Soft, thick, hairy coat of a mammal
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A classic that somehow remains a secret, and a listener leads us to a great musical discovery. The Ghost In You originally by The Psychedelic Furs, covered by Robyn Hitchcock. Outro music is Love My Way, also by the Furs.
Andreas and Amanda are joined by Magnus Seter for this liveshow at Gothcon 2026! In cooperation with Poddrummet. The scenario is Furs of Blood, written by Gunilla Jonsson & Michael Petersén for the Windheim Companion. We're an actual play podcast where professional actors play the best of Swedish RPGs published in Swedish! This episode we play Forbidden Lands by Free League Publishing. Starring: Amanda Stenback, and Magnus Seter. Game Maste: Andreas Lundström Music by: Andreas Lundström
Andreas and Amanda are joined by Magnus Seter for this liveshow at Gothcon 2026! In cooperation with Poddrummet. The scenario is Furs of Blood, written by Gunilla Jonsson & Michael Petersén for the Windheim Companion. We're an actual play podcast where professional actors play the best of Swedish RPGs published in Swedish! This episode we play Forbidden Lands by Free League Publishing. Starring: Amanda Stenback, and Magnus Seter. Game Maste: Andreas Lundström Music by: Andreas Lundström
Sweet, sweet revenge. A subgenre best served cold, with a side of yanked intestines. It is a foundational tool for horror, both from the protagonist and antagonist perspectives. Anger, jealousy, and embarrassment create grudges that stick, and payback, she is a comin’. Listen in to our recommendations for your revenge fantasy satisfaction. In horror movies, sometimes you want to keep it simple. If your plot needs motivation… this is an easy check to cash. There are several sub-tropes here. Psychology Today lists several variants of revenge. As you might expect, revenge and justice are not simple concepts. There are different motivations and complex sources for the desire for payback. We tried to marry up the psychological categories to how they get executed in horror films: Simple or direct Revenge: An eye for an eye. You killed or disfigured me, now I'm back, bitches! MUAAAAHHAHAHAHA! (Slash, slash, slash… screaming ensues) This is the staple of the franchise serial-killer movies. Candyman, Friday the 13th, A Nightmare on Elm Street, The Burning, Slaughter High, Hatchet, Ghost Story, I Know What You Did Last Summer This also applies to revenge for the loss of a loved one. NOOOOOOO! You killed my father! Now you're gonna pay! I Saw the Devil, Mandy, Redux Redux, Orca, and Sayara Constructive or transformative Revenge: Channeling pain into self-improvement and escaping the victim role. The Rape Revenge Subtrope lands here, with all of its trigger-ridden justice. Misogeny or empowerment? You make the call. Good examples: Revenge, I Spit on Your Grave, They Call Her One Eye, Last House on the Left, Teeth, Ms. 45, American Mary, Hard Candy Honor revenge: Retaliation that is intended to restore reputation or face. Restore reputation. Bullying payback often lands in this category. Who's on top now motherfucker!? Plenty of good examples here include Carrie, Piggy, Let the Right One In, and Sissy A subset of honor revenge would be the response to betrayal. You backstabbed me. Honor revenge is a classic trope in Westerns and Mob Movies. When used by a protagonist, it can be the central motivation. Examples: Upgrade Usually used as a plot device rather than the central theme in horror movies. What goes around, comes around. Et tu, Burke? Burke in Aliens, Ash in Alien, Rose Armitage in Get Out, Scud in Blade, Billy Loomis…All the Scream Movies Poetic or Ironic Revenge: The proper comeuppance. Yep, you had it coming. Often, this is hubris getting the better of a monologuing evil doer. Protagonists usually don’t suffer in this manner. Poetic justice, after all. The poetry comes from the villain being undone by their own actions or plans. Good Examples: Captain Ross’s grisly demise in Day of the Dead; the explosive destruction of the La Domas family in Ready or Not; the Invisible Man gets killed by his own tech in The Invisible Man; Chef Slowick goes down with his restaurant in a fiery s’mores demise in The Menu. The Saw movies have built their premise on ironic revenge, with many of the traps Jigsaw creates symbolic of the victim’s perceived flaws. Se7en is closely tied to ironic revenge, specifically piecing together misguided justice in the grisly application of sin to sinners. Collective revenge: No! Back, you fools! Stay away from me, you heathens! AAAAAAA!!! This is where the community turns on another group, or in horror movies, usually an antagonist. The mob rules! The classic example of this variant is the 1932 Frankenstein, in which the locals, brandishing torches and pitchforks, trap and kill Frankenstein’s monster. It gave birth to the cliche. Burn him! A recent great example: Weapons, where the children turn on Aunt Gladys. Other examples include Children of the Corn, The People Under the Stairs, and The Island of Lost Souls. Fantasy revenge: This is usually the domain of comedies. Sometimes it occurs in horror when the victim of bullying or aggression dreams of turning on their abuser. A twist on this would be the mad dream visions in An American Werewolf in London. Perhaps A Nightmare on Elm Street 3: Dream Warriors. It has the dream/fantasy element, but it is more of a hero’s journey than pure revenge. Horror movies themselves, as an art form, specifically REVENGE-themed horror movies, are in themselves fantasy revenge outlets. John Wick, Death Wish, Unforgiven, and many, many action movies are testosterone-fueled male revenge fantasy flicks. The rape-revenge movies is the distaff variant of the same theme. Subtle passive-aggressive revenge: Not really part of the Horror methodology. You’re in the wrong revenge shop, buddy. Horror does it directly. With an axe. This is the Woody Allen form of revenge. The Sad Truth In many revenge horror movies, revenge is often a hollow victory. The wounds still exist. The trauma lingers. Your dead wife isn’t coming back. It is a short-term dopamine high, but in many cases, you still feel hollow inside. Sometimes, proper justice gets dispensed, and the world is a better place having dispatched a monster. And we can appreciate that. Horror movie fans get to go along for the ride. Revenge, though easy to embrace, is a complex emotional rollercoaster. So much pain… and a little relief. It can make for epic storytelling, and when dipatched with bloody violence, you can understand how it resides under the horror umbrella. PODCAST EPISODE 210: Here is a live feed for Revenge Horror: Episode 210. If you enjoy this episode, please go to your streaming platform of choice and subscribe. We promise that we won’t track you down with vengeance in mind if you don’t. (Or will we?) The Virgin Spring (1962) Redux Redux (2025) Blue Ruin (2013) Becky (2021) Revenge (2018) Upgrade (2018) Orca (1977) Promising Young Woman (2020) The Crow (1994) The Pit (1981) Venus in Furs (1969) Mandy (2019) Sayara (2025) I Saw the Devil (201) Candyman (1992) I Spit on Your Grave (1978) Last House on the Left (2010) Ms. 45 (1981) The Angry Black Girl and Her Monster (2023) They Call Her One Eye (1973) You’re Next (2011) Final Girl (2015) Carrie (1975) A Nightmare on Elm Street 2: Freddy’s Revenge (1985) Piggy (2022) Last House on the Left (1972) Ghost Story (1981) The Burning (1981) Frankenstein (1932) Let the Right One In (2008) Saw II (2005) The Island of Lost Souls (1932)
Welcome Deltrice! RIP Myspace, St. Patrick's ugly history, prayers for Lev and DJ Fresh's keen intuition. Growing up with a natural gift, the introduction of Bella, hometown respect and Vegas pt 2 with cat and fox.
