Podcasts about Marcel Duchamp

A new week means new questions! Hope you have fun with these!The formula πr² calculates the area of what geometric shape?What is the tiger's name in "Life of Pi"?Name either Roman Emperor that agreed to issue the Edict of Milan, making Christianity legal.Foods that are poached are cooked in what?The Recording Industry Association of America lists Gold album certification as how many album sales in the U.S.?What does ESP stand for?In 1993, Marisa Tomei was the surprise winner of the Oscar for Best Supporting Actress for her performance in what film?What object, publicly-available in some restrooms, did artist Marcel Duchamp sign "R. Mutt" before submitting it as a readymade sculpture in 1917?MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!

“Lisa Sartorio” Les désoeuvréesà la galerie binome, Parisdu 16 avril au 14 juin 2025Entretien avec Lisa Sartorio,par Anne-Frédérique Fer, à Paris, le 15 avril 2025, durée 17'33,© FranceFineArt.https://francefineart.com/2025/05/08/3614_lisa-sartorio_galerie-binome/Communiqué de presse En 1916, dans l'une de ses fameuses notes, Marcel Duchamp définissait par l'exemple le « ready-made réciproque » : « Se servir d'un Rembrandt comme planche à repasser. » À l'inverse des ready-made bien connus, le ready-made réciproque entendait convertir une oeuvre d'art en objet utilitaire. Comme les ready-made, il n'introduisait pas une différence de degré mais de nature avec l'objet d'origine : ce dernier ne devenait pas plus ou moins ce qu'il était déjà, il était dénaturé. Le ready-made réciproque n'est resté, pour l'anartiste Duchamp, qu'une hypothèse. Sa postérité n'en est pas moins immense car, de nos jours, il n'est pas un chef-d'oeuvre, de Rembrandt ou autre, que l'industrie culturelle n'ait converti, au mieux en bijou, boîte, assiette ou tasse, au pire en set de table, coque de smartphone, ruban adhésif ou papier hygiénique… Autant d'objets qui, par leur prolifération, s'imposent dans notre quotidien comme les nouveaux modes d'existence des oeuvres originelles, au point d'effacer, quand nous les connaissons, la réalité de ces dernières de nos mémoires.Le récent travail de Lisa Sartorio porte sur la dénaturation de l'art opérée, à l'ère du consumérisme culturel et touristique, par ces ready-made réciproques que sont les produits dérivés. L'artiste s'était déjà intéressée au devenir image des oeuvres d'art quand, en 2013, elle avait collecté sur internet des centaines de reproductions différentes de la Joconde, oeuvre comme il se doit la plus partagée sur les réseaux, pour créer une composition abstraite. Aujourd'hui, les quatre corpus qui forment Les Désoeuvrées sont consacrés à leur devenir objet.Pour constater l'ampleur du phénomène, Lisa Sartorio a commencé par réunir, toujours grâce à internet, les produits dérivés de deux chefs-d'oeuvre, Amandier en fleurs (1890) de Vincent van Gogh et Le Baiser (1908-1909) de Gustav Klimt, dont elle a assemblé les images dans des compositions saturées qui, en dépit de l'homogénéité du motif, laissent apparaître la diversité des objets commercialisés, y compris des chaussures, escarpins ou baskets, pour le tableau de Van Gogh, ou un parapluie, des collants et un skateboard pour celui de Klimt. Une fois imprimées, elle a utilisé ces compositions pour confectionner des objets en trois dimensions en les moulant sur de la vaisselle, des bouteilles, ustensiles de cuisine, téléphones, tongs, etc., qu'elle a agencés dans l'espace. Elle a ensuite photographié ces natures mortes en variant les lumières pour souligner la matérialité de ces objets. Mais cette matérialité, apparente dans les deux dimensions de la photographie, est feinte car, et c'est ce qui importe, ces objets sont creux : le geste de l'artiste, qui fait écho à la perte de réalité de l'oeuvre désoeuvrée en produit dérivé, a consisté à retirer le moule qui, faut-il le rappeler, s'appelle aussi l'âme. [...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

durée : 00:30:10 - Alain Planès, pianiste - À l'occasion du centenaire de la mort de Satie, Alain Planès présente un nouvel album dédié à ce compositeur aussi fantasque que subtil, enregistré sur un piano Pleyel de 1928. Rencontre avec un pianiste discret et passionné de peinture, qui se plaît autant au musée que dans les salles de concert.

Trois membres de l'Orchestre tout puissant Marcel Duchamp étaient présents dans nos locaux pour la traditionnelle interview pré Vostok Session. >>>>>>>>>A écouter également l'intégralité de leur Vostok Session – Invité·es : Vincent Bertholet, Romane Millet et Thomas Malnati-Levier Animation : Emma Réalisation : Lyès et Théo Production : Ségolène Chargé·es […] The post Orchestre tout puissant Marcel Duchamp en interview first appeared on Radio Vostok.

Les onze musicien·nes de l'Orchestre Tout Puissant Marcel Duchamp ont investi les locaux de Radio Vostok pour un concert haut en couleur. L'une des formations genevoises les plus incontournables a sorti il y a peu son dernier album intitulé Ventre Unique. Plus léger que l'album précédent dans les thématiques qu'il […] The post Orchestre Tout Puissant Marcel Duchamp déchaîné en Session first appeared on Radio Vostok.

Trois membres de l'Orchestre tout puissant Marcel Duchamp étaient présents dans nos locaux pour la traditionnelle interview pré Vostok Session. >>>>>>>>>A écouter également l'intégralité de leur Vostok Session – Invité·es : Vincent Bertholet, Romane Millet et Thomas Malnati-Levier Animation : Emma Réalisation : Lyès et Théo Production : Ségolène Chargé·es […] The post Orchestre tout puissant Marcel Duchamp en interview first appeared on Radio Vostok.

Les onze musicien·nes de l'Orchestre Tout Puissant Marcel Duchamp ont investi les locaux de Radio Vostok pour un concert haut en couleur. L'une des formations genevoises les plus incontournables a sorti il y a peu son dernier album intitulé Ventre Unique. Plus léger que l'album précédent dans les thématiques qu'il […] The post Orchestre Tout Puissant Marcel Duchamp déchaîné en Session first appeared on Radio Vostok.

In this audio essay, I roam from post-war France to the abstract expressionists to the artists of the East Village and even to outer space to consider times in art history when art was forced to bloom in the dark. These under-the-radar moments yielded deeply experimental work, and I wonder how we might channel some of that spirit in our own time.Artists mentioned: Laurie Anderson, Joan Miro, Jean Dubuffet, Marcel Duchamp, David Wojnarowicz, and Judy GlantzmanScientists mentioned: Robert H Dicke, Jim PeeblesJim Peebles interviewed by Alan Lightman for the American Institute of Physics January 19, 1988 Princeton, NJ: https://www.aip.org/history-programs/niels-bohr-library/oral-histories/33957All music by Soundstripe----------------------------Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pep Talks website: https://www.peptalksforartists.com/Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated!

El belga George Koltanowski, amigo de Marcel Duchamp y Humphrey Bogart, dominó como nadie el arte de jugar a la ciega. Hoy, en ‘Cuentos, jaques y leyendas’, revisamos la azarosa aventura de George Koltanowski, el hijo de un cortador de diamantes belga que se convirtió en uno de los personajes más fascinantes de la historia del ajedrez. En 1960, Kolty jugó contra ¡56 rivales a la ciega! ¿Cuál era el secreto de este prodigio? En ‘Enroque corto’, charlamos con Carlos Matamoros, el único gran maestro de la historia ajedrezada de Ecuador. Matamoros vive desde hace 30 años en España y es uno de los rostros más conocidos de la afición hispanohablante, gracias a su presencia en retransmisiones y directos de la plataforma Chess.com. En ‘La biblioteca de Caissa’, el maestro Luisón nos recomienda dos nuevos títulos. Y, en ‘La gran diagonal’, recibimos el saludo y la pregunta de la ajedrecista Ana Matnadze. Escucha todos nuestros podcast aquí.

Hoy continuamos con nuestro particular homenaje a la radio, y nos detenemos en sus inicios, cuando se fueron perfilando las múltiples posibilidades creativas y de comunicación de la radio.Desde las primeras emisiones fue un medio privilegiado para los artistas de las vanguardias revolucionarios e imaginativos. En España Ramón Gómez de la Serna fue uno de los primeros y más interesantes impulsores de la comunicación a través de la radio y es también uno de los pioneros en el uso experimental y artístico del medio radiofónico. Escucharemos fragmentos y reconstrucciones de sus trabajos y junto con piezas sonoras de Marinetti y Marcel DuchampEscuchar audio

ABOUT LOUISA WHITMORE:TIK TOK: LOUISA'S BIO:Louisa Whitmore is an architecture content creator on TikTok with over 350K followers, as well as the host of the cable television documentary series “The Nature of Design.” A former commentator for the USModernist podcast, Whitmore has also worked as a live radio host and PSA producer at CHMA 106.9FM, the local radio station at Mount Allison University, where she's currently an honors student studying international relations and French. She enjoys telling stories, and is passionate about sustainable design.SHOW INTRO:Welcome to the NXTLVL Experience Design podcast.EPISODE 75… and my conversation with Louisa Whitmore. On the podacast our dynamic dialogues based on our acronym DATA - design, architecture, technology, and the arts crosses over disciplines but maintains a common thread of people who are passionate about the world we live in and human's influence on it, the ways we craft the built environment to maximize human experience, increasing our understanding of human behavior and searching for the New Possible.    he NXTLVL Experience Design podcast is presented by VMSD Magazine part of the Smartwork Media family of brands.VMSD brings us, in the brand experience world, the International Retail Design Conference. The IRDC is one of the best retail design conferences that there is bringing together the world of retailers, brands and experience place makers every year for two days of engaging conversations and pushing the discourse forward on what makes retailing relevant. You will find the archive of the NXTLVL Experience Design podcast on VMSD.com.Thanks also goes to Shop Association the only global retail trade association dedicated to elevating the in-store experience. SHOP Association represents companies and affiliates from 25 countries and brings value to their members through research, networking, education, events and awards. Check then out on SHOPAssociation.orgLouisa Whitmore is a TikTok creator phenom whose content is about architecture. With almost 400 thousand followers her no holds-barred, straight from the heart and to the point commentary about the buildings she loves and loves to hate, brings a user experience point of view and accessible critique into the mainstream.We'll get to all of that in a moment but first though, a few thoughts…                  *                                  *                                  *The great thing about doing this podcast is it gives me an opportunity to rethink some of the assertions that have held to be true and cross check whether in fact they are immutable or whether there is room for challenging myself and maybe digging into some subtleties and nuances… and seeing things a different way.Like for example the idea of criticism – who does it and its value…I have to admit I haven't been particularly fond of the idea of critics for a very long time. This would be generally true of the kind who dole out the negative kind of commentary.Years ago when commenting on something, I think it was some art piece, and my son said to me “…dad why is it that you never really say you hate anything…”which I sort of thought was kind of funny then. I think I responded “…well because I don't really hate anything… I try to always view things from the other side - a different point of view. I try to get beyond the visceral reaction and look to design principles and comment from a place of applying principles to the work and see how they line up…and then make a comment that is based yes on whether I simply like it, the colors, shapes, energy, feeling , may be a message it is trying to impart AND  whether I can see the value in it based on principles determined to be generally accepted by experts in the domain…” so yeah I don't really hate things…If I apply the idea of casting judgement on art, music, architecture… it got me thinking… again…What is the value of judgement? Is it to determine the appropriateness of something to a particular context or challenge?I have my favorite architects and artists and musical performers, I like different styles and periods. But I don't listen to heavy metal (though my sons love it). I don't know that I can say that I hate it. Perhaps I just don't understand it and maybe if I did, it still wouldn't jibe with me.It just doesn't go in my body well. It's a sensory mismatch.I don't hate it – It makes me agitated. So, I just don't listen to it. And I guess you could say the same thing for certain genres of art.For example… I'm not particularly crazy about a lot of contemporary art.I have a hard time understanding a performance artist dipping her hair in paint and swinging aloft from a rope while her hair drags across a canvas and the painting while on lookers wrapped in dimly lit light bulbs stand slightly by  selling for millions of dollars… it isn't something I quite get. And I know that authorized replicas of the Marcel Duchamp sculpture called the “Fountain” - which is a urinal - sell for somewhere between 3 and $4 million each and here's the kicker... apparently because the original has been lost the financial the value of the original piece is unknown and might be considered as being priceless. I don't know… it sort of leaves me just trying too hard... knowing I'm falling profoundly short of ascending to the intellectualized rarefied air that somehow makes this sort of thing makes sense. And I also suspect that if I'm voicing these concerns or questions that I am likely to get a lot of people commenting that my remarks point out my ignorance, that I just don't understand and I would …well…agree with them.I'm ok with that. Really.And I think I'm not alone in this category of not understanding contemporary art and the extraordinary prices that contemporary art paintings fetch at auctions and then again maybe if I did, I still wouldn't spend $25 million on a Rothko painting.The thing about critics, I think, is that we entrust these individuals with being in the know, of having deep insight, knowledge or experience into the making of the art. That these are people who understand its value and relevancy to culture and somehow able to unfold the deep meaning in the work whatever format the creativity comes in and to bestow upon us their opinion as if it is fact.The challenge of course is that I think there may be an ignorance in the public and that the deeper inner meaning of things is somehow held in reserve for the creators of the work or select few who follow it.But I've always had a challenge with the idea that the critic seems to have the extraordinary power to completely destroy the creative work as well as raise it to high levels of adulation and praise.I think that in some ways we have come to trust to the critic as certainly knowing more than we do and therefore what they say about a particular piece of art or architecture should be taken as truth and the presumed value of the creation lies in whether their commentary is positive or negative.How many people have not gone to see a movie because it only got 2 stars… and who said it should only have two stars?Maybe I would have found the comedy hilarious… but not the critic.I often don't even check reviews by the masses on restaurant or hotel booking sites and if I do read the reviews, I do it very carefully. I look to see what it was that these people did or didn't like. What it was that made their experience a must see or a definite red tomato. Personally, I dig to see if there is anything at a lower level that suggests what was driving the positive or negative review? What it was in this message that this particular critic is trying to convey?I've often thought that to be able to criticize art or other forms of creative invention you'd have to understand what it was the maker was intending to convey.You'd have to understand the basic ideas, for example, of composition to be able to determine whether a Jackson Pollock or a Kandinsky or a Basquiat was worth all the fuss and on what basis you were making the comments about the work.I guess it's not all critics that I have a problem with but maybe more those who simply present negative opinions. And it's not like I should even care that critic X didn't like thing Y. It was their opinion. Okay so they have an opinion. The challenge is the uninformed may come to accept the opinion as fact and turn away from somethings simply because some one says its not good.I guess the role of the professional critic is to study and assess the value of a creative work and pass judgment on the product based on facts and logical assertions. This is kind of like knowing a bit about composition before offering an opinion the write something off.It seems to me that the idea of a critic is to connect ideas, arrive at reasonable conclusions and perhaps open avenues for discussing new directions and fostering an awareness of ideas and cultural trends.It also seems to me that the role of the critic is to challenge our general assumptions about things to get us to look more deeply at our assertions and to get us to not simply accept things at face value but to continue to search for excellence, challenge the status quo, in all of the things that we bring into the world so that we don't fill it with the mundane or banal.There's something about the critic as ‘educator' - increasing our collective level of understanding of things, pointing out where things might likely be improved and offering positive commentary on what might be a series of next steps in order to develop the output and make it better - that I align with.And I know that the idea of making it ‘better' is full of all manner of subtext and necessity to consider contextual considerations… ‘better' for whom, for what and why?And maybe this is where I mostly land on the idea of the value of the critique is that of using constructive criticism for the value of enhancing people's understanding of a particular subject or giving the creator tools to go back to the drawing board, so to speak, and make it better.Jazz master saxophonist David Liebman wrote a concise piece on his website called “The Critic Dilemma: Criticism vs. Review”. He describes many of the same ideas about who's making he comments, are they objective facts or subjective opinions, and why should we trust one critic's opinion over another? Liebman differentiates between critique and a review:“…When the writer's opinion and taste is the focal point, this constitutes a critique. On the other hand, a review should be the dissemination of information with the desired intention being elucidation. The idea is that with this information, the listener is equipped to form his own opinion…”.And this is where this episode's guest Louisa Whitmore begins to fit into the story.When Louisa was 16 years old she began to share architecture commentary on Tik Tok. She blew up the social media sphere with posts that were personal and occasionally pointed. She came at her critiques of buildings not from the expert or architectural practioner point of view but from that of the user, the general public mindset.She didn't profess to be a building expert, to have deep knowledge in construction but rather to simply be part of the general public who experienced the built environment every day but who had little to nothing to do with how buildings got there in the first place.Her negative commentary on 432 Park Avenue - the luxury condo building designed by Rafael Viñoly and SLCE Architects – lit up the digisphere with 100s of thousands of followers lining up behind her to voice their impressions of this building. Most of them not very good I might add. Which was actually ok since there was a ton of press – not particularly good I might add – about problems with the building. Now, Louisa didn't know about these issues about the engineering, the building swaying (which would be natural by the way) and other problems but felt vindicated nevertheless with the press that effectively substantiated her intuitive feelings about this super-tall condo on the Central Park's edge.I see her posts more like David Leibman's construct of the ‘Review' – “…that with this information, the listener is equipped to form his own opinion…”.And opinions her followers had. 1000's of them.In the spirit of “…the dissemination of information with the desired intention being elucidation…” Whitmore turned her attention to projects thatfocused on Biophilia and how buildings with ample integration of plants seemed to simply feel better. Her noteriaty on Tik Tok, articulate whit, intuition and ability to articulate the ‘person on the street's' perception of the built environment, landed her the role as host of “the cable television documentary series “The Nature of Design”.Over the course of a number of episodes Whitmore tours properties talking about biophilic principles and with the support of a variety of experts ranging from architects to neuroscientists she dives into the science of how buildings with a biophilic approach effect our well-being…Whitmore is called a teenage architecture critic. While her rise on social media platforms may have been based on the building she loved to hate, it seems that she is using her notoriety to review and elucidate…. ABOUT DAVID KEPRON:LinkedIn Profile: linkedin.com/in/david-kepron-9a1582bWebsites:  https://www.davidkepron.com    (personal website)vmsd.com/taxonomy/term/8645  (Blog)Email: david.kepron@NXTLVLexperiencedesign.comTwitter: DavidKepronPersonal Instagram: https://www.instagram.com/davidkepron/NXTLVL Instagram: https://www.instagram.com/nxtlvl_experience_design/Bio:David Kepron is a multifaceted creative professional with a deep curiosity to understand ‘why', ‘what's now' and ‘what's next'. He brings together his background as an architect, artist, educator, author, podcast host and builder to the making of meaningful and empathically-focused, community-centric customer connections at brand experience places around the globe. David is a former VP - Global Design Strategies at Marriott International. While at Marriott, his focus was on the creation of compelling customer experiences within Marriott's “Premium Distinctive” segment which included: Westin, Renaissance, Le Meridien, Autograph Collection, Tribute Portfolio, Design Hotels and Gaylord hotels. In 2020 Kepron founded NXTLVL Experience Design, a strategy and design consultancy, where he combines his multidisciplinary approach to the creation of relevant brand engagements with his passion for social and cultural anthropology, neuroscience and emerging digital technologies. As a frequently requested international speaker at corporate events and international conferences focusing on CX, digital transformation, retail, hospitality, emerging technology, David shares his expertise on subjects ranging from consumer behaviors and trends, brain science and buying behavior, store design and visual merchandising, hotel design and strategy as well as creativity and innovation. In his talks, David shares visionary ideas on how brand strategy, brain science and emerging technologies are changing guest expectations about relationships they want to have with brands and how companies can remain relevant in a digitally enabled marketplace. David currently shares his experience and insight on various industry boards including: VMSD magazine's Editorial Advisory Board, the Interactive Customer Experience Association, Sign Research Foundation's Program Committee as well as the Center For Retail Transformation at George Mason University.He has held teaching positions at New York's Fashion Institute of Technology (F.I.T.), the Department of Architecture & Interior Design of Drexel University in Philadelphia, the Laboratory Institute of Merchandising (L.I.M.) in New York, the International Academy of Merchandising and Design in Montreal and he served as the Director of the Visual Merchandising Department at LaSalle International Fashion School (L.I.F.S.) in Singapore.  In 2014 Kepron published his first book titled: “Retail (r)Evolution: Why Creating Right-Brain Stores Will Shape the Future of Shopping in a Digitally Driven World” and he is currently working on his second book to be published soon. David also writes a popular blog called “Brain Food” which is published monthly on vmsd.com. The next level experience design podcast is presented by VMSD magazine and Smartwork Media. It is hosted and executive produced by David Kepron. Our original music and audio production by Kano Sound. The content of this podcast is copywrite to David Kepron and NXTLVL Experience Design. Any publication or rebroadcast of the content is prohibited without the expressed written consent of David Kepron and NXTLVL Experience Design.Make sure to tune in for more NXTLVL “Dialogues on DATA: Design Architecture Technology and the Arts” wherever you find your favorite podcasts and make sure to visit vmsd.com and look for the tab for the NXTLVL Experience Design podcast there too. The next level experience design podcast is presented by VMSD magazine and Smartwork Media. It is hosted and executive produced by David Kepron. Our original music and audio production by Kano Sound. The content of this podcast is copywrite to David Kepron and NXTLVL Experience Design. Any publication or rebroadcast of the content is prohibited without the expressed written consent of David Kepron and NXTLVL Experience Design.Make sure to tune in for more NXTLVL “Dialogues on DATA: Design Architecture Technology and the Arts” wherever you find your favorite podcasts and make sure to visit vmsd.com and look for the tab for the NXTLVL Experience Design podcast there too.

