Podcast appearances and mentions of houston jones

She never runs out of mana... Show me this guy's balls... Most women are not pro foreskin, allegedly... The horrors of body piercing funk... Katie likes wood in her holes... Is there anything you shouldn't put inside your butt??? The meaning of a swallow tattoo... She likes blue... Trump's America!!! You shouldn't put vegetables in your butt... The fun of a South Boston accent... If I enjoy butt play does that mean I am gay??? The woman that poisoned her boyfriend's ex and her entire family... Katie finds words hard sometimes... Reading the folds on your anus, according to one author... The lady cop that broke bad by banging the entire police force inside the station has now became a pharmacist... A dildo that is also a freezer pack for those extra rough sessions... One man found a sex dungeon under a home he just purchased. The home is over 150 years old... Pussification chastity belt for men... If your neighbors start planting pompas grass they might be swingers... Fuck doll pussy and SC's intrusive thoughts... Fuck doll pussy warmer, we have entered the future we were promised... Getting erotic gratification from falling down stairs... Confusing ugly white guys on YouTube... Houston Jones... Rare female orange cats... Mom busted into her son's room right at the moment he blasted his load on his girlfriend's face... Creepy men of Katie's past... Ancient Egyptians might have been obsessed with masturbation... This is something stupid... Firefighter gets dildo stuck in his throat, at the firehouse, and had to call an EMT... Watermelon as an aphrodisiac??? Mexican pancake... Sour Apple Smoothie... Wolf bagging... Alligator fuck house to round everything out.

Dad was born in 1919 into a Louisiana factory-working family who barely made ends meet. He joined the navy on his 18th birthday. Back in the 1950's and 60's, a kid could run loose in Louisiana while visiting relatives throughout the state. Even in New Orleans, I was allowed to go anywhere I wanted except Bourbon Street because my Aunt Marie said, "You stay outta dat mess young man!" A few years ago while passing through Louisiana after a major storm, we pinned Lake Charles on the Living in Beauty list of places we like to explore. Even in that beat up condition, the region peaked our curiosity. Our research turned up Sam Houston Jones State Park. The post Campground Review: Sam Houston Jones State Park – Lake Charles, Louisiana appeared first on Living In Beauty.

Dwarf dirt racer Houston Jones joined us this evening to talk about his career and where he has been and where he is going. Racing is tough, life is tough and racing is tough. Houston tells us his stories tonight on the BBBP!

