Podcasts about Mucca Pazza

There's nothing better than the quintessential 100th episode than 99! *Bigfoot returns! *New owners of Ryes and Shine, previously the Silver Swan *Hydrant flushing this week *American Rescue Plan Act Community Improvement grants for Cuyahoga Falls businesses. Contact Mary Spaugy via email at spaugy@cityofcf.com or via telephone at 330-971-8137 for more information *The Humane Society of Summit County moving to Cuyahoga Falls *Restoration of Fire Station #1 and the Natatorium *Proposed fire tower *Conservancy for Cuyahoga Valley National Park hosting talk by James Yskamp at Happy Days Lodge about our history of relying on environmentally destructive economic development *The 6th Annual Cuyahoga Falls 3-On-3 Basketball Tournament *Signatures delivered to Frank Larose for reproductive freedom *Chicago-based marching band Mucca Pazza at the Jenks building on July 14 *Faces on Front gallery show at Jenks building July 13 *Crafty Mart will host pop-up Night Market at downtown pavilion July 28 from 6-10pm *Funny Stop co-owner Pete Barakat passed away on Tuesday Thank you for listening. We are always in the market for article submissions and suggestions for podcast interviews. If you are interested in volunteering with on The Falls Free Press or the Fallscast, or are a musician wishing to showcase your music on the podcast, drop us a line at fallsfreepress@gmail.com. If you enjoyed the show, be sure to rate and review us on Apple Podcasts to let others know to listen. Fallscast theme composed and performed by Alex Hall. Interum music: “Bigfoot and Wildboy" theme song (1976).

The boys (sans Friedrich) wrap Season 3 by talking about the perfect capstone book: John Kennedy Toole's A Confederacy of Dunces. They take one last gander at form (picaresque? satire?), discuss Fortuna's wheel, and think through what it means to be a political and artistic outsider in the vein of Ignatius J. Reilly. They also talk localism and other weird political alignments that defy the usual American dichotomies. Theme Music: "Shostakovich," by Mucca Pazza

The boys hop on their three person tandem bike to pedal their way through the spinning wheels of Flann O'Brien's dark comedy The Third Policeman. They debate the novel's genre (sci fi? fantasy? existential tragicomedy?) and explore its fascination with particle physics, theology, and, of course, whether or not bikes can turn into humans and vice versa. Theme music: "Shostakovich," by Mucca Pazza.

Back at full strength, the boys discuss the first entry of the final cycle of the season, "Mirth" -- Friedrich's selection of Thomas Carlyle's Sartor Resartus. They discuss the book's strange format as a work that blends fiction and pseudo-philosophy, and Carlyle's unique brand of satire. They also talk about clothes, about German idealism and Romanticism, and who is the podcast's resident dandy. Then, in a new episode of PoMoFooFac, the boys try the strange elixir known as Mountain Dew Flaming Hot. Will Karl's Kleen Kanteen preserve any semblance of bubblage? Will Friedrich and Søren design a 90s scrolling platformer game starring the adorable, finger glove wearing Dew Spark? Listen on to find out! Theme music: "Shostakovich," by Mucca Pazza

With Friedrich on vacation, Søren and Karl team up to crack the case of Dorothy B. Hughes' classic L.A. noir In a Lonely Place. Will the L.A. Police find out who's been strangling women once a month, like clockwork? Will mystery writer Dix Steele outrun his postwar demons and his own loneliness and find happiness with the alluring Laurel Gray? Who has the more outré name, Dix Steele, or his best friend Brub Nicolai? All this and more on this week's exciting episode.   Theme music: "Shostakovich," by Mucca Pazza

The mystery segment of Season 3 continues as the boys discuss Walter Mosley's Devil in a Blue Dress. They discuss how the book acts as an excellent first entry in a detective series, how Easy Rawlins differs in his detective work from Sherlock Holmes, and the book's place in the history of U.S. racial relations and American Pragmatism. Theme music: "Shostakovich," by Mucca Pazza

The boys begin Part III of Season III with a bang, as they tackle Sir Arthur Conan Doyle's classic (but perhaps overlooked) Sherlock Holmes novel The Sign of Four. They discuss Holmes' method as a detective, especially compared to that of his rival Athelney Jones; the great sleuth's cultural blind spots; and whether emotion has any role in investigative work.   Theme music: "Shostakovich," by Mucca Pazza.

Susie Inverso: Photographer and owner of Crimson Cat Studios. Susie grew up in the suburbs of Chicago in a household filled with dogs, bunnies, guinea pigs, and gerbils. She learned the language of animals at an early age, especially from her Golden Retriever, Buffy. Her best memories involve learning the trumpet and performing in her junior high jazz band and high school marching band. It was around that time that she also picked up her grandfather's manual film camera. It was a Pentax, probably new in the 1960s or early 70s, and it made this "chck" sound that Susie fell in love with. The camera took a near backseat while she studied music at Elmhurst College, but was never far from her hand. She spent as much time in the darkroom as she did in rehearsals, and after graduating with her Bachelor's of Music, went straight to work in the photo industry. For years she photographed weddings & portraits and played in several musical projects including bass guitar with The Bangers and trumpet with Mucca Pazza. She also photographed her beloved Chicago for 2 books in the 111 Places guidebook series: 111 Places in Chicago That You Must Not Miss and 111 Places For Kids in Chicago That You Must Not MIss . Susie followed her passion to photograph pets and she shares her obstacles and how she looks forward every day to spending time with playful pups and making stunning artwork on a daily basis! Learn More: https://www.crimsoncatstudios.com/ https://www.instagram.com/crimsoncatstudios/

The boys discuss the final entry in the "Monks" section of the season: Karl's pick of Yukio Mishima's The Temple of the Golden Pavilion. They talk about Mishima's fascinating life, the ins and outs of Zen Buddhism and how its ideas relate to the book's narrative, and problems of size, scale, and beauty in the book. Note from Karl regarding the discussion of Zen meditation: "At one point I say that 'zazen meditation it literally means 'just sitting' you're just supposed to sit and meditate...' I was thinking of shikantaza, which is a sub-form of zazen. Also, in Sōtō Zen that's true that no koan/sutra is needed but in other schools (Rinzai) what I said is false."   Theme Music: "Shostakovich," by Mucca Pazza.

The boys are back in the most explosive episode of The Readers Karamazov yet. They discuss a classic of dystopian sci-fi, Walter M. Miller Jr.'s nuclear wasteland novel A Canticle for Leibowitz. They discuss the book's thrilling, intricate structure, its view of the spirals of history, and its ideas about science and faith and art. Complete with references to Jacques Ellul, Aldous Huxley, Thomas Merton, and... Sisqo? Theme Music: "Shostakovich," by Mucca Pazza.

In the first non-Eco book of the season, the boys tackle Herman Hesse's Narcissus and Goldmund, a tale of two very different medieval figures. Karl and Friedrich, our Hessexperts, are perplexed by the book's relation to Hesse's other works, but plow on nonetheless. The boys talk about artistic creation, medieval verisimilitude, and the special bond between teachers and students. Then, on a very special Postmodern Food Factory, the boys try not one, not two, not three, but FOUR different lab-created foodstuffs (Nitro Pepsi, Smartfood Doritos Popcorn, Taki's Meatsticks, and Carolina Reaper Cheetos). Plus an all time great Karl story about his fear of popcorn.   Theme Music: "Shostakovich" by Mucca Pazza.

In the final episode on The Name of the Rose, the boys discuss the "solution" to the mystery of the abbey murders, the potential of comedy, and music. They debate how we should feel about William of Baskerville, tragedy vs. comedy, and music vs. the plastic arts.   Theme music: "Shostakovich," by Mucca Pazza.

The boys are back to start Season 3, The Name of the Rose. After a brief overview of the season, they dive right into Days 1 and 2 of Umberto Eco's The Name of the Rose. Thinking through some of the pleasures the book offers, they dwell on the names of The Name of the Rose and spend time investigating the intertwining of religious and political ideas in the first two days. Theme song: "Shostakovich," by Mucca Pazza.

