Podcasts about Jades

Episode 102 – News From The Point Of No Return: Time Travel, Russian Nesting Dolls, and Lab-Grown Meat - Report XVIIIWelcome to the Event Horizon podcast, where we explore our world's dark and mysterious places, people, and practices. This episode is a Paranormal News show where I discuss the top three paranormal articles for the month. In this episode, we discuss:Scientists have found concrete evidence of time travel.https://www.msn.com/en-xl/news/other/scientists-have-found-concrete-evidence-of-time-travel/ar-AA1zd4CS?cvid=77FCF8948967404D809285A022FEB6F6&ocid=1PRCDEFEScientist Says He Found Evidence of Our Entire Universe is Trapped Inside a Black Hole.https://futurism.com/universe-trapped-inside-black-holeScientists create the world's largest lab-grown chicken nugget, complete with artificial veins. https://www.nbcnews.com/news/world/lab-grown-chicken-nugget-artificial-veins-rcna201837Support the ShowDid you know you can support the podcast by joining the Spreaker Supporter Club? For as little as $2.00 per month, you can help me grow the show and produce more episodes.  Go to the show page on Spreaker and click on the Supporter Club!  Supporter Club - https://www.spreaker.com/cms/shows/2860481/supporters-club/dashboard Support The Show: Make One-Time DonationCashApp - $mpeter1896PayPal - mpeter1896@gmai.comFollow Me On Social MediaCome with me and take a walk into the Event Horizon:Facebook at https://www.facebook.com/quantumAIradioTwitter at @EventHo14339589Instagram at @EventHorizon Email at eventhorizon1.618@gmail.com Please join the community and share your thoughts.Follow My Other PodcastsIf you like Event Horizon and are a political junkie, you might like my podcast, "The Mark Peterson Show." Please check it out on Spreaker https://www.spreaker.com/show/the_mark_peterson_show. I just released an episode about the death of Angela Chao, sister-in-law of Senate Minority Leader Mitch McConnell.  You might also like my new podcast, "Movie Reviews from the Edge." Check it out at https://www.spreaker.com/show/movie-reviews-from-the-edge. Check out my latest review – Picard: Season One – Luciferin Transhumanism.   Buy My New BookI have a new book!  It is called Career Coaching Xs and Os: How To Master the Game of Career Development.  Transform your career trajectory with insider knowledge and actionable advice, all packed into one game-changing guide.  Get your copy on Amazon at https://a.co/d/f7irTML Become a supporter of this podcast: https://www.spreaker.com/podcast/event-horizon--2860481/support.

Advokat Jannica Levin får uppdraget att försvara en man som anmälts för att ha dödshotat två poliser. Ord står mot ord. Men så berättar mannen att ingripandet fångats på film, med ljud. Se gripandet som fick poliser dömda till fängelse Tidigare rapportering om fallet Avsnittet har gjorts tillsammans med Helsingborgs Dagblad. Reporter på Helsingborgs Dagblad: Erik Melkersson. Producent/programledare: Evalisa Wallin. Musik, ljudläggning och mixning: Patricio Samuelsson. Ansvarig utgivare för Krimstad är Anders Nilsson. Avsnittet producerades våren 2025. Följ Krimstad på Instagram. Krimstad säsong 3 är ett samarbete mellan Arbetarbladet, Blekinge Läns Tidning, Falu-Kuriren, Gefle Dagblad, Helsingborgs Dagblad, Hudiksvalls Tidning, Ljusdals-Posten, Ljusnan, Länstidningen Södertälje, Nacka Värmdö Posten, Nerikes Allehanda, Norrtelje Tidning, Skånska Dagbladet, Sundsvalls Tidning, Tidningen Ångermanland och Ystads Allehanda.

170 - Paul Rappaport In episode 170 of “Have Guitar Will Travel”, presented by Vintage Guitar Magazine, host James Patrick Regan speaks with guitarist and record company promoter Paul Rappaport who's written a new book that will available April 15th called “Gliders Over Hollywood” In their conversation Paul tells us about his 1962 Gibson Les Paul jr (SG shape) that was given him by Buck Dharma and Blue Oyster Cult, whom we worked with at Columbia Records and he describes how he helped the band. He also shares with us a couple of Gibson Les Paul Reissues, a 1952 Goldtop and a 1959. Paul also discusses his amps. Paul talks about his friends in vintage instruments, producer Perry Margouleff (perrymargouleff.com) and amp builder Mitch Colby (ColbyAmps.com) who are working on the new Sundragon amps with Jimmy Page. Paul tells us about growing up in Downey California and starting on lap steel and eventually moving to guitar and played in the band “the Jades” with his Rickenbacker 6 string that he eventually gave to Elvis Costello. Paul talks about his other passions surfing and his family. Paul tells the story of his punk band “Mogan David and his Winos” which included Harold Bronson of Rhino Records fame. Paul explains how Paul Bloomfield helped him with his guitar playing. Paul then tells us about as a gift from the band Pink Floyd. He got to play with Pink Floyd on stage in London Arena. He'd been working with them since they began on Colombia Records. Again Paul's book is called “Gliders Over Hollywood” and it will be available April 15th. Amazon - https://tinyurl.com/34k9n4uk Barnes and Noble -- https://tinyurl.com/mf7hz6fx Please subscribe, like, comment, share and review this podcast! #VintageGuitarMagazine #PaulRappaport #GlidersOverHollywood #GibsonGuitar #MoganDavidAndHisWinos #BlueOysterCult #VintageGuitar #PinkFloyd #PerryMargouleff #theDeadlies #haveguitarwilltravelpodcast #HGWT . . . Please like, comment, and share this podcast! Download Link

Bible Reading: Psalm 71:15-17Jade, Leah, and their little sister, Izzy, joined their mother in the backyard one spring day. "Wow, look at all the flowers!" Jade said, walking over to her mother's garden. "I love the hyacinths. I think they're my favorite.""Not mine. I like those yellow ones," said Izzy, pointing to the daffodils. "They're so pretty. Yellow is my favorite color!"Leah shook her head. "The tulips are the best. They come in lots of colors--they don't just stick to one!"Jade looked around at the garden. "There are lots more flowers than there were last year. Did you plant more this year, Mom?"Mom shook her head. "No, but over the winter, they multiplied.""Multiplied?" asked Izzy. "What does that mean?""That means there are more of them," said Jade. "That's because the bulbs in the ground produced more bulbs, so now there are more flowers for you to see. Right, Mom?""Right." Mom removed a few dead leaves from the base of a daffodil. "You know, these spring flowers are a good example of what Christians should be like.""Really?" asked Jade. "How?""I know!" said Leah. "Because Jesus gives us new life when we trust Him as our Savior, and we should bloom for Him.""Yes," said Mom. "He puts His love in our hearts, and as we rely on Him to help us show it to others, our lives bloom with the love and beauty of Jesus. That's how Christians multiply.""Oh no!" said Jade, looking at Leah. "You mean there are going to be more Leahs popping up?" Leah laughed. "Or more Jades?"Mom smiled. "You girls know what I'm saying--that we should be sharing God's love with others and praying He puts seeds of faith in their hearts and makes them grow. It's not more Leahs or Jades we want popping up, but more people who know Jesus and show His love to the world."Izzy bent over to look more closely at one of the daffodils. "I hope the whole yard is full of these pretty yellow flowers next year!""Yeah," said Jade. "And I hope the whole world is full of people who love Jesus!" –Shelley A. Janofski How About You?Have you trusted Jesus to forgive your sins and give you a new life? Then your life should be like a flower and bloom with the love and beauty of Jesus. Show His love to others and let them know about all the wonderful things He's done--like coming to earth and giving His life to save us from sin. Ask Jesus to use your life to bring others to Him.Today's Key Verse:O God, you have taught me from my earliest childhood, and I constantly tell others about the wonderful things you do. (NLT) (Psalm 71:17)Today's Key Thought:Show Jesus's love to others