The relationship between images and truth has a complicated history. In the Western tradition, the Kantian settlement on aesthetic judgment as detached from external interests gave rise to artistic production of images that were read with epistemic authority. But the advent of modernity has at once shaken this certainty and reinforced it. No sooner than we reckoned with the singular history painting and illustrated magazines, we have landed in a mass-media world where any possible image can and does exist. And the more we are surrounded by images, the greater claims they make. Photographs are not only routinely used to convey news, they are used to establish what is and isn't true. The crime scene photograph is now as likely to be used in a court of law as in a newspaper infographic explainer. The artifact is at once the evidentiary carrier of truth and a visualisation used to confirm it. It creates meaning and it argues for it Visual Culture and the Forensic: Culture, Memory, Ethics (Routledge, 2022) bridges practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example, in performance and installation art, or photography. Such work responds to the object-oriented culture associated with the forensic and offers a reassessment of the relationship of human voice and material evidence. David Houston Jones speaks to Pierre d'Alancaisez about the evidentiary and forensic burden of art and photography, the artifice of crime imaging, the visual traces of data, and the ontology of data and objects. Angela Strassheim's Evidence Melanie Pullen's Crime Scenes, Hugo's Camera The death of Alan Kurdi and Ai WeiWei's restaging of the scene Kathryn Smith's Incident Room: Jacoba ‘Bubbles' Shroeder, 1949-2012 Luc Delahaye Horace Vernet Trevor Paglen's Autonomy Cube Laura Poitras' Citizenfour Julian Charrière's Blue Fossil Entropic Stories, 2013 Simon Norkfolk's When I am Laid in Earth Cory Arcangel's Data Diaries, 2003 Interview with Eyal Weizmann and Matthew Keenan on Forensic Aesthetics and the practice of Forensic Architecture Josef Mengele's bones used in forensic identification Forensic Architecture‘s investigations Interview with Toby Green and Thomas Fazi on The Covid Consensus. David Houston Jones is Professor of French and Visual Culture at the University of Exeter. Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The relationship between images and truth has a complicated history. In the Western tradition, the Kantian settlement on aesthetic judgment as detached from external interests gave rise to artistic production of images that were read with epistemic authority. But the advent of modernity has at once shaken this certainty and reinforced it. No sooner than we reckoned with the singular history painting and illustrated magazines, we have landed in a mass-media world where any possible image can and does exist. And the more we are surrounded by images, the greater claims they make. Photographs are not only routinely used to convey news, they are used to establish what is and isn't true. The crime scene photograph is now as likely to be used in a court of law as in a newspaper infographic explainer. The artifact is at once the evidentiary carrier of truth and a visualisation used to confirm it. It creates meaning and it argues for it Visual Culture and the Forensic: Culture, Memory, Ethics (Routledge, 2022) bridges practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example, in performance and installation art, or photography. Such work responds to the object-oriented culture associated with the forensic and offers a reassessment of the relationship of human voice and material evidence. David Houston Jones speaks to Pierre d'Alancaisez about the evidentiary and forensic burden of art and photography, the artifice of crime imaging, the visual traces of data, and the ontology of data and objects. Angela Strassheim's Evidence Melanie Pullen's Crime Scenes, Hugo's Camera The death of Alan Kurdi and Ai WeiWei's restaging of the scene Kathryn Smith's Incident Room: Jacoba ‘Bubbles' Shroeder, 1949-2012 Luc Delahaye Horace Vernet Trevor Paglen's Autonomy Cube Laura Poitras' Citizenfour Julian Charrière's Blue Fossil Entropic Stories, 2013 Simon Norkfolk's When I am Laid in Earth Cory Arcangel's Data Diaries, 2003 Interview with Eyal Weizmann and Matthew Keenan on Forensic Aesthetics and the practice of Forensic Architecture Josef Mengele's bones used in forensic identification Forensic Architecture‘s investigations Interview with Toby Green and Thomas Fazi on The Covid Consensus. David Houston Jones is Professor of French and Visual Culture at the University of Exeter. Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

The relationship between images and truth has a complicated history. In the Western tradition, the Kantian settlement on aesthetic judgment as detached from external interests gave rise to artistic production of images that were read with epistemic authority. But the advent of modernity has at once shaken this certainty and reinforced it. No sooner than we reckoned with the singular history painting and illustrated magazines, we have landed in a mass-media world where any possible image can and does exist. And the more we are surrounded by images, the greater claims they make. Photographs are not only routinely used to convey news, they are used to establish what is and isn't true. The crime scene photograph is now as likely to be used in a court of law as in a newspaper infographic explainer. The artifact is at once the evidentiary carrier of truth and a visualisation used to confirm it. It creates meaning and it argues for it Visual Culture and the Forensic: Culture, Memory, Ethics (Routledge, 2022) bridges practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example, in performance and installation art, or photography. Such work responds to the object-oriented culture associated with the forensic and offers a reassessment of the relationship of human voice and material evidence. David Houston Jones speaks to Pierre d'Alancaisez about the evidentiary and forensic burden of art and photography, the artifice of crime imaging, the visual traces of data, and the ontology of data and objects. Angela Strassheim's Evidence Melanie Pullen's Crime Scenes, Hugo's Camera The death of Alan Kurdi and Ai WeiWei's restaging of the scene Kathryn Smith's Incident Room: Jacoba ‘Bubbles' Shroeder, 1949-2012 Luc Delahaye Horace Vernet Trevor Paglen's Autonomy Cube Laura Poitras' Citizenfour Julian Charrière's Blue Fossil Entropic Stories, 2013 Simon Norkfolk's When I am Laid in Earth Cory Arcangel's Data Diaries, 2003 Interview with Eyal Weizmann and Matthew Keenan on Forensic Aesthetics and the practice of Forensic Architecture Josef Mengele's bones used in forensic identification Forensic Architecture‘s investigations Interview with Toby Green and Thomas Fazi on The Covid Consensus. David Houston Jones is Professor of French and Visual Culture at the University of Exeter. Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

