Podcast appearances and mentions of John Oswald

On August 6 we will review THE GREAT DIVIDE: A NOVEL, db120159 by Cristina Henríquez. The program is produced by David Faucheux. The author describes the Pros and cons regarding the construction of the Panama Canal through a sweeping description of the lives of the inhabitants living in or drawn to canal area by the chance of employment . NLS Annotation The great divide: a novel DB120159 Henríquez, Cristina Reading time: 13 hours, 25 minutes. Robin Miles Historical Fiction Family “It is said that the canal will be the greatest feat of engineering in history. But first, it must be built. For Francisco, a local fisherman who resents the foreign powers clamoring for a slice of his country, nothing is more upsetting than the decision of his son, Omar, to work as a digger in the excavation zone. But for Omar, whose upbringing was quiet and lonely, this job offers a chance to finally find connection. Ada Bunting is a bold sixteen-year-old from Barbados who arrives in Panama as a stowaway alongside thousands of other West Indians seeking work. Alone and with no resources, she is determined to find a job that will earn enough money for her ailing sister’s surgery. When she sees a young man, Omar, who has collapsed after a grueling shift, she is the only one who rushes to his aid. John Oswald has dedicated his life to scientific research and has journeyed to Panama in single-minded pursuit of one goal: eliminating malaria. But now, his wife, Marian, has fallen ill herself, and when he witnesses Ada’s bravery and compassion, he hires her on the spot as a caregiver. This fateful decision sets in motion a sweeping tale of ambition, loyalty, and sacrifice.”– OCLC. Unrated. Commercial audiobook. Bookshare This book can be found at Bookshare at the following link: https://www.bookshare.org/browse/book/5915809?returnPath=L3NlYXJjaD9tb2R1bGVOYW1lPXB1YmxpYyZrZXl3b3JkPXRoZSUyQmdyZWF0JTJCZGl2aWRl

Show notes below:   Talking Shit With Tara Cheyenne is a Tara Cheyenne Performance Production www.taracheyenne.com Instagram: @TaraCheyenneTCP  /  FB: https://www.facebook.com/taracheyenneperformance Podcast produced, edited and music by Marc Stewart Music www.marcstewartmusic.com    © 2024 Tara Cheyenne Performance   Subscribe/follow share through Podbean and Google Podcasts and Apple Podcasts and Spotify.   Donate! To keep this podcast ad-free please go to:  https://www.canadahelps.org/en/dn/13386   Links: https://www.artsumbrella.com/our-team/nicole-rose-bond/ https://www.peggybakerdance.com/baker-peggy About Nicole: Nicole Rose Bond began her formal dance training at York University, graduating with a Bachelor of Fine Arts Dance cum laude in 2005 after being awarded the Grant Strate Award in Dance in 2003 and 2005 respectively and the Harry Rowe Bursary in 2004.  Nicole was also featured in The Toronto Star, Arts & Entertainment, Dance's Class Acts of '05, as one of “Ten Promising Young Dancers to Watch” in January of 2005.   Nicole has felt privileged to perform works by esteemed choreographers including Peggy Baker, Patricia Beatty, Tom Brouillette, Susan Cash, Bill Coleman, David Earle, Danny Grossman, Ryan Graham Hinds, Christopher House, James Kudelka, Learie McNicholl, Andrea Nann, Yvonne Ng, John Oswald, Peter Quanz, Peter Randazzo and Andrea Spaziani. Nicole has had three cross country Canadian tours with the Toronto Dance Theatre [TDT]: performing ‘Rivers' in 2012; ‘Eleven Accords' in 2014 culminating in a 2014 Dora Mavor Moore award nomination for Best Ensemble Cast – ‘Eleven Accords'; and in celebration of the TDT 50th anniversary following the company's tour of Medellin and Bogotá, Colombia in 2017, the TDT toured Canada a third time in 2018.   Following the world debut of ‘Who We Are In The Dark' in Toronto in 2019, Nicole toured with Peggy Baker Dance Projects along with Sara Neufeld and Jeremy Gara of Arcade Fire to other Canadian cities as well as Den Haag, Netherlands and Guanajuato, Mexico culminating in a 2019 Dora Mavor Moore award nomination for Best Ensemble Cast – ‘Who We Are In The Dark'.   Whilst residing in Toronto, Nicole has worked as a course director in Graham Technique and Contemporary Dance at York University, Canada's National Ballet School and has taught dance classes and workshops within the Toronto School Board.  Nicole has also served on the Toronto Arts Counsel Advisory Panel and as a member of the Dance Collection Danse ‘Encore: Hall of Fame' Committee and the Heliconian Club. Since moving to Vancouver three years ago, Nicole has been teaching at Arts Umbrella, Modus Operandi and Simon Fraser University and has served as resident choreographer for three independent plays.  Nicole's choreographic debut in 2022 is now a permanent fixture of Arts Umbrella's annual ‘Mixed Nuts' repertoire. Nicole is passionate about the pedagogy of the Graham Technique whilst honouring those who have come before her.  Nicole is beyond grateful that her vocation encompasses doing what she loves and is humbled by, and indebted to, the unique and beautiful arts community that she calls home.   About Tara:   Tara Cheyenne Friedenberg, is an award winning creator, performer, choreographer, director, writer, and artistic director of Tara Cheyenne Performance, working across disciplines in film, dance, theatre, and experimental performance. She is renowned as a trailblazer in interdisciplinary performance and as a mighty performer "who defies categorization on any level". Along with her own creations Tara has collaborated with many theatre companies and artists including; Zee Zee Theatre, Bard on the Beach, ItsaZoo Theatre, The Arts Club, Boca De Lupo, Ruby Slippers, The Firehall Arts Centre, Vertigo Theatre (Calgary).  With a string of celebrated solo shows to her credit (including bANGER, Goggles, Porno Death Cult, I can't remember the word for I can't remember, Body Parts, Pants), multidisciplinary collaborations, commissions and boundary bending ensemble creations Tara's work is celebrated both nationally and internationally.  Tara is known for her unique and dynamic hybrid of dance, comedy and theatre. She is sought after for creating innovative movement for theatre and has performed her full length solos and ensemble works around the world (highlights: DanceBase/Edinburgh, South Bank Centre/London, On the Boards/Seattle USA, High Performance Rodeo/Calgary etc.). Recent works include a collaboration with Italian dance/performance artist Silvia Gribaudi, empty.swimming.pool, (Castiglioncello, Bassano, Victoria and Vancouver), ensemble creation, how to be,  which premiered at The Cultch, and her solo I can't remember the word for I can't remember, toured widely, and her newest solo Body Parts has been made into a stunning film which is currently touring virtually. Tara lives on the unceded Coast Salish territories with her partner composer Marc Stewart and their child.  

This week on The New P&L - Principles & Leadership in Business podcast series we speak to the awesome John Oswald. A business design pioneer with a passionate commitment to sustainability, john is European Managing Director of Accenture Interactive's new Song Sustainability Studio – which aims to make sustainability relevant and actionable to everyone by understanding the human factors behind sustainability choices, and helping companies use this to improve products and communication. To learn more about the work John and his team do, go to: accenture.com/gb-en/services/sustainability-index  To learn more about The New P&L Global Leadership Network, including membership and sponsorship options, email: paul@principlesandleadership.com If you'd like to join The New P&L movement for more principled leadership and more purpose-led business and keep up to date with our latest news, go to www.principlesandleadership.com and subscribe. LinkedIn page: Principlesandleadership Web: www.principlesandleadership.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/principlesandleadership/message Support this podcast: https://podcasters.spotify.com/pod/show/principlesandleadership/support

