Podcasts about ipso facto

Run it Red 119 is here. This month's got killer sounds from the likes of D'Julz, Tal Fussmann, Scan 7, As One, Kr!z, Seddig and loads more. Full tracklist, as always, is below so check the labels/artists where you can

New SODE: Is there another quiet wealthy lux term for Brat Summer? One that describes trading Memecoins at Teterboroon route to Venice Biennielle. Brat Summer sounds like a neglected cabbage patch doll and a phrase uttered by the gals who work in digital fashion. Alas, tiz my *29th  Cruel Summer knee and Balanciagia by Rihanna balls deep in another May December Romance with yet another Low Tier VC Partner on the cusp of pivoting to AI or Suicide. I pondered whether to keep this deeply boring love affair going till Christmas so I don't have to show up to Mara Largo alone but if I have to look at one more liquid Bitcoin L2 pitch deck that is not fully endorsed by Sequoia and Kate Middleton I am calling the Police while playing the Police. You see, its not that we have nothing to talk about, its just that he is double* my age with no legitimate means to speak of not withstanding his early position in WifHat and Stablecoins pegged to the Russian Ruble mixed in with Nutella and soviet caviar. His questionable pedigree is also evident in the way he orders wine (Riesling, Shudder) , his numerous DWIs in a duhty part of the Hamptons, and his poorly argued thesis replete with zero SAT words that Bitcoin Maxis are bad for the ‘space'.I am vomiting my already vomited Lunch. Alas, Like all flawless human beings,I recognize that true summer love is not without critical sacrifice;  so what he is an old man trading memecoins in the kitchen who brings his own sheets to the 4 seasons because he doesn't like their aesthetic, He also bought me an NFT that got me a Board Seat at Musee Dorsay. Brat Summer Adieu CuntAutumn is on the Cusp. Ipso Facto, I must introduce my darling guest Anthony of the Great Desantis State of Florida.  A younger man, more keenly aware of the newer memecoin markets and has double the time to compound his interests in his Roth IRA.  We met during a heated Argument at a downtown Gallery in New York City outside whilst chainsmoking. I was on route to bid for a painting by one of my dearest preschool mates Banksy, when Anthony outbid me with the intention of setting the painting on fire. After a heated exchange of, I grew to realize the purity of Anthony's intentions of lighting this painting on Fire; to become famous and launch a token, my two criterion for being in my inner circle. Anthony went off to start a new token Xion like the Warrior princess with a real use case beyond money laundering, as if I asked for anotherone. He assured me that his fanbase would take a bullet in the elbow for anyone to speak ill of Xion or of Anthony himself.  He and I recorded this episode on the brink of the collapse of his relationship and we dissected said collapse at length, which I believe was routed in a deep seated obsession with me. And Lucky for Anthony, my May December Romance maybe coming to an end now that I have my Board Seat and he's well connected in the Digital Art wold due to his pyromaniac proclivities. I'm bullish on Xion because we didn't talk about it, and I have no idea what it is does but I love the community and what a strong team. 

Discover the latest episode of our Insolvency Insights podcast series, where Nicola Jackson, Partner in the Corporate Restructuring and Insolvency Disputes team, engages with Bruno Navarro Founder & Managing Director of Ipso Facto and Senior Advisor at Ankura.   Together, they delve into the evolving role of the Chief Restructuring Officer (CRO) in the Middle East, examining the impact of recent market developments and sharing firsthand experiences from high-profile regional restructurings.   This insightful discussion offers valuable perspectives for navigating the complexities of corporate recovery and restructuring in a rapidly changing economic environment.

Hello from ETH CC my Limited Partner and BCC my dad; I am doing something grand for my life and for this cycle.I am flailing from the depths of the critical reality that I have lost hope on everything except resurrecting Terra Luna. Looking at my surroundings and my contemporaries what with their homoerotic panels and pitches that lack theatrical passion, I am deeply embarrassed to be in this industry; After all I went to Choate and Westley before getting kicked out of both due to my light kleptomania and treason, but beside the point, I am simply too #wellBredwellRead to discuss the Merits of security that no one asked for. The only oracle I need is the one from me and Madonna's psychic. I snuck through customs because I don't do those kind of lines and am currently on the lam, podcast recording from a Side Event that I snuck into under my Alias Eva Braun. Drenched in sweat and my 1990 Versace jumpsuit and glued to my palm pilot, I pondered whether when I am caught by the Brusselian Authority that my quest to discover whether Symbiotic or Eigenlayer will bring me more points will impress them enough to excuse my breakage of a multi milly international humanitarian laws. This podcast is short, quick, and has terrible audio due to my clandestine operation and recorded in a stairwell. Ipso Facto, I  have nothing to report except that for all intents and purposes I do not know what intents are.  I do know that I want AI to do absolutely everything for me including play with my stepchildren and take care of my husband; thus with my my dwindling trust fund and alimony respectively I am willing to pawn my dead mother's ring on an AI rollup that vacuums my plane and teaches my child the questionable tradeoffs of being a good person. I digress, My guest is Hester Pierce, a darling woman whom I met at Janet Sartin facialist during the Nancy Regan Red Dress era and have stayed in each other's circles. During the Frank Dodd After Party at Tenjune, we smoked la meme Menthol cig marveling at her accomplishment and our shared qualities. We both have porcelain fair skin and a penchant for amethysts. We talk about her elegant disputes with Gary Gansler despite both of them being thin and rich as well as her overall career history. She knows a lot about securities law and I try to evade them. I comment on the charitable acts of kindness that Hester goes out of her way to stomach meeting with the Degen Plebians of the ecosystem unlike myself, and am intrigued by her alleged bullish sentiment. Alas this podcast was awkward because I was so nervous to be amongst greatness. Its lonely at the top, and even lonelier climbing up. Nevertheless, it was a pleasure talking with the ultimate crypto Hot Mom. #GlitterLedger

NEW ALBUM DIAMONDS available https://rockpapermerch.com/products/diamonds-the-best-of-the-hard-rock-years-1990-1995-signed?_pos=7&_sid=0281f00ee&_ss=rThe Rik Emmett Diamonds album release party presented by Music in Motion and RockPaperMerch was held at the Classic Bowl in Mississauga on May 22nd.  "Diamonds" is a brand new compilation featuring Rik's favourite rock tracks from his Duke Street years. Newly remastered in 2023 at Iguana Studios in Toronto ON with the most up-to-date technology, every track brims with a new crisp presence. Tracks from Absolutely, Ipso Facto and The Spiral Notebook never sounded so good! Exclusive to this package are two previously unheard original songs from the Absolutely and Ipso Facto sessions. The Diamonds cover features the work of renowned photographer Andrew MacNaughtan.Diamonds is a limited pressing of 550 units designed with a unique album gatefold that houses both the CD (with 4 bonus tracks) and LP on 180g heavyweight black/white marble vinyl. Reserve your package now ! Rik had a dozen platinum LPs from ‘75 to '88 as the lead singer/songwriter/guitarist with Triumph. Twenty more non-platinum solo indie projects followed over the years, ranging across genres. Six decades in the biz landed him in five Halls and two Walks of Fame, with a few ‘Best Guitarist' awards in various categories along the way. A published poet, his ‘Reinvention' collection came out on ECW Press in 2021, with his memoir (entitled ‘Lay It On The Line – A Backstage Pass to Rock Star Adventure, Conflict and Triumph') which is out now and available https://rockpapermerch.com/