The relationship between images and truth has a complicated history. In the Western tradition, the Kantian settlement on aesthetic judgment as detached from external interests gave rise to artistic production of images that were read with epistemic authority. But the advent of modernity has at once shaken this certainty and reinforced it. No sooner than we reckoned with the singular history painting and illustrated magazines, we have landed in a mass-media world where any possible image can and does exist. And the more we are surrounded by images, the greater claims they make. Photographs are not only routinely used to convey news, they are used to establish what is and isn't true. The crime scene photograph is now as likely to be used in a court of law as in a newspaper infographic explainer. The artifact is at once the evidentiary carrier of truth and a visualisation used to confirm it. It creates meaning and it argues for it Visual Culture and the Forensic: Culture, Memory, Ethics (Routledge, 2022) bridges practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example, in performance and installation art, or photography. Such work responds to the object-oriented culture associated with the forensic and offers a reassessment of the relationship of human voice and material evidence. David Houston Jones speaks to Pierre d'Alancaisez about the evidentiary and forensic burden of art and photography, the artifice of crime imaging, the visual traces of data, and the ontology of data and objects. Angela Strassheim's Evidence Melanie Pullen's Crime Scenes, Hugo's Camera The death of Alan Kurdi and Ai WeiWei's restaging of the scene Kathryn Smith's Incident Room: Jacoba ‘Bubbles' Shroeder, 1949-2012 Luc Delahaye Horace Vernet Trevor Paglen's Autonomy Cube Laura Poitras' Citizenfour Julian Charrière's Blue Fossil Entropic Stories, 2013 Simon Norkfolk's When I am Laid in Earth Cory Arcangel's Data Diaries, 2003 Interview with Eyal Weizmann and Matthew Keenan on Forensic Aesthetics and the practice of Forensic Architecture Josef Mengele's bones used in forensic identification Forensic Architecture‘s investigations Interview with Toby Green and Thomas Fazi on The Covid Consensus. David Houston Jones is Professor of French and Visual Culture at the University of Exeter. Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The relationship between images and truth has a complicated history. In the Western tradition, the Kantian settlement on aesthetic judgment as detached from external interests gave rise to artistic production of images that were read with epistemic authority. But the advent of modernity has at once shaken this certainty and reinforced it. No sooner than we reckoned with the singular history painting and illustrated magazines, we have landed in a mass-media world where any possible image can and does exist. And the more we are surrounded by images, the greater claims they make. Photographs are not only routinely used to convey news, they are used to establish what is and isn't true. The crime scene photograph is now as likely to be used in a court of law as in a newspaper infographic explainer. The artifact is at once the evidentiary carrier of truth and a visualisation used to confirm it. It creates meaning and it argues for it Visual Culture and the Forensic: Culture, Memory, Ethics (Routledge, 2022) bridges practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example, in performance and installation art, or photography. Such work responds to the object-oriented culture associated with the forensic and offers a reassessment of the relationship of human voice and material evidence. David Houston Jones speaks to Pierre d'Alancaisez about the evidentiary and forensic burden of art and photography, the artifice of crime imaging, the visual traces of data, and the ontology of data and objects. Angela Strassheim's Evidence Melanie Pullen's Crime Scenes, Hugo's Camera The death of Alan Kurdi and Ai WeiWei's restaging of the scene Kathryn Smith's Incident Room: Jacoba ‘Bubbles' Shroeder, 1949-2012 Luc Delahaye Horace Vernet Trevor Paglen's Autonomy Cube Laura Poitras' Citizenfour Julian Charrière's Blue Fossil Entropic Stories, 2013 Simon Norkfolk's When I am Laid in Earth Cory Arcangel's Data Diaries, 2003 Interview with Eyal Weizmann and Matthew Keenan on Forensic Aesthetics and the practice of Forensic Architecture Josef Mengele's bones used in forensic identification Forensic Architecture‘s investigations Interview with Toby Green and Thomas Fazi on The Covid Consensus. David Houston Jones is Professor of French and Visual Culture at the University of Exeter. Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