Lemond orosz tudományos akadémiai tagságáról a Nobel-díjas Krausz Ferenc Telex     2025-04-09 11:09:20     Tudomány háború Nobel-díj Háborús bűn Krausz Ferenc A fizikust elmondása szerint mélységesen zavarja, hogy az intézmény nem áll ki Oroszország háborús bűneivel szemben. Ősi kincsekre bukkantak a szegedi BYD-gyár alatt 24.hu     2025-04-09 10:56:20     Tudomány Csongrád-Csanád Szeged BYD Az építkezés kezdete előtt lehetőséget kaptak az ásatásokra a régészek, amelynek meg is lett az eredménye. Már lehet regisztrálni a Schneider Go Green versenyre Digital Hungary     2025-04-09 11:03:00     Infotech Energia Elismerés Schneider Electric Diákok és fiatal vállalkozók jelentkezését várják idén is a Schneider Electric Go Green versenyére. A megmérettetésre, amelynek fő célja olyan innovatív megoldások elismerése, amelyek segítik a biztonságos hozzáférést az energiához, május végéig regisztrálhatnak a csapatok. A legtávolabbi galaxis érdekesebb, mint korábban gondolták a kutatók Rakéta     2025-04-09 15:03:02     Tudomány A Jades galaxis kihívást jelent a galaxisok formálódásáról szóló elméletek számára. Nem emel árat a Magyar Telekom, elmarad az inflációkövető díjszabás ICT Global     2025-04-09 11:37:49     Mobiltech Infláció Telekom A magyar gazdaság fellendítése iránti elköteleződését kifejezve a Magyar Telekom nem hajtja végre a 2024-es évre vonatkozó, 3,7%-os inflációkövető díjkorrekciót fogyasztói körében és legalább 2026 első félévének végéig nem emeli a fogyasztók már meglévő csomagjainak havidíját. Emellett a vállalat a változó ügyféligényekre reagálva megújítja mobil-p Rohannak az amerikaiak az Apple-boltokba, mert be vannak szarva, hogy Trump vámjai miatt sokkal drágább lesz az iPhone refresher.hu     2025-04-09 11:33:00     Mobiltech USA Donald Trump Apple Okostelefon iPhone Az Apple elvileg nagyon igyekszik lent tartani az árakat, de az új iPhone-ra éhező fogyasztók – látva Donald Trump vámpolitikáját – nem mennének véletlenre. A kínai cégek elindítják a csatlakozó háborút! Vehetünk új kábeleket! TechWorld     2025-04-09 07:22:27     Infotech háború Kína A HDMI ellen küldik csatába a GPMI szabványt a kínai cégek. Kezdődik a csatlakozó háború.  Több mint 50 kínai technológiai vállalat, köztük olyan nagyágyúk, mint a Hisense és a TCL, egy új videó- és adatátviteli szabvány, a GPMI (General Purpose Media Interface) bevezetésére szövetkezett. A cél: leváltani, vagy legalábbis kiegészíteni a jelenleg ur Minden alkalommal, amikor trendi mémet generáltatsz az AI-jal, meghal valahol egy kiscica HWSW     2025-04-09 11:04:45     Infotech Trend A Ghiblis és akciófigurás képek generálásának ára van, még akkor is, ha ingyen vannak. Fotós markolatot kap a Vivo X200 Ultra Mobilarena     2025-04-09 14:30:00     Mobiltech Telefon Fotográfus Xiaomi Vivo A Xiaomi Ultráihoz hasonlóan a telefon képalkotó képességeit domborítják majd ki a tartozékkal. A zajszűrős fejhallgatók felelősek a fiatalok hallásproblémáiért? SG.hu     2025-04-09 09:10:23     Tudomány Egy új egészségügyi probléma került elő a modern fülhallgatókban rendkívül népszerű zajszűrő funkcióval kapcsolatban. Még a mi életünkben aszteroida csapódhat a Holdba a NASA szerint ATV     2025-04-09 01:33:00     Külföld Világűr NASA Meteor A NASA pontos dátumot közölt arról, hogy mikor csapódhat a Holdba a 2024 YR4 aszteroida. Elektronikus állam: Robotboy Mafab     2025-04-09 04:54:02     Film Mesterséges intelligencia Svédország Robot Simon Stålenhag Elektronikus állam című könyve 2018-ban jelent meg, és a svéd művész egyik legnagyszerűbb művét köszönthettük benne. A gazdagon illusztrált képeskönyvben a lenyűgöző vizualitás mély gondolatokkal párosult a mesterséges intelligencia egyénre és társadalomra gyakorolt hatásáról, a társadalmi szintű elmagányosodásról és a "jövő" egyéb Úgy néz ki, hogy a dínók tök jól voltak – persze csak amíg meg nem jött a meteorit Telex     2025-04-09 12:40:17     Tudomány Világűr Meteor Tudósok szerint csak a kevés lelet miatt tűnhet úgy, hogy már a kihalási hullám előtt is fogyóban voltak a dinoszauruszok. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Lemond orosz tudományos akadémiai tagságáról a Nobel-díjas Krausz Ferenc Telex     2025-04-09 11:09:20     Tudomány háború Nobel-díj Háborús bűn Krausz Ferenc A fizikust elmondása szerint mélységesen zavarja, hogy az intézmény nem áll ki Oroszország háborús bűneivel szemben. Ősi kincsekre bukkantak a szegedi BYD-gyár alatt 24.hu     2025-04-09 10:56:20     Tudomány Csongrád-Csanád Szeged BYD Az építkezés kezdete előtt lehetőséget kaptak az ásatásokra a régészek, amelynek meg is lett az eredménye. Már lehet regisztrálni a Schneider Go Green versenyre Digital Hungary     2025-04-09 11:03:00     Infotech Energia Elismerés Schneider Electric Diákok és fiatal vállalkozók jelentkezését várják idén is a Schneider Electric Go Green versenyére. A megmérettetésre, amelynek fő célja olyan innovatív megoldások elismerése, amelyek segítik a biztonságos hozzáférést az energiához, május végéig regisztrálhatnak a csapatok. A legtávolabbi galaxis érdekesebb, mint korábban gondolták a kutatók Rakéta     2025-04-09 15:03:02     Tudomány A Jades galaxis kihívást jelent a galaxisok formálódásáról szóló elméletek számára. Nem emel árat a Magyar Telekom, elmarad az inflációkövető díjszabás ICT Global     2025-04-09 11:37:49     Mobiltech Infláció Telekom A magyar gazdaság fellendítése iránti elköteleződését kifejezve a Magyar Telekom nem hajtja végre a 2024-es évre vonatkozó, 3,7%-os inflációkövető díjkorrekciót fogyasztói körében és legalább 2026 első félévének végéig nem emeli a fogyasztók már meglévő csomagjainak havidíját. Emellett a vállalat a változó ügyféligényekre reagálva megújítja mobil-p Rohannak az amerikaiak az Apple-boltokba, mert be vannak szarva, hogy Trump vámjai miatt sokkal drágább lesz az iPhone refresher.hu     2025-04-09 11:33:00     Mobiltech USA Donald Trump Apple Okostelefon iPhone Az Apple elvileg nagyon igyekszik lent tartani az árakat, de az új iPhone-ra éhező fogyasztók – látva Donald Trump vámpolitikáját – nem mennének véletlenre. A kínai cégek elindítják a csatlakozó háborút! Vehetünk új kábeleket! TechWorld     2025-04-09 07:22:27     Infotech háború Kína A HDMI ellen küldik csatába a GPMI szabványt a kínai cégek. Kezdődik a csatlakozó háború.  Több mint 50 kínai technológiai vállalat, köztük olyan nagyágyúk, mint a Hisense és a TCL, egy új videó- és adatátviteli szabvány, a GPMI (General Purpose Media Interface) bevezetésére szövetkezett. A cél: leváltani, vagy legalábbis kiegészíteni a jelenleg ur Minden alkalommal, amikor trendi mémet generáltatsz az AI-jal, meghal valahol egy kiscica HWSW     2025-04-09 11:04:45     Infotech Trend A Ghiblis és akciófigurás képek generálásának ára van, még akkor is, ha ingyen vannak. Fotós markolatot kap a Vivo X200 Ultra Mobilarena     2025-04-09 14:30:00     Mobiltech Telefon Fotográfus Xiaomi Vivo A Xiaomi Ultráihoz hasonlóan a telefon képalkotó képességeit domborítják majd ki a tartozékkal. A zajszűrős fejhallgatók felelősek a fiatalok hallásproblémáiért? SG.hu     2025-04-09 09:10:23     Tudomány Egy új egészségügyi probléma került elő a modern fülhallgatókban rendkívül népszerű zajszűrő funkcióval kapcsolatban. Még a mi életünkben aszteroida csapódhat a Holdba a NASA szerint ATV     2025-04-09 01:33:00     Külföld Világűr NASA Meteor A NASA pontos dátumot közölt arról, hogy mikor csapódhat a Holdba a 2024 YR4 aszteroida. Elektronikus állam: Robotboy Mafab     2025-04-09 04:54:02     Film Mesterséges intelligencia Svédország Robot Simon Stålenhag Elektronikus állam című könyve 2018-ban jelent meg, és a svéd művész egyik legnagyszerűbb művét köszönthettük benne. A gazdagon illusztrált képeskönyvben a lenyűgöző vizualitás mély gondolatokkal párosult a mesterséges intelligencia egyénre és társadalomra gyakorolt hatásáról, a társadalmi szintű elmagányosodásról és a "jövő" egyéb Úgy néz ki, hogy a dínók tök jól voltak – persze csak amíg meg nem jött a meteorit Telex     2025-04-09 12:40:17     Tudomány Világűr Meteor Tudósok szerint csak a kevés lelet miatt tűnhet úgy, hogy már a kihalási hullám előtt is fogyóban voltak a dinoszauruszok. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Dive into the compelling world of storytelling with acclaimed author Alex Irvine, known for his immersive contributions to Marvel games, graphic novels, and groundbreaking Alternate Reality Games (ARGs) like I Love Bees. In this episode, Alex shares his insights on creativity, the delicate balance between talent, persistence, and luck, and the intricate art of narrative design across various media formats. From discussing the unique challenges of writing for expansive universes like Marvel's multiverse to recalling his first forays into writing, Alex reveals the true secret ingredient to success. Packed with engaging anecdotes and wisdom, this conversation will captivate aspiring creators, gamers, and narrative enthusiasts alike.Episode Highlights:[00:00] Alex Irvine shares essential advice on becoming a successful writer: "Talent, persistence, luck—pick two."[09:00] Discussing how storytelling integrates with gameplay mechanics, using Marvel Rivals as a case study.[13:00] Behind-the-scenes insight into early Marvel game universe-building attempts, and how ambitious projects like a Marvel gaming universe unfold.[14:00] Crafting "time-stream entanglement" as a narrative device for multiverse stories in Marvel Rivals.[22:00] Childhood inspiration from playing Dungeons & Dragons, storytelling roots, and writing early poetry.[35:00] Persistence in publishing his first novel, A Scattering of Jades, after years of setbacks.[45:00] The exhilarating chaos of writing ARG puzzles and player reactions for I Love Bees.[56:00] Alex reflects on the collaborative process of writing comics and the delicate balance between writer and artist.Thank you for listening to our podcast all about videogames and the amazing people who bring them to life!Hosted by Alexander Seropian and Aaron MarroquinFind us at www.thefourthcurtain.com Join our Patreon for early, ad-free episodes plus bonus content at https://patreon.com/FourthCurtain Come join the conversation at https://discord.gg/KWeGE4xHfeVideos available at https://www.youtube.com/@thefourthcurtainFollow us on twitter: @fourthcurtainEdited and mastered at https://noise-floor.com Audio Editor: Bryen HensleyVideo Editor: Sarkis GrigorianProducer: Shanglan (May) LiArt: Paul RusselCommunity Manager: Doug ZartmanFeaturing Liberation by 505