Acclaimed international jazz artist Jose James has a composure about him that one might compare to James Bond.   The Minneapolis native claims he was one of the least talented artists in his music circles growing up, yet he ultimately attended The New School for Jazz and Contemporary Music. His first album, The Dreamer, debuted in 2008. Since then, he's gone on to play at the Kennedy Center, The Hollywood Bowl, Ancienne Belgique, Jazz at Lincoln Center, the Melbourne Symphony and has recorded 11 more records including his latest which dropped April 5—the stunning album 1978, named for the year of his birth.   Along the way, he's picked up honor after honor in establishing himself as an extraordinary jazz singer/songwriter—but one built for the hip-hop generation. Pitchfork called him, “one of the suavest vocal improvisers on the scene,” and it's been said his arrangements and approach are “in deep conversation with funk, R&B, and hip-hop.”   Despite oozing cool, he's not really all about himself. You quickly understand that James lives for the collaboration and building art that he loves with others.   “I really grew up with this idea that you make music with a band, with other people,” he told me recently on The Load Out Music Podcast.  He grew up feeling the diverse vibes of bands ranging from the Ohio Players and Peter, Paul and Mary found in his mother's record collection; the funky global beats of his multi-instrumentalist father's band, Ipso Facto; the western church music of his Catholic school and diverse artists such as Nirvana, 10,000 Maniacs, De la Soul, A Tribe Called Quest and Grammy-winner Bobby McFerrin who was the creative chair of the Saint Paul Chamber Orchestra for a time in the early 1990s. When he was 17, James attended a McFerrin concert with the noted jazz pianist Chick Corea. It was then that he was hooked on the idea that a career in music was inevitable—but he still was surprised that others saw it as well. “Wow,” James said. “People see something in me that I might not see. I didn't really go to college. I didn't want to do the traditional route. I was like, I can have a coffee shop job and pay my rent and see what happens. This is where my spirit is taking me.” Despite a love for jazz, early on James understood that jazz could be limiting and wanted to explore the boundaries of the genre. “There is a strong jazz radio, but it's pretty strict about what they play,” he said, noting that listeners essentially find smooth or classic jazz on radio, but the parameters are narrow. Thus, he approaches each record with the understanding that he must keep certain singles within the ditches, producing them to be radio friendly, while stretching boundaries on other tracks with dance, pop and hip-hop beats. “I think it's more frustrating that jazz, in general, is not more popular in America,” he muses, despite his voice not elevating to indicate any semblance of anger. “You go to Tokyo, go to any shopping mall, restaurant, they are playing jazz.” As James' star has risen, he's realized two principal realities about his chosen career: That money and power still drive the industry and that he would be little without the graciousness of other artists.  “It's not just about talent, James said. “It's about who's pushing you and how much money.” This became apparent to him when he released a single independently in 2012 to little fanfare. However, the same single was included on his first album for the vaunted Blue Note label and it became a sensational hit, landing him appearances on David Letterman's and Conan O'Brien's late-night shows.  James credits his success to mentors who have given him their time including legendary jazz pianist McCoy Tyner (who worked with John Coltrane), singer Anita Baker, composer Christian McBride, band leader Chico Hamilton and even former late-night host Jay Leno. “There's so much generosity going around,” he said. “You have to take the wins.” As for 1978, James said that it is, “The first time I've really gotten personal in a concrete way. I'm going to reveal more about myself and where I'm from.”  He points to the racial politics of Minnesota and efforts to bring to bear a range of influences including Prince, Michael Jackson and even Bob Dylan. “I call it party and politics because, to me, that's what the 70s kind of resonates with. People knew how to party. They could throw down. But they were also famous for taking a stand.” Thus, the first half of the album is what he calls “party,” while the second half focuses on “politics,” including pieces written in the memories of George Floyd and Trayvon Martin. “I don't really worry about it,” James said of injecting politics into his art. “I've definitely gotten some of that—the shut up and sing kind of vibe. If it's important to you, I think you've got to talk about it. If people don't like it, that's kind of fine.” It's important to Jose James indeed. Enjoy a tremendous episode of The Load Out Music Podcast with the acclaimed jazz maestro. 

Pat welcomes legendary Triumph guitarist Rik Emmett to the show to discuss his career in music and promote his new solo compilation "Diamonds: The Best Of The Hard Rock Years 1990-1995." See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Terri Kennedy of Ipso Facto has graced us with her presence on this episode! We discuss punk and deathrock in the 70's and 80's, hear stories about Shadow Project and the LA deathrock scene, feminism, recount various goth fashion trends and a lot more! It's a packed discussion focusing on the life and passions of a staple in the California goth scene. If you enjoy the show and want to hear this months exclusive bonus episode, head over to Patreon! No timestamps this episode! We switch topics about every 5 minutes which would make for a nightmare string of bookmarks so sit back and enjoy the show.   References: Stone 588 Representation without Transformation Imperial Feminism The Death of Feminism Who's Afraid of Gender

Terri Kennedy of Ipso Facto has graced us with her presence on this episode! We discuss punk and deathrock in the 70's and 80's, hear stories about Shadow Project and the LA deathrock scene, feminism, recount various goth fashion trends and a lot more! It's a packed discussion focusing on the life and passions of a staple in the California goth scene. If you enjoy the show and want to hear this months exclusive bonus episode, head over to Patreon! No timestamps this episode! We switch topics about every 5 minutes which would make for a nightmare string of bookmarks so sit back and enjoy the show.   References: Stone 588 Representation without Transformation Imperial Feminism The Death of Feminism Who's Afraid of Gender

The following is an audio version of the essay with the same title by Treeleaf Sangha founder and guiding teacher, Roshi Jundo Cohen ¨One must sit Shikantaza with profound trust that sitting is whole, complete, nothing lacking, the sitting of the Buddhas and Ancestors sitting as this sitting right here and now, no other place to be, nothing more in need of doing, nothing more to attain, that Zazen embodies enlightenment itself.¨ The essay can be found HERE

Aktuelle Neuerscheinungen von BURKHARD LIPPS THELEN, Federation Of The Groove, IPSO FACTO, The Frost Duo und dem BTTFLY Quintet.

Wain McFarlane is a transcendent Minnesota musician. Wain figured prominently is the famed Ipso Facto, and he's still touring widely with his eclectic musical fusion. Wain is also known as the Dreadlock Cowboy, but his shows are even more eclectic that that sounds. Wain brings it all to the Dakota in Minneapolis Tuesday July 26 at 7PM, and recently stopped to talk with Phil Nusbaum about the show.