The relationship between images and truth has a complicated history. In the Western tradition, the Kantian settlement on aesthetic judgment as detached from external interests gave rise to artistic production of images that were read with epistemic authority. But the advent of modernity has at once shaken this certainty and reinforced it. No sooner than we reckoned with the singular history painting and illustrated magazines, we have landed in a mass-media world where any possible image can and does exist. And the more we are surrounded by images, the greater claims they make. Photographs are not only routinely used to convey news, they are used to establish what is and isn't true. The crime scene photograph is now as likely to be used in a court of law as in a newspaper infographic explainer. The artifact is at once the evidentiary carrier of truth and a visualisation used to confirm it. It creates meaning and it argues for it Visual Culture and the Forensic: Culture, Memory, Ethics (Routledge, 2022) bridges practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example, in performance and installation art, or photography. Such work responds to the object-oriented culture associated with the forensic and offers a reassessment of the relationship of human voice and material evidence. David Houston Jones speaks to Pierre d'Alancaisez about the evidentiary and forensic burden of art and photography, the artifice of crime imaging, the visual traces of data, and the ontology of data and objects. Angela Strassheim's Evidence Melanie Pullen's Crime Scenes, Hugo's Camera The death of Alan Kurdi and Ai WeiWei's restaging of the scene Kathryn Smith's Incident Room: Jacoba ‘Bubbles' Shroeder, 1949-2012 Luc Delahaye Horace Vernet Trevor Paglen's Autonomy Cube Laura Poitras' Citizenfour Julian Charrière's Blue Fossil Entropic Stories, 2013 Simon Norkfolk's When I am Laid in Earth Cory Arcangel's Data Diaries, 2003 Interview with Eyal Weizmann and Matthew Keenan on Forensic Aesthetics and the practice of Forensic Architecture Josef Mengele's bones used in forensic identification Forensic Architecture‘s investigations Interview with Toby Green and Thomas Fazi on The Covid Consensus. David Houston Jones is Professor of French and Visual Culture at the University of Exeter. Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/law

The relationship between images and truth has a complicated history. In the Western tradition, the Kantian settlement on aesthetic judgment as detached from external interests gave rise to artistic production of images that were read with epistemic authority. But the advent of modernity has at once shaken this certainty and reinforced it. No sooner than we reckoned with the singular history painting and illustrated magazines, we have landed in a mass-media world where any possible image can and does exist. And the more we are surrounded by images, the greater claims they make. Photographs are not only routinely used to convey news, they are used to establish what is and isn't true. The crime scene photograph is now as likely to be used in a court of law as in a newspaper infographic explainer. The artifact is at once the evidentiary carrier of truth and a visualisation used to confirm it. It creates meaning and it argues for it Visual Culture and the Forensic: Culture, Memory, Ethics (Routledge, 2022) bridges practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example, in performance and installation art, or photography. Such work responds to the object-oriented culture associated with the forensic and offers a reassessment of the relationship of human voice and material evidence. David Houston Jones speaks to Pierre d'Alancaisez about the evidentiary and forensic burden of art and photography, the artifice of crime imaging, the visual traces of data, and the ontology of data and objects. Angela Strassheim's Evidence Melanie Pullen's Crime Scenes, Hugo's Camera The death of Alan Kurdi and Ai WeiWei's restaging of the scene Kathryn Smith's Incident Room: Jacoba ‘Bubbles' Shroeder, 1949-2012 Luc Delahaye Horace Vernet Trevor Paglen's Autonomy Cube Laura Poitras' Citizenfour Julian Charrière's Blue Fossil Entropic Stories, 2013 Simon Norkfolk's When I am Laid in Earth Cory Arcangel's Data Diaries, 2003 Interview with Eyal Weizmann and Matthew Keenan on Forensic Aesthetics and the practice of Forensic Architecture Josef Mengele's bones used in forensic identification Forensic Architecture‘s investigations Interview with Toby Green and Thomas Fazi on The Covid Consensus. David Houston Jones is Professor of French and Visual Culture at the University of Exeter. Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices

