Podcast appearances and mentions of Marilyn Monroe

Bill Maher and Kathy Griffin on why Kathy makes everything a battle, Kathy's fight with MAGA nation, what it's like to be cancelled, how the Trump photo happened, the brilliance of Joe Rogan, the upsetting Kennedy scene in the Marilyn Monroe movie, all the people who sued Kathy, and Bill's pitch for a TV show for Kathy. 

The mercury is up to 93 this week as author Richard Barrios joins us to discuss his new book, the musical talents of Marilyn, and her legacy. Songs from her films as well as various musical projects she inspired.

In Breaking Walls episode 139 we spotlight The Martin & Lewis show, and pay close attention to Frank Sinatra and Marilyn Monroe. —————————— Highlights: • Capital Gains and Thanksgiving on NBC • The Nightclub Act • Opportunity Flops • The My Friend Irma Movie • Dragnet • The Show Relaunches — Frank Sinatra Guests • Marilyn Monroe Makes a Rare Radio Appearance • Splitting, Then Reuniting • Looking ahead to Bogie —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material for today's episode was: • On The Air — By John Dunning • Dean & Me: A Love Story — By Jerry Lewis • Everybody Loves Somebody Sometime (Especially Himself): The Story of Dean Martin and Jerry Lewis — by Arthur Marx • Network Radio Ratings — By Jim Ramsburg • Marilyn Monroe: The Biography — By Donald Spoto As well as articles from: • Billboard • The Cleveland Plain Dealer • LIFE Magazine • The Los Angeles Times • The New York Times • Variety —————————— On the interview front: • Jack Benny and Virginia Gregg spoke with Chuck Schaden. Hear these interviews at SpeakingofRadio.com. • John Gibson spoke to Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio. Hear these full interviews at GoldenAge-WTIC.org. • Both Frank and Nancy Sinatra Jr. spoke with Larry King. • Marilyn Monroe spoke with Dave Garroway for NBC's Monitor in 1955. • Both Martin and Lewis spoke with Cedric Adams for WCCO in 1952. • Dean Martin spoke with Edward R. Murrow in 1958 and with Randi Oakes in 1984 • Jerry Lewis spoke with Sam Denoff for The Television Academy in 2000. —————————— Selected music featured in today's episode was: • Hen Ferchetan — By Avi Avital • Memories Are Made of This — By Dean Martin • Manhattan Serenade — By Richard Alden —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Jessica Hanna Perri Harper Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Ray Shaw Filipe A Silva John Williams —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers

Well, that brings our look at The Martin & Lewis Show to a close. Incidentally, we'll be staying with this energy next month. I mentioned earlier that Dean made films with The Rat Pack. Frank Sinatra was also a member. Some people called Frank the leader. Some others have incorrectly attributed him as the founder of this crew. But, our focus in Breaking Walls episode 140 will spotlight the true creator of The Rat Pack. Next time on Breaking Walls, we focus on Bogie, and Bacall too, when we spotlight the unsung radio career of Humphrey Bogart. —————————— The reading material for today's episode was: • On The Air — By John Dunning • Dean & Me: A Love Story — By Jerry Lewis • Everybody Loves Somebody Sometime (Especially Himself): The Story of Dean Martin and Jerry Lewis — by Arthur Marx • Network Radio Ratings — By Jim Ramsburg • Marilyn Monroe: The Biography — By Donald Spoto As well as articles from: • Billboard • The Cleveland Plain Dealer • LIFE Magazine • The Los Angeles Times • The New York Times • Variety —————————— On the interview front: • Jack Benny and Virginia Gregg spoke with Chuck Schaden. Hear these interviews at SpeakingofRadio.com. • John Gibson spoke to Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio. Hear these full interviews at GoldenAge-WTIC.org. • Both Frank and Nancy Sinatra Jr. spoke with Larry King. • Marilyn Monroe spoke with Dave Garroway for NBC's Monitor in 1955. • Both Martin and Lewis spoke with Cedric Adams for WCCO in 1952. • Dean Martin spoke with Edward R. Murrow in 1958 and with Randi Oakes in 1984 • Jerry Lewis spoke with Sam Denoff for The Television Academy in 2000.

Do boycotts actually work? When were same sex marriages first made legal in the US? When did Michelangelo finish sculpting David? When did Marilyn Monroe sing her famous rendition of "Happy Birthday"? and, do bans actually work? all the answers to these questions, and more, on this week's episode of TWWWBLY! Find out more at https://twwwbly.pinecast.co