Hear the extraordinary life of Elsa Schiaparelli. From her rebellious youth and surrealist collaborations to her iconic designs like the lobster dress and shocking pink, discover how Schiaparelli redefined fashion as art and left a legacy of daring innovation, with guest and fashion enthusiast, Darrian Wright._______Support this podcast with a small donation: Buy Me A CoffeeThis show is powered by Nice PeopleJoin this podcast and the Patreon community: patreon.com/womendesignersyoushouldknowHave a 1:1 mentor call with Amber Asay: intro.co/amberasay_______Sources:Shocking: The Surreal World of Elsa Schiaparelli by Marie-Sophie Carron de la Carrierehttps://www.schiaparelli.comPodcast —  Dressed: The History of Fashion on SchiaparelliAbout ElsaElsa Schiaparelli was the ultimate rebel of fashion, a designer who turned shocking ideas into art. Born in 1890 to an aristocratic family in Rome, Elsa's life was anything but conventional. As a child, she released a box of fleas under her parents' dinner table and later staged a hunger strike to escape a Swiss convent. After a whirlwind marriage to a charming con man, she found herself as a single mother in New York, scraping by while mingling with avant-garde artists like Marcel Duchamp and Man Ray. It wasn't until she moved to Paris and met legendary designer Paul Poiret that she discovered her true calling: inventing fashion. From surrealist collaborations with Salvador Dalí to creating her signature shocking pink, Schiaparelli defied norms, blending wit, art, and bold femininity. She gave us iconic designs like the lobster dress, the shoe hat, and the first wrap dress. A pioneer who refused to play by the rules, Elsa didn't just make clothes—she made statements.Follow Darrian@iamdarrian ____View all the visually rich 1-min reels of each woman on IG below:Instagram: Amber AsayInstagram: Women Designers Pod

Episode No. 690 features curators Vivien Greene and Michael Hartman. With Tracey Bashkoff, Greene is the co-curator of "Harmony & Dissonance: Orphism in Paris, 1910-1930" at the Solomon R. Guggenheim Museum, New York. The exhibition surveys a transnational art movement that joined abstraction to dance, music, and poetry and that engaged with ideas of simultaneity across kaleidoscopic pictures and sculpture. Among the artists included in "Harmony & Dissonance" are Robert Delaunay, Sonia Delaunay, Marcel Duchamp, František Kupka, Francis Picabia, and Stanton Macdonald-Wright. The exhibition is on view through March 9. The Guggenheim published an excellent catalogue for the exhibition. It's available from Amazon and Bookshop for about $60. Hartman is the curator of "Beyond the Bouquet: Arranging Flowers in American Art" at the Hood Museum of Art at Dartmouth College. The exhibition looks at how North American artists have made use of floral beauty. Instagram: Michael Hartman, Tyler Green.

Founded in Chicago in 1914, the avant-garde journal the Little Review became a giant in the cause of modernism, publishing literature and art by luminaries such as T.S. Eliot, Djuna Barnes, William Butler Yeats, James Joyce, Ezra Pound, Pablo Picasso, Max Ernst, Gertrude Stein, Jean Toomer, William Carlos Williams, H.D., Amy Lowell, Marcel Duchamp, Joseph Stella, Hans Arp, Mina Loy, Emma Goldman, Wyndham Lewis, Hart Crane, Sherwood Anderson, and more. Perhaps most famously, the magazine published Joyce's Ulysses in serial form, causing a scandal and leading to a censorship trial that changed the course of literature. In this episode, Jacke talks to scholar Holly A. Baggett about her book Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review, which tells the story of the two Midwestern women behind the Little Review, who were themselves iconoclastic rebels, living openly as lesbians and advocating for causes like anarchy, feminism, free love, and of course, groundbreaking literature and art. PLUS Phil Jones (Reading Samuel Johnson: Reception and Representation, 1750-1970) stops by to discuss his choice for the last book he will ever read. Additional listening: 600 Doctor Johnson! (with Phil Jones) 564 H.D. (with Lara Vetter) 165 Ezra Pound The music in this episode is by Gabriel Ruiz-Bernal. Learn more at gabrielruizbernal.com. Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, we were joined by Lili Anolik, contributing editor at Vanity Fair, and author of Didion & Babitz, a provocatively entertaining account of the feud between two key countercultural voices of the 1960s and '70s – the iconic Joan Didion and the lesser-known Eve Babitz. Lili spoke us to about her decade's long obsession with Eve Babitz, her scepticism of the Didion mystique, Pauline Kael, and the crucial role that Los Angeles played in the development of these two literary titans.Covering everyone from Charles Manson to Marcel Duchamp, Lili takes us headlong into two tumultuous decades, demonstrating why Eve Babitz considered Los Angeles in the 1970s to be the Moveable Feast that Hemingway and Fitzgerald experienced in the Paris of the '20s. Hosted by Ryan Edgington and Matt Hennessey. Produced by Lily Woods.

Crafts... they're fun, they're hands-on, they're practical and evolutionary. And they had to start somewhere. We take our Debut Buddies Time Machine back to 30,000 BC to discuss the FIRST CRAFT(S)! Maybe it was pottery, maybe it was weaving and looming, but one thing's for sure, we each tried to do a craft and some of us (Chelsea and Kelly) succeeded in creating NON-ABOMINATIONS! But Nate's pot isn't too bad and could be useful for self-defense if nothing else. Join us for a survey of crafting history from pottery to baskets to linens and more! Plus, there's a very special MouthGarf Report and I See What You Did There!Please give us a 5 star rating on Apple Podcasts! Want to ask us a question? Talk to us! Email debutbuddies@gmail.comListen to Kelly and Chelsea's awesome horror movie podcast, Never Show the Monster.Get some sci-fi from Spaceboy Books.Get down with Michael J. O'Connor's music!Next time: First Female Elected Official (in the U.S.)

#herkesesanat #çağdaşsanat Bir pisuar sanat tarihini nasıl değiştirdi? Öncüsü Beuys'a göre her insan bir sanatçı! Yüksek ve alçak kültür arasındaki sınırı bulanıklaştıran sanat biçimi! Anlamak çok zor! ... Bilgi Üniversitesi'nden Esra Yıldız rehberliğinde çağdaş sanatla tanışıyoruz. Çağdaş sanatın ne olduğunu, önemli sanatçı ve eserleri öğreniyoruz. ... Çağdaş sanat, yüksek kültürle alçak kültür arasındaki sınırı bulanıklaştıran, salt estetikten uzak, toplumsal kaygılarla üretilen sanat biçimi. Öncülerinden Joseph Beuys'a göre, her insan bir sanatçı. Belki bu yüzden çağdaş sanatı anlamak zor! Tarihsel aralık açısından sanat tarihçileri iki döneme işaret ediyor: İlki, 2. Dünya Savaşı sonrası dönem. Milyonlarca insanın toplama kamplarında öldürülmesi ve bundan sonra artık nasıl devam edileceği sorusu. Frankfurt Okulu'nun temsilcisi Adorno'nun, “Auschwitz'ten sonra şiir yazılamaz” sözünün ardından sanatçıların yapıtlarına dikkat çekti. İkinci dönem, 1960'dan günümüze kadar devam eden dönem. Feminizm, çevre hareketlerinin yükselişi, siyah haklar hareketi, 1968'de gençlerin ve işçilerin hareketi açısından önemli dönem. Sanatçıların bunlara karşılık gelen üretimlerini görüyoruz... ... Esra Yıldız'ın çağdaş sanata örnek olarak anlattığı sanatçılar ve eserleri: “Hazır yapıt” terimini literatüre kazandıran Fransız sanatçı Marcel Duchamp - 1917'de Bağımsız Sanatçılar Sergisi'ne gönderdiği ancak reddedilen eseri “çeşme / pisuvar”, modern sanat döneminde olsa bile, çağdaş sanatın kırılma noktası kabul ediliyor. Çağdaş sanatta önemli bir yeri olan, toplumu sanat aracılığıyla şekillendirmede önemli rolü olan Alman sanatçı Joseph Beuys. Ona göre her insan bir sanatçı. Almanya'da 2. Dünya Savaşı'nda tahrip edilen ve ekolojik yapısı bozulan Kassel kentini canlandırma amacıyla yaptığı “7 bin meşe” çalışması, örnek eserlerden. Bu bölüm için seçtiği müzikler: John Cage'ten “Music for Marcel Duchamp” ve “Fontana Mix” Joseph Beuys - Sonne statt Reagan 1982 Türkiye'den örnek verdiği sanatçılar: Ayşe Erkmen - Berlin'de bir evin dış cephesindeki “mış'lı” yerleştirmesi. İstanbul'da İstiklal Caddesi'nin Tünel tarafındaki bir heykeli var. Nur Koçak, Nil Yalter ve Sarkis'in de 70'lerden itibaren öncü isimler. Filmlerin, çağdaş sanatı anlamak açısından önemini vurguladı. Agnes Varda'nın “Les Glaneurs et la glaneuse” / “Toplayıcılar ve Ben” adlı belgeselinin izlenmesini önerdi, neden önemli olduğunu anlattı. Çağdaş sanat ve felsefe ilişkisine dikkat çekti, Fransız felsefeci Jean Francois Lyotard'ın 1985'te Paris Pompidou Kültür Merkezi'ndeki sergisinin önemli olduğunu belirtti. Bu sergi için: https://www.centrepompidou.fr/en/collection/film-and-new-media/les-immateriaux-1985 Ve günümüz filozoflarından Fransız sanatçı Georges Didi-Huberman'ın halen Madrid'de devam eden sergisini işaret etti. Bu sergiyle ilgili için: https://www.museoreinasofia.es/en/exhibitions/in-the-troubled-air NEDEN ESRA YILDIZ? İstanbul Bilgi Üniversitesi Kültür ve Sanat Yönetimi Bölümünde öğretim üyesi. Lisans derecesini Çevre Mühendisliği (İstanbul Teknik Üniversitesi, İTÜ) ve Sosyoloji (İÜ), yüksek lisans (İTÜ) ve doktora derecelerini (İTÜ) Sanat Tarihi bölümünden aldı. Doktora çalışmaları sırasında Technische Universität Berlin'de bulundu. Doktora sonrası çalışmalarını Berlin Humboldt Üniversitesi ve Paris EHESS'te sürdürdü. Critical Arts, African Arts, International Journal of Arts Management gibi dergilerde, Routledge, Intellect, İstanbul Bilgi Üniversitesi Yayınları gibi yayınevlerinden çıkan kitaplarda akademik çalışmaları, makaleleri yayınlanıyor. Akademik çalışmalarının yanı sıra, Sayfalar Arasında Bir Gölge: Sahaf Vahan (2010) ve Vatansız (2021) belgesel filmlerinin yönetmeni.

In 1915, Marcel Duchamp bought a snow shovel at a hardware store in New York City. He inscribed his signature and the date on its wooden handle. On the evening this episode is released, the fourth version of this classic “ready-made,” which he titled “In Advance of the Broken Arm,” will be auctioned off at Christie's during their 20th Century Evening Sale. It's estimated to sell for $2 million to $3 million.How could a simple snow shovel be valued at such a steep price? Was  Duchamp an unmatched genius, or a product of some of the biggest museums' dirtiest little secrets: the results of pure, unadulterated capitalism?Northeastern University professor, essayist, poet, and editor Eunsong Kim has illuminated the underlying influences of industrial capitalism and racism behind some of the most prized museum collections in her new book, The Politics of Collecting: Race and the Aestheticization of Property. She traces how Duchamp was brought to prominence through the patronage of collectors Louise and Walter Arensberg, heirs of a fortune wrought by the steel industry. Their family operated steel mills in the same setting as titans such as Andrew Carnegie and Henry Clay Frick, whose wealth also underlies their own valuable art collections.And as it turns out, the “death of the author,” celebrated in conceptual art like that of Duchamp, is a convenient idea for the ultrawealthy. Devaluing labor pairs well with violent crackdowns on striking workers to deny them adequate pay. Or even Frederick Winslow Taylor's development of “scientific management,” a system that is still cited today but is based on the idealization of the slave plantation.How much of the Modernist archive was canonized by union-busting bosses? How much of conceptual art in the 20th and 21st centuries has been buoyed by the reverence of scientific management? In this episode, Editor-in-chief Hrag Vartanian sits down to talk with Kim about her new volume, which challenges generations of unquestioned received knowledge and advocates for a new vision of art beyond cultural institutions. In the process, they discuss the craft of writing, how a White artist was counted as a Black artist at the 2014 Whitney Biennial, and how Marcel Duchamp got away with selling bags of air.Subscribe to Hyperallergic on Apple Podcasts, and anywhere else you listen to podcasts.—Subscribe to Hyperallergic NewslettersBecome a member

How does art influence our perception of the world? Can fostering creativity in education lead to overall personal happiness and growth? What lessons can be drawn from historical and modern art practices?Will Gompertz is the director of Sir John Soane's Museum in London, and the author of several books, including What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art, Think Like an Artist: How to Live a Happier, Smarter, More Creative Life, and most recently See What You're Missing.Greg and Will discuss the transformative power of art as a tool for self-help and critical engagement. Will analyzes the impact of creativity in education, emphasizing the need for a balanced curriculum that fosters both artistic and analytical thinking. Greg and Will talk about some key figures in the modern art world such as Pierre Mondrian and Marcel Duchamp, who serve as examples of revolutionary artists that challenged the status quo. Will and Greg also explore new ways to look at the importance of teaching art in schools, and how supportive environments in schools and workplaces, like those fostered under leaders like Satya Nadella, can enhance curiosity and innovation. *unSILOed Podcast is produced by University FM.*Show Links:Recommended Resources:Leonardo da VinciPiero della FrancescaMarcel DuchampFountain (Duchamp)The Death of SocratesSteve JobsLouise BourgeoisPiet MondrianRiccardo MutiSir John Soane's MuseumRoyal Academy of ArtsSatya NadellaDavid Foster WallacePaul CézanneAlbert RothenbergMaurizio CattelanSol LeWittDavid HockneyAlan AyckbournGuest Profile:Profile at the Sir John Soane's Museum of LondonWikipedia ProfileSocial Profile on InstagramSocial Profile on XHis Work:Amazon Author PageSee What You're MissingThink Like an Artist: How to Live a Happier, Smarter, More Creative LifeWhat Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern ArtArticles in The GuardianEpisode Quotes:Why is art considered self-help?01:18: I think art is self-help. I think art is self-help by the artist when he or she is trying to express themselves. It's self-help for us as viewers when we're trying to commune with this idea, this thing which has been put before us and asked us to consider it. And so, I think actually for this sort of the crazy world we live in now, museums, galleries, art, the arts more broadly, are the sanest things that are available to us, where humans are thinking and sharing and considering and challenging and sharing their feelings in a way that seems to be completely disappearing from everyday life, which seems to be getting more hectic, more insular, more anxiety-ridden. So actually, I think the arts are an entity, a form of self-help for all involved.Creativity and asking questions make us human07:05: Creativity and asking questions are what make us human. Therefore, when we're doing that, we're at our most human; we're feeling the life force at its most powerful. On creating safe spaces for self-discovery in schools17:56: School should be a place of self-discovery, friendship, community, and expression, not somewhere which feels like an army drill camp; where you get shouted at and told to sit still, sit still, then sit still. But why don't you want to sit still? So we start asking questions and start creating environments where young people feel respected and safe.Do people need to set aside some time for the consumption of art?53:45: Human beings have created art in one way, shape, or form since the very first person walked on this earth. And we will continue to create art until the very last person walks on this earth. It (art) is an essential part of the human experience. Therefore, we should all be given the time and space to enjoy.

durée : 00:06:12 - Nouvelles têtes - par : Mathilde Serrell - C'est la nouvelle lauréate du prix Marcel Duchamp 2024 ! Celui des futurs grands noms de l'art contemporain. Dans son travail, elle a choisi de ne pas choisir entre ses racines bretonnes et haïtiennes ! La plasticienne Gaëlle Choisne est l'invitée de Nouvelles Têtes ». - réalisé par : Lucie Lemarchand

Teria sido o famoso urinol de Marcel Duchamp criado por uma mulher? Vou atrás de respostas na história cheia de escândalos e lacunas de uma artista que foi o Dadaísmo em pessoa: Elsa von Freytag-Loringhoven. Como apoiar este podcast: apoia.se/alinevalek Para assinar grátis minha newsletter: alinevalek.substack.com Converse comigo: escreva@alinevalek.com.br Links relacionados: Site com os poemas de Elsa Von Freytag-Loringhoven (em inglês) https://digital.lib.umd.edu/transition/ Uma introdução ao dadaísmo: https://www.youtube.com/watch?v=H_ltPg4ysuE Livro de Irene Gammel: “Baroness Elsa: Gender, Dada and Everyday Modernity - a cultural biography” https://mitpress.mit.edu/9780262572156/baroness-elsa/ Artigo no The Guardian: “A woman in the men's room: when will the art world recognise the real artist behind Duchamp's Fountain?” https://www.theguardian.com/books/2019/mar/29/marcel-duchamp-fountain-women-art-history “Só faz sua parada", primeiro texto que escrevi sobre Elsa: https://alinevalek.substack.com/p/so-faz-a-sua-parada Dossiê completo de pesquisa sobre a Baronesa: https://bit.ly/4f0ZQlX Episódios relacionados: O tarô de Pâmela https://open.spotify.com/episode/1O3vEpiBxRzxly41k73Nf9?si=bee82730049442bd Viciadas em Retratos https://open.spotify.com/episode/5K7zQY3wRFRs0npMgfOYOq?si=3f57f3af852843d1 Estética viral https://open.spotify.com/episode/7fnWGJ99rLUBvLrmOSDXvV?si=a995b4d452544834 Trilha sonora: “Spying in the 60s", Sir Clubworth • “Avant Jazz - Disco Ultralounge”, Kevin MacLeod • “Argentina Jazz”, Droidvar • “This is not jazz”, True Cuckoo • “Gipsy Stroll”, Aaron Lieberman • “Minor Lament for Solo Jazz”, John Patitucci • “Allégro", Emitt Fenn • “Allegations of Investigations”, Jesse Gallagher • “Slow Tonk”, Big Vegie