Episode 165 of A History of Rock Music in Five Hundred Songs looks at “Dark Stat” and the career of the Grateful Dead. This is a long one, even longer than the previous episode, but don't worry, that won't be the norm. There's a reason these two were much longer than average. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Codine" by the Charlatans. Errata I mispronounce Brent Mydland's name as Myland a couple of times, and in the introduction I say "Touch of Grey" came out in 1988 -- I later, correctly, say 1987. (I seem to have had a real problem with dates in the intro -- I also originally talked about "Blue Suede Shoes" being in 1954 before fixing it in the edit to be 1956) Resources No Mixcloud this week, as there are too many songs by the Grateful Dead, and Grayfolded runs to two hours. I referred to a lot of books for this episode, partly because almost everything about the Grateful Dead is written from a fannish perspective that already assumes background knowledge, rather than to provide that background knowledge. Of the various books I used, Dennis McNally's biography of the band and This Is All a Dream We Dreamed: An Oral History of the Grateful Dead by Blair Jackson and David Gans are probably most useful for the casually interested. Other books on the Dead I used included McNally's Jerry on Jerry, a collection of interviews with Garcia; Deal, Bill Kreutzmann's autobiography; The Grateful Dead FAQ by Tony Sclafani; So Many Roads by David Browne; Deadology by Howard F. Weiner; Fare Thee Well by Joel Selvin and Pamela Turley; and Skeleton Key: A Dictionary for Deadheads by David Shenk and Steve Silberman. Tom Wolfe's The Electric Kool-Aid Acid Test is the classic account of the Pranksters, though not always reliable. I reference Slaughterhouse Five a lot. As well as the novel itself, which everyone should read, I also read this rather excellent graphic novel adaptation, and The Writer's Crusade, a book about the writing of the novel. I also reference Ted Sturgeon's More Than Human. For background on the scene around Astounding Science Fiction which included Sturgeon, John W. Campbell, L. Ron Hubbard, and many other science fiction writers, I recommend Alec Nevala-Lee's Astounding. 1,000 True Fans can be read online, as can the essay on the Californian ideology, and John Perry Barlow's "Declaration of the Independence of Cyberspace". The best collection of Grateful Dead material is the box set The Golden Road, which contains all the albums released in Pigpen's lifetime along with a lot of bonus material, but which appears currently out of print. Live/Dead contains both the live version of "Dark Star" which made it well known and, as a CD bonus track, the original single version. And archive.org has more live recordings of the group than you can possibly ever listen to. Grayfolded can be bought from John Oswald's Bandcamp Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Tuning from "Grayfolded", under the warnings Before we begin -- as we're tuning up, as it were, I should mention that this episode contains discussions of alcoholism, drug addiction, racism, nonconsensual drugging of other people, and deaths from drug abuse, suicide, and car accidents. As always, I try to deal with these subjects as carefully as possible, but if you find any of those things upsetting you may wish to read the transcript rather than listen to this episode, or skip it altogether. Also, I should note that the members of the Grateful Dead were much freer with their use of swearing in interviews than any other band we've covered so far, and that makes using quotes from them rather more difficult than with other bands, given the limitations of the rules imposed to stop the podcast being marked as adult. If I quote anything with a word I can't use here, I'll give a brief pause in the audio, and in the transcript I'll have the word in square brackets. [tuning ends] All this happened, more or less. In 1910, T. S. Eliot started work on "The Love Song of J. Alfred Prufrock", which at the time was deemed barely poetry, with one reviewer imagining Eliot saying "I'll just put down the first thing that comes into my head, and call it 'The Love Song of J. Alfred Prufrock.'" It is now considered one of the great classics of modernist literature. In 1969, Kurt Vonnegut wrote "Slaughterhouse-Five, or, The Children's Crusade: A Duty-Dance with Death", a book in which the protagonist, Billy Pilgrim, comes unstuck in time, and starts living a nonlinear life, hopping around between times reliving his experiences in the Second World War, and future experiences up to 1976 after being kidnapped by beings from the planet Tralfamadore. Or perhaps he has flashbacks and hallucinations after having a breakdown from PTSD. It is now considered one of the great classics of modernist literature or of science fiction, depending on how you look at it. In 1953, Theodore Sturgeon wrote More Than Human. It is now considered one of the great classics of science fiction. In 1950, L. Ron Hubbard wrote Dianetics: The Modern Science of Mental Health. It is now considered either a bad piece of science fiction or one of the great revelatory works of religious history, depending on how you look at it. In 1994, 1995, and 1996 the composer John Oswald released, first as two individual CDs and then as a double-CD, an album called Grayfolded, which the composer says in the liner notes he thinks of as existing in Tralfamadorian time. The Tralfamadorians in Vonnegut's novels don't see time as a linear thing with a beginning and end, but as a continuum that they can move between at will. When someone dies, they just think that at this particular point in time they're not doing so good, but at other points in time they're fine, so why focus on the bad time? In the book, when told of someone dying, the Tralfamadorians just say "so it goes". In between the first CD's release and the release of the double-CD version, Jerry Garcia died. From August 1942 through August 1995, Jerry Garcia was alive. So it goes. Shall we go, you and I? [Excerpt: The Grateful Dead, "Dark Star (Omni 3/30/94)"] "One principle has become clear. Since motives are so frequently found in combination, it is essential that the complex types be analyzed and arranged, with an eye kept single nevertheless to the master-theme under discussion. Collectors, both primary and subsidiary, have done such valiant service that the treasures at our command are amply sufficient for such studies, so extensive, indeed, that the task of going through them thoroughly has become too great for the unassisted student. It cannot be too strongly urged that a single theme in its various types and compounds must be made predominant in any useful comparative study. This is true when the sources and analogues of any literary work are treated; it is even truer when the bare motive is discussed. The Grateful Dead furnishes an apt illustration of the necessity of such handling. It appears in a variety of different combinations, almost never alone. Indeed, it is so widespread a tale, and its combinations are so various, that there is the utmost difficulty in determining just what may properly be regarded the original kernel of it, the simple theme to which other motives were joined. Various opinions, as we shall see, have been held with reference to this matter, most of them justified perhaps by the materials in the hands of the scholars holding them, but none quite adequate in view of later evidence." That's a quote from The Grateful Dead: The History of a Folk Story, by Gordon Hall Gerould, published in 1908. Kurt Vonnegut's novel Slaughterhouse-Five opens with a chapter about the process of writing the novel itself, and how difficult it was. He says "I would hate to tell you what this lousy little book cost me in money and anxiety and time. When I got home from the Second World War twenty-three years ago, I thought it would be easy for me to write about the destruction of Dresden, since all I would have to do would be to report what I had seen. And I thought, too, that it would be a masterpiece or at least make me a lot of money, since the subject was so big." This is an episode several of my listeners have been looking forward to, but it's one I've been dreading writing, because this is an episode -- I think the only one in the series -- where the format of the podcast simply *will not* work. Were the Grateful Dead not such an important band, I would skip this episode altogether, but they're a band that simply can't be ignored, and that's a real problem here. Because my intent, always, with this podcast, is to present the recordings of the artists in question, put them in context, and explain why they were important, what their music meant to its listeners. To put, as far as is possible, the positive case for why the music mattered *in the context of its time*. Not why it matters now, or why it matters to me, but why it matters *in its historical context*. Whether I like the music or not isn't the point. Whether it stands up now isn't the point. I play the music, explain what it was they were doing, why they were doing it, what people saw in it. If I do my job well, you come away listening to "Blue Suede Shoes" the way people heard it in 1956, or "Good Vibrations" the way people heard it in 1966, and understanding why people were so impressed by those records. That is simply *not possible* for the Grateful Dead. I can present a case for them as musicians, and hope to do so. I can explain the appeal as best I understand it, and talk about things I like in their music, and things I've noticed. But what I can't do is present their recordings the way they were received in the sixties and explain why they were popular. Because every other act I have covered or will cover in this podcast has been a *recording* act, and their success was based on records. They may also have been exceptional live performers, but James Brown or Ike and Tina Turner are remembered for great *records*, like "Papa's Got a Brand New Bag" or "River Deep, Mountain High". Their great moments were captured on vinyl, to be listened back to, and susceptible of analysis. That is not the case for the Grateful Dead, and what is worse *they explicitly said, publicly, on multiple occasions* that it is not possible for me to understand their art, and thus that it is not possible for me to explain it. The Grateful Dead did make studio records, some of them very good. But they always said, consistently, over a thirty year period, that their records didn't capture what they did, and that the only way -- the *only* way, they were very clear about this -- that one could actually understand and appreciate their music, was to see them live, and furthermore to see them live while on psychedelic drugs. [Excerpt: Grateful Dead crowd noise] I never saw the Grateful Dead live -- their last UK performance was a couple of years before I went to my first ever gig -- and I have never taken a psychedelic substance. So by the Grateful Dead's own criteria, it is literally impossible for me to understand or explain their music the way that it should be understood or explained. In a way I'm in a similar position to the one I was in with La Monte Young in the last episode, whose music it's mostly impossible to experience without being in his presence. This is one reason of several why I placed these two episodes back to back. Of course, there is a difference between Young and the Grateful Dead. The Grateful Dead allowed -- even encouraged -- the recording of their live performances. There are literally thousands of concert recordings in circulation, many of them of professional quality. I have listened to many of those, and I can hear what they were doing. I can tell you what *I* think is interesting about their music, and about their musicianship. And I think I can build up a good case for why they were important, and why they're interesting, and why those recordings are worth listening to. And I can certainly explain the cultural phenomenon that was the Grateful Dead. But just know that while I may have found *a* point, *an* explanation for why the Grateful Dead were important, by the band's own lights and those of their fans, no matter how good a job I do in this episode, I *cannot* get it right. And that is, in itself, enough of a reason for this episode to exist, and for me to try, even harder than I normally do, to get it right *anyway*. Because no matter how well I do my job this episode will stand as an example of why this series is called "*A* History", not *the* history. Because parts of the past are ephemeral. There are things about which it's true to say "You had to be there". I cannot know what it was like to have been an American the day Kennedy was shot, I cannot know what it was like to be alive when a man walked on the Moon. Those are things nobody my age or younger can ever experience. And since August the ninth, 1995, the experience of hearing the Grateful Dead's music the way they wanted it heard has been in that category. And that is by design. Jerry Garcia once said "if you work really hard as an artist, you may be able to build something they can't tear down, you know, after you're gone... What I want to do is I want it here. I want it now, in this lifetime. I want what I enjoy to last as long as I do and not last any longer. You know, I don't want something that ends up being as much a nuisance as it is a work of art, you know?" And there's another difficulty. There are only two points in time where it makes sense to do a podcast episode on the Grateful Dead -- late 1967 and early 1968, when the San Francisco scene they were part of was at its most culturally relevant, and 1988 when they had their only top ten hit and gained their largest audience. I can't realistically leave them out of the story until 1988, so it has to be 1968. But the songs they are most remembered for are those they wrote between 1970 and 1972, and those songs are influenced by artists and events we haven't yet covered in the podcast, who will be getting their own episodes in the future. I can't explain those things in this episode, because they need whole episodes of their own. I can't not explain them without leaving out important context for the Grateful Dead. So the best I can do is treat the story I'm telling as if it were in Tralfamadorian time. All of it's happening all at once, and some of it is happening in different episodes that haven't been recorded yet. The podcast as a whole travels linearly from 1938 through to 1999, but this episode is happening in 1968 and 1972 and 1988 and 1995 and other times, all at once. Sometimes I'll talk about things as if you're already familiar with them, but they haven't happened yet in the story. Feel free to come unstuck in time and revisit this time after episode 167, and 172, and 176, and 192, and experience it again. So this has to be an experimental episode. It may well be an experiment that you think fails. If so, the next episode is likely to be far more to your taste, and much shorter than this or the last episode, two episodes that between them have to create a scaffolding on which will hang much of the rest of this podcast's narrative. I've finished my Grateful Dead script now. The next one I write is going to be fun: [Excerpt: Grateful Dead, "Dark Star"] Infrastructure means everything. How we get from place to place, how we transport goods, information, and ourselves, makes a big difference in how society is structured, and in the music we hear. For many centuries, the prime means of long-distance transport was by water -- sailing ships on the ocean, canal boats and steamboats for inland navigation -- and so folk songs talked about the ship as both means of escape, means of making a living, and in some senses as a trap. You'd go out to sea for adventure, or to escape your problems, but you'd find that the sea itself brought its own problems. Because of this we have a long, long tradition of sea shanties which are known throughout the world: [Excerpt: A. L. Lloyd, "Off to Sea Once More"] But in the nineteenth century, the railway was invented and, at least as far as travel within a landmass goes, it replaced the steamboat in the popular imaginary. Now the railway was how you got from place to place, and how you moved freight from one place to another. The railway brought freedom, and was an opportunity for outlaws, whether train robbers or a romanticised version of the hobo hopping onto a freight train and making his way to new lands and new opportunity. It was the train that brought soldiers home from wars, and the train that allowed the Great Migration of Black people from the South to the industrial North. There would still be songs about the riverboats, about how ol' man river keeps rolling along and about the big river Johnny Cash sang about, but increasingly they would be songs of the past, not the present. The train quickly replaced the steamboat in the iconography of what we now think of as roots music -- blues, country, folk, and early jazz music. Sometimes this was very literal. Furry Lewis' "Kassie Jones" -- about a legendary train driver who would break the rules to make sure his train made the station on time, but who ended up sacrificing his own life to save his passengers in a train crash -- is based on "Alabamy Bound", which as we heard in the episode on "Stagger Lee", was about steamboats: [Excerpt: Furry Lewis, "Kassie Jones"] In the early episodes of this podcast we heard many, many, songs about the railway. Louis Jordan saying "take me right back to the track, Jack", Rosetta Tharpe singing about how "this train don't carry no gamblers", the trickster freight train driver driving on the "Rock Island Line", the mystery train sixteen coaches long, the train that kept-a-rollin' all night long, the Midnight Special which the prisoners wished would shine its ever-loving light on them, and the train coming past Folsom Prison whose whistle makes Johnny Cash hang his head and cry. But by the 1960s, that kind of song had started to dry up. It would happen on occasion -- "People Get Ready" by the Impressions is the most obvious example of the train metaphor in an important sixties record -- but by the late sixties the train was no longer a symbol of freedom but of the past. In 1969 Harry Nilsson sang about how "Nobody Cares About the Railroads Any More", and in 1968 the Kinks sang about "The Last of the Steam-Powered Trains". When in 1968 Merle Haggard sang about a freight train, it was as a memory, of a child with hopes that ended up thwarted by reality and his own nature: [Excerpt: Merle Haggard, "Mama Tried"] And the reason for this was that there had been another shift, a shift that had started in the forties and accelerated in the late fifties but had taken a little time to ripple through the culture. Now the train had been replaced in the popular imaginary by motorised transport. Instead of hopping on a train without paying, if you had no money in your pocket you'd have to hitch-hike all the way. Freedom now meant individuality. The ultimate in freedom was the biker -- the Hell's Angels who could go anywhere, unburdened by anything -- and instead of goods being moved by freight train, increasingly they were being moved by truck drivers. By the mid-seventies, truck drivers took a central place in American life, and the most romantic way to live life was to live it on the road. On The Road was also the title of a 1957 novel by Jack Kerouac, which was one of the first major signs of this cultural shift in America. Kerouac was writing about events in the late forties and early fifties, but his book was also a precursor of the sixties counterculture. He wrote the book on one continuous sheet of paper, as a stream of consciousness. Kerouac died in 1969 of an internal haemmorage brought on by too much alcohol consumption. So it goes. But the big key to this cultural shift was caused by the Federal-Aid Highway Act of 1956, a massive infrastructure spending bill that led to the construction of the modern American Interstate Highway system. This accelerated a program that had already started, of building much bigger, safer, faster roads. It also, as anyone who has read Robert Caro's The Power Broker knows, reinforced segregation and white flight. It did this both by making commuting into major cities from the suburbs easier -- thus allowing white people with more money to move further away from the cities and still work there -- and by bulldozing community spaces where Black people lived. More than a million people lost their homes and were forcibly moved, and orders of magnitude more lost their communities' parks and green spaces. And both as a result of deliberate actions and unconscious bigotry, the bulk of those affected were Black people -- who often found themselves, if they weren't forced to move, on one side of a ten-lane highway where the park used to be, with white people on the other side of the highway. The Federal-Aid Highway Act gave even more power to the unaccountable central planners like Robert Moses, the urban planner in New York who managed to become arguably the most powerful man in the city without ever getting elected, partly by slowly compromising away his early progressive ideals in the service of gaining more power. Of course, not every new highway was built through areas where poor Black people lived. Some were planned to go through richer areas for white people, just because you can't completely do away with geographical realities. For example one was planned to be built through part of San Francisco, a rich, white part. But the people who owned properties in that area had enough political power and clout to fight the development, and after nearly a decade of fighting it, the development was called off in late 1966. But over that time, many of the owners of the impressive buildings in the area had moved out, and they had no incentive to improve or maintain their properties while they were under threat of demolition, so many of them were rented out very cheaply. And when the beat community that Kerouac wrote about, many of whom had settled in San Francisco, grew too large and notorious for the area of the city they were in, North Beach, many of them moved to these cheap homes in a previously-exclusive area. The area known as Haight-Ashbury. [Excerpt: The Grateful Dead, "Grayfolded"] Stories all have their starts, even stories told in Tralfamadorian time, although sometimes those starts are shrouded in legend. For example, the story of Scientology's start has been told many times, with different people claiming to have heard L. Ron Hubbard talk about how writing was a mug's game, and if you wanted to make real money, you needed to get followers, start a religion. Either he said this over and over and over again, to many different science fiction writers, or most science fiction writers of his generation were liars. Of course, the definition of a writer is someone who tells lies for money, so who knows? One of the more plausible accounts of him saying that is given by Theodore Sturgeon. Sturgeon's account is more believable than most, because Sturgeon went on to be a supporter of Dianetics, the "new science" that Hubbard turned into his religion, for decades, even while telling the story. The story of the Grateful Dead probably starts as it ends, with Jerry Garcia. There are three things that everyone writing about the Dead says about Garcia's childhood, so we might as well say them here too. The first is that he was named by a music-loving father after Jerome Kern, the songwriter responsible for songs like "Ol' Man River" (though as Oscar Hammerstein's widow liked to point out, "Jerome Kern wrote dum-dum-dum-dum, *my husband* wrote 'Ol' Man River'" -- an important distinction we need to bear in mind when talking about songwriters who write music but not lyrics). The second is that when he was five years old that music-loving father drowned -- and Garcia would always say he had seen his father dying, though some sources claim this was a false memory. So it goes. And the third fact, which for some reason is always told after the second even though it comes before it chronologically, is that when he was four he lost two joints from his right middle finger. Garcia grew up a troubled teen, and in turn caused trouble for other people, but he also developed a few interests that would follow him through his life. He loved the fantastical, especially the fantastical macabre, and became an avid fan of horror and science fiction -- and through his love of old monster films he became enamoured with cinema more generally. Indeed, in 1983 he bought the film rights to Kurt Vonnegut's science fiction novel The Sirens of Titan, the first story in which the Tralfamadorians appear, and wrote a script based on it. He wanted to produce the film himself, with Francis Ford Coppola directing and Bill Murray starring, but most importantly for him he wanted to prevent anyone who didn't care about it from doing it badly. And in that he succeeded. As of 2023 there is no film of The Sirens of Titan. He loved to paint, and would continue that for the rest of his life, with one of his favourite subjects being Boris Karloff as the Frankenstein monster. And when he was eleven or twelve, he heard for the first time a record that was hugely influential to a whole generation of Californian musicians, even though it was a New York record -- "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Garcia would say later "That was an important song. That was the first kind of, like where the voices had that kind of not-trained-singer voices, but tough-guy-on-the-street voice." That record introduced him to R&B, and soon he was listening to Chuck Berry and Bo Diddley, to Ray Charles, and to a record we've not talked about in the podcast but which was one of the great early doo-wop records, "WPLJ" by the Four Deuces: [Excerpt: The Four Deuces, "WPLJ"] Garcia said of that record "That was one of my anthem songs when I was in junior high school and high school and around there. That was one of those songs everybody knew. And that everybody sang. Everybody sang that street-corner favorite." Garcia moved around a lot as a child, and didn't have much time for school by his own account, but one of the few teachers he did respect was an art teacher when he was in North Beach, Walter Hedrick. Hedrick was also one of the earliest of the conceptual artists, and one of the most important figures in the San Francisco arts scene that would become known as the Beat Generation (or the Beatniks, which was originally a disparaging term). Hedrick was a painter and sculptor, but also organised happenings, and he had also been one of the prime movers in starting a series of poetry readings in San Francisco, the first one of which had involved Allen Ginsberg giving the first ever reading of "Howl" -- one of a small number of poems, along with Eliot's "Prufrock" and "The Waste Land" and possibly Pound's Cantos, which can be said to have changed twentieth-century literature. Garcia was fifteen when he got to know Hedrick, in 1957, and by then the Beat scene had already become almost a parody of itself, having become known to the public because of the publication of works like On the Road, and the major artists in the scene were already rejecting the label. By this point tourists were flocking to North Beach to see these beatniks they'd heard about on TV, and Hedrick was actually employed by one cafe to sit in the window wearing a beret, turtleneck, sandals, and beard, and draw and paint, to attract the tourists who flocked by the busload because they could see that there was a "genuine beatnik" in the cafe. Hedrick was, as well as a visual artist, a guitarist and banjo player who played in traditional jazz bands, and he would bring records in to class for his students to listen to, and Garcia particularly remembered him bringing in records by Big Bill Broonzy: [Excerpt: Big Bill Broonzy, "When Things Go Wrong (It Hurts Me Too)"] Garcia was already an avid fan of rock and roll music, but it was being inspired by Hedrick that led him to get his first guitar. Like his contemporary Paul McCartney around the same time, he was initially given the wrong instrument as a birthday present -- in Garcia's case his mother gave him an accordion -- but he soon persuaded her to swap it for an electric guitar he saw in a pawn shop. And like his other contemporary, John Lennon, Garcia initially tuned his instrument incorrectly. He said later "When I started playing the guitar, believe me, I didn't know anybody that played. I mean, I didn't know anybody that played the guitar. Nobody. They weren't around. There were no guitar teachers. You couldn't take lessons. There was nothing like that, you know? When I was a kid and I had my first electric guitar, I had it tuned wrong and learned how to play on it with it tuned wrong for about a year. And I was getting somewhere on it, you know… Finally, I met a guy that knew how to tune it right and showed me three chords, and it was like a revelation. You know what I mean? It was like somebody gave me the key to heaven." He joined a band, the Chords, which mostly played big band music, and his friend Gary Foster taught him some of the rudiments of playing the guitar -- things like how to use a capo to change keys. But he was always a rebellious kid, and soon found himself faced with a choice between joining the military or going to prison. He chose the former, and it was during his time in the Army that a friend, Ron Stevenson, introduced him to the music of Merle Travis, and to Travis-style guitar picking: [Excerpt: Merle Travis, "Nine-Pound Hammer"] Garcia had never encountered playing like that before, but he instantly recognised that Travis, and Chet Atkins who Stevenson also played for him, had been an influence on Scotty Moore. He started to realise that the music he'd listened to as a teenager was influenced by music that went further back. But Stevenson, as well as teaching Garcia some of the rudiments of Travis-picking, also indirectly led to Garcia getting discharged from the Army. Stevenson was not a well man, and became suicidal. Garcia decided it was more important to keep his friend company and make sure he didn't kill himself than it was to turn up for roll call, and as a result he got discharged himself on psychiatric grounds -- according to Garcia he told the Army psychiatrist "I was involved in stuff that was more important to me in the moment than the army was and that was the reason I was late" and the psychiatrist thought it was neurotic of Garcia to have his own set of values separate from that of the Army. After discharge, Garcia did various jobs, including working as a transcriptionist for Lenny Bruce, the comedian who was a huge influence on the counterculture. In one of the various attacks over the years by authoritarians on language, Bruce was repeatedly arrested for obscenity, and in 1961 he was arrested at a jazz club in North Beach. Sixty years ago, the parts of speech that were being criminalised weren't pronouns, but prepositions and verbs: [Excerpt: Lenny Bruce, "To is a Preposition, Come is a Verb"] That piece, indeed, was so controversial that when Frank Zappa quoted part of it in a song in 1968, the record label insisted on the relevant passage being played backwards so people couldn't hear such disgusting filth: [Excerpt: The Mothers of Invention, "Harry You're a Beast"] (Anyone familiar with that song will understand that the censored portion is possibly the least offensive part of the whole thing). Bruce was facing trial, and he needed transcripts of what he had said in his recordings to present in court. Incidentally, there seems to be some confusion over exactly which of Bruce's many obscenity trials Garcia became a transcriptionist for. Dennis McNally says in his biography of the band, published in 2002, that it was the most famous of them, in autumn 1964, but in a later book, Jerry on Jerry, a book of interviews of Garcia edited by McNally, McNally talks about it being when Garcia was nineteen, which would mean it was Bruce's first trial, in 1961. We can put this down to the fact that many of the people involved, not least Garcia, lived in Tralfamadorian time, and were rather hazy on dates, but I'm placing the story here rather than in 1964 because it seems to make more sense that Garcia would be involved in a trial based on an incident in San Francisco than one in New York. Garcia got the job, even though he couldn't type, because by this point he'd spent so long listening to recordings of old folk and country music that he was used to transcribing indecipherable accents, and often, as Garcia would tell it, Bruce would mumble very fast and condense multiple syllables into one. Garcia was particularly impressed by Bruce's ability to improvise but talk in entire paragraphs, and he compared his use of language to bebop. Another thing that was starting to impress Garcia, and which he also compared to bebop, was bluegrass: [Excerpt: Bill Monroe, "Fire on the Mountain"] Bluegrass is a music that is often considered very traditional, because it's based on traditional songs and uses acoustic instruments, but in fact it was a terribly *modern* music, and largely a postwar creation of a single band -- Bill Monroe and his Blue Grass Boys. And Garcia was right when he said it was "white bebop" -- though he did say "The only thing it doesn't have is the harmonic richness of bebop. You know what I mean? That's what it's missing, but it has everything else." Both bebop and bluegrass evolved after the second world war, though they were informed by music from before it, and both prized the ability to improvise, and technical excellence. Both are musics that involved playing *fast*, in an ensemble, and being able to respond quickly to the other musicians. Both musics were also intensely rhythmic, a response to a faster paced, more stressful world. They were both part of the general change in the arts towards immediacy that we looked at in the last episode with the creation first of expressionism and then of pop art. Bluegrass didn't go into the harmonic explorations that modern jazz did, but it was absolutely as modern as anything Charlie Parker was doing, and came from the same impulses. It was tradition and innovation, the past and the future simultaneously. Bill Monroe, Jackson Pollock, Charlie Parker, Jack Kerouac, and Lenny Bruce were all in their own ways responding to the same cultural moment, and it was that which Garcia was responding to. But he didn't become able to play bluegrass until after a tragedy which shaped his life even more than his father's death had. Garcia had been to a party and was in a car with his friends Lee Adams, Paul Speegle, and Alan Trist. Adams was driving at ninety miles an hour when they hit a tight curve and crashed. Garcia, Adams, and Trist were all severely injured but survived. Speegle died. So it goes. This tragedy changed Garcia's attitudes totally. Of all his friends, Speegle was the one who was most serious about his art, and who treated it as something to work on. Garcia had always been someone who fundamentally didn't want to work or take any responsibility for anything. And he remained that way -- except for his music. Speegle's death changed Garcia's attitude to that, totally. If his friend wasn't going to be able to practice his own art any more, Garcia would practice his, in tribute to him. He resolved to become a virtuoso on guitar and banjo. His girlfriend of the time later said “I don't know if you've spent time with someone rehearsing ‘Foggy Mountain Breakdown' on a banjo for eight hours, but Jerry practiced endlessly. He really wanted to excel and be the best. He had tremendous personal ambition in the musical arena, and he wanted to master whatever he set out to explore. Then he would set another sight for himself. And practice another eight hours a day of new licks.” But of course, you can't make ensemble music on your own: [Excerpt: Jerry Garcia and Bob Hunter, "Oh Mary Don't You Weep" (including end)] "Evelyn said, “What is it called when a person needs a … person … when you want to be touched and the … two are like one thing and there isn't anything else at all anywhere?” Alicia, who had read books, thought about it. “Love,” she said at length." That's from More Than Human, by Theodore Sturgeon, a book I'll be quoting a few more times as the story goes on. Robert Hunter, like Garcia, was just out of the military -- in his case, the National Guard -- and he came into Garcia's life just after Paul Speegle had left it. Garcia and Alan Trist met Hunter ten days after the accident, and the three men started hanging out together, Trist and Hunter writing while Garcia played music. Garcia and Hunter both bonded over their shared love for the beats, and for traditional music, and the two formed a duo, Bob and Jerry, which performed together a handful of times. They started playing together, in fact, after Hunter picked up a guitar and started playing a song and halfway through Garcia took it off him and finished the song himself. The two of them learned songs from the Harry Smith Anthology -- Garcia was completely apolitical, and only once voted in his life, for Lyndon Johnson in 1964 to keep Goldwater out, and regretted even doing that, and so he didn't learn any of the more political material people like Pete Seeger, Phil Ochs, and Bob Dylan were doing at the time -- but their duo only lasted a short time because Hunter wasn't an especially good guitarist. Hunter would, though, continue to jam with Garcia and other friends, sometimes playing mandolin, while Garcia played solo gigs and with other musicians as well, playing and moving round the Bay Area and performing with whoever he could: [Excerpt: Jerry Garcia, "Railroad Bill"] "Bleshing, that was Janie's word. She said Baby told it to her. She said it meant everyone all together being something, even if they all did different things. Two arms, two legs, one body, one head, all working together, although a head can't walk and arms can't think. Lone said maybe it was a mixture of “blending” and “meshing,” but I don't think he believed that himself. It was a lot more than that." That's from More Than Human In 1961, Garcia and Hunter met another young musician, but one who was interested in a very different type of music. Phil Lesh was a serious student of modern classical music, a classically-trained violinist and trumpeter whose interest was solidly in the experimental and whose attitude can be summed up by a story that's always told about him meeting his close friend Tom Constanten for the first time. Lesh had been talking with someone about serialism, and Constanten had interrupted, saying "Music stopped being created in 1750 but it started again in 1950". Lesh just stuck out his hand, recognising a kindred spirit. Lesh and Constanten were both students of Luciano Berio, the experimental composer who created compositions for magnetic tape: [Excerpt: Luciano Berio, "Momenti"] Berio had been one of the founders of the Studio di fonologia musicale di Radio Milano, a studio for producing contemporary electronic music where John Cage had worked for a time, and he had also worked with the electronic music pioneer Karlheinz Stockhausen. Lesh would later remember being very impressed when Berio brought a tape into the classroom -- the actual multitrack tape for Stockhausen's revolutionary piece Gesang Der Juenglinge: [Excerpt: Karlheinz Stockhausen, "Gesang Der Juenglinge"] Lesh at first had been distrustful of Garcia -- Garcia was charismatic and had followers, and Lesh never liked people like that. But he was impressed by Garcia's playing, and soon realised that the two men, despite their very different musical interests, had a lot in common. Lesh was interested in the technology of music as well as in performing and composing it, and so when he wasn't studying he helped out by engineering at the university's radio station. Lesh was impressed by Garcia's playing, and suggested to the presenter of the station's folk show, the Midnight Special, that Garcia be a guest. Garcia was so good that he ended up getting an entire solo show to himself, where normally the show would feature multiple acts. Lesh and Constanten soon moved away from the Bay Area to Las Vegas, but both would be back -- in Constanten's case he would form an experimental group in San Francisco with their fellow student Steve Reich, and that group (though not with Constanten performing) would later premiere Terry Riley's In C, a piece influenced by La Monte Young and often considered one of the great masterpieces of minimalist music. By early 1962 Garcia and Hunter had formed a bluegrass band, with Garcia on guitar and banjo and Hunter on mandolin, and a rotating cast of other musicians including Ken Frankel, who played banjo and fiddle. They performed under different names, including the Tub Thumpers, the Hart Valley Drifters, and the Sleepy Valley Hog Stompers, and played a mixture of bluegrass and old-time music -- and were very careful about the distinction: [Excerpt: The Hart Valley Drifters, "Cripple Creek"] In 1993, the Republican political activist John Perry Barlow was invited to talk to the CIA about the possibilities open to them with what was then called the Information Superhighway. He later wrote, in part "They told me they'd brought Steve Jobs in a few weeks before to indoctrinate them in modern information management. And they were delighted when I returned later, bringing with me a platoon of Internet gurus, including Esther Dyson, Mitch Kapor, Tony Rutkowski, and Vint Cerf. They sealed us into an electronically impenetrable room to discuss the radical possibility that a good first step in lifting their blackout would be for the CIA to put up a Web site... We told them that information exchange was a barter system, and that to receive, one must also be willing to share. This was an alien notion to them. They weren't even willing to share information among themselves, much less the world." 1962 brought a new experience for Robert Hunter. Hunter had been recruited into taking part in psychological tests at Stanford University, which in the sixties and seventies was one of the preeminent universities for psychological experiments. As part of this, Hunter was given $140 to attend the VA hospital (where a janitor named Ken Kesey, who had himself taken part in a similar set of experiments a couple of years earlier, worked a day job while he was working on his first novel) for four weeks on the run, and take different psychedelic drugs each time, starting with LSD, so his reactions could be observed. (It was later revealed that these experiments were part of a CIA project called MKUltra, designed to investigate the possibility of using psychedelic drugs for mind control, blackmail, and torture. Hunter was quite lucky in that he was told what was going to happen to him and paid for his time. Other subjects included the unlucky customers of brothels the CIA set up as fronts -- they dosed the customers' drinks and observed them through two-way mirrors. Some of their experimental subjects died by suicide as a result of their experiences. So it goes. ) Hunter was interested in taking LSD after reading Aldous Huxley's writings about psychedelic substances, and he brought his typewriter along to the experiment. During the first test, he wrote a six-page text, a short excerpt from which is now widely quoted, reading in part "Sit back picture yourself swooping up a shell of purple with foam crests of crystal drops soft nigh they fall unto the sea of morning creep-very-softly mist ... and then sort of cascade tinkley-bell-like (must I take you by the hand, ever so slowly type) and then conglomerate suddenly into a peal of silver vibrant uncomprehendingly, blood singingly, joyously resounding bells" Hunter's experience led to everyone in their social circle wanting to try LSD, and soon they'd all come to the same conclusion -- this was something special. But Garcia needed money -- he'd got his girlfriend pregnant, and they'd married (this would be the first of several marriages in Garcia's life, and I won't be covering them all -- at Garcia's funeral, his second wife, Carolyn, said Garcia always called her the love of his life, and his first wife and his early-sixties girlfriend who he proposed to again in the nineties both simultaneously said "He said that to me!"). So he started teaching guitar at a music shop in Palo Alto. Hunter had no time for Garcia's incipient domesticity and thought that his wife was trying to make him live a conventional life, and the two drifted apart somewhat, though they'd still play together occasionally. Through working at the music store, Garcia got to know the manager, Troy Weidenheimer, who had a rock and roll band called the Zodiacs. Garcia joined the band on bass, despite that not being his instrument. He later said "Troy was a lot of fun, but I wasn't good enough a musician then to have been able to deal with it. I was out of my idiom, really, 'cause when I played with Troy I was playing electric bass, you know. I never was a good bass player. Sometimes I was playing in the wrong key and didn't even [fuckin'] know it. I couldn't hear that low, after playing banjo, you know, and going to electric...But Troy taught me the principle of, hey, you know, just stomp your foot and get on it. He was great. A great one for the instant arrangement, you know. And he was also fearless for that thing of get your friends to do it." Garcia's tenure in the Zodiacs didn't last long, nor did this experiment with rock and roll, but two other members of the Zodiacs will be notable later in the story -- the harmonica player, an old friend of Garcia's named Ron McKernan, who would soon gain the nickname Pig Pen after the Peanuts character, and the drummer, Bill Kreutzmann: [Excerpt: The Grateful Dead, "Drums/Space (Skull & Bones version)"] Kreutzmann said of the Zodiacs "Jerry was the hired bass player and I was the hired drummer. I only remember playing that one gig with them, but I was in way over my head. I always did that. I always played things that were really hard and it didn't matter. I just went for it." Garcia and Kreutzmann didn't really get to know each other then, but Garcia did get to know someone else who would soon be very important in his life. Bob Weir was from a very different background than Garcia, though both had the shared experience of long bouts of chronic illness as children. He had grown up in a very wealthy family, and had always been well-liked, but he was what we would now call neurodivergent -- reading books about the band he talks about being dyslexic but clearly has other undiagnosed neurodivergences, which often go along with dyslexia -- and as a result he was deemed to have behavioural problems which led to him getting expelled from pre-school and kicked out of the cub scouts. He was never academically gifted, thanks to his dyslexia, but he was always enthusiastic about music -- to a fault. He learned to play boogie piano but played so loudly and so often his parents sold the piano. He had a trumpet, but the neighbours complained about him playing it outside. Finally he switched to the guitar, an instrument with which it is of course impossible to make too loud a noise. The first song he learned was the Kingston Trio's version of an old sea shanty, "The Wreck of the John B": [Excerpt: The Kingston Trio, "The Wreck of the John B"] He was sent off to a private school in Colorado for teenagers with behavioural issues, and there he met the boy who would become his lifelong friend, John Perry Barlow. Unfortunately the two troublemakers got on with each other *so* well that after their first year they were told that it was too disruptive having both of them at the school, and only one could stay there the next year. Barlow stayed and Weir moved back to the Bay Area. By this point, Weir was getting more interested in folk music that went beyond the commercial folk of the Kingston Trio. As he said later "There was something in there that was ringing my bells. What I had grown up thinking of as hillbilly music, it started to have some depth for me, and I could start to hear the music in it. Suddenly, it wasn't just a bunch of ignorant hillbillies playing what they could. There was some depth and expertise and stuff like that to aspire to.” He moved from school to school but one thing that stayed with him was his love of playing guitar, and he started taking lessons from Troy Weidenheimer, but he got most of his education going to folk clubs and hootenannies. He regularly went to the Tangent, a club where Garcia played, but Garcia's bluegrass banjo playing was far too rigorous for a free spirit like Weir to emulate, and instead he started trying to copy one of the guitarists who was a regular there, Jorma Kaukonnen. On New Year's Eve 1963 Weir was out walking with his friends Bob Matthews and Rich Macauley, and they passed the music shop where Garcia was a teacher, and heard him playing his banjo. They knocked and asked if they could come in -- they all knew Garcia a little, and Bob Matthews was one of his students, having become interested in playing banjo after hearing the theme tune to the Beverly Hillbillies, played by the bluegrass greats Flatt and Scruggs: [Excerpt: Flatt and Scruggs, "The Beverly Hillbillies"] Garcia at first told these kids, several years younger than him, that they couldn't come in -- he was waiting for his students to show up. But Weir said “Jerry, listen, it's seven-thirty on New Year's Eve, and I don't think you're going to be seeing your students tonight.” Garcia realised the wisdom of this, and invited the teenagers in to jam with him. At the time, there was a bit of a renaissance in jug bands, as we talked about back in the episode on the Lovin' Spoonful. This was a form of music that had grown up in the 1920s, and was similar and related to skiffle and coffee-pot bands -- jug bands would tend to have a mixture of portable string instruments like guitars and banjos, harmonicas, and people using improvised instruments, particularly blowing into a jug. The most popular of these bands had been Gus Cannon's Jug Stompers, led by banjo player Gus Cannon and with harmonica player Noah Lewis: [Excerpt: Gus Cannon's Jug Stompers, "Viola Lee Blues"] With the folk revival, Cannon's work had become well-known again. The Rooftop Singers, a Kingston Trio style folk group, had had a hit with his song "Walk Right In" in 1963, and as a result of that success Cannon had even signed a record contract with Stax -- Stax's first album ever, a month before Booker T and the MGs' first album, was in fact the eighty-year-old Cannon playing his banjo and singing his old songs. The rediscovery of Cannon had started a craze for jug bands, and the most popular of the new jug bands was Jim Kweskin's Jug Band, which did a mixture of old songs like "You're a Viper" and more recent material redone in the old style. Weir, Matthews, and Macauley had been to see the Kweskin band the night before, and had been very impressed, especially by their singer Maria D'Amato -- who would later marry her bandmate Geoff Muldaur and take his name -- and her performance of Leiber and Stoller's "I'm a Woman": [Excerpt: Jim Kweskin's Jug Band, "I'm a Woman"] Matthews suggested that they form their own jug band, and Garcia eagerly agreed -- though Matthews found himself rapidly moving from banjo to washboard to kazoo to second kazoo before realising he was surplus to requirements. Robert Hunter was similarly an early member but claimed he "didn't have the embouchure" to play the jug, and was soon also out. He moved to LA and started studying Scientology -- later claiming that he wanted science-fictional magic powers, which L. Ron Hubbard's new religion certainly offered. The group took the name Mother McRee's Uptown Jug Champions -- apparently they varied the spelling every time they played -- and had a rotating membership that at one time or another included about twenty different people, but tended always to have Garcia on banjo, Weir on jug and later guitar, and Garcia's friend Pig Pen on harmonica: [Excerpt: Mother McRee's Uptown Jug Champions, "On the Road Again"] The group played quite regularly in early 1964, but Garcia's first love was still bluegrass, and he was trying to build an audience with his bluegrass band, The Black Mountain Boys. But bluegrass was very unpopular in the Bay Area, where it was simultaneously thought of as unsophisticated -- as "hillbilly music" -- and as elitist, because it required actual instrumental ability, which wasn't in any great supply in the amateur folk scene. But instrumental ability was something Garcia definitely had, as at this point he was still practising eight hours a day, every day, and it shows on the recordings of the Black Mountain Boys: [Excerpt: The Black Mountain Boys, "Rosa Lee McFall"] By the summer, Bob Weir was also working at the music shop, and so Garcia let Weir take over his students while he and the Black Mountain Boys' guitarist Sandy Rothman went on a road trip to see as many bluegrass musicians as they could and to audition for Bill Monroe himself. As it happened, Garcia found himself too shy to audition for Monroe, but Rothman later ended up playing with Monroe's Blue Grass Boys. On his return to the Bay Area, Garcia resumed playing with the Uptown Jug Champions, but Pig Pen started pestering him to do something different. While both men had overlapping tastes in music and a love for the blues, Garcia's tastes had always been towards the country end of the spectrum while Pig Pen's were towards R&B. And while the Uptown Jug Champions were all a bit disdainful of the Beatles at first -- apart from Bob Weir, the youngest of the group, who thought they were interesting -- Pig Pen had become enamoured of another British band who were just starting to make it big: [Excerpt: The Rolling Stones, "Not Fade Away"] 29) Garcia liked the first Rolling Stones album too, and he eventually took Pig Pen's point -- the stuff that the Rolling Stones were doing, covers of Slim Harpo and Buddy Holly, was not a million miles away from the material they were doing as Mother McRee's Uptown Jug Champions. Pig Pen could play a little electric organ, Bob had been fooling around with the electric guitars in the music shop. Why not give it a go? The stuff bands like the Rolling Stones were doing wasn't that different from the electric blues that Pig Pen liked, and they'd all seen A Hard Day's Night -- they could carry on playing with banjos, jugs, and kazoos and have the respect of a handful of folkies, or they could get electric instruments and potentially have screaming girls and millions of dollars, while playing the same songs. This was a convincing argument, especially when Dana Morgan Jr, the son of the owner of the music shop, told them they could have free electric instruments if they let him join on bass. Morgan wasn't that great on bass, but what the hell, free instruments. Pig Pen had the best voice and stage presence, so he became the frontman of the new group, singing most of the leads, though Jerry and Bob would both sing a few songs, and playing harmonica and organ. Weir was on rhythm guitar, and Garcia was the lead guitarist and obvious leader of the group. They just needed a drummer, and handily Bill Kreutzmann, who had played with Garcia and Pig Pen in the Zodiacs, was also now teaching music at the music shop. Not only that, but about three weeks before they decided to go electric, Kreutzmann had seen the Uptown Jug Champions performing and been astonished by Garcia's musicianship and charisma, and said to himself "Man, I'm gonna follow that guy forever!" The new group named themselves the Warlocks, and started rehearsing in earnest. Around this time, Garcia also finally managed to get some of the LSD that his friend Robert Hunter had been so enthusiastic about three years earlier, and it was a life-changing experience for him. In particular, he credited LSD with making him comfortable being a less disciplined player -- as a bluegrass player he'd had to be frighteningly precise, but now he was playing rock and needed to loosen up. A few days after taking LSD for the first time, Garcia also heard some of Bob Dylan's new material, and realised that the folk singer he'd had little time for with his preachy politics was now making electric music that owed a lot more to the Beat culture Garcia considered himself part of: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] Another person who was hugely affected by hearing that was Phil Lesh, who later said "I couldn't believe that was Bob Dylan on AM radio, with an electric band. It changed my whole consciousness: if something like that could happen, the sky was the limit." Up to that point, Lesh had been focused entirely on his avant-garde music, working with friends like Steve Reich to push music forward, inspired by people like John Cage and La Monte Young, but now he realised there was music of value in the rock world. He'd quickly started going to rock gigs, seeing the Rolling Stones and the Byrds, and then he took acid and went to see his friend Garcia's new electric band play their third ever gig. He was blown away, and very quickly it was decided that Lesh would be the group's new bass player -- though everyone involved tells a different story as to who made the decision and how it came about, and accounts also vary as to whether Dana Morgan took his sacking gracefully and let his erstwhile bandmates keep their instruments, or whether they had to scrounge up some new ones. Lesh had never played bass before, but he was a talented multi-instrumentalist with a deep understanding of music and an ability to compose and improvise, and the repertoire the Warlocks were playing in the early days was mostly three-chord material that doesn't take much rehearsal -- though it was apparently beyond the abilities of poor Dana Morgan, who apparently had to be told note-by-note what to play by Garcia, and learn it by rote. Garcia told Lesh what notes the strings of a bass were tuned to, told him to borrow a guitar and practice, and within two weeks he was on stage with the Warlocks: [Excerpt: The Grateful Dead, “Grayfolded"] In September 1995, just weeks after Jerry Garcia's death, an article was published in Mute magazine identifying a cultural trend that had shaped the nineties, and would as it turned out shape at least the next thirty years. It's titled "The Californian Ideology", though it may be better titled "The Bay Area Ideology", and it identifies a worldview that had grown up in Silicon Valley, based around the ideas of the hippie movement, of right-wing libertarianism, of science fiction authors, and of Marshall McLuhan. It starts "There is an emerging global orthodoxy concerning the relation between society, technology and politics. We have called this orthodoxy `the Californian Ideology' in honour of the state where it originated. By naturalising and giving a technological proof to a libertarian political philosophy, and therefore foreclosing on alternative futures, the Californian Ideologues are able to assert that social and political debates about the future have now become meaningless. The California Ideology is a mix of cybernetics, free market economics, and counter-culture libertarianism and is promulgated by magazines such as WIRED and MONDO 2000 and preached in the books of Stewart Brand, Kevin Kelly and others. The new faith has been embraced by computer nerds, slacker students, 30-something capitalists, hip academics, futurist bureaucrats and even the President of the USA himself. As usual, Europeans have not been slow to copy the latest fashion from America. While a recent EU report recommended adopting the Californian free enterprise model to build the 'infobahn', cutting-edge artists and academics have been championing the 'post-human' philosophy developed by the West Coast's Extropian cult. With no obvious opponents, the global dominance of the Californian ideology appears to be complete." [Excerpt: Grayfolded] The Warlocks' first gig with Phil Lesh on bass was on June the 18th 1965, at a club called Frenchy's with a teenage clientele. Lesh thought his playing had been wooden and it wasn't a good gig, and apparently the management of Frenchy's agreed -- they were meant to play a second night there, but turned up to be told they'd been replaced by a band with an accordion and clarinet. But by September the group had managed to get themselves a residency at a small bar named the In Room, and playing there every night made them cohere. They were at this point playing the kind of sets that bar bands everywhere play to this day, though at the time the songs they were playing, like "Gloria" by Them and "In the Midnight Hour", were the most contemporary of hits. Another song that they introduced into their repertoire was "Do You Believe in Magic" by the Lovin' Spoonful, another band which had grown up out of former jug band musicians. As well as playing their own sets, they were also the house band at The In Room and as such had to back various touring artists who were the headline acts. The first act they had to back up was Cornell Gunter's version of the Coasters. Gunter had brought his own guitarist along as musical director, and for the first show Weir sat in the audience watching the show and learning the parts, staring intently at this musical director's playing. After seeing that, Weir's playing was changed, because he also picked up how the guitarist was guiding the band while playing, the small cues that a musical director will use to steer the musicians in the right direction. Weir started doing these things himself when he was singing lead -- Pig Pen was the frontman but everyone except Bill sang sometimes -- and the group soon found that rather than Garcia being the sole leader, now whoever was the lead singer for the song was the de facto conductor as well. By this point, the Bay Area was getting almost overrun with people forming electric guitar bands, as every major urban area in America was. Some of the bands were even having hits already -- We Five had had a number three hit with "You Were On My Mind", a song which had originally been performed by the folk duo Ian and Sylvia: [Excerpt: We Five, "You Were On My Mind"] Although the band that was most highly regarded on the scene, the Charlatans, was having problems with the various record companies they tried to get signed to, and didn't end up making a record until 1969. If tracks like "Number One" had been released in 1965 when they were recorded, the history of the San Francisco music scene may have taken a very different turn: [Excerpt: The Charlatans, "Number One"] Bands like Jefferson Airplane, the Great Society, and Big Brother and the Holding Company were also forming, and Autumn Records was having a run of success with records by the Beau Brummels, whose records were produced by Autumn's in-house A&R man, Sly Stone: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Warlocks were somewhat cut off from this, playing in a dive bar whose clientele was mostly depressed alcoholics. But the fact that they were playing every night for an audience that didn't care much gave them freedom, and they used that freedom to improvise. Both Lesh and Garcia were big fans of John Coltrane, and they started to take lessons from his style of playing. When the group played "Gloria" or "Midnight Hour" or whatever, they started to extend the songs and give themselves long instrumental passages for soloing. Garcia's playing wasn't influenced *harmonically* by Coltrane -- in fact Garcia was always a rather harmonically simple player. He'd tend to play lead lines either in Mixolydian mode, which is one of the most standard modes in rock, pop, blues, and jazz, or he'd play the notes of the chord that was being played, so if the band were playing a G chord his lead would emphasise the notes G, B, and D. But what he was influenced by was Coltrane's tendency to improvise in long, complex, phrases that made up a single thought -- Coltrane was thinking musically in paragraphs, rather than sentences, and Garcia started to try the same kind of th