Marilyn Monroe broke through as an actress in 1950 with small, but acclaimed roles in All About Eve and The Asphalt Jungle. She was then a mistress of Johnny Hyde, head of the William Morris Agency. Hyde negotiated a seven year contract with 20th Century Fox and then unexpectedly passed away of a heart attack. In 1951, Monroe had supporting roles in three Fox comedies: As Young as You Feel, Love Nest, and Let's Make It Legal. With her star on the rise, she received several thousand fan letters a week, and was declared "Miss Cheesecake" by the army newspaper Stars and Stripes. In early 1952 as she began a much-publicized romance with ex-Yankee Joe DiMaggio, Monroe revealed she'd posed nude in 1949, thus getting ahead of the scandal and gaining sympathy from the public. She explained she'd been broke and needed the money and was soon featured on the cover of Life magazine as the "Talk of Hollywood." Gossip columnist Hedda Hopper declared her the "cheesecake queen" turned "box office smash." Wanting to improve her acting, she studied hard with Michael Chekhov. Two of Monroe's films — Clash by Night and Don't Bother to Knock — were released soon after to capitalize on public interest. The films showed her range, as Monroe played a fish cannery worker in the former and a disturbed babysitter in the latter. In Howard Hawks's Monkey Business, she played a secretary opposite Cary Grant. In O. Henry's Full House, with Charles Laughton, she appeared in a passing vignette as a nineteenth-century street walker. Monroe added to her sex symbol reputation by wearing a revealing dress when acting as Grand Marshal at the Miss America Pageant parade, and told gossip columnist Earl Wilson that she usually wore no underwear. By the end of the year, gossip columnist Florabel Muir named Monroe the "it girl" of 1952. When Niagara was released in January 1953, women's clubs protested it as immoral. In some scenes, Monroe's body was covered only by a sheet or a towel, considered shocking by contemporary audiences. The film's most famous scene is a long shot of Monroe from behind walking with hips swaying. Audiences turned out in droves. The next month, Marilyn Monroe was the guest of Dean and Jerry's February 24th, 1953 episode.

Hi Move Happy®️ and Erin Nicole Ministries Fans! This is a spirit led impromptu sermon about the Peace That Surpasses All Understanding. Parents please preview as I do discuss sexually explicit language and violence. The intent is to help empower you to find happiness from within even if you experience challenges like Marilyn Monroe or Taylor Swift. You can choose if you are a leader to make decisions that are respectful of your values and not be swayed by the world. Warriors will rise up to protect your reputation when some might try and destroy it. You can even make mistakes and be forgiven by your Deity no matter what you have chosen to do. If we added value to you, it would mean the world if you would post this episode and share some scriptures from your faith that it brings to mind to help bring multiple faiths together in harmony. After all, where there is harmony and unity, there is love and where there is love, there is peace. Happy Sunday y'all! PS: Don't forget to tell someone you love them today

WHOA! Film Buds creator/former lead host Henry Faherty is BACK for good as we say a heartfelt goodbye to Paul & Lauren as they move on to pursue other ventures -- but, we also welcome Henry's wonderful wife, Elle DeWeese, into the hosting chair! Wahoo!Henry has been mostly MIA over the last 1.5 years as he started his military career, but now he and Elle will be sticking around to give you plenty of wacky content. Not only that, if you haven't already heard, the couple also has a new bi-monthly spooky movie podcast out called FrankenFilms, so please make sure to review and subscribe to that show as well at the link below:Listen to the FrankenFilms PodcastThis week we dive into Marilyn Monroe's mind with Blonde then do the jailhouse rock with Elvis plus we talk about other stuff we watched including The Santa Clarita Diet, iCarly, The Meg, Deep Blue Sea, Beware the Slenderman, and Catfish.0:00 - Intro: Welcome Henry & Elle6:19 - Review: Blonde21:21 - Review: Elvis34:30 - Picks of the Week: The Santa Clarita Diet, iCarly, The Meg, Deep Blue Sea, Beware the Slenderman, and Catfish40:41 - 2023 Most Anticipated Movies49:19 - OutroSend us questions @ TheFilmBudsPodcast@gmail.comThank you so much again to Paul and Lauren for keeping the show going, plus the many wonderful guests, too -- we hope to get you all back on sometime soon!Follow Henry & Elle on Letterboxd:Henry: Henry's LetterboxdElle: Elle's LetterboxdBe a Friend to the Film Buds:Thefilmbuds.comThe Buds on PatreonThe Buds on Bandcamp@filmbuds on Twitter@thefilmbudspodcast on InstagramPaul's Letterboxd  Click this link and get some sweet movie related art while also supporting the show. 

Where guests can find Ariel from the all-new The Little Mermaid in Disney Parks, how Disney celebrated World Wish Day, James Corden and Tom Cruise team up for The Lion King, amazing reveals for Walt Disney Animation Studios's Wish, Taika Waititi scores with Next Goal Wins, a haunting A Haunting in Venice trailer, when Ant-Man and The Wasp: Quantumania will stream on Disney+, Maggie Simpson stars in a new Star Wars-themed The Simpsons short, details on the new Disney Channel animated series Hailey's On It!, the scoop on ABC's The Game Show Show, Disney's 34 Daytime Emmy Award nominations, a new Disney Lorcana game is coming, and Adventures by Disney to visit the country that inspired Encanto and more in 2024. Plus, Guardians of the Galaxy Vol. 3 star Karen Gillan reveals the hardest MCU secret she had to keep, her favorite Disney Parks attraction, and how Nebula is a cross between Marilyn Monroe and Clint Eastwood.

This week the girls and the ginger return with some erroneous excerpts! That's right, we've all been misquoting Marilyn Monroe this whole time. And Gandhi?! On the stand this week: misspelled names, naps, cohost couples, and night owls! Then! A worstie with a budget airline blunder!