In The Politics of Collecting: Race and the Aestheticization of Property (Duke University Press, 2024), Eunsong Kim traces how racial capitalism and colonialism situated the rise of US museum collections and conceptual art forms. Investigating historical legal and property claims, she argues that regimes of expropriation—rather than merit or good taste—are responsible for popular ideas of formal innovation and artistic genius. In doing so, she details how Marcel Duchamp's canonization has more to do with his patron's donations to museums than it does the quality of Duchamp's work, and she uncovers the racialized and financialized logic behind the Archive of New Poetry's collecting practices. Ranging from the conception of philanthropy devised by the robber barons of the late nineteenth century to ongoing digitization projects, Kim provides a new history of contemporary art that accounts for the complicated entanglement of race, capital, and labor behind storied art institutions and artists. Drawing on history, theory, and economics, Kim challenges received notions of artistic success and talent and calls for a new vision of art beyond the cultural institution. Eunsong Kim is Associate Professor of English at Northeastern University. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Politics of Collecting: Race and the Aestheticization of Property (Duke University Press, 2024), Eunsong Kim traces how racial capitalism and colonialism situated the rise of US museum collections and conceptual art forms. Investigating historical legal and property claims, she argues that regimes of expropriation—rather than merit or good taste—are responsible for popular ideas of formal innovation and artistic genius. In doing so, she details how Marcel Duchamp's canonization has more to do with his patron's donations to museums than it does the quality of Duchamp's work, and she uncovers the racialized and financialized logic behind the Archive of New Poetry's collecting practices. Ranging from the conception of philanthropy devised by the robber barons of the late nineteenth century to ongoing digitization projects, Kim provides a new history of contemporary art that accounts for the complicated entanglement of race, capital, and labor behind storied art institutions and artists. Drawing on history, theory, and economics, Kim challenges received notions of artistic success and talent and calls for a new vision of art beyond the cultural institution. Eunsong Kim is Associate Professor of English at Northeastern University. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In The Politics of Collecting: Race and the Aestheticization of Property (Duke University Press, 2024), Eunsong Kim traces how racial capitalism and colonialism situated the rise of US museum collections and conceptual art forms. Investigating historical legal and property claims, she argues that regimes of expropriation—rather than merit or good taste—are responsible for popular ideas of formal innovation and artistic genius. In doing so, she details how Marcel Duchamp's canonization has more to do with his patron's donations to museums than it does the quality of Duchamp's work, and she uncovers the racialized and financialized logic behind the Archive of New Poetry's collecting practices. Ranging from the conception of philanthropy devised by the robber barons of the late nineteenth century to ongoing digitization projects, Kim provides a new history of contemporary art that accounts for the complicated entanglement of race, capital, and labor behind storied art institutions and artists. Drawing on history, theory, and economics, Kim challenges received notions of artistic success and talent and calls for a new vision of art beyond the cultural institution. Eunsong Kim is Associate Professor of English at Northeastern University. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In The Politics of Collecting: Race and the Aestheticization of Property (Duke University Press, 2024), Eunsong Kim traces how racial capitalism and colonialism situated the rise of US museum collections and conceptual art forms. Investigating historical legal and property claims, she argues that regimes of expropriation—rather than merit or good taste—are responsible for popular ideas of formal innovation and artistic genius. In doing so, she details how Marcel Duchamp's canonization has more to do with his patron's donations to museums than it does the quality of Duchamp's work, and she uncovers the racialized and financialized logic behind the Archive of New Poetry's collecting practices. Ranging from the conception of philanthropy devised by the robber barons of the late nineteenth century to ongoing digitization projects, Kim provides a new history of contemporary art that accounts for the complicated entanglement of race, capital, and labor behind storied art institutions and artists. Drawing on history, theory, and economics, Kim challenges received notions of artistic success and talent and calls for a new vision of art beyond the cultural institution. Eunsong Kim is Associate Professor of English at Northeastern University. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In The Politics of Collecting: Race and the Aestheticization of Property (Duke University Press, 2024), Eunsong Kim traces how racial capitalism and colonialism situated the rise of US museum collections and conceptual art forms. Investigating historical legal and property claims, she argues that regimes of expropriation—rather than merit or good taste—are responsible for popular ideas of formal innovation and artistic genius. In doing so, she details how Marcel Duchamp's canonization has more to do with his patron's donations to museums than it does the quality of Duchamp's work, and she uncovers the racialized and financialized logic behind the Archive of New Poetry's collecting practices. Ranging from the conception of philanthropy devised by the robber barons of the late nineteenth century to ongoing digitization projects, Kim provides a new history of contemporary art that accounts for the complicated entanglement of race, capital, and labor behind storied art institutions and artists. Drawing on history, theory, and economics, Kim challenges received notions of artistic success and talent and calls for a new vision of art beyond the cultural institution. Eunsong Kim is Associate Professor of English at Northeastern University. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In The Politics of Collecting: Race and the Aestheticization of Property (Duke University Press, 2024), Eunsong Kim traces how racial capitalism and colonialism situated the rise of US museum collections and conceptual art forms. Investigating historical legal and property claims, she argues that regimes of expropriation—rather than merit or good taste—are responsible for popular ideas of formal innovation and artistic genius. In doing so, she details how Marcel Duchamp's canonization has more to do with his patron's donations to museums than it does the quality of Duchamp's work, and she uncovers the racialized and financialized logic behind the Archive of New Poetry's collecting practices. Ranging from the conception of philanthropy devised by the robber barons of the late nineteenth century to ongoing digitization projects, Kim provides a new history of contemporary art that accounts for the complicated entanglement of race, capital, and labor behind storied art institutions and artists. Drawing on history, theory, and economics, Kim challenges received notions of artistic success and talent and calls for a new vision of art beyond the cultural institution. Eunsong Kim is Associate Professor of English at Northeastern University. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics

durée : 00:27:16 - Les Midis de Culture - par : Marie Labory - Au programme du débat critique, des expositions : la peintre brésilienne Tarsila do Amaral au Musée du Luxembourg et l'exposition des finalistes du prix Marcel Duchamp 2024 au Centre Pompidou. - réalisation : Laurence Malonda - invités : Sally Bonn Maître de conférence en esthétique à l'Université Picardie Jules Verne, auteure, critique d'art et commissaire d'exposition.; Joseph Ghosn Directeur adjoint de la rédaction de Madame Figaro

When developing a business centered around Japanese prints, there are many factors to consider: the audience, the history, and how you want to be perceived by the public. The appeal of the Japanese aesthetic, along with your own personal aesthetic and brand identity, can also be just as important to your business. On this episode of The Unfinished Print, I speak with Malene Wagner, a gallerist, curator, writer, and art historian whose business operates under the name Tiger Tanuki. Malene shares her passion for collecting and selling Japanese prints, and we explore the European perspective on Japanese prints and printmaking. We also dive into Japanese aesthetics and how they are interpreted through a Western lens. Additionally, Malene discusses how these aesthetics influence her brand, Tiger Tanuki, the role history plays in shaping her business, and her upcoming book. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Malene Wagner & Tiger Tanuki - Instagram, website ukiyo-e - is a multi colour woodblock print generally associated with the Edo Period (1603-1867) of Japan. What began in the 17th Century as prints of only a few colours, evolved into an elaborate system of production and technique into the Meiji Period (1868-1912). With the advent of photography and other forms of printmaking, ukiyo-e as we know it today, ceased production by the late 19th Century.  Uniqlo -  a Japanese clothing brand known for its affordable, minimalist, and high-quality everyday wear. It focuses on functional designs, using innovative fabrics like Heattech for warmth and AIRism for breathability. Uniqlo is popular worldwide for offering essential wardrobe staples and often collaborates with well-known designers and artists to create unique collections. Clear Day With A Southern Breeze (1831) is a print usually known as "Red Fuji." From the series Thirty Six Views of Mt. Fuji this print was actually pink, red was used in later impressions by publisher Nishimuraya Yohachi.  The Great Wave off Kanagawa - is a woodblock print designed by Katsushika Hokusai in 1831. It is very famous.  Yayoi Kusama -  is a pioneering Japanese artist known for her immersive installations and polka dot motifs that explore themes of infinity, identity, and mental health. Born in 1929 in Matsumoto, Japan, Kusama began her artistic journey through painting and avant-garde practices, eventually moving to New York in the late 1950s, where she became a key figure in the pop art and feminist movements. Her works, range from large-scale installations like the "Infinity Mirror Rooms" to her vibrant sculptures and paintings. Kusama's art is a deeply personal expression of her own experiences with mental illness, transforming her obsessions into stunning visual experiences that resonate globally. Today, she is celebrated as one of the most influential contemporary artists, with exhibitions and installations that captivate audiences worldwide. From "Life Is The Heart of A Rainbow", Installation (2017) MANGA - was an exhibition from May 23 - August 26, 2019 held at the British Museum in London, England.  shin hanga - is a style of Japanese woodblock printmaking that emerged in the early 20th century, marking the end of the nishiki-e period. Originating around 1915 under the direction of Watanabe Shōzaburō (1885-1962), the art form responded to the foreign demand for "traditional" Japanese imagery. Shin hanga artists focused on motifs like castles, bridges, famous landscapes, and bamboo forests. The style was initiated when Watanabe discovered Austrian artist Fritz Capelari (1884-1950) and commissioned him to design prints for Watanabe's budding printing house. This collaboration led to the evolution of shin hanga into a distinctive new style of Japanese woodblock printing. The shin hanga movement thrived until its inevitable decline after the Second World War (1939-1945). sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.  Tomoo Inagaki (1902-1980) - introduced to mokuhanga by Onchi Kōshirō and Un'cihi Hiratsuka in 1923. Beginning in 1924, Inagaki published his first prints in magazines such as Shi to hanga (issue 13), Hanga (issues 6, 9/10, 11, 14), and Kitsutsuki, and exhibited with the Nihon Sôsaku-Hanga Kyôkai (Japan Creative Print Association). He became a member of the Nihon Hanga Kyôkai (Japan Print Association) in 1932 and participated in various post-war international competitions, including the Paris, Tokyo, and Lugano biennales. His cat prints have been highly collectible. More info can be found at Viewing Japanese Prints, here. The Rival Cats - 18" x 24" (1960's - 1970's) Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” Frances Blakemore (1906-1997) - was an American-born artist, writer, philanthropist and curator of modern Japanese mokuhanga. She lived in Japan for over fifty years and helped to support the burgeoning sōsaku hanga print movement of the 1950s. Blakemore worked in mokuhanga (collaborating with Watanabe Shōzaburō) and making self-printed and carved prints. She also worked in oils.  Japanese Bath (1937) - 11 7/8" x 9 5/8 " Yoshitomo Nara - is a renowned Japanese contemporary artist and is celebrated for his distinctive paintings and sculptures featuring figures with large heads and expressive eyes, often exploring themes of innocence, rebellion, and solitude.  Change The History (2007) acrylic on wood 74-7/16" × 55-1/2" × 3-1/8" Mingei - is a Japanese term that translates to "folk craft" or "people's art." It refers to a movement that emerged in the early 20th century, emphasizing the value and beauty of traditional, handmade crafts created by anonymous artisans. Mingei focuses on everyday objects, such as pottery, textiles, furniture, and utensils, that reflect the culture and daily life of the people who made them. Lawrin Smith - is the author of the book "The Prints of Yoshitoshi: A Complete Illustrated Catalog" (2009). This comprehensive catalog focuses on the works of Tsukioka Yoshitoshi. The book provides detailed descriptions and illustrations of Yoshitoshi's prints, showcasing his significant contributions to the ukiyo-e genre and his influence on modern printmaking. Wabi-sabi is a Japanese aesthetic philosophy that celebrates the beauty of imperfection, transience, and the natural cycle of life. It combines two concepts: "wabi," which refers to rustic simplicity and tranquility found in nature, and "sabi,"which denotes the beauty that comes with age and wear. Wabi-sabi values simplicity, asymmetry, and the unique characteristics of objects and experiences, encouraging appreciation for the impermanent and humble aspects of life. This philosophy is reflected in various forms of art, architecture, and design, emphasizing natural materials and handcrafted items, and fostering mindfulness and acceptance of the imperfections that make life beautiful. A-yo - is a renowned Japanese artist associated with the Gutai Art Association, an avant-garde group that emerged in post-war Japan. Known for his vibrant colors and distinctive style, Ay-O's work often incorporates elements of nature, light, and movement, reflecting themes of playfulness and spontaneity. He engages with materials in innovative ways and has explored performance art as part of his creative expression. With extensive exhibitions both in Japan and internationally, Ay-O has made significant contributions to contemporary art, emphasizing the joy of creation and the aesthetic experience. Marcel Duchamp (1887–1968) was a French-American artist and a key figure in modern art, known for his significant influence on the Dada movement and conceptual art. He initially trained as a painter but became renowned for challenging traditional notions of art through his controversial works, such as "Fountain"(1917), a readymade sculpture of a urinal that questioned the definition of art and the role of the artist. Duchamp's other notable pieces, including "The Large Glass" (1915–1923) and "Bicycle Wheel" (1913), explored themes of chance and perception. His innovative ideas about art as a conceptual experience rather than a purely visual one continue to resonate, solidifying his status as one of the most influential artists of the 20th century.   Fountain (1917) replica (1964)   Naoko Matsubara - is a contemporary Japanese printmaker known for her expertise in mokuhanga. Born in Osaka, she studied at Kyoto Seika University, where she specialized in printmaking and mastered the techniques of this ancient art form. Matsubara's work often blends traditional methods with contemporary themes, exploring the relationship between nature, culture, and identity. Her prints are characterized by intricate details, vibrant colors, and a deep appreciation for the materials and techniques involved in woodblock printing. She teaches and promotes mokuhanga both in Japan and abroad, exhibiting her work in galleries and museums worldwide and receiving numerous awards for her contributions to the field. Naoko's interview with The Unfinished Print can be found, here.    Gihachiro Okuyama (1907-1981) - was a prominent Japanese printmaker and painter associated with the sōsaku hanga (creative prints) movement. Born in Tokyo, he studied traditional Japanese painting and was influenced by Western art styles, leading to innovative woodblock prints characterized by bold colors and dynamic compositions that blend traditional aesthetics with modern elements. Throughout his career, Okuyama exhibited extensively in Japan and internationally, contributing significantly to contemporary printmaking while also playing a vital role in art education by sharing his expertise with future generations. His work reflects a deep engagement with the cultural exchanges between East and West during the post-war period.     Moonscape - 10" x 21"   Utagawa Kuniyoshi (1798-1861) - is considered one of the last “masters” of the ukiyo-e genre of Japanese woodblock printmaking. His designs range from landscapes, samurai and Chinese military heroes, as well as using various formats for his designs such as diptychs and triptychs.   Prince Rokuson Tsunemoto from Suikoden of Japanese Heroes (1843) 10" x 7"    Utagawa Kunisada III (1848–1920) - was a ukiyo-e print designer from the Utagawa school of mokuhanga. Kunisada III's print designs were designed during the transformation of the Edo Period (1603-1868) into the Meiji Period (1868-1912) of Japanese history, where his prints showed the technological, architectural and historical changes in Japan's history.    Kabuki Plays - Narukami and Princess Toki (ca. 1890's) triptych   Saitō Kiyoshi (1907-1997) - was a Japanese woodblock printmaker and artist who worked in the sōsaku hanga style of mokuhanga. HIs fame outside of Japan was fairly comprehensive with his peak fame being in the 1950's and 1960's. For a comprehensive book on his life and times, Saitō Kiyoshi: Graphic Awakening published by The John & Mable Ringling Museum is an excellent source. Can be found, here. Lecture by Dr. Paget about Saitō can be found, here. My interview with Professor Paget can be found, here.    Dog, Daschund 2 10" x 15"   Edvard Munch (1863-1944) - was a Norweigan artist, who initially was a painter, but also ventured into printmaking making 850 images. His print medium was etching, lithography, and woodcut. More information can be found here, at Christie's.      Anxiety (1894)   Pieter Cornelius Mondrian (1872-1944) - a Dutch artist who's work helped found De Stijl in 1917, a group of Dutch painters who helped codify Mondrian's abstraction and industrial design. Mondrian has a wide spectrum of works and styles created throughout his career. More information can be found, here from the Guggenheim.   Mill in Sunlight (1908). Credit: Kunstmuseum Den Haag, The Hague, The Netherlands © 2021 Mondrian/Holtzman Trust   Shunga - meaning "spring pictures," is a genre of Japanese erotic art that flourished during the Edo period (1603–1868), characterized by woodblock prints, paintings, and illustrated books depicting explicit sexual scenes often combined with humor, romance, and social commentary. Notable for its vibrant colors and intricate details, shunga explores themes of intimacy and sexuality, serving both as entertainment and education in a culture where such topics were often taboo. The genre reflects societal attitudes toward love and relationships and has a rich history despite facing censorship at various times. Today, shunga is recognized as a significant part of Japanese art history, appreciated for its aesthetic qualities and cultural context. Paul Binnie - Candlelight (1994) kappazuri print 24" x 18"  Tosa Prefecture - historically known as Tosa Province, is located in the southern part of Shikoku, Japan, and corresponds to present-day Kochi Prefecture. Renowned for its natural beauty, including mountains, rivers, and coastal landscapes, Tosa has a rich cultural heritage that includes traditional crafts like Tosa washi (handmade paper) and Tosa pottery. The region is famous for its vibrant festivals, such as the Yosakoi Festival, which features lively dance performances, and is known for its agricultural products, particularly citrus fruits like yuzu and sudachi, along with seafood. Kochi City, the capital of Kochi Prefecture, serves as the cultural and economic center, showcasing local cuisine, historical sites, and museums. Tosa's unique blend of natural scenery, traditional crafts, and cultural events contributes to its significance within Japan. © Popular Wheat Productions opening and closing credit - I Am Pentagon by the band Make Up from their album Save Yourself (1999) released by K Records.  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***        

The Ojai Studio Artists Tour (Oct. 12-14) kicks off this year with a reception on Friday, Oct. 11th from 5 to 7 p.m. at the Ojai Valley Museum. Then on Saturday, Sunday and Monday (Columbus Day holiday) from 10 a.m. to 4 p.m., 63 local artists open their homes to the public. Tickets are only $20 and go to fund scholarships for aspiring young artists. Painter Christopher Noxon and ceramicist Suze Glazebrook talk about how the organization has evolved during its 40 years of history, how it honors its founders, Bert Collins and Gayel Childress (the third founder Marta Nelson passed away recently) and their own journeys to Ojai's arts scene. Glazebrook, who also creates jewelry, grew up in New Zealand, and has lived in Ojai since 1990, while Noxon moved here in 2020 during the pandemic. Glazebrook grew up in an artistic household while Noxon, a journalist and illustrator, launched his painting career fulltime when he moved to Ojai. Both have attracted dedicated collectors. We talked about Ojai artists and OSA manage to reconcile the solitary creation process of art with the very human need for fellowship, why the arts have been key to Ojai's identity and allure for more than a century, how many major arts movements have had an Ojai influence, and much more. We did not talk about the "Battle of Candlestick" on Aug. 22, 1965 between the Dodgers and Giants, when Giants pitcher Juan Marichal bashed Dodgers catcher Johnny Roseboro over the head, creating a 14-minute melee, or the myriad eccentricities of Argentinean president Javier Milei, nor the recent resurgence of salmon runs in the Klamath River. The 2022 book about Beatrice Wood and her influential relationship with Henri-Pierre Roché and Marcel Duchamp is called "Spellbound by Marcel" by Ruth Brandon. For more information, check out OjaiStudioArtists.org.

durée : 03:00:39 - André Breton 1896-1966, 1/2 - André Breton au service de la révolution (1ère diffusion : 24/08/1996) - Par Mathieu Bénézet - Avec Michel Décaudin (poète, professeur de lettres), Jean-Bertrand Pontalis (philosophe, psychanalyste, éditeur, écrivain), Bernard Noël (poète, écrivain, essayiste), Georges Bernier (journaliste, éditeur, marchand d'art), Michel Butor (poète, romancier, enseignant, essayiste, critique d'art, traducteur), Gérard Legrand (poète surréaliste, philosophe, essayiste, critique de cinéma), José Pierre (écrivain français, critique et historien d'art, spécialiste du mouvement surréaliste), Philippe Sollers (écrivain), Alain Jouffroy (poète, écrivain, critique d'art), Paul Louis Rossi (poète, romancier, essayiste, critique d'art, de cinéma et de jazz), André Thirion (écrivain), André Parinaud (journaliste, chroniqueur, critique d'art, écrivain), Jacqueline Chénieux-Gendron (femme de lettres), Yves di Manno (écrivain, poète, traducteur) et Max Schoendorff (peintre, graveur, illustrateur, scénographe) - Avec en archives la voix d'André Breton, Philippe Soupault, Marcel Duchamp, Louis Aragon, André Masson, Lise Deharme et Francis Ponge - Réalisation Anna Szmuc

In episode 27 of Locust Radio, Adam Turl is joined by Tish Turl – writer, editor, artist, poet and member of the Locust collective. This episode is part of a series of interviews of current and former Locust Collective members and contributors. This series is being conducted as research for a future text by Adam Turl on the conceptual and aesthetic strategies of the collective in the context of a late capitalist cybernetic Anthropocene.  Locust Radio hosts include Adam Turl, Laura Fair-Schulz, and Tish Turl. Producers include Alexander Billet, Omnia Sol, and Adam Turl Related texts and topics: Mark Abel, Groove: An Aesthetic of Measured Time (2016); Charlie Jane Anders, The City in the Middle of the Night (2019); Valerie Armstrong, Kevin Can F**k Himself (television series, 2021-2022`); Banksy (artist); Joseph Beuys (artist); Alexander Billet, Shake the City: Experiments in Space and Time, Music and Crisis (2022);  Claire Bishop, Disordered Attention: How We Look at Art and Performance Today (2024); William Blake (artist and poet); The Carnivalesque; Creepypasta; Ben Davis, Art in the After-Culture: Capitalist Crisis and Cultural Strategy (2022); The Dogscape (creepypasta), Marcel Duchamp (artist); Fanfiction; Mark Fisher, Capitalist Realism: Is There No Alternative? (2009); Rupi Kaur (poet); Emily St. John Mandel, Sea of Tranquility (2022); Emily St. John Mandel, Station Eleven (2014); David Mitchell, The Bone Clocks (2014); Prosimetrum; Buzz Spector (artist); Chuck Tingle (writer); Tish Turl, “Sewerbot” (2019); Tish Turl, Sound, serialized novella in Locust Review (2020-); Tish Turl, Space Goths (2019); Tish Turl, Stink Ape Resurrection Primer, serialized prosimetrum in Locust Review (2021-); Tish Turl, Toilet Key Anthology, serialized poetry series in Locust Review (2019-2021); Tish Turl an Adam Turl, Big Muddy Monster Atlas Project (2021-); Tish Turl and Adam Turl, Born Again Labor Museum (2019-).

