far From Respectable: Dave Hickey and His Art, a smart, compact biography published by the University of Texas Press.Drawing from first-person interviews with Hickey, his wife and friends, comrades and critics, Oppenheimer helps explain Why Dave Hickey Matters and why we should read him, particularly his essay collections Air Guitar and Pirates and Farmers.With Hickey's passing, this episode has become a tribute to the great Dave Hickey, as much as it was a good conversation with his biographer. He will be missed. But his writing will live on. The Reading: Artist and professor Joel Ross reads a part of “Dealing” from Dave Hickey's essay collection Air Guitar.Music by Brian Eno, Daniel Lanois & Roger Eno

A reading of (the also-titled), "Love and Mercy and Their Opposites," which originally appeared on Substack on Aug. 30Mentioned in this podcast:To the Bridge, A True Story of Motherhood and Murder, by Nancy RommelmannVideo of James Frey being grilled by Oprah about his made-up memoir of addictionVideo promo for Reservation Dogs, episode 5Far from Respectable: Dave Hickey and His Art"Love and Mercy in the Time of COVID," by James Oliphant 

Writer Daniel Oppenheimer joins me to discuss his new book on the legendary art critic Dave Hickey, "Far From Respectable." We explore Hickey's case for the continued vitality of beauty as a criterion for thinking about art and culture, his defense of controversial artist Robert Mapplethorpe and simultaneous critique of Mapplethorpe's other defenders, his aesthetic populism, his abandoned project "Pagan America," and the relevance of all of these to the current cultural panorama. We also explore Hickey's critique of institutions alongside the ironic fact that institutions sustained his best work – and what that might mean for current institutional outsiders in the Substack economy and elsewhere. Daniel's website: http://www.danieloppenheimer.com/ Far From Respectable: https://utpress.utexas.edu/books/oppenheimer-far-from-respectable

This week on Unorthodox, vegemite drama in Israel. Our first guest is Shira Haas, the Israeli actress best known for her starred role on the Netflix series Unorthodox and the Israeli hit Shtisel. She tells us about learning English by watching TV as a kid, how she responds to criticism of Unorthodox's portrayal of Orthodox Judaism, and her upcoming role as Israeli Prime Minister Golda Meir. Our next guest is Daniel Oppenheimer, brother of our host Mark, who returns to the show to tell us about his latest book, an appreciation of the critic Dave Hickey. Send us your stories for our upcoming special episodes. Were you or someone you know a Jewish scout? Do you have stories of apologies given or owed, for our annual Yom Kippur Apology episode? Leave us a voicemail (under a minute long) at (914) 570-4869, or record a voice memo on your phone and email it to unorthodox@tabletmag.com to be featured on the episode. Like the show? Rate us on iTunes! Subscribe to our weekly newsletter to get new episodes, photos, and more. Join our Facebook group, and follow Unorthodox on Twitter and Instagram. Get a behind-the-scenes look at our recording sessions on our YouTube channel! Get your Unorthodox T-shirts, mugs, and baby onesies at bit.ly/unorthoshirt. Want to book us for a live show? Email producer Josh Kross at jkross@tabletmag.com. Check out all of Tablet's podcasts at tabletmag.com/podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

"Sin City" has hundreds of hotels without a 13th floor and a Roulette wheel with numbers totaling 666 in every casino. What happens there supposedly stays there. Anything is possible, or so it seems once you step onto the Strip. In this episode I will talk about how the city gets us high when we visit, or when we just think about it. Plus some history, and my favorite don't-skip destinations for visitors on a budget.

Regarded as both a legend and a villain, the critic Dave Hickey has inspired generations of artists, art critics, musicians, and writers. His 1993 book The Invisible Dragon became a cult hit for its potent and provocative critique of the art establishment and its call to reconsider the role of beauty in art. His next book, 1997's Air Guitar, introduced a new kind of cultural criticism--simultaneously insightful, complicated, vulnerable, and down-to-earth--that propelled Hickey to fame as an iconoclastic thinker, loved and loathed in equal measure, whose influence extended beyond the art world. Far from Respectable is a focused, evocative exploration of Hickey's work, his impact on the field of art criticism, and the man himself, from his Huck Finn childhood to his drug-fueled periods as both a New York gallerist and Nashville songwriter to, finally, his anointment as a tenured professor and MacArthur Fellow. Drawing on in-person interviews with Hickey, his friends and family, and art world comrades and critics, Daniel Oppenheimer examines the controversial writer's distinctive takes on a broad range of subjects, including Norman Rockwell, Robert Mapplethorpe, academia, Las Vegas, basketball, country music, and considers how Hickey and his vision of an "ethical, cosmopolitan paganism" built around a generous definition of art is more urgently needed than ever before. _______________________________________________   Produced by Maddie Gobbo, Lance Morgan, & Michael Kowaleski Theme: "I Love All My Friends," an unreleased demo by Fragile Gang. Visit https://www.skylightbooks.com/event for future offerings from the Skylight Books Events team.