This week on RHOP, I'm joined by Chy Omai to recap part 3 of the reunion. Enjoy!Follow me on social media, find links to merch, Patreon and more here! Hosted on Acast. See acast.com/privacy for more information.
Today, we're chatting with Margy McCarthy, a 29-year-old who did something most of us only dream about — she walked away from a corporate career to take over her grandmother's 57-year-old resale business, Elite Repeat. Grandma, Betty started Elite Repeat in 1969 in the Chicago suburbs as a consignment business. For over 50 years, she ran her shop with no website, no social media – just word of mouth, a gift for connection, and an eye for craftsmanship and quality in vintage pieces. All these years later, the regulars who came in with their moms are now coming in with their daughters. Our guest today, Margy, grew up with a front row seat to all of it — doing her homework on a vintage sofa in the consignment room, watching her grandmother and learning early that the real business wasn't the clothes. It was the relationships. On today's show, she'll share how she found her way back to Elite Repeat, as the pull of the business became impossible to ignore. In 2024, she sat down with her grandmother, who is now 92, and made it official. Since then, she's built Elite Repeat's first ever website, grown their audience on TikTok and Instagram, and attracted consignors flying in from the East Coast after finding Elite Repeat through her videos. Margy shares the story of how Betty built Elite Repeat from a single gown to a destination for St. John knits and vintage furs, and – speaking of – we'll get into the craft of vintage fur: how to choose it, how to care for it, and why Margy thinks the renewed interest comes with a real responsibility. And we talk about what it means to carry forward something your grandmother built, brick by brick, for nearly six decades. DISCUSSED IN THE EPISODE: [4:41] After leaving competitive diving, Margy found her interest in fashion rising. [5:06] Margy's early memories of being at Elite Repeat with her grandma. [6:47] How Betty started Elite Repeat in 1969, and grew the business entirely through word of mouth [10:48] How secondhand shopping has shifted over the decades [16:02] Taking the leap to leave her corporate job and take over Elite Repeat [17:24] What Betty taught Margy about running the business [19:22] The relationships at the heart of Elite Repeat [23:24] Expanding Elite Repeat's reach beyond the local community. [26:31] Facing the challenges of taking over — like building the website, learning photography, and navigating people and emotions. [29:10] St. John knits are one of the shop's specialties. [31:16] Elite Repeat has always specialized in vintage furs, and the responsibility behind recirculating vintage furs [34:46] How to pick out an investment vintage fur coat — what to look for [36:04] How to take care of a vintage fur coat. [41:43] Margy's personal style philosophy includes tailoring, and dressing with intention [44:37] Special pieces and memorable finds. EPISODE MENTIONS: Elite Repeat @eliterepeatresale on Instagram @shopeliterepeat on TikTok The Merchandise Mart York Furrier Rae Harrison LET'S CONNECT:
Original Air Date: March 30, 1942Host: Andrew RhynesShow: The Lone RangerPhone: (707) 98 OTRDW (6-8739) Stars:• Brace Beemer (Lone Ranger)• John Todd (Tonto) Writer:• Fran Striker Producer:• George W. Trendle Music:• Ben Bonnell For more great shows check out our site: https://www.otrwesterns.comExit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK
Original Air Date: March 30, 1942Host: Andrew RhynesShow: The Lone RangerPhone: (707) 98 OTRDW (6-8739) Stars:• Brace Beemer (Lone Ranger)• John Todd (Tonto) Writer:• Fran Striker Producer:• George W. Trendle Music:• Ben Bonnell For more great shows check out our site: https://www.otrwesterns.comExit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK
'AMA' es el comienzo de todo: la primera vocal, la primera consonante que aprendemos a pronunciar, es madre y es amor. Y es el reinicio de la carrera de Maria Arnal que publica hoy su primer disco en solitario. Es el resultado de tres años de creación y un proceso de investigación desarrollado junto al Barcelona Supercomputing Center y el Intelligent Instruments Lab de Reikiavik. La tecnología y la IA se ponen aquí al servicio de la voz y lo artesanal para despertar las emociones más puras. Hablamos con ella en el día de su estreno para descubrir este viaje hacia su nueva era.Además, Rayden presenta Chiquita Movida y se asoma a nuestro cuestionario cultural en FAQ! como aperitivo a la fiesta 2026 de Radio 3 Extra.Playlist:The Velvet Underground - Venus in FursCharli xcx, John Cale - HouseKate Bush - Wuthering HeightsEnya - Caribbean BlueCaroline Polachek - Ocean of TearsStereo Total - Musique AutomatiqueLa Femme - TatianaThe Limiñanas - Migas 2000piri & tommy - on & onJungle, Mood Talk - Don’t PlayYoung Franco, Franc Moody - DaydreamingFatboy Slim - Fucking in HeavenRadiohead - Everything In Its Right PlaceTei Shi, Blood Orange - Even If It HurtsTennis - Ladies Don’t Play GuitarKali Uchis - NO HAY LEYBad Bunny, The Marias - Otro AtardecerArctic Monkeys - Opening NightPulp - Begging for ChangeKim Gordon - NOT TODAYAnna Calvi, Iggy Pop - God’s Lonely ManYeah Yeah Yeahs - MapsCharlotte Day Wilson, Saya Gray - LeanArlo Parks - 2SIDEDJordan Rakei, Tom McFarland - Easy To LoveLoaded Honey - Don’t SpeakThundercat, Mac Miller - She Knows Too MuchCala Vento - LentoEl Diablo de Shanghai - On/OffCarlangas & Dear Joanne - ProblemasThe Cribs - Never The SameRostam - Campus (Original Version)Vampire Weekend - M79Robyn - Dopamine (Jamie xx Remix)dani dicostas - EstadiosNatalia Lacunza - Apego ferozMaria Arnal - TICTACMaria Jaume - Sant Domingo ForeverDanny L Harle - Island (da da da)Fred again.., Jamie T - Lights Burn DimmerTURNSTILE - DREAMINGMilitarie Gun - KickGenesis Owusu - STAMPEDERalphie Choo, rusowsky - GATAJoji - DYKILYYUNG PRADO, Tibi Dabo - Con Un Combiwet leg - mangetout (The Dare remix)Escuchar audio
Joe is rejoined by the one and only Shane Jesse Christmass to talk about the reissue of Yeezus in Furs, learning about yourself as a writer, how deranged america looks to non-americans, and more!Contact for Shane Jesse ChristmassLink TreeYeezus in FursContact for Joe bieleckiBsky and Instagram: @noisemakerjoeWebsiteOne time donationPatreonTiredArt photo by Arielle Tipa
Larry Morris recounts the 19th-century experience of the Arikaras, Crows, Cheyennes, and Arapahos by detailing their interactions with four legendary survivors of a fight with the Arikaras in 1823.