In this episode of Locust Radio we are flipping the script a bit. Instead of Tish, Laura and Adam interviewing someone, Tish and Adam are interviewed by Locust's own Alexander Billet. They discuss, among other things, the Born Again Labor Museum, Adam and Tish's ongoing sited conceptual art and installation project in southern Illinois. An edited and abridged transcript of the interview is available on Alexander Billet's substack. A note: The interview was recorded the weekend before President Joe Biden quit the presidential race and endorsed Vice-President Kamala Harris. Artworks, artists, concepts, histories, and texts discussed in this episode: Jean Baudrillard, America (1989); Walter Benjamin, “Theses on History” (1940); John Berger, Ways of Seeing (documentary and book) (1972); Joseph Beuys; Claire Bishop, Disordered Attention: How We Look at Art and Performance Today (2024); Nicolas Bourriaud, Relational Art (1998); Bertolt Brehct, “A Short Organum for the Theater” (1949); Bertolt Brecht, War Primer (1955); “Carbondale Starbucks Employees Vote to Unionize” (2022); Anna Casey, “Museum examines workers rights through art” (2022); Class and Social Struggle in southern Illinois; Andrew Cooper; Kallie Cox, “Born Again Labor Museum Offers Free Communist Manifestos” (2022); Ben Davis, Art in the After-Culture: Capitalist Crisis and Cultural Strategy (2022); Mike Davis and Hal Rothman, The Grit Beneath the Glitter: Tales from the Real Las Vegas (2002); Marcel Duchamp; R. Faze, “I Live an Hour from My Body” (2021); Mark Fisher, Capitalist Realism: Is There No Alternative? (2008); Eirc Gellman and Jarod Roll, The Gospel of the Working-Class: Labor's Southern Prophets in New Deal America (2011); Francisco Goya, Disasters of War (1810-1820); Boris Groys, “The Weak Universalism” (2010); Jenny Holzer; Barbara Kruger; Michael Löwy, Fire Alarm: Reading Walter Benjamin's ‘On the Concept of History' (2005); Frances Madeson, “At the Born Again Labor Museum, Art is a Weapon for the Working Class” (2022); Karl Marx, The German Ideology (1846); Karl Marx and Freidrick Engels, The Communist Manifesto (1848); Pablo PIcasso, Guernica (1937); Russian Cosmism; Penelope Spheeris, The Decline of Western Civilization (1981); Stop Cop City; Leon Trotsky, Their Morals and Ours (1938); Adam Turl, “Against the Weak Avant-Garde” (2016); Adam Turl, “The Art Space as Epic Theater” (2015); Adam Turl, “Outsider Art is a Lie” (2019) and Adam Turl, “We're All Outsiders Now” (2019); Tish Turl, “Class Revenge Fanfiction” (2022); Tish Turl, “Toilet Key Anthology” (2020); Tish Turl and Adam Turl, Born Again Labor Museum; Tish Turl and Adam Turl, Born Again Labor Tracts; The Wanderers/Peredvizkniki  In other news, the call for submissions for Locust Review 12 is available on our website, check it out.  Locust Radio is produced by Omnia Sol, Alexander Billet and Adam Turl. Its hosts include Adam Turl, Laura Fair-Schulz, and Tish Turl.

Bienvenidos a un nuevo directo desde Twitter para luego emitirlo en Ivoox junto a los casi 950 audios que tenemos allí publicados. Una gran audioteca que junto con el blog tecnicopreocupado punto com y los videos publicados en Youtube, Odysee, Bitchute y Ugetube forman una enorme hemeroteca que de momento sigue a disposición de todos de forma totalmente altruista. Recuerden que tengo un crowfunding para recaudar dinero para mi defensa judicial, la cual, creanme que la necesito y ojala no fuera así. Pero ese tema me produce demasiada quemazón y estamos en verano, a punto de entrar en Agosto. Se han dado cuenta de que si observan las puestas de Sol o las salidas de este durante todo el año van a descubrir el movimiento hacia atrás y hacia adelante que recrea a un ocho. Aunque no podamos ver esta figura cuando esta bajo el horizonte o el mar pero nos aparecerá si tomamos una fotografía del Sol en el cielo desde el mismo punto y a la misma hora todos los días. Tiene dos extremos, uno en el solsticio de verano en junio y otro en el solsticio de invierno en diciembre. Se llama técnicamente Analema. En astronomía, el analema, del griego «pedestal de un reloj de sol» es la curva que describe el Sol en el cielo si todos los días del año se lo observa a la misma hora del día (huso horario) y desde el mismo lugar de observación. Por eso los relojes de arena se empezaron a representar con la forma de un 8. Es una de tantas cosas sabias del pasado que hemos ido desaprendiendo. En la descripción del podcast os dejaremos un precioso video tomado en Canarias donde vemos las puestas de Sol mirando hacia el Teide. Poco a poco vamos perdiendo el conocimiento ancestral y nos cargamos de morralla inservible. Porque aunque el tramposo de Darwin le haya vendido a la ciencia que estamos evolucionando, la verdad, es que si miramos a nuestro alrededor todo es mas chabacano, triste, feo, desamparado y poco creativo. El arte ha involucionado hacia una copia barata, cutre e incluso sucia de lo que acostumbraba ser. Solo es necesario ponerle el marchamo de arte a cualquier cosa y de repente se convierte en arte. Tal y como podemos leer en la biografía de Marcel Duchamp, un ajedrecista y artista que pululó por las vanguardias de principios del siglo XX que trajeron el dadaísmo: “Duchamp es uno de los principales valedores de la creación artística como resultado de un puro ejercicio de la voluntad, sin necesidad estricta de formación, preparación o talento.” Y es que talento, lo que se dice talento no es necesario para comprar un urinario en 1917, ponerle la firma de un tal R. Mutt en el borde inferior y pretender exponerlo en una exposición de la Sociedad de artistas independientes en Nueva York donde mas de 20.000 personas hubieran visto “su meada”. Al final, no le dejaron exponerlo, pero esto mas que ser una contrariedad fue el detonante para que Alfred Stieglitz la fotografiase para la posteridad. Desde luego estamos hablando del urinario más famoso del mundo. Lo que vino después ya lo conocemos, cualquier gilipollas puede declararse artista y pintar, modelar o construir cosas con cualquier parte de su cuerpo. Desde globos de pintura arrojados desde los anos o las vaginas del artista, pinceles fálicos, o insertados en cualquier agujero corporal, pintura a través de la estampación del cuerpo desnudo del artista o, en fin, cualquier cosa que se le ocurra al o la gilipollas de turno sin necesidad estricta de formación, preparación o talento. En el periódico The Independent escribe Frances Stonor Saunders: “Durante décadas, en los círculos artísticos, esto fue un rumor o una broma, pero ahora se ha confirmado como un hecho. La CIA utilizó el arte moderno estadounidense, incluidas las obras de artistas como Jackson Pollock, Robert Motherwell, Willem de Kooning y Mark Rothko, como arma en la Guerra Fría. A la manera de un príncipe renacentista, pero actuando en secreto, la CIA promovió y promovió la pintura expresionista abstracta estadounidense en todo el mundo durante más de 20 años.” Esto lo vimos por ejemplo al leer el informe Iron Mountain de 1967 donde se nos dice que las elites ya están desarrollando un tipo de arte determinado: “Resulta interesante observar que el trabajo correspondiente a una estética libre de valores de esta naturaleza ya se está realizando hoy en los crecientes experimentos artísticos que carecen de contenido, posiblemente anticipando así la venida de un mundo sin conflictos. Se ha desarrollado un culto alrededor de un nuevo determinismo cultural que propone que la forma tecnológica de la expresión cultural determina sus valores en lugar de hacerlo a través de un contenido con un significado ostensible.” Traduzco. “Estética libre de valores”, “experimentos artísticos que carecen de contenido” y “contenido que no tenga significado ostensible” significa “crear cualquier mierda” y hacerla pasar por arte para seguir entreteniendo a los dormidos. Creanme que hay magníficos creadores en todos los campos artísticos y por supuesto son relegados al ostracismo mientras suben al estrellato a desgraciados abrazafarolas dedostorcidos y uñas largas. Ni que decir que las películas son copias de otras películas que a la vez fueron obras maestras incluso del cine mudo. Todo es una copia de una copia y al final en ese trajín de copias y pegas se pierde la verdadera esencia que nos trasmitían aquellos filmes, aquellas viejas obras de arte que la mayoría de las veces se basaban en buenas novelas o en obras inmortales de la mitología. En el mundo de la música ocurre lo mismo, todo se degrada a una velocidad que hace imposible conectar con lo que escuchan las nuevas generaciones. El reguetón no ceja en parir lechones. Supuestos cantantes mas cantamañanas que la anterior camada. Nos están obligando a involucionar de tanto tragar mierda. Y ese, desde luego, es uno de los objetivos que tienen las elites para con el pueblo llano. Con todos nosotros a los que nos denominan masa sucia, a veces incluso los muertos porque realmente no reaccionamos. Aunque cada vez más se aprecia una reacción contraria a lo que pretenden las elites. Esto lo hemos visto en la inauguración de los juegos olímpicos de Paris, o más bien deberíamos llamarles los primeros juegos Woke olímpicos de la historia. Finalmente han tenido que retirar de las plataformas para terminar pidiendo perdón. Curiosamente la portavoz de los juegos olímpicos que pidió perdón se llama Anne Descamps, sí, un apellido muy parecido a aquel del urinario. Vivimos en un mundo woke, aunque los muy sibilinos de los que mandan le han dado una definición muy chula a esa palabreja. Woke significa «despierto» en inglés y es un término que, originado en los Estados Unidos, inicialmente se usaba para referirse a quienes se enfrentan o se mantienen alerta frente al racismo. “Tócate los cojones” que diría mi abuela. Los wokes son los despiertos y los que los criticamos somos los dormidos…ja, ja, ja, el mundo al revés. Puro satanismo que coloca a la mierda en el altar y degrada a lo puro y a la vida al cubo de la basura. Mierda, sí. Eso ha sido esta enorme mierda de inauguración olímpica en un río Sena lleno de mierda hasta los topes. Hubo incluso una quedada para inundar de heces el río antes de la celebración de estos juegos. No sé si se llevaría a cabo, pero da igual, no se puede limpiar en 5 minutos lo que se ha ensuciado durante años. Hemos podido ver sobretodo unas claras referencias a la masonería y burlas hacia la religión católica y más concretamente contra el cristianismo. Casualmente en las 33 olimpiadas, numero muy importante dentro de la masonería. No nos debería de sorprender si el coreógrafo principal, Thomas Jolly, es de la religión de los recaudadores de impuestos. Bueno, él e imagino que gran parte del elenco de trans, bailarines con un huevo colgando y demás purria que intentaba imitar la última cena de Da Vinci en vez de bajo la luz divina de Cristo bajo tres filas de 6 fluorescentes. Sí, el 666 estuvo bien presente en todo esto, cada tramo de ese puente tenia sus 6 fluorescentes. La figura femenina elegida para representar a Cristo fue la obesa mórbida y DJ B. B. (diremos las iniciales ya que ha terminado por denunciar a troche y moche a todos los que la han criticado). Por supuesto, también es de la religión de los recaudadores de impuestos. Las 12 escenas guionizadas por Jolly, el jovial recaudador, describirían un pais rico en diversidad, inclusivo, no una Francia, sino varias Francias, así como un mundo entero reunido. En clara alusión a los doce apóstoles que se convierten así en las doce Francias, en los 12 despojos de un pais soberano lobotomizado y sometido a la involución. Vimos artistas con la cabeza cortada fingiendo ser Maria Antonieta en horario infantil, bailarines negros bailando, bueno, estrujando a niñas de ocho años, trans de todos los colores y modelos, fuegos artificiales simulando ser sangre palaciega y todo tipo de luces realizando figuras que nos recuerdan a la escuadra y el compás masónico o al sigilo de Lucifer. También los vimos bailando sincopadamente en el ajedrezado masónico y colapsando en el piso iluminado de rojo como si de una repentinitis se tratase. Y es que lo que comenzaba con el izado de la bandera olímpica del revés no podia augurar nada bueno. Ya saben que dentro del satanismo hacer las cosas del revés está bien visto, por eso muchas camisetas satánicas se cosen con las costuras por fuera. Como guinda del pastel debemos hablar del caballo pálido que trotó por encima de las aguas del Sena simulando a Cristo pero trayendo un mensaje claro que podemos leer en Apocalipsis 6:8 “Miré, y he aquí un caballo amarillo, y el que lo montaba tenía por nombre Muerte, y el Hades le seguía; y le fue dada potestad sobre la cuarta parte de la tierra, para matar con espada, con hambre, con mortandad, y con las fieras de la tierra.” Sí, amigos, las élites psicopatocraticas no solo nos quieren pervertir y degradar haciendo que involucionemos sino que nos quieren directamente asesinar. Sus mentes eugenistas ven demasiadas almas poblando “su” Tierra. Esta gentuza ha probado la sangre y conoce su sabor dulzón. Y quiere más y más rápido. A ellos les importa una mierda que el camino al infierno sea muy corto y la vuelta sin embargo dure toda la eternidad. ………………………………………………………………………………………. Invitados: Ira @Genes72 …. Dra Yane #JusticiaParaUTP @ayec98_2 Médico y Buscadora de la verdad. Con Dios siempre! No permito q me dividan c/izq -derecha, raza, religión ni nada de la Creación. https://youtu.be/TXEEZUYd4c0 …. UTP Ramón Valero @tecn_preocupado Un técnico Preocupado un FP2 IVOOX UTP http://cutt.ly/dzhhGrf BLOG http://cutt.ly/dzhh2LX Ayúdame desde mi Crowfunding aquí https://cutt.ly/W0DsPVq ………………………………………………………………………………………. Enlaces citados en el podcast: Un año, 365 puestas de sol https://www.youtube.com/watch?v=kRENfTomQIo La fuente' de Duchamp, el urinario que cambió la historia del arte https://www.elconfidencial.com/cultura/2017-04-15/arte-vanguardias-duchamp-fuente-urinario_1366043/ El arte moderno era un “arma” de la CIA https://litwinbooks.com/modern-art-was-cia-weapon/ Hilo inauguración Paris https://x.com/tecn_preocupado/status/1817085972607041692 La organización de los JJ.OO. pide perdón a los ofendidos por la representación de 'La última cena’ https://www.youtube.com/watch?v=-CYaWi_bOjA Ceremonia inaugural Juegos Olímpicos París 2024 (según el Español, pero mira, mira, no hay nada) https://www.youtube.com/watch?v=Ag7xCxFsLe0 Paris 2024 Historic Olympic Opening Ceremony: Lady Gaga, Celine Dion, Gojira & MORE https://www.youtube.com/watch?v=myAHrXIwqXs Masones célebres (Jacques y Etienne Montgolfier https://issuu.com/retalesdemasoneria/docs/retales_masoneria_numero_124_-_octubre_2021/s/13696938 ¿REALMENTE SABES QUIÉN FUE KARL MARX? I https://tecnicopreocupado.com/2015/05/07/realmente-sabes-quien-fue-karl-marx/ ¿REALMENTE SABES QUIÉN FUE KARL MARX? II https://tecnicopreocupado.com/2015/05/08/realmente-sabes-quien-fue-karl-marx-ii/ PIRÁMIDE TRUNCADA ILLUMINATI EN GOBIERNO FRANCES MACRON https://tecnicopreocupado.com/2017/05/11/el-octagono-satanico-y-las-masonicas-elecciones-francesas/piramide-truncada-illuminati-en-gobierno-frances-macron/ EL OCTÁGONO SATÁNICO Y LAS MASÓNICAS ELECCIONES FRANCESAS https://tecnicopreocupado.com/2017/05/11/el-octagono-satanico-y-las-masonicas-elecciones-francesas/ SATANISMO Y ANTISATANISMO https://tecnicopreocupado.com/2014/05/12/satanismo-y-antisatanismo/comment-page-1/ OVNIS, BASURA RADIACTIVA Y SEUDOCIENTÍFICOS I https://tecnicopreocupado.com/2014/05/22/ovnis-basura-radiactiva-sectas-y-pseudocientificos/ OVNIS, BASURA RADIACTIVA Y SEUDOCIENTÍFICOS II https://tecnicopreocupado.com/2014/05/23/ovnis-basura-radiactiva-y-pseudocientificos-ii/ Atentado a Trump que lo catapulta como presidente https://foroconspiracion.com/threads/atentado-a-trump-que-lo-catapulta-como-presidente.345/ PÓNGAME UN QUARTO DE MASONERÍA EN UN POBLET I https://tecnicopreocupado.com/2019/08/31/pongame-un-quarto-de-masoneria-en-un-poblet-i/ PÓNGAME UN QUARTO DE MASONERÍA EN UN POBLET II https://tecnicopreocupado.com/2019/09/01/pongame-un-quarto-de-masoneria-en-un-poblet-ii/ Sealand, el país más pequeño del mundo que está en una plataforma marina https://www.idealista.com/news/inmobiliario/internacional/2018/11/14/769523-sealand-la-plataforma-marina-que-es-el-pais-mas-pequeno-del-mundo Con los trevifans hemos topado https://www.elmundo.es/blogs/elmundo/elblogdesantiagogonzalez/2016/08/14/con-los-trevifans-hemos-topado.html Sealand o de como montarse una patria con un poco de morro https://x.com/juliodelarrosa/status/960822921991254016 Decapitan a otro hombre en Valencia, el segundo en menos de 30 horas https://x.com/CarlosMontas13/status/1818946314303934789 Videos Es Clave https://tecnicopreocupado.com/videos/videos-es-clave/ LA SATÁNICA DERIVA DEL FEMINISMO QUE SACRIFICA LA FERTILIDAD FEMENINA https://tecnicopreocupado.com/2019/07/28/la-satanica-deriva-del-feminismo-que-sacrifica-la-fertilidad-femenina/ LIBRO DE MICRORRELATOS https://tecnicopreocupado.com/libro-de-microrrelatos/ ………………………………………………………………………………………. Música utilizada en este podcast: Tema inicial Heros ………………………………………………………………………………………. Epílogo Los Aldeanos - Censurados https://youtu.be/k8pGYFN1a_4?feature=shared