The relationship between images and truth has a complicated history. In the Western tradition, the Kantian settlement on aesthetic judgment as detached from external interests gave rise to artistic production of images that were read with epistemic authority. But the advent of modernity has at once shaken this certainty and reinforced it. No sooner than we reckoned with the singular history painting and illustrated magazines, we have landed in a mass-media world where any possible image can and does exist. And the more we are surrounded by images, the greater claims they make. Photographs are not only routinely used to convey news, they are used to establish what is and isn't true. The crime scene photograph is now as likely to be used in a court of law as in a newspaper infographic explainer. The artifact is at once the evidentiary carrier of truth and a visualisation used to confirm it. It creates meaning and it argues for it Visual Culture and the Forensic: Culture, Memory, Ethics (Routledge, 2022) bridges practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example, in performance and installation art, or photography. Such work responds to the object-oriented culture associated with the forensic and offers a reassessment of the relationship of human voice and material evidence. David Houston Jones speaks to Pierre d'Alancaisez about the evidentiary and forensic burden of art and photography, the artifice of crime imaging, the visual traces of data, and the ontology of data and objects. Angela Strassheim's Evidence Melanie Pullen's Crime Scenes, Hugo's Camera The death of Alan Kurdi and Ai WeiWei's restaging of the scene Kathryn Smith's Incident Room: Jacoba ‘Bubbles' Shroeder, 1949-2012 Luc Delahaye Horace Vernet Trevor Paglen's Autonomy Cube Laura Poitras' Citizenfour Julian Charrière's Blue Fossil Entropic Stories, 2013 Simon Norkfolk's When I am Laid in Earth Cory Arcangel's Data Diaries, 2003 Interview with Eyal Weizmann and Matthew Keenan on Forensic Aesthetics and the practice of Forensic Architecture Josef Mengele's bones used in forensic identification Forensic Architecture‘s investigations Interview with Toby Green and Thomas Fazi on The Covid Consensus. David Houston Jones is Professor of French and Visual Culture at the University of Exeter. Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/photography

The relationship between images and truth has a complicated history. In the Western tradition, the Kantian settlement on aesthetic judgment as detached from external interests gave rise to artistic production of images that were read with epistemic authority. But the advent of modernity has at once shaken this certainty and reinforced it. No sooner than we reckoned with the singular history painting and illustrated magazines, we have landed in a mass-media world where any possible image can and does exist. And the more we are surrounded by images, the greater claims they make. Photographs are not only routinely used to convey news, they are used to establish what is and isn't true. The crime scene photograph is now as likely to be used in a court of law as in a newspaper infographic explainer. The artifact is at once the evidentiary carrier of truth and a visualisation used to confirm it. It creates meaning and it argues for it Visual Culture and the Forensic: Culture, Memory, Ethics (Routledge, 2022) bridges practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example, in performance and installation art, or photography. Such work responds to the object-oriented culture associated with the forensic and offers a reassessment of the relationship of human voice and material evidence. David Houston Jones speaks to Pierre d'Alancaisez about the evidentiary and forensic burden of art and photography, the artifice of crime imaging, the visual traces of data, and the ontology of data and objects. Angela Strassheim's Evidence Melanie Pullen's Crime Scenes, Hugo's Camera The death of Alan Kurdi and Ai WeiWei's restaging of the scene Kathryn Smith's Incident Room: Jacoba ‘Bubbles' Shroeder, 1949-2012 Luc Delahaye Horace Vernet Trevor Paglen's Autonomy Cube Laura Poitras' Citizenfour Julian Charrière's Blue Fossil Entropic Stories, 2013 Simon Norkfolk's When I am Laid in Earth Cory Arcangel's Data Diaries, 2003 Interview with Eyal Weizmann and Matthew Keenan on Forensic Aesthetics and the practice of Forensic Architecture Josef Mengele's bones used in forensic identification Forensic Architecture‘s investigations Interview with Toby Green and Thomas Fazi on The Covid Consensus. David Houston Jones is Professor of French and Visual Culture at the University of Exeter. Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/digital-humanities