Shallow Brown, Chicken Genie, Surgeon Succession, Conjoined Not At Birth, The Bard Yard, FranKingQueen's Monster, Surgery in Furs, Pop Punk Album Title Author, New Guy Masterchef, Tattoo You (Are Nice)You can now purchase A Listener hats by emailing twointhethinktank@gmail.comCatch up on the 500th episode hereCheck out the sketch spreadsheet by Will Runt hereAnd visit the Think Tank Institute website:Check out our comics on instagram with Peader Thomas at Pants IllustratedOrder Gustav & Henri from Andy and Pete's very own online shopYou can support the pod by chipping in to our patreon here (thank you!)Join the other TITTT scholars on the TITTT discord server hereHey, why not listen to Al's meditation/comedy podcast ShusherAlasdair Tremblay-Birchall: @alasdairtb and instaAnd you can find us on the Facebook right here(Oh, and we love you) Hosted on Acast. See acast.com/privacy for more information.
Happy Tuesday! Titles mentioned: Tanith Lee "Night's Master" 1978Nan Shepherd "The Living Mountain" 2025Georgette Heyer "Veneita" 1958Leopold von Sacher-Masoch "Venus in Furs" 1870Neil Gaiman "The Sandman" Comic BookDon't forget to come and see me at LoveLitCon if you're in the area. You can find more information on their website lovelit.comSupport the showAmong the Thorns line edits are D-O-N-E DONE! Preorder here In case you missed it, Strange Familiar Audio Book is now available on Youtube ~ Listen for free here You can find the Owl Crate signed edition of Never the Roses here A very beautiful hardcover edition can be found here The audio book can be listened to here And Kindle Unlimited has Never the Roses digital version! Your friendly neighborhood author is doing author-ly things this upcoming month! Hummingbird House is officially OPEN FOR BOOKING Book your next writer retreat at Hummingbird House in Santa Fe here Upcoming Events ~ LoveLitCon is a weekend of romantasy and bookish fun and I will be attending! Buy LoveLitCon tickets here using LOVE8368 for $10 OFF! https://lovelit.com/ Tuscon Festival of Books is March 14th-15th this year! See you there *Wink* ...
On today's show, we're chatting with Karyn Dethrow, owner of Dethrose Vintage in Chicago. Dethrose Vintage specializes in ultra-rare pieces, and Karyn takes pride in restoring every find – from the 1910s through the 1990s – to as close to its original state as possible, so it's ready to be worn and loved again as soon as it arrives at your door. In this episode, Karyn shares her journey into vintage, which started with her vintage dealer sister introducing her to the Bins in Southern Illinois, where she found some of her first 1940s pieces. She shares why vintage from the 1930s became her specialty – from bias cuts to the era's unexpected boldness – and why she feels it's a standout era that influenced fashion for decades to come. We talk about the serendipitous vintage buys she's had with former-strangers, her philosophy on rescuing vintage fur coats for sustainability, plus, her tips for cleaning and caring for delicate vintage textiles, and why Chicago's vintage community finally got the show it deserved with Pickwick. It's a warm, inspiring conversation about building a vintage business with integrity – from someone who has been at this a while and knows her stuff, so let's dive right in! DISCUSSED IN THE EPISODE: [2:45] Karyn's sister was a vintage dealer, and she would take her to the Bins and the thrift stores as a teenager. [4:19] She had always loved 1930s-40s style from old movies. [7:22] When she started her Etsy shop, it sold out in two days [12:09] Her very first market was the Rosebowl. [14:43] Pickwick Vintage's first time in Chicago. [16:11] How Karyn found her brand voice and vintage specialties. [17:45] Why the 1930s is such an influential era in fashion history [23:33] Vintage coats are the hot item of the year! [26:32] Tips for caring, storing, and mending vintage pieces [32:43] The story of her first major professional vintage buy [38:32] Pieces she's saved for over a year for the perfect moment [43:04] How the vintage space has changed and advice for newcomers [48:19] Long haul pieces she'll never part with & other favorite finds EPISODE MENTIONS: @dethrosevintage Dethrose Vintage Pickwick Vintage Rosebowl Flea Knee Deep Vintage Pre-Loved's coverage of Pickwick Vintage in Chicago Retroclean @lostgirlsvintage Gem Search Dial M for Modern LET'S CONNECT:
