Podcasts about klickstein

Jared Klickstein is the author of the book Crooked Smile. Klickstein was born in Boston, Massachusetts in 1989 to heroin-addicted parents. He spent his teenage years outside of Oakland, California after being adopted by his aunt and uncle. He attended UC Santa Cruz where he got addicted to heroin himself, dropped out, and spent nearly ten years chronically homeless and addicted around the country. After a notorious run on Skid Row in Los Angeles and a subsequent jail sentence, he sobered up in 2018, wrote Crooked Smile, and currently resides in Oakland, California. He works as an independent journalist.  

A walking tour of America's most notorious rock bottom junkie town with a man who lived there, almost died there, and miraculously escaped...but how?   Jared Klickstein is the author of Crooked Smile: What it Took to Escape a Decade of Homelessness, Addiction, and Crime   For twice as many adventures and regular smoke break mini-eps on topics of the day, join the enlightened society of rug merchants who subscribe to the show on patreon.com/filthyarmenian   Follow us on X/insta @filthyarmenian and thanks for listening!

Thank you for tuning in to another episode of Tin Foil Hat with Sam Tripoli! This week, we have a wild discussion with author Jared Klickstein and podcaster Justin Doc Brown. We dive into some fascinating topics, including supernatural evidence in the Bible, Yetis, Blood Lickers, and Chaos Dragons. It's an insane episode filled with mind-bending ideas. Nothin but Bangers! We appreciate your support! Please check out Jared Klickstein's Book:  Crooked Smile: What It Took to Escape a Decade of Homelessness, Addiction, & Crime-  https://bit.ly/3XSashp Join the WolfPack at Wise Wolf Gold and Silver and start hedging your financial position by investing in precious metals now!  Go to samtripoli.gold and use the promo code "TinFoil" and we thank Tony for supporting our show. CopyMyCrypto.com: The ‘Copy my Crypto' membership site shows you the coins that the youtuber ‘James McMahon' personally holds - and allows you to copy him. So if you'd like to join the 1300 members who copy James, then stop what you're doing and head over to: CopyMyCrypto.com/TFH You'll not only find proof of everything I've said - but my listeners get full access for just $1 If you want to Leave a message for TFH Live! please call 323-825-9010.  Watch live very Tuesday at 3pm pst at Youtube.com/@SamTripoli Check out Sam "DoomScrollin with Sam Tripoli" Every Thursday At 2:30pm pst on Youtube, X Twitter, Rumble and Rokfin! Grab your copy of the first issue of the Chaos Twins now and join the Army Of Chaos: https://www.indiegogo.com/projects/chaos-twins-1-by-sam-tripoli-paranoid-american--2/coming_soon/x/5548203 Want to see Sam Tripoli live?  Get tickets at SamTripoli.com: Las Vegas: Skankfest In Las Vegas on Sept 27th-29th https://skankfest.com   Louisville, Kentucky:  The Murder Circus Comedy on Oct 11th &12th  https://blurredmindsmedia.com/the-murder-circus-comedy-show-sam-tripoli-october-11th12th/   Tampa , Fl:  Headlining Sidesplitters on Dec 6th https://ci.ovationtix.com/35578/production/1080723   Cancun, Mx:  Jiujistu Overdose Dec 12th-15th https://www.jiujitsuoverdose.com   Please check out Justin Doc Brown's internet: Website: https://prometheuslenspodcast.com Twitter: https://x.com/Prometheus_Lens Podcast: Promethesues Lens- https://bit.ly/4emhHne   Please check out Jared Klickstein's internet:  Book:  Crooked Smile: What It Took to Escape a Decade of Homelessness, Addiction, & Crime-  https://bit.ly/3XSashp     Please check out SamTripoli.com for all things Sam Tripoli. 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Support the D.A.W.G.Z. @ patreon.com/MSsecretpod Support Jared and Buy Crooked Smile @ https://www.jaredklickstein.com/ Go See Matt Live @ mattmccusker.com/dates Go See Shane Live @ shanemgillis.com Get Merch @ mssecretpodcast.com/merch Good afternoon everybody. We hope you all had a wonderful long weekend. We're back with another broadcast for you guys. This week Cusky was blessed by ultimate bro Jared Klickstein. Buy his book - it's a very good story!! He discusses his struggles with addiction, the white prisoner's dilemma, and much much more. Please enjoy. God Bless you all. This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/MSSP and get on your way to being your best self. Support the show & get Lucy Breakers for 20% off & free shipping at https://www.lucy.co promo code DRENCHED Download the PrizePicks app or visit https://prizepicks.onelink.me/LME0/DRENCHED today and use code Drenched for a first deposit match up to $100

The show opens with comedian & internet sensation, Scott Seiss, making his first ACS visit. They talk about Scott's time working at IKEA and how it inspired his popular TikTok series, Angry Retail Guy, and his new book “The Customer Is Always Wrong: An Unhinged Guide to Everything That Sucks About Work.” Next, Dawson joins the show to read the news including stories about how the cast of Baywatch only made $3,500 per episode, how the writer of My So-Called Life captured how real teenagers talk by watching Loveline, Lizzo announcing on Instagram that she's taking a “gap year to protect her peace”, and a former Nevada politician was found guilty of a killing journalist. Then, former skid row addict turned author, Jared Klickstein, stops by to talk about his years living on the street, his battle with drugs and his new book “Crooked Smile: What It Took to Escape a Decade of Homelessness, Addiction, & Crime.” For more with Scott Seiss: ● BOOK: The Customer Is Always Wrong: An Unhinged Guide to Everything That Sucks About Work ● TIKTOK: @scottseiss ● INSTAGRAM: @scottseiss For more with Jared Klickstein: ● BOOK: Crooked Smile: What It Took to Escape a Decade of Homelessness, Addiction, & Crime ● TWITTER/X: @JaredKlickstein ● INSTAGRAM: @jklickst Thank you for supporting our sponsors: ● http://SimpliSafe.com/Adam ● http://ForThePeople.com/Adam or Dial #LAW (#529) ● http://OReillyAuto.com/Adam

Crooked Smile details one man's journey that left him homeless on Skid Row, and what it took to escape a decade of addiction. "Darkly humorous" is an understatement when it comes to this poignant tale of addiction, homelessness, incarceration, and eventually, redemption. Jared Klickstein, the child of two heroin addicts who eventually became addicted himself, takes readers on a raw and personal journey from his unsettling and secretive childhood in the suburbs to the slums of Skid Row. Through tales of violence, relapse, and deep inner struggle, Klickstein provides a harrowing account of his personal encounter with near-death-including what he calls dying in "slow motion." But this story is not just about one man's life-it's about the hundreds of thousands of homeless and drug-addicted Americans who are on the streets right now. It's about those who need help the most, and what can be done to address the growing addiction and homelessness problems we face. In this moving memoir, Klickstein offers a fresh take and solutions to both epidemics, providing firsthand experience and insight into what policies should be put in place to mitigate the suffering. Crooked Smile recounts one man's escape from a hellish life-and carves a valuable path for others. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Our guest this week is author Jared Klickstein. He wrote Crooked Smile: What It Took to Escape a Decade of Homelessness, Addiction, & Crime and if you're into our whole thing, this guy is right up your alley. Join us for a conversation about grimey origins and grimier outcomes and how much they help you appreciate the good stuff. https://www.amazon.com/Crooked-Smile-... Join us at Patreon.com/dadmeatpodcast for part 2 of this episode, as well as an ad-free version of this episode. See Tim do stand up live: https://linktr.ee/timbutterly See Mike do stand up live: https://linktr.ee/MikeRainey82 Check out Tim's YouTube channel at    / @timbutterly   for live streams and his killer new project, Field Trippin', which you can also support at Patreon.com/TimButterly Pre-order Mike's new book, Delco Dirtball, a wigger crime novel, at OnPercs.com/store  It is the funniest book you will read all summer. Go to Patreon.com/lilstinkers for the best murder/Impractical Jokers-themed podcast out there

This week, Dr. Drew sits down with author Jared Klickstein to discuss his new book Crooked Smile, which chronicles his journey from addiction and homelessness to recovery. They explore the complexities of mental health laws, the realities of the non-profit industrial complex, the concept of love addiction, what it takes to survive in prison, and the controversial world of radical harm reduction. Crooked Smile: www.amazon.com/Crooked-Smile-Escape-Homelessness-Addiction Please support the show by checking out our sponsors! Shopify: Sign up for a one-dollar-per-month trial period at SHOPIFY.COM/drew

Meghan Murphy speaks with Jared Klickstein, who spent years on the street as a drug addict before the severe consequences of his lifestyle forced him to get clean for good. Jared recently published a book about his experiences: Crooked Smile: What It Took to Escape a Decade of Homelessness, Addiction, & Crime. The Same Drugs is a fully independent, listener-supported podcast. Please consider ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠supporting us with a donation⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, beco⁠ming⁠ a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patron⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠subscribing on Substack⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. You can watch select clips and episodes of The Same Drugs on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Full videos are available on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Substack⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and to YouTube channel members. You can support The Same Drugs on Spotify by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠clicking the "support" button⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or you can ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠donate directly via Stripe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. The Same Drugs is on X ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@thesamedrugs_⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Meghan Murphy is on X ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@meghanemurphy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and on Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@meghanemilymurphy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Find The Same Drugs merch at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Fourthwall⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. --- Support this podcast: https://podcasters.spotify.com/pod/show/the-same-drugs/support

Hydrocarboresine by Biolandes (198-?) + Darren Aronofsky's Requiem for a Dream (2000) with Jared Klickstein, author of Crooked Smile: What It Took to Escape a Decade of Homelessness, Addiction, & Crime (2024) 7/24/24 S6E49 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

https://linktr.ee/jaredklickstein X: @JaredKlickstein Crooked Smile: What It Took to Escape a Decade of Homelessness, Addiction, & Crime Paperback – Releases on June 25, 2024 https://www.amazon.com/Crooked-Smile-Escape-Homelessness-Addiction/dp/B0CWZ1GHLW

Crooked Smile details one man's journey that left him homeless on Skid Row, and what it took to escape a decade of addiction. "Darkly humorous" is an understatement when it comes to this poignant tale of addiction, homelessness, incarceration, and eventually, redemption. Jared Klickstein, the child of two heroin addicts who eventually became addicted himself, takes readers on a raw and personal journey from his unsettling and secretive childhood in the suburbs to the slums of Skid Row. Through tales of violence, relapse, and deep inner struggle, Klickstein provides a harrowing account of his personal encounter with near-death-including what he calls dying in "slow motion." But this story is not just about one man's life-it's about the hundreds of thousands of homeless and drug-addicted Americans who are on the streets right now. It's about those who need help the most, and what can be done to address the growing addiction and homelessness problems we face. In this moving memoir, Klickstein offers a fresh take and solutions to both epidemics, providing firsthand experience and insight into what policies should be put in place to mitigate the suffering. Crooked Smile recounts one man's escape from a hellish life-and carves a valuable path for others.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Jared Klickstein was born in Boston, Massachusetts in 1989 to heroin-addicted parents. He spent his teenage years outside of Oakland, California after being adopted by his aunt and uncle. He attended UC Santa Cruz where he got addicted to heroin himself, dropped out, and spent nearly ten years chronically homeless and addicted around the country. After a notorious run on Skid Row in Los Angeles and a subsequent jail sentence, he sobered up in 2018, wrote Crooked Smile, and currently resides in Oakland, California. He works as an independent journalist. ABOUT THE BOOK:  “Darkly humorous” is an understatement when it comes to this poignant tale of addiction, homelessness, incarceration, and eventually, redemption. Jared Klickstein, the child of two heroin addicts who eventually became addicted himself, takes readers on a raw and personal journey from his unsettling and secretive childhood in the suburbs to the slums of Skid Row. Through tales of violence, relapse, and deep inner struggle, Klickstein provides a harrowing account of his personal encounter with near-death—including what he calls dying in “slow motion.” But this story is not just about one man's life—it's about the hundred's of thousands of homeless and drug-addicted Americans who are on the streets right now. It's about those who need help the most, and what can be done to address the growing addiction and homelessness problems we face. In this moving memoir, Klickstein offers a fresh take and solutions to both epidemics, providing firsthand experience and insight into what policies should be put in place to mitigate the suffering. Crooked Smile recounts one man's escape from a hellish life—and carves a valuable path for others. BUY CROOKED SMILE: https://www.amazon.com/Crooked-Smile-Escape-Homelessness-Addiction/dp/B0CWZ1GHLW FOLLOW JARED KLICKSTEIN: X @JaredKlickstein / IG @jklickst JARED ON RARE CANDY: https://www.youtube.com/watch?v=WSWnvG9WDWA&list=PL_l2JbkrREkTf-zpvFcIJYVedpg7FQcV3 CROOKED SMILE DISCUSSED ON MATT & SHANE: https://www.reddit.com/r/JoeRogan/comments/1d58qsz/mssp_shane_gillis_and_matt_mccusker_discussed_my/ SUBSCRIBE TO AGITATOR: patreon.com/agitator