Bienvenidos a un nuevo directo desde Twitter para luego emitirlo en Ivoox junto a los casi 950 audios que tenemos allí publicados. Una gran audioteca que junto con el blog tecnicopreocupado punto com y los videos publicados en Youtube, Odysee, Bitchute y Ugetube forman una enorme hemeroteca que de momento sigue a disposición de todos de forma totalmente altruista. Recuerden que tengo un crowfunding para recaudar dinero para mi defensa judicial, la cual, creanme que la necesito y ojala no fuera así. Pero ese tema me produce demasiada quemazón y estamos en verano, a punto de entrar en Agosto. Se han dado cuenta de que si observan las puestas de Sol o las salidas de este durante todo el año van a descubrir el movimiento hacia atrás y hacia adelante que recrea a un ocho. Aunque no podamos ver esta figura cuando esta bajo el horizonte o el mar pero nos aparecerá si tomamos una fotografía del Sol en el cielo desde el mismo punto y a la misma hora todos los días. Tiene dos extremos, uno en el solsticio de verano en junio y otro en el solsticio de invierno en diciembre. Se llama técnicamente Analema. En astronomía, el analema, del griego «pedestal de un reloj de sol» es la curva que describe el Sol en el cielo si todos los días del año se lo observa a la misma hora del día (huso horario) y desde el mismo lugar de observación. Por eso los relojes de arena se empezaron a representar con la forma de un 8. Es una de tantas cosas sabias del pasado que hemos ido desaprendiendo. En la descripción del podcast os dejaremos un precioso video tomado en Canarias donde vemos las puestas de Sol mirando hacia el Teide. Poco a poco vamos perdiendo el conocimiento ancestral y nos cargamos de morralla inservible. Porque aunque el tramposo de Darwin le haya vendido a la ciencia que estamos evolucionando, la verdad, es que si miramos a nuestro alrededor todo es mas chabacano, triste, feo, desamparado y poco creativo. El arte ha involucionado hacia una copia barata, cutre e incluso sucia de lo que acostumbraba ser. Solo es necesario ponerle el marchamo de arte a cualquier cosa y de repente se convierte en arte. Tal y como podemos leer en la biografía de Marcel Duchamp, un ajedrecista y artista que pululó por las vanguardias de principios del siglo XX que trajeron el dadaísmo: “Duchamp es uno de los principales valedores de la creación artística como resultado de un puro ejercicio de la voluntad, sin necesidad estricta de formación, preparación o talento.” Y es que talento, lo que se dice talento no es necesario para comprar un urinario en 1917, ponerle la firma de un tal R. Mutt en el borde inferior y pretender exponerlo en una exposición de la Sociedad de artistas independientes en Nueva York donde mas de 20.000 personas hubieran visto “su meada”. Al final, no le dejaron exponerlo, pero esto mas que ser una contrariedad fue el detonante para que Alfred Stieglitz la fotografiase para la posteridad. Desde luego estamos hablando del urinario más famoso del mundo. Lo que vino después ya lo conocemos, cualquier gilipollas puede declararse artista y pintar, modelar o construir cosas con cualquier parte de su cuerpo. Desde globos de pintura arrojados desde los anos o las vaginas del artista, pinceles fálicos, o insertados en cualquier agujero corporal, pintura a través de la estampación del cuerpo desnudo del artista o, en fin, cualquier cosa que se le ocurra al o la gilipollas de turno sin necesidad estricta de formación, preparación o talento. En el periódico The Independent escribe Frances Stonor Saunders: “Durante décadas, en los círculos artísticos, esto fue un rumor o una broma, pero ahora se ha confirmado como un hecho. La CIA utilizó el arte moderno estadounidense, incluidas las obras de artistas como Jackson Pollock, Robert Motherwell, Willem de Kooning y Mark Rothko, como arma en la Guerra Fría. A la manera de un príncipe renacentista, pero actuando en secreto, la CIA promovió y promovió la pintura expresionista abstracta estadounidense en todo el mundo durante más de 20 años.” Esto lo vimos por ejemplo al leer el informe Iron Mountain de 1967 donde se nos dice que las elites ya están desarrollando un tipo de arte determinado: “Resulta interesante observar que el trabajo correspondiente a una estética libre de valores de esta naturaleza ya se está realizando hoy en los crecientes experimentos artísticos que carecen de contenido, posiblemente anticipando así la venida de un mundo sin conflictos. Se ha desarrollado un culto alrededor de un nuevo determinismo cultural que propone que la forma tecnológica de la expresión cultural determina sus valores en lugar de hacerlo a través de un contenido con un significado ostensible.” Traduzco. “Estética libre de valores”, “experimentos artísticos que carecen de contenido” y “contenido que no tenga significado ostensible” significa “crear cualquier mierda” y hacerla pasar por arte para seguir entreteniendo a los dormidos. Creanme que hay magníficos creadores en todos los campos artísticos y por supuesto son relegados al ostracismo mientras suben al estrellato a desgraciados abrazafarolas dedostorcidos y uñas largas. Ni que decir que las películas son copias de otras películas que a la vez fueron obras maestras incluso del cine mudo. Todo es una copia de una copia y al final en ese trajín de copias y pegas se pierde la verdadera esencia que nos trasmitían aquellos filmes, aquellas viejas obras de arte que la mayoría de las veces se basaban en buenas novelas o en obras inmortales de la mitología. En el mundo de la música ocurre lo mismo, todo se degrada a una velocidad que hace imposible conectar con lo que escuchan las nuevas generaciones. El reguetón no ceja en parir lechones. Supuestos cantantes mas cantamañanas que la anterior camada. Nos están obligando a involucionar de tanto tragar mierda. Y ese, desde luego, es uno de los objetivos que tienen las elites para con el pueblo llano. Con todos nosotros a los que nos denominan masa sucia, a veces incluso los muertos porque realmente no reaccionamos. Aunque cada vez más se aprecia una reacción contraria a lo que pretenden las elites. Esto lo hemos visto en la inauguración de los juegos olímpicos de Paris, o más bien deberíamos llamarles los primeros juegos Woke olímpicos de la historia. Finalmente han tenido que retirar de las plataformas para terminar pidiendo perdón. Curiosamente la portavoz de los juegos olímpicos que pidió perdón se llama Anne Descamps, sí, un apellido muy parecido a aquel del urinario. Vivimos en un mundo woke, aunque los muy sibilinos de los que mandan le han dado una definición muy chula a esa palabreja. Woke significa «despierto» en inglés y es un término que, originado en los Estados Unidos, inicialmente se usaba para referirse a quienes se enfrentan o se mantienen alerta frente al racismo. “Tócate los cojones” que diría mi abuela. Los wokes son los despiertos y los que los criticamos somos los dormidos…ja, ja, ja, el mundo al revés. Puro satanismo que coloca a la mierda en el altar y degrada a lo puro y a la vida al cubo de la basura. Mierda, sí. Eso ha sido esta enorme mierda de inauguración olímpica en un río Sena lleno de mierda hasta los topes. Hubo incluso una quedada para inundar de heces el río antes de la celebración de estos juegos. No sé si se llevaría a cabo, pero da igual, no se puede limpiar en 5 minutos lo que se ha ensuciado durante años. Hemos podido ver sobretodo unas claras referencias a la masonería y burlas hacia la religión católica y más concretamente contra el cristianismo. Casualmente en las 33 olimpiadas, numero muy importante dentro de la masonería. No nos debería de sorprender si el coreógrafo principal, Thomas Jolly, es de la religión de los recaudadores de impuestos. Bueno, él e imagino que gran parte del elenco de trans, bailarines con un huevo colgando y demás purria que intentaba imitar la última cena de Da Vinci en vez de bajo la luz divina de Cristo bajo tres filas de 6 fluorescentes. Sí, el 666 estuvo bien presente en todo esto, cada tramo de ese puente tenia sus 6 fluorescentes. La figura femenina elegida para representar a Cristo fue la obesa mórbida y DJ B. B. (diremos las iniciales ya que ha terminado por denunciar a troche y moche a todos los que la han criticado). Por supuesto, también es de la religión de los recaudadores de impuestos. Las 12 escenas guionizadas por Jolly, el jovial recaudador, describirían un pais rico en diversidad, inclusivo, no una Francia, sino varias Francias, así como un mundo entero reunido. En clara alusión a los doce apóstoles que se convierten así en las doce Francias, en los 12 despojos de un pais soberano lobotomizado y sometido a la involución. Vimos artistas con la cabeza cortada fingiendo ser Maria Antonieta en horario infantil, bailarines negros bailando, bueno, estrujando a niñas de ocho años, trans de todos los colores y modelos, fuegos artificiales simulando ser sangre palaciega y todo tipo de luces realizando figuras que nos recuerdan a la escuadra y el compás masónico o al sigilo de Lucifer. También los vimos bailando sincopadamente en el ajedrezado masónico y colapsando en el piso iluminado de rojo como si de una repentinitis se tratase. Y es que lo que comenzaba con el izado de la bandera olímpica del revés no podia augurar nada bueno. Ya saben que dentro del satanismo hacer las cosas del revés está bien visto, por eso muchas camisetas satánicas se cosen con las costuras por fuera. Como guinda del pastel debemos hablar del caballo pálido que trotó por encima de las aguas del Sena simulando a Cristo pero trayendo un mensaje claro que podemos leer en Apocalipsis 6:8 “Miré, y he aquí un caballo amarillo, y el que lo montaba tenía por nombre Muerte, y el Hades le seguía; y le fue dada potestad sobre la cuarta parte de la tierra, para matar con espada, con hambre, con mortandad, y con las fieras de la tierra.” Sí, amigos, las élites psicopatocraticas no solo nos quieren pervertir y degradar haciendo que involucionemos sino que nos quieren directamente asesinar. Sus mentes eugenistas ven demasiadas almas poblando “su” Tierra. Esta gentuza ha probado la sangre y conoce su sabor dulzón. Y quiere más y más rápido. A ellos les importa una mierda que el camino al infierno sea muy corto y la vuelta sin embargo dure toda la eternidad. ………………………………………………………………………………………. Invitados: Ira @Genes72 …. Dra Yane #JusticiaParaUTP @ayec98_2 Médico y Buscadora de la verdad. Con Dios siempre! No permito q me dividan c/izq -derecha, raza, religión ni nada de la Creación. https://youtu.be/TXEEZUYd4c0 …. UTP Ramón Valero @tecn_preocupado Un técnico Preocupado un FP2 IVOOX UTP http://cutt.ly/dzhhGrf BLOG http://cutt.ly/dzhh2LX Ayúdame desde mi Crowfunding aquí https://cutt.ly/W0DsPVq ………………………………………………………………………………………. Enlaces citados en el podcast: Un año, 365 puestas de sol https://www.youtube.com/watch?v=kRENfTomQIo La fuente' de Duchamp, el urinario que cambió la historia del arte https://www.elconfidencial.com/cultura/2017-04-15/arte-vanguardias-duchamp-fuente-urinario_1366043/ El arte moderno era un “arma” de la CIA https://litwinbooks.com/modern-art-was-cia-weapon/ Hilo inauguración Paris https://x.com/tecn_preocupado/status/1817085972607041692 La organización de los JJ.OO. pide perdón a los ofendidos por la representación de 'La última cena’ https://www.youtube.com/watch?v=-CYaWi_bOjA Ceremonia inaugural Juegos Olímpicos París 2024 (según el Español, pero mira, mira, no hay nada) https://www.youtube.com/watch?v=Ag7xCxFsLe0 Paris 2024 Historic Olympic Opening Ceremony: Lady Gaga, Celine Dion, Gojira & MORE https://www.youtube.com/watch?v=myAHrXIwqXs Masones célebres (Jacques y Etienne Montgolfier https://issuu.com/retalesdemasoneria/docs/retales_masoneria_numero_124_-_octubre_2021/s/13696938 ¿REALMENTE SABES QUIÉN FUE KARL MARX? I https://tecnicopreocupado.com/2015/05/07/realmente-sabes-quien-fue-karl-marx/ ¿REALMENTE SABES QUIÉN FUE KARL MARX? II https://tecnicopreocupado.com/2015/05/08/realmente-sabes-quien-fue-karl-marx-ii/ PIRÁMIDE TRUNCADA ILLUMINATI EN GOBIERNO FRANCES MACRON https://tecnicopreocupado.com/2017/05/11/el-octagono-satanico-y-las-masonicas-elecciones-francesas/piramide-truncada-illuminati-en-gobierno-frances-macron/ EL OCTÁGONO SATÁNICO Y LAS MASÓNICAS ELECCIONES FRANCESAS https://tecnicopreocupado.com/2017/05/11/el-octagono-satanico-y-las-masonicas-elecciones-francesas/ SATANISMO Y ANTISATANISMO https://tecnicopreocupado.com/2014/05/12/satanismo-y-antisatanismo/comment-page-1/ OVNIS, BASURA RADIACTIVA Y SEUDOCIENTÍFICOS I https://tecnicopreocupado.com/2014/05/22/ovnis-basura-radiactiva-sectas-y-pseudocientificos/ OVNIS, BASURA RADIACTIVA Y SEUDOCIENTÍFICOS II https://tecnicopreocupado.com/2014/05/23/ovnis-basura-radiactiva-y-pseudocientificos-ii/ Atentado a Trump que lo catapulta como presidente https://foroconspiracion.com/threads/atentado-a-trump-que-lo-catapulta-como-presidente.345/ PÓNGAME UN QUARTO DE MASONERÍA EN UN POBLET I https://tecnicopreocupado.com/2019/08/31/pongame-un-quarto-de-masoneria-en-un-poblet-i/ PÓNGAME UN QUARTO DE MASONERÍA EN UN POBLET II https://tecnicopreocupado.com/2019/09/01/pongame-un-quarto-de-masoneria-en-un-poblet-ii/ Sealand, el país más pequeño del mundo que está en una plataforma marina https://www.idealista.com/news/inmobiliario/internacional/2018/11/14/769523-sealand-la-plataforma-marina-que-es-el-pais-mas-pequeno-del-mundo Con los trevifans hemos topado https://www.elmundo.es/blogs/elmundo/elblogdesantiagogonzalez/2016/08/14/con-los-trevifans-hemos-topado.html Sealand o de como montarse una patria con un poco de morro https://x.com/juliodelarrosa/status/960822921991254016 Decapitan a otro hombre en Valencia, el segundo en menos de 30 horas https://x.com/CarlosMontas13/status/1818946314303934789 Videos Es Clave https://tecnicopreocupado.com/videos/videos-es-clave/ LA SATÁNICA DERIVA DEL FEMINISMO QUE SACRIFICA LA FERTILIDAD FEMENINA https://tecnicopreocupado.com/2019/07/28/la-satanica-deriva-del-feminismo-que-sacrifica-la-fertilidad-femenina/ LIBRO DE MICRORRELATOS https://tecnicopreocupado.com/libro-de-microrrelatos/ ………………………………………………………………………………………. Música utilizada en este podcast: Tema inicial Heros DANZIG - LONG WAY BACK FROM HELL [TRADUCIDA] https://www.youtube.com/watch?v=2xlncV0Qo-0 Gente Inteligente - Falsos Heroes! https://www.youtube.com/watch?v=fu6wtYqo-5Y Heroes del Silencio - Despertar https://www.youtube.com/watch?v=B51j9B09rJk Auxiliadora Cárdenas y Luis Enrique Mejía Godoy - MIS DERECHOS DE MUJER https://www.youtube.com/watch?v=JDd1DHgnnw4 ………………………………………………………………………………………. Epílogo Los Aldeanos - Censurados https://youtu.be/k8pGYFN1a_4?feature=shared

Deux Princes avec le troisième prince Adib Alkhalidey.On a discuté de :- Est-ce qu'on mélange la déprime et la profondeur - Les Balkans sont les Arabes des blancs - L'importance et la difficulté de se remettre en question - Les immigrants- Est-ce que l'urinoir de Marcel Duchamp c'est de l'art - C'est quoi de l'art? - La médiocrité - Pourquoi Montréal est laide Gros show. Gros gars. Un troisième prince.

Marco Pesatori"Astrologia per intellettuali"Mimesis Edizioniwww.mimesisedizioni.itDa Marilyn a Kafka, da Marx a Bowie: i segni zodiacali attraverso la vita di artisti, scrittori e filosofiLe vite di grandi scrittori, filosofi, musicisti, poeti hanno da raccontarci moltissimo sulla personalità e il modo d'essere dei dodici segni dello Zodiaco. Dalla passione bollente e travolgente dell'Ariete, espressa da Baudelaire e Verlaine, da Corso e Ferlinghetti, alla lenta e rigorosa analisi taurina di Kant, Marx e Freud. L'essere “nel mondo” dei Gemelli spiegato da Sartre e le visioni interiori e intime del Cancro raccontate da Kafka, Proust e Giacomo Leopardi. La regalità alchemica del Leone, tra Marcel Duchamp e Mick Jagger, e lo sguardo preciso della disincantata Vergine, rappresentata da Hegel e Adorno. La forma perfetta delle Bilance Nietzsche e Montale e l'azzardo fatale dello Scorpione, con Dostoevskij e Camus. L'avventura della sperimentazione del Sagittario, tra Flaubert e Frank Zappa, il fascino e il pragmatismo del Capricorno, da Molière a David Bowie, il genio e la libertà dell'Aquario, tra Mozart e James Joyce, fino all'emozione e al sacrificio dei Pesci, con Kerouac e Pasolini. Astrologia per intellettuali per la prima volta spiega in modo affascinante e colto il mistero del legame tra il cosmo e il carattere e il destino degli uomini ed è capace di celebrare la meraviglia di fronte alle stelle che da secoli accomuna milioni di persone. Marco Pesatori è nato a Milano sotto il segno del Cancro. Laureato in Critica d'arte, da giovane ha collaborato alle prestigiose riviste “Alfabeta”, “La Gola”, “SE-Scienza Esperienza”, dirette tra gli altri da Umberto Eco, Karl Popper, Paolo Volponi. Da sempre studioso di astrologia, ha pubblicato una quindicina di volumi per le più importanti case editrici italiane ed estere. Ricordiamo: Segni (2007), Astrologia delle donne (2009), Urano e la cerimonia del tè (2014) e il romanzo Il trigono del Sole (2016). È celebre per le sue rubriche astrologiche su “Vogue” e “D - la Repubblica delle donne” e per la sua scuola sul pensiero simbolico e astrologico. IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Join Zak and Lianne as they dive into the charmed yet tragic life of heiress turned influential art collector. We'll follow the New York debutante as she traipses through WWII Europe, evading Nazis as she brushes shoulders with the likes of Marcel Duchamp and Man Ray. Perennially unlucky in love (you'll have to listen to find out how many husbands), Guggenheim still cements her own name as a renowned gallerist. Follow us on Instagram: @notarthistorians Sources https://www.youtube.com/watch?v=7xgks5jJ4jQ  https://www.phaidon.com/agenda/art/articles/2015/august/26/how-peggy-guggenheim-made-jackson-pollock/ https://www.atlasobscura.com/places/peggy-guggenheims-grave https://www.guggenheim-venice.it/en/art/in-depth/peggy-guggenheim/about-peggy/ https://newrepublic.com/article/122968/artistic-outrageous-life-peggy-guggenheim https://www.guggenheim.org/history/peggy-guggenheim https://www.britannica.com/biography/Peggy-Guggenheim https://www.icaboston.org/articles/7-things-you-didnt-know-about-peggy-guggenheim/ https://www.usnews.com/photos/2024/02/15/a-new-golden-rooster-perches-atop-of-notre-dame-cathedral https://www.cnn.com/style/notre-dame-cathedral-restoration/index.html https://www.artnews.com/art-news/news/notre-dame-cathedrals-reconstructed-spire-gains-golden-rooster-weathervane-1234699315/ "Danse Macabre" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/

Subscriber-only episodeSend us a Text Message.Marcel Duchamp created one of the most influential works of art in the 20th century. Or did he? There are some who theorize that a woman — “proto-punk” poet and Dada-ist Elsa von Freytag-Loringhoven — is the true genius behind the groundbreaking “Fountain” urinal sculpture that rocked the art world in 1917. Learn more about this attention-seeking baroness and the potential evidence linking her to this iconic artwork in this week's episode. And stay for the “Dinner Party” — Judy Chicago's monumental homage to women's history, which includes plenty of “lost ladies” featured on this podcast!For episodes and show notes, visit: LostLadiesofLit.comDiscuss episodes on our Facebook Forum. Follow us on instagram @lostladiesoflit. Follow Kim on twitter @kaskew. Sign up for our newsletter: LostLadiesofLit.com Email us: Contact — Lost Ladies of Lit Podcast

OOOOOoooo boy! This alt guy gives AVANT GARDE a whole new meaning! Come get weird with it as we dive into the WEIRD BRAIN of good old Marcy... or was he weird? Or maybe was he just a normal dude? You decide and let us know! We're all ears.  Thanks for listening. We love you! Xoxo, The Baroque B's

Photo: Elon Schoenholz, courtesy of David Kordansky Gallery For over four decades, Raúl Guerrero (b. 1945, Brawley, California) has made work informed by his experiences navigating cultures as an American of Mexican ancestry in Southern California. In his paintings, photographs, video, and performance works, Guerrero utilizes language and cultural signifiers to examine notions of place as a way to understand personal concepts of self. An aspect of his work depicts—and critiques—colonial narratives in the Americas such as the settlement of the Great Plains, the history of Latin America, and imposed notions of the American “West.” With compositions fusing Mexican, American, and European visual traditions, he incorporates influences ranging from the readymades of Marcel Duchamp to conceptually-oriented practices associated with a preceding generation of California artists (including John Baldessari and Ed Ruscha) who emerged from Guerrero's alma mater, the Chouinard Art Institute. A long-time exhibiting artist on the West Coast, Guerrero reflects an intellectually rigorous approach suffused with humor and a deep engagement with legacies of visual art from Southern California and the Southwest. Raúl Guerrero has been the subject of solo exhibitions at David Kordansky Gallery, Los Angeles (2021); Ortuzar Projects, New York (2018); Air de Paris (project space), Romainville, France (2014); Athenaeum Music and Arts Library, San Diego, California (2001, 2007, and 2013); CUE Art Foundation, New York (2010); Long Beach Museum of Art, California (1977); Museum of Contemporary Art San Diego (1989); and San Francisco Art Institute, California (1977). Guerrero was included in the California Biennial 2022: Pacific Gold at the Orange County Museum of Art, Costa Mesa, California (2022–2023), and was the recipient of an NEA Photography Fellowship (1979) and the San Diego Art Prize (2006). Guerrero lives and works in San Diego. Raul Guerrero, Fernando y Isabela: 1494, 2023 oil on linen 56 1/8 x 76 1/8 x 1 5/8 inches (142.6 x 193.4 x 4.1 cm) Photo: Jeff McLane, courtesy of David Kordansky Gallery Raul Guerrero, Del Taco, 2023 oil on linen 56 x 76 1/4 x 1 1/2 inches (142.2 x 193.7 x 3.8 cm) Photo: Jeff McLane, courtesy of David Kordansky Gallery Raul Guerrero, The Alhambra: 1492, 2024 oil on linen 96 x 76 x 1 1/2 inches (243.8 x 193 x 3.8 cm) Photo: Jeff McLane, courtesy of David Kordansky Gallery