In the late 1940s, Anthony Brutus Cassius was the first Black man to obtain a liquor license in the city of Minneapolis. He went on to create safe social spaces, specifically bars, for Black people for 47 consecutive years. After producing a radio documentary about his life in 2021, I found myself wondering, what is his legacy? Would Cassius be satisfied if he were alive today?  Courtesy of the John F. Glanton Collection via the Hennepin County Library A.B. Cassius smiles for a photo after being granted a liquor license for his cafe in Minneapolis. He was the first Black man granted a liquor license in the city. For decades, the Dreamland Café in South Minneapolis was often the place to be if you were Black and wanted to socialize. When Nat King Cole came to town in the 1940s, he played the Dreamland.  In many ways, the Dreamland grew out of Cassius's experiences growing up. Cassius was just 13 when he arrived in Minnesota in 1922. He came from Oklahoma, put on a train by his father just months after the Tulsa Race Massacre destroyed much of the city's vibrant and prosperous Black community, known to many as ‘Black Wall Street.' On his first night in St. Paul, he got a porter job at the Merchant Hotel at the top of Kellogg Hill and slept on a mattress in the basement. That would remain his home until he graduated from Central High School.  Solvejg Wastvedt | MPR News file St. Paul's Central High School stands on the site of the school Anthony Brutus Cassius attended in the 1920s. In his 70s, Cassius recorded an oral history for the Minnesota Historical Society, looking back at his life and accomplishments. He described his impressions of the Twin Cities when he first arrived:  “This was a prejudiced town, St. Paul-Minneapolis.” His voice sounds strong and angry. “Back then the only thing you could do was go to school. There was no prejudice in the school system. Because there wasn't enough [of us] to constitute a threat. The class I graduated in was 1,200, and there were only two or three colored in the whole school.”  Because few job opportunities were open to Black men at the time, Cassius went on to wait tables in hotels. This was even though he graduated from college as a top athlete and student at a time when having a college degree was a rarity for Black men. But he soon ran into extreme racial inequities in that industry. So he went and formed the first all-Black waiters union in Minneapolis. Eventually, he began working for his liquor license. It took two years. “But through persistence, I got it,” he said in the oral history.  Listen to Cassius The Godfather of Black Space in Minneapolis Over 47 consecutive years, he owned three bars. They were known as some of the first, and most consistent, integrated spaces in Minneapolis.  But Cassius opened these bars for a specific reason. He wanted to give Black people a place to be, to socialize, to conspire and to dream. Finding safe space for Black people to gather was a precious commodity in 1940s and ‘50s America. In the oral history, Cassius spoke about forming the Minnesota Club, a group of civil rights activists who organized to protest the screening of D.W. Griffiths' now notorious “The Birth of A Nation” in downtown Minneapolis, among many other movements.  “There were about eight of us,” he explained in the history.  We met once a month in Fosters Sweet Shoppe on 6th and Lyndale. We met in the back. And all they wanted us to do if we met there was to buy a dish of ice cream.”  At the end of the quote, you can hear him emit a gasp of incredulous laughter, as though the thought of being allowed to gather over a dish of ice cream was still a bit amazing to him. Nicole Neri for MPR News Flowered curtains cover the windows of the former Dreamland social space May 5. The shell of the old Dreamland Café, Cassius' first bar, still stands on 38th street in the old southside of Minneapolis. Once a thriving Black community, cars noisily speed by the dilapidated intersection. But there's a new dream unfolding for the space, and like Cassius' original vision, it's a dream with a purpose. Anthony Taylor is the community development lead of the Cultural Wellness Center. It's a Minneapolis-based social justice organization with a mission to support the idea that active living and green space are crucial to the wellbeing of Black people. His organization wants to bring back the old Dreamland space, in a true evolution of Cassius' vision.  Nicole Neri for MPR News Anthony Taylor walks through the neighborhood which used to be served by the Dreamland social space May 5. “‘Dreamland on 38th' is actually a revitalization of this entire community, as an African American legacy community,” he explained. “Fortunately, or unfortunately, the murder of George Floyd anchored that for us. We are now three blocks from there. So what we see is a connection between this development, what will emerge at 38th and Chicago, and we really see it as a destination for human rights and social justice fighters from all over the world.”  The vision for the project is ultimately a place to eat and drink. But the fact Taylor is imagining Dreamland as a destination for international social justice fighters, punctuates the importance of such spaces.  “We're saying ‘social' right now, but in my head I substitute ‘safe,'” he said. “Creating spaces that the community knows are safe for them to be themselves that are anchored in their own renewal, regeneration and socialization, that is really the conscious development of a safe space. And really, there's a challenge around that for Black people. There's still a challenge for that.”  Several recent mass shootings have been identified as racially motivated hate crimes, including the May 14 killing of 10 Black people in Buffalo, New York. Safe spaces for Black people seem as crucial as they've ever been.  Nicole Neri for MPR News The former Dreamland social space stands empty May 5, 2022. “I think what people don't realize is there is an energetic cost of being Black in white dominated spaces all the time,” Taylor emphasized.  If we can agree that these spaces are crucial, how, really, are we doing in the city of Minneapolis? I posed the question to other Black owners and operators of social spaces, as well as some patrons.  There is a new generation of Black-owned space in Minneapolis, and with them comes a new outlook and sensibility, too.  Nicole Neri for MPR News Gene Sanguma, co-owner of Ties Lounge & Rooftop, poses for a portrait on the rooftop of his club. Gene Sanguma is part of a collective of 20-something best friends who came together over a common bond: having a good time. But not any old kind of good time. A safe good time. On a recent sunny spring day in the middle of downtown Minneapolis, sitting on the third floor patio at Ties Lounge and Rooftop, their new downtown Minneapolis nightclub, he recalled the energy that went into its creation.  “We [thought we could] provide fun, and safety. We said, ‘Let's do it. Let's come up with something.'” “Something” ended up being the multi-story venue on the Nicollet Mall in the heart of downtown Minneapolis. You can eat, you can drink and you can dance. But you can also grab a quiet table with friends and talk into the night. It's like an anti-nightclub that still manages to operate with nightlife and good times at the forefront. “Ties is a community,” he went on. “We wanted to make it so it doesn't matter where you come from, what aspirations you may have in your life — you come into Ties, you feel welcomed. We wanted to provide a safe space for all people to come together and just enjoy themselves and network. We felt like the city really, really needed it.” Ties feels like an echo of what Cassius wanted to build. Dreamland on 38th's Anthony Taylor realized this about Cassius' mission, too. “When young Black people are allowed to congregate, they start to look outward and organize themselves,” he told me. “When you're creating spaces where Black people feel emotionally safe, you can imagine a future that includes you.”  The exclusion of Black people from public spaces is part of America's fabric. As Taylor put it, Black people are afraid of public space. Because when it goes wrong? It goes really wrong. “It's not a skinned knee,” he said.   Euan Kerr | MPR News The exterior of Palmer's Bar in Minneapolis. The bar which opened in 1906 is a West Bank institution, and the only actual bar left in what was once a thriving entertainment area adjacent to the University of Minnesota. As a young person, I gravitated to Palmer's Bar on the West Bank of Minneapolis. Though the dive bar institution has a rough and tumble façade and reputation, I immediately found that it was one of the most welcoming spaces I had ever been to.  Tony Zaccardi has owned Palmer's for four years, but he says it's long attracted a seriously diverse mix of customers.  “I always tell people, my motto of what Palmer's is, it's Black, white, gay, straight, trans, left, right, rich, poor. So on and so forth,” he said. Then he added “Everyone is welcome until you're an a-hole.”  But there's something else about Zaccardi. He's a Black man, and his ownership adds another layer of meaning to the already storied place.  I put the question to him: would Cassius be satisfied if he were alive today? “I think he'd be disappointed as hell at Black bar ownership and Black representation in bars. Restaurants are a little better, but it's still not at all where it could or should be. But I think he'd be proud of me. I just started tearing up when I said that. I think he'd be proud of me.”  Euan Kerr | MPR News When Tony Zaccardi bought Palmer's Bar in 2018 he became the only Black bar owner in the city of Minneapolis. I think Cassius would be proud of Tony too. I'm proud of Tony. But this is a story about whether or not Cassius would be proud of the Twin Cities. I happened to catch Wain McFarlane, longtime fixture of the Twin Cities music scene and frontman of internationally known reggae-rock band, “Ipso Facto,” on the patio of Palmer's, where he's a regular. He didn't think Cassius would be satisfied, either. “I'd say we still haven't made the progress. It's still controlled by another entity,” he told me from a table he's sharing with his son. “But at least Tony (Zaccardi) finally owns something.”  McFarlane mentioned how difficult it is to get a foothold into the business, and he believes it's time for something to change.  “I think we need some sort of financial institution to allow us to have our dream and help us manage it. You know, we don't want to waste the money,” he said.  I approached a group of other Black patrons on the patio. Zaccardi said one of them is in every day. I asked what it is about Palmer's that makes them feel safe, and what keeps them coming back. A guy with long braids named Caezar told me, “A cat can hang out with a dog here. Nobody would pay attention to it. It's like everybody's welcome. We're all family. For real. We love each other.”  At the same table, a woman named Keisha agreed. “When you come here it's so comfortable and laid back. It's just very peaceful. I've been to other bars, but at Palmer's we have fun. We have a ball.” Euan Kerr | MPR News Pianist Cornbread Harris has been a fixture of Sunday afternoons at Palmer's Bar in Minneapolis for several years. In fact he claimed, with a laugh, during this session photographed on June 18 that he is the reason the bar remains open. The bar does attract customers on all other days of the week. Black people feeling comfortable, laid back, peaceful and having a ball? It's a much taller order than it should be in America, as Cassius attested to all those years ago. There's an energetic cost to getting there, as Anthony Taylor so eloquently put it. We're not there yet. These things run deep. Tony Zaccardi tells a story of hanging out at Mortimers, another south Minneapolis institution, chatting with the owner, and a friend.  “Somebody walked in wearing a Palmer's Bar T-shirt,” he remembered. “And she said, ‘Palmers! I haven't been there in years, but I heard a brother owns it.' And [the owner said] ‘Yeah, the guy standing right next to you, he's the guy that owns it.' And she started bawling. And then I started bawling. And I was like, ‘OK, this is actually something that's pretty special.' It was astonishing. It really touched my heart and I realized why it's so important to a lot of people.” It's so important to a lot of people because still, in 2022, Black people cannot take safe social space for granted. Places like Palmer's, and people like Tony Zaccardi, are providing a service that goes far beyond pouring a drink. And Cassius would be proud — some 80 years after opening the Dreamland Bar & Café, these spaces are his legacy.  But I think he would be prouder if we were able to drop the word “safe” from social space.  What should we cover next? Pass the Mic