Kdo mora oddati davčno napoved in kdaj? Kaj, če zamudimo? Ali finančna uprava ve, koliko dividend ali kapitalskega dobička smo ustvarili v preteklem letu? Kako lahko optimiziramo davke? Na vse to in še več bosta odgovarjala davčna strokovnjaka: - Jure Mercina, partner, LeitnerLeitner - Ivan Kranjec, odvetnik in davčni strokovnjak v podjetju CMS Epizoda je objavljena tudi na Youtube/@marjamilic Spopad bikov in medvedov - 4. decembra ob 17:00 https://money-how.si/dogodki/spopad-bikov-in-medvedov-kdo-bo-zmagal-v-2026/ Taxistent - pomočnik pri oddaji davkov: https://money-how.si/taxistent/ V tokratni epizodi boste slišali: 00:00 Uvod v davčno epizodo 02:51 Osnovne informacije o davčnih napovedih 05:59 Težave pri oddaji davčnih napovedi 08:59 Davčne stopnje in obdavčitev dobičkov 11:48 Izvedeni finančni instrumenti in davčne spremembe 14:45 Kriptovalute in davčna obravnava 17:44 Evidenca in dokumentacija za davčne namene 20:35 Prijava nakupov in obveznosti do FURS-a 23:30 Obdavčitev fizičnega zlata in plemenitih kovin 26:28 Obdavčitev premoženja in izvora sredstev 28:59 DDV in obdavčitev zlata ter srebra 30:50 Obveznice in njihova obdavčitev 34:32 Obdavčitev delnic in dividend 38:16 Trgovanje kot fizična ali pravna oseba 44:47 Kripto in obdavčitev 48:51 ETF-ji in njihova obdavčitev 53:24 Utajitev davkov in Lafferjeva krivulja 55:40 Obdavčitev dohodkov in prispevkov 58:31 Poročanje in napovedovanje dohodkov 01:01:52 Integracija brokerjev in e-davkov 01:03:20 Individualni naložbeni računi 01:06:43 Pobotanje dobička in izgube 01:08:17 Obdavčitev obresti in dividend 01:13:10 Navidezna odsvojitev in davčne obveznosti 01:17:43 Obdavčitev dividend in dohodkov 01:18:28 Podaritev delnic in davčne obveznosti 01:19:30 Dediščina in obdaritev 01:21:55 Skupni računi in davčne obveznosti 01:23:38 Davčna optimizacija in napake 01:29:12 Zadnje misli in zaključek ____________________________ Money-How Premium: https://money-how.si/narocnine/ vključuje: - Modri AI - Finančni asistent, ki pomaga pri raznih finančnih dilemah https://money-how.si/modri-ai/ - Taxistent - Davčni asistent, ki pomaga pri oddaji davčne napovedi https://money-how.si/taxistent/ - poglobljene članke ___________________________ Bootcamp v živo: Investiranje – kako sploh začeti (omejeno število) Že dolgo razmišljaš o vlaganju in ne veš, kje in kako začeti? Nimaš energije, da bi raziskoval vse podrobnosti. Skrbijo te davki? Ne veš, kako investiranje vpliva na socialne transferje, kot so otroški dodatki? Presekaj in se nam pridruži v živo, kjer bomo skupaj naredili prvi korak v svet investiranja! Termin: 22. januar 2026 med 17.00 in 20.30 Info: www.money-how.si/dogodki ______________________ Finančna delavnica je lahko čudovito darilo. Več preveri https://money-how.si/izobrazevanja ______________________ (delavnica) Investiranje v delnice: Kaj moram vedeti, ko se odločam za investiranje v delnice Prijava: https://money-how.si/izobrazevanja ______________________ (delavnica) Investiranje za začetnike. Praktično o osnovah investiranja. Prijava: https://money-how.si/izobrazevanja _________________________________ DISCORD skupnost: V finančnih zagatah nismo sami, pridružite se nam na Discord Money-How / discord ______________________________ Več o Money-How na https://money-how.si/
MOOBARKFLUFF! Click here to send us a comment or message about the show!Bearly Furcasting S6E11 - ASMR FursWelcome to another episode of BFFT! It's another T-Riffic (that is Taebyn-Riffic) episode of BFFT! Moobarkfluff everyfur! Bearly is off to AquatiFur so it's a Rayne Raccoon produced episode!bearlyfurcasting@gmail.com Taebyn,Rayne Raccoon,Ziggy,meme weasel,Cheetaro,TickTock,Furry,Movies,Fun,Jokes,Puns,Events,Comedy,Zen,Links for this episode: Matt Baum: Young Frankenstein on Twitch https://www.twitch.tv/mattbaume/video/2607174884Zweitseich Second Self fursuits:https://www.zweitesich.com/Anthronational Film Festival Hosted by Taebyn:https://anthronw.com/anw8/events/filmfestival/index.htmlThis podcast contains adult language and adult topics. It is rated M for Mature. Listener discretion is advised.Support the showThanks to all our listeners and to our staff: Bearly Normal, Rayne Raccoon, Taebyn, Cheetaro, TickTock, and Ziggy the Meme Weasel.You can send us a message on Telegram at BFFT Chat, or via email at: bearlyfurcasting@gmail.com
Bill Horan and Matt Leonard learned about a local group called NY Furs, which looks to bring people together at in-person furry events all over New York, each event giving an opportunity for people to let their fur fly toward their goal of strengthening the local community to keep furries connected to local happenings. They speak with Anthony Ryabchikov, the Founder of NY Furs, and their Head of their Events Team Manager, Vinny Lugo, also known by Vinegar.
Gost epizode 197 je Ivan Simič, slovenski davčni strokovnjak in davčni svetovalec, nekdanji generalni direktor slovenske davčne uprave (DURS) ter pozneje tudi vodja srbske davčne uprave. =================== V epizodi se dotakneva naslednjih tematik: Osebna pot v davčno svetovanje Zgodovinski kontekst davčne zakonodaje Kompleksnost dobrodelnih organizacij v družbi Ravnovesje med bogastvom in ustvarjanjem Prihodnost obdavčitve in digitalne valute
Azurée Legacy by Estée Lauder (2024) + Venus in Furs by Leopold von Sacher-Masoch (1870) with Luke Roberts and Kalob Petty of Strange Urge The Perfume Nationalist S7E63 Strange Urge 15 9/8/26 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon.
Tuesday, July 01, 2025 Inside Sports with Al Eschbach -Willman's Furs, BBJ memories, Al's chances of ending up in Medicine Park, Thunder merch mania and more. Follow the Sports Animal on Facebook, Instagram and X Follow Tony Z on Instagram and Facebook Listen to past episodes HERE! Follow Inside Sports Podcasts on Apple, Google and SpotifySee omnystudio.com/listener for privacy information.