Peter Sobczynski is here for your weekly dive into physical media. They include films with early appearances from Ricardo Montalban and Marilyn Monroe. A comeback was touted for John Travolta in a late ‘80s oddity and in the early ‘90s footballer Brian Bosworth started his career with a bit of a bang. Peter shares his thoughts on a trio of new theatrical titles from Universal. But 4K this week should have everyone looking up from probing aliens to Bruno Ganz with wings, a giant comet headed for Earth and the one who could save us from all of them gets their due as Erik Childress and Peter look back on Christopher Reeve's Superman movies.  0:00 - Intro 1:36 - Criterion (Wings of Desire (4K)) 3:55 - Shout! Factory (Skyline (4K)) 7:02 - Warner Archive (Border Incident, Clash by Night) 15:21 - Kino (The Experts, Stone Cold, Anna May Wong Collection) 29:36 - Universal (Of An Age, Champions, Knock at the Cabin) 35:00 - Paramount (80 for Brady, Up In Smoke Stash Box Edition, Deep Impact (4K)) 50:05 - Warner Bros. (Superman 1978 – 1987 5-Film Collection (4K)) 1:04:50 – New Blu-Ray Announcements 1:06:02 - Outro

Colin is the CEO and Co-Founder of Freeport, a platform bringing fine art investment on-chain. Before Freeport, he spent ten years in the consumer marketing space, where he focused on technology, payments and partnerships inside some of the most recognized brands on the planet - including Apple and American Express. At American Express, he led marketing partnerships with companies like Uber, Google, and Airbnb, before being recruited by Apple to join the Apple Pay marketing team. After moving out to California he oversaw marketing for Apple Cash from product launch to being used by millions of Americans. Colin hails from Trenton, NJ and attended Princeton University for undergrad.   We chat about the most Iconic Warhols you can find and now you can get them with Freeport on chain Real Andy Warhol's on the blockchain featuring Warhol superstar baby Jane Holzer Fractional fine art on the blockchain Can you imagine having Warhol's of yourself? A real pink Marilyn Monroe, Double Mickey Mouse, James Dean, Mick Jagger, to name a few..  AI taking over jobs and things and a lot more! SEC approved, tune in to learn more. Check out their app: https://freeport.app Follow Freeport on Twitter: https://twitter.com/freeport_app Follow Colin on Twitter: https://twitter.com/ColinHJohnson   Social media links: https://twitter.com/katiechonacas https://www.instagram.com/chonacas https://www.linkedin.com/in/katiechonacas Voiceover Reel: https://www.chonacas.com/voiceover/ https://www.chonacas.com/nft-cv/    New IG account for the podcast! https://www.instagram.com/shesallovertheplacepodcast/     Disclaimer: None of the information in the podcast should be considered as a financial advice. Sponsored by Freeport, Always do your own research.  

George Feltenstein of the Warner Archive joins the podcast for a fun and informative review of all five April 2023 Blu-ray releases plus the first two Blu-rays releasing in May.   We dive into the restoration and all of the extras on each release and share our insights into why these seven films are worth adding to your Blu-ray collection."Safe in Hell" is a 1931 American pre-Code thriller film directed by William A. Wellman and starring Dorothy Mackaill, who plays a woman of ill repute who's wanted for the murder of a man under accidental circumstances.  "One Way Passage" is a 1932 American pre-Code romantic film starring William Powell and Kay Francis as star-crossed lovers doomed to a tragic end. "The Strawberry Blonde" (1941) is a delightful romantic comedy directed by Raoul Walsh, and starring James Cagney, Olivia de Havilland, and Rita Hayworth. "Storm Warning" is a 1951 American thriller about the Ku Klux Klan directed by Stuart Heisler and starring Ginger Rogers, Ronald Reagan, Doris Day, and Steve Cochran.  "A Lion Is in the Streets" is a 1953 American drama directed by Raoul Walsh and stars James Cagney as a southern peddler turned politician and Barbara Hale as his wife.  "Border Incident" (1949) is a noir thriller about illegal immigration starring Ricardo Montalban, George Murphy, Howard Da Silva, and directed by Anthony Mann.  "Clash by Night" (1952) is a noir drama starring Barbara Stanwyck, Paul Douglas, Robert Ryan, Marilyn Monroe, and directed by Fritz Lang.Purchase on Amazon:SAFE IN HELLONE WAY PASSAGETHE STRAWBERRY BLONDESTORM WARNINGA LION IS IN THE STREETSBORDER INCIDENTCLASH BY NIGHT The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

