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Hosted by Michael Lloyd
23 episodes with Michael Lloyd
7 episodes with Michael Lloyd
4 episodes with Michael Lloyd
4 episodes with Michael Lloyd
5 episodes with Michael Lloyd
2 episodes with Michael Lloyd
7 episodes with Michael Lloyd
4 episodes with Michael Lloyd
Preached by Guest Rev., Dr. Michael Lloyd, on March 30, 2025.
Preached by Guest Rev., Dr. Michael Lloyd, on March 30, 2025.
The Pickleball Show with CurtisReese -Discuss the fast growing sport of Pickleball!
In this exciting episode of The Pickleball Show - host Curtis Reese sits down with pickleball pro Michael Lloyd, a standout player for the Frisco Pandas. Michael shares his journey from aspiring athlete, tennis player to professional competitor, mentioning the training and dedication required to reach the top of the game. He has gone up against top-ranked players, including the legendary Ben Johns, and reflects on the lessons learned from those high-stakes encounters. Tune in for an engaging conversation filled with insights, laughter, and the passion that drives Michael on and off the court! https://www.youtube.com/watch?v=Dzmq8fikIdM https://www.tiktok.com/discover/michael-lloyd-pickleball https://www.instagram.com/michaelloydpb/?hl=en https://resolutre.com/deal-announcements-pickleland-expands-with-new-austin-space/
Why did William Blake create his own gods? What does Blake's cosmology teach us about humanity? What role does Blake's visual art serve in fulfilling his creative vision? Join me on a journey to The Morgan Library & Museum, where we view Blake's original manuscripts & artworks, to answer these questions. ∞∞∞∞∞ View the companion gallery for this episode here, including a fully rendered copy of The First Book of Urizen with transcribed text and a diagram of Blake's gods: https://mjdorian.com/blake/ ∞∞∞∞∞ Support Creative Codex on my Patreon and get access to exclusive episodes, including the LIMITED RELEASE SERIES (Jim Morrison & Kurt Cobain), the Red Book Reading series, and all the Episode Exclusives: https://www.patreon.com/mjdorian Buy me a coffee or add to my fancy books fund on Venmo: https://venmo.com/code?user_id=3235189073379328069&created=1681912456.228596&printed=1 ∞∞∞∞∞ View an online copy of A Blake Dictionary by S. Foster Damon: https://books.google.com/books?id=HOxpOMQ_Pa8C&printsec=frontcover#v=onepage&q&f=false ∞∞∞∞∞ Research Sources: • The Life of William Blake by Alexander Gilchrist • William Blake vs The World by John Higgs • The Complete Poetry & Prose of William Blake publ. by Anchor Books • A Blake Dictionary by S. Foster Damon • Fearful Symmetry by Northrop Frye • William Blake: The Complete Illuminated Books ———— Audio Editor: Erik Texter All Music by MJDorian (With the exception of brief samples of Double Vision by Foreigner and Stranded by Gojira.) Written & Produced by MJDorian ———— Thank you to my Dream Maker tier! Executive Producer: Mike Hill & Madie Laine --------- Connect with me on social media for all the newest updates: YouTube: https://www.youtube.com/creativecodex Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian TikTok: https://www.tiktok.com/@mjdorian --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Arturo Barrios, Barak Talker, Brandon Massengale, Cesar Roman, Chee Sing Kam, Clark Price, Clinton King, Dallas O'Kelly, Danny Olague, DVM, Elle, Ellis Morton, Gabriel Trudeau, Geo_H, Hamed Iranmehr, Jane Lopardo, Janet Roccanova, Jaskaran Purewal, Jasmine Carroll, Joe Boland, Kahlil Pyburn, Kawika, Kayla Dawson, Kristin Richard, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Nicole Wessel, Owen McAteer, Rach, Rachel Schultz, Rebecca, Ricky, Robert, Romina, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tamara, Terry W, Uppity Mantis, Venetia Nadin, Yadie Cisneros, Zarja Menart, and Zuzana. Thank you for your support! --------- Creative Codex is written & produced by MJDorian. All rights reserved.
In 1980, a variety show debuted on NBC called Pink Lady and Jeff. Its stars were a pair of Japanese pop idols known for catchy, choreographed dance numbers. Pink Lady was inescapable in Japan: selling millions of records, appearing on TV daily, and filling arenas. But their American TV show left audiences completely bewildered. Pink Lady and Jeff acquired legendary status as one of television's most notorious bombs, a show that managed to kill off the entire variety show genre. Or at least—that's how it's been seen in America. But for the two women of Pink Lady, the show was something else. In this episode, Decoder Ring's Evan Chung puts this so-called “megaflop” in the spotlight to find out what really went wrong. You'll hear from Mie and Keiko Masuda of Pink Lady, their co-host Jeff Altman, head writer Mark Evanier, and legendary TV producer Sid Krofft of H.R. Pufnstuf fame. This episode was written and produced by Evan Chung. It was edited by Willa Paskin. Our translator was Eric Margolis. Decoder Ring is also produced by Max Freedman and Katie Shepherd, with help from Sofie Kodner. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. Special thanks to Kelly Killian, Lorne Frohman, Rowby Goren, Michael Lloyd, Cheyna Roth, Karin Fjellman, Cole delCharco, and Hannah Airriess. If you have any cultural mysteries you want us to decode, email us at DecoderRing@slate.com Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Disclosure: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices
In 1980, a variety show debuted on NBC called Pink Lady and Jeff. Its stars were a pair of Japanese pop idols known for catchy, choreographed dance numbers. Pink Lady was inescapable in Japan: selling millions of records, appearing on TV daily, and filling arenas. But their American TV show left audiences completely bewildered. Pink Lady and Jeff acquired legendary status as one of television's most notorious bombs, a show that managed to kill off the entire variety show genre. Or at least—that's how it's been seen in America. But for the two women of Pink Lady, the show was something else. In this episode, Decoder Ring's Evan Chung puts this so-called “megaflop” in the spotlight to find out what really went wrong. You'll hear from Mie and Keiko Masuda of Pink Lady, their co-host Jeff Altman, head writer Mark Evanier, and legendary TV producer Sid Krofft of H.R. Pufnstuf fame. This episode was written and produced by Evan Chung. It was edited by Willa Paskin. Our translator was Eric Margolis. Decoder Ring is also produced by Max Freedman and Katie Shepherd, with help from Sofie Kodner. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. Special thanks to Kelly Killian, Lorne Frohman, Rowby Goren, Michael Lloyd, Cheyna Roth, Karin Fjellman, Cole delCharco, and Hannah Airriess. If you have any cultural mysteries you want us to decode, email us at DecoderRing@slate.com Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Disclosure: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices
In 1980, a variety show debuted on NBC called Pink Lady and Jeff. Its stars were a pair of Japanese pop idols known for catchy, choreographed dance numbers. Pink Lady was inescapable in Japan: selling millions of records, appearing on TV daily, and filling arenas. But their American TV show left audiences completely bewildered. Pink Lady and Jeff acquired legendary status as one of television's most notorious bombs, a show that managed to kill off the entire variety show genre. Or at least—that's how it's been seen in America. But for the two women of Pink Lady, the show was something else. In this episode, Decoder Ring's Evan Chung puts this so-called “megaflop” in the spotlight to find out what really went wrong. You'll hear from Mie and Keiko Masuda of Pink Lady, their co-host Jeff Altman, head writer Mark Evanier, and legendary TV producer Sid Krofft of H.R. Pufnstuf fame. This episode was written and produced by Evan Chung. It was edited by Willa Paskin. Our translator was Eric Margolis. Decoder Ring is also produced by Max Freedman and Katie Shepherd, with help from Sofie Kodner. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. Special thanks to Kelly Killian, Lorne Frohman, Rowby Goren, Michael Lloyd, Cheyna Roth, Karin Fjellman, Cole delCharco, and Hannah Airriess. If you have any cultural mysteries you want us to decode, email us at DecoderRing@slate.com Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Disclosure: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices
In 1980, a variety show debuted on NBC called Pink Lady and Jeff. Its stars were a pair of Japanese pop idols known for catchy, choreographed dance numbers. Pink Lady was inescapable in Japan: selling millions of records, appearing on TV daily, and filling arenas. But their American TV show left audiences completely bewildered. Pink Lady and Jeff acquired legendary status as one of television's most notorious bombs, a show that managed to kill off the entire variety show genre. Or at least—that's how it's been seen in America. But for the two women of Pink Lady, the show was something else. In this episode, Decoder Ring's Evan Chung puts this so-called “megaflop” in the spotlight to find out what really went wrong. You'll hear from Mie and Keiko Masuda of Pink Lady, their co-host Jeff Altman, head writer Mark Evanier, and legendary TV producer Sid Krofft of H.R. Pufnstuf fame. This episode was written and produced by Evan Chung. It was edited by Willa Paskin. Our translator was Eric Margolis. Decoder Ring is also produced by Max Freedman and Katie Shepherd, with help from Sofie Kodner. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director. Special thanks to Kelly Killian, Lorne Frohman, Rowby Goren, Michael Lloyd, Cheyna Roth, Karin Fjellman, Cole delCharco, and Hannah Airriess. If you have any cultural mysteries you want us to decode, email us at DecoderRing@slate.com Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Disclosure: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices
What makes Blake's Songs of Innocent & of Experience a work of genius? What is the nature of vision? What is Blake's concept of fourfold vision? Is it even graspable by the intellect? We will make the attempt. Join us for a deep dive into all of this and much more. ∞∞∞∞∞ View the companion gallery for this episode here, including read-along versions of the poems: https://mjdorian.com/blake/ ∞∞∞∞∞ Support Creative Codex on my Patreon and get access to exclusive episodes, including the LIMITED RELEASE SERIES (Jim Morrison & Kurt Cobain), the Red Book Reading series, and all the Episode Exclusives: https://www.patreon.com/mjdorian Buy me a coffee or add to my fancy books fund on Venmo: https://venmo.com/code?user_id=3235189073379328069&created=1681912456.228596&printed=1 ∞∞∞∞∞ View an online copy of A Blake Dictionary by S. Foster Damon: https://books.google.com/books?id=HOxpOMQ_Pa8C&printsec=frontcover#v=onepage&q&f=false ∞∞∞∞∞ Research Sources: • The Life of William Blake by Alexander Gilchrist • William Blake vs The World by John Higgs • The Complete Poetry & Prose of William Blake publ. by Anchor Books • A Blake Dictionary by S. Foster Damon • Fearful Symmetry by Northrop Frye • William Blake: The Complete Illuminated Books ———— Audio Editor: Erik Texter All Music by MJDorian Written & Produced by MJDorian ———— Thank you to my Dream Maker tier! Executive Producer: Mike Hill --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Arturo Barrios, Barak Talker, Brandon Massengale, Cesar Roman, Chee Sing Kam, Clark Price, Clinton King, Dallas O'Kelly, Danny Olague, DVM, Elle, Ellis Morton, Gabriel Trudeau, Geo_H, Hamed Iranmehr, Jane Lopardo, Janet Roccanova, Jaskaran Purewal, Jasmine Carroll, Joe Boland, Kahlil Pyburn, Kawika, Kayla Dawson, Kristin Richard, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Nicole Wessel, Owen McAteer, Rach, Rachel Schultz, Rebecca, Ricky, Robert, Romina, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tamara, Terry W, Uppity Mantis, Venetia Nadin, Yadie Cisneros, Zarja Menart, and Zuzana. Thank you for your support! --------- Connect with me on social media for all the newest updates: YouTube: https://www.youtube.com/creativecodex Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian TikTok: https://www.tiktok.com/@mjdorian --------- Creative Codex is written & produced by MJDorian. All rights reserved.
William Blake is considered one of the greatest artists and poets of the English language, yet he lived most of his life in poverty. Why? Many of his acquaintances considered him mad while friends who knew his art considered him 'brilliantly mad'. What was so different about Blake? Join me on this William Blake series as we pry open the mind of this celebrated creative genius to find the true meaning of his enigmatic works. ∞∞∞∞∞ View the companion gallery for this episode here, including read-along version of the poems: https://mjdorian.com/blake/ ∞∞∞∞∞ Support Creative Codex on my Patreon and get access to exclusive episodes, including the LIMITED RELEASE SERIES (Kurt Cobain & Jim Morrison), the Red Book Reading series, and all the Episode Exclusives: https://www.patreon.com/mjdorian Buy me a coffee or add to my fancy books fund on Venmo: https://venmo.com/code?user_id=3235189073379328069&created=1681912456.228596&printed=1 ∞∞∞∞∞ View an online copy of A Blake Dictionary by S. Foster Damon: https://books.google.com/books?id=HOxpOMQ_Pa8C&printsec=frontcover#v=onepage&q&f=false ∞∞∞∞∞ Research Sources: • The Life of William Blake by Alexander Gilchrist • William Blake vs The World by John Higgs • The Complete Poetry & Prose of William Blake publ. by Anchor Books • A Blake Dictionary by S. Foster Damon • Fearful Symmetry by Northrop Frye • William Blake: The Complete Illuminated Books ———— Audio Editor: Erik Texter All Music by MJDorian Written & Produced by MJDorian ———— Thank you to my Dream Maker tier! Executive Producer: Mike Hill --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Arturo Barrios, Barak Talker, Brandon Massengale, Cesar Roman, Chee Sing Kam, Clark Price, Clinton King, Dallas O'Kelly, Danny Olague, DVM, Elle, Ellis Morton, Gabriel Trudeau, Geo_H, Hamed Iranmehr, Jane Lopardo, Janet Roccanova, Jaskaran Purewal, Jasmine Carroll, Joe Boland, Kahlil Pyburn, Kawika, Kayla Dawson, Kristin Richard, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Nicole Wessel, Owen McAteer, Rach, Rachel Schultz, Rebecca, Ricky, Robert, Romina, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tamara, Terry W, Uppity Mantis, Venetia Nadin, Yadie Cisneros, Zarja Menart, and Zuzana. Thank you for your support! --------- Connect with me on social media for all the newest updates: YouTube: https://www.youtube.com/creativecodex Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian TikTok: https://www.tiktok.com/@mjdorian --------- Creative Codex is written & produced by MJDorian. All rights reserved.
Could a decline in creativity and beauty be why the Church has become increasingly irrelevant and unlikeable? What are culture wars and how should we respond? Is relativism flawed and what is the alternative? Does human creativity point to God? Rev Dr Michael Lloyd, principal of Wycliffe Hall, shares his thoughts about culture, creativity and The New Renaissance Project. For Michael Lloyd: https://www.wycliffe.ox.ac.uk/people/revd-dr-michael-lloyd-0 For The New Renaissance Project: https://www.wycliffe.ox.ac.uk/renaissance • Subscribe to the Unapologetic podcast: https://pod.link/1622170986 • More podcasts, free ebook & newsletter: https://premierunbelievable.com • Watch Unapologetic YouTube playlist: https://youtube.com/playlist?list=PL2Ds_nyh5gM_0OQDM3me0ZjLcNg2345GX • For conference & live events: http://www.unbelievable.live • For our apologetics courses: https://www.premierunbelievable.com/training • Support us in the USA: http://www.premierinsight.org/unbelievableshow • Support us in the rest of the world: https://www.premierunbelievable.com/donate
Restoration is one of the basic building-blocks to Christian growth: it affects the way we relate to God, to ourselves, and to others. Ed Stetzer talks with Oxford's Michael Lloyd about how we can take steps to allow God to restore us, shape us and refine us into the people we were made to be. It's then that we can enjoy His presence more fully, live more freely, and reflect His image more closely.See omnystudio.com/listener for privacy information.
Why are our prayers not answered? Where does the cross fit into the problem of suffering? Why did God create creatures like mosquitoes, poisonous snakes and wasps? Does God always get his way? Can good ever come out of suffering? Rev Dr Michael Lloyd, author of Cafe Theology, continues his discussion about evil and suffering. For Michael Lloyd: https://www.wycliffe.ox.ac.uk/people/revd-dr-michael-lloyd-0 • Subscribe to the Unapologetic podcast: https://pod.link/1622170986 • More podcasts, free ebook & newsletter: https://premierunbelievable.com • Watch Unapologetic YouTube playlist: https://youtube.com/playlist?list=PL2Ds_nyh5gM_0OQDM3me0ZjLcNg2345GX • For conference & live events: http://www.unbelievable.live • For our apologetics courses: https://www.premierunbelievable.com/training • Support us in the USA: http://www.premierinsight.org/unbelievableshow • Support us in the rest of the world: https://www.premierunbelievable.com/donate
Renaissance means rebirth. It is the rediscovery of the truth, goodness, and beauty of the classical world. Dr. Lloyd believes we need a new rebirth of culture and the Christian faith can speak profoundly to that. The post Episode 197 Truth, Culture, and Rebirth with Michael Lloyd first appeared on Lanier Theological Library and Learning Center.
Renaissance means rebirth. It is the rediscovery of the truth, goodness, and beauty of the classical world. Dr. Lloyd believes we need a new rebirth of culture and the Christian faith can speak profoundly to that. The post Episode 197 Truth, Culture, and Rebirth with Michael Lloyd first appeared on Lanier Theological Library.