My guest today is Nick Broste, an audio engineer and musician who works in a wide variety of musical situations, ranging from creative improvisation to popular, folk and new music forms. He has engineered hundreds of recordings and performed all over the world, from tiny clubs to huge festivals and live television.   Having spent much of his youth obsessed with music but in a small midwestern town, Nick moved to Chicago in 1996, where he attended music school and began performing around the city and on the road, all the while soaking up any new sounds he could find. Touring with bands led to performing in the recording studio, where he began to get interested in the capture, manipulation and reproduction of audio.  In 2005 Nick moved into the Shape Shoppe, an underground music, art and living space with a 16 track analog studio, where he was able to experiment and teach himself how to record, eventually re-designing and completely rebuilding the space in 2008. At the same time Nick began mixing bands live in venues, trying to give both the musicians and audiences the best experience possible. This spirit of removing the obstacles of artistic expression for artists is the driving force for Nick's work to this day, no matter which side of the microphone he is on. Nick can currently be found working freelance in studios such as Electrical Audio, Shirk, Palisade, Narwhal and Jamdek in Chicago, around the world and wherever interesting sounds are being made. And his clients include Wilco, TV on the Radio, Broken Social Scene, The Walkmen, Cursive, Mucca Pazza, Head of Femur, Calexico/Iron & Wine, and Afghan Whigs to name just a few. Thanks so much to Greg Norman for making our introduction. Get access to FREE mixing mini-course: http://MixMasterBundle.com THANKS TO OUR SPONSORS! https://RecordingStudioRockstars.com/Academy Use code ROCKSTAR to get 10% https://samplyaudio.com Use code RSR20 to get 20% off for the first 3 months https://carltatzdesign.com/Mixroom-Mentor https://www.Spectra1964.com http://MacSales.com/Rockstars http://iZotope.com/Rockstars use code ROCK10 for 10% off http://www.thetoyboxstudio.com http://UltimateMixingMasterclass.com Hear guests discography on Spotify: https://open.spotify.com/playlist/2gZ1XJcUAkYJq5uF7oyYGJ?si=69c84ad4ddb34939 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: http://RSRockstars.com/336

In this episode, Liz and Steph talk with Mei-Ann Chen, Music Director of the ever-progressive, MacArthur award-winning, Chicago Sinfonietta. Ms Chen is known not only for her energetic style on the podium, but for being a champion for the mission of the Sinfonietta - diversity, equity and inclusion - on the stage, in their organization and in their programming. Liz and Steph had the joy of connecting with Mei-Ann over our common struggle as artists and the importance of vulnerability and authenticity in music and in life. Listen in on this rare and beautiful dialogue between two orchestral musicians and a world-renowned conductor: the authentic and utterly delightful Mei-Ann Chen!Follow us on FB and IG for a special bonus story from this episode!*Mentioned in this episode:Chicago Sinfonietta's “Project W”: https://www.chicagosinfonietta.org/projectw/Chicago Sinfonietta's Artist-in-Residence, Kathryn Bostic:https://www.chicagosinfonietta.org/artist-in-residence/*Mucca Pazza in concert with the CS:Battle of the Bands: Mucca Pazza x Chicago Sinfonietta FinaleSupport the show (https://paypal.me/violacentric)

The boys close Season 2 with a grand fête centered around W.G. Sebald's The Rings of Saturn. They try to discern if the book is fiction or memoir or whatever else it might be, talk about its elliptical style, and dive into its sense of history and image. Then, in one final Postmodern Food Factory, the boys come back -- like dogs returning to their vomit -- to try the Bud Light Ugly Sweater Seltzer Pack. Bad times are had by all. Theme music: "Shostakovich," by Mucca Pazza.

Steve Albini (born July 22, 1961) is an American musician, record producer, audio engineer and music journalist. He was a member of Big Black, Rapeman and Flour, and is a member of Shellac. He is the founder, owner and principal engineer of Electrical Audio, a recording studio complex in Chicago. In 2018, Albini estimated that he had worked on several thousand albums over his career. He has worked with acts such as Nirvana, Pixies, the Breeders and PJ Harvey. Albini is also known for his outspoken views on the music industry, having stated repeatedly that it financially exploits artists and homogenizes their sound, as well as the flaws in the digital recording process and the superiority of analog technology. Albini's engineering skills have been celebrated for their sense of space, naturalistic tone, and the power of his guitar and drum sounds; his own guitar work is as imaginatively abrasive as his lyrics, which can be challenging and sometimes confrontational. Nearly alone among well-known producers and musicians, Albini refuses to take ongoing royalties from album sales, feeling that a producer's job is to record the music to the band's desires, and that paying producers as if they had contributed artistically to an album is unethical. In this episode, part one of a series of two, all songs selected by Steve Albini as guest for Australian TV show Rage, on June 29 2013. Lineup: The B-52's, Blondie, The Stranglers, Man Or Astro-Man, Chad Van Gaalen, Lou Reed, The Specials, The Cars, Siouxsie and the Banshees, D. Rider, Superchunk, The Breeders, Andrew Bird, Angus & Julia Stone, Björk, A1 People, Pete Shelley, Cheap Trick, Big Black, Altered Images, Pere Ubu, Sonic Youth, Bailter Space, Useless ID, Alan Vega, Bauhaus, Toys Went Berserk, Charge Group, Tortoise, Cat Power, The Only Ones, Black Box Recorder, The Human League, Tubeway Army, Kraftwerk, Xiu Xiu, Plastic Bertrand, Mucca Pazza, Radio Birdman, Ted Leo and the Pharmacists, The Bronx, Mclusky, Public Image Ltd., Sex Pistols, X-Ray Spex, Alice Cooper, Neil Young, Crazy Horse, Willie Nelson, The Birthday Party, Dead Meadow, Red Fang, Archers Of Loaf, The Amps, Dead Rider, Har Mar Superstar, Beth Ditto, CeeLo Green

The boys are back at full strength this week as they discuss a favorite of all of theirs, Gustave Flaubert's Madame Bovary. They spend some time luxuriating in Flaubert's prose, and discussing the book as a fountainhead of numerous literary streams. They also talk about imitation, ascetic mysticism, and stultifying bourgeois life. Theme music: "Shostakovich," by Mucca Pazza.

Sans Friedrich, Karl and Søren perform a difficult duet on Kate Chopin's The Awakening. They talk about the book's literary impressionism, its place in American literature, race and class, labor and love, and the beguiling role of music in the book. Theme music: "Shostakovich," by Mucca Pazza.

Oggi terminiamo la miniserie relativa alle proteine. Concludiamo col botto.Parliamo infatti di alcune malattie rare che hanno rischiato di sovvertire tutte le nostre certezze in campo medico e infettivologico. Queste malattie, dette malattie prioniche sono infatti state, fortunatamente per breve tempo, un dubbio amletico. Ma cosa sono i Prioni? cos'è la morte che ride? e perchè si chiama cosi? Cosa centra la Mucca Pazza? esiste una cura? come si trasmettono e perchè vengono..... e domanda che ci ha accompagnato nelle ultime 4 puntate.... cosa centrano le proteine?La risposta a queste e altre domande in questa live di Dpen Scienza. Ci potete ascoltare su: Nostro Sito: https://dpenpodcast.wixsite.com/website . Apple Podcast: https://podcasts.apple.com/it/podcast/dpen-scienza/id1517569764 . Spotify: https://open.spotify.com/show/3SEfZMJXDmUDKCHHX1lewc?si=2ViP6N-9Qxu0uh2gPRBwqw . Spreaker: https://www.spreaker.com/user/dpen . E su tutte le app principali di streaming.Seguiteci anche sui nostri social dove potrete anche commentare le puntate e comunicare con noiGruppo Telegram: https://t.me/dpenpodcast . Instagram: https://www.instagram.com/dpenpodcast/ . Twitter: https://twitter.com/DpenPodcast . Disclaimer:Le informazioni fornite su Dpen Scienza sono di natura generale e a scopo puramente divulgativo, pertanto non possono sostituire in alcun caso il consiglio di un medico (ovvero un soggetto abilitato legalmente alla professione), o, nei casi specifici, di altri operatori sanitari (odontoiatri, infermieri, psicologi, farmacisti, veterinari, fisioterapisti, etc.).Le nozioni e le eventuali informazioni riguardanti procedure terapeutiche hanno fine unicamente illustrativo .Nessuno dei singoli autori o contributori di Dpen Scienza né altre parti connesse può esser ritenuto responsabile dei risultati o le conseguenze di un qualsiasi utilizzo o tentativo di utilizzo di una qualsiasi delle informazioni pubblicate.Nulla su Dpen Scienza può essere interpretato come un tentativo di offrire un'opinione medica o in altro modo coinvolta nella pratica della medicina.