Gillian chats to Dave Hickey from Souths Pub and Stephen Cuneen from Treaty Brewery about the possible guidelines coming out on Tuesday around the reopening of pubs. See acast.com/privacy for privacy and opt-out information.

DAVE HICKEY / AIR GUITAR

Dave Hickey is the President of Integrated Diagnostic Solutions for Becton Dickinson (BD). He is also a member of the John Hopkin’s Health Advisory Board, and more recently, an advisor to the president’s COVID Task Force. In this episode, he and Marty Rosendale, CEO of the Tech Council, discussed BD’s response to early challenges to the supply chain, areas of innovation to expand the roles of their platforms during the public health emergency, and more.This episode was sponsored by the University of Maryland BioPark. The BioPark is Baltimore’s largest biotech cluster and is home to leading and early stage life sciences companies. It accelerates biotech commercialization and economic development in West Baltimore and throughout the region. Click here to learn more about the BioPark.Watch the full interview on our YouTube or visit us online to learn more about CapitalM ZoomCast Live – COVID Series.

We draw a line from our present moment back to Game 6 of the 1963 NBA Finals between the Boston Celtics and the Los Angeles Lakers—Bob Cousy's final game—and think about how much the game has changed from its inception to 1963. We reflect again on Dave Hickey's seminal basketball essay, "The Heresy of Zone Defense," as we consider the NBA's rules changes, spikes in popularity, and an improved broadcast product, while also looking back at the barnstorming teams of the 1920s and the leagues that came before the NBA, with teams that moved from city to city, and sometimes, like the leagues themselves, even folded before basketball caught on as a popular sport.We should give a shout out to some sources, which were helpful in contextualizing this game:Hickey, Dave. "The Heresy of Zone Defense." Air Guitar: Essays on Art and Democracy (1997): 156-157.Neal-Lunsford, Jeff. "Sport in the land of television: The use of sport in network prime-time schedules 1946-50." Journal of sport history 19, no. 1 (1992): 56-76.Sarmento, Mario R. "The NBA on Network Television: A Historical Analysis." PhD diss., State University System of Florida, 1998.Staffo, Donald F. "The Development of Professional Basketball in the United States, with an Emphasis on the History of the NBA to its 50th Anniversary Season in 1996-97." Physical Educator 55, no. 1 (1998): 9.

What is the role of the critic in the world of art? For some, including lots of critics, the figure exudes an aura of authority: her task is to tell us what this or that work of art means, why it matters, and what we are supposed to think and feel in its presence. Cast in in this mold, the critic is an arbiter, not just of taste, but also of sense and meaning. The American art critic Dave Hickey categorically rejects this interpretation, which he says gives off a mild stench of fascism. For Hickey, the critic plays a weak role, and it's this weakness that makes it essential. In his essay "Air Guitar," published in 1997, Hickey argues that criticism can never really penetrate the mystery of any artwork. Criticism is rather a way to capture the "enigmatic whoosh" of art as one instance of the more pervasive "whoosh" of ordinary experience. So, no act of criticism can ever exhaust an artwork. The critic interprets a singular experience of art into words so that others might be encouraged to have their own, equally singular experiences. In this episode, Phil and JF discuss what criticism has to do with art, life, politics, and ordinary experience. Header image: Caravaggio, The Calling of Saint Matthew (1599-1600) REFERENCES Dave Hickey, Air Guitar: Essays on Art and Democracy (https://www.amazon.com/Air-Guitar-Essays-Art-Democracy/dp/0963726455) Plato, Republic (https://www.iep.utm.edu/republic/) Oscar Wilde, "The Decay of Lying (https://www.sscnet.ucla.edu/comm/steen/cogweb/Abstracts/Wilde_1889.html)" Phil Ford, Dig: Sound and Music in Hip Culture (https://www.amazon.com/Dig-Sound-Music-Hip-Culture/dp/0199939918) Gilles Deleuze and Félix Guattari, Kafka: Toward a Minor Literature (https://www.amazon.com/Kafka-Toward-Literature-Theory-History/dp/0816615152) Deleuze and Félix Guattari, What is Philosophy? (https://www.amazon.com/What-Philosophy-Gilles-Deleuze/dp/0231079893) Dave Hickey, "Buying the World" (https://www.jstor.org/stable/20027807?seq=1#page_scan_tab_contents) Clinton e-mails exhibition (https://news.artnet.com/art-world/hillary-clinton-reads-emails-venice-art-show-1648867) at the Venice Biennale Oscar Wilde, [The Portrait of Dorian Gray](https://en.wikipedia.org/wiki/ThePictureofDorianGray)