It's that time again and we are Jerking the Curtain like never before, Flobby Lashley and Hater Mike are back at it.....big surprise right!?! Nando T thanks CM Punk but for what??? We talk about the return of the Final Boss, Cody's decision that he has to make that sends Flobby into a frenzy!!! All this and so much more.....CHEERS!!!JERKING THE CURTAINROUND TABLE OF TOPICSNEWSIs Wrestling fake? Carmella's contract has expired with WWETNA's roster grows…..the Colons and ElijahBecky Lynch is unsure of her future in wrestling Enzo and Cody have beef Smackdown Cody gets a message from the Final Boss…..testing Cody???Drew kicks off the show and comes up short…..againSolo looking like a Punkass Biatch right now Melo is forgettable…..Melo don't MizzzzzzLA Knight and Truth…..yes please Zelina Vega new start…..drinking the kool aid Is Tiffy helping her case for WM??? Nia gets a 2 for 1 deal Priest vs Cody does absolutely nothing Now we're getting something from Alexa…..it's a start, EC can give her a push Liv and Raquel are better tag team champs Chelsea has a new outfit Nick!!!Final Boss is back…..intro sucks my ass WM 42 is going to NOLARock wearing two hats is classic What does Rock want from Cody???Street Profits still suckSolo is back in black, not the Tyson I was hoping for RAW The asshole kicks off the show and Punk primes the piece before he paints Penta, Dunn and Kaiser give us one helluva match Rhea doesn't sell me, but Iyo does New Day is as flat as Kofis chest….Wild and Del Toro need a tag name Gunther makes easy work of Tazawa, Jey misses a YEET opportunity Lyra and Dakota are grrreat but are the rivalry matches too close to each other? Finish was weak sauce…Ivy Nile makes a statement Bron and Finn looks grrrreat…..is it time for Finn to leave JD???I smell gold for American Made Cody gets personal…..Seth's boots are made for stomping We have new tag team champions, does this get us closer to Jades attacker???NXTStephanie Vaquer has her eye on the prize…..she's got it Jordynne Grace is NXT…..when does she cross paths with Zaria???All Ego and Ricky Saints looks damn good Name change better? Roadblock is looking damn good Elimination Chamber predictions……HEART AND TEA LEAVES!!!!Episodes dropping weekly!!!Follow on the gram @the.funkaholiks.podYouTube and Facebook THEE POD THAT TALKS WHAT THEY LOVE 