On this Episode of Under the Library:   The Special Agents and Blue head to the 3rd floor to investigate. The carpet is more weathered and damp than the rest of the hotel, and there's a strong odor of fish. Chambers knocks, but there's no response and the door is locked. She picks the lock but the door is still held by a deadbolt. Trying to kick the door open, she instead kicks through the door up to mid-thigh.   Downstairs, Bubba sees the desk clerk making a call. He hears "I need you here quickly" before the man runs upstairs. In the meantime, Merrick shoots through the door and hears a slappy scurrying followed by a door closing. The clerk then arrives to investigate the shot. He threatens to call the police and ignores Merrick's orders to leave.   Outside of the hotel, Aloysius checks on his car. He finds a gas station, fills up, and heads out of town toward Ipswich with two bodies in the trunk.   Bubba continues to explore the outside of the hotel and finds a wooden fire escape. He climbs to the 2nd floor and sees a face with bulbous eyes, scales, a wide mouth, and a fin on top. He crawls through the open window to follow the creature, which has slipped down the fire escape.    At the same time, Blue and Merrick have removed Chambers' leg from the door. Blue tries to open it, but Bubba bangs on the other side and they're momentarily stuck. Finally shouldering their way into the room, Merrick and Blue find scales on the bed and a bucket with a fish tail sitting in shallow water.   ------------------------   Bloodstone is an original Call of Cthulhu sandbox, designed by Under the Library's Keeper, and features weekly actual play / live play / real play sessions. Call of Cthulhu is a Horror Tabletop Roleplaying Game (TTRPG) similar to Dungeons & Dragons, which focuses on narrative development, gore, portals from beyond and servitors of the outer gods. If you're interested in becoming a cultist, you can join us at underthelibrary.com or patreon.com/underthelibrary.    Background art on YouTube courtesy of the brilliant artist Andrii Shafetov.   https://www.artstation.com/andriishafetov & AzDimension Virtual Technology from their game The Last Dead End available on Steam.

Wherein we discuss completely objective opinions on recent obviousities.

Donald Trump calls for mass protests if he is charged by prosecutors. Spotify announces they will slap “content advisory” warnings on podcasts that promote misinformation. Data shows rent prices have increased over 30% in some US cities. The teen tracking Elon Musk's private jet turns down 5k from the billionaire to shut down his account.Co-Host: Francesca Fiorentini See acast.com/privacy for privacy and opt-out information.

Bichas y cine es un podcast centrado en el séptimo arte. Es conducido por Ernesto Valle de Nicaragua, a quién escucharás hablando y comentando sobre películas que ve -ya sean recién estrenadas o clásicas-. Todo esto mientras bebe bichas (cervezas, coloquialismo nicaragüense). Encontrános en tus redes sociales favoritas: Twitter Instagram Youtube Twitch Suscribite si la plataforma te lo permite y para escuchar más sobre películas recién estrenadas o aun en cartelera. También recomendamos una que otra película clásica o independiente. Podés encontrar indicaciones de cómo ver las películas de las que hablamos así como otros contenidos en nuestro Patreon. Sobre Ernesto: Estudió Comunicación Social en la Universidad Centroamericana (UCA), en Managua, y realizó una maestría en Estudios Culturales con énfasis en Memoria, Cultura y Ciudadanía, en el Instituto de Historia de Nicaragua y Centroamérica. Nacido en Managua, Nicaragua, en 1992, ha publicado artículos periodísticos, poesía, cuentos en diferentes revistas, suplementos y medios de su país, Chile, Cuba, Alemania, Costa Rica, Argentina y México. En 2013 resultó ganador del primer lugar en el III Concurso Nacional de Poesía Joven Leonel Rugama, con el libro Poemas para leerse en una Managua congestionada. Su poemario Del oficio y la muerte, aun inédito, resultó finalista en el certamen literario centroamericano Ipso Facto. Una compilación de sus poemas fue agrupada en una antología personal, llamada Antípodas (2010-2018). Aunque ya mostraba interés en el cine desde antes, en 2013 explora el género documental con "El olvido es peor que la muerte", su tesis de licenciatura en la que rescata la vida y obra del poeta y mártir Ernesto Castillo Salaverry. Participa como fotógrafo del documental "El espiritu no envejece" (Rizo, 2017), "Primer encuentro" (Rizo, 2018), "La voz de afuera" (Carrion, 2020) y dirige también "Ernesto y Solentiname" (2020) por encargo de Hora Cero.

In this week's NEW @EchoChamberFP https://www.instagram.com/echochamberfp/ we have a paranormal documentary, a new 'Shudder' exclusive horror, and a restored classic from the golden age of the moving image. This week we have: The Parapod: A Very British Ghost Hunt Theatrical Release Date: 7th September 2021 Digital Release Date: 27th September 2021 Director: Ian Boldsworth Cast: Ian Boldsworth, Barry Dodd, Carol Fieldhouse Credit: Infinite Hermit Productions Genre: Documentary, Comedy, Horror Running Time: 108 min Cert: 15 Pre-order via iTunes: Here. https://itunes.apple.com/gb/movie/the-parapod-a-very-british-ghost-hunt/id1582519642 Trailer: Here. https://www.youtube.com/watch?v=BsfEAAtZRDs Website: Here. http://theparapod.com/ Twitter: @theparapod https://twitter.com/theparapod Instagram: @theparapodmovie https://www.instagram.com/theparapodmovie/?hl=en ------------ Martyrs Lane Digital Release Date: 9th September 2021 Director: Ruth Platt Cast: Denise Gough, Anastasia Hille, Steven Cree, Hannah Rae, Kiera Thompson, Sienna Sayer Credit: Shudder, Ipso Facto, BFI, Lipsync, Sharp House Genre: Horror Running Time: 96 min Cert: 15 Trailer: Here. https://youtu.be/o4W_QVV2NrM Instagram: @martyrslane https://www.instagram.com/martyrslane/ ------------ The Servant Digital Release Date: 10th September 2021 4K UHD Collector's edition Blu-Ray, DVD & Digital Release Date: 20th September 2021 Director: Joseph Losey Cast: Dirk Bogarde, James Fox, Sarah Miles, Wendy Craig Credit: STUDIOCANAL, Springbok Productions Genre: Drama Running Time: 114 min Cert: 12 Trailer: Here. https://youtu.be/LNIuMNMEV_s ------------ *(Music) 'Sugar Hill (Remix)' (feat. Miss Jones) by AZ - 1995 --- Send in a voice message: https://anchor.fm/eftv/message

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"TO DO WHAT? TO DO WHAT?" Mike & Dan ponder on, in hushed tones; Pink Floyd B-Sides, David Cameron's shed and Greenclaw's Greenhouse. Plus, they manage to link Paul Oakenfold to Alan Bennett, via Ghostbusters, whilst writing the Top Content Commandments. #PODCAST #TOPCONTENTPOD #FOREHEADS #GREENCLAWS #CRICKET #EVENINGSTANDARD #MRSMERTON #LOBBYING #PMOFFICE #PAULOAKENFOLD #GHOSTBUSTERS #ALANBENNETT #CORRUPTION #COLLUSION #PINKFLOYD #MCCARTHY #MORALABSOLUTES #COMMANDMENTS #MASTERCHEF #PRINCEPHILIP *A Top Content Production - TCP*

Sweeping changes to the UK’s insolvency regime became effective on 25 June 2020, curtailing the ability of parties to terminate commercial contracts for the delivery of goods and services on the grounds, ipso facto, of the other party’s insolvency. Coming in the midst of the COVID-19 pandemic, this change is particularly important for companies that depend on third-party service providers for critical business functions. This podcast is the first in a three-part series looking into the practical effects of the UK’s insolvency reforms that have rendered these ipso facto clauses unenforceable. In this episode of Connected With Latham, Andrew Moyle, Data and Technology Transactions partner, talks with London partner Jessica Walker and New York partner Adam Goldberg from Latham’s Restructuring and Special Situations team about some of the measures introduced by the UK government and the impact on commercial contracts, as well as existing insolvency-related regimes in the UK and the US. We also examine the implications of a carve-out to the ipso facto restrictions that favours financial services firms.   This podcast is provided as a service of Latham & Watkins LLP. Listening to this podcast does not create an attorney client relationship between you and Latham & Watkins LLP, and you should not send confidential information to Latham & Watkins LLP. While we make every effort to assure that the content of this podcast is accurate, comprehensive, and current, we do not warrant or guarantee any of those things and you may not rely on this podcast as a substitute for legal research and/or consulting a qualified attorney. Listening to this podcast is not a substitute for engaging a lawyer to advise on your individual needs. Should you require legal advice on the issues covered in this podcast, please consult a qualified attorney. Under New York’s Code of Professional Responsibility, portions of this communication contain attorney advertising. Prior results do not guarantee a similar outcome. Results depend upon a variety of factors unique to each representation. Please direct all inquiries regarding the conduct of Latham and Watkins attorneys under New York’s Disciplinary Rules to Latham & Watkins LLP, 885 Third Avenue, New York, NY 10022-4834, Phone: 1.212.906.1200