I. Man's Response to Sin II. God's Response to Sin
Steven Rinella talks with Lake Pickle, Kate Lospinoso, Maggie Hudlow, Phil Taylor, and Corinne Schneider. Topics Discussed: "Old" young trapper Kate; Lake Pickle’s new podcast, "Backwood's University," is out now on our network; Maggie's article on Why You Should Consider a Mutt as Your Next Hunting Dog; poaching turkey in a cemetery; buying someone else’s taxidermy; the origin of Lake’s name and fishing deer season; hunting the way God made you; looking at bobwhite quail habitat; the wonders of the flying squirrel; how it's rare to be a young, first generation trapper; Old Trapper Kate's Little Shop of Furs; beaver blankets and muskrat bomber jackets; conservation coverage on themeateater.com; and more. Connect with Steve and The MeatEater Podcast Network Steve on Instagram and Twitter MeatEater on Instagram, Facebook, Twitter, and YoutubeSee omnystudio.com/listener for privacy information.
It's a big juicy hazy bomb from Burning Beard! Whips & Furs takes it's name-sake from a song from The Vibrators of the same name. Much like the it's inspiration this beer seeks to be memorable enough to dig deeper into what it has to offer.
Subscriber-only episodeSend us a textOne of the last projects recorded by singer/actress Marianne Faithfull (who passed away in January) was a 2021 spoken word album of English Romantic poetry, including a hauntingly beautiful 12-minute recitation of Tennyson's “Lady of Shalott.” After exploring Faithfull's passion for (and family connections to) classic literature, Amy finds new meaning in this poem about an exiled woman fated to forever view life through a mirror's reflection. This episode includes accounts of several other doomed and exiled noblewomen in history — Lucrezia de Medici and Marguerite de la Rocque — and the books their lives inspired.Mentioned in this episode:She Walks in Beauty by Marianne Faithfull“As Tears Go By” by Marianne Faithfull“The Lady of Shalott” by Alfred, Lord TennysonVenus in Furs by Leopold von Sacher-MasochVenus in Furs by The Velvet UndergroundThe Marriage Portrait by Maggie O'FarrellLucrezia de MediciPortrait of Lucrezia de Medici at North Carolina Museum of Art“My Last Duchess” by Robert BrowningIsola by Allegra GoodmanMarguerite de la RocqueThe Heptameron by Marguerite de NavarreFor episodes and show notes, visit: LostLadiesofLit.comDiscuss episodes on our Facebook Forum. Follow us on instagram @lostladiesoflit. Follow Kim on twitter @kaskew. Sign up for our newsletter: LostLadiesofLit.com Email us: Contact — Lost Ladies of Lit Podcast
(S4-Ep8) The Velvet Underground and Nico (Verve Records) Released March 1967- Recorded April-May and November of 1966 (Verve Records) Despite its initial commercial failure, the Velvet Underground & Nico (1967) is one of the most influential albums in rock history. The album, produced by artist Andy Warhol, fused avant-garde art with raw, experimental rock, tackling taboo subjects like drug use and urban decay. Lou Reed's stark lyricism and John Cale's avant-garde instrumentation—particularly his electric viola—set the band apart from their contemporaries. Tracks like Heroin, Venus in Furs, and All Tomorrow's Parties showcased their uncompromising artistic vision. Though largely ignored upon release, the album became a blueprint for punk, noise rock, and indie music, influencing artists from David Bowie to Sonic Youth. The iconic banana cover, designed by Warhol, remains one of rock's most recognizable images. Over time, The Velvet Underground & Nico earned its place as a seminal work, proving that commercial success is not always a measure of artistic impact. Signature Tracks "Heroin," “Venus in Furs,” "All Tomorrow's Parties" Playlist YouTube Spotify Full Album YouTube Spotify
A simple basement project transformed into a global fashion brand, Donna Salyers, the founder of Fabulous Furs, the pioneer of faux fur clothing, joins us! Her initial ambition to fit in with New York City's high-fashion crowd in the 1980s launched into a sewing kit business that grossed $300,000 in its first year out of her basement in Covington, Kentucky. Discover how strategic decisions and humility have played pivotal roles in her business' success. As Donna states, “I would go to New York and see Saks Fifth Avenue, I would walk around there and think: anything I see here I can make and it will actually be better than buying from Saks.” As the holiday season approaches, we reflect on gratitude and self-improvement, encouraging you to embrace the best version of yourself. Our Non Profit Spotlight is American Cancer Society _ Katie Harms @ katie@katieharms.com, www.katieharms.com or Lisa Rubin @ lisa@wardrobeconsulting.net, www.wardrobeconsulting.net . Follow Us On: Instagram LinkedIn Facebook YouTube Please take a moment to rate our podcast wherever you are reading or listening to this! Thank you! We are thankful to our sponsor Sweet Ivy - you can buy Fabulous Furs locally (and Littles by Sweet Ivy)
In this collaboration episode, hosted by Jackie Zimmerman of Mental Health America, we are joined by clinical social workers Helen Garcia and Polesa Osei-Tutu as we explore crucial issues impacting mental health today. We'll delve into the economic and psychological challenges faced by women of color, particularly those caring for autistic siblings and elderly immigrant parents. Links: Polesa Osei-Tutu, LCSW: https://www.instagram.com/sit_awhile_and_heal/ MHA Talk: https://www.youtube.com/watch?v=oHcA3Wg4TmU&t=5s Crisis Center: https://chat.988lifeline.org/ Entwine Community: https://entwinecommunity.org/ Yellow Chair Collective: https://yellowchaircollective.com/ Homecoming Book: https://www.amazon.com/Homecoming-Overcome-Trauma-Reclaim-Authentic/dp/059341831X Where I Belong Book Resources/Emergency Hotlines Crisis Text Line: Text "Home" to 741-741 TTY Users: Use your preferred relay service or dial 711 then 988 LACDMH Help Line: (800) 854-7771 Disaster Distress Helpline: (800) 985-5990 Trevor Project Lifeline: (800) 788-7386 Substance Abuse Service Helpline: (844) 804-7500 Family Urgent Response System (FURS): Call or text 1-833-939-FURS (3877) National Sexual Assault Hotline: (800) 656-4673 SAgE's Farmer Support Hotline: 833-381-SAGE Substance Abuse and Mental Health Services Administration National Helpline: (800) 662-4357 Veterans Crisis Line: 988, then press 1, or text 838255 Time Stamps 00:00 New crisis resource center for mental health. 06:18 Discussing mental health shifts amid societal stressors. 09:05 Political division, identity awareness, mental health focus. 10:14 Economic crisis stresses mental health resources strain. 15:40 Community, therapy, simplicity, ease mental burden, connection. 18:54 Balancing self-care amidst mental health challenges. 22:06 Self-care means small, accessible everyday actions. 27:06 Check in with your senses for burnout. 27:46 Burnout symptoms: fatigue, eyes flicker, hair loss. 33:44 "Seek realistic balance in a capitalistic society." 37:40 Embrace objectivity, self-care, and seek support. 42:06 Remember self-care; treat yourself as a friend. 44:58 Limit tech use; life outside matters more. 48:23 Change your phone habits; it's transformative. 52:52 "Homecoming" helps reclaim your true self. 56:29 Reposted resources, certificate link, audience engagement appreciated. 57:33 Thanks, everyone. Enjoy your day!