Från finansbolag till att avslöjas som fejk-kemist av en student. Det här är berättelsen om John Jumpers udda resa till Nobelpriset i kemi 2024. Lyssna på alla avsnitt i Sveriges Radio Play. Programmet sändes första gången 4/12-2024.Kärleken ledde John Jumper till att plötsligt byta bana och små resurser vid universitet tvingade honom att utveckla AI till oanade höjder. Vetenskapsradion träffar en av årets kemipristagare i ett personligt samtal om hans udda väg fram till Nobelpriset i kemi 2024.Reporter Annika Östman annika.ostman@sr.seProducentLars Broström lars.brostrom@sr.se

Linda Sun arbetar som tjänsteman i guvernörens stab New York. Men hon misstänks leva ett hemligt dubbelliv. I september 2024 stormar FBI hennes lyxiga villa utanför New York. Nu anklagas hon för att spionera för Kinas räkning. Programledare: Evelyn Jones. Gäst: Torbjörn Petersson, DN:s Asienkorrespondent. Producent: Sabina Marmullakaj och Emma Lukins.

Från finansbolag till att avslöjas som fejk-kemist av en student. Det här är berättelsen om John Jumpers udda resa till Nobelpriset i kemi 2024. Lyssna på alla avsnitt i Sveriges Radio Play. Kärleken ledde John Jumper till att plötsligt byta bana och små resurser vid universitet tvingade honom att utveckla AI till oanade höjder. Vetenskapsradion träffar en av årets kemipristagare i ett personligt samtal om hans udda väg fram till Nobelpriset i kemi 2024. Reporter Annika Östman annika.ostman@sr.se ProducentLars Broström lars.brostrom@sr.se

No Voz Batista de hoje, você ouve o Momento Manancial, Voz Batista para Crianças e a segunda parte de uma entrevista feita com os pastores Alexandro e Jades sobre o Dia da Consciência Negra. Ouça e Compartilhe! Deseja ouvir o programa VOZ BATISTA na Rádio Evangélica FM 100,7 MHz? Acompanhe aqui no Podcast da Convenção Batista de Pernambuco - CBPE. E não deixe de compartilhar em suas redes sociais. No Instagram: @somoscbpe

No Voz Batista de hoje, você ouve o Momento Manancial, Voz Batista para Crianças e a primeira parte de uma entrevista feita com os pastores Alexandro e Jades sobre o Dia da Consciência Negra. Ouça e Compartilhe! Deseja ouvir o programa VOZ BATISTA na Rádio Evangélica FM 100,7 MHz? Acompanhe aqui no Podcast da Convenção Batista de Pernambuco - CBPE. E não deixe de compartilhar em suas redes sociais. No Instagram: @somoscbpe

In episode 75 of *The Road To Wisdom* podcast, Chloe and Keshia speak with their friend Jade Robinson, a mother from Cairns, Australia, who shares a powerful and deeply personal story. Jade opens up about her journey through severe endometriosis and the devastating diagnosis that she might never conceive naturally. She recounts a harrowing experience of sexual assault, which, she believes, was followed by the onset of her endometriosis symptoms. Together, they discuss the potential link between trauma and the development of endometriosis, and how this condition affected her fertility. Jade also reflects on how this journey has impacted her relationship with her partner, Ashton, as they faced the difficult reality of infertility and the steps they were taking to find fulfillment despite it. Her story is one of resilience and hope, and we trust that listeners will be moved by her courage and honesty in sharing it. You can learn more about Jades experience:         Starting the Conversation - Cairns Sexual Assault youtu.be   This episode is sponsored by: INBLUEM A truly incredible product that ticks all of our boxes, from simple and clean ingredients, to a self care routine that doesn't take hours, but only one or two beautiful and mindful products to enhance your complexion and tone, the embodiment of beauty. Use ROADTOWISDOM at the check out when you visit www.inbluem.com.au/roadtowisdom Wanting to splurge on a little product of two mentioned in this episode? Clean up your light hygiene with the extensive range of wonderfully balanced spectrum products at Block Blue Light using our link and code for a discount at checkout: ROADTOWISDOM   Loved what you heard in this episode? Your support means the world. Make sure to hit that subscribe button, spread the word with your pals, and drop us a review. By doing so, you're not just tuning in – you're fueling our community's growth and paving the way for more incredible guests to grace our show. As the week rolls by, we're already cooking up more tantalizing content for your hungry ears.   Keen to stay in the loop with the latest episode releases? Follow our journey on Instagram at @theroadtowisdom.podcast and catch behind-the-scenes action on our YouTube channel @theroadtowisdompodcast. Don't miss out on a thing – also, snag the freshest updates straight to your inbox by subscribing to our newsletter over at ⁠⁠https://www.theroadtowisdompodcast.com/⁠⁠. It's your VIP ticket to all things The Road To Wisdom

In episode 75 of The Road To Wisdom podcast, Chloe and Keshia speak with their friend Jade Robinson, a mother from Cairns, Australia, who shares a powerful and deeply personal story. Jade opens up about her journey through severe endometriosis and the devastating diagnosis that she might never conceive naturally. She recounts a harrowing experience of sexual assault, which, she believes, was followed by the onset of her endometriosis symptoms. Together, they discuss the potential link between trauma and the development of endometriosis, and how this condition affected her fertility. Jade also reflects on how this journey has impacted her relationship with her partner, Ashton, as they faced the difficult reality of infertility and the steps they were taking to find fulfillment despite it. Her story is one of resilience and hope, and we trust that listeners will be moved by her courage and honesty in sharing it. You can learn more about Jades experience:         Starting the Conversation - Cairns Sexual Assault youtu.be   This episode is sponsored by: INBLUEM A truly incredible product that ticks all of our boxes, from simple and clean ingredients, to a self care routine that doesn't take hours, but only one or two beautiful and mindful products to enhance your complexion and tone, the embodiment of beauty. Use ROADTOWISDOM at the check out when you visit www.inbluem.com.au/roadtowisdom Wanting to splurge on a little product of two mentioned in this episode? Clean up your light hygiene with the extensive range of wonderfully balanced spectrum products at Block Blue Light using our link and code for a discount at checkout: ROADTOWISDOM   Loved what you heard in this episode? Your support means the world. Make sure to hit that subscribe button, spread the word with your pals, and drop us a review. By doing so, you're not just tuning in – you're fueling our community's growth and paving the way for more incredible guests to grace our show. As the week rolls by, we're already cooking up more tantalizing content for your hungry ears.   Keen to stay in the loop with the latest episode releases? Follow our journey on Instagram at @theroadtowisdom.podcast and catch behind-the-scenes action on our YouTube channel @theroadtowisdompodcast. Don't miss out on a thing – also, snag the freshest updates straight to your inbox by subscribing to our newsletter over at ⁠⁠https://www.theroadtowisdompodcast.com/⁠⁠. It's your VIP ticket to all things The Road To Wisdom