Sept. 27, 1982: Bad Brains/Sweet Taste of Afrika/Husker Du Almost 40 years ago, D.C. rockers Bad Brains played First Avenue with two Minnesotan openers: Sweet Taste of Afrika and Husker Du. While Husker Du are relatively well-known today, Sweet Taste of Afrika are all but forgotten. Meanwhile, Bad Brains are world-famous, but their hurtful behavior has flown under the radar. In this episode, we tease out the complicated relationship between the three bands on the bill, their genres, and their identities. This is the third episode of The Current Rewind's "10 Pivotal Days at First Avenue" season. If you missed the first two episodes, catch up below. • April 3, 1970 (The day it all began)• Nov. 28-29, 1979 (The days that told the future) Transcript of The Current Rewind season 2, episode 3: "Sept. 27, 1982" [Bad Brains' "Banned In DC"] Cecilia Johnson VO: D.C. rockers Bad Brains are among the best-known hardcore bands in history. They're famous for their live shows. Imagine a scene like this: [volume inches up] Cecilia Johnson VO: Lead singer H.R. is flailing, his voice curdled from screaming, and drummer Earl Hudson rides the cymbals hard. A song later, the band dips into reggae. The kids who were moshing just a minute ago are now letting their shoulders slump, swaying from side to side, until Dr. Know fires up the guitar again, and the audience churns back into a pit. Maybe you've experienced this in person, maybe you've just heard about it...but whatever's the case, for a lot of people, Bad Brains are one of the only Black rock bands they've heard of. Let's talk some more about that. [Icetep's "Hive Sound"] Cecilia Johnson VO: [over theme] I'm Cecilia Johnson, and this is The Current Rewind, the show putting music's unsung stories on the map. For our second season, we're exploring the history of First Avenue, the downtown Minneapolis venue that has become one of the Twin Cities' – and the country's – greatest clubs. [Icetep's "Hive Sound" crescendos, plays for several seconds, and fades down] Cecilia Johnson VO: So far, we've seen First Avenue evolve from the Depot to Uncle Sam's to Sam's. For this episode, we'll jump ahead to 1982, when Bad Brains, Sweet Taste of Afrika, and Hüsker Dü shared the Mainroom stage. We set out to tell a story about one of the most revered bands in punk music. But we ended up learning a lesson: that while representation is definitely necessary, if you treat individuals' identities as their virtues, you can actually allow them less humanity – and excuse the harm that they've done. Honestly, this episode presented a lot of challenges, and we want to let you in on them as we tell this story. So let's do that. I'm super excited to introduce our guest host for this episode. She runs the show Rock and Roll Over at the University of Minnesota's Radio K and her name is Zoë Challenger. She's definitely one of our youngest guest hosts this season, but I can already tell she has a ton of talent and wisdom to share with the world. Here she is. [rewind sound effect] Zoë Challenger VO: I'm Zoë Challenger. Being a Twin Cities native, I am embarrassed to say that my first concert at First Avenue was when Noname came to town in January of 2019. I was 19 years old, and I went alone. While I grew up with a desire for musical exploration, I did not grow up in a musical household by any means. I told my parents I was going with a friend, when in reality, I couldn't find anyone to go with me. So I draped my mother's elegant hand-me-down wool coat over my plaid skirt, crop top, and tattered stockings. I let the material confidence override any underlying social anxieties. As an only child, I've never been afraid of being alone, but walking into a venue by myself brought up new feelings. Since that night, I found myself at the First Avenue Mainroom or the 7th St Entry nearly once a week until the coronavirus pandemic hit the nation. Most of the time I would arrive alone, but over time, I would find myself running into more and more familiar faces at any given show. Maneuvering the block of 7th Street and Hennepin Avenue will always be an act of muscle memory. Over the last 50 years, First Avenue has hosted a variety of big names, but the early 1980s were jam-packed. From 1982-84, the calendar swerved from funk to punk to New Wave, with acts ranging from talkbox legends Zapp & Roger, to Minnesotan rockers the Replacements, to Bow Wow Wow, the band behind "I Want Candy." That's not to mention Prince, U2, Ray Charles, and a then-unknown Wynton Marsalis. But if you were to look through the 1980s First Ave band files that are now housed at the Minnesota Historical Society, you'd struggle to find a particular category of artists: well-known Black American rockers. The Minnesota music community has a lot of excuses for this, the most common one being, "There weren't that many Black rock bands to book." It's true that funk and soul were much more popular among Black Americans, especially those raised in the church. But it's too easy to say that Black rock wasn't a thing. In fact, according to those band files, rock-adjacent bands War, Ipso Facto, and Defunkt played First Avenue in the early '80s. But aside from the Historical Society files, those shows hardly left a paper trail, whether in microfilm archives or the internet. Which brings us to an issue at the heart of this story: which legacies last and which fade away. The story of Bad Brains is fairly well-established. The D.C. group originally banded together in the 1970s as a jazz fusion ensemble called Mind Power. After going to a Bob Marley concert and hearing the Ramones' song "Bad Brain," they were influenced enough to change not only their name but also their sound, ending up with a mix of punk rock and reggae. At this point, a pattern was beginning to form with Black musicians who dove into punk music; they were often eclectic in their genre-molding and evolution. In Minneapolis, local punk bands who'd been performing at bars like Duffy's and the Longhorn had a new room to fill: the 7th St Entry, a small space off the side of the First Avenue Mainroom. Steve McClellan: And there was just, say, we got this empty room. It's a storage area. Zoë Challenger VO: Around the same time as he opened the Entry, general manager Steve McClellan hired Chrissie Dunlap, who ended up booking the space. Chrissie Dunlap: I started out just 100 percent Steve's assistant: You know, his desk (and office generally) was just filled up with contracts, riders, promo material, you know, label stuff, cassette tapes everywhere. And I would go in there and just try to prioritize things – tell him, "This needs to be signed, this, you gotta do this." And then I would just sorta take the promo material and start promoting shows. And as time went on, a lot of that detailed stuff ended up leaving Steve's desk and [moving] over to my desk. The bands would start calling, looking for gigs, and, you know, I started out giving the info to Steve and kinda working on him with it, but he was busy doing the real talent buying, and I was there during the day more when the phone rang and people stopped by with cassettes and stuff. So I just kinda, little by little, picked it up. Zoë Challenger VO: One of the bands Chrissie would book – a lot – were Hüsker Dü, the St. Paul punk group who opened for Bad Brains at First Avenue. But that's not a huge surprise; in the '80s, they were playing upwards of 60 shows a year. Hüsker Dü guitarist Bob Mould wanted to tell us all about this era, but right when we were producing this episode, he was actually called for jury duty. While Bob did his civic duty, we grabbed a clip from the audiobook of his memoir, See A Little Light: The Trail of Rage and Melody. Bob Mould: We started the spring tour in the Midwest, with our four-year anniversary gig at First Avenue in Minneapolis. First Avenue was originally a bus depot in downtown Minneapolis. It became a nightclub in 1970, and 7th St Entry was the coat check before becoming its own 300-capacity music room. First Avenue had been a cornerstone of the Midwest rock scene for years, and to play the 1,200-capacity main room was the goal of many a Midwest musician. Zoë Challenger VO: Along with Bob, bassist Greg Norton and drummer/songwriter Grant Hart recorded their debut album Land Speed Record at the Entry in '81, and they released it via New Alliance in January 1982. Bob Mould: The band always played with purpose – there wasn't a lot of goofing around in the live shows. On the faster material, Greg would start jumping in the air or do scissor kicks. I typically wore a grave, glowering expression, digging deep into my guitar when not singing. Grant was behind the kit, looking much like Animal from the Muppet Show band, except with longer hair and bare feet. We were young and inexperienced, but we had tons of energy and were able to create a solid wall of sound. Zoë Challenger VO: In selecting this show as one of First Avenue's pivotal nights, we were excited to focus on the positive, celebrating punk heroes Hüsker Dü and Bad Brains on one bill. But it didn't turn out to be that easy. Bob Mould: There was a loose network, which we often discovered by chance, where like-minded bands would share a stage and the hometown band would offer accommodations to the traveling band. In return, when that band came to your town, you would reciprocate. Sometimes you'd run into a band that didn't understand or appreciate the idea. When Bad Brains stayed with Grant and his parents, they took Grant's pot and left behind an antigay note. Some gratitude. But once people caught the drift of those bands, they were usually shunned, and eventually they faded away. Zoë Challenger VO: Bob and Grant's sexualities were open secrets in the Minneapolis punk scene. Bob would come out as gay in a Spin article in 1994, and Grant is on record talking about his bisexuality around that time. Bob and Grant wanted to avoid becoming pigeonholed for their identities. But when you consider the scope of their experiences – and how scary the AIDS crisis was – their angry, frenetic catalog takes on new meaning. [Hüsker Dü's "Pink Turns To Blue"] Bob Mould: Gays in the hardcore punk scene were much like gays in the military. If the military says, "Don't ask, don't tell," the hardcore punk collary was, "Don't advertise, don't worry." If someone made a disparaging remark about gays, I would simply say, "That's not cool," or, "You're so ignorant." It was a way of making my feelings known without broadcasting my sexuality. Generally, there was no more homophobia in the hardcore scene than anywhere else in America, although as 1981 progressed, the media began reporting on the "gay cancer," and homophobia escalated throughout the country. Numberwise, the hardcore scene didn't seem any more or less populated by homosexuals than most major cities were. Then again, the scene attracted the margin walkers, the folks who were outside the norms of society, so maybe there was a slightly higher ratio of gays to straights. Zoë Challenger VO: According to several sources, Grant wasn't the only person Bad Brains mistreated. Lori Barbero, who drummed and sang in Babes in Toyland, remembers similar behavior toward Randy "Biscuit" Turner of Texas punk quartet the Big Boys. Lori Barbero: Think they did the same thing to one of the guys from the Big Boys down in Austin, Texas, because he was gay. And I heard kinda the same story. And it's like then don't – if you know they're gay, why would you even stay at their house? Zoë Challenger VO: In Finding Joseph I: An Oral History of H.R. from Bad Brains, punk rock activist Mark Andersen also mentions the band's mistreatment of Biscuit. He echoes Bob Mould's thoughts on margin walkers: quote, "Weren't we all in the punk rock underground because we were all different, and because none of us felt like we really belonged out there?" In 1989, Bad Brains released the song "Don't Blow Bubbles," which guitarist Dr. Know described as an "angry warning to homosexuals." One chorus goes, quote, "Don't blow no bubbles and we can stop the AIDS/ Don't blow no spikes/ Don't blow no fudge buns/ Ask Jah and he'll make the change." By this point, 100,000 cases of HIV/AIDS had been reported in the U.S., and the public health crisis would get much worse before the government approved the first antiretroviral drugs in 1995. It's shocking to hear H.R. cite "P.M.A" – Bad Brains catchphrase "Positive Mental Attitude" – in the same song as he encourages, as a fundamentalist Rastafarian, that non-straights pray the gay away. In 2007, bassist Darryl Jenifer addressed the band's past worldview with some remorse, saying, quote, "Damn right, I was a homophobe! [...] You have to grow to be wise." As more details about Bad Brains' homophobia came to light, the Current Rewind team weren't feeling