My guest on this week’s podcast is singer-songwriter and [checks notes] king of Halloween Nick Lutsko. I’m really excited for this episode, and I highly recommend checking out the audio version if you can, as there are a few song clips in there (as well as a live/acoustic version of one of Nick’s songs at the very end).You can follow Nick on Twitter at @NickLutsko. His Patreon can be found here, his Bandcamp here, and his YouTube channel here.As always, if you enjoy the podcast and/or the newsletter, please consider subscribing and sharing my work on social media. There are free and paid subscriptions available. The Present Age is a reader-supported newsletter, and I appreciate your support!Parker Molloy: Nick Lutsko! Thank you for joining me today. I appreciate it.Nick Lutsko: Yeah, thanks for having me.So you just released the third installment of your Spirit Halloween trilogy, I guess.Yes.So how'd that come into existence for people who are familiar with the first two, but not the third?So, I did the first one mid-September of last year, unsolicited. This is the Spark Notes version. And the whole, I guess, kind of joke about that song was it's a theme for Spirit Halloween, but really it was more just a ploy for them to pay me for writing. The song was about my payment for the theme.Right.So, they reach out and they actually did pay me some money and they were really cool about it. And then they got in touch, said they wanted to do another one. So then after the unsolicited first entry, I did a sequel that they paid for. I guess technically they own it. And then they reached out early this year and made it pretty clear they wanted to do something again this year and they wanted to up the stakes. I think the language they used was, "How do we top last year?"Yeah.And my response initially was like, "If we're going to top last year, I think we need to get a significantly bigger crew." And when I say significantly bigger, that's more than me and my little brother who shot it. The first one was just me on my cell phone. The second one was me and my little brother in my house. And then for this one, I was proposing like, let's get a crew and a production team that can actually work on this thing and make it legit and cinematic and all that.And their response was sort of, "We don't want to lose the weird guy in his basement vibe." Which is fair. It might have also been a, "We don't want to spend way more money on this." So it just kind of forced me to get creative. At that point, I think I'd already kind of had the idea that I wanted to set the song as like, "We're coming out of the apocalypse," and like, "Things will return to normalcy," or not even that, "It'll be a utopia because Spirit Halloween is back."Yeah.And that was kind of the gist of what I was pitching to them. And I really didn't know how I was going to be able to shoot an apocalyptic wasteland in my basement, or I really dug myself into a hole because I wrote the song and I was happy with the song and then I had no idea how to shoot it. And I reached out to Brielle Garcia, who has been a follower of mine on Twitter.And it's kind of funny because she pulled my own card of me making stuff for Spirit Halloween unsolicited and she started doing unsolicited Snapchat filters for this dumb, fake gremlins movie that I made. And so I knew that she was way more technically savvy than I am. So I reached out to her and said, "Could you help me out with some of these visuals?" And I had no clue what I was getting myself into because she was able to do things that I could have never done in a million years.Sounds cool.So, yeah, yeah.How long did that take you guys to film and because it definitely seems like a larger production than anything else you've put out.For sure. Yeah. Well, I shot it all in my garage. My wife shot me in my garage as our baby was like chilling in a playpen in the corner. It felt very silly because I'm supposed to be interacting with this apocalyptic world, but I'm actually in my garage.And I have no idea if she's going to be able to do the things she says she's going to do because usually that stuff's done on a green screen.Yeah.But yeah, I think it was all done in about a month. I shot the footage in my garage. I sent it to her and yeah, it was insane, the amount of work that she did and how quickly she did it.That's cool.The way she explained it to me is, I think she uses video game engines maybe.Technology has just really advanced to where people are capable of doing things out of their bedrooms. It would've cost millions of dollars and tons of time, just a few short years ago. And I guess a lot of people haven't even figured out how to do some of these things and she's just on the cutting edge and yeah, it's pretty crazy that it was only her and I working on it and opposite sides of the country. She's in Seattle, I believe. And I'm in Chattanooga, Tennessee. So it was a cool project.Yeah, definitely. And I think that, because I was going to say, the first time I heard your music was all the Super Deluxe stuff that you did.Yeah.I guess, one of, sort of the benefits of Super Deluxe kind of disappearing or going away or whatever is the fact that then you kind of like, you were not just hidden behind the sort of the curtain there.Right.It was like, "Oh, hey, this is the dude who did the emo Trump songs or the Alex Jones thing."Yeah. Exactly.Because that was the thing. And I think it, that stuff resonated with me because it's like, so I'm 35, so the early-mid 2000s were high school. And at the time I was really into bands like Taking Back Sunday and Thrice and Thursday and all that. And there was this sort of holy s**t moment for me, where it clicked for me that Trump's tweets and sort of self-pitying statements were about being unfairly attacked and whatnot really read the type of the bands that were trying to make music like that, not them but the weird knockoff where it's like, "Oh man, you're trying too hard." You know?Right. Exactly.And from that moment on, anytime I'd see something stupid he said, I'd be like, "Oh man, this is like some kid with Hawthorne Heights lyrics as their AOL instant messenger way thing." You know? So I'm glad that that made it into my timeline because then that sent me down a bit of a rabbit hole where-Nice.Then I was checking out your other music that is not comedy and-Cool.... so I was kind of, can you kind of tell me what are some of the differences between Nick Lutsko serious singer-songwriter and Nick Lutsko, weird guy in his basement singing about Spirit Halloween?Yeah. Yeah. It's a great question that I feel like the lines become a little more blurry all the time. Especially as we're planning live shows and it's like it's a smaller set of people, but there are definitely people who were into my stuff before I started doing these sweaty frantic songs on Twitter. And there's a subset of people who are going to come to the show expecting to hear that. And there's going to be people who are coming essentially only expecting a comedy show. And then there's a lot of people who've reached out a bit similar to you that said, "I really enjoyed your comedy stuff and I dove deeper into your other albums and I really enjoy that as well." So it's like trying to figure out how to frame both of these things and I wish I had a better answer. I think once we start playing shows, I'll get a better feel for how those two worlds can kind of coexist.I did this Vulture article. They did the premier of the Spirit 3 song and I said something like, "The shiny sheen of sweat on my face is like my Spiderman suit to my Peter Parker." And it's obviously just a dumb joke, but it's interesting in that, like even though I've done albums that are not comedic whatsoever. And even this goes for my Super Deluxe stuff as well, I think it all kind of comes from the same place. And it always comes from my frustrations with the absurdity of the world. And especially the last album I did Swords before I started doing these Songs on the Computer. All of those songs were just a direct, almost involuntary response to the Trump administration and the Trump campaign.And it was all written 2015 to 2019. And the whole album just kind of has a sense of like, "Am I the only person that is seeing what is happening? And is this a weird fever dream nightmare, or is this reality?" And I finished doing that album and I really was anxious to create something that was fun and happy. And I just wanted to do a 180. It's like, "Okay, I've spent the last few years just really hyper-focusing on all these things that just really distressed me and bummed me out." And it's like, I want to write some fun music. And then 2020 happened, we went into a global pandemic and George Floyd happened. And it was just all, it was like all these gut punches over and over.And it became abundantly clear that I wasn't capable of sitting down and writing fun, happy, quirky music. And the one song I did that was non-comedic was called Spineless. And it was just even darker and than all the stuff from Swords. And it's funny because it wasn't until I retroactively looked back and realized that through the Songs on the Computer project, I was able to do what I wanted to do, but it's not like I sat down and I'm like, "I'm going to take all these dark, angry feelings and just do the most absurd, silly version of these things." It was just something that I just instinctively started doing, and I never really analyzed too much whatever I'm doing in the moment, it's usually other people telling me what they like about it.And then I'm like, "Oh yeah, that's what I did there." There's not a lot of, I don't know, analyzation happening as I'm... Because I moved so quickly when I do them, which initially just started out of necessity between juggling multiple jobs, it would be like, "Okay, I have a free day this week so I know I need to put something out on this day." And yeah, that essentially became like waking up, seeing what was driving me crazy in that moment or what was going on in the news of that day and writing a song as quickly as I could, recording it as quickly as I could, shooting a video as quickly as I could, and trying to get a video out that evening. So that was sort of how this whole thing started and it's something