Help spread the darkness! VOTE FOR THIS EPISODE at https://weirddarkness.tiny.us/mvjsnkbz – you can vote up to 3X per day! Find Weird Darkness in your favorite podcast app at https://weirddarkness.com/listen. PLEASE SHARE WEIRD DARKNESS® in your social media and with others who loves paranormal stories, true crime, monsters, or unsolved mysteries like you do!IN THIS EPISODE: As the saying goes – don't do the crime if you can't do the time. But once in a while the punishment goes far beyond what the crime calls for. (Cruel and Unusual Punishments) *** Marilyn Monroe was found dead of a drug overdose on August 5, 1962. And while the facts of her death are shocking, her troubling childhood wasn't pretty either. We'll look at the life and death of this Hollywood bombshell. (The Troubled Life And Shocking Death of Marilyn Monroe) *** We'll take a look at, not the very first serial killer - but the first serial killer FAMILY in America! The bloody Benders! (America's First Serial Killer Family) *** When you think of monsters in America, you probably think of Bigfoot in the American Northwest – or perhaps the Chupacabra in the South. Maybe you think of Dogman in the upper Midwest. But people don't typically think of the American lakes and shores, where we have our own collection of monsters and sea serpents. (American Sea Monsters)SOURCES AND ESSENTIAL WEB LINKS…“American Sea Monsters” by Charles M. Skinner, posted at LegendsOfAmerica.com:https://weirddarkness.tiny.us/ycy9tdes “Cruel and Unusual Punishments” by Jonathan Hastad for ListVerse.com: https://weirddarkness.tiny.us/y994jmsf “The Troubled Life And Shocking Death of Marilyn Monroe” by Margarita Hirapetian: https://weirddarkness.tiny.us/55bv7naw, and Kelly Kreiss: https://weirddarkness.tiny.us/432bykfc for Ranker.com“America's First Serial Killer Family” by Miss Celania for MentalFloss.com: https://weirddarkness.tiny.us/yz7mbn7v= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =Weird Darkness theme by Alibi Music Library. Background music provided by Alibi Music Library, EpidemicSound and/or StoryBlocks with paid license. Music from Shadows Symphony (https://tinyurl.com/yyrv987t), Midnight Syndicate (http://amzn.to/2BYCoXZ) Kevin MacLeod (https://tinyurl.com/y2v7fgbu), Tony Longworth (https://tinyurl.com/y2nhnbt7), and Nicolas Gasparini (https://tinyurl.com/lnqpfs8) is used with permission of the artists.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46WeirdDarkness™ - is a production and trademark of Marlar House Productions. © 2023, Weird Darkness.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =TRANSCRIPT: https://weirddarkness.com/archives/15286

This week we're diving deeply and darkly into the DTV realm and fishing up a couple of classier than usual gems with legitimate people involved. We kick things off with a discussion of the subtly anger fueled Neo-Noir, Sweet Virginia (2017), featuring a sad, bearded bull riding Jonny Bernthal. Then we head out to Baltic region and fish ourselves up some Polish gangsters in the undercover-snitch/prison crime drama, The Informer (2019), featuring Robocop, Gone Girl, Shoot 'Em Up, Marilyn Monroe and Common!  Feedback: cultofmuscle@gmail.com Facebook: facebook.com/groups/cultofmuscle Merch: redbubble.com/people/cultofmuscle/shop

Cold-hearted murders made to look like suicides and accidents. Classified government documents fallen into the wrong hands. Explosive diaries. Powerful people with dangerous agendas. Government people prowling around. Hollywood conspiracies. Frightened people with disturbing secrets to hide. Wild sex. Drugs. Crazy parties and flowing booze. At the very heart of it all, an amazing story of UFOs, aliens, Roswell, Area 51, and the life and death of a beautiful, but scarred, icon, none other than one of the most famous and loved actors of the 20th century: Marilyn Monroe.Nick Redfern is the author of more than 60 books on UFOs, the Loch Ness Monster, Bigfoot, zombies, and Hollywood scandal. His books include The Rendlesham Forest UFO Conspiracy, The Roswell UFO Conspiracy, Women in Black, Men in Black, Nessie, Chupacabra Road Trip, The Black Diary, and 365 Days of UFOs. He is a regular on the Travel Channel's show, In Search of Monsters. Nick has also appeared on the BBC's Out of This World, the SyFy Channel's Proof Positive, and the National Geographic Channel's Paranatural.

In Breaking Walls episode 138 in honor of opening day, we'll share stories, and sounds from Baseball history and the radio. —————————— Highlights: • Dots and Dashes • The Babe • Mel Allen • Dizzy • The War • Jackie • The Death of Babe Ruth • Baseball Radio Drama • The Shot Heard Round The World • Westward Ho! • The TV Era and the Death of Jackie Robinson • Looking Ahead To May with Frank, Dean, Jerry, and Marilyn —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material for today's episode was: • On The Air — By John Dunning • The Voice: Mel Allen's Untold Story — By Curt Smith • Those Great Old-Time Radio Years — By Aubrey J. Sher As well as countless other references and websites for baseball stats and history. —————————— On the interview front: • Mel Allen and Vincent Price spoke to Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio. Hear these full interviews at GoldenAge-WTIC.org • Vincent Price also spoke to Chuck Schaden. Hear this interview at SpeakingofRadio.com • Red Barber and Ben Gross spoke to Westinghouse for their anniversary special in 1970 • Red Barber spoke for Please Stand By in 1986 • Red Barber and Phil Rizzuto spoke to CBS for their Fiftieth Anniversary Special in 1977 • Marilyn Monroe spoke to Dave Garroway for NBC's Monitor in 1955. —————————— Selected music featured in today's episode was: • Take Me Out To the Ball Game — By Dorris Day and Frank Sinatra • Love Echoes in the Pine Hills — By George Winston • Someone To Watch Over Me — By Rosemary Squires & The Ken Thorne Orchestra • Swing Into Spring — By Benny Goodman • I'm a Fool To Want You — By Billie Holiday • Battle Cry of Freedom and Steal Away — By Jacqueline Schwab • The Colorado Trail, Opus 28 Fantaisie for Harp — By Elizabeth Hainen • There Used to Be A Ballpark — By Frank Sinatra • The First Baseball Game — By Nat King Cole • Danse Macabre — By Camille Saint-Saens —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Jessica Hanna Perri Harper Briana Isaac Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Aimee Pavy Ray Shaw Filipe A Silva John Williams —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers

Well, that brings our episode of baseball stories to a close. But speaking of heroes and heroines. Next time on Breaking Walls, it's the 1950s and four people are taking the world by storm for different reasons. We'll cover all four of them under the guise of one show. Who are the four? Dean Martin, Jerry Lewis, Frank Sinatra, and Ms. Marilyn Monroe.