too good about focusing this episode on such a disappointing group. So we turned to the third band on that night's line-up: Sweet Taste of Afrika. Before learning about the show, I had never heard of that band before, and neither had our producer, Cecilia Johnson. But we were excited to learn that they're from the Twin Cities. Joe Shalita: So I came to the Twin Cities in the '80s and I've been in – you know – participating in the music and art industry all that time. Zoë Challenger VO: This is Joe Shalita, Sweet Taste of Afrika's lead guitarist and the man the Twin Cities Daily Planet has called "the face of African music in the Twin Cities." He grew up in Uganda and moved to Minneapolis in 1979. Joe Shalita: When you grow up in Africa, you have – music is a big part of our culture – people are tilling the garden, they're always using music to till the garden or till the land. Whether they're chopping trees down, they're gonna be singing along. [Shalita laughs] Zoë Challenger VO: And when he got to Minneapolis, he found a small but strong African music scene. Joe Shalita: In those days, really, there were a whole lot of live bands, live groups of almost every genre, but Simba was the original roots-reggae band in the Twin Cities. And then there was the calypso band, which was Shangoya with the late great Peter Nelson. Then there was Sweet Taste of Afrika, which was our band, which performed strictly African music. [Sweet Taste of Afrika's "Children of the Nile"] Joe Shalita: Hassan [Omari] was our lead singer, and then there was Mr. Robert Mpambara who was on bass. He's still in the Twin Cities. I was on lead guitar and also singing, and then there was Mr. David Mutebi from Uganda also. Mr. Mpambara was from Uganda; I was from Uganda; Mr. Mutebi from Uganda. So the Ugandans dominated the band. [Shalita laughs] He played rhythm guitar. And then we had native Minnesotans who played. We had the late Paul McGee on percussion [and] Mr. Ben Hill on drums. Zoë Challenger VO: In 1980, the band helped organize an event called Afro Fest. But most of the time, they had to rely on white bookers to let them onstage. Joe Shalita: We were really stubborn, because getting into First Avenue was not easy. And I know personally, I kept harassing Mr. McClellan – Steve McClellan – and I'm sure he got tired of listening to my voice – "Is that Joe Shalita calling again?" [Shalita laughs] Steve, wherever you're listening – it's true, because I kept bugging him all the time, said, "You gotta give me a chance! Come on, man. How many times do you have an African band on your stage?" And then, fortunately, First Avenue started having these big African stars coming in to grace the stage. They had, like, Tabu Ley Rochereau was like one of the superstars of Africa [who] came to First Avenue, and I think that opened their eyes, too, to say, "Ok." I was young in those days. But eventually they let us open for some artists – Bad Brains being one of them. Zoë Challenger VO: Sweet Taste of Afrika spent a little time in the studio, but to Shalita's knowledge, none of their music was ever released to the public. Joe Shalita: There are some YouTube videos of Sweet Taste of Afrika. Have you seen them? Cecilia Johnson: I have seen them! They're so good! Joe Shalita: I know! I was skinny, with a huge Afro. [Shalita laughs] I think David and Hassan may have some recordings, but I don't have any myself. I just look at those ones on YouTube and marvel at the quality of the sound and musicianship. I was like, "What?" [Shalita laughs] Zoë Challenger VO: According to Joe, the band had some creative differences, and they broke up in 1982. Joe found work as a roadie, then learned a little sound engineering, then formed his own band, Shalita, which lasted until 1999. He rarely performs these days, but he's planning to retire in a few years, and he dreams of returning to music. Joe Shalita: Art doesn't have an age limit. That's a good thing about art. Zoë Challenger VO: After learning about Sweet Taste of Afrika, we got to thinking about the Black rock artists who work in the Twin Cities today. Some are relatively well-known, having placed in "best new band" polls or opened for bigger acts. But sooo many of them have never been in the spotlight. And as we've learned while relying on microfilm and internet archives this season, the press has the power to preserve artists' legacy. So we decided to talk back to this narrative. Our producer Cecilia met up with a few Minnesota Black rockers – Matt Slater and Himes Alexander of the Smokes, plus Nadi McGill of Gully Boys – and asked them, what musicians inspire you? What constitutes a good legacy? What do you love about rock music? Nadi McGill: Um, I feel pure joy. It's like I can feel the oxytocin rushing through my body. It feels really good. Zoë Challenger VO: Nadi drums and sings in the Minneapolis rock band Gully Boys – who've performed in the First Avenue Mainroom and many times in the Entry. [Gully Boys' "New Song No. 2"] Nadi McGill: I'd always wanted to drum. My mom said no when I was a child, of course. A past partner was a very good drummer, and he had two [or] three drum kits, so I just sat down at one of the drum sets he had set up at his house and just started playing. Cecilia Johnson: What do you think of when you hear somebody talking about rock, or like, what is rock to you? What do you feel when you're listening? Nadi McGill: Everyone's playing their own instrument, like that's – the sound you hear is the sound that is being put out, and I think that's really cool. I think that's a really awesome aspect of rock. Zoë Challenger VO: Although they're a young artist, Nadi is already thinking about legacy. Nadi McGill: I will always be loud about what I believe in, and I'm always willing to be corrected, and I just want to be known and remembered as someone who used whatever platform that I had to make Minneapolis a better and safer place. For all people, but mostly femmes – fat femmes, femmes of color – in whatever space they choose to occupy... Every opportunity that we have, I try to encourage femmes to join a band, and then I specifically make a point to encourage Black femmes to join the band, because I feel like there is a lot of gatekeeping, and there is a lot of tokenization that happens, which is very annoying. I think the best way to kinda combat that tokenism and gatekeeping is to just be loud about it, and rock music is a great way to be loud about it. And you kinda just make your own space. Zoë Challenger VO: Nadi says they've taken inspiration from other Black rockers. Nadi McGill: I was obsessed with this band called Dance Gavin Dance when I was younger. I really was into pop punk music and a little bit of emo music, and Dance Gavin Dance I loved, and then I found out their guitarist was a Black musician, and I was even more in love, because it's very rare for me to see anyone who looked like me, not only in the crowd at the shows that I would love to go to, but on stage. Also, The Smokes locally? Two Black amazing punk rockers. And my favorite is that Matthew, the drummer rocks an Afro while he's playing. They sing about racial experiences that they've had. And then I appreciate that they're transplants as well. They're not even from here, but they kinda came here, and they were like what's up, like we are here to rock. So that's amazing. Cecilia Johnson: [laughing] We are here to rock. Nadi McGill: Honestly, like they really did. I remember I saw them for the first time. It was, like, maybe a week or two weeks after they had moved here, and I was like, "Welcome! Welcome, let's do this," like, "Y'all came like riding on the pavement 100 miles per hour," and I was so stoked to have them here. [The Smokes' "2 I Luv" (demo)] Himes Alexander: Black pride is something that's difficult for a lot of people to swallow, but is inevitable as you look at the influence that Black culture has had on American society, especially. Zoë Challenger VO: That's Himes Alexander of the Smokes, a two-piece garage/punk/indie/soul band who've been performing together for about five years. Himes and his cousin Matt Slater grew up in Spokane, Washington and moved to the Twin Cities in 2017. They've learned from many Black artists around the world. Matt Slater: This is a really broad one to start with, but I really love Fela Kuti. I've always loved Fela Kuti for lots of reasons. I've got like a soft spot for funk, and he was like a – just comes off as like this African king to me. And then jumps around musically so freely, like, just like feels the spirit of the music. And it was like, oh my god. This music is so Black, so free, and so it like captures his voice so well that like even now I hear it and it just like it makes you feel good, inspires to actually say something – say something real, and it doesn't have to be like a downer. Himes Alexander: I'd like to talk about a collective like Odd Future who has a bunch of different bands, a bunch of different projects coming out of the same collective, and there's a wide range of eclectic taste when it comes to all of that. You know, Steve Lacy is doing some sort of indie thing. The Internet is electronic R&B or – and even goes outside of that, and [Earl] Sweatshirt and Tyler the Creator are enigmatic, like you can't really hold them down to one thing. Matt Slater: And then there was the drummer from – god, why can't I – Himes Alexander: Yellowcard? Matt Slater: Yeah, the drummer from Yellowcard. Who cares about Yellowcard? [The Smokes laugh] The drummer from Yellowcard was this Black dude with dreads, and it was like hell yeah, I wanna do that. I literally – I was like I didn't even like their music. I was just like yes, cool. Zoë Challenger VO: The Smokes have brought up several musicians who made an impact on them. For me, Whitney Houston, Nina Simone, and Janis Joplin have probably been my biggest musical influences. Years after Houston's death, her friend Robyn Crawford told The Guardian about their queer past, saying, quote, "Our friendship was intimate on all levels." Both Simone and Joplin also held relationships with both men and women. And going back to the beginnings of rock and roll, artists like Sister Rosetta Tharpe, Big Mama Thornton, and Little Richard experimented not only with instruments and genre, but also with their sexualities. Many beacons of musical creativity have occupied many different identities – there is no "prime" or perfect human being, whatever H.R. or anyone else might say. Like it or not, Bad Brains are part of rock history. It's true that their actions were garbage. But it's also true that they inspired members of Fishbone, Rage Against the Machine, ho99o9, and many more groups to make rock music. They played First Avenue during a complicated and sometimes tense time in the club's history, with respect to race. Many of the Black bands who played there were not supported by press, radio play, or strong ticket sales, and community members noticed. In fact, one of the people who would've been paying attention was Prince. Cecilia Johnson VO: Thank you, Zoë. In 1983, the year after the Bad Brains show, Prince would take the First Avenue stage to change the club – and music history – forever. As we'll see in our next episode, the artist who catapulted First Ave from a well-known local rock club to an international destination was a genre-fluid Black rocker. And that was no coincidence. [Icetep's "Hive Sound"] Cecilia Johnson VO: This episode of The Current Rewind was hosted by Zoë Challenger and me, Cecilia Johnson. I produced this episode, with research and consulting by Taylor Seaberg. Marisa Morseth is our research assistant, and Jay Gabler is our editor. Our theme music is the song "Hive Sound" by Icetep. This episode was mixed by Johnny Vince Evans. Thank you to Brett Baldwin, Rick Carlson, Matthew Gallaway, Dirim Onyeneho, Jackie Renzetti, David Safar, and Jesse Wiza for additional support. If you'd like to learn more about Hüsker Dü, check out The Current's five-part podcast Do You Remember. If you enjoyed this episode, please rate and review our show on Apple Podcasts, or tell a fellow music fan it's out there. To get in touch, please send an email to rewind@thecurrent.org. To find a transcript of this episode, go to thecurrent.org/rewind. And thanks for rolling with these mid-season changes. We have one more episode hosted by Mark Wheat next week, and after that, we'll share a bonus episode about his personal connection to First Avenue. I miss him already, and I know you might, too. The Current Rewind is made possible in part by the Minnesota Legacy Amendment's Arts and Cultural Heritage Fund. It is a production of Minnesota Public Radio's The Current. The Current Rewind goes to First Avenue Rock and Roll Book Club: Bob Mould's 'See a Little Light'