Rev Dr Michael Lloyd, author of Cafe Theology, explores a number of Christian responses to evil and suffering. Which theories are the most intellectually, emotionally and pastorally consistent and satisfying? We also look at the doctrine of the fall. Why is it significant? Is it compatible with evolution? Was there a fall of angelic beings as well as humanity? For Michael Lloyd: https://www.wycliffe.ox.ac.uk/people/revd-dr-michael-lloyd-0 • Subscribe to the Unapologetic podcast: https://pod.link/1622170986 • More podcasts, free ebook & newsletter: https://premierunbelievable.com • Watch Unapologetic YouTube playlist: https://youtube.com/playlist?list=PL2Ds_nyh5gM_0OQDM3me0ZjLcNg2345GX • For conference & live events: http://www.unbelievable.live • For our apologetics courses: https://www.premierunbelievable.com/training • Support us in the USA: http://www.premierinsight.org/unbelievableshow • Support us in the rest of the world: https://www.premierunbelievable.com/donate
What happens to Alexander McQueen when he achieves his life's dream? Is he able to continue creating inspired collections in spite of the intense pressures of global fame? What are the personal meanings behind his most iconic collections? And what leads to his tragic end? We will explore all of those questions and much more on this finale to the McQueen series. ∞∞∞∞∞ View the companion gallery for this episode here: https://mjdorian.com/mcqueen/ ∞∞∞∞∞ Support Creative Codex on my Patreon and get access to exclusive episodes, including the LIMITED RELEASE SERIES (Kurt Cobain & Jim Morrison), the Red Book Reading series, and all the Episode Exclusives: https://www.patreon.com/mjdorian Buy me a coffee or add to my fancy books fund on Venmo: https://venmo.com/code?user_id=3235189073379328069&created=1681912456.228596&printed=1 ----------- Research Sources: • Alexander McQueen: Blood Beneath the Skin by Andrew Wilson • Alexander McQueen: The Life and the Legacy by Judith Watt • McDowell's Directory of Twentieth Century Fashion • Alexander McQueen: Savage Beauty • McQueen (Documentary, 2018) • Cutting Up Rough: Alexander McQueen (Documentary, BBC, 1997) ———— Audio Editor: Erik Texter All Music by MJDorian Written & Produced by MJDorian ———— Thank you to my Dream Maker tier! Executive Producer: Mike Hill --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Arturo Barrios, Barak Talker, Brandon Massengale, Cesar Roman, Chee Sing Kam, Clark Price, Clinton King, Dallas O'Kelly, Danny Olague, DVM, Elle, Ellis Morton, Gabriel Trudeau, Geo_H, Hamed Iranmehr, Jane Lopardo, Janet Roccanova, Jaskaran Purewal, Jasmine Carroll, Joe Boland, Kahlil Pyburn, Kawika, Kayla Dawson, Kristin Richard, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Nicole Wessel, Owen McAteer, Rach, Rachel Schultz, Rebecca, Ricky, Robert, Romina, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tamara, Terry W, Uppity Mantis, Venetia Nadin, Yadie Cisneros, Zarja Menart, and Zuzana. Thank you for your support! --------- Connect with me on social media for all the newest updates: YouTube: https://www.youtube.com/creativecodex Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian TikTok: https://www.tiktok.com/@mjdorian --------- Creative Codex is written & produced by MJDorian. All rights reserved.
It's the 1970s and New York City's queer scene is vibrant and organizing itself after the Stonewall Riots of 1969. Meanwhile, Wicca — a form of contemporary witchcraft — is gaining traction as the new religious movement of the hour. Edmund Buczynski is a Seeker of initiatory witchcraft but is denied time and again, often due to homophobia and heterosexism. But Eddie is charismatic and inspired by magic and mythology. He won't be stopped – even if he has to create his own witchcraft tradition. Featuring Thumper Forge, Michael Lloyd, and Matthew Sawicki.
Ruth Jackson shares some of her favourite moments over the last 99 episodes, including an opiate addict becoming a Christian apologist via a near death experience, an analytic philosopher on why she believes the gospel narratives are reliable, an NFL player on how he'd choose Jesus over winning the Super Bowl and a theologian exploring whether Jesus had a sex drive. • Subscribe to the Unapologetic podcast: https://pod.link/1622170986 • More podcasts, free ebook & newsletter: https://premierunbelievable.com • Watch Unapologetic YouTube playlist: https://youtube.com/playlist?list=PL2Ds_nyh5gM_0OQDM3me0ZjLcNg2345GX • For conference & live events: http://www.unbelievable.live • For our apologetics courses: https://www.premierunbelievable.com/training • Support us in the USA: http://www.premierinsight.org/unbelievableshow • Support us in the rest of the world: https://www.premierunbelievable.com/donate For more from Alanso Paul: https://www.premierunbelievable.com/unapologetic/unapologetic-37-alanzo-paul-a-former-opiate-addict-on-how-to-reach-young-people/14800.article John Swinton: Episode 45: https://www.premierunbelievable.com/unapologetic/unapologetic-45-john-swinton-a-psychiatric-nurse-turned-practical-theologian-on-suffering-faith-and-spiritual-care/15176.article Episode 46: https://www.premierunbelievable.com/unapologetic/unapologetic-46-john-swinton-darkness-death-and-extreme-suffering-how-holy-week-brings-hope/15232.article Episode 52: https://www.premierunbelievable.com/unapologetic/unapologetic-52-john-swinton-supporting-people-with-mental-health-challenges/15473.article Episode 53: https://www.premierunbelievable.com/unapologetic/unapologetic-53-john-swinton-disability-learning-difficulties-and-dementia/15550.article Lydia McGrew: Episode 49: https://www.premierunbelievable.com/unapologetic/unapologetic-49-lydia-mcgrew-is-an-evidential-approach-to-christianity-feasible/15332.article Episode 50: https://www.premierunbelievable.com/unapologetic/unapologetic-50-lydia-mcgrew-can-we-trust-the-gospels/15413.article Episode 51: https://www.premierunbelievable.com/unapologetic/unapologetic-51-lydia-mcgrew-who-is-the-true-jesus/15412.article Tyler Scott: https://www.premierunbelievable.com/unapologetic/unapologetic-40-tyler-scott-what-jesus-means-to-a-future-nfl-player/14908.article Andrew Gosler: Episode 85: https://www.premierunbelievable.com/unapologetic/unapologetic-85-andrew-gosler-coming-to-faith-through-dawkins/16938.article Episode 86: https://www.premierunbelievable.com/unapologetic/unapologetic-86-andrew-gosler-why-the-neo-darwinian-framing-of-evolution-is-profoundly-flawed/17036.article Episode 87: https://www.premierunbelievable.com/unapologetic/unapologetic-87-andrew-gosler-are-christianity-and-evolution-compatible/17059.article Vince Vitale: Episode 59: https://www.premierunbelievable.com/unapologetic/unapologetic-59-vince-vitale-from-scepticism-to-christian-apologist/15846.article Episode 60: https://www.premierunbelievable.com/unapologetic/unapologetic-60-vince-vitale-can-we-be-confident-in-our-belief/15908.article Episode 61: https://www.premierunbelievable.com/unapologetic/unapologetic-61-vince-vitale-why-does-god-allow-suffering-and-how-can-i-cope/15949.article Clare Williams: Episode 24: https://www.premierunbelievable.com/unapologetic/unapologetic-24-clare-williams-why-black-history-matters/14114.article Episode 25: https://www.premierunbelievable.com/unapologetic/unapologetic-25-clare-williams-why-racial-justice-matters/14123.article Episode 26: https://www.premierunbelievable.com/unapologetic/unapologetic-26-clare-williams-why-young-black-people-are-leaving-christianity/14230.article Michael Lloyd: Episode 74: https://www.premierunbelievable.com/unapologetic/unapologetic-74-michael-lloyd-should-we-all-study-theology/16498.article Episode 91: https://www.premierunbelievable.com/unapologetic/unapologetic-91-michael-lloyd-where-does-our-value-come-from/17198.article Episode 92: https://www.premierunbelievable.com/unapologetic/unapologetic-92-michael-lloyd-did-jesus-have-a-sex-drive/17222.article Hannah Martin: Episode 93: https://www.premierunbelievable.com/unapologetic/unapologetic-93-hannah-martin-makeup-artist-to-the-stars-on-life-faith-and-navigating-a-filter-obsessed-culture/17288.article Episode 94: https://www.premierunbelievable.com/unapologetic/unapologetic-94-hannah-martin-makeup-royalty-on-supporting-those-who-struggle-with-mothers-day/17311.article Amy Orr-Ewing: Episode 77: https://www.premierunbelievable.com/unapologetic/unapologetic-77-amy-orr-ewing-why-does-mary-matter/16672.article Episode 78: https://premierunbelievable.com/unapologetic/unapologetic-78-amy-orr-ewing-why-are-women-central-to-the-christian-story/16703.article Episode 79: https://www.premierunbelievable.com/unapologetic/unapologetic-79-amy-orr-ewing-is-there-any-evidence-for-a-virgin-birth/16779.article Sarah Irving-Stonebraker: Episode 75: https://www.premierunbelievable.com/unapologetic/unapologetic-75-sarah-irving-stonebraker-how-an-atheist-academic-moved-towards-belief-in-god/16608.article Episode 76: https://www.premierunbelievable.com/unapologetic/unapologetic-76-sarah-irving-stonebraker-how-do-we-find-meaning/16645.article Episode 98: https://www.premierunbelievable.com/unapologetic/unapologetic-98-sarah-irving-stonebraker-is-history-irrelevant/17436.article Episode 99: https://www.premierunbelievable.com/unapologetic/unapologetic-99-sarah-irving-stonebraker-how-can-we-be-effective-priests-of-history/17466.article For Arun Arora: Episode 80: https://www.premierunbelievable.com/unapologetic/unapologetic-80-bishop-arun-arora-what-is-advent-and-why-is-it-significant/16816.article Episode 81: https://www.premierunbelievable.com/unapologetic/unapologetic-81-bishop-arun-arora-advent-the-incarnation-and-racial-justice/16861.article Episode 82: https://www.premierunbelievable.com/unapologetic/unapologetic-82-bishop-arun-arora-saint-nicholas-george-floyd-and-unanswered-prayer/16894.article Episode 83: https://www.premierunbelievable.com/unapologetic/unapologetic-83-bishop-arun-arora-stormzy-women-ordination-and-the-hope-of-christmas/16937.article
Reverend Dr. Michael Lloyd, the Principal of Wycliffe Hall at Oxford and former chaplain of The Queen's College, shares a message at The Story Church about the useful but inadequate arguments we often make for suffering and evil in today's world, and breaks down what he believes to be the best way to address suffering and turn it into hope.
More than anything else in the world, Alexander McQueen at 21 years old wants to be a fashion designer. He embarks on a bold journey to flip the fashion industry on its head. But what makes his early collections so revolutionary and controversial? And what leads to him being 'discovered'? ∞∞∞∞∞ View the companion gallery for this episode (including the video of McQueen's graduate collection) here: https://mjdorian.com/mcqueen/ ∞∞∞∞∞ Support Creative Codex on my Patreon and get access to exclusive episodes, including the Kurt Cobain series, the RED BOOK READING series, and all the Episode Exclusives: https://www.patreon.com/mjdorian Buy me a coffee or add to my fancy books fund on Venmo: https://venmo.com/code?user_id=3235189073379328069&created=1681912456.228596&printed=1 ----------- Research Sources: • Alexander McQueen: Blood Beneath the Skin by Andrew Wilson • Alexander McQueen: The Life and the Legacy by Judith Watt • McDowell's Directory of Twentieth Century Fashion • Alexander McQueen: Savage Beauty • McQueen (Documentary, 2018) • Cutting Up Rough: Alexander McQueen (Documentary, BBC, 1997) ———— Audio Editor: D. Martin Sound All Music by MJDorian Written & Produced by MJDorian ———— Thank you to my Dream Maker tier! Executive Producer: Mike Hill --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Arturo Barrios, Barak Talker, Brandon Massengale, Cesar Roman, Chee Sing Kam, Clark Price, Clinton King, Dallas O'Kelly, Danny Olague, DVM, Elle, Ellis Morton, Gabriel Trudeau, Geo_H, Hamed Iranmehr, Jane Lopardo, Janet Roccanova, Jaskaran Purewal, Jasmine Carroll, Joe Boland, Kahlil Pyburn, Kawika, Kayla Dawson, Kristin Richard, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Nicole Wessel, Owen McAteer, Rach, Rachel Schultz, Rebecca, Ricky, Robert, Romina, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tamara, Terry W, Uppity Mantis, Venetia Nadin, Yadie Cisneros, Zarja Menart, and Zuzana. Thank you for your support! --------- Connect with me on social media for all the newest updates: YouTube: https://www.youtube.com/creativecodex Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian TikTok: https://www.tiktok.com/@mjdorian --------- Creative Codex is written & produced by MJDorian. All rights reserved.
Episode 183 Being Real with Philip Plyming It's easy to spot a fake. Young people are particularly good at it. And they have the means, through social media, to point it out! Philip Plyming has written an important book, entitled Being Real. It encourages Christians to be authentic in the hard stuff of life. He joined David Capes on the Stone Chapel Podcasts to discuss his book. Who Is Philip Plyming? Philip Plyming (pronounced like Plymouth) is Dean of the Cathedral in Durham, northeast England. It may well be the best cathedral in all of Europe. The cathedral is 900 years old, and people have been worshiping there for over one thousand years. Plyming studied Russian and German at Cambridge and came to faith in Christ at university when he was eighteen. He later studied theology at the University of Durham. Being Real Plyming focuses his attention in his new book on how God is at work in the tough times of our life. He takes the Apostle Paul as his example. Paul has much to say about the times of beatings, shipwrecks, imprisonment, and the like. God was not just at work with Jesus on the cross. Plyming says, “God is at work in cross-shaped places.” God is not just at work in the good places of life. So, we, like Paul, can boldly discuss the hard things with one another. And we can expect that God is at work in them as well. Resources Here is a link for Plyming's book Being Real: The Apostle Paul's Hardship Narratives and the Stories We Tell Today (SCM Press, 2023) Would you like to hear more about this topic? Here are links to similar podcasts. Michael Lloyd's podcast on the problem of evil and Jesus' approach- https://www.laniertheologicallibrary.org/wp-content/uploads/2022/02/TSC_079-Evil-Michael-Lloyd-fin.mp3 Ingrid Faro's podcast on deconstructing evil.-https://www.laniertheologicallibrary.org/wp-content/uploads/2023/01/TSC_125-Deconstructing-Evil-final.mp3 Christian Brady's podcast on beautiful and terrible things.-https://www.laniertheologicallibrary.org/wp-content/uploads/2024/01/TSC_178-Beautiful-and-Terrible-Things-Final.mp3 You can watch Michael Lloyd and Ingrid Faro's lectures (given at LTL) on this topic Click here for Michael Lloyd's lecture on Jesus, Satan and the Problem of Suffering And here for Ingrid Faro's lecture on Deconstructing Evil. Click here for a transcript of this podcast. More Resources Want more Stone Chapel Podcasts on some great topics? Just click here. You can get information on upcoming lectures at Lanier Theological Library by clicking here Subscribe to this podcast so you don't miss any of the great conversations with scholars and church leaders from around the world. The post Episode 183 “Being Real” with Philip Plyming first appeared on Lanier Theological Library.
What does the image of God say about our sexuality? What does that mean for single people? Did Jesus get erections? How did his sexual safeness help to heal people's broken sexuality? What did Jesus say about sex? How does God bring restoration? Rev Dr Michael Lloyd, co-author of Image Bearers, shares his thoughts. • Subscribe to the Unapologetic podcast: https://pod.link/1622170986 • More podcasts, free ebook & newsletter: https://premierunbelievable.com • Watch Unapologetic YouTube playlist: https://youtube.com/playlist?list=PL2Ds_nyh5gM_0OQDM3me0ZjLcNg2345GX • For conference & live events: http://www.unbelievable.live • For our apologetics courses: https://www.premierunbelievable.com/training • Support us in the USA: http://www.premierinsight.org/unbelievableshow • Support us in the rest of the world: https://www.premierunbelievable.com/donate
Rev Dr Michael Lloyd, co-author of Image Bearers, explores how the image of God shapes our understanding of what it is to be human. Is secular psychology sufficient? Why is restoration necessary? How does community help? Why is diversity so important? For Michael Lloyd: https://www.wycliffe.ox.ac.uk/people/revd-dr-michael-lloyd-0 • Subscribe to the Unapologetic podcast: https://pod.link/1622170986 • More podcasts, free ebook & newsletter: https://premierunbelievable.com • Watch Unapologetic YouTube playlist: https://youtube.com/playlist?list=PL2Ds_nyh5gM_0OQDM3me0ZjLcNg2345GX • For conference & live events: http://www.unbelievable.live • For our apologetics courses: https://www.premierunbelievable.com/training • Support us in the USA: http://www.premierinsight.org/unbelievableshow • Support us in the rest of the world: https://www.premierunbelievable.com/donate
How does a boy from a working class London background with no connections to the fashion industry go on to become one of the greatest fashion designers of all time? This is the story of Lee Alexander McQueen. Join me as we dive into the life and work of one of the most celebrated and controversial designers of the 21st century. ∞∞∞∞∞ Support Creative Codex on my Patreon and get access to exclusive episodes, including the Kurt Cobain series, the RED BOOK READING series, and all the Episode Exclusives: https://www.patreon.com/mjdorian Buy me a coffee or add to my fancy books fund on Venmo: https://venmo.com/code?user_id=3235189073379328069&created=1681912456.228596&printed=1 ----------- Research Sources: • Alexander McQueen: Blood Beneath the Skin by Andrew Wilson • Alexander McQueen: The Life and the Legacy by Judith Watt • McDowell's Directory of Twentieth Century Fashion • Alexander McQueen: Savage Beauty • McQueen (Documentary, 2018) • Cutting Up Rough: Alexander McQueen (Documentary, BBC, 1997) ———— Audio Editor: D. Martin Sound All Music by MJDorian Written & Produced by MJDorian ———— Thank you to my Dream Maker tier! Executive Producer: Mike Hill --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Arturo Barrios, Barak Talker, Brandon Massengale, Cesar Roman, Chee Sing Kam, Clark Price, Clinton King, Dallas O'Kelly, Danny Olague, DVM, Elle, Ellis Morton, Gabriel Trudeau, Geo_H, Hamed Iranmehr, Jane Lopardo, Janet Roccanova, Jaskaran Purewal, Jasmine Carroll, Joe Boland, Kahlil Pyburn, Kawika, Kayla Dawson, Kristin Richard, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Nicole Wessel, Owen McAteer, Rach, Rachel Schultz, Rebecca, Ricky, Robert, Romina, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tamara, Terry W, Uppity Mantis, Venetia Nadin, Yadie Cisneros, Zarja Menart, and Zuzana. Thank you for your support! --------- Connect with me on social media for all the newest updates: YouTube: https://www.youtube.com/creativecodex Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian TikTok: https://www.tiktok.com/@mjdorian --------- Creative Codex is written & produced by MJDorian. All rights reserved.