Author Jared Klickstein returns to the show to talk about his new book Crooked Smile (https://www.amazon.com/Crooked-Smile-Escape-Homelessness-Addiction/dp/B0CWZ1GHLW), Fentanyl, Hunter Biden, and answers questions from listeners about harm reduction and Meth + Sex. Follow Jared on Twitter https://x.com/JaredKlickstein For Premium Rare Candy Episodes (Gain of Fiction, Coast to Coast, Psi Ops) and written content, subscribe to Rare Candy on Substack https://rarecandy.substack.com Rare Candy audio, merch, video channels, social media https://beacons.ai/rarecandy

Buy 'Crooked Smile' here: https://a.co/d/4w9Vlhl Follow Jared: https://twitter.com/JaredKlickstein -- Follow Croom: https://twitter.com/croom4men Join the Discord: (DM me on twitter for invite) Follow me on twitter: https://twitter.com/gran1te_mtn Subscribe to the Substack: https://granitemtn.substack.com/ Subscribe on Youtube: https://www.youtube.com/@granitemtn.movieclub4158 Subscribe on Apple Podcasts: https://podcasts.apple.com/us/podcast/granite-mtn-movie-club/id1650818667 Subscribe on Spotify: https://open.spotify.com/show/0oA3Fgp31H6mbcmtnjnXgr?si=ec33d8c4c26846bc Follow me on Letterboxd: https://letterboxd.com/GraniteMtn/

Jared Klickstein returns to the show to talk about crime taking over the Bay Area, the trades vs. learning to code, William Friedkin's "Bug" (2006), and more Follow Jared on X https://twitter.com/JaredKlickstein For Premium Rare Candy Episodes including Gain of Fiction, become a paid subscriber of our substack https://rarecandy.substack.com/ Merch Store https://rare-candy-industries.myshopify.com/ Rare Candy on Apple, Spotify, Youtube, Instagram, and more https://beacons.ai/rarecandy

My guest today is an extraordinary young man – his parents were both heroin addicts and he became an addict himself.  His rock bottom included jailtime, homelessness and self mutilation.  In the episode Both of Jared's parents were drug addicts but although life was chaotic they did manage to parent Jared until they got arrested when he was 12 years old Then he went to live with his aunt who “rescued” him as he put it Sadly his mother died of her heroin addiction when he was 14 years old which led to him using alcohol to cope with the pain of losing her Jared describes himself as a “functioning alcoholic” from the age of 15 years old At the age of 18 he started using Oxycontin as he was very against heroin due to his parents' experience He didn't know what Oxycontin was but it was a pill made by a pharmaceutical company so he assumed it was safe He quickly became addicted and discovered that its very similar to heroin and in fact he switched to heroin  Whereas alcohol had helped him feel more confident and enable him to socialise heroin completely numbed his feelings As he says cocaine or acid can amplify emotions whereas with heroin he felt he was purchasing 12 hours of oblivion Jared continued to use heroin but as he puts it “ the effects diminished as the consequences increased” These consequences included selling his possessions to get heroin and by the age of 22 he was homeless and living on skid row Heroin was still effective in completely numbing him from reality – the reality that he was homeless, penniless and without a family member to turn to… However by the age of 25 reality was getting through so he began taking multiple drugs to block it out The consequences got more serious and he ended up spending time in jail and suffering serious health problems He would black out and wake up with injuries – once he lost a toe, another time he woke up with a serious facial injury That was when he finally decided to consider the idea of getting clean He managed to get sober via a state funded rehab where he lived for four months There are only four state funded rehabs in California and many more for profit rehabs On the subject of rehabs Jared gave us some shocking information about corruption in the rehab industry, Quote from one of Jareds article “the rehab industry has become nothing more than a glorified insurance scam with a terrible success rate… ..despite making billions upon billions of dollars Can you imagine paying $30,000 for something that doesn't work 90% of the time? Yet new rehabs are popping up almost daily with no sign of slowing” When Jared got clean he longed for tangible things, he wanted a job and somewhere to live… he had no idea of the intangible benefits that would come his way – a sense of self worth, the ability to love himself and the joy that comes from helping others Apart from helping others to get clean Jared is influencing policy decisions and feels there is currently a political will to change the current situation People and companies are leaving California which is reducing tax income, forcing politicians to come up with solutions That's why he feels that politicians are open to dialogue with someone like him… someone who understands addiction and homelessness from the inside Jared has plenty of ideas to bring about social change which he writes about in his book the Crooked Smile which will be published in 2024 His articles can be read via Substack, he is on TW @jaredklickstein and his email is…jklickst@gmail.com More Info Tribe Sober membership – you can join up HERE. To access our website, click HERE. If you would like a free copy of our “Annual Tracker” or our e-book 66 Days to Sobriety, please email janet@tribesober.com. If you would like to come to our Saturday afternoon Zoom Cafe as a guest and meet our community, just email janet@tribesober.com.   Episode Sponsor This episode is sponsored by the Tribe Sober Membership Program.  If you want to change your relationship with alcohol then sign up today Read more about our program and subscribe HERE Help us to Spread the Word! We made this podcast so that we can reach more people who need our help.  Please subscribe and share. If you enjoyed the podcast, then please leave us a 5-star review on Apple podcasts. Take a screenshot of your review, and DM it to Tribe Sober's Instagram page – see PS below for instructions. We'll send you something special to say thank you! We release a podcast episode every Saturday morning. You can follow Tribe Sober on Facebook, Twitter, TikTok and Instagram. You can join our private Facebook group HERE. PS: How to Leave a Rating/Review in Apple Podcasts (on an iOS Device) Open the Podcasts app. EASY. Choose “Search” from the bottom row of icons and enter the name of the show (e.g. Recover Like a Mother) into the search field. Select the show under Shows (not under Episodes). Scroll down past the first few episodes until you see Ratings & Reviews. Click Write a Review underneath the displayed reviews from other listeners. You'll then have the option to rate the show on a 5-star scale and write a review (you can rate without writing too but it's always good to read your experience).  

Join me today as I sit down with a man who is a recovering drug addict, and spent time living on Skid Row (and in prison) - Jared Klickstein

Klickstein wrote the definitive oral history of ComicCon International See You At San Diego from Fantagraphics . The current organizers are not happy about it.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3143082/advertisement

Writer Jared Klickstein joins the show to talk about his long battle with drugs, homelessness, and how the progressive agenda isn't quite working in terms of helping people in need. Jared has a Substack. Make sure you go check it out https://jaredklickstein.substack.com/ Follow Jared on Twitter https://twitter.com/JaredKlickstein For all Premium Rare Candy episodes and written content, visit our substack https://rarecandy.substack.com/ For all things Rare Candy https://linktr.ee/RareCandy

Mathew Klickstein is a multi-platform storyteller who consistently works in the formats of: reportage, non-fiction books and novels, ghostwriting, filmmaking, episodical television, live theatre, public speaking, comic book creation, audiobook originals, and podcasting. Klickstein was the writer of the 2009 American horror film Against the Dark, starring Steven Seagal and served as a casting producer on Food Network's Restaurant: Impossible from 2013 until the series ended in 2016. Born in California, Mathew was a prolific writer at a young age, penning his first novel at 13. A high-achieving student in high school, Mathew formed and ran various academic clubs while working on local congressional campaigns and for the ACLU. In 2012 he co-produced, co-directed and co-wrote Phamaly Theatre Company's disLabled, a multimedia performance involving actors with disabilities. Klickstein's non-fiction book titled SLIMED! An Oral History of Nickelodeon's Golden Age, which covers the early development of Nickelodeon.,

From 2007 through 2022, the homeless population in California increased by 24% to 172,000. Today, nearly 1 in 3 homeless people live in California. Despite billions of dollars being spent and little improvement, the State has doubled down on the same efforts of Housing First. Today, I sat down with Jared Klickstein, who lived on the streets of California. We talked about his story, what he learned, and why the approach to homelessness in California is failing.

Jared Klickstein was an addict for many years, ending up on Skid Row, in and out of jail and the hospital before finally getting clean. He recently wrote an article for Public about the real cause of homelessness and how to better address the growing problem of addiction, crime, and homelessness. In this episode, Meghan Murphy speaks with Jared about his life and experiences, as well as his views on harm reduction and addiction. To gain early access to episodes and exclusive access to select content, become a subscriber on Patreon. The Same Drugs is on Twitter @thesamedrugs_. Stay up to date with The Same Drugs on Substack. Watch The Same Drugs on YouTube. Please consider becoming a supporter of The Same Drugs on Anchor.fm or by donating directly via Stripe. Meghan Murphy is on Twitter @meghanemurphy. --- Support this podcast: https://anchor.fm/the-same-drugs/support

Jared Klickstein joined me to share his story, the likes of which I have never heard. He will cause even lovers of freedom to wonder whether the state should control the lives of drug addicts.   Black Friday at Unregistered Academy! Get 25-30% off courses and annual memberships at https://www.unregisteredacademy.com/   Go to https://www.magicmind.co/unregistered and get 40% off your MAGIC MIND subscription for the next 10 days with my code UNREGISTERED20   Become a PATRON OF UNREGISTERED at www.patreon.com and get:   Bonus episodes featuring interviews with Curtis Yarvin, Ben Burgis, Michael Malice, Cody Wilson, Hotep Jesus, and many others. Access to Unregistered Live, the weekly live Zoom meeting with Thad and patrons of Unregistered. BECOME A MEMBER OF THE UNREGISTERED ACADEMY   Go to https://www.unregisteredacademy.com/ for courses you won't find in college:   History of NATO with Scott Ritter and James Carden The Politics of COVID with Geoff Shullenberger and Jeffrey Tucker Malcolm X with Thaddeus Russell The Religious Right with Neil Young and Gio Pennacchietti World War II: The Great Blowback with Thaddeus Russell The JFK Assassination with Larry Hancock History of the CIA with Thaddeus Russell Reading The Unabomber Manifesto