On the show today I’m talking with writer, curator and critic Jarrett Earnest, whose 2018 book What it Means to Write About Art assembles his conversations with thirty of the most influential American art writers. Jarrett’s interviews with figures ranging from Rosalind Krauss to Dave Hickey, Roberta Smith to Kellie Jones, and Jerry Saltz to Hal Foster trace a path through art criticism from the 1960’s up to the present moment. His subjects remind us of the diversity of thought that has defined modern art criticism. It’s truly a rare thing to find a book that offers such a plethora of ideas about how we think about and relate to art.You can find more of Jarrett’s work at www.jarrettearnest.com and on Instagram @jarrettearnest

Everybody's favorite fill-in show returns! Tim Keck, Emily Duncan, and Erin Harland all join Colb in the studio to discuss sports, e-sports, and the role of art in society! Including: the Toronto Raptors' year, new college scholarships for e-sports athletes, and art critic Dave Hickey's dictum that there is no getting *in* to the art world; there is only getting *out* of somewhere else! Young Person's Radio airs every Sunday morning at 10 on Radio Free Brooklyn. Listen live at radiofreebrooklyn.com.

Phil and J.F. share stories of sleep paralysis and talk about Charles Fort's sympathy for the damned, Jeff Kripal's phenomenological approach to Fortean weirdness, Dave Hickey's notion of beauty as democracy, and Timothy Morton's hyperobjects.

Tim Bavington and Art Critic / Historian Dave Hickey Gallery Discussion About Tim’s paintings at David Richard Gallery Saturday, September 2, 2017  from 4:00 – 5:00 PM

Dave Hickey (cultural critic and Professor of English, University of Nevada, Las Vegas) speaks at Frieze London 2007