This week on WTFolklore, we finally learn the answer to a question that has plagued mankind for centuries, which is Why the Parrot Repeats Man's Words, a tale from Thailand. Perhaps our title features a clue.Suggested talking points: Sanitary Taffy Excretions, Brain Armor, Furby WiFi, Bird Court, A Dear Friend with Magic Powers, Beyond the WhimbusIf you'd like to support Carman's artistic endeavors, visit: https://www.patreon.com/carmandaartsthingsIf you like our show, find us online to help spread the word! Follow us on Twitter, Facebook, and Youtube. Support us on Patreon to help the show grow at www.patreon.com/wtfolklore. You can find merchandise and information about the show at www.wtfolklorepodcast.com.

Gene Garbus (Jon Gabrus, High & Mighty podcast) uses plant-based medicine because CBD (Christ Beats Devil). Jon Gabrus: @Gabrus  SHOW INFORMATION  Instagram: @MegaThePodcast Twitter: @MegaThePodcast Support Us on Patreon For Mailbag Questions and Other Inquiries: megathepodcast@gmail.com Merchandise: https://store.dftba.com/collections/mega Follow Holly and Greg Holly Laurent: Twitter | Instagram Greg Hess: Twitter | Instagram Music by Julie B. Nichols. Artwork by Geoff Tice. Learn more about your ad choices. Visit megaphone.fm/adchoices

Gene Garbus (Jon Gabrus, High & Mighty podcast) uses plant-based medicine because CBD (Christ Beats Devil). Jon Gabrus: @Gabrus  SHOW INFORMATION  Instagram: @MegaThePodcast Twitter: @MegaThePodcast Support Us on Patreon For Mailbag Questions and Other Inquiries: megathepodcast@gmail.com Merchandise: https://store.dftba.com/collections/mega Follow Holly and Greg Holly Laurent: Twitter | Instagram Greg Hess: Twitter | Instagram Music by Julie B. Nichols. Artwork by Geoff Tice. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the third episode of The Gimp and Gabby show. We continue with the Argument Bucket, Ipso Facto, Celebrity Domination and we talk about our lives in the time of Corona and whether or not Confederate monuments should be taken down

Season 2 of Thick as Thieves shines a light on Art Destruction and Vandalism, starting with the most vandalizable piece around; Marcel Duchamp's "Fountain."