Quel futur pour le passé aujourd'hui ? Et si le cours de l'histoire déformait celle de la musique ? Tout commence par une dystopie puis retour au concert-atelier du 17 janvier à la Librairie La Vagabonde, à Tours, avec le violoncelliste soliste Benjamin Garnier. ************** programme musical ************** - John Oswald, Tune, album Plunderphonic (Mystery Tape Laboratory, 1989) - Sushi Dart Scar, Z24, album 69 Plunderphonics 96 (Seeland, 2001) - Wieldung Von Ovenbath, Dwig, album 69 Plunderphonics 96 (Seeland, 2001) - extrait d'une conférence donné par Robert Pascal [https://youtu.be/j-1N3uPw31s] - Robert Pascal, Alnilam, extrait de Les instants élémentaires, interprété par Benjamin Garnier, violoncelle* - Robert Pascal, Duo pour deux violons, extrait - Klaus Huber, Transpositio ad infinitum, commande de Msitslav Rostropovitch, interprété par Benjamin Garnier, violoncelle * - John Oswald, Beatles, album Plunderphonic (Mystery Tape Laboratory, 1989) - The Buggles, Video Killed The Radio Star (Island Records, 1979) - J. G. Ballard, The Denoiser (Le Débruiteur), lecture extraite de Nouvelles complètes 1956 / 1962, traduction de Gisèle Garson et Pierre Versins, Éditions Tristram, 2008 - John Oswald, Spring, album Plunderphonic (Mystery Tape Laboratory, 1989) - Luciano Berio, Thema (Omaggio a Joyce), élaboration électro-acoustique sur la voix de Cathy Berberian (1958) - John Oswald, Dab, album Plunderphonic (Mystery Tape Laboratory, 1989) - Geese Ritz Bog & Usable Scud Dye, Debizet, album 69 Plunderphonics 96 (Seeland, 2001) - Birds On A Wire, El Cant Dels Ocells, album Ramages (PIAS, 2020) - Graciane Finzi, Thèmes et variations sur "Il Cant Dells Ocells", commande du concours international Pablo Casals, interprété par Benjamin Garnier, violoncelle * - Denis Dufour, Paysage, commande pédagogique du CNR de Boulogne-Billancourt, interprété par Benjamin Garnier, violoncelle * * Enregistré en concert le 17.01.2023, Librairie-café La Vagabonde, Tours (prise de son, mixage : Jean-Baptiste Apéré) ********************************************* Emission radiophonique sur les musiques contemporaines proposée par l'ensemble PTYX. Présentation : Jean-Baptiste Apéré réalisation, production, sans concession : ptyx fan club vnrpe (c) 2023 Avec le soutien du Conseil départemental d'Indre-et-Loire et de la Maison de la Musique Contemporaine