New York Times bestselling author Austin Kleon has been called one of the most interesting people on the Internet by The Atlantic Magazine, and he stopped by The Writer Files to chat with me about creativity and the writing life.   Rainmaker.FM is Brought to You By   Discover why more than 80,000 companies in 135 countries choose WP Engine for managed WordPress hosting. Start getting more from your site today! Austin is the author of three illustrated books — Steal Like An Artist, Newspaper Blackout, and Show Your Work! — guides I recommend to all writers seeking insights for tapping into your endless reserves of creativity and innovation. In addition to being featured on NPR s Morning Edition, PBS Newshour, and The Wall Street Journal, Mr. Kleon speaks about creativity in the digital age for organizations as varied as Pixar, Google, SXSW, TEDx, and The Economist. If you missed the first part of the interview, you can find that here: How Bestselling Author Austin Kleon Writes: Part One In the second part of this two-part file, Austin Kleon and I discuss: Is “Imagination” Overrated? A Simpler Definition of Creativity Why You Should Write for Just One Person How Minimizing Distractions Can Help Your Creativity Why Your Audience Is Your Most Valuable Asset Is Being Boring the Key to Productivity? The Importance of Being Great at Both Art and Life Why You Need to Pick Your Partners Carefully Listen to The Writer Files: Writing, Productivity, Creativity, and Neuroscience below ... Download MP3 Subscribe by RSS Subscribe in iTunes The Show Notes Here s How Austin Kleon Writes AustinKleon.com Here s How Daniel Pink Writes Here s How Elizabeth Gilbert (Bestselling Author of Eat, Pray, Love) Writes Air Guitar: Essays on Art & Democracy by Dave Hickey Austin’s Interviews at BookCon 2015 Austin Kleon on Instagram Austin Kleon on Twitter Kelton Reid on Twitter The Transcript How Bestselling Author Austin Kleon Writes, Part Two Voiceover: This is Rainmaker.FM, the digital marketing podcast network. It’s built on the Rainmaker Platform, which empowers you to build your own digital marketing and sales platform. Start your free 14-day trial at RainmakerPlatform.com. Kelton Reid: These are The Writer Files, a tour of the habits, habitats, and brains of working writers, from online content creators to fictionists, journalists, entrepreneurs, and beyond. I’m your host Kelton Reid: writer, podcaster, and mediaphile. Each week, we’ll find out how great writers keep the ink flowing, the cursor moving, and avoid writer’s block. New York Time’s bestselling author Austin Kleon has been called one of the most interesting people on the Internet by The Atlantic magazine, and he stopped by The Writer Files to chat with me about creativity and the writing life. Austin is the author of three illustrated books: Steal Like an Artist, Newspaper Blackout, and Show Your Work!. In addition to being featured on NPR’s Morning Edition, PBS NewsHour, and The Wall Street Journal, Mr. Kleon speaks about creativity in the digital age for organizations as varied as Pixar, Google, South by Southwest, TEDx, and The Economist. In the second part of this two-part file, Austin Kleon and I discuss a simpler definition of creativity, why you should write for just one person, how minimizing distractions can help your creativity, why your audience is your most valuable asset, the importance of being great at art and life, and why you need to pick your partners carefully. Is ‘Imagination’ Overrated? Austin Kleon: If I ever teach a class on imagination, I’m going to show House Hunters because imagination gets this very, “Oh, to have an imagination is this great skill and talent.” Look, imagination is something that Dave Hickey said. He said, “Imagination is just thinking of a door and seeing it in your head.” Imagination is simply the ability to make images in your head. When you watch House Hunters, these people come into these houses, and they’re like, “Oh God, I really hate the floors.” It’s like, “Oh, I don’t like that paint color,” and they literally can’t get past the fact that this hideous paint. They simply cannot think of what life in this house could be like. Like, “We could rip up the carpet. We could put floors in. We could paint over this paint.” But there are so many people that live their lives like that, too. They literally can’t make images in their head about what could be. People just don’t have imaginations. I was walking on the High Line in New York City a few weeks ago, and everyone thought the High Line was going to fail. A huge group of people was like, “This’ll never work.” It’s like, “A park up on this old abandoned railroad track? Who would ever go to this?” It’s just a complete lack of imagination in people’s minds. As a creative person, that’s what you’re offering people. You have to make the image. You have to make things that people can see. That’s true whether you’re writing a novel, you have to let people see the action, or whether you’re doing a client presentation. Until you put stuff in front of people, most people don’t have imaginations. That’s what you’re there for. Then people are like, “Well, how do you get an imagination?” I’m like, “Well, everyone has it. Hang out with a two year old for a while.” The one way I think is really easy is to start drawing. Drawing is all about making images. If you can learn to make images with a pencil, then you can start making them in your head. That’s my personal opinion. Kelton Reid: Well, if you do, do that class on imagination, I will definitely make an effort to come. Austin Kleon: I can just see the kid looking at the syllabus. “Week 3 – Watch 20 hours of House Hunters.” Kelton Reid: So, Austin, let’s talk about creativity. I know creativity is a giant theme, and it’s a theme you are very familiar with. You talk about it a lot. Why don’t I ask you to define creativity in your own words. A Simpler Definition of Creativity Austin Kleon: I have a really dumb, basic version, a definition for creativity, which is just taking what’s in front of you and everybody else and turning it into something new, that’s not around, inventing something out of the materials that we all have available to us. My friend Mike, when he’s talking about creativity, he’s always like, “Have you ever seen Apollo 13?” He’s like, “There’s a scene in Apollo 13 where they have to make that air filter, and they’ve got pantyhose, a pencil, and some wire” — you know, whatever they have. He’s like, “That’s creativity right there.” Taking what’s around and forming it into something people need or they’ve never seen before, that kind of thing. I just have this