Nyheterna Radio 15.00

Do you have any questions, any comments about the episode? Jimanekia would love to hear from you!Join us as we sit down with the incredible Jade of All Jades, co-host of Getting Grown and Jade in XD, for an episode that promises to touch your heart and tickle your funny bone. Jade shares her rich tapestry of life experiences, from her Gullah Geechee and Mexican heritage to her grounded upbringing in Texas. We get to know Jade as a multifaceted individual—mother, wife, friend, chef, and healer—who believes trauma is an unavoidable part of life that shapes who we are.We then dive into the challenges faced by birthing parents, magnified by Jade's recounting of her own high-risk pregnancy during Hurricane Sandy. The conversation highlights systemic healthcare issues and the grueling reality of returning to work without maternity leave. This poignant discussion underscores the critical need for better maternity support and healthcare reforms, making it essential listening for advocates of social justice and parental rights.But it's not all heavy—Jade also brings her unique flair for storytelling to lighter moments that are no less captivating. From the chaos of a Costco trip turned fiasco to musings on love and authenticity, this episode is a rollercoaster of emotions. We wrap things up with a candid chat about social media boundaries, personal energy management, and even some laugh-out-loud fantasies about unconventional memorials. Whether you're here for the wisdom or the laughs, this episode offers a rich, entertaining experience that you won't want to miss.Thank you all for listening. Set a boundary with yourself this week, set a boundary with someone else. If someone else does not respect that boundary. LET THEM LOOSE YOU! Stay hydrated internally and externally. We do not have an ashy family.IG: @The_Trauma_WithinYoutube: https://www.youtube.com/@thetraumawithinJimanekia Ig: @Jimanekia

Take a triptych trip with Josh and Jade as they review the absurdist anthology film, Kindness of Kindness from the mind of Yorgos Lanthimos. The film features an A-List cast with Emma Stone, Jesse Plemons, William Dafoe, Margaret Qualley, Hong Chau, and Mamoudou Athie. Also, inside this episode our hosts discuss the newly announced season 4 of the Apple TV+ hit show, Ted Lasso, and Jade has new recommendations for you to add to your watch list. Stop reading and listen to the episode already.

Este material faz parte de uma breve entrevista que fizemos com o pastor Jades Cunha. Ele é pastor na IB Imperial e capelão do STBNB.

On today's episode of the podcast Jade Shenker STAR of Netflix's hit Reality Show 'Owning Manhattan' talks about her BIGGEST Deal, Getting Cheated on after 9 YEARS, and Owning Manhattan Season 2! Use Code OTR20 for 20% off your order of Super Bonsai! https://buy.superbonsai.com/super-recovery/?ref=john Timecodes (Episode #94): 0:00 - Intro 00:21 - Skip Intro 01:44 - Competing Against YOUR OWN Company 06:03 - Mindsets of Commercial v Residential Buyers 07:20 - Craziest Thing You've Done for a Listing 08:52 - Speed Tours 20:15 - Casting for Owning Manhattan 24:55 - Everything Happens for a REASON 35:00 - Dealing With the Highs & Lows of the Real Estate Market 38:46 - Johnny BEFORE the Drinks 44:03 - Jade's FIRST Closed Deal 45:58 - Jades' BIGGEST Listing 48:18 - Jade HATES Zara 51:22 - Jade's Follow Up Process 59:04 - Outro Follow On the Rocks TikTok: https://www.tiktok.com/@ontherocks_podcast Instagram: https://www.instagram.com/theontherockspodcast/ Spotify: https://open.spotify.com/show/7xuYMlfFAXUfReoHKGHjb6?si=f95c4e4fc82c40df Apple Music: https://podcasts.apple.com/us/podcast/on-the-rocks/id1670365515 Follow Jade TikTok: https://www.tiktok.com/@jadesshenker Instagram: https://www.instagram.com/jadeshenker Website: https://www.jadeshenker.com/ Follow Dan Instagram: https://www.instagram.com/danielbonsig Follow John Instagram: https://www.instagram.com/johnrondi TikTok: www.tiktok.com/@johnnyrondi #ontherocks #podcast #johnrondi

This week is something a little bit different, Kate sits down with co founder of Rainbow studios Jade Gillet to discuss life behind the scenes of the gallery / concept space, we discuss the artist gallery relationship, Jades and Brent's unique approach to thinking outside the box when it comes to setting up a gallery space and her journey so far. Hosted on Acast. See acast.com/privacy for more information.

Shanti is away this week BUT Antoinette is joined by pod royalty Hey Fran Hey & Jade of All Jades. Together, we talk about leaning into our cougar energy, dating crunchy dudes, online dating, and the mess that was Republican presidential hopeful, Larry Elder. For our main topic, we deep dive into aging. How do we feel about aging? What were we taught about aging? What did we observe from our mothers? What outside influences have informed our thoughts and feelings on it? Have we considered getting work done? Why or why not? Join us.Follow Hey Fran Hey:Website: https://heyfranhey.com/Instagram: https://www.instagram.com/heyfranhey/?hl=enTwitter: https://twitter.com/heyfranhey?lang=enLiving for We Podcast: https://www.npr.org/podcasts/1160361239/living-for-we_Follow Jade of All Jades:Website: https://jadeofalljades.com/Instagram: https://www.instagram.com/jadeofalljades/Twitter: https://twitter.com/JadeofallJades_Contact Us:Hotline: (215) 948-2780Email: aroundthewaycurls@gmail.comPatreon: www.patreon.com/aroundthewaycurls for exclusive videos & bonus episodesShop ATWC Merch: https://www.aroundthewaycurls.com/collectionsDiscord: https://discord.gg/SU8uds9pSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Elle est nommée JADES-GS-z14-0, c'est aujourd'hui la galaxie la plus lointaine jamais observée, son redshift vient d'être confirmé avec le télescope Webb, il vaut 14,3, ce qui correspond à une époque située 290 millions d'années après le Big Bang. La découverte est publiée dans Nature. https://www.ca-se-passe-la-haut.fr/2024/07/jades-gs-z14-0-la-galaxie-la-plus.html Source Spectroscopic confirmation of two luminous galaxies at a redshift of 14Stefano Carniani et al.Nature (29 july 2024)https://doi.org/10.1038/s41586-024-07860-9 Illustrations JADES-GS-z14-0 imagée par le télescope Webb (NASA) Distribution des galaxies les plus lointaines (luminosité en fonction de l'âge de l'univers (ou du redshift) (Stefano Carniani et al.) Stefano Carniani