The OTRNow Radio Program 2024-017The Shadow Of Fu Manchu. July 10, 1939. Program #27. Radio Attractions syndication. Sponsored by: Music fill for local commercial insert. The Three Golden Pomegranates. Hanley Stafford, Gale Gordon. 11007. The Shadow Of Fu Manchu. July 12, 1939. Program #28. Radio Attractions syndication. Sponsored by: Music fill for local commercial insert. Nayland Smith returns with a clue, the trail warms. Hanley Stafford, Gale Gordon. Good News Of 1939. November 17, 1938. NBC net, KFI, Los Angeles aircheck. Sponsored by: Maxwell House Coffee, Bulova (local), Beckman's Furs (local). The first tune is "The Bumpy Road To Love." Frank Morgan relates how he battled burglars in his house. Louis Mayer and Father Flanagan talk about the "Boys Town" movie and appeal for funds. Daddy prepares Baby Snooks for a visit from the boss. Scenes from "The Shining Hour," with Joan Crawford, Melvyn Douglas and Robert Young. "If Men Played Cards As Women Do." About one minute is missing from the middle of the program. Meredith Willson and His Orchestra, Frank Morgan, Tony Martin, Louis B. Mayer, Edward Flanagan, Fanny Brice, Hanley Stafford, Joan Crawford, Melvyn Douglas, Robert Young, Margaret Sullavan, Ted Pearson (announcer). The Louella Parsons Show. January 05, 1951. ABC net. Sponsored by: Jergens Lotion, Woodbury Soap. Burgess Meredith has been secretly married. The Elizabeth Taylor-Nicky Hilton divorce is proceding. The film "The Miracle" is considered "immoral, irreligious and stupid" by the Catholic Church...and Louella. Faye Emerson and Skitch Henderson are having marital troubles. Louella interviews John Wayne and presents him with a scroll from "Motion Picture Herald." John's interview sounds scripted, but he does mention his anti-communist feelings and his support for "The Motion Picture Alliance.". Louella Parsons, John Wayne, Marvin Miller (announcer).FEDERAL AGENT 1944. Finley syndication. Music fill for local commercial insert. Nick Sarno is up for parole, and it's granted despite the objections of the Feds. Sarno's enemies are wiped out in a gangland massacre, even though Sarno is in France! Dragnet. March 02, 1950. Program #38. NBC net. "The Big Kill". Sponsored by: Fatima. Jack Carver, just out of Folsom, is suspected of killing a cop for revenge. Friday poses as a criminal in jail to find the missing murder weapon. Jack Webb, Barton Yarborough. Death Valley Days. June 16, 1939. NBC net. "Shoo Fly". Sponsored by: Twenty Mule Team Borax (some commercials deleted). A tough old lady runs her own claim in the Panamint mountains...with a harsh word and a shotgun. Milton Herman, Frank Butler, John McBryde (as "The Old Ranger"), Irene Hubbard, Jeffrey Bryant, George Hicks (announcer), Ruth Woodman (creator, writer), Dorothy McCann (producer), Bob Prescott (sound effects), Keene Crockett (sound effects), Harry Glantz (bugle call), Joseph Bonime (music).
Send us a textThis week on the Montana Outdoor Podcast your host Downrigger Dale talks to Ed Hebbe from the Montana Trappers Association to get the truth about trapping in Montana. In this Podcast some VERY important information is delivered that will likely surprise you about trapping. Is trapping really necessary? Some say that trapping is actually important to the survival of wildlife in Montana and other states, is that really true? Is trapping really used for wildlife management and research? Did you know that trappers come from all walks of life and are a huge help to farmers and ranchers? Did you know that trapping is used to help control disease? Really? Why are environmental organizations and others always suing to try to stop trapping? This Podcast will tell you the answers to those questions and the answers just might shock you! After you are done listening you just might change your mind about trapping and hopefully you will get involved to protect the REAL protectors. If you don't agree we want to hear from you too! It's time to talk about this! Links:To learn more about the Montana Trappers Association click here. Click here to learn more about Montana's Furbearers.For the latest news about Trapping click here.Checkout the MTA Facebook page by clicking here!Questions for our guest on the podcast Ed Hebbe? Click here to email him.Tell Downrigger Dale your thoughts about this podcast and let him know what other topics you would like us to cover. Click here to email him, or click the text button above.Remember to tune in to our live radio show, The Montana Outdoor Radio Show, every Saturday morning from 6:00AM to 8:00AM. The show airs on 30 radio stations all across the State of Montana. You can get a list of our affiliated radio stations on our website. You can also listen to recordings of past shows, get fishing and and hunting information and much more at that website or on our Facebook page. You can also watch our radio show there as well.
In this episode of NDO Podcast we visit with Stephanie Tucker, Department game management section leader and furbearer biologist, about bounties, fur market, fisher pregnancies, the wildlife health laboratory, trapping regulations, and the time Steph came face to face with a mama mountain lion.