Catherine Lidstone talks getting involved in the union, working on "The Chosen", her new film "Forty-Seven Days with Jesus", and the time she froze in an audition! About Catherine: Catherine Lidstone is an award-winning Actor, Singer-Songwriter and elected SAG-AFTRA union leader from New England. She plays Mary of Bethany in CW's “The Chosen” and received acclaim for her breakout role opposite Kelsey Grammer in “Proven Innocent” (FOX). Additional credits include “Seal Team” for CBS/Paramount and “Shatter Belt” (SXSW). Catherine is a published Musical Artist whose songs have been placed on major TV/Film networks. Lidstone is currently in development with Grammy winner Michael Lloyd. She is passionate about SAG-AFTRA and is currently elected to the LA Local Board and as a Convention Delegate. Catherine also serves on several committees and has just begun her 2nd term as the Vice Chair of the Seasoned Performers Committee with Chair Stefanie Powers. Follow the show on social media! Instagram: https://instagram.com/thanksforcominginpodcast/ Twitter: https://twitter.com/tfci_podcast Facebook: http://facebook.com/thanksforcominginpodcast/ Patreon: patreon.com/thanksforcomingin YouTube: https://www.youtube.com/channel/UCXj8Rb1bEmhufSBFSCyp4JQ Theme Music by Andrew Skrabutenas Producers: Jillian Clare & Susan Bernhardt Channel: Realm For more information, go to thanksforcominginpodcast.com Learn more about your ad choices. Visit megaphone.fm/adchoices
What is your relationship to matter? On this episode–the fourth and final episode in the Jung & Alchemy series–we journey to the heart of alchemy. Through studying examples in alchemy we answer these questions: What are archetypes? What is the collective unconscious? What is individuation? And the question to end all questions on the matter: What happens when you practice alchemy? Does it confirm Jung's theories? Let's find out. ∞∞∞∞∞ View my Splendor Solis gallery here: https://mjdorian.com/alchemy/ Join the Creative Codex mailing list: https://mjdorian.com/mail/ ∞∞∞∞∞ Support Creative Codex on my Patreon and get access to exclusive episodes, including the RED BOOK READING series and all the Episode Exclusives: https://www.patreon.com/mjdorian Buy me a coffee or add to my fancy books fund on Venmo: https://venmo.com/code?user_id=3235189073379328069&created=1681912456.228596&printed=1 ∞∞∞∞∞ Find the free alchemy and esoteric knowledge courses of Jean Dubuis here: http://www.portaelucis.fr/GB/html/publications/alchimie.htm View a transcript of this episode here: https://mjdorian.com/transcripts/ ∞∞∞∞∞ Lustr Bustr Brand Supplements ad read by: Glen Vivaris (Follow Glen's escapades here: https://www.instagram.com/glenmakes/ ) Cover art: artwork from Rosarium Philosophorum (1550) ----------- Research Sources: • The Red Book by Carl Jung • Psychology and Alchemy by Carl Jung • Alchemical Studies by Carl Jung • Mysterium Coniunctionis by Carl Jung • Alchemical Active Imagination by Marie Louise von Franz • Alchemical Imagination by Jeffrey Raff • Atalanta Fugies by Michael Maier • Spagyrics by Jean Dubuis ———— Audio Editor: D. Martin Sound All Music by MJDorian Written & Produced by MJDorian ———— Thank you to my Dream Maker tier! Executive Producer: Mike Hill --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Arturo Barrios, Barak Talker, Brandon Massengale, Cesar Roman, Chee Sing Kam, Clark Price, Clinton King, Dallas O'Kelly, Danny Olague, DVM, Elle, Ellis Morton, Gabriel Trudeau, Geo_H, Hamed Iranmehr, Jane Lopardo, Janet Roccanova, Jaskaran Purewal, Jasmine Carroll, Joe Boland, Kahlil Pyburn, Kawika, Kayla Dawson, Kristin Richard, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Nicole Wessel, Owen McAteer, Rach, Rachel Schultz, Rebecca, Ricky, Robert, Romina, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tamara, Terry W, Uppity Mantis, Venetia Nadin, Yadie Cisneros, Zarja Menart, and Zuzana. Thank you for your support! --------- Connect with me on social media for all the newest updates: YouTube: https://www.youtube.com/creativecodex Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian TikTok: https://www.tiktok.com/@mjdorian --------- Creative Codex is written & produced by MJDorian. All rights reserved.
Rev Dr Michael Lloyd, author of Cafe Theology, shares his story including why he got ordained, how he ended up in academia and why he changed his mind on the ordination of women. He also discusses how to assess the veracity of doctrines and why he believes everyone should study theology. For Michael Lloyd: https://www.wycliffe.ox.ac.uk/people/revd-dr-michael-lloyd-0 • Subscribe to the Unapologetic podcast: https://pod.link/1622170986 • More podcasts, free ebook & newsletter: https://premierunbelievable.com • Watch Unapologetic YouTube playlist: https://youtube.com/playlist?list=PL2Ds_nyh5gM_0OQDM3me0ZjLcNg2345GX • For conference & live events: http://www.unbelievable.live • For our apologetics courses: https://www.premierunbelievable.com/training • Support us in the USA: http://www.premierinsight.org/unbelievableshow • Support us in the rest of the world: https://www.premierunbelievable.com/donate
Mark interviewed the Revd. Dr. Michael Lloyd - Principal of Wycliffe Hall at Oxford University in England. He's released a new book in the U.K. titled Image Bearers - Restoring our Identity and Living our Calling. It should release in the U.S. January 2024. The topic of the interview focused on Genesis 1:26-27. Michael Lloyd discussed seven points that show how we are made in the image of God 1. Role of dominion 2. Gives us value 3. Equality of people 4. Creativity 5. Relationally 6. Sexuality 7. Uniqueness After the fall, those points are distorted or skewed. “We are self-portraits of God but from a different angle.” Michael Lloyd. Listen to Mark and Dr. Lloyd discuss how we are made in the image of God, and although we've been damaged by sin, God will restore us into a perfect masterpiece, unique and diverse.
Join me for a journey back to a time when alchemy was revered by Kings & Queens and practiced in the courts of nobles. A time when Prague was the alchemical capital of the world–drawing occultists to it from all of Europe, and ruled by a King who supported esoteric spiritual practices. Along the way we will find direct parallels between Jung's Red Book and the work of the alchemists, leading us to Jung's most misunderstood psychotherapeutic method: active imagination. We will also explore these questions: What can a two hundred year old Grimm's fairy tale tell us about alchemy? What value did Dr. Carl Jung see in fairy tales? Why is a scholarly mind one of alchemy's virtues? Is Hermes-Mercurius the God of Alchemy? ∞∞∞∞∞ View my Atalanta Fugiens gallery (containing all 50 artworks) here: https://mjdorian.com/alchemy/ Join the Creative Codex mailing list: https://mjdorian.com/mail/ ∞∞∞∞∞ Support Creative Codex on my Patreon and get access to exclusive episodes, including the RED BOOK READING series and all the Episode Exclusives: https://www.patreon.com/mjdorian Buy me a coffee or add to my fancy books fund on Venmo: https://venmo.com/code?user_id=3235189073379328069&created=1681912456.228596&printed=1 ∞∞∞∞∞ View a transcript of this episode here: https://mjdorian.com/transcripts/ Prague's historic alchemical laboratory, Speculum Alchimiae: http://www.alchemiae.cz/en ∞∞∞∞∞ Cover art: detail of a Ripley Scroll (1600's) Christies auction house video about a Ripley Scroll: https://www.christies.com/features/The-fantastic-world-of-the-Ripley-Scroll-8760-3.aspx ----------- Research Sources: • The Red Book by Carl Jung • Psychology and Alchemy by Carl Jung • Alchemical Studies by Carl Jung • Mysterium Coniunctionis by Carl Jung • Alchemical Active Imagination by Marie Louise von Franz • Alchemical Imagination by Jeffrey Raff • Atalanta Fugies by Michael Maier • Spagyrics by Jean Dubuis ———— Audio Editor: Donald Martin All Music by MJDorian Written & Produced by MJDorian ———— Thank you to my Dream Maker tier! Executive Producer: Mike Hill --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Arturo Barrios, Barak Talker, Brandon Massengale, Cesar Roman, Chee Sing Kam, Clark Price, Clinton King, Dallas O'Kelly, Danny Olague, DVM, Elle, Ellis Morton, Gabriel Trudeau, Geo_H, Hamed Iranmehr, Jane Lopardo, Janet Roccanova, Jaskaran Purewal, Jasmine Carroll, Joe Boland, Kahlil Pyburn, Kawika, Kayla Dawson, Kristin Richard, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Nicole Wessel, Owen McAteer, Rach, Rachel Schultz, Rebecca, Ricky, Robert, Romina, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tamara, Terry W, Uppity Mantis, Venetia Nadin, Yadie Cisneros, Zarja Menart, and Zuzana. Thank you for your support! --------- Connect with me on social media for all the newest updates: YouTube: https://www.youtube.com/creativecodex Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian TikTok: https://www.tiktok.com/@mjdorian --------- Creative Codex is written & produced by MJDorian. All rights reserved.
Beneath the surface of Western history––deep within its cavernous tunnels––flows a river of gold. On this episode we explore the essential concepts of alchemy, alchemical artwork, Jung's theory regarding the projection of unconscious material, inexplicable dreams with alchemical symbolism, the paradox of consciousness & matter, and the unique role of revelation in alchemy. In the end, we return to The Red Book to track down a special passage which seems to prove Dr. Jung tapped into alchemy through his active imagination method seven years before officially studying it. ∞∞∞∞∞ Read my Rudiments of Alchemy article and view the Splendor Solis gallery here: https://mjdorian.com/alchemy/ Join the Creative Codex mailing list: https://mjdorian.com/mail/ ∞∞∞∞∞ Support Creative Codex on my Patreon and get access to exclusive episodes, including the Kurt Cobain series and all the Episode Exclusives: https://www.patreon.com/mjdorian Buy me a coffee or add to my fancy books fund on Venmo: https://venmo.com/code?user_id=3235189073379328069&created=1681912456.228596&printed=1 ∞∞∞∞∞ View a transcript of this episode here: https://mjdorian.com/transcripts/ ∞∞∞∞∞ Cover art: detail of Plate 4 from Splendor Solis (1553) ----------- Research Sources: • Memories, Dreams, Reflections by Carl Jung • The Red Book by Carl Jung • Psychology and Alchemy by Carl Jung • Alchemical Studies by Carl Jung • Man & His Symbols by Carl Jung • Alchemy by Marie Louise von Franz • Alchemical Imagination by Jeffrey Raff • Splendor Solis by Salomon Trimsosin • Atalanta Fugies by Michael Maier • Spagyrics by Jean Dubuis ———— Audio Editor: Marisa Ferdenzi (Check out Marisa's band, Citygirl: https://www.instagram.com/citygirlband/ ) Bob the Law-Bot ad: Glen Vivaris (Follow Glen's escapades here: https://www.instagram.com/glenmakes/ ) All Music by MJDorian Written & Produced by MJDorian ———— Thank you to my Dream Maker tier! Executive Producer: Mike Hill Executive Producer: Kurt Ward --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Angela Ramseyer, Deborah Meyers, Barak Talker, Carmella Cole, Corey, Cesar Roman, Clark Price, Clinton King, Dallas O'Kelly, DVM, Ellis Morton, Geo_H, Glen QuiltSwissy, Hamed Iranmehr, Hilde, Janet Roccanova, Jay, Jen The Atelierista, Jennifer Wilson, Joe Boland, Jye Marchant, Kahlil Pyburn, Kayla Dawson, Keith, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Payton, Rach, Rachel Schultz, Rebecca, Robert, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tim Sussss, Terry W, Yadie Cisneros, Cesar Roman, Romina, Kawika, Ristow Fitness, Yasmine Weiss, Danny Olague, Jane Lopardo. Thank you for your support! --------- Connect with me on social media for all the newest updates: YouTube: https://www.youtube.com/creativecodex Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian TikTok: https://www.tiktok.com/@mjdorian --------- Creative Codex is written & produced by MJDorian. All rights reserved.
This week, we head to the first state in the United States, Delaware. Kenzie covers the case of Anne Marie Fahey and Tom Capano. This is a classic story of what happens when a rich, white man doesn't get his way. Then, Lauren discusses the unsolved murder of Jane M. Prichard and the theories surrounding the possible culprit. Delaware, small but mighty.-Detective Thomas Orzechowski: (302) 395-8110Glenn Davis: (302) 395-8216Detective Brian Shahan: 302) 395-2781Delaware Crime Stoppers: (800) TIP-3333 and tipsubmit.com--Follow us on Social Media and find out how to support A Scary State by clicking on our Link Tree: https://instabio.cc/4050223uxWQAl--Have a scary tale or listener story of your own? Send us an email to ascarystatepodcast@gmail.com! We can't wait to read it!--Thinking of starting a podcast? Thinking about using Buzzsprout for that? Well use our link to let Buzzsprout know we sent you and get a $20 Amazon gift card if you sign up for a paid plan!https://www.buzzsprout.com/?referrer_id=1722892--Works cited!https://docs.google.com/document/d/1dkbhgrpfkd1Gfofa5j5jF288ingC22hvB0DdYDnZlIA/edit?usp=sharing --Intro and outro music thanks to Kevin MacLeod. You can visit his site here: http://incompetech.com/. Which is where we found our music!
What is alchemy? Where does it come from? When did it begin? What does Jung find in alchemy? What does it represent to him that is so important, so profound, that it causes him to abandon his inspired work of the Red Book? It's time to find out. ∞∞∞∞∞ Join the Creative Codex mailing list: https://mjdorian.com/mail/ ∞∞∞∞∞ Support Creative Codex on my Patreon and get access to exclusive episodes, including the Kurt Cobain series and all the Episode Exclusives: https://www.patreon.com/mjdorian Buy me a coffee or add to my fancy books fund on Venmo: https://venmo.com/code?user_id=3235189073379328069&created=1681912456.228596&printed=1 ∞∞∞∞∞ View a transcript of this episode here: https://mjdorian.com/transcripts/ ∞∞∞∞∞ Research Sources: • Memories, Dreams, Reflections by Carl Jung • The Red Book by Carl Jung • Psychology and Alchemy by Carl Jung • Alchemy by Marie Louise von Franz • Man & His Symbols by Carl Jung • The Secret of The Golden Flower (trans. by Thomas Cleary) • The Emerald Tablet of Hermes Trismegistus ———— Audio Editor: Marisa Ferdenzi (Check out Marisa's band, Citygirl: https://www.instagram.com/citygirlband/ ) Testimonials for BrainChip: Michael Pisano (Check out Michael's project: ThatMakesMeSad: https://instagram.com/thatmakesmesad?igshid=ZWQyN2ExYTkwZQ== All Music by MJDorian Written & Produced by MJDorian ———— Thank you to my Dream Maker tier! Executive Producer: Mike Hill Executive Producer: Kurt Ward --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Angela Ramseyer, Deborah Meyers, Barak Talker, Carmella Cole, Corey, Cesar Roman, Clark Price, Clinton King, Dallas O'Kelly, DVM, Ellis Morton, Geo_H, Glen QuiltSwissy, Hamed Iranmehr, Hilde, Janet Roccanova, Jay, Jen The Atelierista, Jennifer Wilson, Joe Boland, Jye Marchant, Kahlil Pyburn, Kayla Dawson, Keith, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Payton, Rach, Rachel Schultz, Rebecca, Robert, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tim Sussss, Terry W, Yadie Cisneros, Cesar Roman, Romina, Kawika, Ristow Fitness, Yasmine Weiss, Danny Olague, Jane Lopardo. Thank you for your support! --------- Connect with me on social media for all the newest updates: YouTube: https://www.youtube.com/creativecodex Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian TikTok: https://www.tiktok.com/@mjdorian --------- Creative Codex is written & produced by MJDorian. All rights reserved.