This episode actually just started off as an interview for the purposes of my reporting on drugs and homelessness. In fact, I wasn't really planning on doing more episodes of this podcast at all. But the conversation I had with recovering addict Jared Klickstein was so fascinating, and I learned so much, that with his permission, I decided to share it. I hope you find it as intriguing and eye-opening as I did.You can follow Jared, by the way, on Twitter at https://twitter.com/MetaGrift. Thanks to Thad Russell for making this connection possible by having me on his podcast. You can find that episode, which Jared mentions, here: https://podcasts.apple.com/us/podcast/unregistered-226-leighton-woodhouse/id1227060738?i=1000580151989 This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit leightonwoodhouse.substack.com/subscribe

Legendary cartoonist Scott Shaw! and author Mathew Klickstein join me for a deep dive into pop culture phenomenon San Diego Comic-Con with Klickstein's latest book, See You at San Diego: An Oral History of Comic-Con, Fandom, and the Triumph of Geek Culture. CannaBlogger's Corner is sponsored by: Better Homes with Cannabis. Yani Amaya, the Hazey Lioness, has taken her cannabis photography to another level by using it in a stylish home décor design that would look fabulous in any home. This isn't a Marley poster in your dorm room; Better Homes with Cannabis is tasteful home décor with a cannabis theme. Look for them at betterhomeswithcannabis.com. The Canna Mom Gang is an all-inclusive, mom-exclusive group of women who choose cannabis over alcohol for their cul-de-sac club. If you're a mom or know one who's looking for other moms to chill and smoke with, you can find them on Instagram at CannaMomGang. The only thing they'll try to sell you is inclusion. Don't forget to follow me on Instagram and Twitter @sdcannablogger for cannabis content and @sdccwackywags for all my San Diego Comic-Con coverage. If you like what you heard or just wanna talk about it, shoot me an email at sdcannablogger@gmail.com. --- Send in a voice message: https://anchor.fm/cannabloggers-corner/message

Legendary cartoonist Scott Shaw! and author Mathew Klickstein join me for a deep dive into pop culture phenomenon San Diego Comic-Con with Klickstein's latest book, See You at San Diego: An Oral History of Comic-Con, Fandom, and the Triumph of Geek Culture. CannaBlogger's Corner is sponsored by: Better Homes with Cannabis. Yani Amaya, the Hazey Lioness, has taken her cannabis photography to another level by using it in a stylish home décor design that would look fabulous in any home. This isn't a Marley poster in your dorm room; Better Homes with Cannabis is tasteful home décor with a cannabis theme. Look for them at betterhomeswithcannabis.com. The Canna Mom Gang is an all-inclusive, mom-exclusive group of women who choose cannabis over alcohol for their cul-de-sac club. If you're a mom or know one who's looking for other moms to chill and smoke with, you can find them on Instagram at CannaMomGang. The only thing they'll try to sell you is inclusion. Don't forget to follow me on Instagram and Twitter @sdcannablogger for cannabis content and @sdccwackywags for all my San Diego Comic-Con coverage. If you like what you heard or just wanna talk about it, shoot me an email at sdcannablogger@gmail.com. --- Send in a voice message: https://anchor.fm/cannabloggers-corner/message

Geek culture? Nope. Just culture. The evidence is all around you. In this week's episode, we're joined by author Mathew Klickstein talking about his new book, See You in San Diego: An Oral History of Comic-Con, Fandom, and the Triumph of Geek Culture. Klickstein's massive tome is a beast of a feast, and one not only San Diego Comic-Con obsessives will enjoy. Inside, you'll find numerous wild characters. Yes, folks like Neil Gaiman, Kevin Smith, and Scott Aukermanare present, but wait until you meet cats like Mike Towry, Bjo Trimble, and Scott Shaw! Hovering over (or haunting) everything are titanic figures like Jack Kirby and Shel Dorf. See You in San Diego is an incredible time capsule exploring the nature of fandom and how it created a mighty need for conventions like the one held in San Diego. See You in San Diego began its life as a podcast series co-produced and directed by Mathew Klickstein. We highly recommend giving his Comic-Con Begins a listen (you can find it HERE). In the podcast, you can hear these interviews come to life, and it works as a wonderful companion piece to the book, which tremendously expands on the audio format by providing endless photos and art pieces. Scott Shaw!'s XXX Jack Kirby homage must be seen, unless you're easily scandalized. You've been warned. Keep track of Mathew Klickstein through his Website, and See You In Sand Diego is now available from Fantagraphics.  And, of course, you too can follow Comic Book Couples Counseling on Facebook, on Instagram, and on Twitter @CBCCPodcast, and you can follow hosts Brad Gullickson @MouthDork & Lisa Gullickson@sidewalksiren. Send us your Words of Affirmation by leaving us a 5-Star Review on Apple Podcasts. SUPPORT THE PODCAST BY JOINING OUR PATREON COMMUNITY. Continue your conversation with CBCC by hopping over to our website where we have reviews, essays, and numerous interviews with comic book creators. Podcast logo by Aaron Prescott @acoolhandfluke, podcast banner art by @Karen_XmenFan.

There is a new 6 part deep dive podcast series that explores the creation and evolution of The San Diego Comic Con Called "Comic Con Begins" . From it's hotel basement beginnings to today's status as the Ultimate Nerd Culture event that the whole world follows every year. With tons of interviews and archival audio. It's a time travel experience. Podcast creator and comic book writer Mathew Klickstein (You Are Obsolete) and SDCC founding member Roger Freedman discuss the creation of this iconic festival that not even Covid could stop.Later this year Fantagraphics will publish the book version of Comic Con Begins

Twilight, Robert Downey Jr., eight-hour lines. Time to ask the $64,000 question: Has Comic-Con become something completely different?! Why not ask those who made it all happen during the formative years of the Con? Luckily, that's exactly what we did, and their answer may surprise you.Narrated by Brinke StevensCreated and Directed by Mathew KlicksteinExecutive Produced by Rob SchulteWritten and Produced by Mathew Klickstein, Rob Schulte, and Christopher TylerEdited by Rob Shulte, and Christopher TylerMixed by James Bilodeau Original Music Composed by Max DeVincenzo and Produced by Fox Tracks MusicWith help from Brannan Goetschius and Michael FischeAll interviews (unless otherwise noted) conducted by Mathew Klickstein.Principal interviewees/contributors (in alphabetical order):Al Jean, Anthony Russo, Barry Alfonso, Barry Short, Bill Lund, Bill Mumy (provided by contributor), Bill Schanes, Bjo Trimble, Bob Arendt, Brinke Stevens, Bruce Campbell, Caseen Gaines, Chuck Graham (provided by SDSU), Clayton Moore, Dave Clark, Dave Scroggy, Erin Hanna, Gene Henderson, Greg Bear, Gregory Benford, Gus Krueger, Felicia Day, Frank Miller, Ho Che Anderson, Igor Goldkind (provided by SDSU), Jackie Estrada, Jeanne Graham (provided by SDSU), Jim Cornelius, Jim Means, Jim Valentino, Joe Russo, John Pound, John Trimble, Kevin Eastman, Linda Yeh, Lloyd Kaufman, Kevin Smith (provided by contributor), Len Wein (provided by M. Klickstein archive), Maggie Thompson, Mark Evanier, Mike Towry, Mo Alzmann, Neil Gaiman (provided by contributor), Paul M. Sammon, Phil Yeh, Richard Alf (provided by KPBS), Richard Butner, Rick Geary, Roger Freedman, Scott Aukerman, Scott Shaw!, Sergio Aragonés (provided by contributor), Stan Sakai, Tim Seeley, Trina Robbins, Wendy All.We are grateful to the family of Mary and Gene Henderson (who, sadly, passed away during the final stages of Comic-Con Begins' post-production). This production is dedicated in part to their memory, as well as the memory of the many Con contributors no longer with us but whose legacy will continue to live on for time immemorial.Archival material and additional research provided by: Mike Towry and his “Comic-Convention Memories” website.Alan Light's 1975 Comic-Con recordings Jackie Estrada and Comic-Con's 40th Anniversary Souvenir BookPamela Jackson and San Diego State University's Comic-ConKids project Maureen Cavanaugh at San Diego's KPBSMark EvanierScott Shaw!Barry AlfonsoErin Hanna and her book Only at Comic ConBjo Trimble and “The Star Trek Concordance”The works of Bill SchellyWendy AllFantagraphics' “We Told You So: Comics As Art”

Navigating throughout the ever-expanding pop culture constellation of the turbulent 1980s, we seek out intelligent new life in the final frontier: the Hollywood blockbuster machine. Meanwhile, comics go uptown, with Pulitzer Prize winners, the birth of graphic novels, and four guys named Neil, Alan, Frank, and Art.Narrated by Brinke StevensCreated and Directed by Mathew KlicksteinExecutive Produced by Rob SchulteWritten and Produced by Mathew Klickstein, Rob Schulte, and Christopher TylerEdited by Rob Shulte, and Christopher TylerMixed by James Bilodeau Original Music Composed by Max DeVincenzo and Produced by Fox Tracks MusicWith help from Brannan Goetschius and Michael FischeAll interviews (unless otherwise noted) conducted by Mathew Klickstein.Principal interviewees/contributors (in alphabetical order):Al Jean, Anthony Russo, Barry Alfonso, Barry Short, Bill Lund, Bill Mumy (provided by contributor), Bill Schanes, Bjo Trimble, Bob Arendt, Brinke Stevens, Bruce Campbell, Caseen Gaines, Chuck Graham (provided by SDSU), Clayton Moore, Dave Clark, Dave Scroggy, Erin Hanna, Gene Henderson, Greg Bear, Gregory Benford, Gus Krueger, Felicia Day, Frank Miller, Ho Che Anderson, Igor Goldkind (provided by SDSU), Jackie Estrada, Jeanne Graham (provided by SDSU), Jim Cornelius, Jim Means, Jim Valentino, Joe Russo, John Pound, John Trimble, Kevin Eastman, Linda Yeh, Lloyd Kaufman, Kevin Smith (provided by contributor), Len Wein (provided by M. Klickstein archive), Maggie Thompson, Mark Evanier, Mike Towry, Mo Alzmann, Neil Gaiman (provided by contributor), Paul M. Sammon, Phil Yeh, Richard Alf (provided by KPBS), Richard Butner, Rick Geary, Roger Freedman, Scott Aukerman, Scott Shaw!, Sergio Aragonés (provided by contributor), Stan Sakai, Tim Seeley, Trina Robbins, Wendy All.We are grateful to the family of Mary and Gene Henderson (who, sadly, passed away during the final stages of Comic-Con Begins' post-production). This production is dedicated in part to their memory, as well as the memory of the many Con contributors no longer with us but whose legacy will continue to live on for time immemorial.Archival material and additional research provided by: Mike Towry and his “Comic-Convention Memories” website.Alan Light's 1975 Comic-Con recordings Jackie Estrada and Comic-Con's 40th Anniversary Souvenir BookPamela Jackson and San Diego State University's Comic-ConKids project Maureen Cavanaugh at San Diego's KPBSMark EvanierScott Shaw!Barry AlfonsoErin Hanna and her book Only at Comic ConBjo Trimble and “The Star Trek Concordance”The works of Bill SchellyWendy AllFantagraphics' “We Told You So: Comics As Art”Michael Keaton Batman David Letterman Interview June 22 1989Alan Moore on Hollywood adaptations, The Show & NorthamptonPrisoners of Gravity: Watchmen