Visual Culture and the Forensic bridges practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example, in performance and installation art, or photography. David Houston Jones speaks to Pierre d'Alancaisez about the evidentiary and forensic burden of art and photography, the artifice of crime imaging, the visual traces of data, and the ontology of data and objects. Angela Strassheim's Evidence Melanie Pullen's Crime Scenes, Hugo's Camera The death of Alan Kurdi and Ai WeiWei's restaging of the scene Kathryn Smith's Incident Room: Jacoba ‘Bubbles' Shroeder, 1949-2012 Luc Delahaye Horace Vernet Trevor Paglen's Autonomy Cube Laura Poitras' Citizenfour Julian Charrière's Blue Fossil Entropic Stories, 2013 Simon Norkfolk's When I am Laid in Earth Cory Arcangel's Data Diaries, 2003 My interview with Eyal Weizmann and Matthew Keenan on Forensic Aesthetics and the practice of Forensic Architecture Josef Mengele's bones used in forensic identification Forensic Architecture‘s investigations My interview with Toby Green and Thomas Fazi on The Covid Consensus. David Houston Jones is Professor of French and Visual Culture at the University of Exeter. Visual Culture and the Forensic: Culture, Memory, Ethics David Houston Jones 9780367420932 ************* Find many more interviews, projects, and my writing at https://petitpoi.net/ You can sign up for my newsletter at https://petitpoi.net/newsletter/ Support my work: https://petitpoi.net/support/

Houston Jones joins us once again to talk about the Andrew Tate controversy, pink sauce, and his recent struggle to overcome serious injuries.

The craziest chad on YouTube is also a weeb?? Yes, and his name is Houston Jones.Ft. Houston Jones, Nux Taku, Briggs, and AnimeUproar.

We talk with literal gigachad Houson Jones about his evolution as a content creator, getting kicked in the liver, and YouTube's viability as a source of income.