very basic notion that’s making something that wasn’t there out of the materials available to you. Kelton Reid: Would you say that you have a creative muse at the moment yourself? Why You Should Write for Just One Person Austin Kleon: That’s a good question. A muse. I don’t know that I have a muse. More than a muse, I feel like I have an audience in mind when I’m making stuff. Everything I write, I always think about my wife reading it first. Stephen King talks about that, how he writes for Tabby, his wife, that she’s his first reader. He always has her in mind when he’s writing. For me, thinking about someone on the other end is kind of the muse for me because it feels like I’m making something for somebody. The pure idea of writing or art is that you do it for yourself, but for me, it gets a lot easier when you think about doing it for someone else — when your work is either a gift, or it’s a tool, or something that you’re making for somebody else. That’s a way of dodging your question. Instead of a muse, I feel like, a lot of times, having an audience or recipient, thinking about them on the other side and then making something for them, that’s what I need more. Kelton Reid: When do you feel the most creative? How Minimizing Distractions Can Help Your Creativity Austin Kleon: I think when I come in the garage. When I enter the bliss station, it’s like, “All right! Let’s make something.” I also feel airplane rides, man. People waste airplane rides. They’re reading SkyMall, or they’re watching whatever stupid in-flight movie they’ve got. That is when I produce, man. I open up my sketchbook and just keep my pen moving, the whole flight, as much as I can, until I can’t stand it anymore. Then I pull out a book and read. There’s something about being stuck, the captivity. There’s nothing else to do. I think about why was I originally brought to the arts in the first place. Why did I ever pull a pen across the piece of paper? So much of it was, when I was a kid, you’re just trying to pass time. You’re stuck in your crappy small town, and it’s like, “Well, let’s play some music.” Just that idea of trapping yourself somewhere and then having to entertain yourself, but not letting something else entertain you. That’s what everyone else does. They’re like, “Oh, I’ll flip through this SkyMall,” or “I’ll watch this movie.” That’s great, and there are places for that. But for me, if I can entertain myself, then I can actually make something. Kelton Reid: Yeah. I’ve heard that before. It’s like the creative constraint, or kind of the boredom. But you’ll be happy to know that SkyMall has been discontinued. Austin Kleon: The thing is, I love SkyMall, but these are all distractions. I’ve learned so much from Dan Pink, the writer and author Dan Pink. Talking about Show Your Work!, he has done this amazing series on travel. He travels so much. He had all these little tips and tricks that I recommend everyone look up. One of his things was, “Never turn the TV on in your hotel room.” He’s like, “Just don’t do it.” He’s like, “Read the book you brought or something else. Just don’t turn the TV on,” which is exact opposite thing that I do at the end of the day. But never do that. This is what the world does. The world wants to distract you. It wants you to be distracted. Think about the way our software is built. Our phones, by default, every program wants you to turn on notifications because they want to interrupt you. One of the first things you can do is turn off all your notifications on your phone. Better yet, just put it in airplane mode. You know what I mean? When you’re on a flight, it’s tricky. Even on an airplane, turning off that stupid TV in the back of the headrest, if you press the brightness button down far enough, it’ll turn off. Just stupid design things like that, they even keep you from turning stuff off. If you can minimize the distractions and go into your own head space, that’s when stuff happens. Kelton Reid: That brings me into our next question. I love Dan Pink and his work. He was on The Writer Files, the written series. Austin Kleon: Oh, cool. Kelton Reid: That was a good one. Austin Kleon: He’s awesome. He’s been super generous to me. I love his work. Kelton Reid: Yeah. I need to get him back in here. Actually, so was Elizabeth Gilbert on the written series, also. Austin Kleon: She seems great. I should read one of her books. Kelton Reid: Yeah. Her new novel got amazing across-the-board reviews. Austin Kleon: That’s great. Kelton Reid: So she’s back. Austin Kleon: She’s a real writer. She’s a worker. Kelton Reid: Yeah. Austin Kleon: My favorite thing that I’ve read of hers is there’s a great profile. If you type in ‘Tom Waits Elizabeth Gilbert,’ she did this wonderful profile of him in 2002 before she was famous. Kelton Reid: Yeah. She was just a prolific journalist. Really, really love her work. Austin Kleon: I never got to be a journalist. So many of my favorite writers started out as journalists. My father-in-law has written for The Plain Dealer for like 35 years. My uncle wrote for newspapers for like 20 years, too, and I feel like there’s a craft that comes from working on a deadline and having to churn stuff out that you just can’t really replace with anything else. Kelton Reid: What do you think makes a writer truly great? Why Your Audience Is Your Most Valuable Asset Austin Kleon: The right readers. I think it’s true of all the arts. It’s all about who’s on the other end. You can be the best writer or the best artist in the world, and if you don’t have the right readers or the right buyers or the right viewers, what does it do? Think about Melville dying penniless, and now everybody reads Moby Dick. So much of that is just context and circumstance, but I would say that part of the writer’s job is to find the right audience, too. That sounds hard, and it is. Readers, writers need readers. That’s why, if we’re in this culture where everyone wants to write but no one wants to read, that’s a dead culture. Know what I mean? There has to be readers. If you’re a writer and you’re not a reader, I know you’re not any good. There’s no possible way you’re a good writer if you’re not a good reader. That was always the big siren went off, like when you’d be in a writing workshop in college and someone says, “Oh, yeah. I really like to write, but I don’t really like to read.” You could write that person off immediately because they’re just no good. It just doesn’t work that way. Kelton Reid: I know we’ve mentioned a handful of amazing writers. Do you have a couple other favorite authors, at the moment that you want to mention? Austin Kleon: I