Some would call late Comic-Con founder Shel Dorf “controversial,” others “#$%!!,” still others their “greatest inspiration and friend.” The only thing everyone can agree on is that the Comic-Con would never have happened without Shel. And now his closest Con compadres open up about the reason why. As well as thoughtful reflections of Shel's contentious departure in 1984 … right as the Con and geek culture took a giant leap forward.Narrated by Brinke StevensCreated and Directed by Mathew KlicksteinExecutive Produced by Rob SchulteWritten and Produced by Mathew Klickstein, Rob Schulte, and Christopher TylerEdited by Rob Shulte, and Christopher TylerMixed by James Bilodeau Original Music Composed by Max DeVincenzo and Produced by Fox Tracks MusicWith help from Brannan Goetschius and Michael FischeAll interviews (unless otherwise noted) conducted by Mathew Klickstein.Principal interviewees/contributors (in alphabetical order):Al Jean, Anthony Russo, Barry Alfonso, Barry Short, Bill Lund, Bill Mumy (provided by contributor), Bill Schanes, Bjo Trimble, Bob Arendt, Brinke Stevens, Bruce Campbell, Caseen Gaines, Chuck Graham (provided by SDSU), Clayton Moore, Dave Clark, Dave Scroggy, Erin Hanna, Gene Henderson, Greg Bear, Gregory Benford, Gus Krueger, Felicia Day, Frank Miller, Ho Che Anderson, Igor Goldkind (provided by SDSU), Jackie Estrada, Jeanne Graham (provided by SDSU), Jim Cornelius, Jim Means, Jim Valentino, Joe Russo, John Pound, John Trimble, Kevin Eastman, Linda Yeh, Lloyd Kaufman, Kevin Smith (provided by contributor), Len Wein (provided by M. Klickstein archive), Maggie Thompson, Mark Evanier, Mike Towry, Mo Alzmann, Neil Gaiman (provided by contributor), Paul M. Sammon, Phil Yeh, Richard Alf (provided by KPBS), Richard Butner, Rick Geary, Roger Freedman, Scott Aukerman, Scott Shaw!, Sergio Aragonés (provided by contributor), Stan Sakai, Tim Seeley, Trina Robbins, Wendy All.We are grateful to the family of Mary and Gene Henderson (who, sadly, passed away during the final stages of Comic-Con Begins' post-production). This production is dedicated in part to their memory, as well as the memory of the many Con contributors no longer with us but whose legacy will continue to live on for time immemorial.Archival material and additional research provided by: Mike Towry and his “Comic-Convention Memories” website.Alan Light's 1975 Comic-Con recordings Jackie Estrada and Comic-Con's 40th Anniversary Souvenir BookPamela Jackson and San Diego State University's Comic-ConKids project Maureen Cavanaugh at San Diego's KPBSMark EvanierScott Shaw!Barry AlfonsoErin Hanna and her book Only at Comic ConBjo Trimble and “The Star Trek Concordance”The works of Bill SchellyWendy AllFantagraphics' “We Told You So: Comics As Art”

We forge ahead at light speed into the complex scenario of how the first San Diego Comic-Con was cobbled together by our illustrious cast of kooky characters. From there, we venture onward through the mid-1970s as the Con grows exponentially in both physical size and attendance, heralding the “golden years” at a ramshackle downtown hotel that had seen better days called the El Cortez.Narrated by Brinke StevensCreated and Directed by Mathew KlicksteinExecutive Produced by Rob SchulteWritten and Produced by Mathew Klickstein, Rob Schulte, and Christopher TylerEdited by Rob Shulte, and Christopher TylerMixed by James Bilodeau Original Music Composed by Max DeVincenzo and Produced by Fox Tracks MusicWith help from Brannan Goetschius and Michael FischeAll interviews (unless otherwise noted) conducted by Mathew Klickstein.Principal interviewees/contributors (in alphabetical order):Al Jean, Anthony Russo, Barry Alfonso, Barry Short, Bill Lund, Bill Mumy (provided by contributor), Bill Schanes, Bjo Trimble, Bob Arendt, Brinke Stevens, Bruce Campbell, Caseen Gaines, Chuck Graham (provided by SDSU), Clayton Moore, Dave Clark, Dave Scroggy, Erin Hanna, Gene Henderson, Greg Bear, Gregory Benford, Gus Krueger, Felicia Day, Frank Miller, Ho Che Anderson, Igor Goldkind (provided by SDSU), Jackie Estrada, Jeanne Graham (provided by SDSU), Jim Cornelius, Jim Means, Jim Valentino, Joe Russo, John Pound, John Trimble, Kevin Eastman, Linda Yeh, Lloyd Kaufman, Kevin Smith (provided by contributor), Len Wein (provided by M. Klickstein archive), Maggie Thompson, Mark Evanier, Mike Towry, Mo Alzmann, Neil Gaiman (provided by contributor), Paul M. Sammon, Phil Yeh, Richard Alf (provided by KPBS), Richard Butner, Rick Geary, Roger Freedman, Scott Aukerman, Scott Shaw!, Sergio Aragonés (provided by contributor), Stan Sakai, Tim Seeley, Trina Robbins, Wendy All.We are grateful to the family of Mary and Gene Henderson (who, sadly, passed away during the final stages of Comic-Con Begins' post-production). This production is dedicated in part to their memory, as well as the memory of the many Con contributors no longer with us but whose legacy will continue to live on for time immemorial.Archival material and additional research provided by: Mike Towry and his “Comic-Convention Memories” website.Alan Light's 1975 Comic-Con recordings Jackie Estrada and Comic-Con's 40th Anniversary Souvenir BookPamela Jackson and San Diego State University's Comic-ConKids project Maureen Cavanaugh at San Diego's KPBSMark EvanierScott Shaw!Barry AlfonsoErin Hanna and her book Only at Comic ConBjo Trimble and “The Star Trek Concordance”The works of Bill SchellyWendy AllFantagraphics' “We Told You So: Comics As Art”

Just because they were geeks doesn't mean our intrepid Con creators were any less impacted by the “drugs, sex, and rock-and-roll” of the 1960s. We delve deep into the intimate experiences of these colorful characters of the Comic-Con and how their passion for pop culture was affected by the volatile era's seismic cultural, political, and technological shifts. Includes a special visit from Mr. “Turn on, Tune in, Drop out” himself, Dr. Timothy Leary, along with the birth of Star Trek fandom.Narrated by Brinke StevensCreated and Directed by Mathew KlicksteinExecutive Produced by Rob SchulteWritten and Produced by Mathew Klickstein, Rob Schulte, and Christopher TylerEdited by Rob Shulte, and Christopher TylerMixed by James Bilodeau Original Music Composed by Max DeVincenzo and Produced by Fox Tracks MusicWith help from Brannan Goetschius and Michael FischeAll interviews (unless otherwise noted) conducted by Mathew Klickstein.Principal interviewees/contributors (in alphabetical order):Al Jean, Anthony Russo, Barry Alfonso, Barry Short, Bill Lund, Bill Mumy (provided by contributor), Bill Schanes, Bjo Trimble, Bob Arendt, Brinke Stevens, Bruce Campbell, Caseen Gaines, Chuck Graham (provided by SDSU), Clayton Moore, Dave Clark, Dave Scroggy, Erin Hanna, Gene Henderson, Greg Bear, Gregory Benford, Gus Krueger, Felicia Day, Frank Miller, Ho Che Anderson, Igor Goldkind (provided by SDSU), Jackie Estrada, Jeanne Graham (provided by SDSU), Jim Cornelius, Jim Means, Jim Valentino, Joe Russo, John Pound, John Trimble, Kevin Eastman, Linda Yeh, Lloyd Kaufman, Kevin Smith (provided by contributor), Len Wein (provided by M. Klickstein archive), Maggie Thompson, Mark Evanier, Mike Towry, Mo Alzmann, Neil Gaiman (provided by contributor), Paul M. Sammon, Phil Yeh, Richard Alf (provided by KPBS), Richard Butner, Rick Geary, Roger Freedman, Scott Aukerman, Scott Shaw!, Sergio Aragonés (provided by contributor), Stan Sakai, Tim Seeley, Trina Robbins, Wendy All.We are grateful to the family of Mary and Gene Henderson (who, sadly, passed away during the final stages of Comic-Con Begins' post-production). This production is dedicated in part to their memory, as well as the memory of the many Con contributors no longer with us but whose legacy will continue to live on for time immemorial.Archival material and additional research provided by: Mike Towry and his “Comic-Convention Memories” website.Alan Light's 1975 Comic-Con recordings Jackie Estrada and Comic-Con's 40th Anniversary Souvenir BookPamela Jackson and San Diego State University's Comic-ConKids project Maureen Cavanaugh at San Diego's KPBSMark EvanierScott Shaw!Barry AlfonsoErin Hanna and her book Only at Comic ConBjo Trimble and “The Star Trek Concordance”The works of Bill SchellyWendy AllFantagraphics' “We Told You So: Comics As Art”The Confessions of Robert Crumb (1987)

We plunge down the time tunnel to the earliest days of fandom: back before nerds were cool, before science fiction was taken seriously, and before comic book characters ruled Hollywood. It was a time when fans could only connect through ‘zines and specialty magazines. A time when MAD Magazine and The Twilight Zone expanded the minds of youth across the nation. And a time when a small group of high school kids in San Diego met a visionary super-fan from Detroit named Shel Dorf.Narrated by Brinke StevensCreated and Directed by Mathew KlicksteinExecutive Produced by Rob SchulteWritten and Produced by Mathew Klickstein, Rob Schulte, Christopher Tyler, and James BilodeauEdited by Rob Shulte, Christopher Tyler, and James BilodeauMixed by James BilodeauOriginal Music Composed by Max DeVincenzo and Produced by Fox Tracks MusicWith help from Brannan Goetschius and Michael FischeAll interviews (unless otherwise noted) conducted by Mathew Klickstein.Principal interviewees/contributors (in alphabetical order):Al Jean, Anthony Russo, Barry Alfonso, Barry Short, Bill Lund, Bill Mumy (provided by contributor), Bill Schanes, Bjo Trimble, Bob Arendt, Brinke Stevens, Bruce Campbell, Caseen Gaines, Chuck Graham (provided by SDSU), Clayton Moore, Dave Clark, Dave Scroggy, Erin Hanna, Gene Henderson, Greg Bear, Gregory Benford, Gus Krueger, Felicia Day, Frank Miller, Ho Che Anderson, Igor Goldkind (provided by SDSU), Jackie Estrada, Jeanne Graham (provided by SDSU), Jim Cornelius, Jim Means, Jim Valentino, Joe Russo, John Pound, John Trimble, Kevin Eastman, Linda Yeh, Lloyd Kaufman, Kevin Smith (provided by contributor), Len Wein (provided by M. Klickstein archive), Maggie Thompson, Mark Evanier, Mike Towry, Mo Alzmann, Neil Gaiman (provided by contributor), Paul M. Sammon, Phil Yeh, Richard Alf (provided by KPBS), Richard Butner, Rick Geary, Roger Freedman, Scott Aukerman, Scott Shaw!, Sergio Aragonés (provided by contributor), Stan Sakai, Tim Seeley, Trina Robbins, Wendy All.We are grateful to the family of Mary and Gene Henderson (who, sadly, passed away during the final stages of Comic-Con Begins' post-production). This production is dedicated in part to their memory, as well as the memory of the many Con contributors no longer with us but whose legacy will continue to live on for time immemorial.Archival material and additional research provided by: Mike Towry and his “Comic-Convention Memories” website.Alan Light's 1975 Comic-Con recordings Jackie Estrada and Comic-Con's 40th Anniversary Souvenir BookPamela Jackson and San Diego State University's Comic-ConKids project Maureen Cavanaugh at San Diego's KPBSMark EvanierScott Shaw!Barry AlfonsoErin Hanna and her book Only at Comic ConBjo Trimble and “The Star Trek Concordance”The works of Bill SchellyWendy AllFantagraphics' “We Told You So: Comics As Art”

In this episode, Omar and Nadim meet with Jacob Klickstein, a 4th year MD/PhD at Tufts University School of Medicine. We discuss some of the most engaging topics in biology and the benefits of pursuing an MD/PhD. Specifically, we explored his works relating to neurodegenerative diseases such as ALS, their implications, and some possible solutions. We discuss his technological innovation that identifies and measures protein aggregates in cells. Additionally, Klickstein discusses some of the advantages that come from an MD/PhD, which include the ability to apply research in the lab into the clinic. Don't miss out on an opportunity to learn about the intersection of clinical research and patient care!