Episode 95 Early Intersections of Rock and Electronic Music Playlist Frank Zappa, The Mothers of Invention, “The Return of the Son Of Monster Magnet (Unfinished Ballet In Two Tableaus)” from Freak Out! (1966 Verve). Bass, Guitarrón, Soprano Vocals, Roy Estrada; Drums, Jimmy Carl Black; Guitar, Vocals, Arranged By, Written-By, Leader, Musical Director, Frank Zappa; Lead Guitar, Rhythm Guitar, Elliot Ingber; Vocals, Harmonica, Tambourine, Finger Cymbals, Ray Collins. Having been gifted a copy of the Mother's album Freak Out! In 1966, it was apparently this song that stuck in Paul McCartney's mind, inspiring the “Carnival of Light” recording to follow. 12:15 The Beatles, “Carnival of Light” an unreleased track that was commissioned by the Million Volt Light and Sound Rave, an event held at the Roundhouse in London on January 28 and February 4, 1967. Recorded during a session for the song "Penny Lane" in January 1967. Working with the recording studio as a creative tool, this was a project brought to band by Paul McCartney who had been asked by the festival sponsors to create a tape to be featured at the event. It was reported later that McCartney explained the exercise to his bandmates by saying, "This is a bit indulgent, but would you mind giving me 10 minutes? I've been asked to do this thing. All I want you to do is just wander round all of the stuff and bang it, shout, play it." The result was this sound piece. The Beatles were already conditioned for turning out spectacular sound effects in the studio. This was before the Moog Synthesizer came to Abbey Road. Nonetheless, they had access to all manner of guitar effects, echo, reverb, a Mellotron, electronic piano, organ, Lesley speakers and other devices with which to improvise. 13:08 The Riders Of The Mark, “The Electronic Insides And Metal Complexion That Make Up Herr Doktor Krieg” from The Electronic Insides And Metal Complexion That Make Up Herr Doktor Krieg/Gotta Find Somebody (1967 20th Century Fox). I wish I knew more about this band, but I don't. They had this one single. It has sometimes been included on compilation of psychedelia. Rock music, tape reversal, tape echo, fuzz tones, guitars. 2:13 Pink Floyd, “Interstellar Overdrive” from The Piper At The Gates Of Dawn (1967 Columbia). UK release of the formidable Pink Floyd, then making an impact with their first LP. No synthesizers, but there were electronic rock instruments galore and some imaginative stereo imaging, a benefit of working with tape in those days. Bass Guitar, Vocals, Roger Waters; Lead Guitar, Vocals, Syd Barrett; Drums, Nicky Mason; Piano, Organ, Rick Wright. 9:40 Bernard Parmegiani, “Pop'eclectic (1968)” from JazzEx (1999 Plat Lunch). Composed, produced, edited by Bernard Parmegiani. Parmegiani was one of the lesser-known composers associated with the French musique concrete school, although he was no less prolific in many genres, including electronic music for commercials. He was adept at experimenting across genres, providing musique concrete vividness to works for jazz and rock music. I always find his work to be refreshing and uncluttered by musical cliches. 11:03 (Frank Zappa) The Mothers of Invention, “Are You Hung Up?” from We're Only In It For The Money (1968 Verve). Arranged By, Composed By, Conductor, Concept By Conceived, Directed By Executed, Producer, Frank Zappa; Bass, Vocals, Other Asthma, Roy Estrada; Drums, Trumpet, Vocals, Other Indian Of The Group, Jimmy Carl Black; Drums, Vocals, Other Yak & Black Lace Underwear, Billy Mundi; Guitar, Piano, Vocals, Edited By, Other Weirdness, Frank Zappa; Piano, Woodwind, Other Wholesome, Ian Underwood; Saxophone, Other Weirdness & Teen Appeal, Euclid James Motorhead Sherwood; Sounds Snorks, Dick Barber; Voice Creepy Whispering, Engineer, Gary Kellgren; Voice Telephone, Suzy Creamcheese; Woodwind, “Mumbled Weirdness,” Bunk Gardner. 1:30 Silver Apples, “Velvet Cave” from Silver Apples (1968 Kapp). Composed and Arranged by, Dan Taylor, Simeon; Percussion, Dan Taylor; The Simeon (oscillators, filters), Simeon; Vocals, Dan Taylor, Simeon. “INSTRUCTIONS: Play Twice Before Listening.” This two-man group used a genius combination of drums and oscillators, a match made in heaven. 3:27 (Frank Zappa) The Mothers of Invention, “Nasal Retentive Calliope Music” from We're Only In It For The Money (1968 Verve). Arranged By, Composed By, Conductor, Concept By Conceived, Directed By Executed, Producer, Frank Zappa; Bass, Vocals, Other Asthma, Roy Estrada; Drums, Trumpet, Vocals, Other Indian Of The Group, Jimmy Carl Black; Drums, Vocals, Other Yak & Black Lace Underwear, Billy Mundi; Guitar, Piano, Vocals, Edited By, Other Weirdness, Frank Zappa; Piano, Woodwind, Other Wholesome, Ian Underwood; Saxophone, Other Weirdness & Teen Appeal, Euclid James Motorhead Sherwood; Sounds Snorks, Dick Barber; Voice Creepy Whispering, Engineer, Gary Kellgren; Voice Telephone, Suzy Creamcheese; Woodwind, “Mumbled Weirdness,” Bunk Gardner. 2:03 The United States of America, “The American Metaphysical Circus” from The United States of America (1968 Columbia). While the entire psychedelic scene in America was adding tape manipulation, fuzz tones, and echo to their recordings, The United States of America brought a blend of rock musicianship and serious tape collage work to the fore. The tape effects in their music were not the usual brief hooks or the sake of novelty, but fully composed blocks of electronic and found sounds integrated in the core of their tunes. Electric Bass, Rand Forbes; Keyboards, Electronics, Organ, Piano, Arranged, Electric Harpsichord, Calliope, Joseph Byrd; Lead Vocals, Dorothy Moskowitz; Organ, Piano, Calliope, Ed Bogas; Percussion, Drums Electric Drums, Craig Woodson; Producer, David Rubinson; Violin Electric Violin, Ring Modulator, Gordon Marron. 5:07 The United States of America, “Hard Coming Love” from The United States of America (1968 Columbia). Electric Bass, Rand Forbes; Keyboards, Electronics, Organ, Piano, Arranged, Electric Harpsichord, Calliope, Joseph Byrd; Lead Vocals, Dorothy Moskowitz; Organ, Piano, Calliope, Ed Bogas; Percussion, Drums Electric Drums, Craig Woodson; Producer, David Rubinson; Violin Electric Violin, Ring Modulator, Gordon Marron. No synthesizers as such, but Tom Oberheim built ring modulators and other devices for them. 4:48 Bernard Parmegiani, “Du Pop À L'âne (1969)” from JazzEx (1999 Plat Lunch). Composed, produced, edited by Bernard Parmegiani. Of special interest on this track is a sampled chunk of a song by the Doors that appears about 6 minutes in, altered and accompanied by editing and effects. This use of sampling speaks to the liberties that musique concrete musicians were taking with found materials. 10:14 Pierre Henry & Michel Colombier, “Prologue,” “Psyché Rock,” “Jéricho Jerk,” and “Teen Tonic” from Mass For Today / The Green Queen (1969 Limelight). Compilation of earlier works first released in 1967. These four works were part of “Mass for Today,” an electronic rock ballet.” This is a decent collection, with selections from other Henry musique concrete works. The electronic sounds and tape effects seem somewhat heavy-handed now, but at that time, this was what one could do without a synthesizer. Henry was already a maestro of musique concrete by that time so it's especially interesting to see what sounds he added without seeming trite or cliched. Réalisation Sonore, Pierre Henry; Written by, Michel Colombier, Pierre Henry. 9:54 Spooky Tooth and Pierre Henry, “Have Mercy” from Ceremony: An Electronic Mass (1969 Island). Bass Guitar, Andy Leigh; Composed by Gary Wright, Pierre Henry; Drums, Mike Kellie; Electronics, Realisation Sonore, Pierre Henry; Lead Guitar, Luther Grosvenor; Lead Vocals, Mike Harrison; Lead Vocals, Keyboards, Gary Wright. 8:10 The Free Pop Electronic Concept, “Pish! Pshaw!” from A New Exciting Experience (1969 Palette). From Brussels. Bass, James; Composed By, Recorded by Arsène Souffriau; Drums, Stu Martin; Electric Guitar, Jess; Organ, Scott Bradford; Percussion, Tumba, Vinagre. 4:47 The Free Pop Electronic Concept, “Cosmos Rhythms” from A New Exciting Experience (1969 Palette). From Brussels. Bass, James; Composed By, Recorded by Arsène Souffriau; Drums, Stu Martin; Electric Guitar, Jess; Organ, Scott Bradford; Percussion, Tumba, Vinagre. 3:01 Tommy James and the Shondells, “Cellophane Symphony” from Cellophane Symphony (1969 Roulette). This title track was a rare instrumental from this group normally associated with rock vocal hits. This is the only track in this podcast featuring the Moog Modular Synthesizer. There were certainly other examples of the Moog since it was first used in 1967, but I wanted to choose an example of how the synthesizer could be used by a rock band, rather than a pop artist such as Jean Jacques Perrey or Mort Garson. This is a terrific example that I would bet many of my listeners have never heard before. Tommy James, lead vocals, guitars, keyboards; Eddie Gray, lead guitar, backing vocals; Ronnie Rosman – keyboards, backing vocals; Mike Vale, bass guitar, backing vocals; Pete Lucia, drums, percussion, backing vocals. 9:37 West Coast Pop Art Experimental Band, “As Kind as Summer” from Vol. 3 - A Child's Guide To Good & Evil (1968 Reprise). American psychedelic rock band, formed in Los Angeles in 1965, broke up in 1969. Three teens (brothers Dan and Shaun Harris and their friend Michael Lloyd) teamed up with 30-year old Bob Markley, who got them a record deal with Reprise. Each of their albums was most bizarre, combining hummable pop tunes and spacey production. I included this particular track because it starkly demonstrates the use of tape loops and sound reversal. 1:10 Toshi Ichiyanagi, The Flowers, "Electric Chant” and “The Flowers (内田裕也とザ・フラワーズ)” from Opera "From The Works Of Tadanori Yokoo (1969 The End Record). Composed by Toshi Ichiyanagi and performed by the Japanese rock group The Flowers: Bass, Takeshi Hashimoto; Drums, Joji Wada; Guitar, Vocals, Remi Aso; Percussion, Backing Vocals, Yuya Uchida; Steel Guitar, Katsuhiko Kobayashi; Vocals, Hiroshi Chiba, Kento Nakamura. I'm including two pieces from this opera from 1969. The first, “Electric Chant” is electronic and includes tape collage while the second, “The Flowers” was performed by the Japanese pop rock band The Flowers and is loaded with distortion, echo, feedback, and reverberation, transforming the simple rock format into a discourse in electronic sound. 5:17 & 7:18 Tim Buckley, “Starsailor” from Starsailor (1970 Bizarre). Engineer, Stan Agol; Vocals, Producer, Written by, Tim Buckley. According to Larry Beckett, Buckley's chief lyricist and collaborator, who was there when they recorded this track, Buckley had a basic lyric track to which he recorded 18 additional vocals tracks on top of it. “He didn't write it out as a classical musician does, but it was thoroughly composed.” From the standpoint of rock music, this was more akin to composing with tone clusters than chord progressions. 4:34 Opening background music: Luc Ferrari, “Dialogue Ordinaire Avec La Machine (1984)” from Dialogue Ordinaire Avec La Machine / Sexolidad (2019 Elica). Composed and performed by Luc Ferrari. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.
This is the final part of a three part series about the legend of performance art: Marina Abramović. In this episode we explore Marina & Ulay's hypnosis inspired performance pieces, we follow them into the Australian outback for their six months living with aborigines, and finally explore what leads to their last performance–walking the Great Wall of China. Pieces discussed in order of appearance in the episode: • Hypnosis inspired series (1980): Nature of Mind, Point of Contact, Timeless Point of View, Rest Energy • Nightsea Crossing (1981-1987) • Lovers (1988), The Great Wall of China • The Artist Is Present (2010) --------- Join the Creative Codex mailing list: https://mjdorian.com/mail/ --------- Support Creative Codex on my Patreon and get access to exclusive episodes, including the Kurt Cobain series and all the Episode Exclusives: https://www.patreon.com/mjdorian Buy me a coffee or add to my fancy books fund on Venmo: https://venmo.com/code?user_id=3235189073379328069&created=1681912456.228596&printed=1 ———— Research Sources: Walk Through Walls: A memoir by Marina Abramović When Marina Abramović Dies by James Westcott Marina Abramović Writings 1960 - 2014 Psychoanalyst Meets Marina Abramović by Jeannette Fischer Documentary: No Predicted End ———— Audio Editor: Marisa Ferdenzi (Check out Marisa's band, Citygirl: https://www.instagram.com/citygirlband/ ) All Music by MJDorian Written & Produced by MJDorian ———— Thank you to my Dream Maker tier! Executive Producer: Mike Hill --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Angela Ramseyer, Deborah Meyers, Barak Talker, Carmella Cole, Corey, Cesar Roman, Clark Price, Clinton King, Dallas O'Kelly, DVM, Ellis Morton, Geo_H, Glen QuiltSwissy, Hamed Iranmehr, Hilde, Janet Roccanova, Jay, Jen The Atelierista, Jennifer Wilson, Joe Boland, Jye Marchant, Kahlil Pyburn, Kayla Dawson, Keith, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Payton, Rach, Rachel Schultz, Rebecca, Robert, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tim Sussss, Terry W, Yadie Cisneros, Cesar Roman, Romina, Kawika, Ristow Fitness, Yasmine Weiss, Danny Olague, Jane Lopardo. Thank you for your support! --------- Connect with me on social media for all the newest updates: YouTube: https://www.youtube.com/creativecodex Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian TikTok: https://www.tiktok.com/@mjdorian --------- Creative Codex is written & produced by MJDorian. All rights reserved.
Learn more about St. Michael's at www.st-michaels.org.
This is Part 2 of a three part series about the legend of performance art: Marina Abramović. On this episode, we explore her intense relationship and art partnership with Ulay. The narrative weaves its way through their thirteen year collaboration, focusing on their early years, first performances together, and their Art Vital manifesto which encapsulated their life and art. --------- Support Creative Codex on my Patreon and get access to exclusive episodes, including the Kurt Cobain series and all the Episode Exclusives: https://www.patreon.com/mjdorian ———— Research Sources: Walk Through Walls: A memoir by Marina Abramović When Marina Abramović Dies by James Westcott Marina Abramović Writings 1960 - 2014 Psychoanalyst Meets Marina Abramović by Jeannette Fischer Documentary: No Predicted End ———— Audio Editor: Marisa Ferdenzi All Music by MJDorian Written & Produced by MJDorian ———— Thank you to my Dream Maker tier! Executive Producer: Mike Hill --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Angela Ramseyer, Deborah Meyers, Barak Talker, Carmella Cole, Corey, Cesar Roman, Clark Price, Clinton King, Dallas O'Kelly, DVM, Ellis Morton, Geo_H, Glen QuiltSwissy, Hamed Iranmehr, Hilde, Janet Roccanova, Jay, Jen The Atelierista, Jennifer Wilson, Joe Boland, Jye Marchant, Kahlil Pyburn, Kayla Dawson, Keith, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Payton, Rach, Rachel Schultz, Rebecca, Robert, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tim Sussss, Terry W, Yadie Cisneros, Cesar Roman, Romina, Kawika, Ristow Fitness, Yasmine Weiss, Danny Olague, Jane Lopardo. Thank you for your support! --------- Connect with me on social media for all the newest updates: YouTube: https://www.youtube.com/creativecodex Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian TikTok: https://www.tiktok.com/@mjdorian --------- Creative Codex is written & produced by MJDorian. All rights reserved.
This is Part 1 of a three part series about the legend of performance art: Marina Abramović. On this episode, we explore her childhood, Marina's first forays into art, and her controversial Rhythm series. In a first for podcasting, we explore her performance art through sonic simulations of the works as they are discussed. Her artworks as they appear in this episode: Rhythm 10 (1973) Rhythm 5 (1974) Rhythm 2 (1974) Rhythm 4 (1974) Rhythm 0 (1974) --------- Support Creative Codex on my Patreon and get access to exclusive episodes, including the Kurt Cobain series and all the Episode Exclusives: https://www.patreon.com/mjdorian ———— Research Sources: Walk Through Walls: A memoir by Marina Abramović When Marina Abramović Dies by James Westcott Psychoanalyst Meets Marina Abramović by Jeannette Fischer ———— Audio Editor: Marisa Ferdenzi All Music by MJDorian Written & Produced by MJDorian ———— Thank you to my Dream Maker tier! Executive Producer: Mike Hill --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Angela Ramseyer, Deborah Meyers, Barak Talker, Carmella Cole, Corey, Cesar Roman, Clark Price, Clinton King, Dallas O'Kelly, DVM, Ellis Morton, Geo_H, Glen QuiltSwissy, Hamed Iranmehr, Hilde, Janet Roccanova, Jay, Jen The Atelierista, Jennifer Wilson, Joe Boland, Jye Marchant, Kahlil Pyburn, Kayla Dawson, Keith, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Payton, Rach, Rachel Schultz, Rebecca, Robert, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tim Sussss, Terry W, Yadie Cisneros, Cesar Roman, Romina, Kawika, Ristow Fitness, Yasmine Weiss, Danny Olague, Jane Lopardo. Thank you for your support! --------- Connect with me on social media for all the newest updates: YouTube: https://www.youtube.com/creativecodex Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian TikTok: https://www.tiktok.com/@mjdorian --------- Creative Codex is written & produced by MJDorian. All rights reserved.