that I've tried to keep in the spirit of the project as I've moved forward because the Swords album was like, I would spend months and some of them even years on rewriting lyrics and re-tracking different instrumentals and mixing things differently. And I'm really happy with how that album came out but I do think there's been a real benefit to realizing that I can kind of go with my first instinct and still elicit a response from people.Yeah, definitely. The interesting thing about like, for instance, because you've made some really cool videos for some of the, I hate to say serious songs, but the non-comedies because-Yeah, that's kind of-But not necessarily serious-Yeah.... but it's just like-Right.It's not making a joke, you know?For sure. Yeah.But the music video for the song, I think it's Sometimes where it's like, it's just this gigantic production of, it's like a concert and you have and your band is wearing all sorts of costumes.Yeah.It's an experience in itself. And it's like, I'd love to see that live. There's a band here in Chicago. Oh God… Ah! Mucca Pazza, that's their name.Cool.They're a marching band.Oh, wow.They're a marching band that plays regular concerts.Cool.And it's just weird and over the top.Yeah.And that music video reminds me of their live shows, which were always so fun and everything like that. So I'm a fan.Awesome. Yeah. Thank you.Yeah. It's cool. It's kind of funny because yeah, we did that album Swords and we had the big album release party in Chattanooga in 2019, October of 2019. That's where we shot all of that video for some time. That basically was just like a highlight from the album release party, like a highlight reel. And the plan was to get that video, get our EPK, and then 2020 really try to get a booking agent and try to tour and obviously, 2020 happened and then none of that happened.Yeah.And then Songs on the Computers stuff happened and now it's in this weird place of like, as you mentioned my band before, when they were called the Gimmix and it started as like... I feel like anytime I try to explain one thing, I have to explain 10 other things. Basically, when I first started making albums under my name, I didn't have a band but I did have these hand puppets. So I used the hand puppets as the backing band for my music video Predator. And then when I finally did get a band, it was like, "Hey, what if we tried to recreate that vibe of having a puppet band?"So then we started making puppet costumes for the bandmates and those kind of just evolved into creatures over time. But anyway, when we started talking about doing Songs on the Computer live, I've kind of built this world and this mythology, and it was like having my band in these weird puppet costumes on top of all the Songs on the Computer stuff kind of felt like wearing a hat on top of a hat. So we're kind of resetting and approaching the shows from a totally different place, which is just cosmically hilarious, because we spent years and years and years trying to build to this place where we were ready to go off into the world and see what we could do with it. And then all of it just kind of got knocked down on and now we're kind of starting this new thing. So-Yeah. Well, I mean that's kind of the general idea behind this newsletter that, because in June I quit my job and I was like, "I'm going to go start doing a newsletter." And that was, I don't know if that'll be a good decision in the long run we'll see. And then decided, "Oh, I should turn this into a podcast because..." One of the things I've been thinking a lot about has just been the way that people had to adapt because of the pandemic and everything that changed, that all their plans had to shift. And the first interview I did for my newsletter, was with Will Butler from the band Arcade Fire.Oh, wow.And he was telling me about how he had all these plans because he was releasing a solo album in 2020 and so he was planning on touring in swing states right before the election. It was a whole idea for him and then he just couldn't do any of it because COVID and other bands have tried to figure out different ways to communicate with their audiences or approach things from a different sort of direction and that's why I'm just really interested in just how people are communicating with each other. I mean, because as it is, I mean the music industry's kind of chaos as it is. I mean, I went to school for, well at first I went to school music performance, classical and jazz guitar.Oh wow.But that lasted a semester before I switched to commercial music, but then I switched to music business.Oh, right.So the business side, talent management, and then after college, I was like, "Okay, cool. Now to get into the music industry." It was like 2009 and suddenly it's like, "Oh, everything is just streaming now and everything has changed."I had a teacher who was convinced that the future of the music industry was ring tones and I'm just like, "I don't know, man. I really, really do not know."Right. That's hilarious. Where did you go to school?So at first, I went to Millikin University in Decatur, Illinois. Which is just kind of a small school with a decent acting program, which has nothing to do with music. And then I dropped out and then went to Columbia College here in Chicago and finished my degree, so it was interesting. And I still like making weird little songs and I've got Logic Pro and a bunch of weird plugins that do all sorts of crazy things.Nice.It's like that stuff is a fun hobby for me. But the more I think about it, the more I'm like, "Oh man, I should have gotten a degree in something, anything else."Oh my gosh. Well, it's really funny because just by... I have a degree in commercial songwriting from Middle Tennessee State University and it's really funny because a lot of people, I just see people in the comments, and this is really kind, I'm not saying that this is true, but people will be like, "Man, you can tell that this guy went to school for songwriting." And it's like, I learned nothing. And not to knock the school that much, it was the first year of the program when I went there and my major was recording industry and they had three emphases, music business, which it sounds like you ended up getting yours in.And then audio fundamentals, which is engineering and producing and all that. And then commercial songwriting. Commercial songwriting was a new one and it just had songwriting in the name so I'm like, "Oh cool. I want to write songs, I'll do that." But it really was a very underdeveloped program at the time and it basically was how to make it as a songwriter in Nashville.So how to write for pop country, which I had no interest in. And basically what they taught was like, "Listen to the radio, find what's hot and repeat. And repeat enough without getting sued."And they teach you how not to get sued and how to still take those. It seemed like they just like juiced all the creativity out of songwriting and it really made me very bitter. And I really, I had to take a lot of secondary classes in music, business and audio fundamentals. And I gained a ton more from those than I did from the songwriting aspect and I wish I would've explored more of those things because I think that those, the songwriting part always kind of came naturally to me.But I do think just learning how to use social media as a way to connect with your fans was huge. And the few classes I took on Pro Tools opened a lot of doors for... I do everything in my home studio. So I knock my degree a little bit just because it's not something that I can hold up this piece of paper and be like, "Hey, hire me for my songwriting degree."Yeah.It's like, "No, people want to hear your songs and they'll judge whether they should hire you based on the work you've done." It's a whole lot of complaining for nothing because things worked out pretty well. I'm pretty happy where I'm at, but I don't know how much of it attributes to my education.Yeah. Well, I mean, same.Yeah, yeah.It's like all things considered, I think I'm okay. But in hindsight, it's like, "Man, maybe I should have taken more writing classes because that's what I'm going to end up doing and..." Here I am like, I don't know, does a comma belong there?Yeah.My writing mistakes are just really stupid, fundamental things that I should have learned in eighth grade.Right. Yeah.But yeah, with guitar performance, the first major I had, it was like, "Cool, all right. What do I do with this when I graduate?" It's like, "You can work on a cruise ship. That's a job." And I'm like, "Wait, wait, no, no, no. That?"That's funny. I actually explored that for a minute. And I was like, I looked up what you needed to be able to do that. And they were like, "You need to be able to play 500 songs." And I was like trying to count all the songs I knew and it's like, "Damn!"Yeah. Yeah.In another world, I could have been sweating on a cruise ship somewhere singing my heart out day after day.Yeah. My brother has a degree in musical theater and he had a job for a while on a Disney cruise ship where he played Peter Pan and Aladdin and all of that. It sounds cool but then he's like, “Yeah, and then they put us in these like tiny rooms with a bunch of us together. I was like, "Oh good. So it's like Titanic." You're in like the boiler room. No windows. Oh, great. Sweet.Yeah. The more you think about it, the less fun it seems.Yeah. I'm like, "Wait, this is the best-case scenario for this degree? I don't think so." So, I'd rather just not.Right.My first pivot away from doing music business stuff to doing more writing stuff was an internship at Pitchfork, which was kind of hilarious because it was transcribing interviews with bands that sometimes just… they were bad interviews.Yeah.One thing wanted to ask you about is just the thing that sort of holds, I think Songs on the Computer altogether is just the lore of it all that kind of all connects. You have your cast of characters that all, they all kind of work together. Where did some of this stuff come from? So it's like, you're like grandma, Mel, Dan Bongino, Jeff Bezos, man in the stairs, you know?Yeah. It's funny. I was thinking about this the other day and I think the RNC song, it was kind of the big bang of all of this. It's the first mention of