RMR sit down with author Mathew Klickstein again to discuss his new book, The Kids of Widney Junior High Take Over the World! New segment "Top Arch" the guys break down Batman HUSH. WWW, Rob is back picking another great battle! If you would like to get in touch with us reach us at heroeshomebase@gmail.com or hit us up on FACEBOOK at Heroes Homebase Podcast Please check out and support Mathew's book a portion of the profits will go to L.A. GOAL, www.lagoal.org

Lloyd Klickstein is the Chief Science Officer at resTORbio, a biopharmaceutical company that develops medications to target the biology of aging. In this episode, Lloyd discusses his company’s clinical application of rapamycin and its derivatives. He also elucidates details of his 2014 paper—a paper that greatly influenced Peter’s perspective of rapamycin in the context of longevity. Peter and Lloyd go on to discuss the dose-dependent effect of rapamycin on immune function and compare rapamycin, fasting, and caloric restriction.   We discuss: His background and decision to leave academia for translational medicine [6:15]; Translational medicine—bridging the gap between basic science and clinical medicine [10:30]; What prompted Lloyd to focus on mTOR inhibition? [18:00]; Defining mTOR, TORC1, and TORC2, and the consequences of inhibiting them with rapamycin [21:30]; Dose-dependent impact of rapamycin on immune function, mTOR inhibition, and toxicity [42:15]; Lloyd’s 2014 experiment—mTOR inhibition improves immune function in the elderly [53:00]; Insights into autophagy, antigen presentation, and the pleiotropic benefits of a rapalog, and how it compares to fasting [1:13:00]; Lloyd’s 2018 experiment—TORC1 inhibition enhances immune function and reduces infections in the elderly [1:18:45]; Creation of resTORbio, subsequent studies, and takeaways about dosing, TORC2 inhibition, and tissue selectivity [1:29:00]; Comparing the longevity effect of rapamycin, fasting, and caloric restriction [1:40:00]; Excitement around RTB101—resTORbio’s mTOR inhibiting molecule [1:47:00]; Identifying rapalogs selective for TORC1 [1:56:15]; Treating depression with ketamine, an activator of mTOR [2:00:00]; Epigenetic clocks, rapalogs, and metformin [2:03:30]; and More. Learn more: https://peterattiamd.com/ Show notes page for this episode: https://peterattiamd.com/LloydKlickstein Subscribe to receive exclusive subscriber-only content: https://peterattiamd.com/subscribe/ Sign up to receive Peter's email newsletter: https://peterattiamd.com/newsletter/ Connect with Peter on Facebook | Twitter | Instagram.

Whitney Grace interviews fellow pop culture enthusiast and writer Mathew Klickstein about his new book Spring Confidential about the animated sitcom The Simpsons . Klickstein wrote Springfield Confidential with former Simpsons head writer Mike Reiss.

On the 121st episode of Big Orange Couch: The 90s Nickelodeon Podcast, Andrew, Joey and first-time guest, Joscelyn, discuss the first season episode of Salute Your Shorts, "The Radio Call-In Contest." Also, a listener letter, Klickstein facts, bios, trivia, ratings, stray observations, name the episode and Call That with BOC friend and artist, Brett Wilson. Plus, Joscelyn's memories of Nickelodeon, is Sponge the first version of  Harry Potter, a random bloggers thoughts on the episode and so much more!  

In this special segment, Adam interviews Jose Prendes, the author of a book packed with Are You Afraid of the Dark information. The AYAOTD Campfire Companion contains info amount every episode, rare cast photos, interviews with cast members, and more! We also chat about general thoughts of the show, the AYAOTD movie, and other shows of the time.Funny enough, we mention Night of the Living Dummy II from Goosebumps which Ron Oliver of Are You Afraid of the Dark!Are You Afraid of the Dark Campfire Companion: https://amzn.to/2Ot1RuWPublished by http://www.bearmanormedia.com/Jose’s New Haunted Hike Tour in Southern California!https://hauntedhiking.com/https://www.instagram.com/mrjoseprendes/NEW YOUTUBE PAGE!: https://www.youtube.com/channel/UCHlQVnRbxDNdIHNvoVD-CRwhttps://www.patreon.com/werenotafraidofthedarkhttps://www.instagram.com/werenotafraidofthedark/https://www.facebook.com/werenotafraidofthedark/werenotafraidofthedark@gmail.comIntro theme by glassdevaney: https://soundcloud.com/glassdevaney/are-you-afraid-of-the-darkThe Adventures of Pete & Pete. Television series. (1992-1996). Created by Will McRobb & Chris Viscardi. Wellsville Productions. https://www.imdb.com/title/tt0105933/Goldthwait, Bobcat, dir. Shakes the Clown (1991). IRS Media. https://www.imdb.com/title/tt0102898/Dante, Joe, Landis, John, Miller, George, & Spielberg, Steven, dirs. Twilight Zone: The Movie (1983). Amblin Entertainment, Warner Bros. https://www.imdb.com/title/tt0086491/Durham, Adam & Young, Jonathan Young, directors. Hookman 2 (2013). Modulation Studios. https://www.imdb.com/title/tt1828200/Klickstein, Mathew. Slimed!: An Oral History of Nickelodeon’s Golden Age. Plume, 2013.Kriegman, Mitchell, creators. Clarissa Explains It All (1991-1994). Television series. Thunder Pictures, Nickelodeon Productions. https://www.imdb.com/title/tt0101065/Leavitt, Ron, & Moye, Michael G. creators. Married with Children (1986-1997). Embassy Television, ELP Communications, Columbia Pictures Television. https://www.imdb.com/title/tt0092400MacHale, D.J. creator. Are You Afraid of the Dark (1990-2000). Television series. CINAR, Nickelodeon Network, YTV. https://www.imdb.com/title/tt0103352Oliver, Ron, dir. Episode: Night of the Living Dummy II, Aired January 12, 1996, Goosebumps. https://www.imdb.com/title/tt0591353/Prendes, Jose. The Are You Afraid of the Dark Campfire Companion. BearManor Media. 2016. Salute Your Shorts (1991-1993). Television series. Created by Steve Slavkin. Propaganda Films. https://www.imdb.com/title/tt0101190/Schwartz, Alvin. Scary Stories to Tell in the Dark: Collected from American Folklore. New York: Lippincott, 1981.Stine, R.L., creator. Goosebumps (1995-1998). Television series. Lenz Entertainment, Protocol Entertainment, Scholastic Productions. https://www.imdb.com/title/tt0111987/

In this special segment, Adam interviews Jose Prendes, the author of a book packed with Are You Afraid of the Dark information. The AYAOTD Campfire Companion contains info amount every episode, rare cast photos, interviews with cast members, and more! We also chat about general thoughts of the show, the AYAOTD movie, and other shows of the time.Funny enough, we mention Night of the Living Dummy II from Goosebumps which Ron Oliver of Are You Afraid of the Dark!Are You Afraid of the Dark Campfire Companion: https://amzn.to/2Ot1RuWPublished by http://www.bearmanormedia.com/Jose’s New Haunted Hike Tour in Southern California!https://hauntedhiking.com/https://www.instagram.com/mrjoseprendes/NEW YOUTUBE PAGE!: https://www.youtube.com/channel/UCHlQVnRbxDNdIHNvoVD-CRwhttps://www.patreon.com/werenotafraidofthedarkhttps://www.instagram.com/werenotafraidofthedark/https://www.facebook.com/werenotafraidofthedark/werenotafraidofthedark@gmail.comIntro theme by glassdevaney: https://soundcloud.com/glassdevaney/are-you-afraid-of-the-darkThe Adventures of Pete & Pete. Television series. (1992-1996). Created by Will McRobb & Chris Viscardi. Wellsville Productions. https://www.imdb.com/title/tt0105933/Goldthwait, Bobcat, dir. Shakes the Clown (1991). IRS Media. https://www.imdb.com/title/tt0102898/Dante, Joe, Landis, John, Miller, George, & Spielberg, Steven, dirs. Twilight Zone: The Movie (1983). Amblin Entertainment, Warner Bros. https://www.imdb.com/title/tt0086491/Durham, Adam & Young, Jonathan Young, directors. Hookman 2 (2013). Modulation Studios. https://www.imdb.com/title/tt1828200/Klickstein, Mathew. Slimed!: An Oral History of Nickelodeon’s Golden Age. Plume, 2013.Kriegman, Mitchell, creators. Clarissa Explains It All (1991-1994). Television series. Thunder Pictures, Nickelodeon Productions. https://www.imdb.com/title/tt0101065/Leavitt, Ron, & Moye, Michael G. creators. Married with Children (1986-1997). Embassy Television, ELP Communications, Columbia Pictures Television. https://www.imdb.com/title/tt0092400MacHale, D.J. creator. Are You Afraid of the Dark (1990-2000). Television series. CINAR, Nickelodeon Network, YTV. https://www.imdb.com/title/tt0103352Oliver, Ron, dir. Episode: Night of the Living Dummy II, Aired January 12, 1996, Goosebumps. https://www.imdb.com/title/tt0591353/Prendes, Jose. The Are You Afraid of the Dark Campfire Companion. BearManor Media. 2016. Salute Your Shorts (1991-1993). Television series. Created by Steve Slavkin. Propaganda Films. https://www.imdb.com/title/tt0101190/Schwartz, Alvin. Scary Stories to Tell in the Dark: Collected from American Folklore. New York: Lippincott, 1981.Stine, R.L., creator. Goosebumps (1995-1998). Television series. Lenz Entertainment, Protocol Entertainment, Scholastic Productions. https://www.imdb.com/title/tt0111987/