The Hell Panel of Hieronymus Bosch is considered the most infamous depiction of Hell in art history. On this episode, we will venture deeper into Bosch's Hell than anyone has ever ventured before. At its depths we will find philosophical insights, critiques of the Catholic Church, and Bosch's visionary creative genius on full display. View a video companion of this episode on Spotify: https://open.spotify.com/episode/2bfQsdvdVYpxTZGTaMt2Zn?si=aee56d57f19d4194 View a high resolution version of The Garden of Earthly Delights online at these links: For mobile: http://boschproject.org/view.html?pointer=0.426,0.005&i=00MCPVIS For desktop: http://boschproject.org/#/artworks/The_Garden_of_Earthly_Delights ———— Support Creative Codex on my Patreon and get access to exclusive episodes, including the Kurt Cobain series and all the Episode Exclusives: https://www.patreon.com/mjdorian ———— Research Sources: Bosch: The Complete Works by Stephen Fischer (Published by Taschen) Hieronymus Bosch: Visions and Nightmares by Nils Buttner Hieronymus Bosch: New Insights Into His Life And Work (Published by Museum Boijmans Van Beuningen Rotterdam) Bosch by Carl Linfert ———— The Garden of Earthly Delights is permanently on display at the Museo Nacional del Prado, in Madrid, Spain. ———— Audio Editor: Marisa Ferdenzi All Music by MJDorian Except a brief example of: Codex Gluteo by Atrium Musicae (1978) Written & Produced by MJDorian ———— Thank you to my Dream Maker tier! Executive Producer: Mike Hill --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Angela Ramseyer, Deborah Meyers, Barak Talker, Carmella Cole, Corey, Cesar Roman, Clark Price, Clinton King, Dallas O'Kelly, DVM, Ellis Morton, Geo_H, Glen QuiltSwissy, Hamed Iranmehr, Hilde, Janet Roccanova, Jay, Jen The Atelierista, Jennifer Wilson, Joe Boland, Jye Marchant, Kahlil Pyburn, Kayla Dawson, Keith, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Payton, Rach, Rachel Schultz, Rebecca, Robert, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tim Sussss, Terry W, Romina, and Yadie Cisneros. Thank you for your support! --------- Connect with me on social media for all the newest updates: YouTube: https://www.youtube.com/creativecodex Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian TikTok: https://www.tiktok.com/@mjdorian --------- Creative Codex is written & produced by MJDorian. All rights reserved.
Hieronymus Bosch created one of the strangest and most talked about paintings in art history: The Garden of Earthly Delights. But there is a riddle hidden in the garden: is it an idyllic paradise or a sinful false paradise? On this episode, we will dive deeper than ever before to search for the answer. Other questions we will explore on this episode: what makes The Garden of Earthly Delights a work of creative genius? Why do some historians consider it a work of madness? And what do we really know about the mysterious painter: Hieronymus Bosch? View a video companion of this episode on Spotify: https://open.spotify.com/show/7IIv6uXWqQM3qyhzyKBluT?si=2841e67a5ac64e45 View a high resolution version of The Garden of Earthly Delights online: http://boschproject.org/view.html?pointer=0.426,0.005&i=00MCPVIS ———— Support Creative Codex on my Patreon and get access to exclusive episodes, including the Kurt Cobain series and all the Episode Exclusives: https://www.patreon.com/mjdorian ———— A full transcript of this episode is available here: https://mjdorian.com/transcripts/ ———— Research Sources: Bosch: The Complete Works by Stephen Fischer (Published by Taschen) Hieronymus Bosch: Visions and Nightmares by Nils Buttner Hieronymus Bosch: New Insights Into His Life And Work (Published by Museum Boijmans Van Beuningen Rotterdam) Bosch by Carl Linfert ———— The Garden of Earthly Delights is permanently on display at the Museo Nacional del Prado, in Madrid, Spain. ———— Audio Editor: Marisa Ferdenzi Music by MJDorian Written & Produced by MJDorian ———— Thank you to my Dream Maker tier! Executive Producer: Mike Hill --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Angela Ramseyer, Deborah Meyers, Barak Talker, Carmella Cole, Corey, Cesar Roman, Clark Price, Clinton King, Dallas O'Kelly, DVM, Ellis Morton, Geo_H, Glen QuiltSwissy, Hamed Iranmehr, Hilde, Janet Roccanova, Jay, Jen The Atelierista, Jennifer Wilson, Joe Boland, Jye Marchant, Kahlil Pyburn, Kayla Dawson, Keith, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Payton, Rach, Rachel Schultz, Rebecca, Robert, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tim Sussss, Terry W, and Yadie Cisneros. Thank you for your support! --------- Connect with me on social media for all the newest updates: Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian --------- Creative Codex is written & produced by MJDorian. All rights reserved.
Imagine if you were a student of Leonardo da Vinci during the height of the Renaissance? What would you learn? All the secrets of oil painting, the hidden proportions of human anatomy, Leonardo's philosophy on life...Let's find out. On this episode, we explore Leonardo da Vinci's Treatise On Painting through three lectures on Proportion, Anatomy, and Color. We stumble onto the invention of 'orange'. And finally, we uncover unlock the secrets of The Vitruvian Man. Join me for this special two part series, as we dive into the thoughts, artwork, and paradoxes of Leonardo da Vinci's mind. A mind whose brilliance is exteriorized for us on the pages of these manuscripts. Visit the companion gallery for this episode here: https://mjdorian.com/notebooks/ --------- Research & Resources: • The Notebooks of Leonardo da Vinci, edited by Edward MacCurdy (Definitive Edition in One Volume). (Digital version, Volume I: https://archive.org/details/in.ernet.dli.2015.283547 ) • Treatise On Painting, by Leonardo da Vinci (Digital version: https://archive.org/details/cu31924008661476 ) • Leonardo: The Complete Drawings, published by Taschen. • The Lives of the Most Excellent Painters, Sculptors, and Architects, by Giorgio Vasari • Leonardo da Vinci, by Walter Isaacson. --------- Support Creative Codex on my Patreon and get access to exclusive episodes, including the Kurt Cobain series and all the Episode Exclusives: https://www.patreon.com/mjdorian --------- Listen to episode 2 of Creative Codex for more about Leonardo da Vinci's personal life. Available in the main podcast feed, titled: '2: Leonardo da Vinci's Secret'. --------- Thank you to my Dream Maker tier! Executive Producer: Mike Hill --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Angela Ramseyer, Anna Wolff, Aranea Push, Barak Talker, Carmella Cole, Corey, Clark Price, Clinton King, Dallas O'Kelly, DVM, Ellis Morton, Geo_H, Glen QuiltSwissy, Hamed Iranmehr, Hilde, Janet Roccanova, Jay, Jen The Atelierista, Jennifer Wilson, Joe Boland, Jye Marchant, Kahlil Pyburn, Kayla Dawson, Keith, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Payton, Rach, Rachel Schultz, Rebecca, Robert, Scott Wierzbicki, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Tim Sussss, Terry W, Deborah Meyers, and Yadie Cisneros. Thank you for your support! --------- Connect with me on social media for all the newest updates: Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian --------- All music written & produced by MJDorian. With one exception: Amadeus Mozart's Lacrymosa from Mozart's Requiem plays from 8:50-11:30. Performed by the Boston Symphony Orchestra, conducted by Erich Leinsdorf. Creative Codex is written & produced by MJDorian. All rights reserved.
At this moment, strewn across the world, there exist over 7,200 pages of Leonardo da Vinci's notes. These pages are not only echoes of a distant past–embodying the inquisitive spirit of the Renaissance–according to scholars and historians they represent the 'greatest record of curiosity ever created'. Join me for this special two part series, as we dive into the thoughts, artwork, and paradoxes of Leonardo da Vinci's mind. A mind whose brilliance is exteriorized for us on the pages of these manuscripts. Visit the companion gallery for this episode here: https://mjdorian.com/notebooks/ --------- Research & Resources: • The Notebooks of Leonardo da Vinci, edited by Edward MacCurdy (Definitive Edition in One Volume). • Leonardo: The Complete Drawings, published by Taschen. • The Lives of the Most Excellent Painters, Sculptors, and Architects, by Giorgio Vasari • Leonardo da Vinci, by Walter Isaacson. --------- Support Creative Codex on my Patreon and get access to exclusive episodes, including the Kurt Cobain series and all the Episode Exclusives: https://www.patreon.com/mjdorian --------- Listen to episode 2 of Creative Codex for more about Leonardo da Vinci's personal life. Available in the main podcast feed, titled: '2: Leonardo da Vinci's Secret'. --------- Thank you to my Dream Maker tier! Executive Producer: Mike Hill --------- Thank-you's & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Barak Talker, Carmella Cole, Corey, Clark Price, Clinton King, Dallas O'Kelly, DVM, Geo_H, Glen QuiltSwissy, Hamed Iranmehr, Hilde, Janet Roccanova, Jay, Jen The Atelierista, Jennifer Wilson, Jye Marchant, Kayla Dawson, Keith, Kirsten Dressler, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Owen McAteer, Rachulan, Rachel Schultz, Rebecca, Robert, Ruben Corona, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Stephanie Neal, Tim Sussss, Terry W, and Yadie Cisneros. Thank you for your support! --------- Connect with me on social media for all the newest updates: Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian --------- All music written & produced by MJDorian. With one exception: Amadeus Mozart's Lacrymosa from Mozart's Requiem plays from 8:50-11:30. Performed by the Boston Symphony Orchestra, conducted by Erich Leinsdorf. Creative Codex is written & produced by MJDorian. All rights reserved.
Sophie Nélisse talks about her breakout role in the hit show Yellowjackets and growing up as a child actor, Michael Lloyd reflects on making the famous soundtrack to Dirty Dancing, Kemp Powers talks about breaking ground with the powerful animated film Soul, Tranna Wintour and Allison Dore look back on 30 years of A League of Their Own and Buffy the Vampire Slayer and Emily St. John Mandel talks about her pandemic novel Station Eleven and how it became a critically acclaimed TV show.
Leonor Fini did not limit art to the confines of the frame, for her, it spilled out into all of life itself. Every year, Fini and her two lovers, Stanislao & Kot, would host soirees at an abandoned monastery on the island of Corsica. Join me on a masquerade through Fini's imagination. Along the way we will witness a battle of wits between Dalí and Fini, we will also appreciate selected artworks from Fini's mid-to-late career and interview Lissa Rivera, the curator for the first Leonor Fini retrospective exhibition in the USA. View the Companion Gallery for this episode: https://mjdorian.com/fini/ (This is Part 2 of the Leonor Fini series, you can find Part 1 by scrolling down to Episode 30 in your podcast feed.) Learn more about Lissa Rivera (Photographer / Curator): Website: http://www.lissarivera.com Instagram: https://www.instagram.com/lissa_rivera_/ Follow Emily Simone (violinist on Codex 30 & 31): https://www.emilysimone.com/about https://www.instagram.com/EMILYSIMONEMUSIC/ Support Creative Codex on my Patreon and get access to exclusive episodes, including the Kurt Cobain series and all the Episode Exclusives: https://www.patreon.com/mjdorian --------- Thank yous & 'shout outs' to the Shadow Fam! Shadow-Fam: AKD, Anna Wolff, Aranea Push, Barak Talker, Carmella Cole, Corey, Clark Price, Clinton King, Dallas O'Kelly, DVM, Geo_H, Glen QuiltSwissy, Hamed Iranmehr, Hilde, Jay, Jen The Atelierista, Jye Marchant, Kayla Dawson, Keith, Kirsten Dressler, Kristina Lamour Sansone, Maurus Fitze, Michael Lloyd, Owen McAteer, Rachel Schultz, Rebecca, Robert, Ruben Corona, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Stephanie Neal, Terry W, and Yadie Cisneros. Thank you for your support! --------- Creative Codex is written & produced by MJDorian. All rights reserved.
Principal Michael Lloyd joins David Capes on "The Stone Chapel Podcast." Join us as we talk about Wycliffe Hall of Oxford University, our new academic partner in the UK and at Yarnton Manor. The post Episode 091 Wycliffe Hall Oxford University with Michael Lloyd first appeared on Lanier Theological Library and Learning Center.