grandma and her basement and man in the stairs. And I think back to writing that song, and it was one of the first times, I remember very specifically, I had one day to make it, I started that morning, I posted it that night and it was like, okay, the RNC is starting today, I got to do something. I remember, my studio's here in my basement and behind this wall is an unfinished nightmare world of a basement and it has a toilet with the messed up American flag hanging behind it. It has the creepy stairs. I remember thinking like, "Here's what I have to work with. Okay. I can work in that." You know what I mean?It's like almost using my surroundings as characters in this song. And as far as working Dan Bongino in, it could have been anybody, but his name just was the funniest to sing.And it was really funny too because I remember my buddy and bandmate, John, who, I kind of bounce all my ideas off of, I pitched him the idea and he was like, "I have no idea who Dan Bongino is." And I was like, "I think the only reason I know who he is because Vic Berger was fighting with him at some point. And maybe a lot of people won't know who he is, but it obviously was the right choice because it's by far the most popular thing I've done. And he just continues sadly to be a rising star in the GOP.Yeah. Well, and on the topic of Dan Bongino, I mean, so I was working at Media Matters, which is this progressive media watchdog group, so we had people there who would do nothing except watch NRA TV all day. Which, awful. I mean, and Dan Bongino came from NRA TV before he went to Fox News and the whole... We just mocked him mercilessly and he blocked a bunch of us on Twitter but then he would be like, "Oh, so and so blocked me." It's like no, you blocked us.Yeah.But yeah, there's always been something that's funny about his character because he's kind of dumb. There was one time where he was talking about making lemonade, but he had these lemons-Whole lemons, yeah.... weren't peeled.Yeah.He put it in a blender. It's like, "What the f*ck are you doing, man?”Yeah. Yeah.But yeah. So I thought that was a hilarious sort of addition. Yeah. It's kind of a very sort of niche reference, which kind of makes it better, you know?Right. Yeah. I think that's how it was received. And sadly, it's becoming less niche just because he's climbing the ranks at Fox News now it seems, but yeah. So I kind of started with that and I think the next, I don't know if it was the next one, but one of the next popular ones I did was the Spirit Halloween theme and again, that was just something like I had noticed Spirit Halloween was opening up as everything else was shutting down. And it was just something that was kind of stuck in my brain. And I made that theme really quickly again. And I did that turn towards the end with Jeff Bezos and it wasn't until I was editing it, I realized like, "Oh, I have this picture of this bald, creepy mannequin that kind of looks like Jeff Bezos."And oh, the man in the stairs also kind of looks like Jeff Bezos. And it's like, I'm connecting all these dots on the fly and I'm not thinking it through whatsoever. And luckily it's kind of unfolded in a way that's captivated people up until this point and I just continue to build on it. The really tricky part is not writing something that becomes so convoluted that it's just total nonsense to anyone who's listening for the first time. I really try to find something that is like... I think Joe Biden's inauguration was a good example of like, "Okay, if you've been following me on Twitter, you know why I look like I've been badly beaten, but you don't need to know that to enjoy this song."Right.Like that and I'll squeeze in a couple of lines to keep the story going, but I don't want to make it a full song about how Mel beat my ass and I'm running from a mobster called Big Pizza and whatever else. I like to just kind of sneak those things in when I can. But yeah, it becomes challenging as the story gets deeper and more complicated.Have to start mapping it out.Yeah, yeah, yeah, exactly.So what are you working on these days? Any projects or anything?Well, I am actually, I don't know how long this will last, but my wife just went back to work, we have a four-month-old daughter and three days a week, I am staying at home with her and I'm having to squeeze all productivity into Tuesday-Thursday while my mom and her mom watch the baby. And so far, it's kind of worked out. I had three weeks in a row where I was able to write a full song and post it on Thursday. I think I did the School Board Meeting song and then the Brendan Fraser song and then the Ernest P. Worrell song. I had a three-week run, I think. And it's funny because I think having these consolidated amounts of time forces me to be super productive. Whereas, over the span of a week, I just kind of twiddle my thumbs and wait for inspiration. But I work so much better under pressure and under deadlines and all of those things.But anyways, on Tuesdays and Thursdays, I'm trying to keep developing the Songs on the Computer saga. I think I'll have another collection of songs I'm going to release in a couple of months. I have some freelance work that I've been doing for Netflix that should be coming out pretty soon for their socials, like promotional work. My producer at Super Deluxe, when they shut down, he moved to Netflix and that's kind of how I formed that relationship there which was... Yeah, it's been awesome. Which by the way, I just wanted to say this quickly, since you mentioned it, my producer, Jason, who is also @Seinfeld2000 on Twitter.Oh, okay. Yeah.Yeah. He was my producer at Super Deluxe. I've told this story in pretty much every interview I've done, so not to bore you if you've heard it, but basically, I did an unsolicited theme song for Tim Heidecker and Vic Berger's election specials that Super Deluxe was producing and then that kind of got the relationship started at Super Deluxe. And I basically told them like, "Hey, I'm attempting to make some kind of a career in music and if you guys ever need music, let me know." And that got a conversation going with me and Jason and he eventually pitched the emo Trump concept.So I do got to give him credit in that department and that he was like, "Hey, Trump's tweets have been, especially emo this afternoon. Do you think you could make it like an early 2000s emo pop-punk song?" And I had a Tom Delonge Fender Stratocaster, that was like one of my first guitars and like-Same.Yeah. Nice. Yeah. Yeah. I hadn't touched it in like 15 years probably and I dusted it off and recorded that song so fast. I remember it just felt like this is my calling. Like everything has been building to this moment and that's what set off that whole path in Super Deluxe.Yeah. It's like, "Bring me the seafoam green guitar-”Yeah. Yeah. Exactly.“... with one pickup."Yeah. Yeah. No, it's so funny. I thought that was so punk rock at the time and now it's like-Really it's just like, "Oh man, you can't do a lot with this, can you?"You can't do anything! Yeah.But cool. Yeah. Is there anything I've missed? Anything you'd like to make sure I put here or tell people? Or-Yeah, I don't know. I'm sure there are things that I'm forgetting about. Obviously I'll be in Chicago and April.We're going to be in there October 8th and 9th, which is this weekend. I don't know when this comes out, but yeah, we had to reschedule due to COVID for the 22nd and 23rd, the 23rd I believe is sold out. But the 22nd has a lot of tickets left.I mean, that's pretty... Because it's at Lincoln Hall now, right?Yeah, yeah. It is. Yeah.I mean, that's like a decent-sized venue too, if you're selling out that's good.It's really exciting. Yeah. I mean, we had two nights at Schubas and we sold out both, which was just amazing because before the pandemic we couldn't even sell out our hometown.Yeah.And it's like to go to another city and sell out two nights in a row was just mind-blowing and then they move us to the bigger venue and we sell out there and then they want to add a second show and it's like, we kind of feel like we could be flying a little too close to the sun here, but we're definitely down to give it a try. And we've definitely, we've sold a decent amount of tickets for that Friday night and we have months until it's-Yeah.We haven't even really promoted it that much. The first two shows sold out within hours of announcing them. So we're hoping to do more shows next year. I did just launch a Patreon, which has been fun. It's just a place for me to dump all the stuff where people are interested in not just the character of sweaty Nick Lutsko and they want to know how I do what I do. And so that's been a cool little community I started growing. I think I posted it or yeah, like less than a week ago and it's had a pretty good start. I'm enjoying that.Yeah. That's how I really like seeing Patreon being used. Like, "Oh, here's this, you want cool behind the scenes? You want cool, raw? This is just me and my process kind of thing.'.Yeah.Or, "Just writing things, straightforward." Tim Kasher, who's in the band Cursive and The Good Life — he has a Patreon where he's just like, "Here's an alternate take of a song I recorded 15 years ago." And it's just like-Oh, cool. Yeah. I love that stuff.... this is the best.Yeah. Yeah. Yeah. I feel like there's a lot of different ways to use Patreon, some people just use it as a virtual tip jar for people that appreciate the work that they do continuously and then other people turn it into an enterprise where it's like, "Okay, if you want to see anything I do, you got to come in both." I'm trying to figure out like where this thing is going to to live. But I think it's going to be more behind-the-scenes stuff and we're actually doing... I hope I'm technologically competent enough to pull this off, but we're just going to do a Zoom hangout where I play some songs because the, like I said, the Chicago songs shows would've been this weekend. So it's just a way to, I don't know, give those fans who were looking forward to come to see us this weekend to hang out and hear some songs.Cool. Well, that's great. Thanks so much for coming by, Nick.Yeah, definitely. It was a lot of fun. Get full access to The Present Age at www.readthepresentage.com/subscribe