Sem medo de desafios, a atriz que acaba de participar de um episódio da série "Grey's Anatomy" fala da vida em Hollywood, fama e esporte Não estranhe ao se deparar com Bianca Comparato na vigésima temporada de “Grey's Anatomy”. A atriz e produtora, que acaba de gravar participação em uma das séries mais aclamadas do mundo, faz parte de uma geração de talentos que ganha cada vez mais espaço e destaque não só no audiovisual brasileiro, mas também em Hollywood. “Eu sempre sinto um frio na barriga, que acho que não quero perder. É o que deixa a coisa viva”, conta. Bianca nunca escolheu os caminhos mais fáceis – ou óbvios. Quando protagonizou a série da Netflix 3%, pouca gente apostava no futuro do streaming. “Na época eu recebi muitas opiniões contrárias: ‘você tá doida, é uma empresa pequena que vende DVD nos Estados Unidos', ‘ninguém vê isso aqui', 'você devia ficar e fazer novela na Globo”', lembra. “Mas eu sempre tive muita clareza dos projetos que gostaria de fazer, sempre fui movida pelos personagens e pelas pessoas envolvidas nessas séries”. No papo com o Trip FM, Bianca falou de fama, glamour, sobre como seu papel em “João Sem Deus” a fez repensar questões de religião e política, e ainda compartilhou suas percepções sobre a vida em Los Angeles e a mais recente paixão, o surf. Ouça essa conversa na íntegra no Spotify e no play aqui em cima ou leia um trecho abaixo. [IMAGE=https://revistatrip.uol.com.br/upload/2024/04/6619a4ff59a05/bianca-comparato-atriz-tripfm-mh.jpg; CREDITS=foto: Manuel Nogueira (@manuelnogueira); beleza: Simone Barcelos (@simonebarcelos); LEGEND=Bianca Comparato; ALT_TEXT=Bianca Comparato] Trip. Como tem sido esse tempo morando em Los Angeles? Isso ajuda a acessar o mercado norte-americano? Bianca Comparato. Eu sou movida a desafios e sempre tive uma curiosidade enorme de saber como funciona essa meca do cinema e das séries que é Los Angeles. Eu achava que era só chegar e falar inglês para acessar alguma porta, mas você precisa absorver a cultura e isso leva tempo. Meu sonho sempre foi fazer uma mulher que não fosse latina e isso eu realizei o ano passado. O filme ainda vai sair e foi fruto de eu ficar lá nos Estados Unidos, de entender como o mercado funciona, com funcionam os agenciamentos. Em 2016, você protagonizou a série da Netflix 3%. Você saiu na frente, deixou as novelas para estrear uma das primeiras séries do streaming no Brasil. Como foi esse movimento? Na época eu recebi muitas opiniões contrárias: "você tá doida, é uma empresa pequena que vende DVD nos Estados Unidos", "ninguém vê isso aqui", "você devia ficar e fazer novela na Globo". Mas eu sempre tive muita clareza dos projetos que gostaria de fazer, sempre fui movida pelos personagens e pelas pessoas envolvidas nessas séries. Minha meta era abrir a porteira para produções no Brasil, não importa a crítica, não importa nada. Hoje o streaming deu uma encolhida, mas houve muitas produções brasileiras de qualidade. Você tem 1,54m de altura. Já sofreu bullying na escola por ser muito pequena? Não sofri bullying por ser baixa, mas participei de um bullying contra outra Bianca da minha sala que era muito alta (e por isso eu sempre peço desculpas publicamente quando posso). O meu sofrimento veio muito mais por ser gay e tentar não parecer gay. Eu nem percebia, na verdade, fui entender isso mais velha. Hoje eu sinto o resultado disso, como isso afeta as minhas decisões. Eu me escondia muito, por isso o bullying era mais interno do que vindo de fora. Eu vejo que essa nova geração de atores é muito menos deslumbrada com o sucesso. De onde vem isso? O público ficou muito mais próximo da gente. O lado íntimo do artista de cinema era muito mais isolado. O mundo real mudou isso desde Marcel Duchamp e o seu mictório: a arte mais perto. É a Anitta sem maquiagem na cama, o Caetano tomando um chá. Isso ajuda a nos tirar de um pedestal. O trabalho do dia a dia também ajuda a fugir do hype: fazer a cena, errar, pisar num palco. É perigoso acreditar no glamour. Pode até ir pra banheira com champanhe, mas aí volta pro mundo real.

Merriam-Webster's Word of the Day for March 15, 2024 is: hegemony • hih-JEM-uh-nee • noun Hegemony refers to influence or control over another country, group of people, etc. // The two nations have for centuries struggled for regional hegemony. See the entry > Examples: “Beyond Hollywood's scrambled economics, one of the biggest threats to its hegemony is social media—TikTok, Facebook, Instagram, and X-formerly-known-as-Twitter—with which it has always had an uncomfortable relationship, alternately its victim or master.” — Peter Biskind, The Hollywood Reporter, 26 Jan. 2024 Did you know? Hegemony refers to a kind of domination. It was borrowed in the mid-16th century from the Greek word hēgemonia, a noun formed from the verb hēgeisthai, “to lead.” At first hegemony was used specifically to refer to the control once wielded by ancient Greek states; later it was applied to domination by other political actors. By the 19th century, the word had acquired a second sense referring to the social or cultural influence wielded by a dominant entity over others of its kind, a sense employed by design scholar Joshua Langman when describing the use of found objects by French artist Marcel Duchamp (he of notorious readymade Fountain fame) as a means “to question and criticize the values of the artistic hegemony by eschewing craft entirely.”

Né en 1907, le journaliste américain Varian Fry est connu pour avoir sauvé, durant la Seconde Guerre mondiale, de nombreux juifs réfugiés en France. Correspondant d'un journal américain à Berlin, il est témoin, en 1935, des violences que font subir aux juifs les nazis. Il assiste alors à des scènes choquantes, qui vont le marquer durablement. En août 1940, il débarque à Marseille. Officiellement, il est là comme journaliste. En fait, il est mandaté par l'"Emergency rescue comity", un organisme de secours parrainé par Eleanor Roosevelt, l'épouse du Président américain. Le but de ce comité est d'organiser la fuite vers les États-Unis des juifs menacés par les nazis, en Allemagne ou dans d'autres pays d'Europe. En principe, la mission de sauvetage confiée a Varian Fry ne concerne pas tous les réfugiés juifs. En effet, il doit permettre à des intellectuels, des écrivains ou des artistes, de s'échapper vers l'Amérique. Il arrive à Marseille avec une valise et une somme assez modeste en poche, environ 3.000 dollars. En principe, il est là pour trois mois, mais son séjour va durer plus d'un an. Il reçoit l'aide d'un syndicat américain et de certaines organisations juives. Le vice-consul américain à Marseille lui est d'un grand secours, ainsi que la riche collectionneuse d'art Peggy Guggenheim, qui lui apporte un soutien financier appréciable. Varian Fry fonde bientôt le Centre américain de secours (CAS), où une soixantaine de personnes viennent chaque jour demander de l'aide. Dans la vaste villa Air-Bel, située dans la banlieue de Marseille, se pressent des intellectuels renommés, pressés de quitter l'Europe. On y côtoie en effet des poètes, comme Tristan Tzara ou Benjamin Perret, ou des artistes, comme André Masson, Max Ernst, Marcel Duchamp ou encore Marc Chagall. Au total, plus de 2.000 personnes réussirent à fuir l'Europe grâce à l'intervention de Varian Fry. Le gouvernement de Vichy, qui appréciait peu ses activités, obtient son départ en septembre 1941. Tardivement reconnue, son action lui vaut pourtant, à titre posthume, le titre de Juste parmi les nations. Learn more about your ad choices. Visit megaphone.fm/adchoices

Né en 1907, le journaliste américain Varian Fry est connu pour avoir sauvé, durant la Seconde Guerre mondiale, de nombreux juifs réfugiés en France. Correspondant d'un journal américain à Berlin, il est témoin, en 1935, des violences que font subir aux juifs les nazis.Il assiste alors à des scènes choquantes, qui vont le marquer durablement. En août 1940, il débarque à Marseille. Officiellement, il est là comme journaliste. En fait, il est mandaté par l'"Emergency rescue comity", un organisme de secours parrainé par Eleanor Roosevelt, l'épouse du Président américain.Le but de ce comité est d'organiser la fuite vers les États-Unis des juifs menacés par les nazis, en Allemagne ou dans d'autres pays d'Europe.En principe, la mission de sauvetage confiée a Varian Fry ne concerne pas tous les réfugiés juifs. En effet, il doit permettre à des intellectuels, des écrivains ou des artistes, de s'échapper vers l'Amérique.Il arrive à Marseille avec une valise et une somme assez modeste en poche, environ 3.000 dollars. En principe, il est là pour trois mois, mais son séjour va durer plus d'un an.Il reçoit l'aide d'un syndicat américain et de certaines organisations juives. Le vice-consul américain à Marseille lui est d'un grand secours, ainsi que la riche collectionneuse d'art Peggy Guggenheim, qui lui apporte un soutien financier appréciable.Varian Fry fonde bientôt le Centre américain de secours (CAS), où une soixantaine de personnes viennent chaque jour demander de l'aide. Dans la vaste villa Air-Bel, située dans la banlieue de Marseille, se pressent des intellectuels renommés, pressés de quitter l'Europe.On y côtoie en effet des poètes, comme Tristan Tzara ou Benjamin Perret, ou des artistes, comme André Masson, Max Ernst, Marcel Duchamp ou encore Marc Chagall.Au total, plus de 2.000 personnes réussirent à fuir l'Europe grâce à l'intervention de Varian Fry. Le gouvernement de Vichy, qui appréciait peu ses activités, obtient son départ en septembre 1941.Tardivement reconnue, son action lui vaut pourtant, à titre posthume, le titre de Juste parmi les nations. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Heather Stobo and Lisa Casoni, owner and operators of Beato Chocolates, moved to Ojai in 2010. They opened Porch Gallery in 2013 with the goal of pairing up artists of different genres and mediums to "see what happens." They came to Ojai with open minds and hearts and quickly became integral to the community. The Sunday morning impromptu gatherings on the famous porch became an accelerator for the unexpected and incidental encounters that lead to interesting relationships and creative partnerships. Their often odd and always interesting juxtapositions brought an exciting new energy and inspiration to Ojai's arts scene. Some of these artists were regional and even national favorites, like Shana Mubari and Ojai's own Dennis Mukai, others brought a more local sensibility but all of them created something new, vital and bigger than the sum of their parts. Beato Chocolates grew out their shared affinity and admiration for the pioneering ceramicist and "Mama of Dada," whose relationship with Marcel Duchamp and Henri Pierre-Roché was integral to a revolution in the art world. Lisa and Heather discussed the arts scene in Ojai and where and how it's likely to change and evolve in the future, their experiences adapting themselves to Ojai and their journeys here. We did not talk about giant squid, Helen Frankenthaler or Zen & The Art of Motorcycle Maintenance. Learn more at BeatoChocolates.com.

Marcel Duchamp liked to portray himself as a rebel and an outsider courting controversy. While he was bold and pushing boundaries, he also came from a family of artists and he served as an advisor to the likes of Peggy Guggenheim and MoMA. Two of Duchamp's best known pieces were Nude Descending a Staircase 2 and Fountain. Check out my other podcasts  Art Smart | Rainbow Puppy Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

To Helen Molesworth, curating is much more than carefully selecting and positioning noteworthy artworks and objects alongside one another within a space; it's also about telling stories through them and about them, and in turn, communicating particular, often potent messages. Her probing writing takes a similar approach to her curatorial work, as can be seen in her new book, Open Questions: Thirty Years of Writing About Art (Phaidon), which culls together 24 of her essays written across three decades. For nearly 20 of those years, Molesworth served in various curatorial roles at museums and arts institutions including the Baltimore Museum of Art, the Institute of Contemporary Art Boston, and most recently, as the chief curator at the Museum of Contemporary Art in Los Angeles (MOCA). In the five years since her departure from MOCA, Molesworth has built a thriving practice as an independent curator, writer, and podcaster, notably as the host of the six-part podcast Death of an Artist, which was named a best podcast of 2022 by both The Economist and The Atlantic.On this episode of Time Sensitive, Molesworth discusses her lifelong engagement with the work of Marcel Duchamp; the transformative power of a great conversation; and the personal and professional freedom she has found in recent years as a roving, independent voice in the art world.Special thanks to our Season 8 sponsor, Van Cleef & Arpels.Show notes:[00:25] Helen Molesworth[03:50] Open Questions: Thirty Years of Writing About Art[04:02] Marcel Duchamp[04:09] “At Home with Marcel Duchamp: The Readymade and Domesticity”[11:33] “The Creative Act”[12:09] Marcel Duchamp's “Fountain”[17:22] Frank Stella[17:28] John Baldessari[21:56] Paul Lafargue[22:32] Doris Salcedo[29:50] Josiah McElheny[35:23] Al Hirschfeld[36:41] State University of New York at Albany[36:43] Whitney Museum Independent Study Program[36:48] Cornell University[42:33] “One Day at a Time”[46:57] Kerry James Marshall[47:00] “This Will Have Been: Art, Love & Politics in the 1980s”[47:02] “Leap Before You Look: Black Mountain College 1933-1957”[47:41] Death of an Artist[47:46] Dialogues: The David Zwirner Podcast[47:48] Recording Artists[54:53] Museum of Contemporary Art, Los Angeles[54:51] Carl Andre[59:45] WBLS: The Quiet Storm