Sintonía: "Boom Stix" - Curley & The Jades"Wild Child" - David Hill; "I Want To Know" - The Gay Poppers; "Ninety-Nine Years" - Guy Mitchell; "Laughing At Me" - Nellie Rutherford; "Baby Girl Of Mine" - Bobby Sharp; "Lonesome Shack" - Ernie Washington; "So Good" - Ruben Fort; "You´re a Little Too Late2 - Danny Owens; "Johnny Hold My Hand" - Bach Yen y "Seventh Son" de Louisiana Red, extraídas de la recopilación (1x10") "Boom Stix! (Blues & Rhythm, Popcorn, Exotica & Tittyshakers, Volume 10)" del sello germano Stag-O-Lee (2016)"Get Out Of Town" - Patsy Abbott with Margie Sherwin; "Some Like It Cool" - Honey Sanders; "Beatnicks" - Beatnicks; "Cha Cha Bop" - Carol Gray; "Fever" - Kay Martin & Her Body Guards y "Leav´n Woman" de Sarah Northcutt, extraídas de la recopilación (1x10") "Trashcan Records Volume 5: Cha Cha Bop" (Stag-O-Lee, 2020)  Escuchar audio

咱若是會當看著宇宙 ê 起源，毋知會是按怎？咱應該會當看著星系形成。毋知彼當時 ê 星系是生做啥物款？James Webb 太空望遠鏡 (JWST) 最近 公佈 ê 影像資料 ê 分析結果，就是想欲回答這个問題。伊揣著 目前為止 上遙遠 ê 天體。大部份 星系是 tī 大爆炸 了後 30 億年形成--ê，毋過嘛是有一寡星系閣較早就形成矣。插圖 內底 暗暗霧霧彼點是 JADES-GS-z14-0，伊是 宇宙誕生 拄開始 3 億年 ê 時陣，形成 ê 一个星系。用專業術語來講，這个星系是 tī 紅移 z=14.32 ê 所在，就是目前 宇宙 年歲 ê 五十分之一 ê 時陣就有矣。實際上，這張相片 內底 ê 天體攏是星系。 ——— 這是 NASA Astronomy Picture of the Day ê 台語文 podcast 原文版：https://apod.nasa.gov/ 台文版：https://apod.tw/ 今仔日 ê 文章： https://apod.tw/daily/20240624/ 影像：NASA, ESA, CSA, STScI, B. Robertson (UC Santa Cruz), B. Johnson (CfA), S. Tacchella (Cambridge), P. Cargile (CfA) 音樂：P!SCO - 鼎鼎 聲優：阿錕 翻譯：An-Li Tsai (NSYSU) 原文：https://apod.nasa.gov/apod/ap240624.html Powered by Firstory Hosting

No Voz Batista de hoje, você escutará o Momento manancial, notícias e uma reflexão do pastor Jades em um pequeno grupo que ocorre semanalmente no STBNB. Ouça e compartilhe! Deseja ouvir o programa VOZ BATISTA na Rádio Evangélica FM 100,7 MHz? Acompanhe aqui no Podcast da Convenção Batista de Pernambuco - CBPE. E não deixe de compartilhar em suas redes sociais. Instagram: @somoscbpe

August Muller an astronomy research fellow at the Maria Mitchell Association discusses JADES-GS-z14-0. JWST scientists recently discovered galaxy JADES-GS-z14-0, the oldest observed galaxy to date.

This week Shanti is away so Crissle & Jade came to play! The hosts discuss various topics including their personal updates, the state of the world, therapy, and upcoming events. The conversation then transitions into Politics As Usual where we focus on the Middle East and the right to protest. Together we explore the complexities of the Israel-Palestine war/genocide, the role of the United States in the region, and the importance of protests and the potential consequences of speaking out against injustice. Join us.Follow Jade:Personal IG: https://www.instagram.com/jadeofalljades/?hl=enGettin Grown: https://podcasts.apple.com/us/podcast/gettin-grown/id1220265487Jade and XD: https://podcasts.apple.com/gh/podcast/jade-x-d/id1578749770Follow Crissle:Personal IG: https://www.instagram.com/crissle/?hl=enX: https://twitter.com/crissles?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5EauthorThe Read:https://podcasts.apple.com/us/podcast/the-read/id619369512Contact us:Hotline: (215) 948-2780Discord: https://discord.gg/ehvKtK6REmail: aroundthewaycurls@gmail.comPatreon: www.patreon.com/aroundthewaycurls for exclusive videos & bonus contentSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

I talk Jades impressive AEW run and her 60-0 undefeated streak, before, she was defeated. Her WWE debut, Rumble, Mania, dream matches and more

På juldagen sätter sig ett större sällskap på en restaurang i Malmö. De 35 personerna äter och dricker gott och filmar sig själva och lägger upp i sociala medier. Men när maten är uppäten blir notan på 82 000 kronor liggande. Det ska visa sig att det här inte är första gången sällskapet anklagas för att inte betala för sig. På en kvart får du veta hur springnotan på juldagen är del av en större bedrägerihärva - med fyra personer i centrum. Gäst: David Rasmusson, reporter på P4 Malmöhus. Programledare: Alexandra Karlsson Producent: Lucas Brischetto Redaktör: Elin Roumeliotou Klipp från: SVT Vi vill ha feedback och önskemål! Kontakta oss på: dagensstory@svd.se

This week Josh and Jade review the Nick Cage dark comedy and A24 film, "Dream Scenario". They also discuss Josh's trip to the Game of Thrones studio in Northern Ireland, The Crow remake, and a full slate of Jade's recommendations. Smoosh that play button and make us feel like someone is listening.

My Top 5 Music Artist Links: 1) Voiceplay: https://youtu.be/mI8hPSSZSL4?si=TBYGnFAiHu1IkS9y 2) Jades: https://youtu.be/MrZz8jAYUoY?si=qEyoicx-KeJnl9xK 3) J-Hall: https://youtu.be/1BTYP-H7hnU?si=ZNe4v9oSWQPJD62T 4) Isaac M: https://youtu.be/Dl3kRxtlV1w?si=eOTVAX-ttX59TfUa 5) Isaac M: https://youtu.be/cpidMxlasUM?si=vSy-xLR8TcwWRup9 *** Please, Show your support to all of these excellent artist and thank you for supporting the JB&I Show. Join this channel to get access to perks: https://www.youtube.com/channel/UCFAjSe5Bq3ppzyjSstQrROA/join Checkout the Team Fire Hawk Website: http://teamfirehawk.com Join me for a good discussion and/or good music. * https://linktr.ee/isaacm28 1) http://www.midind-ime.com 2) https://myfitwatch.net 3) https://isaacm.hearnow.com You are AWESOME! Never forget that. #YouTubeBlack #isaacm #lofimsuic #talkshow #music #isaacmiddleton #calmingmusic #teamfirehawk #enjoymusic #teamfirehawkelite #middleton #isaacm #myfitwatch #imiddletonentertainment #EnjoyMusic #LofiChillMusic #IMEMusic #IsaacM #iamcme #SAGAFTRAstrong #sagaftramember

This week I have Jade Sol Luna on the show for some Asterian astrology 2024 predictions!   This one is full of juicy predictions and insight!   Listen in to hear Jades take on:   Asterian astrology and how it compares to western or tropical astrology. How Tropical astrology is different than sidereal Why mainstream astrology is not the most accurate  How the Gods and Goddesses rule over our consciousness. How the Divine feminine subconsciously clears karma & how the masculine can aid in this process. Danielle's private reading with Jade  How Jades sees our evolution with money in 2024 Why Jade is more concerned with the weather of our planet more than anything.    You cannot miss this one!   Jade Sol Luna is the first Westerner ever to reconstruct Jyotish (Hindu Astrology) into a Greco-Roman format. Jade has traveled extensively around the planet, lecturing and conducting workshops on Astrology and Ancient Roman-Greco mysticism. He has traveled to India more than 30 times and spent a great deal of time with various teachers, Saints and Sadhu's in Asia. Jade also consults with people privately. He usually presents a few seminars each year at various locations world wide. He is the author of Asterian Astrology and has been one of the most successful Astrologers in the world and has maintained a high level practice for over 18 years.   Jade offers private readings BOOK YOURS HERE   Check out Jade's website www.asterianastrology.org  Grab Jades book HERE WEALTHY & ALIGNED OFFERS Unlock your free Money Code HERE   SOCIAL Instagram | Facebook | YouTube | TikTok   EXTRA LINKS   Grab the Meditation Mist with a 5% Discount HERE; use the code Wealthy&Aligned  

This week Josh and Jade review the video game turned horror movie, "Five Nights at Freddy's", discuss Johnny Depp's trip to Dublin, and bring back a special show segment "Jade's Recs". Give us a listen so that one day we can quit our day jobs.