Miguel Gutierrez lives in Brooklyn, NY. He creates dance based performances, music and poetry. His work has been presented at Centre National de Danse/Pantin, Centre Pompidou, Kampnagel, ImPulsTanz, Philly Live Arts, Walker Art Center, TBA/PICA, MCA Chicago, ICA Boston, New York Live Arts, Live Arts Bard, AMERICAN REALNESS, the 2014 Whitney Biennial and many other festivals and venues. He has received support from Creative Capital, MAP, National Dance Project, Jerome Foundation, New York Foundation for the Arts and the Tides Foundation. He is a 2010 Guggenheim Fellow, United States Artist Fellow, and award recipient from Foundation for Contemporary Art. He is a 2016 Doris Duke Artist. He has received four New York Dance and Performance Bessie Awards. His recent work includes a commission for Ballet de Lorraine in Nancy, France, called Cela nous concerne tous (This concerns all of us), which was inspired by the events of May 1968 in France. He has created music for several of his works, for choreographer Antonio Ramos, and in collaboration with Colin Self for Jen Rosenblit and Simone Aughterlony's Everything Fits In The Room. He has performed as a singer with Anohni, Justin Vivian Bond, Vincent Segal, and Holcombe Waller, has a music duo with Nick Hallett called Nudity in Dance, and he recently launched a project called SADONNA, sad versions of Madonna songs. He invented DEEP AEROBICS and he is a Feldenkrais Method® practitioner. He is the program director for LANDING, a new educational initiative at Gibney Dance Center. His book WHEN YOU RISE UP is available from 53rd State Press. www.miguelgutierrez.org Ishmael Houston-Jones' improvised dance and text work has been performed world-wide. Drawn to collaboration as a way to move beyond boundaries and the known, Houston-Jones celebrates the political aspect of cooperation. Houston-Jones curated Platform 2012: Parallels at Danspace Project, an 8-week series of events that interrogated the intersection of dance makers from the African Diaspora with the aesthetics of Post-modern choreography. In 2016 he co-curated, with Will Rawls, Platform 2016: Lost and Found – Dance, New York, HIV/AIDS, Then and Now that queried the effects that the loss of a generation of artists to AIDS has had on current dance creation. As an author Ishmael Houston-Jones' writing has been anthologized in several books, recently in Saturation – Race, Art and the Circulation of Value, (2020) and Writers Who Love Too Much – New Narrative 1977 – 1997, (2017). Houston-Jones' first book FAT and Other Stories was published in 2018 The recipient of four New York Dance and Performance “Bessie” Awards, Houston-Jones' work has received support from: The Robert Rauschenberg Foundation, 2018; The Herb Alpert Awards in the Arts, 2016; The Doris Duke Charitable Trust, 2015; and The Foundation for Contemporary Arts, 2013. Ishmael Houston-Jones is an adjunct professor at New York University's Tisch School of the Arts' Experimental Theater Wing and a master lecturer at The University of the Arts (Philadelphia) School of Dance. www.batesdancefestival.org

Historian and author Dr. Kelly Jones is on the podcast to talk about her upcoming book A Weary Land: Slavery on the Ground in Arkansas. Dr. Jones is an assistant professor of history at Arkansas Tech University. In addition to discussing her research surrounding her book, we also talk about how she first got into history, what led her to researching about slavery in Arkansas, as well as addresses some misconceptions and changing perceptions surrounding the topic.  Look for her book next Spring. In the meantime you can hear Dr. Jones lecture on "Opportunity on the Edge of the South: Slaves in the Wilds of Arkansas" at the Old State House Museum here: https://www.youtube.com/watch?v=CG32aqt0b_A

Today, I talk about choreography, dance, creativity and the pandemic with David Brick and Ishmael Houston-Jones. David Brick co-founded Philadelphia’s Headlong Dance Theater with Amy Smith and Andrew Simonet in 1993. Over the next two decades, these three co-founders created over forty dances as Headlong, performing nationally and internationally. In 2008, David co-founded the Headlong Performance Institute, a training program for creating experimental performance.David collaborates broadly in creating performance, participatory events, and community. His experience of growing up as a hearing member of a Deaf family continually influences David’s understanding of human bodies as active manifestations of culture. His recent work includes a residency at Dance Place in Washington DC to work on Island of Signs—a performance that explored growing up in a family with two languages, one that was shared and one that was not. He shared this residence with Carolyn Brick, his 78-year old Deaf mother who attended nearby Gallaudet University and was featured in a 1959 documentary about her experience there. Ishmael Houston-Jones is choreographer, author, performer, teacher, and curator. His improvised dance and text work has been performed world-wide. He has received three New York Dance and Performance “Bessie” Awards for collaborations with writer Dennis Cooper, choreographers Miguel Gutierrez and Fred Holland and composers Chris Cochrane and Nick Hallett. Houston-Jones curated Platform 2012: Parallels which concentrated on choreographers from the African diaspora and postmodernism and co-curated with Will Rawls Platform 2016: Lost & Found, Dance, New York, HIV/AIDS, Then and Now. As an author Houston-Jones' essays, fiction, interviews, and performance texts have been published in several anthologies. His first book, FAT and other stories, was published in June 2018 by Yonkers International Press.