Episode 171 looks at "Hey Jude", the White Album, and the career of the Beatles from August 1967 through November 1968. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifty-seven-minute bonus episode available, on "I Love You" by People!. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata Not really an error, but at one point I refer to Ornette Coleman as a saxophonist. While he was, he plays trumpet on the track that is excerpted after that. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. This time I also used Steve Turner's The Beatles: The Stories Behind the Songs 1967-1970. I referred to Philip Norman's biographies of John Lennon, George Harrison, and Paul McCartney, to Graeme Thomson's biography of George Harrison, Take a Sad Song by James Campion, Yoko Ono: An Artful Life by Donald Brackett, Those Were the Days 2.0 by Stephan Granados, and Sound Pictures by Kenneth Womack. Sadly the only way to get the single mix of “Hey Jude” is on this ludicrously-expensive out-of-print box set, but a remixed stereo mix is easily available on the new reissue of the 1967-70 compilation. The original mixes of the White Album are also, shockingly, out of print, but this 2018 remix is available for the moment. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a quick note -- this episode deals, among other topics, with child abandonment, spousal neglect, suicide attempts, miscarriage, rape accusations, and heroin addiction. If any of those topics are likely to upset you, you might want to check the transcript rather than listening to this episode. It also, for once, contains a short excerpt of an expletive, but given that that expletive in that context has been regularly played on daytime radio without complaint for over fifty years, I suspect it can be excused. The use of mantra meditation is something that exists across religions, and which appears to have been independently invented multiple times, in multiple cultures. In the Western culture to which most of my listeners belong, it is now best known as an aspect of what is known as "mindfulness", a secularised version of Buddhism which aims to provide adherents with the benefits of the teachings of the Buddha but without the cosmology to which they are attached. But it turns up in almost every religious tradition I know of in one form or another. The idea of mantra meditation is a very simple one, and one that even has some basis in science. There is a mathematical principle in neurology and information science called the free energy principle which says our brains are wired to try to minimise how surprised we are --  our brain is constantly making predictions about the world, and then looking at the results from our senses to see if they match. If they do, that's great, and the brain will happily move on to its next prediction. If they don't, the brain has to update its model of the world to match the new information, make new predictions, and see if those new predictions are a better match. Every person has a different mental model of the world, and none of them match reality, but every brain tries to get as close as possible. This updating of the model to match the new information is called "thinking", and it uses up energy, and our bodies and brains have evolved to conserve energy as much as possible. This means that for many people, most of the time, thinking is unpleasant, and indeed much of the time that people have spent thinking, they've been thinking about how to stop themselves having to do it at all, and when they have managed to stop thinking, however briefly, they've experienced great bliss. Many more or less effective technologies have been created to bring about a more minimal-energy state, including alcohol, heroin, and barbituates, but many of these have unwanted side-effects, such as death, which people also tend to want to avoid, and so people have often turned to another technology. It turns out that for many people, they can avoid thinking by simply thinking about something that is utterly predictable. If they minimise the amount of sensory input, and concentrate on something that they can predict exactly, eventually they can turn off their mind, relax, and float downstream, without dying. One easy way to do this is to close your eyes, so you can't see anything, make your breath as regular as possible, and then concentrate on a sound that repeats over and over.  If you repeat a single phrase or word a few hundred times, that regular repetition eventually causes your mind to stop having to keep track of the world, and experience a peace that is, by all accounts, unlike any other experience. What word or phrase that is can depend very much on the tradition. In Transcendental Meditation, each person has their own individual phrase. In the Catholicism in which George Harrison and Paul McCartney were raised, popular phrases for this are "Lord Jesus Christ, Son of God, have mercy on me, a sinner" or "Hail, Mary, full of grace, the Lord is with you; blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Amen." In some branches of Buddhism, a popular mantra is "_NAMU MYŌHŌ RENGE KYŌ_". In the Hinduism to which George Harrison later converted, you can use "Hare Krishna Hare Krishna, Krishna Krishna Hare Hare, Hare Rama Hare Rama, Rama Rama Hare Hare", "Om Namo Bhagavate Vāsudevāya" or "Om Gam Ganapataye Namaha". Those last two start with the syllable "Om", and indeed some people prefer to just use that syllable, repeating a single syllable over and over again until they reach a state of transcendence. [Excerpt: The Beatles, "Hey Jude" ("na na na na na na na")] We don't know much about how the Beatles first discovered Maharishi Mahesh Yogi, except that it was thanks to Pattie Boyd, George Harrison's then-wife. Unfortunately, her memory of how she first became involved in the Maharishi's Spiritual Regeneration Movement, as described in her autobiography, doesn't fully line up with other known facts. She talks about reading about the Maharishi in the paper with her friend Marie-Lise while George was away on tour, but she also places the date that this happened in February 1967, several months after the Beatles had stopped touring forever. We'll be seeing a lot more of these timing discrepancies as this story progresses, and people's memories increasingly don't match the events that happened to them. Either way, it's clear that Pattie became involved in the Spiritual Regeneration Movement a good length of time before her husband did. She got him to go along with her to one of the Maharishi's lectures, after she had already been converted to the practice of Transcendental Meditation, and they brought along John, Paul, and their partners (Ringo's wife Maureen had just given birth, so they didn't come). As we heard back in episode one hundred and fifty, that lecture was impressive enough that the group, plus their wives and girlfriends (with the exception of Maureen Starkey) and Mick Jagger and Marianne Faithfull, all went on a meditation retreat with the Maharishi at a holiday camp in Bangor, and it was there that they learned that Brian Epstein had been found dead. The death of the man who had guided the group's career could not have come at a worse time for the band's stability.  The group had only recorded one song in the preceding two months -- Paul's "Your Mother Should Know" -- and had basically been running on fumes since completing recording of Sgt Pepper many months earlier. John's drug intake had increased to the point that he was barely functional -- although with the enthusiasm of the newly converted he had decided to swear off LSD at the Maharishi's urging -- and his marriage was falling apart. Similarly, Paul McCartney's relationship with Jane Asher was in a bad state, though both men were trying to repair their damaged relationships, while both George and Ringo were having doubts about the band that had made them famous. In George's case, he was feeling marginalised by John and Paul, his songs ignored or paid cursory attention, and there was less for him to do on the records as the group moved away from making guitar-based rock and roll music into the stranger areas of psychedelia. And Ringo, whose main memory of the recording of Sgt Pepper was of learning to play chess while the others went through the extensive overdubs that characterised that album, was starting to feel like his playing was deteriorating, and that as the only non-writer in the band he was on the outside to an extent. On top of that, the group were in the middle of a major plan to restructure their business. As part of their contract renegotiations with EMI at the beginning of 1967, it had been agreed that they would receive two million pounds -- roughly fifteen million pounds in today's money -- in unpaid royalties as a lump sum. If that had been paid to them as individuals, or through the company they owned, the Beatles Ltd, they would have had to pay the full top rate of tax on it, which as George had complained the previous year was over ninety-five percent. (In fact, he'd been slightly exaggerating the generosity of the UK tax system to the rich, as at that point the top rate of income tax was somewhere around ninety-seven and a half percent). But happily for them, a couple of years earlier the UK had restructured its tax laws and introduced a corporation tax, which meant that the profits of corporations were no longer taxed at the same high rate as income. So a new company had been set up, The Beatles & Co, and all the group's non-songwriting income was paid into the company. Each Beatle owned five percent of the company, and the other eighty percent was owned by a new partnership, a corporation that was soon renamed Apple Corps -- a name inspired by a painting that McCartney had liked by the artist Rene Magritte. In the early stages of Apple, it was very entangled with Nems, the company that was owned by Brian and Clive Epstein, and which was in the process of being sold to Robert Stigwood, though that sale fell through after Brian's death. The first part of Apple, Apple Publishing, had been set up in the summer of 1967, and was run by Terry Doran, a friend of Epstein's who ran a motor dealership -- most of the Apple divisions would be run by friends of the group rather than by people with experience in the industries in question. As Apple was set up during the point that Stigwood was getting involved with NEMS, Apple Publishing's initial offices were in the same building with, and shared staff with, two publishing companies that Stigwood owned, Dratleaf Music, who published Cream's songs, and Abigail Music, the Bee Gees' publishers. And indeed the first two songs published by Apple were copyrights that were gifted to the company by Stigwood -- "Listen to the Sky", a B-side by an obscure band called Sands: [Excerpt: Sands, "Listen to the Sky"] And "Outside Woman Blues", an arrangement by Eric Clapton of an old blues song by Blind Joe Reynolds, which Cream had copyrighted separately and released on Disraeli Gears: [Excerpt: Cream, "Outside Woman Blues"] But Apple soon started signing outside songwriters -- once Mike Berry, a member of Apple Publishing's staff, had sat McCartney down and explained to him what music publishing actually was, something he had never actually understood even though he'd been a songwriter for five years. Those songwriters, given that this was 1967, were often also performers, and as Apple Records had not yet been set up, Apple would try to arrange recording contracts for them with other labels. They started with a group called Focal Point, who got signed by badgering Paul McCartney to listen to their songs until he gave them Doran's phone number to shut them up: [Excerpt: Focal Point, "Sycamore Sid"] But the big early hope for Apple Publishing was a songwriter called George Alexander. Alexander's birth name had been Alexander Young, and he was the brother of George Young, who was a member of the Australian beat group The Easybeats, who'd had a hit with "Friday on My Mind": [Excerpt: The Easybeats, "Friday on My Mind"] His younger brothers Malcolm and Angus would go on to have a few hits themselves, but AC/DC wouldn't be formed for another five years. Terry Doran thought that Alexander should be a member of a band, because bands were more popular than solo artists at the time, and so he was placed with three former members of Tony Rivers and the Castaways, a Beach Boys soundalike group that had had some minor success. John Lennon suggested that the group be named Grapefruit, after a book he was reading by a conceptual artist of his acquaintance named Yoko Ono, and as Doran was making arrangements with Terry Melcher for a reciprocal publishing deal by which Melcher's American company would publish Apple songs in the US while Apple published songs from Melcher's company in the UK, it made sense for Melcher to also produce Grapefruit's first single, "Dear Delilah": [Excerpt: Grapefruit, "Dear Delilah"] That made number twenty-one in the UK when it came out in early 1968, on the back of publicity about Grapefruit's connection with the Beatles, but future singles by the band were much less successful, and like several other acts involved with Apple, they found that they were more hampered by the Beatles connection than helped. A few other people were signed to Apple Publishing early on, of whom the most notable was Jackie Lomax. Lomax had been a member of a minor Merseybeat group, the Undertakers, and after they had split up, he'd been signed by Brian Epstein with a new group, the Lomax Alliance, who had released one single, "Try as You May": [Excerpt: The Lomax Alliance, "Try As You May"] After Epstein's death, Lomax had plans to join another band, being formed by another Merseybeat musician, Chris Curtis, the former drummer of the Searchers. But after going to the Beatles to talk with them about them helping the new group financially, Lomax was persuaded by John Lennon to go solo instead. He may later have regretted that decision, as by early 1968 the people that Curtis had recruited for his new band had ditched him and were making a name for themselves as Deep Purple. Lomax recorded one solo single with funding from Stigwood, a cover version of a song by an obscure singer-songwriter, Jake Holmes, "Genuine Imitation Life": [Excerpt: Jackie Lomax, "Genuine Imitation Life"] But he was also signed to Apple Publishing as a songwriter. The Beatles had only just started laying out plans for Apple when Epstein died, and other than the publishing company one of the few things they'd agreed on was that they were going to have a film company, which was to be run by Denis O'Dell, who had been an associate producer on A Hard Day's Night and on How I Won The War, the Richard Lester film Lennon had recently starred in. A few days after Epstein's death, they had a meeting, in which they agreed that the band needed to move forward quickly if they were going to recover from Epstein's death. They had originally been planning on going to India with the Maharishi to study meditation, but they decided to put that off until the new year, and to press forward with a film project Paul had been talking about, to be titled Magical Mystery Tour. And so, on the fifth of September 1967, they went back into the recording studio and started work on a song of John's that was earmarked for the film, "I am the Walrus": [Excerpt: The Beatles, "I am the Walrus"] Magical Mystery Tour, the film, has a mixed reputation which we will talk about shortly, but one defence that Paul McCartney has always made of it is that it's the only place where you can see the Beatles performing "I am the Walrus". While the song was eventually relegated to a B-side, it's possibly the finest B-side of the Beatles' career, and one of the best tracks the group ever made. As with many of Lennon's songs from this period, the song was a collage of many different elements pulled from his environment and surroundings, and turned into something that was rather more than the sum of its parts. For its musical inspiration, Lennon pulled from, of all things, a police siren going past his house. (For those who are unfamiliar with what old British police sirens sounded like, as opposed to the ones in use for most of my lifetime or in other countries, here's a recording of one): [Excerpt: British police siren ca 1968] That inspired Lennon to write a snatch of lyric to go with the sound of the siren, starting "Mister city policeman sitting pretty". He had two other song fragments, one about sitting in the garden, and one about sitting on a cornflake, and he told Hunter Davies, who was doing interviews for his authorised biography of the group, “I don't know how it will all end up. Perhaps they'll turn out to be different parts of the same song.” But the final element that made these three disparate sections into a song was a letter that came from Stephen Bayley, a pupil at Lennon's old school Quarry Bank, who told him that the teachers at the school -- who Lennon always thought of as having suppressed his creativity -- were now analysing Beatles lyrics in their lessons. Lennon decided to come up with some nonsense that they couldn't analyse -- though as nonsensical as the finished song is, there's an underlying anger to a lot of it that possibly comes from Lennon thinking of his school experiences. And so Lennon asked his old schoolfriend Pete Shotton to remind him of a disgusting playground chant that kids used to sing in schools in the North West of England (and which they still sang with very minor variations at my own school decades later -- childhood folklore has a remarkably long life). That rhyme went: Yellow matter custard, green snot pie All mixed up with a dead dog's eye Slap it on a butty, nice and thick, And drink it down with a cup of cold sick Lennon combined some parts of this with half-remembered fragments of Lewis Carrol's The Walrus and the Carpenter, and with some punning references to things that were going on in his own life and those of his friends -- though it's difficult to know exactly which of the stories attached to some of the more incomprehensible bits of the lyrics are accurate. The story that the line "I am the eggman" is about a sexual proclivity of Eric Burdon of the Animals seems plausible, while the contention by some that the phrase "semolina pilchard" is a reference to Sgt Pilcher, the corrupt policeman who had arrested three of the Rolling Stones, and would later arrest Lennon, on drugs charges, seems less likely. The track is a masterpiece of production, but the release of the basic take on Anthology 2 in 1996 showed that the underlying performance, before George Martin worked his magic with the overdubs, is still a remarkable piece of work: [Excerpt: The Beatles, "I am the Walrus (Anthology 2 version)"] But Martin's arrangement and production turned the track from a merely very good track into a masterpiece. The string arrangement, very much in the same mould as that for "Strawberry Fields Forever" but giving a very different effect with its harsh cello glissandi, is the kind of thing one expects from Martin, but there's also the chanting of the Mike Sammes Singers, who were more normally booked for sessions like Englebert Humperdinck's "The Last Waltz": [Excerpt: Engelbert Humperdinck, "The Last Waltz"] But here were instead asked to imitate the sound of the strings, make grunting noises, and generally go very far out of their normal comfort zone: [Excerpt: The Beatles, "I am the Walrus"] But the most fascinating piece of production in the entire track is an idea that seems to have been inspired by people like John Cage -- a live feed of a radio being tuned was played into the mono mix from about the halfway point, and whatever was on the radio at the time was captured: [Excerpt: The Beatles, "I am the Walrus"] This is also why for many decades it was impossible to have a true stereo mix of the track -- the radio part was mixed directly into the mono mix, and it wasn't until the 1990s that someone thought to track down a copy of the original radio broadcasts and recreate the process. In one of those bits of synchronicity that happen more often than you would think when you're creating aleatory art, and which are why that kind of process can be so appealing, one bit of dialogue from the broadcast of King Lear that was on the radio as the mixing was happening was *perfectly* timed: [Excerpt: The Beatles, "I am the Walrus"] After completing work on the basic track for "I am the Walrus", the group worked on two more songs for the film, George's "Blue Jay Way" and a group-composed twelve-bar blues instrumental called "Flying", before starting production. Magical Mystery Tour, as an idea, was inspired in equal parts by Ken Kesey's Merry Pranksters, the collective of people we talked about in the episode on the Grateful Dead who travelled across the US extolling the virtues of psychedelic drugs, and by mystery tours, a British working-class tradition that has rather fallen out of fashion in the intervening decades. A mystery tour would generally be put on by a coach-hire company, and would be a day trip to an unannounced location -- though the location would in fact be very predictable, and would be a seaside town within a couple of hours' drive of its starting point. In the case of the ones the Beatles remembered from their own childhoods, this would be to a coastal town in Lancashire or Wales, like Blackpool, Rhyl, or Prestatyn. A coachload of people would pay to be driven to this random location, get very drunk and have a singsong on the bus, and spend a day wherever they were taken. McCartney's plan was simple -- they would gather a group of passengers and replicate this experience over the course of several days, and film whatever went on, but intersperse that with more planned out sketches and musical numbers. For this reason, along with the Beatles and their associates, the cast included some actors found through Spotlight and some of the group's favourite performers, like the comedian Nat Jackley (whose comedy sequence directed by John was cut from the final film) and the surrealist poet/singer/comedian Ivor Cutler: [Excerpt: Ivor Cutler, "I'm Going in a Field"] The film also featured an appearance by a new band who would go on to have great success over the next year, the Bonzo Dog Doo-Dah Band. They had recorded their first single in Abbey Road at the same time as the Beatles were recording Revolver, but rather than being progressive psychedelic rock, it had been a remake of a 1920s novelty song: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises For the Talkies"] Their performance in Magical Mystery Tour was very different though -- they played a fifties rock pastiche written by band leaders Vivian Stanshall and Neil Innes while a stripper took off her clothes. While several other musical sequences were recorded for the film, including one by the band Traffic and one by Cutler, other than the Beatles tracks only the Bonzos' song made it into the finished film: [Excerpt: The Bonzo Dog Doo-Dah Band, "Death Cab for Cutie"] That song, thirty years later, would give its name to a prominent American alternative rock band. Incidentally the same night that Magical Mystery Tour was first broadcast was also the night that the Bonzo Dog Doo-Dah Band first appeared on a TV show, Do Not Adjust Your Set, which featured three future members of the Monty Python troupe -- Eric Idle, Michael Palin, and Terry Jones. Over the years the careers of the Bonzos, the Pythons, and the Beatles would become increasingly intertwined, with George Harrison in particular striking up strong friendships and working relationships with Bonzos Neil Innes and "Legs" Larry Smith. The filming of Magical Mystery Tour went about as well as one might expect from a film made by four directors, none of whom had any previous filmmaking experience, and none of whom had any business knowledge. The Beatles were used to just turning up and having things magically done for them by other people, and had no real idea of the infrastructure challenges that making a film, even a low-budget one, actually presents, and ended up causing a great deal of stress to almost everyone involved. The completed film was shown on TV on Boxing Day 1967 to general confusion and bemusement. It didn't help that it was originally broadcast in black and white, and so for example the scene showing shifting landscapes (outtake footage from Stanley Kubrick's Dr. Strangelove, tinted various psychedelic colours) over the "Flying" music, just looked like grey fuzz. But also, it just wasn't what people were expecting from a Beatles film. This was a ramshackle, plotless, thing more inspired by Andy Warhol's underground films than by the kind of thing the group had previously appeared in, and it was being presented as Christmas entertainment for all the family. And to be honest, it's not even a particularly good example of underground filmmaking -- though it looks like a masterpiece when placed next to something like the Bee Gees' similar effort, Cucumber Castle. But there are enough interesting sequences in there for the project not to be a complete failure -- and the deleted scenes on the DVD release, including the performances by Cutler and Traffic, and the fact that the film was edited down from ten hours to fifty-two minutes, makes one wonder if there's a better film that could be constructed from the original footage. Either way, the reaction to the film was so bad that McCartney actually appeared on David Frost's TV show the next day to defend it and, essentially, apologise. While they were editing the film, the group were also continuing to work in the studio, including on two new McCartney songs, "The Fool on the Hill", which was included in Magical Mystery Tour, and "Hello Goodbye", which wasn't included on the film's soundtrack but was released as the next single, with "I Am the Walrus" as the B-side: [Excerpt: The Beatles, "Hello Goodbye"] Incidentally, in the UK the soundtrack to Magical Mystery Tour was released as a double-EP rather than as an album (in the US, the group's recent singles and B-sides were added to turn it into a full-length album, which is how it's now generally available). "I Am the Walrus" was on the double-EP as well as being on the single's B-side, and the double-EP got to number two on the singles charts, meaning "I am the Walrus" was on the records at number one and number two at the same time. Before it became obvious that the film, if not the soundtrack, was a disaster, the group held a launch party on the twenty-first of December, 1967. The band members went along in fancy dress, as did many of the cast and crew -- the Bonzo Dog Doo-Dah Band performed at the party. Mike Love and Bruce Johnston of the Beach Boys also turned up at the party, and apparently at one point jammed with the Bonzos, and according to some, but not all, reports, a couple of the Beatles joined in as well. Love and Johnston had both just met the Maharishi for the first time a couple of days earlier, and Love had been as impressed as the Beatles were, and it may have been at this party that the group mentioned to Love that they would soon be going on a retreat in India with the guru -- a retreat that was normally meant for training TM instructors, but this time seemed to be more about getting celebrities involved. Love would also end up going with them. That party was also the first time that Cynthia Lennon had an inkling that John might not be as faithful to her as she previously supposed. John had always "joked" about being attracted to George Harrison's wife, Patti, but this time he got a little more blatant about his attraction than he ever had previously, to the point that he made Cynthia cry, and Cynthia's friend, the pop star Lulu, decided to give Lennon a very public dressing-down for his cruelty to his wife, a dressing-down that must have been a sight to behold, as Lennon was dressed as a Teddy boy while Lulu was in a Shirley Temple costume. It's a sign of how bad the Lennons' marriage was at this point that this was the second time in a two-month period where Cynthia had ended up crying because of John at a film launch party and been comforted by a female pop star. In October, Cilla Black had held a party to celebrate the belated release of John's film How I Won the War, and during the party Georgie Fame had come up to Black and said, confused, "Cynthia Lennon is hiding in your wardrobe". Black went and had a look, and Cynthia explained to her “I'm waiting to see how long it is before John misses me and comes looking for me.” Black's response had been “You'd better face it, kid—he's never gonna come.” Also at the Magical Mystery Tour party was Lennon's father, now known as Freddie Lennon, and his new nineteen-year-old fiancee. While Hunter Davis had been researching the Beatles' biography, he'd come across some evidence that the version of Freddie's attitude towards John that his mother's side of the family had always told him -- that Freddie had been a cruel and uncaring husband who had not actually wanted to be around his son -- might not be the whole of the truth, and that the mother who he had thought of as saintly might also have had some part to play in their marriage breaking down and Freddie not seeing his son for twenty years. The two had made some tentative attempts at reconciliation, and indeed Freddie would even come and live with John for a while, though within a couple of years the younger Lennon's heart would fully harden against his father again. Of course, the things that John always resented his father for were pretty much exactly the kind of things that Lennon himself was about to do. It was around this time as well that Derek Taylor gave the Beatles copies of the debut album by a young singer/songwriter named Harry Nilsson. Nilsson will be getting his own episode down the line, but not for a couple of years at my current rates, so it's worth bringing that up here, because that album became a favourite of all the Beatles, and would have a huge influence on their songwriting for the next couple of years, and because one song on the album, "1941", must have resonated particularly deeply with Lennon right at this moment -- an autobiographical song by Nilsson about how his father had left him and his mother when he was a small boy, and about his own fear that, as his first marriage broke down, he was repeating the pattern with his stepson Scott: [Excerpt: Nilsson, "1941"] The other major event of December 1967, rather overshadowed by the Magical Mystery Tour disaster the next day, was that on Christmas Day Paul McCartney and Jane Asher announced their engagement. A few days later, George Harrison flew to India. After John and Paul had had their outside film projects -- John starring in How I Won The War and Paul doing the soundtrack for The Family Way -- the other two Beatles more or less simultaneously did their own side project films, and again one acted while the other did a soundtrack. Both of these projects were in the rather odd subgenre of psychedelic shambolic comedy film that sprang up in the mid sixties, a subgenre that produced a lot of fascinating films, though rather fewer good ones. Indeed, both of them were in the subsubgenre of shambolic psychedelic *sex* comedies. In Ringo's case, he had a small role in the film Candy, which was based on the novel we mentioned in the last episode, co-written by Terry Southern, which