Back with episode two of Twenty something & Trying joined by one of my favourite creators ever Jade! *aka UnjadedJade* Jade is such a ray of sunshine & we had a really honest chat about the ups & downs of uni, post grad life & how Jade plans to tackle the uncertainty that is your twenties

Som barn får Göran se en bild på den biologiske far han aldrig träffat. Men när han som vuxen söker upp honom kommer han för sent. Pappan har avlidit kort innan. Men snart vänds allt på ända igen. Lyssna på alla avsnitt i Sveriges Radio Play. Ett DNA-prov visar att Görans far egentligen är en annan. Kommer han att hinna denna gången? Har du avslöjat en familjehemlighet som förändrat ditt liv? Hör då av dig till programmet och Gunilla Nordlund så kan din berättelse bli ett nytt avsnitt av serien. Maila till familjehemligheten@sverigesradio.seProducent för serien är Ola Hemström. Programmet är gjort 2023.

Peticiones emocionales a GPTs / Gran radiografía de smartphones en España / Tocando el techo de emisiones de CO2 / Estación Espacial más allá de 2030 / Google Maps evita escaleras Patrocinador: El proyecto CRECE de Cruz Roja es una nueva iniciativa para luchar contra la soledad no deseada. Es un proyecto innovador desde el punto de vista tecnológico y social, con el objetivo de diseñar y probar nuevos métodos de ayuda social que eviten la institucionalización. — Si te encuentras en esta situación, quieres colaborar o ser voluntario, apúntate. Peticiones emocionales a GPTs / Gran radiografía de smartphones en España / Tocando el techo de emisiones de CO2 / Estación Espacial más allá de 2030 / Google Maps evita escaleras

Shanti is away this week BUT Antoinette is joined by pod royalty Hey Fran Hey & Jade of All Jades. Together, we talk about leaning into our cougar energy, dating crunchy dudes, online dating, and the mess that was Republican presidential hopeful, Larry Elder. For our main topic, we deep dive into aging. How do we feel about aging? What were we taught about aging? What did we observe from our mothers? What outside influences have informed our thoughts and feelings on it? Have we considered getting work done? Why or why not? Join us.Follow Hey Fran Hey:Website: https://heyfranhey.com/Instagram: https://www.instagram.com/heyfranhey/?hl=enTwitter: https://twitter.com/heyfranhey?lang=enLiving for We Podcast: https://www.npr.org/podcasts/1160361239/living-for-we_Follow Jade of All Jades:Website: https://jadeofalljades.com/Instagram: https://www.instagram.com/jadeofalljades/Twitter: https://twitter.com/JadeofallJades_Contact Us:Hotline: (215) 948-2780Email: aroundthewaycurls@gmail.comPatreon: www.patreon.com/aroundthewaycurls for exclusive videos & bonus episodesShop ATWC Merch: https://www.aroundthewaycurls.com/collectionsDiscord: https://discord.gg/SU8uds9pSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In a new series called "The Dark Match" Stevie Jobber and Dangerous Duke talk about what Bianca and Jades championship runs did for them and their division and in modern history. See how their careers run parallels in separate universes.

Is there candy in the podcast? Hard candy, that's their favorite. No Rose, there's no candy in the podcast! But it is the podcast you've been waiting for...Jade, Kara, and Erica break down season 5, episode 8 of The Marvelous Mrs. Maisel “The Princess and the Plea”. Written by Amy Sherman Palladino and Daniel Palladino and directed by Daniel Palladino!Perfectly marvelous is now on Patreon! Perfectly Marvelous! Patreon PageTimestamps:(might be off by 2-3 min due to ads)Intro/Announcements-00:00Marvelous moment - 11:23Episode discussion - 20:00Announcements- 02:22:41Feedback- 02:25:25News- 03:28:30Perfectly marvelous is now on Instagram! Follow us @perfectlymarvelouscast Follow Jade: Instagram- @Jadethenakedlady Tiktok- @Jade8greenJoin in the discussions we are a part of on Facebook!Go to: Gaslight Café- A marvelous Mrs. Maisel CommunityThe Unofficial Marvelous Mrs. Maisel Group (and all things ASP)Marvelous Mrs. Maisel Group Podcastica GroupLeave us feedback on our next episode! Share your thoughts about the show: What do you like/dislike? What's your “most marvelous moment”? We want to know!Go to Facebook.com/podcastica where we put up posts about each episode and leave a comment there or Email us at perfectlymarvelouspodcast@gmail.com Send a voice message or just write your thoughts and we will read them on the podcast! And check out the incredible lineup of our other shows on Podcastica.com – guaranteed, if you enjoy watching it on TV, we cover it!Links from news:Jades marvelous Mrs. Maisel YouTube playlist https://youtube.com/playlist?list=PL4fUf8Fy6ZnLCVUQSQr3y-9Fl2M5TFEL0The marvelous, Mrs. Maisel, Tony Shalhoub on the real life, parallels of Aves Epiphany about Midge https://www.hollywoodreporter.com/tv/tv-news/marvelous-mrs-maisel-tony-shalhoub-abe-midge-sexist-1235495536/Tony Shalhoub on his marvelous, Mrs. Maisel speech https://ew.com/tv/marvelous-mrs-maisel-tony-shalhoub-speech/Tony Shalhoub shares the inspiration behind Abe's Amis were the Maisel seen "it was just a perfect storm https://decider.com/2023/05/19/tony-shalhoub-interview-marvelous-mrs-maisel-season-5-episode-8-recap-abe-daughter-inspiration/Season finale, free, theatrical release for Amazon prime members. Reserve your tickets! May 25 show https://www.primepremiere.amazon/?utm_source=Social&utm_medium=SocialMedia&utm_campaign=MaiselSocial&fbclid=IwAR0PCf8HNYuHyOz4yCVAZGCRlt9qPZhAgNwDrU1dHn8zCb9t47tK8pK5x4cHulu / Disney+ subscription- For only murders in the building https://help.hulu.com/s/article/hulu-disney-espn-bundle#:~:text=Disney%20Bundle%20Duo%20Basic%3A%20For,and%20ESPN%2B%20(With%20Ads).Video of dan palladino on emmy nominated episode- Breaking down the cinematography/sound https://www.yahoo.com/lifestyle/mrs-maisels-alex-borstein-talks-131403000.html