Leonor Fini was one of the most prolific and mysterious artists of the 20th century. Her career spans an impressive 67 years, she completed over 1,100 oil paintings, and her art was featured in over 350 international gallery exhibitions during her lifetime. Yet she is virtually unknown to us today. Her art and career are shrouded with the mystery of a sphinx's riddle. This is the story of Leonor Fini, one of the 20th century's great creative geniuses. Visit the companion gallery for this episode: https://mjdorian.com/fini/ --------- If you'd like to become a supporter of Creative Codex and listen to my Kurt Cobain series, head over to: https://www.patreon.com/mjdorian --------- Violin performed by Emily Simone Instagram: https://www.instagram.com/emilysimonemusic/ --------- Big thank you to my Shadow-Fam supporters: AKD, Anna Wolff, Aranea Push, Barak Talker, Corey, Clark Price, Clinton King, Dallas O'Kelly, DVM, Glen QuiltSwissy, Hamed Iranmehr, Hilde, Jay, Jen The Atelierista, Jye Marchant, Kayla Dawson, Keith, Kristina Lamour Sansone, Michael Lloyd, Owen McAteer, Rebecca, Robert, Ruben Corona, Sigitas Treciokas, Simon Bonanno, Sowmya Hariharan, Stephanie Neal, Terry W, Viggs Verikas, and Yadie Cisneros. Thank you for your support! --------- Let's connect... Instagram: @mjdorian Twitter: @mjdorian --------- All music written & produced by MJDorian Creative Codex is written & produced by MJDorian All Rights Reserved
Episode one hundred and forty-seven of A History of Rock Music in Five Hundred Songs looks at “Hey Joe" by the Jimi Hendrix Experience, and is the longest episode to date, at over two hours. Patreon backers also have a twenty-two-minute bonus episode available, on "Making Time" by The Creation. 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/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. Information on Arthur Lee and Love came from Forever Changes: Arthur Lee and the Book of Love by John Einarson, and Arthur Lee: Alone Again Or by Barney Hoskyns. Information on Gary Usher's work with the Surfaris and the Sons of Adam came from The California Sound by Stephen McParland, which can be found at https://payhip.com/CMusicBooks Information on Jimi Hendrix came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. Information on the history of "Hey Joe" itself came from all these sources plus Hey Joe: The Unauthorised Biography of a Rock Classic by Marc Shapiro, though note that most of that book is about post-1967 cover versions. Most of the pre-Experience session work by Jimi Hendrix I excerpt in this episode is on this box set of alternate takes and live recordings. And "Hey Joe" can be found on Are You Experienced? Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before we start – this episode deals with a song whose basic subject is a man murdering a woman, and that song also contains references to guns, and in some versions to cocaine use. Some versions excerpted also contain misogynistic slurs. If those things are likely to upset you, please skip this episode, as the whole episode focusses on that song. I would hope it goes without saying that I don't approve of misogyny, intimate partner violence, or murder, and my discussing a song does not mean I condone acts depicted in its lyrics, and the episode itself deals with the writing and recording of the song rather than its subject matter, but it would be impossible to talk about the record without excerpting the song. The normalisation of violence against women in rock music lyrics is a subject I will come back to, but did not have room for in what is already a very long episode. Anyway, on with the show. Let's talk about the folk process, shall we? We've talked before, like in the episodes on "Stagger Lee" and "Ida Red", about how there are some songs that aren't really individual songs in themselves, but are instead collections of related songs that might happen to share a name, or a title, or a story, or a melody, but which might be different in other ways. There are probably more songs that are like this than songs that aren't, and it doesn't just apply to folk songs, although that's where we see it most notably. You only have to look at the way a song like "Hound Dog" changed from the Willie Mae Thornton version to the version by Elvis, which only shared a handful of words with the original. Songs change, and recombine, and everyone who sings them brings something different to them, until they change in ways that nobody could have predicted, like a game of telephone. But there usually remains a core, an archetypal story or idea which remains constant no matter how much the song changes. Like Stagger Lee shooting Billy in a bar over a hat, or Frankie killing her man -- sometimes the man is Al, sometimes he's Johnny, but he always done her wrong. And one of those stories is about a man who shoots his cheating woman with a forty-four, and tries to escape -- sometimes to a town called Jericho, and sometimes to Juarez, Mexico. The first version of this song we have a recording of is by Clarence Ashley, in 1929, a recording of an older folk song that was called, in his version, "Little Sadie": [Excerpt: Clarence Ashley, "Little Sadie"] At some point, somebody seems to have noticed that that song has a slight melodic similarity to another family of songs, the family known as "Cocaine Blues" or "Take a Whiff on Me", which was popular around the same time: [Excerpt: The Memphis Jug Band, "Cocaine Habit Blues"] And so the two songs became combined, and the protagonist of "Little Sadie" now had a reason to kill his woman -- a reason other than her cheating, that is. He had taken a shot of cocaine before shooting her. The first recording of this version, under the name "Cocaine Blues" seems to have been a Western Swing version by W. A. Nichol's Western Aces: [Excerpt: W.A. Nichol's Western Aces, "Cocaine Blues"] Woody Guthrie recorded a version around the same time -- I've seen different dates and so don't know for sure if it was before or after Nichol's version -- and his version had himself credited as songwriter, and included this last verse which doesn't seem to appear on any earlier recordings of the song: [Excerpt: Woody Guthrie, "Cocaine Blues"] That doesn't appear on many later recordings either, but it did clearly influence yet another song -- Mose Allison's classic jazz number "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] The most famous recordings of the song, though, were by Johnny Cash, who recorded it as both "Cocaine Blues" and as "Transfusion Blues". In Cash's version of the song, the murderer gets sentenced to "ninety-nine years in the Folsom pen", so it made sense that Cash would perform that on his most famous album, the live album of his January 1968 concerts at Folsom Prison, which revitalised his career after several years of limited success: [Excerpt: Johnny Cash, "Cocaine Blues (live at Folsom Prison)"] While that was Cash's first live recording at a prison, though, it wasn't the first show he played at a prison -- ever since the success of his single "Folsom Prison Blues" he'd been something of a hero to prisoners, and he had been doing shows in prisons for eleven years by the time of that recording. And on one of those shows he had as his support act a man named Billy Roberts, who performed his own song which followed the same broad outlines as "Cocaine Blues" -- a man with a forty-four who goes out to shoot his woman and then escapes to Mexico. Roberts was an obscure folk singer, who never had much success, but who was good with people. He'd been part of the Greenwich Village folk scene in the 1950s, and at a gig at Gerde's Folk City he'd met a woman named Niela Miller, an aspiring songwriter, and had struck up a relationship with her. Miller only ever wrote one song that got recorded by anyone else, a song called "Mean World Blues" that was recorded by Dave Van Ronk: [Excerpt: Dave Van Ronk, "Mean World Blues"] Now, that's an original song, but it does bear a certain melodic resemblance to another old folk song, one known as "Where Did You Sleep Last Night?" or "In the Pines", or sometimes "Black Girl": [Excerpt: Lead Belly, "Where Did You Sleep Last Night?"] Miller was clearly familiar with the tradition from which "Where Did You Sleep Last Night?" comes -- it's a type of folk song where someone asks a question and then someone else answers it, and this repeats, building up a story. This is a very old folk song format, and you hear it for example in "Lord Randall", the song on which Bob Dylan based "A Hard Rain's A-Gonna Fall": [Excerpt: Ewan MacColl, "Lord Randall"] I say she was clearly familiar with it, because the other song she wrote that anyone's heard was based very much around that idea. "Baby Please Don't Go To Town" is a question-and-answer song in precisely that form, but with an unusual chord progression for a folk song. You may remember back in the episode on "Eight Miles High" I talked about the circle of fifths -- a chord progression which either increases or decreases by a fifth for every chord, so it might go C-G-D-A-E [demonstrates] That's a common progression in pop and jazz, but not really so much in folk, but it's the one that Miller had used for "Baby, Please Don't Go to Town", and she'd taught Roberts that song, which she only recorded much later: [Excerpt: Niela Miller, "Baby, Please Don't Go To Town"] After Roberts and Miller broke up, Miller kept playing that melody, but he changed the lyrics. The lyrics he added had several influences. There was that question-and-answer folk-song format, there's the story of "Cocaine Blues" with its protagonist getting a forty-four to shoot his woman down before heading to Mexico, and there's also a country hit from 1953. "Hey, Joe!" was originally recorded by Carl Smith, one of the most popular country singers of the early fifties: [Excerpt: Carl Smith, "Hey Joe!"] That was written by Boudleaux Bryant, a few years before the songs he co-wrote for the Everly Brothers, and became a country number one, staying at the top for eight weeks. It didn't make the pop chart, but a pop cover version of it by Frankie Laine made the top ten in the US: [Excerpt: Frankie Laine, "Hey Joe"] Laine's record did even better in the UK, where it made number one, at a point where Laine was the biggest star in music in Britain -- at the time the UK charts only had a top twelve, and at one point four of the singles in the top twelve were by Laine, including that one. There was also an answer record by Kitty Wells which made the country top ten later that year: [Excerpt: Kitty Wells, "Hey Joe"] Oddly, despite it being a very big hit, that "Hey Joe" had almost no further cover versions for twenty years, though it did become part of the Searchers' setlist, and was included on their Live at the Star Club album in 1963, in an arrangement that owed a lot to "What'd I Say": [Excerpt: The Searchers, "Hey Joe"] But that song was clearly on Roberts' mind when, as so many American folk musicians did, he travelled to the UK in the late fifties and became briefly involved in the burgeoning UK folk movement. In particular, he spent some time with a twelve-string guitar player from Edinburgh called Len Partridge, who was also a mentor to Bert Jansch, and who was apparently an extraordinary musician, though I know of no recordings of his work. Partridge helped Roberts finish up the song, though Partridge is about the only person in this story who *didn't* claim a writing credit for it at one time or another, saying that he just helped Roberts out and that Roberts deserved all the credit. The first known recording of the completed song is from 1962, a few years after Roberts had returned to the US, though it didn't surface until decades later: [Excerpt: Billy Roberts, "Hey Joe"] Roberts was performing this song regularly on the folk circuit, and around the time of that recording he also finally got round to registering the copyright, several years after it was written. When Miller heard the song, she was furious, and she later said "Imagine my surprise when I heard Hey Joe by Billy Roberts. There was my tune, my chord progression, my question/answer format. He dropped the bridge that was in my song and changed it enough so that the copyright did not protect me from his plagiarism... I decided not to go through with all the complications of dealing with him. He never contacted me about it or gave me any credit. He knows he committed a morally reprehensible act. He never was man enough to make amends and apologize to me, or to give credit for the inspiration. Dealing with all that was also why I made the decision not to become a professional songwriter. It left a bad taste in my mouth.” Pete Seeger, a friend of Miller's, was outraged by the injustice and offered to testify on her behalf should she decide to take Roberts to court, but she never did. Some time around this point, Roberts also played on that prison bill with Johnny Cash, and what happened next is hard to pin down. I've read several different versions of the story, which change the date and which prison this was in, and none of the details in any story hang together properly -- everything introduces weird inconsistencies and things which just make no sense at all. Something like this basic outline of the story seems to have happened, but the outline itself is weird, and we'll probably never know the truth. Roberts played his set, and one of the songs he played was "Hey Joe", and at some point he got talking to one of the prisoners in the audience, Dino Valenti. We've met Valenti before, in the episode on "Mr. Tambourine Man" -- he was a singer/songwriter himself, and would later be the lead singer of Quicksilver Messenger Service, but he's probably best known for having written "Get Together": [Excerpt: Dino Valenti, "Get Together"] As we heard in the "Mr. Tambourine Man" episode, Valenti actually sold off his rights to that song to pay for his bail at one point, but he was in and out of prison several times because of drug busts. At this point, or so the story goes, he was eligible for parole, but he needed to prove he had a possible income when he got out, and one way he wanted to do that was to show that he had written a song that could be a hit he could make money off, but he didn't have such a song. He talked about his predicament with Roberts, who agreed to let him claim to have written "Hey Joe" so he could get out of prison. He did make that claim, and when he got out of prison he continued making the claim, and registered the copyright to "Hey Joe" in his own name -- even though Roberts had already registered it -- and signed a publishing deal for it with Third Story Music, a company owned by Herb Cohen, the future manager of the Mothers of Invention, and Cohen's brother Mutt. Valenti was a popular face on the folk scene, and he played "his" song to many people, but two in particular would influence the way the song would develop, both of them people we've seen relatively recently in episodes of the podcast. One of them, Vince Martin, we'll come back to later, but the other was David Crosby, and so let's talk about him and the Byrds a bit more. Crosby and Valenti had been friends long before the Byrds formed, and indeed we heard in the "Mr. Tambourine Man" episode how the group had named themselves after Valenti's song "Birdses": [Excerpt: Dino Valenti, "Birdses"] And Crosby *loved* "Hey Joe", which he believed was another of Valenti's songs. He'd perform it every chance he got, playing it solo on guitar in an arrangement that other people have compared to Mose Allison. He'd tried to get it on the first two Byrds albums, but had been turned down, mostly because of their manager and uncredited co-producer Jim Dickson, who had strong opinions about it, saying later "Some of the songs that David would bring in from the outside were perfectly valid songs for other people, but did not seem to be compatible with the Byrds' myth. And he may not have liked the Byrds' myth. He fought for 'Hey Joe' and he did it. As long as I could say 'No!' I did, and when I couldn't any more they did it. You had to give him something somewhere. I just wish it was something else... 'Hey Joe' I was bitterly opposed to. A song about a guy who murders his girlfriend in a jealous rage and is on the way to Mexico with a gun in his hand. It was not what I saw as a Byrds song." Indeed, Dickson was so opposed to the song that he would later say “One of the reasons David engineered my getting thrown out was because I would not let Hey Joe be on the Turn! Turn! Turn! album.” Dickson was, though, still working with the band when they got round to recording it. That came during the recording of their Fifth Dimension album, the album which included "Eight Miles High". That album was mostly recorded after the departure of Gene Clark, which was where we left the group at the end of the "Eight Miles High" episode, and the loss of their main songwriter meant that they were struggling for material -- doubly so since they also decided they were going to move away from Dylan covers. This meant that they had to rely on original material from the group's less commercial songwriters, and on a few folk songs, mostly learned from Pete Seeger The album ended up with only eleven songs on it, compared to the twelve that was normal for American albums at that time, and the singles on it after "Eight Miles High" weren't particularly promising as to the group's ability to come up with commercial material. The next single, "5D", a song by Roger McGuinn about the fifth dimension, was a waltz-time song that both Crosby and Chris Hillman were enthused by. It featured organ by Van Dyke Parks, and McGuinn said of the organ part "When he came into the studio I told him to think Bach. He was already thinking Bach before that anyway.": [Excerpt: The Byrds, "5D"] While the group liked it, though, that didn't make the top forty. The next single did, just about -- a song that McGuinn had written as an attempt at communicating with alien life. He hoped that it would be played on the radio, and that the radio waves would eventually reach aliens, who would hear it and respond: [Excerpt: The Byrds, "Mr. Spaceman"] The "Fifth Dimension" album did significantly worse, both critically and commercially, than their previous albums, and the group would soon drop Allen Stanton, the producer, in favour of Gary Usher, Brian Wilson's old songwriting partner. But the desperation for material meant that the group agreed to record the song which they still thought at that time had been written by Crosby's friend, though nobody other than Crosby was happy with it, and even Crosby later said "It was a mistake. I shouldn't have done it. Everybody makes mistakes." McGuinn said later "The reason Crosby did lead on 'Hey Joe' was because it was *his* song. He didn't write it but he was responsible for finding it. He'd wanted to do it for years but we would never let him.": [Excerpt: The Byrds, "Hey Joe"] Of course, that arrangement is very far from the Mose Allison style version Crosby had been doing previously. And the reason for that can be found in the full version of that McGuinn quote, because the full version continues "He'd wanted to do it for years but we would never let him. Then both Love and The Leaves had a minor hit with it and David got so angry that we had to let him do it. His version wasn't that hot because he wasn't a strong lead vocalist." The arrangement we just heard was the arrangement that by this point almost every group on the Sunset Strip scene was playing. And the reason for that was because of another friend of Crosby's, someone who had been a roadie for the Byrds -- Bryan MacLean. MacLean and Crosby had been very close because they were both from very similar backgrounds -- they were both Hollywood brats with huge egos. MacLean later said "Crosby and I got on perfectly. I didn't understand what everybody was complaining about, because he was just like me!" MacLean was, if anything, from an even more privileged background than Crosby. His father was an architect who'd designed houses for Elizabeth Taylor and Dean Martin, his neighbour when growing up was Frederick Loewe, the composer of My Fair Lady. He learned to swim in Elizabeth Taylor's private pool, and his first girlfriend was Liza Minelli. Another early girlfriend was Jackie DeShannon, the singer-songwriter who did the original version of "Needles and Pins", who he was introduced to by Sharon Sheeley, whose name you will remember from many previous episodes. MacLean had wanted to be an artist until his late teens, when he walked into a shop in Westwood which sometimes sold his paintings, the Sandal Shop, and heard some people singing folk songs there. He decided he wanted to be a folk singer, and soon started performing at the Balladeer, a club which would later be renamed the Troubadour, playing songs like Robert Johnson's "Cross Roads Blues", which had recently become a staple of the folk repertoire after John Hammond put out the King of the Delta Blues Singers album: [Excerpt: Robert Johnson, "Cross Roads Blues"] Reading interviews with people who knew MacLean at the time, the same phrase keeps coming up. John Kay, later the lead singer of Steppenwolf, said "There was a young kid, Bryan MacLean, kind of cocky but nonetheless a nice kid, who hung around Crosby and McGuinn" while Chris Hillman said "He was a pretty good kid but a wee bit cocky." He was a fan of the various musicians who later formed the Byrds, and was also an admirer of a young guitarist on the scene named Ryland Cooder, and of a blues singer on the scene named Taj Mahal. He apparently was briefly in a band with Taj Mahal, called Summer's Children, who as far as I can tell had no connection to the duo that Curt Boettcher later formed of the same name, before Taj Mahal and Cooder formed The Rising Sons, a multi-racial blues band who were for a while the main rivals to the Byrds on the scene. MacLean, though, firmly hitched himself to the Byrds, and particularly to Crosby. He became a roadie on their first tour, and Hillman said "He was a hard-working guy on our behalf. As I recall, he pretty much answered to Crosby and was David's assistant, to put it diplomatically – more like his gofer, in fact." But MacLean wasn't cut out for the hard work that being a roadie required, and after being the Byrds' roadie for about thirty shows, he started making mistakes, and when they went off on their UK tour they decided not to keep employing him. He was heartbroken, but got back into trying his own musical career. He auditioned for the Monkees, unsuccessfully, but shortly after that -- some sources say even the same day as the audition, though that seems a little too neat -- he went to Ben Frank's -- the LA hangout