SEGUIMOS CON LA SEGUNDA PARTE DE LA MUERTE DE MARILYN, LAS TEORIAS DE CONSPIRACION Y TODO LO QUE SABEMOS ACERCA DE SU EXTRAÑA MUERTE. --- Send in a voice message: https://podcasters.spotify.com/pod/show/cronicasdecrimen/message

Doctor Max Jacobson, whom the Secret Service under President John F. Kennedy code-named “Dr. Feelgood,” developed a unique “energy formula” that altered the paths of some of the twentieth century's most iconic figures, including President and Jackie Kennedy, Marilyn Monroe, Frank Sinatra, and Elvis. JFK received his first injection (a special mix of “vitamins and hormones,” according to Jacobson) just before his first debate with Vice President Richard Nixon. The shot into JFK's throat not only cured his laryngitis, but also diminished the pain in his back, allowed him to stand up straighter, and invigorated the tired candidate. Kennedy demolished Nixon in that first debate and turned a tide of skepticism about Kennedy into an audience that appreciated his energy and crispness. What JFK didn't know then was that the injections were actually powerful doses of a combination of highly addictive liquid methamphetamine and steroids.Author and researcher Rick Lertzman and New York Times bestselling author Bill Birnes reveal heretofore unpublished material about the mysterious Dr. Feelgood. Through well-researched prose and interviews with celebrities including George Clooney, Jerry Lewis, Yogi Berra, and Sid Caesar, the authors reveal Jacobson's vast influence on events such as the assassination of JFK, the Cuban Missile Crisis, the Kennedy-Khrushchev Vienna Summit, the murder of Marilyn Monroe, the filming of the C. B. DeMille classic The Ten Commandments, and the work of many of the great artists of that era. Jacobson destroyed the lives of several famous patients in the entertainment industry and accidentally killed his own wife, Nina, with an overdose of his formula.

With the weather in NYC warming up, some like it hot and hot is what we've got for you, with this episode talking about the new stage musical of Some Like It Hot! So what are you thirsty for? Grab a drink and join us as we try to vamp our way through some of the finer details of the plot. -- The ending to the original Marilyn Monroe movie is quite iconic and fairly different from this musical. Let us know if you've seen both and which one you prefer! Read about how Let's Be Bad ended up in the musical, and now that Smash has more concrete plans to come to Broadway, how do you think this song will be used? If you're not familiar with Adrianna Hicks, check out her performance as Catherine of Aragon in Six. Another episode, another round of us talking about New York Times critic Jesse Green and his review for this show, but read it for yourself and see if you agree! -- Music featured in this episode: Some Like It Hot (Original Broadway Cast Recording) Apple Music / Spotify / Amazon Music — Follow us on Twitter and Instagram @BottomlessBway, our blog at https://bottomlessbway.home.blog/, or email us at bottomlessbway@gmail.com! You can also leave feedback in this 30-second survey.

When the alleged daughter of Marilyn Monroe asks for help, Gianni Russo becomes entangled in a web of lies and violence in the search for the late actress's diary. His quest to solve the mystery involves a presidential candidate, a disgruntled Mafia capo, a retired NYPD detective, and the secret past of Mafia boss Frank Costello. Russo must race against the clock to stop a hostile reorganization of the American Mafia, all while trying to stay one step ahead of a faceless hired killer.

Rick talks to author, Jay Margolis, this week. The book is ‘My Maril: Marilyn Monroe, Ronald Reagan, Hollywood, and Me' The movie star, the singer, the sex symbol, the so-called “dumb blonde” – all things that Marilyn Monroe is known as, and yet her story goes far beyond that. How did she build her career … Continue reading Jay Margolis, ‘My Maril: Marilyn Monroe, Ronald Reagan, Hollywood, and Me' →

Episode 26

BIENVENIDOS A LA 8VA TEMPORADA DE CRÓNICAS DE CRIMEN, INICIAMOS ESTA TEMPORADA DE ROYALS VS HOLLYWOOD ROYAL CON LA MUJER MAS ICÓNICA DE HOLLYWOOD, UNA MUJER CUYA VIDA FUE DE BUSQUEDA DE AMOR Y APROBACIÓN CONSTANTE, PERO QUE POR SOBRE TODAS LAS COSAS, LUCHO POR DEMOSTRAR QUE SU VALOR COMO HUMANO, ERA MUCHO MAS QUE SÓLO SER LA MUJER MAS HERMOSA DE HOLLYWOOD. ESTE EPISODIO ESTARÁ DIVIDIDO EN DOS PARTES, ESPERAMOS LO DISFRUTEN. LETI & JACKIE --- Send in a voice message: https://podcasters.spotify.com/pod/show/cronicasdecrimen/message