was in itself a loose modern rewriting of Voltaire's Candide. Unfortunately, like such other classics of this subgenre as Anthony Newley's Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?, Candy has dated *extremely* badly, and unless you find repeated scenes of sexual assault and rape, ethnic stereotypes, and jokes about deformity and disfigurement to be an absolute laugh riot, it's not a film that's worth seeking out, and Starr's part in it is not a major one. Harrison's film was of the same basic genre -- a film called Wonderwall about a mad scientist who discovers a way to see through the walls of his apartment, and gets to see a photographer taking sexy photographs of a young woman named Penny Lane, played by Jane Birkin: [Excerpt: Some Wonderwall film dialogue ripped from the Blu-Ray] Wonderwall would, of course, later inspire the title of a song by Oasis, and that's what the film is now best known for, but it's a less-unwatchable film than Candy, and while still problematic it's less so. Which is something. Harrison had been the Beatle with least involvement in Magical Mystery Tour -- McCartney had been the de facto director, Starr had been the lead character and the only one with much in the way of any acting to do, and Lennon had written the film's standout scene and its best song, and had done a little voiceover narration. Harrison, by contrast, barely has anything to do in the film apart from the one song he contributed, "Blue Jay Way", and he said of the project “I had no idea what was happening and maybe I didn't pay enough attention because my problem, basically, was that I was in another world, I didn't really belong; I was just an appendage.” He'd expressed his discomfort to his friend Joe Massot, who was about to make his first feature film. Massot had got to know Harrison during the making of his previous film, Reflections on Love, a mostly-silent short which had starred Harrison's sister-in-law Jenny Boyd, and which had been photographed by Robert Freeman, who had been the photographer for the Beatles' album covers from With the Beatles through Rubber Soul, and who had taken most of the photos that Klaus Voorman incorporated into the cover of Revolver (and whose professional association with the Beatles seemed to come to an end around the same time he discovered that Lennon had been having an affair with his wife). Massot asked Harrison to write the music for the film, and told Harrison he would have complete free rein to make whatever music he wanted, so long as it fit the timing of the film, and so Harrison decided to create a mixture of Western rock music and the Indian music he loved. Harrison started recording the music at the tail end of 1967, with sessions with several London-based Indian musicians and John Barham, an orchestrator who had worked with Ravi Shankar on Shankar's collaborations with Western musicians, including the Alice in Wonderland soundtrack we talked about in the "All You Need is Love" episode. For the Western music, he used the Remo Four, a Merseybeat group who had been on the scene even before the Beatles, and which contained a couple of classmates of Paul McCartney, but who had mostly acted as backing musicians for other artists. They'd backed Johnny Sandon, the former singer with the Searchers, on a couple of singles, before becoming the backing band for Tommy Quickly, a NEMS artist who was unsuccessful despite starting his career with a Lennon/McCartney song, "Tip of My Tongue": [Excerpt: Tommy Quickly, "Tip of My Tongue"] The Remo Four would later, after a lineup change, become Ashton, Gardner and Dyke, who would become one-hit wonders in the seventies, and during the Wonderwall sessions they recorded a song that went unreleased at the time, and which would later go on to be rerecorded by Ashton, Gardner, and Dyke. "In the First Place" also features Harrison on backing vocals and possibly guitar, and was not submitted for the film because Harrison didn't believe that Massot wanted any vocal tracks, but the recording was later discovered and used in a revised director's cut of the film in the nineties: [Excerpt: The Remo Four, "In the First Place"] But for the most part the Remo Four were performing instrumentals written by Harrison. They weren't the only Western musicians performing on the sessions though -- Peter Tork of the Monkees dropped by these sessions and recorded several short banjo solos, which were used in the film soundtrack but not in the soundtrack album (presumably because Tork was contracted to another label): [Excerpt: Peter Tork, "Wonderwall banjo solo"] Another musician who was under contract to another label was Eric Clapton, who at the time was playing with The Cream, and who vaguely knew Harrison and so joined in for the track "Ski-ing", playing lead guitar under the cunning, impenetrable, pseudonym "Eddie Clayton", with Harrison on sitar, Starr on drums, and session guitarist Big Jim Sullivan on bass: [Excerpt: George Harrison, "Ski-ing"] But the bulk of the album was recorded in EMI's studios in the city that is now known as Mumbai but at the time was called Bombay. The studio facilities in India had up to that point only had a mono tape recorder, and Bhaskar Menon, one of the top executives at EMI's Indian division and later the head of EMI music worldwide, personally brought the first stereo tape recorder to the studio to aid in Harrison's recording. The music was all composed by Harrison and performed by the Indian musicians, and while Harrison was composing in an Indian mode, the musicians were apparently fascinated by how Western it sounded to them: [Excerpt: George Harrison, "Microbes"] While he was there, Harrison also got the instrumentalists to record another instrumental track, which wasn't to be used for the film: [Excerpt: George Harrison, "The Inner Light (instrumental)"] That track would, instead, become part of what was to be Harrison's first composition to make a side of a Beatles single. After John and George had appeared on the David Frost show talking about the Maharishi, in September 1967, George had met a lecturer in Sanskrit named Juan Mascaró, who wrote to Harrison enclosing a book he'd compiled of translations of religious texts, telling him he'd admired "Within You Without You" and thought it would be interesting if Harrison set something from the Tao Te Ching to music. He suggested a text that, in his translation, read: "Without going out of my door I can know all things on Earth Without looking out of my window I can know the ways of heaven For the farther one travels, the less one knows The sage, therefore Arrives without travelling Sees all without looking Does all without doing" Harrison took that text almost verbatim, though he created a second verse by repeating the first few lines with "you" replacing "I" -- concerned that listeners might think he was just talking about himself, and wouldn't realise it was a more general statement -- and he removed the "the sage, therefore" and turned the last few lines into imperative commands rather than declarative statements: [Excerpt: The Beatles, "The Inner Light"] The song has come in for some criticism over the years as being a little Orientalist, because in critics' eyes it combines Chinese philosophy with Indian music, as if all these things are equally "Eastern" and so all the same really. On the other hand there's a good argument that an English songwriter taking a piece of writing written in Chinese and translated into English by a Spanish man and setting it to music inspired by Indian musical modes is a wonderful example of cultural cross-pollination. As someone who's neither Chinese nor Indian I wouldn't want to take a stance on it, but clearly the other Beatles were impressed by it -- they put it out as the B-side to their next single, even though the only Beatles on it are Harrison and McCartney, with the latter adding a small amount of harmony vocal: [Excerpt: The Beatles, "The Inner Light"] And it wasn't because the group were out of material. They were planning on going to Rishikesh to study with the Maharishi, and wanted to get a single out for release while they were away, and so in one week they completed the vocal overdubs on "The Inner Light" and recorded three other songs, two by John and one by Paul. All three of the group's songwriters brought in songs that were among their best. John's first contribution was a song whose lyrics he later described as possibly the best he ever wrote, "Across the Universe". He said the lyrics were “purely inspirational and were given to me as boom! I don't own it, you know; it came through like that … Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship, it wrote itself. It drove me out of bed. I didn't want to write it … It's like being possessed, like a psychic or a medium.” But while Lennon liked the song, he was never happy with the recording of it. They tried all sorts of things to get the sound he heard in his head, including bringing in some fans who were hanging around outside to sing backing vocals. He said of the track "I was singing out of tune and instead of getting a decent choir, we got fans from outside, Apple Scruffs or whatever you call them. They came in and were singing all off-key. Nobody was interested in doing the tune originally.” [Excerpt: The Beatles, "Across the Universe"] The "jai guru deva" chorus there is the first reference to the teachings of the Maharishi in one of the Beatles' records -- Guru Dev was the Maharishi's teacher, and the phrase "Jai guru dev" is a Sanskrit one which I've seen variously translated as "victory to the great teacher", and "hail to the greatness within you". Lennon would say shortly before his death “The Beatles didn't make a good record out of it. I think subconsciously sometimes we – I say ‘we' though I think Paul did it more than the rest of us – Paul would sort of subconsciously try and destroy a great song … Usually we'd spend hours doing little detailed cleaning-ups of Paul's songs, when it came to mine, especially if it was a great song like ‘Strawberry Fields' or ‘Across The Universe', somehow this atmosphere of looseness and casualness and experimentation would creep in … It was a _lousy_ track of a great song and I was so disappointed by it …The guitars are out of tune and I'm singing out of tune because I'm psychologically destroyed and nobody's supporting me or helping me with it, and the song was never done properly.” Of course, this is only Lennon's perception, and it's one that the other participants would disagree with. George Martin, in particular, was always rather hurt by the implication that Lennon's songs had less attention paid to them, and he would always say that the problem was that Lennon in the studio would always say "yes, that's great", and only later complain that it hadn't been what he wanted. No doubt McCartney did put in more effort on his own songs than on Lennon's -- everyone has a bias towards their own work, and McCartney's only human -- but personally I suspect that a lot of the problem comes down to the two men having very different personalities. McCartney had very strong ideas about his own work and would drive the others insane with his nitpicky attention to detail. Lennon had similarly strong ideas, but didn't have the attention span to put the time and effort in to force his vision on others, and didn't have the technical knowledge to express his ideas in words they'd understand. He expected Martin and the other Beatles to work miracles, and they did -- but not the miracles he would have worked. That track was, rather than being chosen for the next single, given to Spike Milligan, who happened to be visiting the studio and was putting together an album for the environmental charity the World Wildlife Fund. The album was titled "No One's Gonna Change Our World": [Excerpt: The Beatles, "Across the Universe"] That track is historic in another way -- it would be the last time that George Harrison would play sitar on a Beatles record, and it effectively marks the end of the period of psychedelia and Indian influence that had started with "Norwegian Wood" three years earlier, and which many fans consider their most creative period. Indeed, shortly after the recording, Harrison would give up the sitar altogether and stop playing it. He loved sitar music as much as he ever had, and he still thought that Indian classical music spoke to him in ways he couldn't express, and he continued to be friends with Ravi Shankar for the rest of his life, and would only become more interested in Indian religious thought. But as he spent time with Shankar he realised he would never be as good on the sitar as he hoped. He said later "I thought, 'Well, maybe I'm better off being a pop singer-guitar-player-songwriter – whatever-I'm-supposed-to-be' because I've seen a thousand sitar-players in India who are twice as better as I'll ever be. And only one of them Ravi thought was going to be a good player." We don't have a precise date for when it happened -- I suspect it was in June 1968, so a few months after the "Across the Universe" recording -- but Shankar told Harrison that rather than try to become a master of a music that he hadn't encountered until his twenties, perhaps he should be making the music that was his own background. And as Harrison put it "I realised that was riding my bike down a street in Liverpool and hearing 'Heartbreak Hotel' coming out of someone's house.": [Excerpt: Elvis Presley, "Heartbreak Hotel"] In early 1968 a lot of people seemed to be thinking along the same lines, as if Christmas 1967 had been the flick of a switch and instead of whimsy and ornamentation, the thing to do was to make music that was influenced by early rock and roll. In the US the Band and Bob Dylan were making music that was consciously shorn of all studio experimentation, while in the UK there was a revival of fifties rock and roll. In April 1968 both "Peggy Sue" and "Rock Around the Clock" reentered the top forty in the UK, and the Who were regularly including "Summertime Blues" in their sets. Fifties nostalgia, which would make occasional comebacks for at least the next forty years, was in its first height, and so it's not surprising that Paul McCartney's song, "Lady Madonna", which became the A-side of the next single, has more than a little of the fifties about it. Of course, the track isn't *completely* fifties in its origins -- one of the inspirations for the track seems to have been the Rolling Stones' then-recent hit "Let's Spend The Night Together": [Excerpt: The Rolling Stones, "Let's Spend the Night Together"] But the main source for the song's music -- and for the sound of the finished record -- seems to have been Johnny Parker's piano part on Humphrey Lyttleton's "Bad Penny Blues", a hit single engineered by Joe Meek in the fifties: [Excerpt: Humphrey Lyttleton, "Bad Penny Blues"] That song seems to have been on the group's mind for a while, as a working title for "With a Little Help From My Friends" had at one point been "Bad Finger Blues" -- a title that would later give the name to a band on Apple. McCartney took Parker's piano part as his inspiration, and as he later put it “‘Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. I got my left hand doing an arpeggio thing with the chord, an ascending boogie-woogie left hand, then a descending right hand. I always liked that, the  juxtaposition of a line going down meeting a line going up." [Excerpt: The Beatles, "Lady Madonna"] That idea, incidentally, is an interesting reversal of what McCartney had done on "Hello, Goodbye", where the bass line goes down while the guitar moves up -- the two lines moving away from each other: [Excerpt: The Beatles, "Hello Goodbye"] Though that isn't to say there's no descending bass in "Lady Madonna" -- the bridge has a wonderful sequence where the bass just *keeps* *descending*: [Excerpt: The Beatles, "Lady Madonna"] Lyrically, McCartney was inspired by a photo in National Geographic of a woman in Malaysia, captioned “Mountain Madonna: with one child at her breast and another laughing into her face, sees her quality of life threatened.” But as he put it “The people I was brought up amongst were often Catholic; there are lots of Catholics in Liverpool because of the Irish connection and they are often religious. When they have a baby I think they see a big connection between themselves and the Virgin Mary with her baby. So the original concept was the Virgin Mary but it quickly became symbolic of every woman; the Madonna image but as applied to ordinary working class woman. It's really a tribute to the mother figure, it's a tribute to women.” Musically though, the song was more a tribute to the fifties -- while the inspiration had been a skiffle hit by Humphrey Lyttleton, as soon as McCartney started playing it he'd thought of Fats Domino, and the lyric reflects that to an extent -- just as Domino's "Blue Monday" details the days of the week for a weary working man who only gets to enjoy himself on Saturday night, "Lady Madonna"'s lyrics similarly look at the work a mother has to do every day -- though as McCartney later noted  "I was writing the words out to learn it for an American TV show and I realised I missed out Saturday ... So I figured it must have been a real night out." The vocal was very much McCartney doing a Domino impression -- something that wasn't lost on Fats, who cut his own version of the track later that year: [Excerpt: Fats Domino, "Lady Madonna"] The group were so productive at this point, right before the journey to India, that they actually cut another song *while they were making a video for "Lady Madonna"*. They were booked into Abbey Road to film themselves performing the song so it could be played on Top of the Pops while they were away, but instead they decided to use the time to cut a new song -- John had a partially-written song, "Hey Bullfrog", which was roughly the same tempo as "Lady Madonna", so they could finish that up and then re-edit the footage to match the record. The song was quickly finished and became "Hey Bulldog": [Excerpt: The Beatles, "Hey Bulldog"] One of Lennon's best songs from this period, "Hey Bulldog" was oddly chosen only to go on the soundtrack of Yellow Submarine. Either the band didn't think much of it because it had come so easily, or it was just assigned to the film because they were planning on being away for several months and didn't have any other projects they were working on. The extent of the group's contribution to the film was minimal – they were not very hands-on, and the film, which was mostly done as an attempt to provide a third feature film for their United Artists contract without them having to do any work, was made by the team that had done the Beatles cartoon on American TV. There's some evidence that they had a small amount of input in the early story stages, but in general they saw the cartoon as an irrelevance to them -- the only things they contributed were the four songs "All Together Now", "It's All Too Much", "Hey Bulldog" and "Only a Northern Song", and a brief filmed appearance for the very end of the film, recorded in January: [Excerpt: Yellow Submarine film end] McCartney also took part in yet another session in early February 1968, one produced by Peter Asher, his fiancee's brother, and former singer with Peter and Gordon. Asher had given up on being a pop star and was trying to get into the business side of music, and he was starting out as a producer, producing a single by Paul Jones, the former lead singer of Manfred Mann. The A-side of the single, "And the Sun Will Shine", was written by the Bee Gees, the band that Robert Stigwood was managing: [Excerpt: Paul Jones, "And the Sun Will Shine"] While the B-side was an original by Jones, "The Dog Presides": [Excerpt: Paul Jones, "The Dog Presides"] Those tracks featured two former members of the Yardbirds, Jeff Beck and Paul Samwell-Smith, on guitar and bass, and Nicky Hopkins on piano. Asher asked McCartney to play drums on both sides of the single, saying later "I always thought he was a great, underrated drummer." McCartney was impressed by Asher's production, and asked him to get involved with the new Apple Records label that would be set up when the group returned from India. Asher eventually became head of A&R for the label. And even before "Lady Madonna" was mixed, the Beatles were off to India. Mal Evans, their roadie, went ahead with all their luggage on the fourteenth of February, so he could sort out transport for them on the other end, and then John and George followed on the fifteenth, with their wives Pattie and Cynthia and Pattie's sister Jenny (John and Cynthia's son Julian had been left with his grandmother while they went -- normally Cynthia wouldn't abandon Julian for an extended period of time, but she saw the trip as a way to repair their strained marriage). Paul and Ringo followed four days later, with Ringo's wife Maureen and Paul's fiancee Jane Asher. The retreat in Rishikesh was to become something of a celebrity affair. Along with the Beatles came their friend the singer-songwriter Donovan, and Donovan's friend and songwriting partner, whose name I'm not going to say here because it's a slur for Romani people, but will be known to any Donovan fans. Donovan at this point was also going through changes. Like the Beatles, he was largely turning away from drug use and towards meditation, and had recently written his hit single "There is a Mountain" based around a saying from Zen Buddhism: [Excerpt: Donovan, "There is a Mountain"] That was from his double-album A Gift From a Flower to a Garden, which had come out in December 1967. But also like John and Paul he was in the middle of the breakdown of a long-term relationship, and while he would remain with his then-partner until 1970, and even have another child with her, he was secretly in love with another woman. In fact he was secretly in love with two other women. One of them, Brian Jones' ex-girlfriend Linda, had moved to LA, become the partner of the singer Gram Parsons, and had appeared in the documentary You Are What You Eat with the Band and Tiny Tim. She had fallen out of touch with Donovan, though she would later become his wife. Incidentally, she had a son to Brian Jones who had been abandoned by his rock-star father -- the son's name is Julian. The other woman with whom Donovan was in love was Jenny Boyd, the sister of George Harrison's wife Pattie.  Jenny at the time was in a relationship with Alexis Mardas, a TV repairman and huckster who presented himself as an electronics genius to the Beatles, who nicknamed him Magic Alex, and so she was unavailable, but Donovan had written a song about her, released as a single just before they all went to Rishikesh: [Excerpt: Donovan, "Jennifer Juniper"] Donovan considered himself and George Harrison to be on similar spiritual paths and called Harrison his "spirit-brother", though Donovan was more interested in Buddhism, which Harrison considered a corruption of the more ancient Hinduism, and Harrison encouraged Donovan to read Autobiography of a Yogi. It's perhaps worth noting that Donovan's father had a different take on the subject though, saying "You're not going to study meditation in India, son, you're following that wee lassie Jenny" Donovan and his friend weren't the only other celebrities to come to Rishikesh. The actor Mia Farrow, who had just been through a painful divorce from Frank Sinatra, and had just made Rosemary's Baby, a horror film directed by Roman Polanski with exteriors shot at the Dakota building in New York, arrived with her sister Prudence. Also on the trip was Paul Horn, a jazz saxophonist who had played with many of the greats of jazz, not least of them Duke Ellington, whose Sweet Thursday Horn had played alto sax on: [Excerpt: Duke Ellington, "Zweet Zursday"] Horn was another musician who had been inspired to investigate Indian spirituality and music simultaneously, and the previous year he had recorded an album, "In India," of adaptations of ragas, with Ravi Shankar and Alauddin Khan: [Excerpt: Paul Horn, "Raga Vibhas"] Horn would go on to become one of the pioneers of what would later be termed "New Age" music, combining jazz with music from various non-Western traditions. Horn had also worked as a session musician, and one of the tracks he'd played on was "I Know There's an Answer" from the Beach Boys' Pet Sounds album: [Excerpt: The Beach Boys, "I Know There's an Answer"] Mike Love, who co-wrote that track and is one of the lead singers on it, was also in Rishikesh. While as we'll see not all of the celebrities on the trip would remain practitioners of Transcendental Meditation, Love would be profoundly affected by the trip, and remains a vocal proponent of TM to this day. Indeed, his whole band at the time were heavily into TM. While Love was in India, the other Beach Boys were working on the Friends album without him -- Love only appears on four tracks on that album -- and one of the tracks they recorded in his absence was titled "Transcendental Meditation": [Excerpt: The Beach Boys, "Transcendental Meditation"] But the trip would affect Love's songwriting, as it would affect all of the musicians there. One of the few songs on the Friends album on which Love appears is "Anna Lee, the Healer", a song which is lyrically inspired by the trip in the most literal sense, as it's about a masseuse Love met in Rishikesh: [Excerpt: The Beach Boys, "Anna Lee, the Healer"] The musicians in the group all influenced and inspired each other as is likely to happen in such circumstances. Sometimes, it would be a matter of trivial joking, as when the Beatles decided to perform an off-the-cuff song about Guru Dev, and did it in the Beach Boys style: [Excerpt: The Beatles, "Spiritual Regeneration"] And that turned partway through into a celebration of Love for his birthday: [Excerpt: The Beatles, "Spiritual Regeneration"] Decades later, Love would return the favour, writing a song about Harrison and their time together in Rishikesh. Like Donovan, Love seems to have considered Harrison his "spiritual brother", and he titled the song "Pisces Brothers": [Excerpt: Mike Love, "Pisces Brothers"] The musicians on the trip were also often making suggestions to each other about songs that would become famous for them. The musicians had all brought acoustic guitars, apart obviously from Ringo, who got a set of tabla drums when George ordered some Indian instruments to be delivered. George got a sitar, as at this point he hadn't quite given up on the instrument, and he gave Donovan a tamboura. Donovan started playing a melody on the tamboura, which is normally a drone instrument, inspired by the Scottish folk music he had grown up with, and that became his "Hurdy-Gurdy Man": [Excerpt: Donovan, "Hurdy Gurdy Man"] Harrison actually helped him with the song, writing a final verse inspired by the Maharishi's teachings, but in the studio Donovan's producer Mickie Most told him to cut the verse because the song was overlong, which apparently annoyed Harrison. Donovan includes that verse in his live performances of the song though -- usually while doing a fairly terrible impersonation of Harrison: [Excerpt: Donovan, "Hurdy Gurdy Man (live)"] And similarly, while McCartney was working on a song pastiching Chuck Berry and the Beach Boys, but singing about the USSR rather than the USA, Love suggested to him that for a middle-eight he might want to sing about the girls in the various Soviet regions: [Excerpt: The Beatles, "Back in the USSR"] As all the guitarists on the retreat only had acoustic instruments, they were very keen to improve their acoustic playing, and they turned to Donovan, who unlike the rest of them was primarily an acoustic player, and one from a folk background. Donovan taught them the rudiments of Travis picking, the guitar style we talked about way back in the episodes on the Everly Brothers, as well as some of the tunings that had been introduced to British folk music by Davey Graham, giving them a basic grounding in the principles of English folk-baroque guitar, a style that had developed over the previous few years. Donovan has said in his autobiography that Lennon picked the technique up quickly (and that Harrison had already learned Travis picking from Chet Atkins records) but that McCartney didn't have the application to learn the style, though he picked up bits. That seems very unlike anything else I've read anywhere about Lennon and McCartney -- no-one has ever accused Lennon of having a surfeit of application -- and reading Donovan's book he seems to dislike McCartney and like Lennon and Harrison, so possibly that enters into it. But also, it may just be that Lennon was more receptive to Donovan's style at the time. According to McCartney, even before going to Rishikesh Lennon had been in a vaguely folk-music and country mode, and the small number of tapes he'd brought with him to Rishikesh included Buddy Holly, Dylan, and the progressive folk band The Incredible String Band, whose music would be a big influence on both Lennon and McCartney for the next year: [Excerpt: The Incredible String Band, "First Girl I Loved"] According to McCartney Lennon also brought "a tape the singer Jake Thackray had done for him... He was one of the people we bumped into at Abbey Road. John liked his stuff, which he'd heard on television. Lots of wordplay and very suggestive, so very much up John's alley. I was fascinated by his unusual guitar style. John did ‘Happiness Is A Warm Gun' as a Jake Thackray thing at one point, as I recall.” Thackray was a British chansonnier, who sang sweetly poignant but also often filthy songs about Yorkshire life, and his humour in particular will have appealed to Lennon. There's a story of Lennon meeting Thackray in Abbey Road and singing the whole of Thackray's song "The Statues", about two drunk men fighting a male statue to defend the honour of a female statue, to him: [Excerpt: Jake Thackray, "The Statues"] Given this was the music that Lennon was listening to, it's unsurprising that he was more receptive to Donovan's lessons, and the new guitar style he learned allowed him to expand his songwriting, at precisely the same time he was largely clean of drugs for the first time in several years, and he started writing some of the best songs he would ever write, often using these new styles: [Excerpt: The Beatles, "Julia"] That song is about Lennon's dead mother -- the first time he ever addressed her directly in a song, though  it would be far from the last -- but it's also about someone else. That phrase "Ocean child" is a direct translation of the Japanese name "Yoko". We've talked about Yoko Ono a bit in recent episodes, and even briefly in a previous Beatles episode, but it's here that she really enters the story of the Beatles. Unfortunately, exactly *how* her relationship with John Lennon, which was to become one of the great legendary love stories in rock and roll history, actually started is the subject of some debate. Both of them were married when they first got together, and there have also been suggestions that Ono was more interested in McCartney than in Lennon at first -- suggestions which everyone involved has denied, and those denials have the ring of truth about them, but if that was the case it would also explain some of Lennon's more perplexing behaviour over the next year. By all accounts there was a certain amount of finessing of the story th