For me, having a process with a list I can check off is critical to getting things done in my personal and professional life. I guess part of this method stems from the fact that personally I am forgetful. It also stems from experiences I had in lessons and teaching students. I would come in and my teacher would ask me about something in the score. Often the question was something I could have and should have known already. There really isn’t a good reason not to have defined a French word in the score that indicated information about expression or dynamics in the piece. This is easy to do with google. By the time I as a grad student I really didn’t have an excuse for not knowing more advanced things like how many lines in a contrapuntal passage where there or which one was the subject.  Likely part of the reason I was showing up to lessons without having all my basses covered was an issue of maturity. But I also think it had to do with a lack of habit and not knowing what to look for or when to look for it. I hadn’t really trained myself to think about all the different pieces of information I could and should observe about a piece before or while physically practicing it. And I don’t think I am alone in this. Guitarists often discuss whether expression should be added before or after learning the notes. This suggests that there is some ambiguity within the community about when to think through this aspect of playing. It thus does not seem entirely unreasonable that a student may come to a lesson not having thought about expression or the different things in the score that provide information about expression.  If a musician subscribes to the notes first expression second mentality, its even less surprising that a student would come in without having expression words define. Its the argument of this method that the physical act of practicing is different when expression is added to the notes. Because expression changes the physical motions the body needs to make, its the argument of this method, and an argument presented earlier in this method, that one should think of expression as much as possible before physically practicing a piece and add it to practicing as soon as practically possible.  My experience is that teachers often think students should know better when they make mistakes like the one I made with the French word in my score. The French word is in the score! Why didn’t the student look it up? It seems like many teachers just resign themselves to the idea that some students get it and some students never will. That may be true, but I think there are many enthusiastic and potential musicians who don’t know what to look for, when to look for it, and what to do with it when they find it. Nobody ever explained two bar phrases, or walked them through analyzing a piece, or taught them how to phrase. I think part of the problem is there is a ton of things to think about and keep track of in a new piece and its easy to forget to think about any of those factors. Its also overwhelming for a teacher to remember them all and walk a student through them. This problem is especially true in advance music like Bach. So part of the goal of this method is to help the reader keep track of everything going on in the music.  The idea of this section is to have a checklist of things you should do or think about when you first look at a piece. This method is not a theory and analysis book, so I won’t always thoroughly explain all the vocabulary here. I don’t think this means I am leaving the reader of this method hanging. There are plenty of books on these subjects, one could google search any vocabulary in this list, and a good teacher can also provide an explanation and more context. Some of these concepts such as 2 and 4 bar phrases are probably easier to understand and hear with an explanation from a teacher with an instrument at hand.  This method is focused on where these concepts and vocabulary are applicable in a practice process. In other words, from the time I get a piece of music to the time I perform it, when do I think about certain things such as scales, counterpoint, or words in the score that indicate dynamics. Thats why I don’t want to provide too many definitions here. There are plenty of method books and treatise that explain counterpoint. What I want to target in this method is when does a performer start thinking about counterpoint during practice so that they make sure the music sounds both the way it is supposed to and/or the way the performer wants it to.  I do present some ideas in the following sections on analysis that may be less familiar even to experienced musicians. In particular, the concepts I present on rhythm analysis are not necessarily original but they are not ideas that are commonly discussed in method books or in some cases even amongst musicians. In places where I present less common concepts I will expand on those ideas more thoroughly.  The goal of the analysis portion of this method and the lists I present within it are to make sure that all my bases get covered. By “bases” I mean all the mental aspects of a piece and what must be thought of before touching the instrument are already accounted for. I also try to present techniques for experimenting and working out some of these pre physical mental ideas. Having used this method so much in the last two years, I actually find I often skim these lists and don’t necessarily need to write everything in the score anymore. Its about making sure I don’t miss anything. However, when I first started using this practice method I wrote in pencil in the score and noted nearly every detail. I will leave this choice mostly to the readers discretion, obviously I can’t force anything on anyone. But I would suggest being obsessively thorough for a couple pieces. Eventually it is both appropriate and more effective to make mental notes of these different aspects of a piece and skip intensive writing in the score. But wait until observing all these details become habit. The reason I can skim now is because I internalized a habit of looking for all these details.       One of the goals of this method is to make teaching and lessons more pro active. If a student is working on their first fugue, walk through the analysis portion of this method with the student before they touch the music. Have the student play the different contrapuntal lines individually on the guitar and give them advice about phrasing. Play the two main contrapuntal lines as duets with the teacher and the student so the student can hear the lines together. Then have the student do the same exercises and analysis on their own with another passage for their next lesson. Its my hope to teach musician to fish.  I can’t stress enough two more important points. First, one of the things that has to change is the idea that a performer is playing an instrument. I think part of the problem of musicianship is that the idea of the instrument and musicality are not treated separately enough. One needs to know how to make a piece sound like it has phrasing, articulation, and musicality before attempting to do so on the instrument. If a performer is not singing a melodic line with correct phrasing they probably don’t have the correct sound memorized in their mind for the passage and they probably can’t hear in their mind what correct phrasing sounds like. If the sound of a passage is incorrect in your mind it will very likely come out incorrect on the instrument. To put it another way, one must learn to play music correctly and then learn to play the music on the instrument. And to be more philosophical, one must enjoy just the music and playing music in addition to and before playing an instrument. So that brings me to a second really important point. Playing melodic lines, bass lines, contrapuntal voices, inner voices in an alberti bass, really almost any part of a passage individually is an important component of this method. Playing a line with ones voice, another instrument, or the guitar, and doing so to work out expression, articulation, and phrasing, is a very powerful tool in the tool box. If you are not a proficient sight singer or sight reader playing the lines individually can help you hear the music and work out phrasing, articulation, and expression. I tell my students to put the music on the instrument not the instrument on the music. If that expression seems a touch nonsensical, I blame the Spanish musicians I have studied with over the years who say things that sound profound but are actually difficult to make sense of. Do you know what “playing from the string” means?             Below is the first list of analytical things to think about in the analysis portion of the method. This information is to be observed in the score. Large scale structural analysis. Mark large sections, phrases, and sub phrases using letters and numbers (A, a, 1, Roman numerals, etc.).  For large pieces count the measures and give every row of measures and every four measures its number so things are easy to refer to. (Klickstein 44)Look for the piece’s large structures like binary form, ternary form, ABA, ABACADA, AABA, 32 bar form, 16 bar form, 12 bar form, sonata form, rondeau form, dance forms, etc. Be on the lookout for 2, 3, 4, 6, 8, 12, and 16 bar phrases and sub phrases. (some of this may become more obvious or refined after harmonic and melodic analysis). Note any double bar lines as these often separate phrases or sections. Note major key changes. These also mark major changes in sections or phrases. Note if the meter changes. These also mark major changes in sections or phrases. Note significant differences in texture between sections or phrases. Many theory classes put great emphasis on brainy concepts like harmonic analysis or interval analysis but many works such as the Bach solo violin sonatas can very easily be visibly broken down by their texture. You could do a macro level analysis of most of the solo violin sonatas simply by noting which parts of the score have one, two, and three voices. Note any Codas, DS signs, etc. If you're piece is a dance piece, identify its rhythmic patterns; especially were the accent falls in the measure. This can be an instance where listening to an authoritative recording by someone who specializes in the genre can be a huge help. Note when different phrases or sections share, repeat, or vary any of the features mentioned in the above list. If a phrase or section at the beginning of the piece is identical to one at the end of the piece, there is now one less phrase or section to practice. It may also be a place to change tone color or use an alternative fingering. Learn any unfamiliar language, like musical terms from other languages, signs for dynamics or style, etc. Section and phrase level analysis. Note any melodic sequences. Sequences might be a key component in a phrase with the end of a sequence also being an end of a phrase. Note scales being used in a passage (major, minor, harmonic minor, melodic minor, pentatonic, diminished, whole tone, the modes of the major and melodic minor scales). If the scale in the passage can be fingered similar to a scale exercise you have done in your technique practice, you now have one less thing to practice. Note any sections of 2, 3, or 4 voice counterpoint. A change in the number of voices may mark the end of a phrase or section. Note any long contrapuntal melodic lines. Note all the harmonies in each measure. Your left hand fingers will be influenced by the harmonies implied in the measure. Note any harmonic progressions. This allows you to think and eventually memorize not in terms of individual notes but instead in terms of larger chunks of information in the form of chord progressions. Many sections of Bach look complicated on the page but end up just using many of the same open chord fingerings that a beginning guitar student would know and progressions that a student with moderate experience has done many times such as ii V I or IV V I. Note any arpeggios you are familiar with. It is possible you may have worked on an exercise that uses a similar right hand fingering to the arpeggio in the piece. Note changes in harmonic rhythm or phrase rhythm in phrases and sub phrases. (This may become more obvious after harmonic and rhythmic analysis). Harmonic rhythm often changes between phrases. Note any rhythmic figures or patterns that are prevalent in a section. Note any ornament signs that are indicated or that would be appropriate even when not indicated. Write in the score the ornament you decide to use. Stealing ornaments from recordings by master performers or performers who specialize in the genre of music you are working on is great a idea for ornaments. Be aware of or write in the appropriate use of the following: accents, strong accents, tenutos, brief tenutos, staccato, etc.      Constantly be mindful of the above points. Some analysis will be obvious right away from looking at the score or singing and playing lines in the score individually. Some analysis may become more clear as you continue through the followings sections and spend more time with the piece. It is not a bad idea to do the large scale analysis portion of the above list before the section and phrase analysis before physically practicing. In other words, get a broad concept of the piece as a whole, but don’t work out section and phrase level details until you are ready to physically practice. My experience was that if I did too much analysis of the entire piece, I would come back to a section I had thoroughly analyzed and remember less. I also found myself changing many of the details on the section and phrase level. But if I did my large scale structural analysis of the piece I could organize my practice time based on how I sectioned off the piece and then do the section and phrase level analysis on passages I would actually be physically practicing soon so that the analysis aided my physical practice and memorization.

Time to get caffeinated! On the this episode of NERTZ, we have one of our favorite all-time comix folks: Mr. Shannon Wheeler, the creator of one of the great indie comix of all time: TOO MUCH COFFEE MAN. Tah-dah! Wheeler also teaches and writes about comix (and comics; you'll find out the difference, as you will whether or not folks in the industry actually LIKE the term "graphic novel"), regularly contributes to the New Yorker and recently put out what is becoming an incredibly popular book, Shit My President Says: The Illustrated Tweets of Donald J. Trump. There's so much to glom off of Wheeler, his adventures through the world of comix, comics, graphic novels, illustrations, conventions, what R. Crumb is REALLY like, and much-much more.

The value of diving into the historical context of any piece of music is different for each player, but most great players have some background knowledge of the composer and the culture that created the composition. A performer would be wise to research background information for each work they are learning. Researching about the composer, the culture of that composer’s time, and information about the compositional methods and performance practices used when performing the piece have a significant impact on how one performs a work. (Klickstein 43 but also Pujol 62).  Relevant performance practice such as use the of ornamentation, rubato, or slurs are critical to performance. For example, Renaissance lute music does not slur as much as other eras because lutenists from that time preferred the plucked sound and the ability to control dynamics that plucking gave. Music from the 19th century around the time of Chopin utilizes rubato differently than contrapuntal music from the time of Bach. Listening to players who specialize in a genre can be a shortcut to making your pieces sound more authentic to the genre. As rewarding and valuable as it is to read texts by scholars or source material from the time period of the piece you are performing, if you don’t want to specialize in 17th century Baroque guitar, listening to someone who does specialize in the genre and stealing their phrasing, rhythm, and ornaments can be a valuable learning experience and fast a way to quickly learn to play a genre with more authenticity.  Music theory is another important element that can shape one’s performance. Chord progressions in the renaissance differ from the types of chord progressions one would see in the Baroque. Counterpoint also differed between the Renaissance and Baroque. Music from 1750 onwards has a different melodic character given the decreased use of contrapuntal techniques and greater emphasis on block chords and alberti bass. Knowing information like this can help a performer more quickly assess a work and know what to emphasize in the music.  Compositional methods used for the music being performed are also important. The fugue has several specific qualities critical to understanding and performing it. The ability to hear multiple melodic lines as both independent and a cohesive whole is a critical element of the style. Knowing what a subject is in a fugue, a counter subject, and being able to hear changes to the subject such as inversions of the subject is critical to the genre and its performance. The Baroque prelude on the other hand can be interpreted differently from the fugue. Preludes in Bach can often be played with greater rhythmic freedom than one would play a fugue with use of rubato to create a feeling of improvisation. Listening to a harpsichordist improvise a French prelude would be informative to any performer playing the works of Bach A gigue and a bouree both originate out of French dance traditions. Knowing their particular rhythmic idiosyncrasies is crucial in making pieces in those dance styles sound authentic to the style. Listening to Julian Bream play Robert De Visee is a dramatically different experience than listening to Rafael Andia because of the rhythmic feel or “groove” that Andia brings to the music. The classical sonata has a structure that became standardized. Knowing the difference between the exposition and development section can play a role in determining one’s interpretation. I often change tone colors for the main themes of the exposition as a play through the exposition a second time. Knowledge of the composer’s biography may have less influence on one’s practice decisions then other parts of the research and analysis stage. Still, knowing information about the composer, the culture the composer grew up in, and the context in which the piece was performed during its time can create a richer experience of the piece. This information can also be interesting points to bring up in between pieces during concerts. Important philosophical views of the culture and musicians from the time period often shape the music composed during that time. The emphasis on rhetoric during the baroque had a significant effect on the way composers phrased in their compositions. The enlightenments emphasis on objectivity and clarity influenced composers to emphasize simple and clearer melodic lines and decreased use of ornamentation.