Help spread the darkness! VOTE FOR THIS EPISODE at https://weirddarkness.tiny.us/mvjsnkbz – you can vote up to 3X per day! Find Weird Darkness in your favorite podcast app at https://weirddarkness.com/listen. PLEASE SHARE WEIRD DARKNESS® in your social media and with others who loves paranormal stories, true crime, monsters, or unsolved mysteries like you do!IN THIS EPISODE: Creepy, paranormal encounters sometimes cause people to stop short of committing an action they might regret. (Supernatural Intervention) *** Weird family member Atreada tells of a horrifying series of nights when she and her sister encountered a demon under one of their beds. (Man Beneath The Bed) *** In York County, Pennsylvania a suspected witch is murdered – and thus began the dark story of the Hex House. (Dark Magic in Hex Hollow) *** Was there a conspiracy to murder Hollywood actress Marilyn Monroe? We'll look at the theories and evidence for and against the idea. (Killing Marilyn)SOURCES AND ESSENTIAL WEB LINKS…“Supernatural Intervention” by Anna Lindwasser: http://bit.ly/2IHZl58 “Man Beneath the Bed” by Weirdo family member Atreadia, submitted directly to WeirdDarkness.com “Dark Magic in Hex Hollow” by Orrin Grey: http://bit.ly/2GD8860 “Killing Marilyn” posted at The Unredacted: http://bit.ly/2GGF7GS = = = = = = = = = = = = = = = = = = = = = = = = = = = = = =Weird Darkness theme by Alibi Music Library. Background music provided by Alibi Music Library, EpidemicSound and/or StoryBlocks with paid license. Music from Shadows Symphony (https://tinyurl.com/yyrv987t), Midnight Syndicate (http://amzn.to/2BYCoXZ) Kevin MacLeod (https://tinyurl.com/y2v7fgbu), Tony Longworth (https://tinyurl.com/y2nhnbt7), and Nicolas Gasparini (https://tinyurl.com/lnqpfs8) is used with permission of the artists.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46WeirdDarkness™ - is a production and trademark of Marlar House Productions. © 2023, Weird Darkness.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =TRANSCRIPT: https://weirddarkness.com/archives/15013

Paris: The Memoir Part 3 -- she is risen! Comedians Molly Mulshine & Sara Armour resurrect their coverage of Paris Hilton's memoir. For Part 4 and a deep dive of Paris Hilton's chart and relationships, Join the Patreon!1:35 Paris blackmails father, Rick Hilton into removing her from Provo before her 18th birthday.2:11 Catholic guilt, secrets and sin4:03 Paris is too traumatized to sleep at night but uses insomnia for buiz dev. By day she continues to get kicked out of every private school she can.5:50 Models eat garbage!8:00 Burner phones & w accidentally dodging Kim K on TV9:45 Cater & Courtney Reun's key questions for entrepreneurs11:05 Steps to self-reinvention & how to be your own manager 11:55 Harvey Weinstein creepy bathroom story13:13 Pathological fear of embarrassment?17:17 Enter first boyfriend after Provo, SCUM, aka Rick Salomon aka cameraman, co-star, and seller of coerced sex tape “1 Night in Paris." Don't date older men. 19:25 Is Paris asexual? Frigid? Sapiosexual? Venus in Aquarius. Mars in Pisces.21:17 Molly parties with Paris party in “VIP” at NYFW event22:50 Saving yourself for marriage. “Playing hard to get” and the dance of the masculine and feminine. Quaaludes. Pisces Intensity. Capricorn Mommy supremacy. 26:55 Nancy Jo Sales profiles Paris for Vanity Fair32:07 Molly interviews Paris in her NYC apt / portrait gallery. US vs UK hustle culture. Star-studded NYC events. 36:26 Conrad Hilton is supportive! 36:47 The Simple Life era 38:35 Paris gets an abortion & a right to privacy40:13 Sex tape released right before The Simple Life premieres. Simple Life is a hit. Infamy works. 44:09 Paris has talents!45:40 The rise of selfie culture.46:25 Paris works hard, you guys! Hires Elliot Mintz as publicist. 48:40 Non-consensual Playboy cover ... like Marilyn Monroe... 50:14 “Sorry, not sorry” and "no shame" for bullying. South Park bullies Paris, wishes death upon Selena Gomez54:57 Paris says she voted for Trump which was not true, she didn't even vote. Barely mentions boyfriends. Many mentions of Demi Lovato / Taco Bell.57:36 Scammer Karma. Being with Kim K.58:37 DUI. Probation. Second Arrest. 1:02:11 Sarah Silverman apologizes for mean jokes. Like people, comedy evolves!1:03:39 The importance of punching up. Zooming in on husband, Carter Reun.1:04:49 Paris faces solitary confinement in Provo and later jail. Breaking karmic patterns. Saturn & doing work. 1:09:08 The Paris Hilton character people love to hate. Trauma, nudity, and controlled embarrassment.Oh-- and it was LA Reid not Lou Reed...Join the Patreon! Hosted on Acast. See acast.com/privacy for more information.