The witching hour is nigh and so is the end to our “Hallo-Weenie!” miniseries! Join in as we further discuss our spooky season offerings, Austin's continued trip into dictatorial madness, the end of Beyond Fest, and finally our time in the nightmare factory that is HAUNT! Go to Patreon.com/shudcast where you can find FULL VIDEO for our episodes as well as a host of other perks, including access to our Discord server. Be a SHUDite today! 00:00 - 12:00ish - Intros: Austin expands upon the idea of his eventual dictatorship and we discuss the top clown in America! 12:00ish - 58:00ish - The other stuff we watched this time! Lucas - Silent Rage, The Mummy (1932), The Fall, House of 1,000 Corpses, and VHS: Beyond Cody - House of 1,000 Corpses (x2), Nightbitch, Little Bites, VHS: Beyond, Jimmy & Stiggs, Humanist Vampire Seeking Consenting Suicidal Person, Presence, ParaNorman, Cloud, Chime, The Sect, Venus in Furs, The Wild Robot, and It's What's Inside Austin - House of 1,000 Corpses, VHS: Beyond, The Autopsy of Jane Doe, Salem's Lot (2024), Apartment 7A, and The Witches (1990) Curtis - House of 1,000 Corpses, VHS: Beyond, Jimmy & Stiggs, Cloud, Chime, It's What's Inside, The Penguin, Fright Night (2011), The Cell, The House by the Cemetery, The Exorcist III, The Exorcist: Believer, Invitation to Hell, House (1985), Stage Fright (1987), Challengers, Army of Darkness (Director's Cut), Labyrinth, and Hell House LLC 58:00ish - 1:35:00ish - HAUNT - SHUDdown and discussion! 1:35:00ish - End - “Hallo-weenie!” Awards PLUS our next THEME and MOVIE!
Danny is recapping the most recent Real Housewives of Salt Lake City, where the women went to the Miller Lite beer cave, Brittani revealed she's not dating the Osmond anymore, Bronwyn shades her husband for being elderly, and lots more! After RHOSLC, Danny touches on RHOP premiere and RHOC for a minute!ORDER DANNY'S NEW BOOK: https://linktr.ee/jolliestbunchDANNY'S (OTHER) BOOK: Smarturl.it/unrememberTwitter: @DannyPellegrinoInstagram: @DannyPellegrinoYouTube: www.YouTube.com/DannyPellegrino1TikTok: @DannyPellegrinoPatreon: www.Patreon.com/EverythingIconic Hosted on Acast. See acast.com/privacy for more information.
Hello October, we've been waiting for you!!! As we continue our celebration of spooky season and countdown to Halloween, enjoy a replay of our chat on the Netflix series, "Wednesday" starring the newly minted princess of darkness, Jenna Ortega! Stay tuned for a new headline and hot topics episode dropping this Thursday, October 3rd! ------------------------------------------------------------------------------------------ Fangs, Furs, Stoners, and Scales unite! This week, we are recapping the Netflix hit series "Wednesday!" (01:30) Hidden Gems (1:11:06): Darby and the Dead (Hulu) The Menu (HBOMax) Ginny & Georgia (S2) (Netflix) Blood & Water (S3) (Netflix) The Best Man: Final Chapters (Paramount+) We are available on all podcasting platforms but please follow, rate and review us on Apple Podcasts and Spotify apps. We greatly appreciate the support! Follow us on social media: IG: @recappinpodcast Twitter: @recappinpodcast FB: ReCappin' with Delora and Ashley Contact us: Email: recappinpodcast@gmail.com
What happens when haunting melodies meet themes of sadomasochism and drug use? Join us as we revisit the cult classic album The Velvet Underground & Nico, exploring the profound impact it had despite its initial commercial failure. We'll kick things off with a lively debate on the best way to introduce this groundbreaking record to new listeners, celebrate Brian Eno's iconic quote about its influence, and delve into how its anti-heroic essence starkly contrasted the 'Summer of Love' ethos, influencing the evolution of punk and post-punk music.Ever wondered how a chance meeting could change music history? We delve into the fortuitous partnership between Lou Reed and John Cale, from Lou's songwriting days at Pickwick Records to their experimental collaboration that pushed musical boundaries. Our journey takes us through some of the most accessible tracks like "Sunday Morning" and "I'll Be Your Mirror," while examining Nico's enigmatic influence and Andy Warhol's pivotal role in funding and promoting their debut album with its iconic banana sticker cover design.Is it garage rock, experimental rock, or avant-garde rock? We tackle the complexities of labeling The Velvet Underground & Nico, drawing comparisons to early Pink Floyd while debating the contributions of each band member, particularly John Cale's unique viola sound. Wrapping things up, we host a passionate showdown between tracks like "Venus in Furs" and "Heroin," underscoring the exceptional synergy within the Velvet Underground. Tune in for a nostalgic, insightful, and sometimes humorous exploration of one of rock history's most influential albums.Support the Show.Twitter - https://twitter.com/mccartneyinWebsite - https://mccartneyingoal.com/
Fur coats are in demand in this week's radio mysteries, as our detectives tackle cases involving the pricey outerwear. First, Dick Powell investigates a fur warehouse fire that may be arson in "Fortune in Furs" from Rogue's Gallery (originally aired on Mutual on December 20, 1945). Then, the cops of The Line-Up hope a fur coat can help them identify a Jane Doe in "The Fur Flaunting Floozy" (originally aired on CBS on September 26, 1951). Finally, Johnny Dollar hunts for 80 stolen mink coats and the thieves who committed murder in their getaway in "The Silver Blue Matter" (originally aired on CBS between May 7 and May 11, 1956).
Your Pop Art impresarios of pretty awesome facts are back to examine a groundbreaking album that lobbed a grimy East Coast grenade into the Summer of Love. In addition to droning on about drones and other avant-garde musicians of the period, Jordan and Alex offer the behind-the-scenes drama of band patron Andy Warhol's Factory scene, a partial history of electro-shock therapy, and the Velvet's hilarious blood feud with Frank Zappa. The boys debate the merits of Lou Reed's lyrical talents by contrasting “Heroin” and “Venus in Furs” with his later-era track “Possum Day.” Get ready for a wild ride deep into the dark, druggy world of urban decay, BDSM and…bananas. See omnystudio.com/listener for privacy information.