In the midst of the Philadelphia premiere of their latest collaboration, Variations on Themes from Lost and Found: Scenes from a Life and other works by John Bernd, Ishmael Houston-Jones and Miguel Gutierrez stop by the FringeArts office and talk with hosts Raina, Zach, and Katy about the art, life and legacy of Ishmael’s friend John Bernd and the legacies of other artists lost to the HIV/AIDS epidemic. Show Notes: Miguel’s Website: miguelgutierrez.org This Bridge Called My Ass: https://chocolatefactorytheater.org/miguel-gutierrez-this-bridge-called-my/ Fat and Other Stories by Ishmael Houston-Jones: http://yonkersinternational.press/fat.html Oral History Clips: 215-398-4534 Health Information Hotline for more information on HIV/AIDS services including testing: 215-985-2437 Follow FringeArts on Instagram, Facebook, Twitter, and Snapchat and visit us on the web at https://fringearts.com.

Joshua Brisco discusses the Kansas City Chiefs' victory over the Philadelphia Eagles. (A)ES talks about the stars of the game and what the Chiefs can be doing better before and after the half. Plus, Travis Kelce has some work to do and the AFC West looks stronger than ever.See omnystudio.com/listener for privacy information.

On this episode of Roughing the Kicker, Joshua Brisco discusses the Kansas City Chiefs' victory over the Philadelphia Eagles. RTK talks about the stars of the game and what the Chiefs can be doing better before and after the half. Plus, Travis Kelce has some work to do and the AFC West looks stronger than ever.

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FTB podcast #134 features the new album by BRIGITTE DeMEYER called Rose of Jericho.  Also new music from NICKI BLUHM, ALEXI MURDOCK and THE WOOD BROTHERS.  The full playlist is posted below.  Here is the RSS feed: http://ftbpodcasts.libsyn.com/rss. Show #134 BRIGITTE DeMEYER -  One Wish  (Rose Of Jericho) DONAL HINELY - The Famous Rocket Cage (The Famous Rocket Cage) WOOLDRIDGE BROTHERS - This Rain  (Days Went Around) THE CORNELL HURD BAND - Heavy Breathing  (Big State, Long Road) (mic break) ALEXI MURDOCK - At Your Door (Towards The Sun) LAUREN SHERA - The Panic Bell  (Once I Was A Bird) THE WOOD BROTHERS - Mary Anna (Smoke Ring Halo) BRIGITTE DeMEYER - Say Big Poppa (Rose Of Jericho) (mic break) HOUSTON JONES - Three Things (Queen of Yesterday) THE LOVELL SISTERS - Time to Grow (Time to Grow) THE WILDERNESS OF MANITOBA - Hardship Acres (You Left the Fire) NICKI BLUHM - Carousel  (Driftwood) JUSTIN TOWNES EARLE - Maybe Baby (Rave on Buddy Holly) (mic break) BRIGITTE DeMEYER - This Fix I’m In  (Rose Of Jericho) MARK WEHNER - (You Better Run) As Fast As You Can  (Wait... I Wasn’t Finished) (Sept. 21st, 2011) Bill Frater Freight Train Boogie Americana Boogie

In "Songs and Stories" #82, we talked to Houston Jones about their latest release and why they love working with bay area producer Cookie Marenco. In these next two episodes, we talk with Cookie herself. She describes how she was an early advocate of many digital recording advancement, and why these days she records exclusively on two-inch analog tape.

I chatted with Travis Jones and Chris Kee, who make up two fifths of our bay area's own Houston Jones, way back in episodes #31 and #32 of this podcast. With a new record out, we figured this was a good excuse to both get together again AND drag the whole band along for this follow-up episode.

Multi-instrumentalists Chojo Jacques (The Waybacks, Houston Jones) and Billy Bright (Two High String Band) discuss their new release, "Texacali Blues". Listen to this episode for a chance to win a copy of the record.

Another kitchen-table talk, this time a two-part interview with Chris Kee and Travis Jones of the bay area Americana band Houston Jones. Want to win a copy of Houston Jones' latest release, "Calico Heart?" Listen to this interview for details. I'll randomly pull a name at the end of the month and notify the lucky winner.