Intro: One More Night – Can                                                                                                                                   1.  I Married a Monster from Outer Space (Peel version) – John Cooper Clarke (2:46)                                                    2.  Space Ducks – Daniel Johnston (2:34)                                                                                                                          3.  Dwarf Nebula Processional March & Dwarf Nebula – Mothers of Invention (2:12)                                       4.  Rock on the Moon – Jimmy Stewart (1:54)                                                                                                              5.  Telstar – The Tornados (3:15)                                                               6.  Fireball XL-5 – Barry Gray (2:05)                                                               7.  Se Nkete Nkete – Stargazers Dance Band (2:48)                                           8.  Syncopate – The Astronauts (2:44)                                                                       9.  Space Is Ace – Frank Sidebottom (1:56)                                                                                                                                                      10.  Russian Satellite – The Mighty Sparrow (3:17)                                                                                                            11.  Noche de Estrellas – La Sonora del Caribe (2:50)                                                                                                      12.  Absa Gueye – Étoile de Dakar (5:22)      13.  Yasdestal – Mahmoud Ahmed (3:10)                                                                                               14.  Shining Star – Earth, Wind & Fire (2:51)                                                               15.  Space is the Place – Sun Ra (8:02)                                                                     16.  Astronomy Domine – The Pink Floyd (4:13)                                                                                                               17.  Three Moons – We'll Witness the Resurrection of Dead Butterflies – Cyclobe 18.  Copernicus – English Acoustic Collective (4:39)                                                       19.  A Whisper from Space – Paddy Kingsland / BBC Radiophonic Workshop (2:15)                                                      20.  Feel So Good – Spacemen 3 (5:33)                                                                                      21.  Luna Lunedda – L'Arpeggiata, dir. Christina Pluhar (3:35)                           22.  Perigee Moon – Daniel Bachman (4:07)                                                         23.  The Sun is Setting on the World – Hatzihristos Apostolos (3:20)                                                                              24.  A Space Boy Dream – Belle & Sebastian (3:02)                                                                                   25.  The Sun and the Moon – Goat (4:31)                                           26.  Clouds Cast (Dark Star excerpt) – Grateful Dead, arr. John Oswald (7:12)                                         27.  Sunrise in the Third System – Tangerine Dream (4:22)                                       28.  Andalusian Moon – Crying Lion (3:07)                                                             29.  Cui Luna, Sol et Omnia – Francisco López Capillas, Skidmore/Ex Cathedra (3:08)                                       30.  Under Stars – Brian Eno (4:30)                                                                                                                                                                                                                                                                                                                                              Outro: Pogles Walk – Vernon Elliott Ensemble

Famed collage sample artist.   This is some truly bizarre music.  I hope you enjoy!