The job to investigate a warehouse of furs that caught on fire comes across Richard Rogue’s path. For a hot tip, Rogue needs to pay a $1000 payment to the…
The job to investigate a warehouse of furs that caught on fire comes across Richard Rogue's path. For a hot tip, Rogue needs to pay a $1000 payment to the…
[originally published on Patreon Dec 29, 2023] Today I'm joined by Reid (@seriations) to discuss maybe the most conceited man in the world - Ira 'the Unicorn' Einhorn. In this episode, we get into Einhorn's family history and early life, his time studying to be a guru, and his work as a snitch and informant. I lost my damn mind researching a related figure, Weldon Melick, who very much appears to be Something, but what that Something is, isn't entirely clear to me. Then we get into Einhorn's drug dealing and drug usage, which also got me sidetracked with a brief yet interesting parapolitical history of DMT. [note: my buddy Luke Marshall had only just launched his podcast when we recorded this episode, so I accidentally referred to it as "Things Unsolved" when his podcast is "Things Observed"] Songs: Motherly Love by the Mothers of Invention Venus in Furs by the Velvet Underground Absolutely Free by the Mothers of Invention Hungry Freaks, Daddy by the Mothers of Invention
Angeblich verreist jeder 7. Erwachsene nur mit Stofftier im Gepäck. Sucht man nach dem Geheimnis der Plüschliebe, kommt es zu unvergesslichen Begegnungen: in der Coburger Teddyfabrik, wo der Angela-Merkel-Bär seine Pfoten zur Raute formt. Oder bei den Münchner Furs e.V., die sich in lebensgroße Plüschtiere verwandeln.
Angeblich verreist jeder 7. Erwachsene nur mit Stofftier im Gepäck. Sucht man nach dem Geheimnis der Plüschliebe, kommt es zu unvergesslichen Begegnungen: in der Coburger Teddyfabrik, wo der Angela-Merkel-Bär seine Pfoten zur Raute formt. Oder bei den Münchner Furs e.V., die sich in lebensgroße Plüschtiere verwandeln.
Tonight we talk to all the host and new shows for the 2024 season. Meet Host: Randy Newton - The Final Cast. Monday 7pm Eastern John Rapp - The Rusty Hook Podcast. Tuesdays Gene Campbell - TPO Dock Talk Show Monday 6pm Mtn Dustin Nicholas - Chasin' the Tide Sundays Susie - Fishing For Noobs Show - Wednesdays Brain Schiller & Jay Randall - OG Show. - Fridays Brad - Feathers and Furs (seasonal) We will also talk about other plans and shows in the works! Learn more about your ad choices. Visit megaphone.fm/adchoices
Subscribe to the PPM Patreon to access the Premium Feed: patreon.com/ParaPowerMapping Today we're joined on the show by the inimitable Jacob Everett, editor-in-chief of Apocalypse Confidential, for a wide-ranging & far-reaching conversation that serves as a preliminary materials for a deep dive into the New England opium smuggling outfits & the Sino-American trade in the 19th century. It's a highly enjoyable parapolitical jam sesh... W/ a particular focus on Jacob's family history, specifically his ancestor Ramsay Crooks, who was a Scottish-born fur trader who would ascend the ranks of the Pacific & American Fur Companies to the very zenith, becoming wealthiest man in America John Jacob Astor's most trusted lieutenant & eventually president of the American Fur Company himself once Astor left the game. We learn about Crooks' involvement in the overland, Lewis and Clark-esque expedition to establish the Astoria settlement, a grand "Chinese" dream of Astor's that is seriously reminiscent of previous fur trading & alchemical colonial plantation schemes that we've covered in previous MasSUSchusetts EPs. We establish how the PNW fur trade was viewed as an essential link in numerous triadic Sino-American trading get-rich-quick schemes, and how Astoria itself would eventually serve as a loading bay for furs to be added to Perkins & Co ships laden w/ contraband cargo (opium) that would then make their way to Canton. We also find time to discuss all manner of things, from Dick Cavett; to Astor enlisting the MasSUSchusetts author Washington Irving in a pseudo-mythologizing psyop project to glorify the short-lived Astoria settlement; to a quick rehash of the PTCave phenomena & recent mass shootings; to Astor's Freemasonry; to the Tonquin incident & the tragic deaths of 100s of indigenous warriors; to white boy familial guilt; to Milk Morgellons; to Ramsay Crooks' Civil War colonel son & "Indian agent"; all the way to Jacob's experiences editing a magazine of the Kali Yuga, and, most importantly, whether he believes humans are ontologically evil or not! Oh, and short fiction about rape-y dolphins, which kinda connects to the last one. Songs: | The Velvet Underground - "Venus in Furs" | | The Psychedelic Furs - "Here Come Cowboys" |
Dice and Dialogue Episode 12 | Furhaven Campaign Overview & Additional Tips to Enhance Your Game The Furhaven campaign takes place in the town of Furhaven, where tensions between two factions, the Furs and the Feathers, are escalating. The players, a group of young adventurers known as the Younglings, are caught in the middle of a conspiracy! Throughout the campaign, the players uncover clues and face various challenges. The campaign highlights themes of betrayal, loyalty, and the struggle for power. It offers opportunities for stealth, combat, and problem-solving. With its engaging story, suspenseful moments, and a mix of urban and wilderness exploration, the Furhaven campaign offers players a thrilling and memorable adventure in a world filled with intrigue and danger.
Flame Canada. I Don't Like Beeeeeeeer (in Tina Voice). The Right Way To Go To High School. Extra Virgin Coffee. AI AI O. Lady Mix Tapes, For Ladies. I Neither Left with Pepsi but took with Pizza. Netless and Nutless. IT'S TOO EARLY FOR A FISH SANDWICH EXTERMINATE EXTERMINATE!! Concertville. Ready for the White Man's Overbite. You say Playlist, I say Mix Tape. The Hamburgler Has Moved Onto Pizza. Butt Spooning. The Furs are still Psychadelic. AppSlappy and more on this episode of The Morning Stream. Learn more about your ad choices. Visit megaphone.fm/adchoices
Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground. The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret". It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them), and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New
Danny recaps The Real Housewives of Beverly Hills, which featured the rest of Garcelle's party, where Erika got out of hand, plus Sutton got more into it with Room 23's Diana Jenkins as Kyle The Splits Richards inserted herself. After Garcelle's party, Sutton throws a salad soiree at her unfinished home in the mud. Danny also touches on episode 4 of The Real Housewives Ultimate Girls Trip (more to come on that next week)!BOOK: Smarturl.it/unrememberTwitter: @DannyPellegrinoInstagram: @DannyPellegrinoPatreon: www.Patreon.com/EverythingIconic See acast.com/privacy for privacy and opt-out information.
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