The goal of of the first section of this practice process is to use analytical tools from music theory and aural skills courses to internalize a piece and develop interpretive decisions about a work before touching the instrument. By the time this section is completed, students should have a strong grasp of the piece simply by having spent so much time looking at the score and doing analysis (Hill 142). The performer will also have some idea after section one of how the music will sound and have some interpretive ideas in mind so that they are not starting from scratch when the physical practice takes place (Romero 122-124).  The early and middle stages of this process give students ways to aid memory such as harmonic analysis, phrase analysis, or rhythm analysis that give the practicer ways to internalize the piece beyond repetitive physical (or “muscle”) memory of the fingers and hands and that also relies on more than the proprioceptive memory and visual recollection of the movement of the hands and fingers.  For a teacher, the early stages of this process tries to break analysis into small individual chunks that the student and teacher can work on together. For the teacher, I am trying to develop a way of thinking. One of the problems teachers face is how to get the student to hear the music and their playing in the same way and with the same maturity and attention to detail as the teacher. This process attempts to solve this problem by breaking down phrases into smaller units that can be focused on individually. For example, lets say a teacher is teaching a student to phrase a passage of two voice counterpoint. The teacher and student can record the session on an electronic device and the teacher can show the student how to phrase the first contrapuntal line and then the second line. Once the student can play each line of the music individually on their own with correct phrasing the student can begin working on putting the two lines together. The Goal of the second section of the process is to create fingerings in the left and right hand before trying to play the piece (Pujol 62, Rene Master Class). The goal of this stage is to create fingerings that leads to the expressive choices from section the first section of the process. This should be done without the guitar primarily through visualizing all the possible fingerings while looking at the score. This part of the process also allows a performer to see in the mind what will be done physically so that when they sit down to play a phrase for the first time they have already “played” it in their mind and are less likely to make mistakes (this idea has been expressed by several methods and teachers: Izquiredo, Ryan, Pujol, Shearor). The time spent visualizing the interpretive decisions, rhythms, sounds, and physical motions a performer will make through analysis, singing, visualization, and fingering (sections one and two) create a rough draft of the piece in the mind so that by the time the performer begins physically practicing the piece they have already ran through the motions in the mind and heard a rough draft of the music with their voice and with visualization tools. If you practice without any preconceived interpretive decisions, you are learning the note locations but not practicing the phrasing (Quin 83). The physical actions of hitting the notes are not the same as the motions used to play the notes with phrasing, so you are working harder by starting with the notes and then relearning it later when you add phrasing (Klickstein 31). By the time sections one and two are complete, the performer should already have spent so much time looking at the score, singing the melodies, or visualizing the physical motions that they will have a strong idea of what their physical practicing will look like, what problems need to be solved, what spots are most difficult, and what the music will sounds like. This pre work will cause learning and memorizing to come more quickly. Remember, part of the benefit of analysis is to see the physical actions in your mind. If the notes in the score are outlining the standard fingering for an open A minor chord, or if a passage is a scale you have practiced many times, your hands should form those patterns quicker, and memorization should come faster because you already know the content. That is a significant point of practicing exercises like scales, transpositions of chords, or chord progressions. Like memorizing a telephone number in chunks (800-765-432) versus large numbers (800765432) this way of thinking allows you to learn and memorize the piece using larger units of information by grouping smaller ones and also by relying on information you already know. The ultimate goal of this process is to memorize the music. Because guitar music is difficult to sight read, we should see memorization as the ultimate goal of any practice regiment, as the score is just a reminder of content you have already learned and at least partially memorized (although sight reading is a very valuable and possible skill). Much of guitar music is too difficult to sight read or even be reminded of by the score; memorization is thus in most cases unavoidable. And finally, always have and use a pencil to mark the score. 

This process is designed to provide a guitarist with suggested goals for their practice sessions and a process to achieve those goals. This process attempts at every step to explain the goals of each step of the process, why they fit into that part of the process, and tools used at each step to achieve those goals. One of the objectives of this practice process is to illuminate as much as possible about the musical and technical aspects of a new piece and to make as many interpretive/musical decisions as possible before addressing physical (technical) aspects of its performance on the instrument (Clickstein 33).  The process then attempts to provide different tools (visualization, singing, rhythmic practice, slow practice, memorization exercises, etc.) for achieving on the guitar the musical, interpretive, and expressive decisions determined in the earlier parts of the process. The ultimate goal of this document is to increase the speed of the learning process by quickly and effectively making interpretive musical assessments of a piece through analytical tools and score analysis methods that allow one to hear and understand the music before playing the instrument. The process then takes the reader through stages of actually physically learning a piece using practice tools from a variety of sources in the bibliography. Sources used for this project include guitar teachers I have taken lessons with, videos of guitarists talking about their process, and method books that discuss how to practice. A key goal of this process is to determine musical goals and how to achieve those goals in the beginning of the process as quickly as possible before touching the instrument.  An additional purpose of this practice method is to help with memorization by giving the brain more information to associate with for each piece a performer is working on. There are several examples provided in this document of guitarists claiming that when playing from memory, and especially during a memory slip, they have other associations that help them recall music (Glise 93, Clickstein 84-86). Its easier to remember a measure of music as a chord shape of open C or the finger pattern of a G lydian scale or a ii V I chord progression than it is to remember the notes in the measure individually (Sor 28-31, Glickstein 87-89). This concept is called chunking in psychology and is similar to remembering a telephone number in three chunks such as (800-700-6000) versus all one big number (8007006000). Often novice guitarists spend so much time trying to remember the notes from the score in their proper order that they miss the larger scale or chord patterns they imply or the exercises they have done that match what is in the music (Sor 28-31). It is easy to try to memorize every note of a passage and miss completely that it is a scale one has played several times before.   Another example of aiding memorization with multiple types of information from the score is seen in the habit of many professional performers who learn to sing pieces they are working on (Glise 93). When you learn to sing a piece, your inner ear often guides your hands when performing because you have associated sounds with physical actions (lessons I took from Rene Izquierdo and Andrew Zohn as well as sources in the bibliography including Klickstein 86, Kageyama “8 Things Top Practicers Do Differently, Romero 122-124). The ability to trigger memories of physical motions by associating them with another body sensation is similar to the triggering of normal memories from every day life. A smell can trigger visual, auditory, and emotional memories of a thanksgiving dinner for example. This ability for the brain to reinforce memories through remembering multiple aspects of the thing being remembered is a potential tool when learning music. The more ways we learn or examine the score, the easier it is to remember (Carey, Romero 122-124).  Another element of this process is to brake the act of practicing down into individual problems. Too often teachers prescribe time spent practicing as the fix to all problems. If you can’t play it, “practice more” is often the common advice. Alternatively, it is often said that focused practice is more beneficial. It is the assertion of this blog and podcast that practice can and should be the act of identifying and solving physical (technical) problems of playing the instrument that allow a performer to express their interpretation and/or analysis as clearly and easily as possible (Carlevaro 22-23). This blog/podcast’s goal is to create a guide for how one might practice more effectively by defining what “focused practice” means. In order to practice effectively, one must be able to develop musical goals and find ways to execute those goals on the instrument. A player must also be able to identify problems in each passage preventing the execution of musical goals and then create specific solutions for those problems (Kageyama, Noa. “8 Things Top Practicers Do Differently,”). It can’t be understated how important it is to think of technical decisions as results of previously determined musical decisions (although a performers perspective on interpretation may evolve as they spend time physically practicing a piece). Technique serves the music, it is not an end unto itself (Carlevaro 12). An example in guitar is left hand fingering. A single note on the guitar can often be played on different strings and at different positions on the neck, yielding different qualities of tone and vibrato at each location. While the location of the note is to some degree a purely technical decision, the reason to choose one location over another is also and primarily a musical one. To pick the fingering that is easiest, most familiar, or written by an editor may be technically sound but musically inappropriate compared to other available options.  Sound technical decisions are easier to make when a performer has a concept of sound for a work in their mind (Klickstein 43). Concept of sound means a performer has some sense, ranging from partial to complete, of how they want the piece to sound when it has been practiced and at performance level. Many novices and amateurs do not know how a piece is supposed to sound, or have not been taught how to develop a piece’s concept of sound before practicing the piece on the instrument (Ryan 210). This partly explains the slow progress of beginners: if a performer does not know what a piece is supposed to sound like and does not know how to make decisions that create a concept of sound, they usually struggle to know what to listen for while practicing or what to fix. The performer must learn how to develop a concept of sound for each piece and then how to listen to themselves intently to make sure that the physical motions and technical decisions they make yield the desired sound (Carlevaro 28-29). This idea of a preconceived final sound probably explains why so many great musicians started by transcribing or imitating recordings by other great musicians by ear: they learned what the music could sound like by listening intently and meticulously to other great players. “One starts by hearing the appropriate sound inside the mind and, while the body recalls the physical sensation of the sound, the hands automatically go to the necessary place and make the necessary movements.”  -Pepe Romero, (Romero 122-124)  As the performer advances and gains more experience, elements of this process may and should be adjusted as the user of this practice process discovers what works better for them. A performer’s first piece or pieces should follow this practice method closely. After those initial pieces are learned well using this process the performer should consider themselves ready to create their own process. The performer risks not knowing what tools from this system work for them and what tools do not work if they do not try everything and do so for enough time to truly determine the value. I think many teachers are afraid to offer performers their practicing process in an organized format because they fear they are imposing their perspectives or process on their students. Often teachers also fear that because there are so many different problems to be solved in each piece, generalizing the practice process is either not beneficial or perhaps even harmful. Many musicians seem also to be unaware that they have a process because their process is so internalized that it is subconscious. There also appears to be a culture within music that ascribes talent or time spent practicing as the solution to many of the problems faced by all musicians when the solutions actually come from how the performer identifies problems and spends their time while practicing. The goal of this document is to at least make an attempt at making the practice process more organized, rigorous, and clear. Musicians also let the culture of music as an “art” prevent the community from viewing music as a trade like engineering or welding that has skills that can be more methodically taught (perhaps a holdover from 19th century attitudes about art and artists). There is also a valid argument that what works for one musician may not work for another. These attitudes creates a reluctance of many musicians to systematizing the practice process. While individuals often have unique health circumstances, doctors are often able to prescribe the same treatment to many patients with routine problems. This document hopes to demonstrate that the same attitude can be taken with the practicing process. Yes, sometimes the cause of a headache is not something that can be treated by Advil, But doctors do not avoid trying generic solutions just because their patients are individual postmodern snowflakes.  Musicians and academia take postmodernism too seriously and it inhibits pedagogy. To say that some of my performer learn better visually, some learn by listening, and some by touching, therefore I will provide them with very little or nothing and let them figure it out for themselves is, to me, a huge flaw in the culture of post modern education. As an instructor, I should have options and tools that all three learners can utilize, provide them with those tools, and then let them decide what works for them. To give them nothing is inefficient and a unethical. The point of this practice process is to help teach performers how to think in the practice room. Too often lessons are set up as follows: performer practices, performer comes to lesson, teacher offers feedback, performer is expected to draw broad principals from teachers feedback. This process is an effort to teach a man to fish instead of identifying problems after the fact. I want the teaching and learning process to become proactive, not reactive. I feel the need to say a word about analysis and music theory as it is a key component of this method. Analysis of a piece as done in many college music theory courses is often frowned upon by musicians. It is even sometimes viewed to be impractical. Some fear that analysis of the music gets in the way of the intuitive artistic process of music. However, all great performers analyze their music.  If we define analysis as simply the act of identifying auditory patterns in the score and making determinations on phrasing, articulation, and technique to articulate those patterns, all performers do this. The reason performers believe they don’t analyze music is often because the way they do it and what they look for are different than the analysis taught in music theory. Performers may focus less on harmony than they do on texture in their analysis. Performers may internalize their analysis using their ear and their voice instead of doing so in writing or with the scale and chord vocabulary from theory. While music theory often focuses on scale and harmonic analysis because it can be done on paper in the classroom, performers may tend to focus more on rhythm in order to create articulation and phrasing. I am skeptical of any musician who says they do not analyze a piece, but I think its fair to say that each musician might analyze in different ways. One goal of this practice process is to demonstrate that music theory and analysis can be applied in ways that are more practical than simply writing roman numerals for harmony under the staff.  It can’t be overemphasized that this document is not meant to determine how a performer practices for the rest of their life. It is a guide for how to approach a piece for a performer of any level who believes their practice time could be more effective. Readers of this document can and should modify it to suit themselves after they have attempted all the tools offered in this system. This process is informed by my own practice experiences, observations of difficulties my students have had, tips from multiple eras of method books from Sor to Iznaola, information from non guitarists, and my own lesson experiences with Christopher Kachian, Andrew Zohn, Rene Izquerdo, Robert Sharpe, Jeff Thygeson, Jeffrey Van, and a host of videos I have watched by great guitarists who at times have provided examples of how they practice or “work up” a piece of music. Please see the forest through the trees. Its rarely about how many times you do a particular exercise or what type of exercise you do. For example, Whether you choose to sing and play the melody on another instrument, on its own on the guitar, or while playing all the parts together on the guitar is less important than committing to being able to sing the melodic line because doing so reinforces your memory.