The boys kick it Ancient Greece style once more, discussing Aristophanes' uproarious comedy The Clouds. Bouncing off a reader question, they discuss what Aristophanes' view of Socrates, the main target of the play, actually is. They also talk conservatism in art and whether society can withstand massive upheaval, and dissect some of the trickier formal elements of the play.   Theme Music: "Shostakovich," by Mucca Pazza.

In the first non-Middlemarch episode of the season, the boys tackle Voltaire's fast paced picaresque Candide, and think through issues of humor, how fair the book is to its main target Leibniz, and what it means to live a good, contented life in Candide's world.   SPECIAL BONUS: In our first ever "mini episode," the boys debut a new segment, Postmodern Food Factory, in which they try gross simulacra of actual foods. First up, Mountain Dew Major Melon, a monstrosity of chemical experimentation. Plus, Karl lists all the flavors of Dew he has personally tried. As promised, a link to the delightful Wikipedia page for Mountain Dew flavors. Theme Music: "Shostakovich," by Mucca Pazza.

This is it: the final episode on George Eliot's Middlemarch. In this episode the boys tie up some loose ends, ruminating a little more on acts of the will, what it takes to make it in marriage, and even more talk about the books within Middlemarch. As a final bonus, they loop back around to "The Cinematic Eliot" to discuss who would excel at adapting the novel (Robert Altman?), with a brief cameo by Terrence Malick's A Hidden Life, which takes its title from the novel's last lines. As mentioned at the beginning, this episode is dedicated to the memory of Hal Bush, Professor of English at Saint Louis University. For more info on Hal, we're including a link to his obituary.   Theme music: "Shostakovich," by Mucca Pazza.

The boys get weird as they peer into the furthest recesses of George Eliot's midlands world. In this episode, covering Books V + VI of Middlemarch, they talk more about class elements in the book, dig into the character of Bulstrode and what he represents about English religion, and get a little wacky talking about the books that appear within the book.   Theme Music: "Shostakovich," by Mucca Pazza.

Original broadcast date May 10, 2018. The original podcast post is here: https://pixelatedgeek.com/2018/05/binary-system-podcast-126-wtnv-127-a-matter-of-blood-part-1/ “Yeah but…bless his heart, Cecil's pretty oblivious.” “Well, this is true.” This week we're recapping the latest episode of Night Vale, where a dangerous new development could lead to major changes in Night Vale and hopefully some really awesome fan art. After that we plan for our big Black Mirror discussion with guest podcaster Hannah (possibly to include a "Top Ten Black Mirror episodes that killed my soul" list) as well as David Tennant's Bad Samaritan, and how Kathryn seriously needs to watch Pacific Rim. The FIRST Pacific Rim, thank you. The outro music this week was a clip from J'Accuse by Mucca Pazza, which we can't stop listening to. You can hear the whole song on this week's Night Vale https://youtu.be/5jLqXdp5EAM, or on Mucca Pazza's official YouTube https://youtu.be/ZXihPd2HnzY.

The boys head back to Middlemarch to keep exploring. After an interesting reader comment comparing the book's characters to those in Twin Peaks, they set out to see what makes Parts III & IV work. Along the way they praise the simple nobility of Caleb Garth, use Blaise Pascal's theories of diversion to explain the restlessness of characters, and tackle the famous "pierglass" discourse as a way to think about the book's narration. Theme song: "Shostakovich," by Mucca Pazza

If only there were marching bands as wild and hilarious as Mucca Pazza when we were in high school. A sprawling ensemble numbering somewhere between 25 and 30 members, Mucca Pazza leans into the weirder, and funkier side of that band geek archetype: Dressing up in ill-fitting, colorfully clashing uniforms, tall hats with speakers strapped on, and retro cheerleader costumes, the Chicago-based group -- which takes its name from the Italian phrase for "crazy cow" -- has perfected a live show full of visual mayhem and dance-ready music. That's even more the case as the group parades around the stage and amid the crowd, like a big celebratory circus.Mucca Pazza plays live, in-person on July 14 as part of Main Street Nights in Park Forest, IL. Pulling from soul and funk, psychedelic rock and punk, New Orleans brass bands and "Gypsy-reggaeton," Mucca Pazza's repertoire is a bit proggy (Yes, Weather Report, Rush) and perhaps hard to march to. Here, the band crams into the studio to play songs from its 2014 album, L.Y.A.  Hear more songs from the session on New Sounds. Set List: "Subtle Frenzy" "All Out Of Bubblegum" "Rabbits And Trees" "Lunchtrays And Goldfish" Personnel: Greg Hirte, ViolinRonnie Kuller, AccordionGary Kalar, MandolinCharlie Malave, GuitarMaria Hernandez, SaxDave Smith, SaxAiran Wright, Bari Sax/ClarinetJustin Almolsch, TrumpetSam Johnson, TrumpetNick Siegel, TrumpetElanor Leskiw, TromboneNick Broste, TromboneTom Howe, TromboneMelissa McNeal, TromboneTom Curry, TubaAndy Deitrich, PercussionLarry Beers, PercussionBrent Roman, PercussionRick Kubes, PercussionDaniel Villarreal, PercussionSharon Lanza, CheerleaderMeghan Strell, Cheerleader

Today's conversation is with Ronnie Malley, famous oud musician, writer, producer, actor, educator, composer, and creator of Connecting The Fragments theme music - he does it all!! We talk about humanizing Palestinians, not othering those who other us, and breaking down barriers with the talents we were given. This episode is part 2 of a 2 part segment. Ronnie's Bio: Ronnie Malley is a multi-instrumentalist musician, theatrical performer, writer, producer, and educator. He is the Executive Director of Intercultural Music Production. He has collaborated with artists internationally, composed and consulted for many cultural music projects in film and theater, appeared as a guest artist on several works, and is executive director of Intercultural Music Production in Chicago. Ronnie has a degree in Global Music Studies from DePaul University and is a teaching artist with Chicago Public Schools, Global Voices Initiative, and Chicago Arts Partnership in Education, a faculty member at Old Town School of Folk Music, and a guest lecturer at universities. He is an international artist and has performed with the music groups Allos Musica, Apollo's Fire, Diwan Al-Han, EMME (East Meets Middle East), Lamajamal, Mucca Pazza, Newberry Consort, Surabhi Ensemble, and the U of C Middle East Music Ensemble. To keep up with all we are doing go to: https://www.connectingthefragments.com/ It takes a lot to produce the podcast, so all support and donations are much appreciated! All donors will be featured on future episodes. Donate at: https://www.connectingthefragments.com/donate Contact/follow/like/share on Facebook at https://www.facebook.com/Connecting-The-Fragments-103510674881397 Podcast Original Music by Ronnie Malley - Website: www.ronniemalley.com - IG/Twitter/Facebook: @ronniemalley Podcast Cover Art by Juan Gomez - www.rudosdesignstudio.com