just found the work of this art critic and writer named Dave Hickey. He wrote a book in ’97 called Air Guitar, which is a collection of essays. He’s written art criticism for like 40 years or whatever. He put out a book recently called Pirates and Farmers that I haven’t read yet. Hickey, if he’s not an octogenarian, he’s on his way. I love coming across writers who you’ve got their whole career there for you. The cool thing about Dave Hickey is he has a Facebook. It’s like if your grandpa was the most interesting guy who had hung out with Lester Bangs, Andy Warhol, and Lou Reed — just all these amazing artists — Robert Rauschenberg. Just all these people, and he’s on Facebook ranting. I feel like there’s just something so great about discovering someone when they’re older and they have this huge body of work, and you can dive in. Dave Hickey, his stuff, the Air Guitar is amazing. I just finished that. That’s definitely going to be on my top books of the year. I like to find writers and then just read everything they wrote, and then try to figure out who influenced them and read everything. Just kind of swim upstream. There’s a woman who, I’m probably going to butcher her name, Tove Jansson. She did the Moomins. The Moomins are this family of hippopotamus-looking creatures, and she did a comic strip that was hugely popular in her time, but is kind of less-known now. Then she did these seven books about the Moomin family, seven or eight books about the Moomin family. She grew up with kind of bohemian parents, so the Moomins are her cartoon version of her parents and her family. As a new dad, or still fairly new — I still have that new dad smell — I feel like I’m always looking for models of home life, and Moominpappa is my favorite cartoon character right now. He’s this reluctant dad, in a sense. He would really like to just be playing cards or off writing his memoirs or whatever, but he’s also this bohemian, and I don’t know. They all love each other, and they take care of each other. The Moomins are just this wonderful series. That’s just two examples. My favorites, I tend to, as a Midwesterner who writes and draws, I tend to be drawn to Midwesterners who wrote and drew. I love Charles Schulz and Peanuts. I love Kurt Vonnegut. A lot of people don’t know that he was also a visual artist and a drawer. I love Lynda Barry, who is still around, and she’s wonderful. Kelton Reid: You’re kind of the master of finding these great quotes. They’re just peppered throughout your work. That’s one of the reasons I just like to flip open Steal An Artist and Show Your Work!, but do you have a best of quote floating in your brain right now? Is Being Boring the Key to Productivity? Austin Kleon: The quote I live by is Flaubert. Gustave Flaubert. He said, “Be regular and orderly in your life so that you may be violent and original in your work.” What Flaubert is saying is that you have to be boring in a sense. If you’re having adventures all the time, you’re not going to have any time to work. I’m actually trying to write a talk solely based on that quote right now and that tension between, as a creative person, you feel like you should be out having adventures, but then you also have to sit in a room all day and make something happen — and how do you balance those two — that kind of thing. Kelton Reid: That’s great. I will look for that talk. Austin Kleon: We’ll see. Kelton Reid: Just a quick pause to mention that The Writer Files is brought to you by the Rainmaker Platform, a complete website solution for content marketers and online entrepreneurs. Find out more, and take a free 14-day test drive at Rainmaker.RM/Platform. You mentioned some literary characters. Do you want to drop a favorite literary character for fun? Austin Kleon: Right now, it’s Moominpappa from the Moomins. I love him. I also love Charlie Brown. Who else? What about my other favorite comic strips? I don’t know. I’m looking around. Yeah. Moominpappa or Charlie Brown. It’s so hard not to relate, you know? Kelton Reid: Yeah. If you could choose one author, living or dead, for an all-expense-paid dinner to your favorite restaurant in the world, who would it be? The Importance of Being Great at Both Art and Life Austin Kleon: I’ve had beers with Lynda Barry before, and I’d love to take her to a sushi place and just drink sake and let her go. I feel like I’m such a Lynda fanboy. I spent a couple hours with Lynda when I was 23 when I got lucky enough to go hang out with her after a talk, and I literally feel like I’ve run off the fumes of being around her for the past, God, that was almost 10 years ago now. She’s just an amazing person. I don’t know. Living or dead, maybe I should go hang out with da Vinci. I don’t know. The problem is, so many of these writers, you wouldn’t actually want to be around. A lot of these people, they weren’t great people. That’s hard, too, because the people whose work you really admire, they turn out to be these weirdos. Like George Saunders would be someone I would hang out. Not only is he a genius, certified, he’s also a mensch. It’s hard to find those people. Those are the people you really have to model. I think that more artists should model themselves on those people that are good at art and life. I wouldn’t want to hang out with Picasso. No thanks. Kelton Reid: Right. I think you’re a collector of lots of different relics. Do you have a big, a bigger, biggest writer’s fetish? Austin Kleon: I’m a simple tools guy almost to a fault. I like dumb, simple tools. I like fine-point sharpies. My friend Clive Thompson, who I mentioned earlier got me into these Palomino Blackwing pencils. I like to sharpen them, and I like to smell them. I love to use them for marginalia when I’m reading. What I’ll end up doing is I’ll just sit there and sniff the pencil while I’m reading, these Palamino pencils. I love those. I’m really particular about my notebooks. I have this certain kind of Moleskine pocket notebook that’s like this tiny little hardback version that will fit in a shirt pocket. I love Field Notes, but I never use them because I can’t fit that in a pocket. I can’t. I want to support Field Notes. I love Aaron and Jim who run that, but I’m so particular. You get used to your tools. Kelton Reid: Yes. Absolutely. Austin Kleon: You have to have a kind of ruthlessness with your tools. You can’t be too political with them. You got to go with what works. Kelton Reid: Absolutely. Absolutely. I use a pocket notebook that I’ve been carrying around for years that I can only find at Office Depot. They’re 99 cents each. They’re the hardback, but they’re woven together so that no matter