Seth May of the Obscuria Filmcast joins the pod to talk about Marilyn Monroe. And listen to the After Dark episode for Patreon subscribers at: patreon.com/artofdarkpod youtube.com/@obscuriafilmcast twitter.com/artofdarkpod twitter.com/bradkelly twitter.com/kautzmania https://youtu.be/a03qiULxr0g

October 22-28, 1994 This week Ken welcomes esteemed writer on all things TV, Emma Fraser to the show. Ken and Emma discuss Fraser vs. "Fraiser", the glory of UK insults, being English, people not believing where you are from, how London is now the UK, Norwich being Alan Partridge central, 1994 being the youth sweet spot, ER, The X-Files, My So-Called Life, ghosts at Christmas time, Supernatural episodes of otherwise non-supernatural TV series, how Ken often accidentally dresses like Nicky Driscoll, the filthy cover of this issue, the UK having more magazines for fewer channels, The Christmas Radio Times, Ken's love of Time Out London, loving Halloween, The Far Side animated series, Ken's dislike of Friends, TV Guide's bad review of Friends, Ant & Dec, Noah Wiley, Ghostwatch, Sightings, how quickly trends blew up in the 90s,  Fox Encounters The Hidden Truth, Without Warning, The Americans, Ken's 90s substitute Teacher becoming an actor and being murdered on The Americans, middle of the road talk shows, Dick Cavett, Mark Lamarr, The Word, drunken people on TV,  Ken's love of Shooting Stars, Ken being constantly called Mark Lamarr when he lived in the UK, Oliver Reed, the UK's strange subversive children's style shows that weren't for children, Car 54, Where Are You?, MTV's Rock n Jock, Red Shoe Diaries, things not being even good bad, SNL, how Witches werewolves and vampires being real, how Marilyn Monroe was killed due to her knowledge of UFOs, when Jackie Gleason saw dead aliens for real, gentle murder, Murder She Wrote, animal shelters Halloween Specials, The Hidden, The George Carlin Show, Fresh Prince, Murphy Brown, Evening Shade, Carol Burnett, Cynthia Gibb, Fact based TV movies, how marrying somebody is the worst thing you can do to them, John Stamos, the business genius of Jason Priestly, The Sandwich Police, visiting the My So-Called Life shooting locations, Ken not thinking Seinfeld holds up, crying and being shocked over and over again due to watching ER, a spoilers free world, Family Matters, the repetition of Dwayne Barry, Step by Step, women at war, Saturday Night Dead, and extending M.A.N.T.I.S noted drama. 

DONATE HERE: https://www.gofundme.com/f/dan-lamothe It's been a while since the last very special episode. Today we unpack Dusty Sheehan Grave and his alleged destruction of Santa Cruz's Stellar Corpses. FRUMESS is POWERED by ⁠⁠⁠⁠⁠⁠⁠www.riotstickers.com/frumess⁠⁠⁠⁠⁠⁠⁠ GET 1000 STICKERS FOR $79  RIGHT HERE - NO PROMO CODE NEED! JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!! ⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Frumess ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

This Episode has EVERYTHING!It's got:Happy Jesus day!Heavy-duty reenactments!Zombie Jesus!The light at the end of the tunnel!Déjà vu!Leonard!Donkey kicks and punches!Lifes vs Lives!AI is already destroying humanity!We deserve it!Siloed echo chambers of stupidity!50K Km closer to the SUN! Not the Earth!  Stupid Dave!Dave drinks!Kick-start the old car downstairs!Is Flight Attendant an offensive title?! Kevin - Let us know!Crazy flying stories!  Send them in!Toenail flakes!Let's light our genitals on fire for clout!Bus pimple popper!"Shrek 5" could be coming soon!Why do most movies suck now?!Losing my foot to sugar diabetes!Al Capone is fabulous!Let's dig up Marilyn!Both Dave and Paul ran away!Nutty coffee!Beaver goodness!Dave is on "The Best of Risk! #27"!Taj Easton is Awesome!!!Episode Links (In Order):Eight Filipinos nailed to crosses as Easter crucifixion re-enactments resume!Ronnie Vino - It's Friday Night!Kevin's Instagram! Be Jealous of his Travels!Girl falls into open manhole - parents sue!Man sets own genitals on fire (Not Graphic)!"Shrek 5"!Dave's Story in "The Best of Risk! #27"!Music Credit!Opening music graciously supplied by: https://audionautix.com/  Visit Our Patreon! Email Us Here: Disturbinglypragmatic@gmail.comWhere To Find Us!: Disturbingly Pragmatic Link Tree!