Today's conversation is with Ronnie Malley, famous oud musician, writer, producer, actor, educator, composer, and creator of Connecting The Fragments theme music - he does it all!! We talk about humanizing Palestinians, not othering those who other us, and breaking down barriers with the talents we were given. This episode is part of a 2 part series. You can catch the 2nd episode airing soon. Ronnie's info: Organizations: Executive director of Intercultural Music Production, works with InnerCity Muslim Action - IMAN (Roster Artist), International Voices Project Theatre Company (Artistic Associate), Chicago Arts Partnership in Education (Artist Researcher), and Global Voices Initiative (Teaching Artist). Bio: Ronnie Malley is a multi-instrumentalist musician, theatrical performer, writer, producer, and educator. He has collaborated with artists internationally, composed and consulted for many cultural music projects in film and theater, appeared as a guest artist on several works, and is executive director of Intercultural Music Production in Chicago. Ronnie has a degree in Global Music Studies from DePaul University and is a teaching artist with Chicago Public Schools, Global Voices Initiative, and Chicago Arts Partnership in Education, a faculty member at Old Town School of Folk Music, and a guest lecturer at universities. He is an international artist and has performed with the music groups Allos Musica, Apollo's Fire, Diwan Al-Han, EMME (East Meets Middle East), Lamajamal, Mucca Pazza, Newberry Consort, Surabhi Ensemble, and the U of C Middle East Music Ensemble. To keep up with all that we're doing go to: https://www.connectingthefragments.com/ It takes a lot to produce the podcast, so all support and donations are much appreciated! All donors will be featured on future episodes. Donate at: https://www.connectingthefragments.com/donate Contact the podcast at connectingthefragements@gmail.com Contact/follow/like/share on Facebook at https://www.facebook.com/Connecting-The-Fragments-103510674881397 Podcast Original Music by Ronnie Malley - Website: www.ronniemalley.com - IG/Twitter/Facebook: @ronniemalley Podcast Cover Art by Juan Gomez - www.rudosdesignstudio.com

With Karl on break, Friedrich and Søren discuss a book they'd both hoped to force him to read: Anthony Trollope's Victorian novel The Warden. They talk about the ways in which the book goes against the grain of other Victorian novels; the trials and travails of structuring your book around a beta male protagonist; and the flow of sympathy present in the book. Bonus: a discussion of Dr. Pessimist Anticant and Mr. Popular Sentiment.   Theme song: "Shostakovich" by Mucca Pazza.

In this episode the boys tackle Ian McEwan's Amsterdam, a story of obsession, friendship, and, most importantly, music. They discuss whether or not McEwan's craft is a little too tidy; what constitutes middlebrow art; and who the best (and worst) members of the Beatles are.   Theme Music: "Shostakovich," by Mucca Pazza.

It's sci-fi redux this week on TRK, as the boys tackle Ursula K. Le Guin's "ambiguous utopia" The Dispossessed. That means plenty of talk about anarchism, physics, connections to Trouble on Triton, and even a pleasant little discourse on marriage... IN SPACE!   Theme song: "Shostakovich" by Mucca Pazza.

In this episode, the boys discuss a Friedrich pick, John Fowles' 1963 debut novel The Collector. Going beyond the (admittedly fascinating) set up of a lonely man who kidnaps his dream girl, the BSOH discuss the novel's fascination with art, mechanical reproduction, class warfare, taste, and more. Also, in a bonus for everyone everywhere, the episode includes insults directed at the following: MFA programs (and the students therein), photography, lepidoptery.   Theme song: "Shostakovich" by Mucca Pazza.

In this episode, the boys tackle Søren's favorite Greek tragedy, Euripides' The Bacchae, a story of gods, wine, and madness. They try to work themselves into the mindset of the ancient Greeks (via the lubrication of a few mid-pod drinks), and sort out how the play does and does not conform to typical analyses of tragedy. Madness; order; destruction: this one's got it all. Plus: stick around to the very end for a post-credits stinger.   Theme music: "Shostakovich" by Mucca Pazza.

Pods... in... space... The boys are back and discussing their first foray into sci-fi, Samuel Delany's trippy, tricky Trouble on Triton. Karl explains all about Wittgenstein, metalogics, and Eutopias (yes, Eu). Friedrich and Søren try to keep up, with thoughts on war (huh - what it is it good for), the pleasures of wandering narrative, and... Evanescence? Theme music: "Shostakovich," by Mucca Pazza

In this episode, the boys discuss Friedrich's first book pick: Shūsaku Endō's 1969 masterpiece Silence. They talk about secularism, syncretism, arrogance, and belief in the context of Endō's novel about Jesuit priests facing persecution in Japan.   Theme music: "Shostakovich," by Mucca Pazza.

In this episode, Karl and Soren are finally joined by long lost brother Friedrich, the third bastard son of Hegel, to discuss the work of philosopher/novelist Iris Murdoch. They begin by discussing her work of literary criticism "Against Dryness," (available here) and her insistence in a video interview that her philosophy and her creative writing are separate. Building on these discussions, the boys turn to Murdoch's strange, delightful 1961 novel A Severed Head, a tale filled with upper class Britishisms, along with darker things like violence and incest. They consider the extent to which Murdoch folds in philosophical concerns, the nature of psychoanalysis and anthropology, and the need to "wake up" from the stupor in which we lead our lives. Theme music: "Shostakovich," by Mucca Pazza.

In Episode 5, Karl and Søren discuss James Baldwin's classic novel Giovanni's Room. They talk literary liberalism, guilt and shame, the importance of names, and the novel's interesting meta-structure.   Theme music: "Shostakovich," by Mucca Pazza.

In this final discussion of The Brothers Karamazov, Karl and Søren discuss Smerdyakov and Ivan's sinister relationship, who's really to blame for Big Daddy K's death, novels vs. the law, and education and the good life. Plus, much more! Theme song: "Shostakovich," by Mucca Pazza.

In this episode, the boys discuss Part III of The Brothers Karamazov, paying particular attention to the characters of Alyosha, Grushenka, and Dmitri. Karl talks about the concept of the abject and how it plays out in this section, while Søren makes some jokes of questionable taste about corpses.   Theme music: "Shostakovich," by Mucca Pazza.

In this episode, Karl and Søren discuss Part II of The Brothers Karamazov: everything, that is, but The Grand Inquisitor. They talk about baseness, proper ways of treating the poor, and Father Zosima's approach to holiness as a means of achieving unity on earth.   Program note: our discussion of The Grand Inquisitor section of Part II is appearing as a separate podcast available only to our Patreon subscribers. Head over to our Patreon to sign up and get access today!   Theme song: "Shostakovich" by Mucca Pazza.

In the inaugural episode of The Readers Karamazov, co-hosts Karl and Søren discuss philosophy and literature, the aims of the podcast, Dostoevsky's oddities and convictions, and Part I of The Brothers Karamazov. Theme music: "Shostakovich," by Mucca Pazza.

Outro music: Dish by Jaime Rojo

Fort Wayne musician Hope Arthur, now based in Chicago, is currently performing with Mucca Pazza, a 30 or so piece, gender bending instrumental music group with street theater experience that will be performing at the Brass Rail on Saturday, March 14th. The mismatched marching band's uniforms, silly dance routines and general circus atmosphere the group has become known for is backed by a dedicated musicianship and a serious repertoire that includes classical tunes and an impressive line up of original music, featuring a blend of styles from balkan pop to punk rock. But the musical opportunities don't stop there, and Hope is eagerly pursuing her love of the 1920's jazz styles, including "stride piano," as she continues to hone her own signature sound. For an inside look at the group's scope as well as Arthur's own musical persuasions, WBOI's Julia Meek invited her into the studio to discuss how this journey is taking shape, the vistas her new home provides and what her fans can expect from the upcoming concert. WBOI Artcentric is brought to you by WBOI's own Julia Meek and Ben Clemmer. Our theme music is “Me voy pal campo” by KelsiCote. Our administrative assistants are Keegan Lee and Brittany Smith. Our production assistants are Monica Blankenship and Mikaela Veltum.