On this episode Herb kicks off the show discussing his recent discoveries of “plunderphonics” and the producer John Oswald. He also discusses vapor wave and his obsession with slowed and reverb music. The conversation then transitions into talking about the recent discovery that the cure to depression is truly getting your shit together, recycling may have a real solution, the polar shifts are probably shifting, sinkholes and much more. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/hnspod/support

Hear now the word of the Lord from Isaiah chapter 25. O LORD, you are my God; I will exalt you; I will praise your name, for you have done wonderful things, plans formed of old, faithful and sure. 2 For you have made the city a heap, the fortified city a ruin; the foreigners' palace is a city no more; it will never be rebuilt. 3 Therefore strong peoples will glorify you; cities of ruthless nations will fear you. 4 For you have been a stronghold to the poor, a stronghold to the needy in his distress, a shelter from the storm and a shade from the heat; for the breath of the ruthless is like a storm against a wall, 5 like heat in a dry place. You subdue the noise of the foreigners; as heat by the shade of a cloud, so the song of the ruthless is put down. 6 On this mountain the LORD of hosts will make for all peoples a feast of rich food, a feast of well-aged wine, of rich food full of marrow, of aged wine well refined. 7 And he will swallow up on this mountain the covering that is cast over all peoples, the veil that is spread over all nations. 8 He will swallow up death forever; and the Lord GOD will wipe away tears from all faces, and the reproach of his people he will take away from all the earth, for the LORD has spoken. 9 It will be said on that day, “Behold, this is our God; we have waited for him, that he might save us. This is the LORD; we have waited for him; let us be glad and rejoice in his salvation.” 10 For the hand of the LORD will rest on this mountain, and Moab shall be trampled down in his place, as straw is trampled down in a dunghill. 11 And he will spread out his hands in the midst of it as a swimmer spreads his hands out to swim, but the LORD will lay low his pompous pride together with the skill of his hands. 12 And the high fortifications of his walls he will bring down, lay low, and cast to the ground, to the dust. Isaiah 25, ESV The grass withers, the flower fades, but the word of our God endures forever. In the roughly seven years that I have been here at Harvest, we have had by that time stretch an unusual concentration of funerals this year, in 2022, since the beginning of this year. As a pastor, as I've been thinking about Easter and the resurrection from the dead in light of all of these funerals that we've had in the last few months, thinking about the process of preparing for these funerals. Preparing for a funeral is always unique. Every person who dies was a unique person who reflected the glory of God in a unique way. Part of preparing for a funeral is trying to capture that, trying to understand that, trying to encapsulate that person's life and the way in which that person glorified God in whatever way during the course of his or her life. As a pastor, I always know that funerals always bring unique challenges as well. There are always questions that you can't answer when it comes to a funeral, whether you were talking about an 80 year old man who loved the Lord, who lived a life of love and devotion and worship and service to the Lord all of his life. Or whether you're talking about a five year old who was taken from our midst too soon. In the midst of this, preparing for funerals, being a pastor, you always feel so inadequate. What can I say to capture this? What can I say to address these questions? There's a special, poignant sense of difficulty in trying to answer these things and trying to address these questions and these doubts and these this pain and the sorrow and to bring comfort to these difficult situations. But it's that poignant pain in the midst of death and sorrow that always, always drives us back to the gospel. The unshakable, immovable foundation of the Gospel. That our only hope in life and in death, our only comfort, is that we do not belong to ourselves. But we belong body and soul to our faithful Savior Jesus Christ. Now, if you've been with us normally, regularly, you know that right now we're normally regularly in the middle of a sermon series through the Gospel of Matthew, where we have a very zoomed in, focused look on the life and ministry and teaching of Jesus, our Savior. Right now, we're in the middle of the Sermon on the Mount in Matthew chapter five and looking carefully at his teaching on the nature of the law. Today, we are going to zoom out. We don't want to lose the forest for the trees. We don't want to miss the big picture in the midst of all of the details. The details are so important, we need to hold them up, like looking at the different facets of a gem to see all of the beauty of the glory of Christ. But today we want to zoom out and see the whole picture. To see it once all that Jesus Christ came to do and to accomplish in his earthly life and ministry. So our big idea as we study Isaiah 25, a prophecy written hundreds of years to foretell what Jesus would accomplish by both his first coming and the second coming that we are still awaiting today. Our big idea is this that Jesus came to swallow up death forever.. As we look at this prophecy, we see three parts here. 1. Devastating Storm of Salvation 2. Death Swallowed Up 3. Dung Hill Swimming. Devastating Storm of Salvation Well, let's look at first the first five verses, a devastating storm of salvation. To understand the passage we just read, I mean, it's not totally fair to just drop into the middle of Isaiah. This is such a long book, first of all. It's also just a towering book in terms of its importance in the Bible and understanding the whole scope and sweep of salvation. Some theologians have called Isaiah the fifth gospel. We have the four gospels Matthew, Mark, Luke and John. They've called this the fifth gospel written from the Old Testament because it's so central in understanding the person and work and accomplishments of Jesus Christ. To understand this passage in particular, without going into all that's happening, Isaiah, we actually have to turn back to Isaiah 24 if you want to flip the page back. I want to point in Isaiah 24, Isaiah foretells the judgment that is coming upon the whole earth. The entirety of the judgment that is looming, looming over a wicked world where God is coming to undo creation itself as a curse and a punishment against the sin of this world. The focal point of that is a city. It's not that God's judgment is going to fall just on one geographic location, one locale, one city of all the earth, but that this city is a symbol for all of the wickedness throughout all of human history. We see this city talked about in verses ten through 13. When we read that, "the wasted city is broken down, every house is shut up so that none can enter. There is an outcry in the streets for lack of wine. All joy has grown dark. The gladness of the earth is banished. Desolation is left in the city. The gates are battered into ruins. For thus it shall be in the midst of the earth among the nations." This city is symbolic. It's representative of the judgment that's coming upon all nations against the sin of all nations, against the sin of all the earth. So we come to Isaiah 25 and if we're not aware of that context, then we won't think much of this first sentence, this first verse. But it's really important in light of that judgment to understand that Isaiah is praising God for this judgment. In Isaiah 25, verse one, he says, "Oh, Lord, you are my God, I will exhort you. I will praise your name for you have done wonderful things, plans formed of old, faithful and sure." That's not just a generic praise that's particularly reflecting the judgment that God is bringing against the Earth. We know that from verse two. Here's that city again, "For you have made the city a heap." Why do we praise God? Because he has made this rebellious city symbolizing all the wickedness in all generations, in all cultures and civilizations throughout history. This city will be made a heap. The fortified city a ruin. The foreigners palace is a city no more. It will never be rebuilt. God's judgment is coming. Isaiah praises his God for this. Which is why it's so unexpected. It's really striking in this passage to come to verse three, where we read that this judgment doesn't lead probably to where we think it will lead. Look at verse three as a consequence of what we just read, as a consequence of this judgment, "Therefore, strong people's will glorify you. Cities of ruthless nations will fear you." This is shocking. The judgment of God leads to salvation. The judgment of God leads to the faith of the nations. The judgment of God leads the nations, these ruthless nations, to not only fear God, but to glorify God. This judgment leads to salvation, the salvation of the world. Now, part of the way that Isaiah in this oracle describes the way that salvation comes out of this judgment is to depict God as a defense, a place of refuge, a strong wall against the storm of the ruthlessness of the nations. Look at verse four, "For you have been a stronghold to the poor, a stronghold to the needy in his distress. A shelter from the storm and a shade from the heat. For the breath of the ruthless is like a storm against a wall, like heat in a dry place." In Nebraska this time of year, we all kind of buckle in for the season of severe weather that we're going to face. So this past Tuesday, when the tornado sirens went on in our house, it wasn't entirely unexpected. We knew the drill, knew just what to do. Got the kids out of bed, took them down to the basement until it passed. You know, I've been through so many tornado warnings in the course of my life, but every time I'm always mindful of just how vulnerable and precarious our situation is. I mean, if that tornado does descend and cut right through my neighborhood, if my house is in the center of the path of that tornado, it doesn't matter how strong of a house you have, you don't stand much of a chance. You do your best to get in the safest place in your house, nut you are always utterly exposed. You're always vulnerable. You are always completely dependent upon the grace of God. Now, that's always true, but when this tornado sirens go off, you are reminded of that afresh. God is depicted here as the stronghold in the midst of the whirlwinds and the tornadoes and the storms of this world, God is depicted as the refuge in whom we find shelter. God is the one bringing a storm of judgment and yet God is also in some way, in some sense, the refuge from the storms of the world as our salvation. How does this work together? Well, keep reading. Part of the way through verse five, "You subdue the noise of the foreigners as heat by the shade of a cloud. So the song of the ruthless is put down." The images here are all of weather. There's heat beating down of the world and God is like the shade of a cloud to give refuge and defense to this. One part of the weather disrupts another part of the weather. It was ten years ago this week, April 14, 2012, that there was supposed to be the tornado to end all tornadoes. That's how they talked about it a little bit beforehand, raging through Lincoln, Nebraska. I know because I lived there at the time. It was also a very memorable event because Nebraska canceled their spring football game for the first time since 1949 because of this severe weather that was supposed to come through. My infant daughter was not even three weeks old. My wife and I took her and even our two cats and we went to my in-laws house into the basement. They had a basement, we did not at the time. We wanted to go somewhere safe because of the violence and devastation that was going to rain down on Lincoln. I remember early that morning it was cold and then a little bit later that morning, the temperature swelled very high. When you have those two fronts, the cold front and the warm front, and when they collide and this is what meteorologists were looking for, that is a recipe for a devastating storm of salvation. I remember around noon and this actually delayed the start of the spring game. Around noon, a small rain shower crept up. A small rain shower crept up and it wasn't much of anything, but there was a little bit of lightning. So they had to delay and postpone the spring game until eventually they canceled it altogether. But eventually, that storm never came. I understand people from the Weather Channel had flown in to journalistically show what was about to happen here. This tornado never came. And as they explained it later, apparently that small little rainstorm sapped the energy from that warm front and that cold front. One part of the weather interfered with another part of the weather so that the judgment and the devastation never came. This is what Isaiah is saying. God is in some sense not only the raging storms of this world, but even the raging wrath of God, which is often portrayed as the devastating thunder of weather. Think of Psalm 29, "The voice of the Lord is over the waters. The Lord thunders free." God's wrath is depicted as the raging of the storms. Somehow, in the midst of the judgment of God, the people of God are kept safe as a refuge. What's he talking about? Isaiah doesn't make it clear here. We need the rest of Scripture to unfold to us how God can be both the raging storm as well as the shelter from this storm. The scriptures tell us very clearly this happened at the cross of Jesus Christ. When our Lord Jesus came into this world, when God of God, the Son of God came into this world and took on human nature so that He could suffer and bleed and die. There as Jesus hung on the cross, all of the raging wrath of this world, the wrath of the nations, as he was nailed to the cross by Romans, condemned by his Jewish brethren, all of that fell upon him. But not just that storm, it was also the storm of the raging wrath of God against us, against our sin. And all of that fell on Jesus. At the cross, Jesus stretched His arms out to protect us from the danger that looms and lurks against us. The danger of God's wrath against us, his judgment against us, his curse against us. Jesus became a stronghold for us and the storms of this world. And in the storms of God's own wrath against our sin. This is the story that Isaiah is looking forward to. From that hill, that mountain outside of Jerusalem on Golgotha. Isaiah skips past that in the rest of his vision to see far beyond that. Another day on another mountain, very close on Mount Zion. Where we read and versus six through nine of another scene, another event. The scene changes very quickly where we see the second section where death is swallowed up. Maybe Isaiah's thinking in this passage, in this oracle goes like this, well, this is the first part, the judgment that brings salvation. But no matter where you live, no matter when you live, even if you get through the raging of the nations in your day, what about death? Death comes for us all. We all must face it. What about the enemy of death? What will God do to disrupt death? Death is Swallowed Up This is what we see in verses 6 to 9 where death is swallowed up. Again, a sudden shifting of the scene. No longer are we talking about the scenes of the world, the city of this world. No longer are we talking about Jesus becoming our stronghold in a refuge and shelter on the hill of Calvary Golgotha. Now we are on another mountain, Mount Zion, in Jerusalem and inside the city of Jerusalem. In verse six, "On this mountain." How do we know we're talking about Mount Zion? Well, again, flip the page back, Isaiah 24:23, "Then the moon will be confounded in the sun ashamed for the Lord of hosts reigns. He reigns as a king on Mount Zion and in Jerusalem, and his glory will be before his elders." Well, back to 25:6, "On this mountain, (Mount Zion) the Lord of Hosts will make for all peoples a feast of rich food, a feast of well-aged wine, of rich food, full of marrow, of aged wine, well refined." The Biblical background to what Isaiah is talking about here, where God feasts with his people on a mountain, goes to yet another mountain to Mt. Sinai back in Exodus chapter 24, where God made a covenant with his people. Then after he had made a covenant with his people to seal, to confirm, to ratify this covenant with his people, he called up a representative sample of his people. Moses was there, Aaron Moses brother the high priest was there. Aaron's two sons, who would be the priests after him, should have been, they died before this. Nadab and Abihu, they were there and then 70 of the elders of Israel were all on top of that mountain. Remember at the end of 24, where it talked about the Lord as glory being seen with his elders? Well, that's again reminding us of Exodus 24. Where on that mountain, this representative group of God's people, we read, they beheld God, and they ate and drink in Exodus 24:11. This was a foreshadowing of the great feast that God's people would enjoy with him. What Isaiah looks forward to here, all of that was foreshadowing this same scene. But look here now there is no more representatives. It's not that the elders alone will be on the mountain with the Lord. We see that not only that, but all God's people will be there. Not only all God's people, but we also see that this is a feast for all peoples everywhere. In the previous section we saw that God's judgment was coming against all people here, the feast is for all peoples on top of Mt. Zion. Now, this is a rich feast. It has rich food. It has aged wine, well, refined. The description here of aged wine, John Oswald talks in his commentary, he says, "This was a practice of keeping the dregs the ingredients from the wine continuing to soak in the wines. You just left them soaking and soaking and soaking and continuing to give off their flavor until the time came to serve the wine. And that refers to the well refined part. Then you would filter out those drags." So this is absolutely as flavorful and full of just aged glory on this mountain that they're going to eat from this rich feast. Here we are on the mountain of God with all the peoples. What's happening here? Well, this is a feast fit for the coronation of a king. I remember the last verse of Isaiah 24, "The Lord reigns, the Lord reigns as a king." This is His coronation party. This is when He is proclaimed king over all the peoples. This isn't just a party. This is a momentous shift in all of human history. Nothing from this point on will ever be the same because in verses seven and eight we read that the Lord swallows up. First, we read the covering that is cast over all peoples, the veil that is spread over the nations. This is probably referring to the death shroud covering an individual, but symbolically the shroud of death as a whole that covers all peoples and all nations. But to make it very clear in verse eight, we read again, "He will swallow up death forever." Now, this is a great reversal because it is death, it is the grave, it is Sheol, the Bible says, that swallows us up. That's the main problem that we have. Forget about these nations. Forget about the rebellion of the world. Our biggest problem is with death that swallows all of us up. No matter what, we escape from this world. But here, death is not swallowing us up. The Lord is swallowing up death forever. In that he is taking away the reproach of all the people. The Reproach of his people he will take away from all the earth. Our shame, our sorrow will forever be removed. We will no longer have those questions that we have at every funeral we encounter in this life. I want you to see also the universality of this. Alec Mortier points out, notice how in verses six and seven twice we read of all peoples, and then in verse seven we read about all nations. All peoples that be reference to the ethnic groups, the tribes and the languages, whereas the nations would refer to the political entities. All peoples, all nations, and then in verse eight, we come to all faces. That God is going to wipe away the tears from all faces. Every individual will be able to interact with God on this mountain. All of these peoples, all of these nations, every individual has become in verse eight, his people, God's people. The reproach of God's people He will take away from all the Earth. Well, in this scene, it's not hard to see why in verse nine, Isaiah returned to the praise that it began in verse one. In verse nine, he says, "It will be said on that day, Behold, this is our God, we have waited for Him that He might save us. This is the Lord; we have waited for Him. Let us be glad and rejoice in His salvation." Now again, Alec Mortier commentary points out, Notice the confession here. Notice the declaration. Part of this is subjective and experiential. This is our God. We have waited for him. But then it turns objective. He's not just our God, some small tribal deity in some remote corner of the earth. This is the Lord. This is Yahweh. We have waited for him. This is our God, this is Yahweh. We read that all of this is happening. It will be said on that day, this great confession of praise will happen on that day. Well, once again, Isaiah is looking forward. But he's not only looking forward into a time that is still in the future for us. He's also looking forward, again this is hundreds of years before Jesus's birth and death and resurrection. He's looking forward to Jesus's resurrection. What we're told in the Scriptures is that the resurrection of Jesus, what we are celebrating on Resurrection Sunday is not one event, and then there will be another resurrection later that it will be a different event. We are seeing two parts of the same resurrection. They're described as a single harvest where we have with Christ, resurrection from the dead, the first fruits, the first fruits of a harvest, the first ingathering of the crops. So then at the end, when Jesus returns, He will bring in the rest of the harvest. He will bring us up from the dead with him. This will be one harvest so his resurrection is our resurrection. It's on that day in the future when we will see all that Christ came to accomplish and to begin and his first coming and all that Christ will bring to its completion at a second coming. This is our God. We have waited for Him that He might save us. You know, we live in an age of anxiety. Now, this isn't because we suddenly have new pressures that people before us didn't deal with. In the past, people dealt with death, and death was actually much more present in ages past. But we live in an age of a heightened anxiety. And one of the biggest reasons for this is our technological ability to share in a broadcast the things that we are doing. This has given rise to what people call the fear of missing out FOMO, FOMO, fear of missing out. This especially as striking teenagers. Teenagers have a far higher sense of anxiety and depression and tragically, rates of suicide than other people in the past. And it's because a lot of people have traced this to social media. We see all of these parties going on. Someone else is doing something that we're not able to do, and that can be a crushing weight. Why wasn't I invited? Why am I not there? My life isn't as exciting as all of that. We come to this story. This oracle, this prophecy and Isaiah is broadcasting to us, the party, to end all parties. The greatest party from all human existence. Here it is before our eyes and we should fear, lest we miss out on this event. We should fear less we are not involved in this party, because even though this is for all peoples and all nations, this will not be for every last individual. Isaiah makes this clear in the final section in verses ten through 12, where we come to this odd section, how does this fit in this dunghill swimming? It's a graphic, vital section to this passage that seems so out of place next to the glorious coronation feast of the Lord. But there is right here a purposeful contrast. Dunghill Swimming On one mountain, there is a great feast, as Yahweh is celebrated as king over all his people. In verses ten through 12, we come to yet another mountain, the mountain of Moab. Verse ten, "For the hand of the Lord will rest on this mountain and Moab shall be trampled down in his place as straw trampled down in a dung hill." Mount Zion is a is a glorious mountain where the Lord is coming down in His glory and dwelling with his people and this other mountain, Moab, is contrasted as nothing more than a dung hill. A filthy, smelly pile of dung. That's what this text is telling us. Now, why is this telling us this? Well, it's not just picking on Moab here, although Moab was a particularly arrogant nation against the nation of Israel. But singling Moab to show us here that the world will tell you that there are other parties you can join. There are other places where you can celebrate. There are other places where you can be made happy and satisfied, perhaps for all of eternity. But understand, there is no other mountain. There was no other party because there is no other savior. There is no other name under heaven by which we must be saved but the name of Jesus Christ. He alone can save. He is the King who will reign on Mt. Zion and every other mountain is a false counterfeit. So this is depicted graphically the fate of those who rebellious, arrogantly, prideful, rebel against the king who has made a feast for all the peoples. We read in verse 11, "he the Moabite will spread out his hands in the midst of it as a swimmer spreads his hands out to swim. But the Lord will lay low his pompous pride together with the skill of His hands and the high fortifications of his walls, he will bring down, lay low and cast to the ground, to the dust." You know, as we have young children growing up in our house, it's a joy to see them become self-sufficient in their lives. We want to train them to gain life skills they're going to need to survive. But sometimes it can be a little bit frustrating when they insist, I can do it myself. Sometimes this means insisting I can do it myself when we are late and they want to buckle their own seatbelt and they can't quite yet. It's just one more delay and it's child, let me help you, but "I can do it myself." Other times it's something they shouldn't be doing. Something that is dangerous, something that I can see will make a mess. We've walked out and we've seen high stacks of things they've clearly climbed on to get something they really shouldn't have had from a high shelf. You think you could have been seriously injured child, what were you thinking? Or you see a child just confidently, triumphantly carrying something you know will devastate your carpets if they spill it. I can do it myself. You want your children to have this sense of self sufficiency. You want them to grow in these life skills that they can't survive without. The whole point of raising children is to send them out. But you also have to train them about their limitations, to be aware of what they can and can't do. God is showing to us here our limitations. You don't have an answer for death. You don't have the means, by any stretch of the imagination, to throw your own alternate party on another hill. All you will get is swimming in a dung hill. There's a poignancy here. What do we do with death? Well, understand, we have no hope except for what Isaiah prophesies here. Application So our application this morning is from verse nine. Behold your God. As you wait for the salvation of the Lord. Now on Easter Sunday. I'm very mindful that people have come here this morning from a variety of places. Welcome, it's really good to see you this morning. This is always true. We talk frequently about how we are a church of many stories who are united as one body in Christ. But this is especially true on Easter. For those of you who have been here every week. You know, we've been working again slowly through the gospel of Matthew and the Sermon on the Mount. Again, we've been zoomed in on individual facets of Christ glory of what he came to do. Today is an opportunity to zoom out so that we don't lose the forest for the trees. We don't miss the big picture in light of the individual details, as important as those are. This morning's message helps us to see the goal of redemption all at once. But for those of you who are not here every week, maybe you regularly attend elsewhere. Maybe this is your first time here, I want to absolutely make sure that you leave today, having heard the truth that this message points out in the fifth gospel, in Isaiah, the prophecy that foretells so much about who Jesus Christ came to be and what he came to do. Isaiah is seeing a vision where he is foretelling a day far off in the future, still a day when Jesus Christ, the king, the King of kings, will come to judge the world. On that day, we are told that Christ will condemn those who have rebelled against him. Those who have persisted in their arrogant pride, I can do it myself, through whatever avenue that is for you. Jesus Christ comes to judge the wicked rebels who have resisted his reign and his rule. On that day, Jesus comes to establish a feast forever. A feast on Mount Zion in a new heavens and a new earth where he will forever dwell with his people, where he comes to serve us at table as though he were a common servant, and yet he is our Lord. Where he comes to celebrate with us his victory forever, because He comes to swallow up death forever. This is the hope that we have of the gospel, but there is a difference. Some will end not at this eternal, joyful party with Jesus, but some who do not look to Jesus and faith will spend an eternity separated from Him in hell. The difference between whether you spend your eternity in the dung hill of Moab or at the Feast of Mount Zion, has to do with whether you turn from your rebellious sin against God now and instead look to Jesus Christ who has come into this world. Who lived the absolutely perfect life. Who completely fulfilled every bit of God's requirements in His righteous law. Yet, though he was perfect, though he was righteous, this same Jesus came to die. He came to give up his life so that as he stretched out his arms on the cross, he covered us over as a mother hen covers her chicks. To shield us from the wrath and the storm of God. Not just the raging storms of this world, but to protect us against God's judgment that we have earned and deserved because of our sin. As he gave up his life, he was buried in the grave, but on the third day, on Easter Sunday, our Lord Jesus rose then from the dead, as the first fruits of the resurrection. As the first fruits of those whom God is going to bring again from the dead. Christ is risen and Christ is coming again. When He comes again, we will be raised up with Him who are looking to him with faith now. Jesus came to swallow up death forever. When he returns is when all of this comes to its completion. This will be his coronation day. This will be the day when we will feast with him at the wedding feast of the lamb. If you want to be at that party, if you fear missing out from that party, then turn this morning to faith in Jesus Christ. Turn this morning to him. This isn't exclusive. Jesus Christ says, come, come. All those who are weary, all those who are in sin and struggling, all those who are guilty wherever you are coming for them, your sin is not too great unless you don't go to your great savior. The heart of rebellion is this go it alone. I'm swimming for myself. I'm going to make this, sink or swim on my own. I want to do it my way. I can do it myself. But this is the opposite of the heart of faith, which is captured in verse nine. The heart of faith will say on that day, "Behold, this is our God, we have waited for Him, that He might save us." It's looking to Jesus Christ to do for us what we cannot do for ourselves. It's waiting for Him to do all that He is promised in those scriptures. Have you turned from your own self-determination? From your own I can do it myself-ness. Are you looking to Jesus Christ who died and rose again as your Savior, he's the one who shed his blood from your sins. If so, oh, keep waiting and hoping on the Lord. But if you've never known Jesus, today ought to be the day. Every Lord's day, we celebrate the resurrection of Jesus. But this day should be the day when you come to know Christ. If you want to know more, please come talk to me. I would love to tell you more about Jesus, but turn from your sin and look to Christ and faith and be saved. Let's pray. Heavenly Father, I pray that you would give us grace. I pray that you would bless us. I pray that you would encourage us in the Gospel of Jesus Christ. I pray that none who are sitting here today would miss out on this feast. I pray that you would open eyes and unclog deaf ears and that you would give soft hearts to respond in faith to the Gospel of Jesus, as is proclaimed in this prophecy, written hundreds of years before our Savior's birth. We pray that we would love Jesus as we expectantly await Him here on Earth. Oh, Lord, let that day be such a joyous, wondrous day as we praise you for the wondrous things you have done, plans formed of old, faithful and sure. Father, we pray, bring everything about that you have promised. We pray this in Christ's name. Amen.