that had actually been namechecked in the open call for Monkees auditions, which said they wanted "Ben Franks types", and there he met Arthur Lee and Johnny Echols. Echols would later remember "He was this gadfly kind of character who knew everybody and was flitting from table to table. He wore striped pants and a scarf, and he had this long, strawberry hair. All the girls loved him. For whatever reason, he came and sat at our table. Of course, Arthur and I were the only two black people there at the time." Lee and Echols were both Black musicians who had been born in Memphis. Lee's birth father, Chester Taylor, had been a cornet player with Jimmie Lunceford, whose Delta Rhythm Boys had had a hit with "The Honeydripper", as we heard way back in the episode on "Rocket '88": [Excerpt: Jimmie Lunceford and the Delta Rhythm Boys, "The Honeydripper"] However, Taylor soon split from Lee's mother, a schoolteacher, and she married Clinton Lee, a stonemason, who doted on his adopted son, and they moved to California. They lived in a relatively prosperous area of LA, a neighbourhood that was almost all white, with a few Asian families, though the boxer Sugar Ray Robinson lived nearby. A year or so after Arthur and his mother moved to LA, so did the Echols family, who had known them in Memphis, and they happened to move only a couple of streets away. Eight year old Arthur Lee reconnected with seven-year-old Johnny Echols, and the two became close friends from that point on. Arthur Lee first started out playing music when his parents were talked into buying him an accordion by a salesman who would go around with a donkey, give kids free donkey rides, and give the parents a sales pitch while they were riding the donkey, He soon gave up on the accordion and persuaded his parents to buy him an organ instead -- he was a spoiled child, by all accounts, with a TV in his bedroom, which was almost unheard of in the late fifties. Johnny Echols had a similar experience which led to his parents buying him a guitar, and the two were growing up in a musical environment generally. They attended Dorsey High School at the same time as both Billy Preston and Mike Love of the Beach Boys, and Ella Fitzgerald and her then-husband, the great jazz bass player Ray Brown, lived in the same apartment building as the Echols family for a while. Ornette Coleman, the free-jazz saxophone player, lived next door to Echols, and Adolphus Jacobs, the guitarist with the Coasters, gave him guitar lessons. Arthur Lee also knew Johnny Otis, who ran a pigeon-breeding club for local children which Arthur would attend. Echols was the one who first suggested that he and Arthur should form a band, and they put together a group to play at a school talent show, performing "Last Night", the instrumental that had been a hit for the Mar-Keys on Stax records: [Excerpt: The Mar-Keys, "Last Night"] They soon became a regular group, naming themselves Arthur Lee and the LAGs -- the LA Group, in imitation of Booker T and the MGs – the Memphis Group. At some point around this time, Lee decided to switch from playing organ to playing guitar. He would say later that this was inspired by seeing Johnny "Guitar" Watson get out of a gold Cadillac, wearing a gold suit, and with gold teeth in his mouth. The LAGs started playing as support acts and backing bands for any blues and soul acts that came through LA, performing with Big Mama Thornton, Johnny Otis, the O'Jays, and more. Arthur and Johnny were both still under-age, and they would pencil in fake moustaches to play the clubs so they'd appear older. In the fifties and early sixties, there were a number of great electric guitar players playing blues on the West Coast -- Johnny "Guitar" Watson, T-Bone Walker, Guitar Slim, and others -- and they would compete with each other not only to play well, but to put on a show, and so there was a whole bag of stage tricks that West Coast R&B guitarists picked up, and Echols learned all of them -- playing his guitar behind his back, playing his guitar with his teeth, playing with his guitar between his legs. As well as playing their own shows, the LAGs also played gigs under other names -- they had a corrupt agent who would book them under the name of whatever Black group had a hit at the time, in the belief that almost nobody knew what popular groups looked like anyway, so they would go out and perform as the Drifters or the Coasters or half a dozen other bands. But Arthur Lee in particular wanted to have success in his own right. He would later say "When I was a little boy I would listen to Nat 'King' Cole and I would look at that purple Capitol Records logo. I wanted to be on Capitol, that was my goal. Later on I used to walk from Dorsey High School all the way up to the Capitol building in Hollywood -- did that many times. I was determined to get a record deal with Capitol, and I did, without the help of a fancy manager or anyone else. I talked to Adam Ross and Jack Levy at Ardmore-Beechwood. I talked to Kim Fowley, and then I talked to Capitol". The record that the LAGs released, though, was not very good, a track called "Rumble-Still-Skins": [Excerpt: The LAGs, "Rumble-Still-Skins"] Lee later said "I was young and very inexperienced and I was testing the record company. I figured if I gave them my worst stuff and they ripped me off I wouldn't get hurt. But it didn't work, and after that I started giving my best, and I've been doing that ever since." The LAGs were dropped by Capitol after one single, and for the next little while Arthur and Johnny did work for smaller labels, usually labels owned by Bob Keane, with Arthur writing and producing and Johnny playing guitar -- though Echols has said more recently that a lot of the songs that were credited to Arthur as sole writer were actually joint compositions. Most of these records were attempts at copying the style of other people. There was "I Been Trying", a Phil Spector soundalike released by Little Ray: [Excerpt: Little Ray, "I Been Trying"] And there were a few attempts at sounding like Curtis Mayfield, like "Slow Jerk" by Ronnie and the Pomona Casuals: [Excerpt: Ronnie and the Pomona Casuals, "Slow Jerk"] and "My Diary" by Rosa Lee Brooks: [Excerpt: Rosa Lee Brooks, "My Diary"] Echols was also playing with a lot of other people, and one of the musicians he was playing with, his old school friend Billy Preston, told him about a recent European tour he'd been on with Little Richard, and the band from Liverpool he'd befriended while he was there who idolised Richard, so when the Beatles hit America, Arthur and Johnny had some small amount of context for them. They soon broke up the LAGs and formed another group, the American Four, with two white musicians, bass player John Fleckenstein and drummer Don Costa. Lee had them wear wigs so they seemed like they had longer hair, and started dressing more eccentrically -- he would soon become known for wearing glasses with one blue lens and one red one, and, as he put it "wearing forty pounds of beads, two coats, three shirts, and wearing two pairs of shoes on one foot". As well as the Beatles, the American Four were inspired by the other British Invasion bands -- Arthur was in the audience for the TAMI show, and quite impressed by Mick Jagger -- and also by the Valentinos, Bobby Womack's group. They tried to get signed to SAR Records, the label owned by Sam Cooke for which the Valentinos recorded, but SAR weren't interested, and they ended up recording for Bob Keane's Del-Fi records, where they cut "Luci Baines", a "Twist and Shout" knock-off with lyrics referencing the daughter of new US President Lyndon Johnson: [Excerpt: The American Four, "Luci Baines"] But that didn't take off any more than the earlier records had. Another American Four track, "Stay Away", was recorded but went unreleased until 2006: [Excerpt: Arthur Lee and the American Four, "Stay Away"] Soon the American Four were changing their sound and name again. This time it was because of two bands who were becoming successful on the Sunset Strip. One was the Byrds, who to Lee's mind were making music like the stuff he heard in his head, and the other was their rivals the Rising Sons, the blues band we mentioned earlier with Taj Mahal and Ry Cooder. Lee was very impressed by them as an multiracial band making aggressive, loud, guitar music, though he would always make the point when talking about them that they were a blues band, not a rock band, and *he* had the first multiracial rock band. Whatever they were like live though, in their recordings, produced by the Byrds' first producer Terry Melcher, the Rising Sons often had the same garage band folk-punk sound that Lee and Echols would soon make their own: [Excerpt: The Rising Sons, "Take a Giant Step"] But while the Rising Sons recorded a full album's worth of material, only one single was released before they split up, and so the way was clear for Lee and Echols' band, now renamed once again to The Grass Roots, to become the Byrds' new challengers. Lee later said "I named the group The Grass Roots behind a trip, or an album I heard that Malcolm X did, where he said 'the grass roots of the people are out in the street doing something about their problems instead of sitting around talking about it'". After seeing the Rolling Stones and the Byrds live, Lee wanted to get up front and move like Mick Jagger, and not be hindered by playing a guitar he wasn't especially good at -- both the Stones and the Byrds had two guitarists and a frontman who just sang and played hand percussion, and these were the models that Lee was following for the group. He also thought it would be a good idea commercially to get a good-looking white boy up front. So the group got in another guitarist, a white pretty boy who Lee soon fell out with and gave the nickname "Bummer Bob" because he was unpleasant to be around. Those of you who know exactly why Bobby Beausoleil later became famous will probably agree that this was a more than reasonable nickname to give him (and those of you who don't, I'll be dealing with him when we get to 1969). So when Bryan MacLean introduced himself to Lee and Echols, and they found out that not only was he also a good-looking white guitarist, but he was also friends with the entire circle of hipsters who'd been going to Byrds gigs, people like Vito and Franzoni, and he could get a massive crowd of them to come along to gigs for any band he was in and make them the talk of the Sunset Strip scene, he was soon in the Grass Roots, and Bummer Bob was out. The Grass Roots soon had to change their name again, though. In 1965, Jan and Dean recorded their "Folk and Roll" album, which featured "The Universal Coward"... Which I am not going to excerpt again. I only put that pause in to terrify Tilt, who edits these podcasts, and has very strong opinions about that song. But P. F. Sloan and Steve Barri, the songwriters who also performed as the Fantastic Baggies, had come up with a song for that album called "Where Where You When I Needed You?": [Excerpt: Jan and Dean, "Where Were You When I Needed You?"] Sloan and Barri decided to cut their own version of that song under a fake band name, and then put together a group of other musicians to tour as that band. They just needed a name, and Lou Adler, the head of Dunhill Records, suggested they call themselves The Grass Roots, and so that's what they did: [Excerpt: The Grass Roots, "Where Were You When I Needed You?"] Echols would later claim that this was deliberate malice on Adler's part -- that Adler had come in to a Grass Roots show drunk, and pretended to be interested in signing them to a contract, mostly to show off to a woman he'd brought with him. Echols and MacLean had spoken to him, not known who he was, and he'd felt disrespected, and Echols claims that he suggested the name to get back at them, and also to capitalise on their local success. The new Grass Roots soon started having hits, and so the old band had to find another name, which they got as a joking reference to a day job Lee had had at one point -- he'd apparently worked in a specialist bra shop, Luv Brassieres, which the rest of the band found hilarious. The Grass Roots became Love. While Arthur Lee was the group's lead singer, Bryan MacLean would often sing harmonies, and would get a song or two to sing live himself. And very early in the group's career, when they were playing a club called Bido Lito's, he started making his big lead spot a version of "Hey Joe", which he'd learned from his old friend David Crosby, and which soon became the highlight of the group's set. Their version was sped up, and included the riff which the Searchers had popularised in their cover version of "Needles and Pins", the song originally recorded by MacLean's old girlfriend Jackie DeShannon: [Excerpt: The Searchers, "Needles and Pins"] That riff is a very simple one to play, and variants of it became very, very, common among the LA bands, most notably on the Byrds' "I'll Feel a Whole Lot Better": [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] The riff was so ubiquitous in the LA scene that in the late eighties Frank Zappa would still cite it as one of his main memories of the scene. I'm going to quote from his autobiography, where he's talking about the differences between the LA scene he was part of and the San Francisco scene he had no time for: "The Byrds were the be-all and end-all of Los Angeles rock then. They were 'It' -- and then a group called Love was 'It.' There were a few 'psychedelic' groups that never really got to be 'It,' but they could still find work and get record deals, including the West Coast Pop Art Experimental Band, Sky Saxon and the Seeds, and the Leaves (noted for their cover version of "Hey, Joe"). When we first went to San Francisco, in the early days of the Family Dog, it seemed that everybody was wearing the same costume, a mixture of Barbary Coast and Old West -- guys with handlebar mustaches, girls in big bustle dresses with feathers in their hair, etc. By contrast, the L.A. costumery was more random and outlandish. Musically, the northern bands had a little more country style. In L.A., it was folk-rock to death. Everything had that" [and here Zappa uses the adjectival form of a four-letter word beginning with 'f' that the main podcast providers don't like you saying on non-adult-rated shows] "D chord down at the bottom of the neck where you wiggle your finger around -- like 'Needles and Pins.'" The reason Zappa describes it that way, and the reason it became so popular, is that if you play that riff in D, the chords are D, Dsus2, and Dsus4 which means you literally only wiggle one finger on your left hand: [demonstrates] And so you get that on just a ton of records from that period, though Love, the Byrds, and the Searchers all actually play the riff on A rather than D: [demonstrates] So that riff became the Big Thing in LA after the Byrds popularised the Searchers sound there, and Love added it to their arrangement of "Hey Joe". In January 1966, the group would record their arrangement of it for their first album, which would come out in March: [Excerpt: Love, "Hey Joe"] But that wouldn't be the first recording of the song, or of Love's arrangement of it – although other than the Byrds' version, it would be the only one to come out of LA with the original Billy Roberts lyrics. Love's performances of the song at Bido Lito's had become the talk of the Sunset Strip scene, and soon every band worth its salt was copying it, and it became one of those songs like "Louie Louie" before it that everyone would play. The first record ever made with the "Hey Joe" melody actually had totally different lyrics. Kim Fowley had the idea of writing a sequel to "Hey Joe", titled "Wanted Dead or Alive", about what happened after Joe shot his woman and went off. He produced the track for The Rogues, a group consisting of Michael Lloyd and Shaun Harris, who later went on to form the West Coast Pop Art Experimental Band, and Lloyd and Harris were the credited writers: [Excerpt: The Rogues, "Wanted Dead or Alive"] The next version of the song to come out was the first by anyone to be released as "Hey Joe", or at least as "Hey Joe, Where You Gonna Go?", which was how it was titled on its initial release. This was by a band called The Leaves, who were friends of Love, and had picked up on "Hey Joe", and was produced by Nik Venet. It was also the first to have the now-familiar opening line "Hey Joe, where you going with that gun in your hand?": [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] Roberts' original lyric, as sung by both Love and the Byrds, had been "where you going with that money in your hand?", and had Joe headed off to *buy* the gun. But as Echols later said “What happened was Bob Lee from The Leaves, who were friends of ours, asked me for the words to 'Hey Joe'. I told him I would have the words the next day. I decided to write totally different lyrics. The words you hear on their record are ones I wrote as a joke. The original words to Hey Joe are ‘Hey Joe, where you going with that money in your hand? Well I'm going downtown to buy me a blue steel .44. When I catch up with that woman, she won't be running round no more.' It never says ‘Hey Joe where you goin' with that gun in your hand.' Those were the words I wrote just because I knew they were going to try and cover the song before we released it. That was kind of a dirty trick that I played on The Leaves, which turned out to be the words that everybody uses.” That first release by the Leaves also contained an extra verse -- a nod to Love's previous name: [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] That original recording credited the song as public domain -- apparently Bryan MacLean had refused to tell the Leaves who had written the song, and so they assumed it was traditional. It came out in November 1965, but only as a promo single. Even before the Leaves, though, another band had recorded "Hey Joe", but it didn't get released. The Sons of Adam had started out as a surf group called the Fender IV, who made records like "Malibu Run": [Excerpt: The Fender IV, "Malibu Run"] Kim Fowley had suggested they change their name to the Sons of Adam, and they were another group who were friends with Love -- their drummer, Michael Stuart-Ware, would later go on to join Love, and Arthur Lee wrote the song "Feathered Fish" for them: [Excerpt: Sons of Adam, "Feathered Fish"] But while they were the first to record "Hey Joe", their version has still to this day not been released. Their version was recorded for Decca, with producer Gary Usher, but before it was released, another Decca artist also recorded the song, and the label weren't sure which one to release. And then the label decided to press Usher to record a version with yet another act -- this time with the Surfaris, the surf group who had had a hit with "Wipe Out". Coincidentally, the Surfaris had just changed bass players -- their most recent bass player, Ken Forssi, had quit and joined Love, whose own bass player, John Fleckenstein, had gone off to join the Standells, who would also record a version of “Hey Joe” in 1966. Usher thought that the Sons of Adam were much better musicians than the Surfaris, who he was recording with more or less under protest, but their version, using Love's arrangement and the "gun in your hand" lyrics, became the first version to come out on a major label: [Excerpt: The Surfaris, "Hey Joe"] They believed the song was in the public domain, and so the songwriting credits on the record are split between Gary Usher, a W. Hale who nobody has been able to identify, and Tony Cost, a pseudonym for Nik Venet. Usher said later "I got writer's credit on it because I was told, or I assumed at the time, the song was Public Domain; meaning a non-copyrighted song. It had already been cut two or three times, and on each occasion the writing credit had been different. On a traditional song, whoever arranges it, takes the songwriting credit. I may have changed a few words and arranged and produced it, but I certainly did not co-write it." The public domain credit also appeared on the Leaves' second attempt to cut the song, which was actually given a general release, but flopped. But when the Leaves cut the song for a *third* time, still for the same tiny label, Mira, the track became a hit in May 1966, reaching number thirty-one: [Excerpt: The Leaves, "Hey Joe"] And *that* version had what they thought was the correct songwriting credit, to Dino Valenti. Which came as news to Billy Roberts, who had registered the copyright to the song back in 1962 and had no idea that it had become a staple of LA garage rock until he heard his song in the top forty with someone else's name on the credits. He angrily confronted Third Story Music, who agreed to a compromise -- they would stop giving Valenti songwriting royalties and start giving them to Roberts instead, so long as he didn't sue them and let them keep the publishing rights. Roberts was indignant about this -- he deserved all the money, not just half of it -- but he went along with it to avoid a lawsuit he might not win. So Roberts was now the credited songwriter on the versions coming out of the LA scene. But of course, Dino Valenti had been playing "his" song to other people, too. One of those other people was Vince Martin. Martin had been a member of a folk-pop group called the Tarriers, whose members also included the future film star Alan Arkin, and who had had a hit in the 1950s with "Cindy, Oh Cindy": [Excerpt: The Tarriers, "Cindy, Oh Cindy"] But as we heard in the episode on the Lovin' Spoonful, he had become a Greenwich Village folkie, in a duo with Fred Neil, and recorded an album with him, "Tear Down the Walls": [Excerpt: Fred Neil and Vince Martin, "Morning Dew"] That song we just heard, "Morning Dew", was another question-and-answer folk song. It was written by the Canadian folk-singer Bonnie Dobson, but after Martin and Neil recorded it, it was picked up on by Martin's friend Tim Rose who stuck his own name on the credits as well, without Dobson's permission, for a version which made the song into a rock standard for which he continued to collect royalties: [Excerpt: Tim Rose, "Morning Dew"] This was something that Rose seems to have made a habit of doing, though to be fair to him it went both ways. We heard about him in the Lovin' Spoonful episode too, when he was in a band named the Big Three with Cass Elliot and her coincidentally-named future husband Jim Hendricks, who recorded this song, with Rose putting new music to the lyrics of the old public domain song "Oh! Susanna": [Excerpt: The Big Three, "The Banjo Song"] The band Shocking Blue used that melody for their 1969 number-one hit "Venus", and