Brothers Adam Dutch & Ben Durham host We’re Not Afraid of the Dark. The Tale of Monkeybone Dust, or The Tale of the Super Specs premiered in the United States on Nickelodeon on September 26, 1992 and was directed by Ron Oliver, written by Chloe Brown.Discussion starts with the fact that neither have been to a real magic store and if Home Alone 2 was better than Home Alone 1. Conversation later goes to high school dating, the movie Hook, and shit about the Power Rangers.The “Just Me In The House By Myself” video: https://youtu.be/yh7-wAy_8ssFirst episode where Ben is drunk on Twisted Tea.Adult content 18+: https://www.mrskin.com/Ben bets Adam $5 on an acting dispute.Warning: contains a high amount of strong language, drug/alcohol references, adult jokes, and other material that may be concerning to some listeners.The series is currently available in the United States on Amazon, YouTube, and several other sites.Intro theme is by glassdevaney: https://soundcloud.com/glassdevaney/are-you-afraid-of-the-darkOutro song is by Maddtown: https://soundcloud.com/maddtown/are-you-afraid-of-the-darkProduced by Modulation Studios. Contact: modulationstudios@gmail.comFacebook page: https://www.facebook.com/werenotafraidofthedark/Works Cited:Adam Durham and Kayla Redmon. K&A TV Day, produced by Modulation Studios, podcast, Salute Your Shorts episode, https://www.spreaker.com/user/modulationstudios/salute-your-shortsAre You Afraid of the Dark? “The Tale of the Super Specs,” Season 1, episode 6. Directed by Ron Oliver. Written by Chloe Brown. Originally aired September 26, 1992 on Nickelodeon. https://youtu.be/NieQ7PBXtOU“Are You Afraid Of The Dark? The Tale of the Super Specs (TV Episode 1992)”. IMDB. Accessed October 15, 2017. http://www.imdb.com/title/tt0514397/Columbus, Chris, dir. Home Alone 2: Lost in New York (1992). Twentieth Century Fox Film Corporation, Hughes Entertainment. http://www.imdb.com/title/tt0104431/Darude. Sandstorm. Recorded 1999 at JS16 Studios. Released October 26, 1999. Written by Ville Virtanen, produced by JS16.Dishel, Jack. “Just Me IN The House By Myself.” DRYVRS, episode 1. Uploaded December 17, 2015. https://www.youtube.com/watch?v=yh7-wAy_8ssglassdevaney. Are You Afraid of the Dark? Instrumental cover. 2012. https://soundcloud.com/glassdevaney/are-you-afraid-of-the-darkHughes, John, dir. Uncle Buck (1989). Universal Pictures, Hughes Entertainment. http://www.imdb.com/title/tt0098554/Katz, Jessie. “Here’s the Story Behind Katy Perry’s Viral Left Shark,” Billboard. February 1, 2016, http://www.billboard.com/articles/news/6859524/katy-perry-left-shark-revealed-true-story-super-bowlKaye, Tony, dir. American History X (1998). New Line Cinema. http://www.imdb.com/title/tt0120586/Klickstein, Mathew. Slimed!: An Oral History of Nickelodeon’s Golden Age. New York: Plume, 2013.MaddTown. Are You Afraid of The Dark? Hip-Hop remix. 2016. https://soundcloud.com/maddtown/are-you-afraid-of-the-darkMagon, Jymn, creator. DuckTales TV Series (1987-1990). Disney Television Animation. http://www.imdb.com/title/tt0092345/“Putty Patrollers,” FANDOM TV Community, last modified September 10, 2017 21:42, http://villains.wikia.com/wiki/Putty_Patrollers“Richard M.Dumont: Voice the Vision.” http://www.richardmdumont.com/Roddenberry, Gene, creator. Star Trek TV Series (1966-1969). http://www.imdb.com/title/tt0060028/Selick, Henry, dir. Monkeybone (2001). Twentieth Century Fox Film Corporation, 1492 Pictures, Twitching Image Studio. http://www.imdb.com/title/tt0166276/Spera, Rob, dir. Leprechaun in the Hood (2000), Trimark Pictures. http://www.imdb.com/title/tt0209095/“The Tale of the Super Specs,” FANDOM TV Community, last modified May 8, 2017, 22:45, http://areyouafraidofthedark.wikia.com/wiki/The_Tale_of_the_Super_Specs“Who Was the First TV Couple to Sleep in the Same Bed?” Snopes. Last modified June 6, 2017. http://www.snopes.com/radiotv/tv/marykay.asp“Wikipedia: List of Are You Afraid of the Dark? episodes,” Wikimedia Foundation, last modified October 7, 2017, 02:23, https://en.wikipedia.org/wiki/List_of_Are_You_Afraid_of_the_Dark%3F_episodes

Brothers Adam Dutch & Ben Durham host We’re Not Afraid of the Dark. The Tale of Monkeybone Dust, or The Tale of the Super Specs premiered in the United States on Nickelodeon on September 26, 1992 and was directed by Ron Oliver, written by Chloe Brown.Discussion starts with the fact that neither have been to a real magic store and if Home Alone 2 was better than Home Alone 1. Conversation later goes to high school dating, the movie Hook, and shit about the Power Rangers.The “Just Me In The House By Myself” video: https://youtu.be/yh7-wAy_8ssFirst episode where Ben is drunk on Twisted Tea.Adult content 18+: https://www.mrskin.com/Ben bets Adam $5 on an acting dispute.Warning: contains a high amount of strong language, drug/alcohol references, adult jokes, and other material that may be concerning to some listeners.The series is currently available in the United States on Amazon, YouTube, and several other sites.Intro theme is by glassdevaney: https://soundcloud.com/glassdevaney/are-you-afraid-of-the-darkOutro song is by Maddtown: https://soundcloud.com/maddtown/are-you-afraid-of-the-darkProduced by Modulation Studios. Contact: modulationstudios@gmail.comFacebook page: https://www.facebook.com/werenotafraidofthedark/Works Cited:Adam Durham and Kayla Redmon. K&A TV Day, produced by Modulation Studios, podcast, Salute Your Shorts episode, https://www.spreaker.com/user/modulationstudios/salute-your-shortsAre You Afraid of the Dark? “The Tale of the Super Specs,” Season 1, episode 6. Directed by Ron Oliver. Written by Chloe Brown. Originally aired September 26, 1992 on Nickelodeon. https://youtu.be/NieQ7PBXtOU“Are You Afraid Of The Dark? The Tale of the Super Specs (TV Episode 1992)”. IMDB. Accessed October 15, 2017. http://www.imdb.com/title/tt0514397/Columbus, Chris, dir. Home Alone 2: Lost in New York (1992). Twentieth Century Fox Film Corporation, Hughes Entertainment. http://www.imdb.com/title/tt0104431/Darude. Sandstorm. Recorded 1999 at JS16 Studios. Released October 26, 1999. Written by Ville Virtanen, produced by JS16.Dishel, Jack. “Just Me IN The House By Myself.” DRYVRS, episode 1. Uploaded December 17, 2015. https://www.youtube.com/watch?v=yh7-wAy_8ssglassdevaney. Are You Afraid of the Dark? Instrumental cover. 2012. https://soundcloud.com/glassdevaney/are-you-afraid-of-the-darkHughes, John, dir. Uncle Buck (1989). Universal Pictures, Hughes Entertainment. http://www.imdb.com/title/tt0098554/Katz, Jessie. “Here’s the Story Behind Katy Perry’s Viral Left Shark,” Billboard. February 1, 2016, http://www.billboard.com/articles/news/6859524/katy-perry-left-shark-revealed-true-story-super-bowlKaye, Tony, dir. American History X (1998). New Line Cinema. http://www.imdb.com/title/tt0120586/Klickstein, Mathew. Slimed!: An Oral History of Nickelodeon’s Golden Age. New York: Plume, 2013.MaddTown. Are You Afraid of The Dark? Hip-Hop remix. 2016. https://soundcloud.com/maddtown/are-you-afraid-of-the-darkMagon, Jymn, creator. DuckTales TV Series (1987-1990). Disney Television Animation. http://www.imdb.com/title/tt0092345/“Putty Patrollers,” FANDOM TV Community, last modified September 10, 2017 21:42, http://villains.wikia.com/wiki/Putty_Patrollers“Richard M.Dumont: Voice the Vision.” http://www.richardmdumont.com/Roddenberry, Gene, creator. Star Trek TV Series (1966-1969). http://www.imdb.com/title/tt0060028/Selick, Henry, dir. Monkeybone (2001). Twentieth Century Fox Film Corporation, 1492 Pictures, Twitching Image Studio. http://www.imdb.com/title/tt0166276/Spera, Rob, dir. Leprechaun in the Hood (2000), Trimark Pictures. http://www.imdb.com/title/tt0209095/“The Tale of the Super Specs,” FANDOM TV Community, last modified May 8, 2017, 22:45, http://areyouafraidofthedark.wikia.com/wiki/The_Tale_of_the_Super_Specs“Who Was the First TV Couple to Sleep in the Same Bed?” Snopes. Last modified June 6, 2017. http://www.snopes.com/radiotv/tv/marykay.asp“Wikipedia: List of Are You Afraid of the Dark? episodes,” Wikimedia Foundation, last modified October 7, 2017, 02:23, https://en.wikipedia.org/wiki/List_of_Are_You_Afraid_of_the_Dark%3F_episodes