New music jazz and improvisationPlaylist: Bob Bellerue - Radioactive DesireAnna Webber - Idiom VSylvie Courvoisier & Mary Halvorson - MoonbowMaureen Batt and grej - The FogDavid Borden - Fog, Stars, Train, West Hill LightsKresten Osgood, Signe Emmuluth - Târnet med VandCarn Davidson 9 - Goodbye old FriendVioleta Garcia, Chris Pitsiokos - PariMatt Mitchell & Kate Gentile - Flock AdulationBeth McKenna - Divided to OneWater From Your Eyes - MondayAna Luisa Ramos - AmanheceuNo Safety - Split ControlHenry Kaiser, John Oswald, Paul Plimley - Anagram Ritz RewordingPaula Shocron/William Parker/Pablo Diaz - Los JardinsPaula Shocron, Gran Ensemble - Desde La CimaZenjungle & Valiska - Simple and Good

Sponsored by the Solidarity Committee of the Americas (SCOTA), a Women Against Military Madness (WAMM) committee in Minnesota, the Minnesota Cuba Committee, East Side Freedom Library,j Women Against Military Madness (WAMM) and others. Links posted during the event: U of MN-Cuba medical collaborations: https://www.sph.umn.edu/events-calend...Belly of the Beast video series: https://www.bellyofthebeastcuba.com/ACERE: https://www.acere.orgSolidarity Committee of the Americas (SCOTA) email: solidaritycommitteeofamericas@gmail.com SCOTA Facebook page: https://www.facebook.com/solidarityco...Women Against Military Madness (WAAM): https://www.womenagainstmilitarymadne... After 20 months of pandemic restrictions, Cuba is reopening and preparing to ease travel restrictions to the island on November 15. Ambassador Torres Rivera and panelists discuss how Cuba is functioning today and, despite the punishing 60-year blockade by the United States, is battling Covid and climate change and continuing to work toward the betterment of its people. Minnesotans have long been interested in Cuba, with many having traveled there. They have also proposed and passed governmental resolutions, engaged in medical collaboration and assistance, traded agricultural goods and knowledge, and have reached out in many other ways. This meeting was an opportunity to build on those efforts. Panelists include: -Nachito Herrera, Cuban-American and renowned musician who survived Covid with the help of Cuban and University of Minnesota doctors -Kevin Paap, President, Minnesota Farm Bureau -Senator Sandy Pappas, author of legislative resolutions opposing the blockade, has led several legislative delegations to Cuba -Dr. Teddie Potter, University of Minnesota School of Nursing -Dr. John Oswald, Adjunct Professor, University of Minnesota School of Public Health -Ofunshi Raudemar ACT DDHH, Cuban-American Babalawo from the Yoruba religious tradition Video: https://youtu.be/IxKTEguxogk

How can your business successfully evolve and stand the test of time?  On today's show we interview John Oswald, President and CEO of Mills Manufacturing who shares how his organization has managed to conduct business for more than eight decades (and counting). Topics discussed today include the importance of delegation, company values, and the art of navigating business challenges. Mills Manufacturing is an Ashville-based defence contractor that started operation way back in 1935.  Initially John had no plans on joining Mills Manufacturing (his in-law's business). However, in 1998, John finally changed his mind and decided to work in the family-owned enterprise. In the next segment of the show, John talks about the many pros and cons of working in a family-owned business. As someone who firmly believes in delegation, John has helped Mills Manufacturing evolve into a professionally managed enterprise. But building and retaining good culture is not easy. And you will learn how to build trust and find employee buy-in in today's show. John also talks about the massive upswings and downswings that he has witnessed in business over the years.  And after winning a large multi-year contract, he shares some of the biggest execution challenges that is currently grappling with. You do not want to miss this one. Enjoy! What You Will Learn In This Show Opportunities and challenges of working in a family business The importance of delegation Building and retaining good company culture How to find the right people who can take your organization forward And so much more…   Resources Get VIP Access to our 90-Day Business Planning Event Get in touch with Beth: bethlemmel@actioncoach.com Bill's Facebook Bill's Twitter  

In this episode, we sit down with John Oswald Managing Director of Method London. We discuss his path to Method as well as his passions outside of the office which include jazz, education, and lichen photography. We had a great time getting to know John and I think you're really going to enjoy hearing his story.

Jake Jones, Gabi Vanek, and Will Yager return to the podcast to discuss our recent and upcoming activities together as a new band called The Unblessed Rest of Us. WARNING: this episode has a lot more adult content than iHearIC Radio is typically known for. Don't listen to this one with your children. Patreon subscribers can watch this episode in video form here: https://www.patreon.com/posts/49811756Our No Touching video premieres on April 15th: https://www.facebook.com/events/2999608556924601Wombat also appears at the Oh My Ears Festival on April 15th: https://oh-my-ears.square.site/product/concert-1-string-and-wire-april-15-5-30pm-pst-streamed-concert-/58?cs=true&cst=customAnd Gabi's solo set at OME is on the 17th: https://oh-my-ears.square.site/product/concert-7-longitude-april-17-9-30pm-pst-streamed-concert-/64?cs=true&cst=customHere's John Oswald's Plunderphonics essay: http://www.plunderphonics.com/xhtml/xplunder.htmlVideo of us from Jake's MFA show last month: https://www.youtube.com/watch?v=Gp7uPFCd4wEOther Jake links: https://instagram.com/jakejacobsjakejacobs & https://jacobharrisonjones.comClosing music is "Ichor" from Gabi and Will's Ghost Actions album: https://willyager.bandcamp.com/album/ghost-actions-2Find everything iHearIC at http://ihearic.comDirect mp3 link: https://archive.org/download/2021-04-08-ihearic-118/2021-04-08%20ihearic%20118.mp3

Guilherme Carvalho est Maître de conférences dans le département de musique et musicologie de l'université Paul Valéry de Montpellier. La musique est tellement présente dans notre vie de tous les jours qu'on en vient à oublier qu'elle ne sort pas par magie des écouteurs. Nous discutons dans cet épisode des implications qu'ont eu les nouvelles technologies de l'information dans ce domaine. De la production de sons impossibles à réaliser naturellement à la consommation de masse en passant par la diffusion directe entre les créateurs et leur public ce sont tous les aspects de la musique qui ont été impacté d'une manière ou d'une autre. Voici quelques liens pour illustrer certains points abordés lors de la discussion: . des reprises et collages "par écrit": Luciano Berio, Sinfonia (1968), 3e mouvement . des enregistrements comme matière sonore: Bernard Parmegiani, Du pop à l'âne (1969) . de manière plus radicale, et en soulevant exprès la question des droits d'auteurs: John Oswald, Dab de l'album Plunderphonics (1989) . une pièce entièrement composée par un ordinateur: Invention (after Bach), partie des Experiments in Musical Intelligence de David Cope. . Gérard Assayag et Georges Bloch, de l'Ircam, parlent du logiciel OMax, qui improvise avec des musiciens. . une pièce très fortement formalisée et calculée par ordinateur, mais pas entièrement: Julien Bilodeau, A coups (2004) . l'un des premiers exemples de son entièrement numérique, en 1961: IBM 7094 joue et chante Daisy Bell. (C'est le premier ordinateur qui a chanté; la célèbre scène de 2001 où HAL est progressivement éteint fait référence justement à cette prouesse technique, encore très récente à l'époque.) . des glissandos continus dans le 2e mouvement (Fall) de Computer Suite for Little Boy (1968) de Jean-Claude Risset. . un accéléré continu, aussi de Risset. Quelques-unes des propres pièces de G. Carvalho (dont plusieurs ont été composées avec l'assistance d'un ordinateur) sont présentes sur sa page soundcloud.