how long you sit on it or how sweaty it gets, it never falls apart. Austin Kleon: That’s the thing about that hardback Moleskine that I use. They don’t deteriorate. You just have to be able to beat stuff up. Now that I make a little bit of dough and I can write stuff off my taxes, I just buy in bulk. Kelton Reid: Yeah. Okay, so who or what has been your greatest teacher? Austin Kleon: I think teachers are so tricky. All I was looking for when I was younger, without laying down on the couch, I was always looking for some Merlin-ish figure to knight me. I was always looking for this father figure to take me aside and say, “Oh, you’re in the club now, son,” and do his blessing and send me out into the world. You realize that that’s just a very immature way of going about your creative life is that people are teachers, but they’re not your fathers. They’re not replacements for anything like that. Anyway, I had a great professor in college named Steven Bauer who, again, I mentioned him before, and he said, “Apply ass to chair.” I took probably four or five writing workshops with him. He was a big believer in the notebook, keeping a daily notebook. He was a very firm believer in showing up and stuff like that. He really gave me that initial push to say, “Yeah, you could be a writer. You can do this.” Kelton Reid: On that note, can you offer some advice to fellow scribes on how to keep the ink flowing and the cursor moving? Why You Need to Pick Your Partners Carefully Austin Kleon: I’m going to say something that everyone kind of rolls their eyes when I say it, but I think it’s really true, which is marry well. Marry well. Pick your partners in crime very carefully. That’s true of your romantic partner. It’s true of your business partners. It’s true of your friends. Surround yourself with people who are going to make you better, but also people who will put up with you and will put up with this really bizarre thing that you’re trying to do with your life. I’m going to steal this from Ian Svenonius. If you’re a lawyer or a doctor, everyone’s going to applaud your decision. They’re going to be like, “Great, you’re a lawyer.” “You’re a doctor. Awesome!” You know, “You’re a nurse.” “You’re a teacher.” Whatever. But if you tell people you’re a writer, they’re going to be like, “Well, have you written anything I’ve read or might have seen?” Or, “Do you make any money off that?” Being in the arts and being a creative person, you’re not going to necessarily get validation from your everyday Joe on the street, so it’s very important to have someone in your life that believes in you and believes in the work. I got really lucky. I met my wife when I was 20. One of the first interactions we had is she came into my dorm room and said, “Hey, what are you doing?” I said, “Oh, I’m trying to work on this story.” And I proceeded to rant about the story I was writing for 10 minutes. It’s been like that ever since. But I think, marry well. Have people in your life that will sustain you and help you along. That’s a big part of the battle. Kelton Reid: That’s great advice. Where can writers connect with you out there, online or in real life? Austin Kleon: Yeah. Writers love Twitter. I love Twitter. @AustinKleon on Twitter, and then the easiest thing to do is just go to my website, AustinKleon.com. You can follow me from there on Instagram or whatever the latest fad is. My favorite thing to do right now is, I have a newsletter. Every week, I send out 10 things I think are worth sharing, and it’s free. It’s my favorite thing that I do. You can subscribe to that on my website. Kelton Reid: I didn’t know that, and I am subscribing as we speak. Austin Kleon: Yeah. It’s fun! Kelton Reid: Can you hear my typing? Austin Kleon: It’s fun. I love newsletters. I love technology. I’m very interested in dumb technology that stuck around. The other day, I ordered a pizza at this pizza trailer in Austin. I was like, “So, how long do you think it will be? Can I walk around a little bit?” And they said, “Oh, we’ll text you when the pizza’s ready.” I thought, “Now, this is a wonderful example of simple technology making my life so much better.” You know what I mean? Kelton Reid: Yeah. Austin Kleon: I think email’s one of those things. Everyone hates email, but everyone has it. I think the newsletter is a really fun way to play with sending people these little messages every week. It’s really fun for me. Kelton Reid: That’s great. It’s a good way to build an email list for future updates on books. Austin Kleon: Oh yeah. You know, “I’ve got your email, so I can bug you when I have something to sell. But it will be mixed in with all the other neat things.” Kelton Reid: Thank you so much for stopping by The Writer Files. Again, really appreciate your time and energy. It’s contagious. I definitely want to get back to writing. Austin Kleon: I feel like I should, too. Thanks for having me on. This was really fun. Kelton Reid: Yeah. Oh, and I loved your appearance on PBS’s Book View Now from BookCon 2015. That was pretty cool. Austin Kleon: Oh, thanks. Yeah, I had fun interviewing. I really love to interview. I’d really love to find a way to … I just really love talking to people and hearing about their work. Kelton Reid: Yeah. Austin Kleon: I also really love show business. That’s one thing, I think, that’s hard for writers. The writing is hard for me. Going out and sharing the writing and selling the writing is not. That’s another thing I would recommend to young writers is to understand that there’s not as big a difference between education and entertainment as you think there is. No matter what you’re doing, in a sense, you’re entertaining people, so get into that showbiz mode and own it. Kelton Reid: That’s cool. Well, I hope they tap you for your own show some day. Austin Kleon: I have to admit, there is a part of me that would love to have a TV show. Kelton Reid: Well, I would watch. Austin Kleon: I would have one viewer, then, at least. Kelton Reid: I hope that someday in the future, you can come back and rap with me again. Austin Kleon: I would love that. Kelton Reid: All right, my friend. Have a great one. Austin Kleon: You too. Kelton Reid: I love Austin’s not-so-secret formula. Do good work, and share it with people. Thanks for tuning in to the second half of this two-part file. For more episodes of The Writer Files and all the show notes, or to leave us a comment or a question, drop by WriterFiles.FM, and please subscribe to the show in iTunes. Leave us a rating, or a review, and help other writers to find us. You can always chat with me on Twitter @KeltonReid. Cheers. See you out there.