Welcome, Listeners! This episode we are coming back to Ipso Facto to listen in on another delicious lecture by Dr. James D. Rietveld...this time to talk about Faeries. But first you'll get to kick it with your Magik Pizza hosts for a little wine, a little catching up, and some tasty recommendations. We hope you enjoy the magick, history, and folklore served up in this tasty slice. Thanks again, Pizza Pals. For the complete show notes including featured information, recommendations, pictures, and links please visit magikpizza.com. You may contact us at magikpizzapodcast@gmail.com. -H&S

Show Notes Episode 218: “Redneck High Holy Day” This week Host Dave Bledsoe demands we hold his beer and watch this! (It ends about as well as you expect.) On the show this week we are talking about the 4th of July, and how people are WAY to upset about Trump's Military MAGA Rally on the Mall! (Honestly, you all should know better than to expect him to do the right thing by now!) Along the way, we learn a little history about Independence Day. (For example it was Bill PULLMAN in the movie, not Bill Paxton!) We also learn that we've been celebrating the WRONG day in July for all of our history! We take a tour through the first July 4th celebrations to find how similar they are to what we do now. (Including the part where someone desperately starts screaming and looking for their fingers!) Then we get down to the brutal truth about the day, it is NOT a holiday for effete Left Coast Liberals who Hate America, July 4th is for the PEOPLE of America, not YOU! (Ipso Facto, Trump's MAGA rally is EXACTLY the celebration we deserve!) Finally, we close with all the things it took to make America “great”. Our Sponsor is Ted's House of Tanks, when you need to prop up your regime with the illusion of strength, think Ted's! We open the show with an angry father in a tank and close with the song Dave Bledsoe hates more than other in the Universe! Show Theme: https://www.jamendo.com/track/421668/prelude-to-common-sense The Show on Twitter: https://twitter.com/TheHell_Podcast The Show on Facebook: https://www.facebook.com/whatthehellpodcast/ The Show on Soundcloud https://soundcloud.com/david-bledsoe-4 www.whatthehellpodcast.com Give us your money on Patreon https://www.patreon.com/Whatthehellpodcast The Show Line: 347 687 9601 Closing Music: https://youtu.be/LpPKTFpu1sk Citations Needed: This July 4th Has Everything: Tanks, Trump—and Scandal https://www.thedailybeast.com/this-july-4th-has-everything-tanks-trumpand-scandal America the Desecrated https://slate.com/news-and-politics/2019/07/trumps-july-4-an-endorsement-of-cruelty.html ‘Guns, Bells, Bonfires, and Illuminations' — A Brief History of the Fourth of July https://www.nationalreview.com/2019/07/fourth-of-july-history-celebrations/ Learn more about your ad choices. Visit megaphone.fm/adchoices

THE MAIN THINGYouTuber, campaigner and now, writer, Lex Croucher joins us to talk about her fear of public speaking, why her first act as Prime Minister would be free puppies for good people, and how to use time travel to cope with a urinary tract infection.Plus we flick through her amazing new self-help and positivity book, You're Crushing It. And there's a very exciting update on Luke's ongoing "signing up for a doctor" saga...Presented and produced by Luke Spillane and Chris Allen. Theme by Blair Mowat.OTHER THINGSCrush it in your own life with Lex's great book.Lex trying not to "shit herself out of her mouth" on Newsnight.Weird desire to chuck your phone off a bridge? Could be the Call of the Void!So that's what Ipso Facto means!Hear Lex's pitch to be the next Prime Minister.Luke's very zen train holiday highlights.Chris's big globes.

This week, we use a looming threat as inspiration for a screenplay, Oscar brings another installment of First World News, and we help a distracted musician split their attention effectively. In our HMS, we're helping tough biker folk avoid a case of the giggles. Find us on twitter: twitter.com/fwscast Send us your First World Problems at fwscast@gmail.com FWS on iTunes: apple.co/2tCPYIr and introducing Spotify: spoti.fi/2QS1ZFD

In this episode we examine the 1 July 2018 Ipso Facto reforms in Australia, their impact on construction contracts and what action organisations should be taking to mitigate the reforms

On today's episode of Magik Pizza, your hosts Hannah and Stormy take a trip to a well known Goth store in Downtown Fullerton called Ipso Facto to discuss the ever prevalent trope of: The Goth Witch! Why does it exist? What do we think about it, and how is it relevant? Find out when you enjoy your next slice of MP! We would like to dedicate this episode to all those gothy witches out there.  And a very special "Thank You" to all those in the Goth community who work so hard to make sure that there are safe places for people hang out at, make memories, and express themselves; whether it's a music club, concerts, message boards, websites, boutiques, podcasts, etc. We love you.

Is Opening Day a taste of what 2018 will be like for the Braves? Is LeBron the best ever? Can Tiger roar back? Clark, Jim and Rico are back for your favorite entertainment and sports podcast, Three Blind Mics

Shelley Hofberg is a Clairvoyant, Medium, Tarot Reader, Pet Psychic and Healer. Her multi-faceted gifts are reflected in her multi-faceted psychic career. Shelley has appeared on NBC television, the Discover Channel and is included in feature articles of newspapers such as the Hollywood Independent and Ventura Star. As a staff member of the West Coast Well Being metaphysical publication, Shelley was responsible for writing a pet psychic column and as a pet psychic, was mentioned in Lisa Barretta’s published book, ‘The Street Smart Psychic Guide to Getting a Good Reading.’http://www.psychichorizon.comSpecial Guest: Terri KennedyTerri is the owner of Ipso Facto, a gothic- pagan retail boutique established in 1989, where she offers her own fashion creations and other alternative fashions and occult items, plus tarot readings, lectures, workshops, book signings and performance events. She also spent many years as a vocalist in underground music bands; writing, touring, recording, and appearing on numerous cds.When not at Ipso Facto, Terri spends time with her professor husband and 4 cats, learning new things like woodworking, and improving her photography and digital design skills. A lifelong student of the supernatural and occult studies, she continues to explore many systems of divination and mediumship, sharpening her psychic abilities at spirit circle and offering readings to Ipso Facto’s customers.http://www.ipso-facto.com

The answer is obvious… Our world is a crazy, messed up place but luckily we only have so long to live in this hell.  

LINK TO ORIGINAL VIDEO- https://www.youtube.com/watch?v=0nCJzFQOhaY&t=1s

Why are we absolutely obsessed with triangles and pyramids when it comes to the paranormal? Is there any reason to think that pyramids could generate power? How do lasers work anyways? Find out in this weeks episode!

Robert Wuhl takes Jeffrey Hayzlett on a stream of consciousness rap on stand-up comedy, the showbiz one percent, the success of “Arliss,” how “The Soprano’s” changed everything, the “Seinfeld” snafu that cost someone $3 million, the biggest lesson he ever learned, the downside to loyalty, and a story you never heard about the last scene John Belushi ever shot. To hear more from Robert Wuhl, be sure to tune-in to his Play.it podcast “Ipso Facto.” Learn more about your ad choices. Visit megaphone.fm/adchoices

8 AM - 1 - Tim "the Lawyer" Sandefur talks Supreme Court gay marriage. 2 - More with TTL on illegal immigrants being able to vote. 3 - Marshall's News. 4 - Does anyone actually enjoy the circus?; Bud Light's new slogan was said to endorse rape by a few dumb people on Twitter.