Dr. John Oswald joins the show today to share his career journey into dentistry and practice ownership, as well as the lessons he learned along the way. Tony and John discuss how important it was to not only learn how to be a good dentist, but also how to be good at business. Listen in to get some great insight on the value of delegating, reaching out for help when you need it, and more. You can find show notes and more information by clicking here: https://bit.ly/34hWxDK 

Plunderphonics is a term coined by composer John Oswald in 1985. It describes any music that is constructed by mutating existing audio recordings into entirely new compositions. By making plunderphonic music artists tackle copyright law, fair use, the legitimacy of sampling, and numerous other issues surrounding the production of art in a digital world. Join us as we discuss the history of plunderphonics, how listening to plunderphonic music has shaped our musical tastes and experiences, and how this all relates back to vaporwave. Steal This Episode!Music Sampled-----------------Greyfolded - Grateful Dead & John OswaldPekka Pohjola - Sekoilu Seestyy (Madness Subsides)DJ Shadow - Midnight In A Perfect WorldNEGATIVLAND - U2Related Links-------------"Plunderphonics, or Audio Piracy as a Compositional Prerogative"Why a Canadian Composer’s Controversial 80s Work is Still Ahead of Today's Copyright LawsTake A Byte Out: DJ Shadow, the Avalanches and the History of PlunderphonicsGirl Talk - All DayGeorge Marsh on Drums: Interviewed by Terry McGovernEvery Sample From The Avalanches Since I Left YouDJ Shadow on crate digging in the documentary ScratchCredits--------Music by: 2Mello Artwork by: Patsy McDowell Ross  on TwitterBirk on TwitterFollow Night Clerk Radio on Twitter for updates

L'engagement dans les luttes du présent peut impliquer de se tourner vers le passé pour se le réapproprier. Alexis Corbière en a récemment donné un exemple en publiant un livre d'histoire, Jacobins ! Les inventeurs de la République (éd. Perrin), au sujet duquel Julien Théry l'a rencontré. Depuis les années 1980, la « gauche de gouvernement » et la droite n'ont cessé de faire progresser dans les esprits une légende noire de la Révolution française en s'efforçant de discréditer le nom de « jacobin ». En utilisant ce nom comme une insulte, presque équivalente à « stalinien », il s'agit de rejeter comme illégitime et dangereux ce qui fut pourtant le premier projet de la Révolution française, dont nous sommes les héritiers : le souci de l'égalité. Alexis Corbière rappelle que l'opposition habituelle entre les « jacobins », partisans de l'intransigeance autour de Robespierre, et les « girondins » plus libéraux autour de Brissot, est essentiellement une invention de la IIIe République destinée à distinguer artificiellement une « bonne » Révolution, bourgeoise, d'une mauvaise, dogmatique et terroriste. En promouvant l'idée d'un « pacte girondin » pendant la campagne de 2017 et depuis son élection à la présidence de la République, Emmanuel Macron s'efforce de faire accepter la radicalisation des inégalités… tout en tentant d'imposer son idée explicitement monarchique des institutions françaises. Pour montrer en quoi le jacobinisme doit au contraire demeurer une source d'inspiration politique dans les combats du présent, parce que ses valeurs sont celles de la gauche, Alexis Corbière a choisi de présenter une galerie de portraits représentatifs de la richesse de cette tradition politique. À travers les itinéraires de neuf personnages emblématiques se dessinent les enjeux, on-ne-peut-plus contemporains, de la Révolution. Avec des passage obligés, comme les biographies de Robespierre, Danton ou Saint-Just, et des figures beaucoup moins connues, comme celles de Pauline Léon, citoyenne révolutionnaire, de Jean-Baptiste Belley, premier député noir, ou encore John Oswald, végétarien et défenseur de la cause animal, mort en combattant la contre-révolution vendéenne. ▶ Soutenez Le Média :

On Sunday, April 19, 2020, City Watch host Jeff Simmons talked with New York State Senator Julia Salazar, Queens Theatre Executive Director Taryn Sacramone, and Girl Scouts of Greater New York CEO Meridith Maskara. The show also featured WBAI Correspondent Celeste Katz Marston’s latest coronavirus diary dispatch with John Oswald.

New York is the epicenter of the coronavirus pandemic sweeping the planet. The battle against the virus has profoundly changed Americans’ way of life. For some, it means death. WBAI is collecting the stories of New Yorkers fighting their way through the storm. Episode 6: Manhattanite John Oswald, a double amputee, shares what it's like dealing with dialysis and trying to learn to walk again as coronavirus upends life and health care in the city.

In this week's episode, RBP's self-styled "power trio" pay tribute to the late Charlie Gillett, without whose seminal 1970 book The Sound Of The City Rock's Backpages probably wouldn't exist. It is a decade since we lost Charlie – one of the first RBP writers to come on board, back in 2000 – so we wanted to do justice to the enduring influence of The Sound, as well as to his wonderful "Honky Tonk" radio show, his Oval Records label and his passionate championing of African and other "world" music genres.Two clips from Bill Brewster's 1999 audio interview with Charlie prompt reflection and reminiscence from Mark & Barney, as does a Record Mirror piece in which Charlie describes the infamous 1970 press junket that took 134 UK rock journalists to New York to watch the little-known Brinsley Schwarz play Bill Graham's Fillmore East.From there, we segue neatly into a clip from Cliff White's 1978 audio interview with Cajun "swamp-pop" star Johnnie Allan, whose immortal 1971 cover of Chuck Berry's 'Promised Land' – featured on Charlie's 1974 compilation Another Saturday Night – made Oval Records beloved of a generation of rootsy UK pub rockers. Mark, Barney & Jasper wax lyrical about the wonders of 'Promised Land', and about Cajun music in general, before Mark guides through his weekly library highlights. Among the latter are pieces about "Peter No-One" of Herman's Hermits, tenor legend Stan Getz and 'Cuddly Toy' boy Roachford. Jasper finishes things off with closing remarks about pieces on Missy Elliott and Clean Bandit.Pieces discussed: Charlie Gillett audio, Charlie Gillett, Tributes to Charlie, 'World' music, Paul Hardcastle, Brinsley Schwarz, The Promised Land, Johnnie Allan audio, Herman's Hermits, Gene Clark, Byron Ferrari, Stan Getz, Digital recording, Eddy Grant, Roachford, Mötley Crüe, John Oswald, Missy Elliott, Clean Bandit and Jack White.This show is part of Pantheon Podcasts.

In this week's episode, RBP's self-styled "power trio" pay tribute to the late Charlie Gillett, without whose seminal 1970 book The Sound Of The City Rock's Backpages probably wouldn't exist. It is a decade since we lost Charlie – one of the first RBP writers to come on board, back in 2000 – so we wanted to do justice to the enduring influence of The Sound, as well as to his wonderful "Honky Tonk" radio show, his Oval Records label and his passionate championing of African and other "world" music genres.Two clips from Bill Brewster's 1999 audio interview with Charlie prompt reflection and reminiscence from Mark & Barney, as does a Record Mirror piece in which Charlie describes the infamous 1970 press junket that took 134 UK rock journalists to New York to watch the little-known Brinsley Schwarz play Bill Graham's Fillmore East.From there, we segue neatly into a clip from Cliff White's 1978 audio interview with Cajun "swamp-pop" star Johnnie Allan, whose immortal 1971 cover of Chuck Berry's 'Promised Land' – featured on Charlie's 1974 compilation Another Saturday Night – made Oval Records beloved of a generation of rootsy UK pub rockers. Mark, Barney & Jasper wax lyrical about the wonders of 'Promised Land', and about Cajun music in general, before Mark guides through his weekly library highlights. Among the latter are pieces about "Peter No-One" of Herman's Hermits, tenor legend Stan Getz and 'Cuddly Toy' boy Roachford. Jasper finishes things off with closing remarks about pieces on Missy Elliott and Clean Bandit.Pieces discussed: Charlie Gillett audio, Charlie Gillett, Tributes to Charlie, 'World' music, Paul Hardcastle, Brinsley Schwarz, The Promised Land, Johnnie Allan audio, Herman's Hermits, Gene Clark, Byron Ferrari, Stan Getz, Digital recording, Eddy Grant, Roachford, Mötley Crüe, John Oswald, Missy Elliott, Clean Bandit and Jack White.This show is part of Pantheon Podcasts.

In this week's episode, RBP's self-styled "power trio" pay tribute to the late Charlie Gillett, without whose seminal 1970 book The Sound Of The City Rock's Backpages probably wouldn't exist. It is a decade since we lost Charlie – one of the first RBP writers to come on board, back in 2000 – so we wanted to do justice to the enduring influence of The Sound, as well as to his wonderful "Honky Tonk" radio show, his Oval Records label and his passionate championing of African and other "world" music genres. Two clips from Bill Brewster's 1999 audio interview with Charlie prompt reflection and reminiscence from Mark & Barney, as does a Record Mirror piece in which Charlie describes the infamous 1970 press junket that took 134 UK rock journalists to New York to watch the little-known Brinsley Schwarz play Bill Graham's Fillmore East. From there, we segue neatly into a clip from Cliff White's 1978 audio interview with Cajun "swamp-pop" star Johnnie Allan, whose immortal 1971 cover of Chuck Berry's 'Promised Land' – featured on Charlie's 1974 compilation Another Saturday Night – made Oval Records beloved of a generation of rootsy UK pub rockers. Mark, Barney & Jasper wax lyrical about the wonders of 'Promised Land', and about Cajun music in general, before Mark guides through his weekly library highlights. Among the latter are pieces about "Peter No-One" of Herman's Hermits, tenor legend Stan Getz and 'Cuddly Toy' boy Roachford. Jasper finishes things off with closing remarks about pieces on Missy Elliott and Clean Bandit. Pieces discussed: Charlie Gillett audio, Charlie Gillett, Tributes to Charlie, 'World' music, Paul Hardcastle, Brinsley Schwarz, The Promised Land, Johnnie Allan audio, Herman's Hermits, Gene Clark, Byron Ferrari, Stan Getz, Digital recording, Eddy Grant, Roachford, Mötley Crüe, John Oswald, Missy Elliott, Clean Bandit and Jack White. This show is part of Pantheon Podcasts.

In this week's episode, RBP's self-styled "power trio" pay tribute to the late Charlie Gillett, without whose seminal 1970 book The Sound Of The City Rock's Backpages probably wouldn't exist. It is a decade since we lost Charlie – one of the first RBP writers to come on board, back in 2000 – so we wanted to do justice to the enduring influence of The Sound, as well as to his wonderful "Honky Tonk" radio show, his Oval Records label and his passionate championing of African and other "world" music genres. Two clips from Bill Brewster's 1999 audio interview with Charlie prompt reflection and reminiscence from Mark & Barney, as does a Record Mirror piece in which Charlie describes the infamous 1970 press junket that took 134 UK rock journalists to New York to watch the little-known Brinsley Schwarz play Bill Graham's Fillmore East. From there, we segue neatly into a clip from Cliff White's 1978 audio interview with Cajun "swamp-pop" star Johnnie Allan, whose immortal 1971 cover of Chuck Berry's 'Promised Land' – featured on Charlie's 1974 compilation Another Saturday Night – made Oval Records beloved of a generation of rootsy UK pub rockers. Mark, Barney & Jasper wax lyrical about the wonders of 'Promised Land', and about Cajun music in general, before Mark guides through his weekly library highlights. Among the latter are pieces about "Peter No-One" of Herman's Hermits, tenor legend Stan Getz and 'Cuddly Toy' boy Roachford. Jasper finishes things off with closing remarks about pieces on Missy Elliott and Clean Bandit. Pieces discussed: Charlie Gillett audio, Charlie Gillett, Tributes to Charlie, 'World' music, Paul Hardcastle, Brinsley Schwarz, The Promised Land, Johnnie Allan audio, Herman's Hermits, Gene Clark, Byron Ferrari, Stan Getz, Digital recording, Eddy Grant, Roachford, Mötley Crüe, John Oswald, Missy Elliott, Clean Bandit and Jack White. This show is part of Pantheon Podcasts.

John Oswald, Managing Director of Method London, takes on the hosting chair to talk to Dr. Sunil Singh, CTO of GlobalLogic. John and Sunil explore why every company should be thinking about crafting their own technology platforms to be able to stand toe to toe with the tech giants.

  Toutes mes excuses pour le son !! Ré-up d'une émission enregistrée pendant l'été 2019, il faisait chaud et j'ai été un peu négligent avec la fenêtre ouverte et surtout l'emplacement des micros ! Mais c'est mon invité.e a été ouf, avec une tonne de choses à dire !    Le Glossaire (parce que vous allez en avoir besoin) #seapunk : qui doit être écrit avec son hashtag est le mouvement défini par 4 ami.e.s : Lil'Internet, Lil'Government, Alberto Redwine et Zombella. Il n'y a pas de musique attitrée dans le #seapunk, mais nombres d'artistes se sentant proche du mouvement vont aider à définir ou au contraire à troubler encore plus ses contours.  Oneohtrix Point Never : est Daniel Lopatin. Compositeur américain et auditeur de la station Magic 106.7 d'où il tire son nom-jeu-de-mots. Il se fait connaître en tant que Chuck Person avec son album Chuck Person's Ecco Jams sorti en 2010. Chopped and Screwed : technique musicale inventée et popularisée par Dj Screw dans les années 90. Screw jouait sa musique avec un tempo très en-dessous de la normale ajoutant un aspect narcoleptique à ses mix. Il avait aussi l'habitude de jouer le même disque sur ses platines avec un léger décalage, allant de l'une à l'autre pour créer un effet d'écho. Macintosh Plus : est Ramona Andra Xavier, compositrice américaine. Elle fait effectivement comme le fait remarquer Baptiste, concurrence à Aphex Twin au niveau du panel de pseudos : Vektroid, Vektordrum, Dstnt (qui est en fait Distant et non Distinct comme je le dis en podcast), New Dreams Ltd... la liste est extrême longue, comme ses façons d'aborder et traiter la musique. リサフランク420 / 現代のコンピュー ou Lisa Frank 420/Computing : est le titre phare de la Vaporwave. Il s'agit d'un edit de Your Move de Diana Ross. Le fameux morceau qui a sa cohorte d'adorateurs toxiques... Vaporware : se dit des produits technoliques annoncés en grande pompe et jamais sortis ou du moins dont le développement a dépassé le raisonnable. On pense souvent à Starcraft Ghost qui dispose de deux cinématiques impressionnantes pour un jeu qui n'a pas vu le jour (mais Nova a été rescapée, ouf !!) Les Précieux Liens ! Le mix de Datashat : ICI La page Facebook d'Ecoplan : https://www.facebook.com/ecoplan/ Le DaB de John Oswald : ICI Un excellent exemple de Vaporware : ICI Pour écouter Lisa Frank 420 c'est : ICI Et le fameux lien Reddit où vous trouverez masse d'infos sur le genre : ICI

MEC0408Sonidos tomados en la electroacústica chilena (segunda mirada)Presentado por Gerardo Figueroa (CECh)La producción electroacústica chilena realizada a partir de grabaciones desde principios del siglo veintiuno revela diferencias profundas de forma y fondo con su antecesora: el avance y mejora en los procesos de digitalización ha facilitado el acceso no solo al equipamiento necesario para modificar el sonido, sino también a una manipulación más fina del material. En la actualidad, parámetros tales como velocidad y altura pueden ser intervenidos por separado, acentuando una lectura metalingüística e intertextual. Las obras aquí seleccionadas aprovechan esas cualidades para referir a procesos composicionales específicos, como los presentes en los dj sets de radioemisoras orientadas a la música bailable tropical latinoamericana; el trabajo con librerías sonoras de descarga gratuita y los giros y tics presentes en obras de creadores como el estadounidense de origen italiano Frank Zappa (1940-1993) y nuestro compatriota José Vicente Asuar (1933-2017), introduciendo el humor como un componente tremendamente impactante, realzando la potencia de las lecturas ya referidas, acercándose también a lo propuesto por el compositor canadiense John Oswald en su trabajo denominado plunderphonics.ObrasJosé Miguel Candela (1968)- DJ 3 (2001)Federico Schumacher (1963)- Play (2007)Felipe Otondo (1972)- Zapping Zappa (2004)Jorge Forero (1980)- Zappa Plays Asuar (2019)Gerardo Figueroa (1969)- Remicc casi automático #4 (2017)Más en https://www.simuc.org/sections/podcasts/mec04/mec0408.php

John Oswald is a business design pioneer. He was the first business designer at fjord where he defined its role and built the team. He is currently a managing director at a strategic design consultancy Method London. With John, we discussed: the early days and evolution of the business design, five patterns of business design talent, how hiring business designers work, and how typical business design deliverables look like.   www.d.mba

LEXINGTON, Ky. (Feb. 26, 2019) – Throughout U.S. history, college students have often been catalysts of change. In the 1960s they led sit-ins, rallies, marches and demanded change on their campuses and in their communities. The University of Kentucky’s campus was no different. There were issues on campus, and a group of black students took up the mantle of creating a more inclusive and equitable community. Jim Embry, a 1974 UK graduate, got involved in civil rights activism at 10 years old as a member of Northern Kentucky CORE. His mother was the chapter president and took him to meetings and picket lines. A fire was lit within him that ignited a life-long passion for social justice. Embry was among the UK students who founded the Black Student Union which presented to President John Oswald a list of demands. From that meeting came a lot of big changes including the integration of the basketball team, the institution of diversity programs, the creation of African American history courses, the banning of the song “Dixie” and rebel flags at athletic events and an end to off-campus housing discrimination. While serving as the BSU president, Embry fought across Kentucky for social and environmental justice. After attending Dr. Martin Luther King Jr.’s funeral in Atlanta, he helped to organize the annual Martin Luther King Day march in Lexington. His activism eventually led him to Detroit to work closely with Grace Lee Boggs as the director of the Boggs Center. As director, Embry helped create a vision for the Greening of Detroit and established urban gardens. He continued that work when he returned to Lexington in 2005 and founded Sustainable Communities Network. Change is rarely linear, it’s often cyclical and the issues faced in the past must be battled again. That sentiment has held true for addressing and combatting discrimination on campus according to current president, Tsage Douglas. Douglas, a junior double-majoring in public health and foreign language and international economics, leads the UK Black Student Union with the same passion and fervor Embry had all those years ago and still has. Douglas appreciates the changes that have taken place at UK since its founding, since it was integrated and since all those changes took place thanks to Embry. But, she came to UK to help it reach its full potential as an inclusive, affirming and diverse campus community. She, and other current members of the Black Student Union, have their own demands: more transparency, increased recruitment of black faculty and staff, increased financial aid for black students and the creation of a black student advisory council. As of today, the black student advisory council has been established and she and other student leaders are working with administrators on the other three goals. On this week’s episode of Behind the Blue, Embry and Douglas engage in a thought-provoking discussion about their role as change makers, their leadership of the Black Student Union and their vision for the campus community and beyond. Become a subscriber to receive new episodes of “Behind the Blue” each week. UK’s latest medical breakthroughs, research, artists and writers will be featured, along with the most important news impacting the university. For questions or comments about this or any other episode of "Behind the Blue," email BehindTheBlue@uky.edu or tweet your question with #BehindTheBlue. Seventy years ago, Lyman T. Johnson forced open the doors of the University of Kentucky by becoming the first African-American student. He, along with countless others, opened a door and created a path for us to follow. It’s the idea that anyone -- regardless of who they are, the color of their skin, what they believe, how they identify themselves, or where they are from – can find a place at the University of Kentucky. Yet, our story demands that we acknowledge that progress on this path has not been a straight line. There have been moments where we have, as an institution, not honored our aspirations. Those moments provide a compelling reminder that building a community of belonging is a journey, not a project. This month, as part of Black History Month, we are chronicling the stories of the trailblazers, innovators and champions, who bravely stepped forward or are prodding us ahead today. Their stories speak to us and guide us still.