Gentlemen Prefer Blondes is a witty social satire on gender and class that also serves as a celebration of female ingenuity and solidarity, decked out in beautiful brightly coloured ball gowns and diamonds. It's a love story, but not in the traditional sense; it puts female friendship front and centre, and remains one of the best buddy comedies. Jane Russell and Marilyn Monroe are electric together, their friendship is obvious, they're flawless, with pitch perfect comedic timing. It remains a Golden Age Hollywood movie well ahead of its time in relation to sexuality, representation of intelligence, feminism and a celebration of pop culture. It turns 70 years old this year, can you believe?! A kiss on the hand may be quite continental... I would love to hear your thoughts on Gentlemen Prefer Blondes (1953) !CONTACT.... Twitter @verbaldiorama Instagram @verbaldiorama Facebook @verbaldiorama Letterboxd @verbaldiorama Email verbaldiorama [at] gmail [dot] com Website verbaldiorama.comSUPPORT VERBAL DIORAMA....Give this podcast a five-star Rate & Review Join the Patreon | Buy Merch ABOUT VERBAL DIORAMAVerbal Diorama is hosted, produced, edited, researched, recorded and marketed by me, Em | This podcast is hosted by Captivate, try it yourself for free. Theme Music: Verbal Diorama Theme Song. Music by Chloe Enticott - Compositions by Chloe. Lyrics by Chloe Enticott (and me!) Production by Ellis Powell-Bevan of Ewenique StudioPatrons: Simon E, Sade, Claudia, Simon B, Laurel, Derek, Vern, Cat, Andy, Mike, Luke, Michael, Scott, Brendan, Ian, Lisa, Sam, Jack, Dave, Chris, Stuart, Sunni, Drew, Nicholas, Zo, Kev, Pete, Heather, Danny, Aly, Tyler, Stu, Brett and Philip!EPISODE THANKS TO....Most excellent patrons:Brett @dissectthatfilm. Listen to Dissect That Film in your podcast app of choiceSimon @simon_exton. Listen to The ExtonMoss Experiment & The Tonic Screwdriver in your podcast app of choiceAndy @geeksaladradio. Listen to Geek Salad in your podcast app of choiceAlyTwitter peeps@anightmarepod@bitchenboutique@KidCreole3@speshmagiclady@AliceTaylorM@BurghFan004@the_film_bee@ThiefCGT@TheDigressor@AndWhyNotPod@holmesmoviespodInstagram folkNone this timeFacebook chumsNone this timeMentioned in this episode:Paid promotions in this episodeThis episode contains a paid Patron promotion for Middle Class Film Class, hosted by patron Pete.

Episode 25

The new musical “Some Like it Hot” - based on the 1959 MGM classic directed and co-written by Billy Wilder and starring Jack Lemmon, Tony Curtis, and Marilyn Monroe - is steaming up the stage at Broadway's Shubert Theatre in New York City. Actor Kevin Del Aguila joins us.

Listen to a new episode of YNS Live with NFL Thread recorded live on Fireside with hosts Juliet Hahn and Cynthia Zordich, featuring Special Guest Jennifer Archuleta. Listen to a new episode of YNS Live with NFL Thread recorded live on Fireside with hosts Juliet Hahn and Cynthia Zordich, featuring Special Guest Jennifer Archuleta. Growing up in a large family in Ohio, Jennifer was always surrounded by love and support. But at 18, she made the bold decision to leave her family and move out west to chase her dreams of living by the beach and experiencing life in the big city. Arriving in Los Angeles wasn't easy; she faced financial and emotional struggles. But as they say, when the going gets tough, the tough get going. Jennifer eventually found her footing as a freelance makeup artist, working on movie sets. A chance encounter at the Playboy Mansion changed her life. While working as an assistant to a makeup artist, Jennifer caught the eye of Hugh Hefner, which led her to a career in modeling. Although she never imagined herself in that world, she embraced the opportunity. In 2008, Jennifer retired from modeling to focus on her growing family. Now, she's happily married to former NFL safety Adam Archuleta and currently a commentator for CBS. They have been together for over 18 years and have three beautiful children, five dogs, and two tortoises. Over the years, Jennifer has discovered a deep passion for helping others. She has been a Court Appointed Special Advocate (CASA) for foster children and volunteered for Childhelp for the last eight years. As a survivor of childhood trauma herself, it's important for her to give back to those in need. In her free time, Jennifer enjoys participating in Spartan races, going to the shooting range, working out, attending church, cooking, and spending quality time with her family. Her life philosophy, inspired by Marilyn Monroe, is: "Nothing lasts forever, so live it up, drink it down, laugh it off, avoid the drama, take chances & never have regrets, because at one point everything you did was exactly what you wanted." Download the Fireside App today and follow YNS Live with NFL Thread and PIVOT. We dive deep into NFL stories and reveal the good people inside the game. Download the Fireside App today and follow YNS Live with NFL Thread and PIVOT. We dive deep into NFL stories and reveal the good people inside the game. You can find Jennifer on her Instagram and check out her charity Childhelp, as well as the Wings Fashion Show Event.  Remarkable Quotes   “Having volunteered most of my life, I've discovered that selflessly helping others is the most profound gift we can grant ourselves; it feeds our souls, deepens our relationships, and establishes an enduring pattern of love and empathy that not only affects my own children but also extends across generations.”   Sponsor   The YNS Live With NFL Thread Super Bowl Experience is sponsored by Shutterstock Editorial.  Wherever you go - Shutterstock is there to capture it!   Contact Shutterstock at assigments@shutterstock.com and take the field with Shutterstock's award-winning photography superstars.   Find Us Online! Fireside: Juliet Hahn | Cynthia Zordich Instagram: Juliet Hahn | Cynthia Zordich | NFL Thread LinkedIn: Juliet Hahn | Cynthia Zordich FB: Juliet Hahn | NFL Thread Clubhouse: Juliet Hahn YouTube: Juliet Hahn Twitter: Juliet Hahn | Cynthia Zordich | NFL Thread

I hope this quote from Marilyn Monroe helps you helps you realise that being weird and wonderful is better than boring.   Join the FREE Facebook group for The Michael Brian Show at https://www.facebook.com/groups/themichaelbrianshow Follow Mike on Facebook Instagram & Twitter 

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