The NFL draft draws nigh, your host Paladino Joey is joined for a second straight show by Sebastian Bahls for an extended conversation on where the Vikings can and should go this coming May. Lots of people say that there isn’t a star QB in this draft, but Joey has identified who he believes IS a potential star in the making, also we’ll find out who Sebastian likes! We take a call from Dave Hickey, and as always get to your comments on Facebook and Twitter! www.facebook.com/purplemafiashow Follow us on Twitter: @purplemafiashow Call into our Phone Lines at:209-736-7877

FTB podcast #165 the new album MARTY STUART & HIS FABULOUS SUPERLATIVES  called Nashville 1: Tear the Woodpile Down.  Also new music from GRANT PEEPLES, RANI ARBO & DAISY MAYHEM and a track form Mercyland.  Here's the iTunes link to subscribe to the FTB podcasts.  Here's the direct link to listen now!  Here is the RSS feed: http://ftbpodcasts.libsyn.com/rss. Freight Train Boogie podcasts also air weekly on RootHog Radio on Thursday nights at 7:00 pm CST and again Friday mornings at 10:00 am CST and on Rob Ellen's Medicine Show. And you can purchase the Freight Train Boogie Americana App for Android  from Amazon for only $1.99. Show #165 MARTY STUART - Tear the Woodpile Down (Nashville 1: Tear the Woodpile Down) TURNPIKE TROUBADOURS - Before The Devil Knows We're Dead  (Goodbye Normal Street) THE REFUGEES – Chain Stores, Malls and Restaurants (Three) MAYNARD AND THE MUSTIES - Cheap Cigar  (Cheap Cigar) (mic break) GRANT PEEPLES -  Patriot Act (for Dave Hickey)  (Prior Convictions) RANI ARBO & DAISY MAYHEM - Miami Moon   (Some Bright Morning) THE JAMES LOW WESTERN FRONT - Thinking California  (Whiskey Farmer) WOODY PINES - Ham & Eggs  (You Gotta Roll) MARTY STUART  - Sundown in Nashville (Nashville 1: Tear the Woodpile Down) (mic break) THE McEUEN SESSIONS - For All The Good  It Did  (For All The Good) BRONWYNNE BRENT - Thankfully (Deep Black Water) COUNTRYCIDE  - She Kills Me  (The Rise and The Fal) JEAN SYNODINOS - The Perfect Crime (Girls, Good & Otherwise) PHIL MADEIRA featuring THE CIVIL WARS - From This Valley  (Mercyland - Hymns For The Rest Of Us) (mic break) MARTY STUART - A Matter of Time  (Nashville 1: Tear the Woodpile Down) (May 19th, 2012) Bill Frater Freight Train Boogie

A dialogue between artist Ed Ruscha and critic Dave Hickey at Tamarind Institute’s Fabulous at 50 Symposium and Birthday Bash.