The one-of-a-kind musical mind of John Oswald. Episode 65 features an indepth discussion with this great composer, saxophonist, and instigator. He gives us a tutorial in Plunderphonics ("familiar music made strange") and much more!

In this episode we discuss Baz Luhrmann films, various adaptations of Romeos and Juliets, Bard on the Beach, the components of a Pirates of the Caribbean film, Mouth Sounds, Plunderphonics by John Oswald, how new pop culture becomes stale, the context of popularity, and the Literal Video version of Total Eclipse of the Heart. Assignment: Mouth Sounds by Neil Cicierega Next Assignment: the text adventures "9:05" and "Violet" Send us your questions at AllDoubtPod@gmail.com Website: AllDoubt.com Twitter: @AllDoubtPod Facebook: facebook.com/AllDoubt/ Patreon: patreon.com/AllDoubt Music: Waterfront by Lee Rosevere

Hello friends! This week we're doing something different: we're playing Dead. Jonathan took the lead on this experiment, and we hope you'll like it. If you do, we may do it more in the future. Let us know what you think. The Grateful Dead has of course been a huge influence on all of us, and we wanted to share some of our thoughts and the Dead's music with our listeners. The music in this episode is a mix made by Jonathan, made up of many different snippets of versions of The Other One. Hope you enjoy. Please subscribe and review us on iTunes and follow us on Twitter. Also like us on Facebook. And check out CashorTrade for face value tickets to shows across the country. If you are on Stitcher, give us a review. -- Introduction, Cryptical Envelopment > Drums > The Other One (verse1) > Space > Spanish Jam > Mind Left Body Jam > The Other One (v2) > Cryptical Reprise Total Running Time- 69:34 Details: Introduction 00:00 > 00:03 1968-02-14 Carousel Ballroom- San Francisco, CA The Cryptical Envelopment > 00:03 > 00:52 1969-02-14 Electric Factory, Philadelphia, PA 00:52 > 02:13 1970-05-01 Alfred State College (S.U.N.Y.)- Alfred, New York 02:13 > 02:18 1969-02-14 Drums > 02:18 > 03:55 1970-05-01 03:55 > 04:30 1971-12-06 Felt Forum, Madison Square Garden- NY, NY The Other One > 04:30 > 04:41 [Intro*] 1969-02-14 1974-02-23 Winterland Arena- San Francisco, CA 1971-11-07 Harding Theatre- San Francisco, CA 1985-03-28 Nassau Veterans Memorial Coliseum- Uniondale, NY 1979-10-27 Cape Cod Coliseum- South Yarmouth, MA 1985-06-30 Merriweather Post Pavilion- Columbia, MD 1974-02-23** 1972-05-16 Radio Luxembourg - Luxembourg, W. Germany 04:41 > 06:14 1971-11-07 06:14 > 07:13 1972-05-16 07:13 > 09:43 1968-10-12 Avalon Ballroom- San Francisco, CA 09:43 > 10:07 1985-06-30 10:07 > 10:34 1968-02-14 10:34 > 14:31 1972-05-16 14:31 > 19:25 1974-02-23 Space > 19:25 > 25:11 1989-08-19 Greek Theater, Berkeley, CA Spanish Jam > Mind Jeft Body Jam > 25:11 > 27:22 1992-06-22 Star Lake Amphitheater- Burgettstown, PA 27:22 > 32:05 1974-10-17 Winterland Arena- San Francisco, CA The Other One > 32:05 > 34:55 1974-02-23 34:55 > 38:19 1972-05-16 38:19 > 42:46 1972-08-22 Berkeley Community Theater- Berkeley, CA 42:46 > 47:30 1971-11-07 47:30 > 53:50 1973-03-31 War Memorial Auditorium- Buffalo, NY 53:50 > 55:58 1985-06-30 55:58 > 57:01 1968-02-14 Cryptical Reprise 57:01 > 58:29 1968-10-12 58:29 > 63:24 1970-05-01 63:24 > 68:24 1968-10-12 68:24 > 69:20 1970-05-01 69:20 > 69:34 1971-11-07 -All timings are approximate For the Other One Intro (aka the thumping bass crescendo followed by a catrostrophic (at its best!) bomb which intros most, but not all versions of The Other One) I overlayed several versions of this moment in order to give this some major oomph... One of two exceptions being the 1985-06-30 (MPP, Columbia, MD) clip which is actually from the Space which preceeded The Other One. The clip contains an simulated bomb and explosion generated via midi. See below for the other exception. * This is the entire 1974-02-23 The Other One (approx 29minutes) 'folded' much in the style of John Oswald who created the "GreyFolded" album. Essentially, I took the entire 29 minute track, cut it in half, reversed the second half and overlayed it onto the first. Then I repeated the process until the track was reduced to the 1 second version currently in this mix. Venue information is not repeated so as to keep things relatively tidy. All sources are lossless and from archive.org/audio and are in compliance with the ta(continued) See acast.com/privacy for privacy and opt-out information.

Power/Full (2002) Choreographed by: Bill T. Jones Staged by: Shayla-Vie Jenkins Rehearsal Director: Andrea E. Woods Valdés Music and lyrics: “Power” by John Oswald, and “Kyrie” by Laurel MacDonald Soloist costume: Pamela Bond Lighting design: Gregory Bain Danced by: Anika Richter (solo), Beatrice Cantoni, Cindy Li, Ashlynn Miller, Samantha Moon, Molly Paley, Sara Yuen Presented under license from New York Arts, Inc. Special Thanks to: Dr. Purnima Shah, Alec Himwich, Kyle Maude, Janet Wong and Bill T. Jones

Band of Gypsys, John Oswald, Grateful Dead.44 Minutes of Rock

“The Digital Human” and the relationship between psychology and technology.

“The Digital Human” and the relationship between psychology and technology.

This week, Josh discusses John Oswald’s whirlwind, plunderphonic masterpiece from 1993, Plexure!

Titre: Purple Haze Artiste: Shockabilly Album: Earth vs Shockabilly   Titre: violento Artiste: John Zorn Album: cobra   Titre: untitled Artiste: stefan christoff & hazy montagne mystique Album: beats pour voyage astral   Titre: wx11 + -color breathi Artiste: john oswald Album: kissing jesus in the dark   Titre: People Are Strange Artiste: Shockabilly Album: Earth vs Shockabilly   Titre: souvent comme Artiste: téléphone maison Album: beats pour voyage astral   Artiste: John Oswald Album: Discosphere   Titre: Walpurgisnacht 2 Artiste: John Zorn Album: Mysterium   Titre: Day Tripper Artiste: Shockabilly Album: Earth vs Shockabilly   Titre: budd dwyer live suicide Artiste: sida cancer Album: beats pour voyage astral  

Paul Dutton is a sound poet, visual poet, essayist, and novelist from Toronto, Ontario. Paul was a member of the seminal sound poetry group The Four Horsemen from 1970 to 1988, and since 1989 he's performed in the improvisational trio CMCC with John Oswald and Michael Snow. Paul has also worked with the vocal art supergroup Five Men Singing, among numerous other collaborations. Paul's 2000 album Mouth Pieces: Solo Soundsinging is available on PennSound, and his visual work The Plastic Typewriter (1993) is on UbuWeb. You can find an online version of his 1991 poetry collection Aurealities at Coach House Books. Dutton's novel Several Women Dancing was published by The Mercury Press in 2002.

This is the story of how Mickey Mouse has been covertly destroying our cultural heritage. Well, his management at least. We continue questioning copyright by checking out the wonderful work of Canadian composer John Oswald. Who’s Dab?

Titre: Commando Pernod Artiste: Bérurier Noir Album: Concerto Pour Détraqués   Titre: Michael Jackson-Dab Artiste: John Oswald Album: Plunderphonic   Titre: bruknahm Artiste: the bruknahm project Album: the bruknahm project   Titre: elvis presley : dont Artiste: oswald Album: Plunderphonic   Titre: jihad Artiste: the bruknahm project Album: the bruknahm project   Titre: Biere et punk Artiste: Ludwig Von 88 Album: Houlala   Titre: James Brown-Black Artiste: John Oswald Album: Plunderphonic   Titre: Don Van Vliet-Replica Artiste: John Oswald Album: Plunderphonic   Titre: part 1 Artiste: loren mazzacone conors Album: in twilight  

Some 60's comedy by The Conception Corporation is featured, along with John Oswald's mash of The Greatful Dead accompanying a dangers of dope documentary, a Van Morrison simulplay, a several song tribute to Love and the Booper, and more songs from the era. 3 Hours.   The post Over the Edge – Universe pt. 47 What About The 60's pt. K-2 appeared first on KPFA.

Episode #356 John Oswald (Co-Founder of Cuipo) How do you create, market, and sell your brand? Are you learning a new habit each week? How charismatic are you? Ken goes over the 10 steps you need to raise your character traits.Today's Guests - Carol Dunn began her corporate career in Southern California at a small travel agency. Her enthusiasm and reputation for great service resulted in contracts that eventually led her to manage 85 percent of all entertainment travel (bands, TV, and movie studios) within the United States. Carol shared her story, and explained how she deals with emotional issues in a work environment. - John Oswald oversees the development of the Cuipo brand and all licensing activities. Before Cuipo, John was a co-founder and former CEO of Paul Frank. The Paul Frank brand is well known for its popular icon, Julius, the famous monkey with the big red mouth. He sold Paul Frank and is now the co-founder of Cuipo (Kwee-Poe) - a new SoCal “lifestyle brand.” How do you create, market, and sell your brand successfully? John gives you the tips and tricks you need. And finally we get our weekly legal advice on all things business from David Michail.

Episode #356 John Oswald (Co-Founder of Cuipo) How do you create, market, and sell your brand? Are you learning a new habit each week? How charismatic are you? Ken goes over the 10 steps you need to raise your character traits.Today's Guests - Carol Dunn began her corporate career in Southern California at a small travel agency. Her enthusiasm and reputation for great service resulted in contracts that eventually led her to manage 85 percent of all entertainment travel (bands, TV, and movie studios) within the United States. Carol shared her story, and explained how she deals with emotional issues in a work environment. - John Oswald oversees the development of the Cuipo brand and all licensing activities. Before Cuipo, John was a co-founder and former CEO of Paul Frank. The Paul Frank brand is well known for its popular icon, Julius, the famous monkey with the big red mouth. He sold Paul Frank and is now the co-founder of Cuipo (Kwee-Poe) - a new SoCal “lifestyle brand.” How do you create, market, and sell your brand successfully? John gives you the tips and tricks you need. And finally we get our weekly legal advice on all things business from David Michail.

John Oswald, born in Edinburgh in the 1700s (the exact date unknown), was a philosopher, a writer, a poet, a social critic, a revolutionary, and an eloquent voice for animals and compassion.  Join me as I celebrate The Scottish Voice of Compassion and read excerpts from his essay,"The Cry of Nature: An Appeal to Mercy and Justice on Behalf of the Persecuted Animals.”

Episode 21, Some Assembly Required01 Negativland - "Track 7 (debut album)"02 Silica-Gel - “You weird”03 Tom Recchion - “Mindless dread”04 Realistic - “Smells like teen disco”05 The Tape-beatles - “Dashed against the rock”06 People Like Us - “Kitten”07 David Shea and DJ Grazhoppa - “Hum hum hum”08 Jim Allenspach - “Friends”09 Wobbly - “Clawing your eyes out down to your throat”10 John Oswald - "(Untitled)"11 Laso Halo - “I’ll fight Max”12 The Tape-beatles - “Education of the will”13 Steinski - “Collage #7”14 Rik Rue - “Toy joy”15 Silica-Gel - “Basement”16 The Tape-beatles - “I can’t help you at all; sorry”17 Todd Polenberg - “Testing (in stereo)”18 People Like Us - “People like modern clothing”19 Jim Allenspach - “Garbage can”20 The Tape-beatles - “Different tool”21 Repetophile - “Tonight”22 Jim Allenspach - “Beat”23 Negativland - "Track 12 (debut album)"24 John Oswald - “Ten4”25 Wobbly - “Worry don’t thing”26 People Like Us - “Music of your own”27 Steinski - “Collage #6”28 The Tape-beatles - “Every man a king”29 David Shea and DJ Grazhoppa - “Old note 24/7”30 Todd Polenberg - “The devil?”31 Silica-Gel - “Pleasing”32 Laso Halo - “One Jesus”33 People Like Us - “Oh no”34 Silica-Gel - “Punishment”35 Negativland - “The way of it”36 John Oswald - “Tune”37 People Like Us - “Thank you”38 The Tape-beatles - “Earlids”39 Wobbly - “Oogamund”40 People Like Us - “Nobody does”41 Jim Allenspach - “People like um”42 David Shea and DJ Grazhoppa - “Tired”43 Negativland - "Track 20 (debut album)"44 Rik Rue - “Another fontana mix”45 Brindle Spork - “Mommy bomb”46 David Shea and DJ Grazhoppa - “Anytime pt. 2”47 Silica-Gel - “Hungry and greedy”48 John Oswald - “2 net”49 The Tape-beatles - “I can’t do it”50 People Like Us - “Doo dah tango”51 People Like Us - “Ready to fly?”52 The Tape-beatles - “The great inspiration”53 John Oswald - “Prelude”54 Silica-Gel - “Sum of your life”55 Steinski - “The xen to one ratio”56 The Tape-beatles - “Pens, pencils, stationary”57 Jim Allenspach - “They”58 Wobbly - “Christian music”59 People Like Us - “Ily”60 Negativland - "Track 14 (debut album)"Use this address, for your pod software:http://feeds.feedburner.com/some-assembly-required/JSpD

Episode 16, Some Assembly Required (Featuring our 2001 Interview with John Oswald) 01 John Oswald - “Pretender†02 John Oswald - “Brown†03 John Oswald - “Anon†04 John Oswald - "Grayfolded (Untitled track)" 05 John Oswald - “Angle†06 John Oswald - “Mad mod†07 John Oswald - “Urge†08 John Oswald - “Case of death (part one)†09 John Oswald - “2 net†10 John Oswald - “O’hell†11 John Oswald - “Dab†12 John Oswald - “Sonic Euthanasia†Use this address, for your pod software: http://feeds.feedburner.com/some-assembly-required/JSpD

1. People Like Us, Abridged too Far, Sedimental Journey2. People Like Us/Ergo Phizmiz, Honeysuckle Blvd, Merry go Round3. Negativland, No Business, Piece a Pie4. John Oswald , , Klangfarbenprobe5. Joshua Fried, Jimmy Because, Jimmy Because (remix)6. Steve Fisk , 448 Deathless days, Oh Little Seeds7. Phantogram, Running from the Cops, Running from the Cops8. The Mayfair Set, Young One, Let It Melt9. Tones on Tail , Everything!, There's Only One10. Twink , The Broken Record , Alphabent11. Cold Cave, Love Comes Close, The Trees Grew Emotions and Died.12. crocodiles, summer of hate, i wanna kill13. Animal Collective, Summertime Clothes, Summertime Clothes (Zomby's Analog Lego Mix)14. Port Royal , Dying in Time, The Photoshopped Prince15. aerosol, Airborne, Midnight Ride Down the Mental Freeway