Reshare of a LIVE recording with Claudia Vidor in the Recover from Hypothalamic Amenorrhea Support Group. Is the 2500 the magic number and where did it come from? Signs of under-eating. HA recovery is possible with 'clean' eating but is there for you to gain from having the freedom to choose a variety of foods. Our experiences with an ED and how we got started with recovery. Part 2 coming soon, why arent I gaining weight from 2500 calories? How do I know I am eating enough/too much? Connect with Jade on Instagram: https://www.instagram.com/jadee.cameron/ Jades products and services: https://linktr.ee/jade.cameron Connect with Claudia on Instagram: https://www.instagram.com/nourishedbyclaudia/ Claudia's products and services: https://linktr.ee/nourishedbyclaudia --- Send in a voice message: https://podcasters.spotify.com/pod/show/itsamindgame/message

Palabra de Dios: “Y Jabes fue más ilustre que sus hermanos, al cual su madre llamó Jabes, diciendo: por cuanto lo di a luz en dolor.  E invocó Jabes al Dios de Israel diciendo: Oh, si me dieras bendición y ensancharas mi territorio, y si tu mano estuviera conmigo, y me liberaras del mal para que no me dañe.  Y le otorgó Dios lo que pidió.” 1 Crónicas 4:9-10 Perlas: La fe de Jabes, la oración que hizo y la vida que vivió quedaron consignadas en un rinconcito de Palabra de Dios, solo se le menciona una vez, pero su testimonio sigue impactando e inspirando hasta el día de hoy. Su mención en la Biblia comienza relatando el fruto dulce de la oración tan específica y tan cargada de fe que hizo; comienza diciendo que Jabes fue más ilustre, más influyente, más reconocido que sus hermanos. Jabes era muy consciente de su situación y de su condición, de cómo su madre lo había marcado/atado a una vida de dolor/sufrimiento a través del nombre que le dio, pero él no se detuvo a lamentarse, ni a maldecir a su madre, ni a sus hermanos, ni a Dios, al contrario, lo admirable de Jabes y el maravilloso legado que nos dejó es que en medio de su realidad, lo único que hizo fue invocar a Aquel que tenía todo el poder para transformar su vida, oró a Dios y su petición no fue apocada ni disminuida ni tímida, todo por el contrario, fue una oración eficaz, poderosa, con una visión amplia, que cubría todos los aspectos de la vida presente y futura. Lo más importante es que fue hecha con una fe en que Dios tenía suficiente poder y suficiente amor para responder su oración. Dentro de su corazón, de alguna manera, Jabes supo que Dios lo amaba y que era capaz de hacer lo imposible.  Oración: Dios, enséñame a tener el enfoque de Jabes, que no se consumió en su realidad dolorosa, sino que puso su mirada en Ti y en lo que Tú eres capaz de hacer. Amén. Reto del día: ¿En qué se parece tu vida a la de Jabes, viviendo en medio de dolor debido a lo que otros te hicieron o te dijeron? ¿Cuántos años has perdido lamentándote, quejándote o maldiciendo? ¿Será que puedes tomar el consejo de Jabes? Comienza a orar como Jabes oró, con una fe inamovible en Dios y en Su Suficiencia. --- Send in a voice message: https://podcasters.spotify.com/pod/show/canaan-usa-podcast/message Support this podcast: https://podcasters.spotify.com/pod/show/canaan-usa-podcast/support

Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground.  The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to  get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret".  It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David  Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them),  and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New

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HAPPY NEW YEARS!This weeks episode we share the details and story behind Jade Janks and her stepfather Thomas Merriman. The case got media attention from across the U.S. nation and even in parts around the world! Listen in and tell us what you think of Jades actions and the Jurys verdict at the end.S.B.S. of the weekT.J. Tacos802 E Valley Pkwy Escondido, CA 92025760-294-7511Sunday – Thursday:10AM – 11PMFriday & Saturday:10AM – 12AMFollow us on our social media outlets!!https://www.instagram.com/whereintheworld_iscrimeinsd/https://www.facebook.com/people/Where-In-the-World-is-Crime-in-San-Diego/100084037718436/

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Thor: Love and Thunder creates an unexpected divide in our hosts, Josh and Jade. In this episode we recap the Emmy Awards, give you a fresh Jade's Recs, and recount our weekly watches. What else do you want us to write? Just listen to the show already. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Welcome back friends, this week Gavin has had a varied time watching his friend get punched in the face and walking an alpaca. Dan continues to try to takeover the world of TikTok and has continued to manifest things into the world. It's our number one Jades birthday so drop us your birthday wishes, we learn about a fight on a boat and a lost football fan. We also fight over a quiz for the first time in ages.   This weeks recommendations : Samad Savage : Goodnight Big L : 98 Freestyle Lily Allen : Fuck You Madeline The Person : MEAN!   Get us here : Email : betherewithbelson@gmail.com Twitter : @therewithbelson Instagram : @betherewithbelson TikTok : @betherewithbelson

Mistakes happen, in fact, I don't like to call these experiences of withdrawal/frustration/misbehavior mistakes. I like to think of them as MINDFUL MOMENTS. Jade shares 3 personal stories that you may be able to relate to: A story of withdrawal, a story of frustration and a story of not behaving like an actual adult when parenting. The hopeful thing is that these stories have something in common - they all can be handled with compassion. Come enjoy relating to these stories as we continue our month of discussing compassion in parenting and HOW it can all feel a little less heavy when we apply self compassion to our life. Be sure to jump on Jades email list here and receive your first little guide to emotional and physical peace! Get Your Guide Here!

Jade (@jadeswildparty) is a fashion/lifestyle influencer and creative director. Jade has scaled her brand on Instagram dramatically in the past couple months and comes on the podcast to share all! Between her innovative content strategies, advice to creators and brands on how to convey and showcase their brand on social to her unique creative eye that creates the content that captivates - Jade is here to share it all! EPISODE SUMMARY: Jades journey and background into full-time creator / creative director How Jade grew a massively engaged community and rapidly growing brand on Instagram in 2022 Type of Content style Jade creates and how she creates content for her niche that is innovative in the space Best pieces of advice for Business / Brands to approach authentic content creation How to make a CPG Brand Stand Out Influencer Marketing - How Brands should approach working with Inlfuencers, building relationship with Influencers Creative Direction 101 for any Brand / Business Tips for growing a cult-like brand How to stay innovating the wheel / inspired How to start making money as a creator Best strategies and tips for Content Batching Content / Planning as a content creator / influencer Diversifying streams of income as an influencer / content creator Jade's non-negotiable habits and wellness routines Jades rules when it comes to dieting and living a healthy / fitness lifestyle & SO MUCH MORE! Share the love & let me know your thoughts over on Instagram, @coffeeandagoodvibe | @ayeshasehra EPISODE MENTIONS: SHOP OUR MERCH - Coffee & A Good Vibe did an exclusive Merch drop with Melrose Place! CONNECT: YOUTUBE ➟ Watch & subscribe to our channel here ➟ Coffee & A Good Vibe Video Interviews To connect with Ayesha Sehra ➟ click HERE Check out our podcast insta ➟ click HERE To learn about my Branding & PR Agency Grow The Social ➟ click HERE To connect with this week's guest click ➟ HERE