didn't give Rose any credit: [Excerpt: Shocking Blue, "Venus"] But another song that Rose picked up from Vince Martin was "Hey Joe". Martin had picked the song up from Valenti, but didn't know who had written it, or who was claiming to have written it, and told Rose he thought it might be an old Appalchian murder ballad or something. Rose took the song and claimed writing credit in his own name -- he would always, for the rest of his life, claim it was an old folk tune he'd heard in Florida, and that he'd rewritten it substantially himself, but no evidence of the song has ever shown up from prior to Roberts' copyright registration, and Rose's version is basically identical to Roberts' in melody and lyrics. But Rose takes his version at a much slower pace, and his version would be the model for the most successful versions going forward, though those other versions would use the lyrics Johnny Echols had rewritten, rather than the ones Rose used: [Excerpt: Tim Rose, "Hey Joe"] Rose's version got heard across the Atlantic as well. And in particular it was heard by Chas Chandler, the bass player of the Animals. Some sources seem to suggest that Chandler first heard the song performed by a group called the Creation, but in a biography I've read of that group they clearly state that they didn't start playing the song until 1967. But however he came across it, when Chandler heard Rose's recording, he knew that the song could be a big hit for someone, but he didn't know who. And then he bumped into Linda Keith, Keith Richards' girlfriend, who took him to see someone whose guitar we've already heard in this episode: [Excerpt: Rosa Lee Brooks, "My Diary"] The Curtis Mayfield impression on guitar there was, at least according to many sources the first recording session ever played on by a guitarist then calling himself Maurice (or possibly Mo-rees) James. We'll see later in the story that it possibly wasn't his first -- there are conflicting accounts, as there are about a lot of things, and it was recorded either in very early 1964, in which case it was his first, or (as seems more likely, and as I tell the story later) a year later, in which case he'd played on maybe half a dozen tracks in the studio by that point. But it was still a very early one. And by late 1966 that guitarist had reverted to the name by which he was brought up, and was calling himself Jimi Hendrix. Hendrix and Arthur Lee had become close, and Lee would later claim that Hendrix had copied much of Lee's dress style and attitude -- though many of Hendrix's other colleagues and employers, including Little Richard, would make similar claims -- and most of them had an element of truth, as Lee's did. Hendrix was a sponge. But Lee did influence him. Indeed, one of Hendrix's *last* sessions, in March 1970, was guesting on an album by Love: [Excerpt: Love with Jimi Hendrix, "Everlasting First"] Hendrix's name at birth was Johnny Allen Hendrix, which made his father, James Allen Hendrix, known as Al, who was away at war when his son was born, worry that he'd been named after another man who might possibly be the real father, so the family just referred to the child as "Buster" to avoid the issue. When Al Hendrix came back from the war the child was renamed James Marshall Hendrix -- James after Al's first name, Marshall after Al's dead brother -- though the family continued calling him "Buster". Little James Hendrix Junior didn't have anything like a stable home life. Both his parents were alcoholics, and Al Hendrix was frequently convinced that Jimi's mother Lucille was having affairs and became abusive about it. They had six children, four of whom were born disabled, and Jimi was the only one to remain with his parents -- the rest were either fostered or adopted at birth, fostered later on because the parents weren't providing a decent home life, or in one case made a ward of state because the Hendrixes couldn't afford to pay for a life-saving operation for him. The only one that Jimi had any kind of regular contact with was the second brother, Leon, his parents' favourite, who stayed with them for several years before being fostered by a family only a few blocks away. Al and Lucille Hendrix frequently split and reconciled, and while they were ostensibly raising Jimi (and for a few years Leon), he was shuttled between them and various family members and friends, living sometimes in Seattle where his parents lived and sometimes in Vancouver with his paternal grandmother. He was frequently malnourished, and often survived because friends' families fed him. Al Hendrix was also often physically and emotionally abusive of the son he wasn't sure was his. Jimi grew up introverted, and stuttering, and only a couple of things seemed to bring him out of his shell. One was science fiction -- he always thought that his nickname, Buster, came from Buster Crabbe, the star of the Flash Gordon serials he loved to watch, though in fact he got the nickname even before that interest developed, and he was fascinated with ideas about aliens and UFOs -- and the other was music. Growing up in Seattle in the forties and fifties, most of the music he was exposed to as a child and in his early teens was music made by and for white people -- there wasn't a very large Black community in the area at the time compared to most major American cities, and so there were no prominent R&B stations. As a kid he loved the music of Bob Wills and the Texas Playboys, and when he was thirteen Jimi's favourite record was Dean Martin's "Memories are Made of This": [Excerpt: Dean Martin, "Memories are Made of This"] He also, like every teenager, became a fan of rock and roll music. When Elvis played at a local stadium when Jimi was fifteen, he couldn't afford a ticket, but he went and sat on top of a nearby hill and watched the show from the distance. Jimi's first exposure to the blues also came around this time, when his father briefly took in lodgers, Cornell and Ernestine Benson, and Ernestine had a record collection that included records by Lightnin' Hopkins, Howlin' Wolf, and Muddy Waters, all of whom Jimi became a big fan of, especially Muddy Waters. The Bensons' most vivid memory of Jimi in later years was him picking up a broom and pretending to play guitar along with these records: [Excerpt: Muddy Waters, "Baby Please Don't Go"] Shortly after this, it would be Ernestine Benson who would get Jimi his very first guitar. By this time Jimi and Al had lost their home and moved into a boarding house, and the owner's son had an acoustic guitar with only one string that he was planning to throw out. When Jimi asked if he could have it instead of it being thrown out, the owner told him he could have it for five dollars. Al Hendrix refused to pay that much for it, but Ernestine Benson bought Jimi the guitar. She said later “He only had one string, but he could really make that string talk.” He started carrying the guitar on his back everywhere he went, in imitation of Sterling Hayden in the western Johnny Guitar, and eventually got some more strings for it and learned to play. He would play it left-handed -- until his father came in. His father had forced him to write with his right hand, and was convinced that left-handedness was the work of the devil, so Jimi would play left-handed while his father was somewhere else, but as soon as Al came in he would flip the guitar the other way up and continue playing the song he had been playing, now right-handed. Jimi's mother died when he was fifteen, after having been ill for a long time with drink-related problems, and Jimi and his brother didn't get to go to the funeral -- depending on who you believe, either Al gave Jimi the bus fare and told him to go by himself and Jimi was too embarrassed to go to the funeral alone on the bus, or Al actually forbade Jimi and Leon from going. After this, he became even more introverted than he was before, and he also developed a fascination with the idea of angels, convinced his mother now was one. Jimi started to hang around with a friend called Pernell Alexander, who also had a guitar, and they would play along together with Elmore James records. The two also went to see Little Richard and Bill Doggett perform live, and while Jimi was hugely introverted, he did start to build more friendships in the small Seattle music scene, including with Ron Holden, the man we talked about in the episode on "Louie Louie" who introduced that song to Seattle, and who would go on to record with Bruce Johnston for Bob Keane: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] Eventually Ernestine Benson persuaded Al Hendrix to buy Jimi a decent electric guitar on credit -- Al also bought himself a saxophone at the same time, thinking he might play music with his son, but sent it back once the next payment became due. As well as blues and R&B, Jimi was soaking up the guitar instrumentals and garage rock that would soon turn into surf music. The first song he learned to play was "Tall Cool One" by the Fabulous Wailers, the local group who popularised a version of "Louie Louie" based on Holden's one: [Excerpt: The Fabulous Wailers, "Tall Cool One"] As we talked about in the "Louie Louie" episode, the Fabulous Wailers used to play at a venue called the Spanish Castle, and Jimi was a regular in the audience, later writing his song "Spanish Castle Magic" about those shows: [Excerpt: The Jimi Hendrix Experience, "Spanish Castle Magic"] He was also a big fan of Duane Eddy, and soon learned Eddy's big hits "Forty Miles of Bad Road", "Because They're Young", and "Peter Gunn" -- a song he would return to much later in his life: [Excerpt: Jimi Hendrix, "Peter Gunn/Catastrophe"] His career as a guitarist didn't get off to a great start -- the first night he played with his first band, he was meant to play two sets, but he was fired after the first set, because he was playing in too flashy a manner and showing off too much on stage. His girlfriend suggested that he might want to tone it down a little, but he said "That's not my style". This would be a common story for the next several years. After that false start, the first real band he was in was the Velvetones, with his friend Pernell Alexander. There were four guitarists, two piano players, horns and drums, and they dressed up with glitter stuck to their pants. They played Duane Eddy songs, old jazz numbers, and "Honky Tonk" by Bill Doggett, which became Hendrix's signature song with the band. [Excerpt: Bill Doggett, "Honky Tonk"] His father was unsupportive of his music career, and he left his guitar at Alexander's house because he was scared that his dad would smash it if he took it home. At the same time he was with the Velvetones, he was also playing with another band called the Rocking Kings, who got gigs around the Seattle area, including at the Spanish Castle. But as they left school, most of Hendrix's friends were joining the Army, in order to make a steady living, and so did he -- although not entirely by choice. He was arrested, twice, for riding in stolen cars, and he was given a choice -- either go to prison, or sign up for the Army for three years. He chose the latter. At first, the Army seemed to suit him. He was accepted into the 101st Airborne Division, the famous "Screaming Eagles", whose actions at D-Day made them legendary in the US, and he was proud to be a member of the Division. They were based out of Fort Campbell, the base near Clarksville we talked about a couple of episodes ago, and while he was there he met a bass player, Billy Cox, who he started playing with. As Cox and Hendrix were Black, and as Fort Campbell straddled the border between Kentucky and Tennessee, they had to deal with segregation and play to only Black audiences. And Hendrix quickly discovered that Black audiences in the Southern states weren't interested in "Louie Louie", Duane Eddy, and surf music, the stuff he'd been playing in Seattle. He had to instead switch to playing Albert King and Slim Harpo songs, but luckily he loved that music too. He also started singing at this point -- when Hendrix and Cox started playing together, in a trio called the Kasuals, they had no singer, and while Hendrix never liked his own voice, Cox was worse, and so Hendrix was stuck as the singer. The Kasuals started gigging around Clarksville, and occasionally further afield, places like Nashville, where Arthur Alexander would occasionally sit in with them. But Cox was about to leave the Army, and Hendrix had another two and a bit years to go, having enlisted for three years. They couldn't play any further away unless Hendrix got out of the Army, which he was increasingly unhappy in anyway, and so he did the only thing he could -- he pretended to be gay, and got discharged on medical grounds for homosexuality. In later years he would always pretend he'd broken his ankle parachuting from a plane. For the next few years, he would be a full-time guitarist, and spend the periods when he wasn't earning enough money from that leeching off women he lived with, moving from one to another as they got sick of him or ran out of money. The Kasuals expanded their lineup, adding a second guitarist, Alphonso Young, who would show off on stage by playing guitar with his teeth. Hendrix didn't like being upstaged by another guitarist, and quickly learned to do the same. One biography I've used as a source for this says that at this point, Billy Cox played on a session for King Records, for Frank Howard and the Commanders, and brought Hendrix along, but the producer thought that Hendrix's guitar was too frantic and turned his mic off. But other sources say the session Hendrix and Cox played on for the Commanders wasn't until three years later, and the record *sounds* like a 1965 record, not a 1962 one, and his guitar is very audible – and the record isn't on King. But we've not had any music to break up the narration for a little while, and it's a good track (which later became a Northern Soul favourite) so I'll play a section here, as either way it was certainly an early Hendrix session: [Excerpt: Frank Howard and the Commanders, "I'm So Glad"] This illustrates a general problem with Hendrix's life at this point -- he would flit between bands, playing with the same people at multiple points, nobody was taking detailed notes, and later, once he became famous, everyone wanted to exaggerate their own importance in his life, meaning that while the broad outlines of his life are fairly clear, any detail before late 1966 might be hopelessly wrong. But all the time, Hendrix was learning his craft. One story from around this time sums up both Hendrix's attitude to his playing -- he saw himself almost as much as a scientist as a musician -- and his slightly formal manner of speech. He challenged the best blues guitarist in Nashville to a guitar duel, and the audience actually laughed at Hendrix's playing, as he was totally outclassed. When asked what he was doing, he replied “I was simply trying to get that B.B. King tone down and my experiment failed.” Bookings for the King Kasuals dried up, and he went to Vancouver, where he spent a couple of months playing in a covers band, Bobby Taylor and the Vancouvers, whose lead guitarist was Tommy Chong, later to find fame as one half of Cheech and Chong. But he got depressed at how white Vancouver was, and travelled back down south to join a reconfigured King Kasuals, who now had a horn section. The new lineup of King Kasuals were playing the chitlin circuit and had to put on a proper show, and so Hendrix started using all the techniques he'd seen other guitarists on the circuit use -- playing with his teeth like Alphonso Young, the other guitarist in the band, playing with his guitar behind his back like T-Bone Walker, and playing with a fifty-foot cord that allowed him to walk into the crowd and out of the venue, still playing, like Guitar Slim used to. As well as playing with the King Kasuals, he started playing the circuit as a sideman. He got short stints with many of the second-tier acts on the circuit -- people who had had one or two hits, or were crowd-pleasers, but weren't massive stars, like Carla Thomas or Jerry Butler or Slim Harpo. The first really big name he played with was Solomon Burke, who when Hendrix joined his band had just released "Just Out of Reach (Of My Two Empty Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (Of My Two Empty Arms)"] But he lacked discipline. “Five dates would go beautifully,” Burke later said, “and then at the next show, he'd go into this wild stuff that wasn't part of the song. I just couldn't handle it anymore.” Burke traded him to Otis Redding, who was on the same tour, for two horn players, but then Redding fired him a week later and they left him on the side of the road. He played in the backing band for the Marvelettes, on a tour with Curtis Mayfield, who would be another of Hendrix's biggest influences, but he accidentally blew up Mayfield's amp and got sacked. On another tour, Cecil Womack threw Hendrix's guitar off the bus while he slept. In February 1964 he joined the band of the Isley Brothers, and he would watch the Beatles on Ed Sullivan with them during his first days with the group. Assuming he hadn't already played the Rosa Lee Brooks session (and I think there's good reason to believe he hadn't), then the first record Hendrix played on was their single "Testify": [Excerpt: The Isley Brothers, "Testify"] While he was with them, he also moonlighted on Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy Mercy"] After leaving the Isleys, Hendrix joined the minor soul singer Gorgeous George, and on a break from Gorgeous George's tour, in Memphis, he went to Stax studios in the hope of meeting Steve Cropper, one of his idols. When he was told that Cropper was busy in the studio, he waited around all day until Cropper finished, and introduced himself. Hendrix was amazed to discover that Cropper was white -- he'd assumed that he must be Black -- and Cropper was delighted to meet the guitarist who had played on "Mercy Mercy", one of his favourite records. The two spent hours showing each other guitar licks -- Hendrix playing Cropper's right-handed guitar, as he hadn't brought along his own. Shortly after this, he joined Little Richard's band, and once again came into conflict with the star of the show by trying to upstage him. For one show he wore a satin shirt, and after the show Richard screamed at him “I am the only Little Richard! I am the King of Rock and Roll, and I am the only one allowed to be pretty. Take that shirt off!” While he was with Richard, Hendrix played on his "I Don't Know What You've Got, But It's Got Me", which like "Mercy Mercy" was written by Don Covay, who had started out as Richard's chauffeur: [Excerpt: Little Richard, "I Don't Know What You've Got, But It's Got Me"] According to the most likely version of events I've read, it was while he was working for Richard that Hendrix met Rosa Lee Brooks, on New Year's Eve 1964. At this point he was using the name Maurice James, apparently in tribute to the blues guitarist Elmore James, and he used various names, including Jimmy James, for most of his pre-fame performances. Rosa Lee Brooks was an R&B singer who had been mentored by Johnny "Guitar" Watson, and when she met Hendrix she was singing in a girl group who were one of the support acts for Ike & Tina Turner, who Hendrix went to see on his night off. Hendrix met Brooks afterwards, and told her she looked like his mother -- a line he used on a lot of women, but which was true in her case if photos are anything to go by. The two got into a relationship, and were soon talking about becoming a duo like Ike and Tina or Mickey and Sylvia -- "Love is Strange" was one of Hendrix's favourite records. But the only recording they made together was the "My Diary" single. Brooks always claimed that she actually wrote that song, but the label credit is for Arthur Lee, and it sounds like his work to me, albeit him trying hard to write like Curtis Mayfield, just as Hendrix is trying to play like him: [Excerpt: Rosa Lee Brooks, "My Diary"] Brooks and Hendrix had a very intense relationship for a short period. Brooks would later recall Little
On this episode, we will conclusively answer this question: why was Gnosticism so important to Dr. Carl Jung? Along the way, we will dive deep into Sermons 5 thru 7 to answer these questions: what is the relationship between spirituality and sexuality? How does Jung's libido theory differ from Freud's libido theory? What is the significance of the dove and the serpent in religious symbolism? According to the Seven Sermons to the Dead: what is the goal of life? As mentioned in the episode–here is Jung's mysterious anagram–which is found on the bottom of the final page of the Seven Sermons to the Dead: NAHTRIHECCUNDE GAHINNEVERAHTUNIN ZEHGESSURKLACH ZUNNUS. --------- Become a supporter of Creative Codex and gain access to all the exclusive episodes, including the Kurt Cobain series, on my Patreon: https://www.patreon.com/mjdorian --------- Books used as sources for this episode: Memories, Dreams, Reflections by Dr. Carl Jung & Anielle Jaffe The Red Book by Dr. Carl Jung The Gnostic Scriptures by Bentley Layton The Gnostic Jung by Stephan Hoeller The Gnostic Jung by Robert A. Segal and Psychology of the Unconscious by Dr. Carl Jung For a practical application of Jungian Psychology, the author, Robert Johnson, has written numerous books. The one mentioned in the conclusion of this episode: Inner Work. --------- Follow my work & see updates about future episodes on my social media: Instagram: @mjdorian Twitter: @mjdorian --------- Thank you to all of my Patreon supporters. And shout-outs to the Shadow Fam: AKD, Anna Wolff, Aranea Push, Barak Talker, Corey, Clark Price, Clinton King, Dallas Okelly, Diana, DVM, Glen QuiltSwissy, Hamed Iranmehr, Hilde, Jay, Jen The Atelierista, Jye Marchant, Kayla Dawson, Keith, Kristina Lamour Sansone, Michael Lloyd, Owen McAteer, Rebecca, Ruben Corona, Simon Bonanno, Sowmya Harigaran, Stephanie Neal, Viggs Verikas, and Yadie Cisneros. Thank you for your support! --------- Creative Codex is written & produced by MJDorian. All rights reserved.
Today we have Actor, Writer, Director Michael Lloyd who recently has appeared in the hit USA Network Queen of the South as Flacco but has a LOT of other projects happening and we delve into the world of the indie director.--- Send in a voice message: https://anchor.fm/therandomkristianshow/messageSupport this podcast: https://anchor.fm/therandomkristianshow/support
Former Marine and now actor, Michael Lloyd has been in shows such as, Scream Queens and Queen of the South. He gives us some insight on his journey to the silver screen
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