The goblins, after tens upon tens of classic ideas, are back with a brand new one. It's time to reboot the world folks, and we promise you will NOT like what you get.   Our theme music is J'accuse by Mucca Pazza, composed by David E. Smith! They were generous enough to let us use the song, and we can't thank them enough! Go check out their website, as they are amazing!! http://www.muccapazza.com

Ma voi ve la ricordate, com’era l’estate quando era infinita, e, come cantava Gino Paoli, il tempo era «dei giorni che passano pigri e lasciano in bocca il gusto del sale», la ricordate? Che facevamo le follie, e l’incoscienza era beata, e la pelle si abbronzava facilmente, e non temevamo altezze per i tuffi, profondità per le capriole in acqua, erano nostri i cieli e le notti, i fili d’erba e le prime scoperte. Non c’era ancora «Felicità puttana», eppure il nostro ospite di oggi, il leader dei TheGiornalisti già la provava. Siamo tra la fine degli Anni Ottanta e gli inizi degli Anni Novanta, nell’Italia dei Mondiali (insert Notti magiche), degli attentati a Falcone e Borsellino, dello scandalo di Mani Pulite, dell’ascesa di Silvio Berlusconi, mentre negli Stati Uniti si passa da George Bush a Bill Clinton e dall’Inghilterra parte l’incubo della Mucca Pazza, ma anche le canzoni degli Oasis. Non lontano dal disastro di Chernobyl, nelle case, intanto, regna Super Mario Bros, mentre cresce il magnetismo della Tv commerciale sui ragazzini, che seguono anche le serie Beverly Hills 90210, i Simpson. Ayrton Senna ancora corre e ancora vince, prima di morire a Imola nel 1994, il Muro di Berlino è caduto, la guerra fredda finita. Nelle librerie spopola Il nome della Rosa, l’Insostenibile Leggerezza dell’Essere. E noi balliamo, balliamo davanti a Thriller di Michael Jackson e ci spaventiamo al cinema per horror come Shining e la Casa, e restiamo a bocca aperta davanti a futuri classici come La Sirenetta, La Storia Infinita, Ghostbusters, Chi ha incastrato Roger Rabbit, Jurassic Park. Freddie Mercury muore di Aids, Vasco Rossi riempie per la prima volta di musica uno stadio, Laura Pausini vince le nuove Proposte di Sanremo con La Solitudine. Sulle passerelle della moda, sfilano intanto Claudia Schiffer e Naomi Campbell.Nato a Roma il 25 giugno 1983, mamma che ha dovuto fargli da madre e da padre, e che su tutto gli ha insegnato «l’educazione e il rispetto per gli altri»,gioca con noi a «Chiudi gli Occhi, torna bambino», Tommaso Paradiso.«Allora...mi potrei ricordare sicuramente di Fregene. Con la chiusura delle scuole a giugno, ed essendo ancora piccoli, funzionava così: i genitori non avevano ancora finito di lavorare, così si prendeva una località vicino Roma (ci si può arrivare in 20 minuti), e tua madre può andare a lavoro la mattina e tornare la sera. Affittammo le villette, erano carine, ne abbiamo cambiate parecchie. Una volta ce n’è stata una con una grande quercia dentro, dove mi arrampicavo. Sapevo salire su, non riuscivo a tornare giù. Ogni tanto ho avuto bisogno di aiuto per scendere, piano piano ho fatto poi pratica. C’erano tutti i cuginetti, eravamo disciplinati ma discoli, da ragazzini facevamo le cose per farci del male, quei giochi pericolosi. Eravamo in fissa con l’arrampicarci ovunque, con i tuffi azzardati. Eravamo un po’ degli stuntman, e poi a casa avevamo le nonne che ci facevano trovare la pizza bianca con i fichi dentro, una cosa tipicamente romana. La mattina, invece di andare al mare, restavamo a letto ci vedevamo MacGiver Super Vicky, giocavamo a Sega Master System, una delle prime console. Il gioco con cui stavamo più in fissa era “Le olimpiadi”. Ci consumavamo le dita su questi tasti per lanciare il giavellotto veloce, poi andavamo allo stabilimento. Se stavamo a Fregene nord, andavamo al Miraggio. Se invece stavamo a sud, andavamo al Tirreno o al Capri, ci divertivamo. Ricordo che in un’estate intera avevamo collezionato una scatola intera di pistolini delle ruote delle gomme delle biciclette, quelle con cui devi chiudere la camera d’aria per gonfiarle. Mi ricordo che spesso dormivamo insieme, e scorrevamo le prime cose del sesso, da piccoli, e ci sentivamo degli dei, alle elementari sembrava una cosa super-hot, ma erano semplicemente queste tv private che a mezzanotte mandavano in onda queste ragazze con i culi di fuori che dicevano “chiama questo numero” e ci sembrava di toccare il paradiso. Infine andavamo sempre a prendere il gelato, la sera, quasi sempre, e questa gelateria c’era un juke-box che funzionava benissimo, e mettevamo sempre Elton John, quella canzone tutta piano che si chiama Song for guy. Una sera poi è venuto giù un acquazzone incredibile, tremendo, usavamo la pioggia come sciolina perché quando andava sul cotto del Miraggio prendevamo la rincorsa e scivolavamo di pancia e ci facevamo anche 15/16 metri. Ricordo che una volta è entrato un adulto, e fa: “Sono vostre, le gemelle?” Sembravamo delle ragazzine, da piccoline, per via dei capelli lunghi, sembravamo, e invece no, eravamo dei maschietti. Poi che ti posso dire... questi erano gli stati prima che poi si facesse il viaggio, quando genitori finivano di lavorare, si partiva. Sono andata anche da solo, ai campi basket, dove tutti soffrivano della nostalgia di casa e io invece no, stavo molto bene, socializzavo con i bambini degli altri Paesi, poi purtroppo si cresce, succede questa piccola cosa, e quando si cresce mi è rimasta molto un lato fanciullesco che farei sempre quelle cose un po’ da stunt-man, questa vena per cui con le biciclette facevamo delle virate assurde, prendevamo degli angoli ciechi senza vedere se passavano o meno le macchine. Spesso ci sfracellavamo, anche un po’ apposta, sui cancelli, andavamo sui tetti degli stabilimenti, che erano alti, e ci arrampicavamo sulle cabine, e ci buttavamo a volo d’angelo sulla spiaggia. Stavo proprio bene, e anche adesso, quando sto al mare, cerco sempre uno scoglio alto da cui lanciarmi, lo cerco come un puntatore, cerco la sensazione di vuoto. Poi bisogna anche saper cadere.

Hell yes, we're back on the Godzilla train! The Hollywood Kaiju Bad Boys Martin, Brandon and Luke have on special guest Charlie Malave (Mr. and Mrs. Wednesday night, Mucca Pazza, coolest dude at the Hideout Chicago) to talk about rebranding Godzilla's baby as Gooby while Luke explains what squelching is. Also get ready for a lot of discussion about a brain with a butt in it because that's Godzilla, baby!

This time, the goblins are coming for the TCG industry! Watch out Magic, Pokemon, Yu-Gi-Oh, and... uh... Chaotix... because not only are these goblins terribly good at creating lore, but they are also AMAZING at destroying industries. So... take that...   Our theme music is J'accuse by Mucca Pazza, composed by David E. Smith! They were generous enough to let us use the song, and we can't thank them enough! Go check out their website, as they are amazing!! http://www.muccapazza.com

With 5 episodes under their belt, the goblins decide to tackle the big one: Space. Along the way they discuss space frats, being a company man, and what makes turtles so sexy. Please, someone stop them from making legitimately good content because you KNOW it'll never be made into anything...   Our theme music is J'accuse by Mucca Pazza, composed by David E. Smith! They were generous enough to let us use the song, and we can't thank them enough! Go check out their website, as they are amazing!! http://www.muccapazza.com

The goblins take a page out of the good book and do a no-swears episode just for the sake of the children (and also Blake's mom). Along the way they find themselves in a whimsical, wonderful world of joy where good always beats evil and learning is fun. As long as it isn't learning how to write...   Our theme music is J'accuse by Mucca Pazza, composed by David E. Smith! They were generous enough to let us use the song, and we can't thank them enough! Go check out their website, as they are amazing!! http://www.muccapazza.com

The goblins pitch the next greatest show to NBC, and actually kind of get swept up in how cool of a show it would be. Also, a lifetime ban of a certain show has been established and WILL be enforced with might and guile. Our theme music is J'accuse by Mucca Pazza, composed by David E. Smith! They were generous enough to let us use the song, and we can't thank them enough! Go check out their website, as they are amazing!! http://www.muccapazza.com

Sean and Blake goofed up HARD last time and have to pay millions of dollars in reparations to Tetsuya Nomura. Pope Francis took pity on them and sent his finest goblin boy to help them out. Now, Sean, Blake, and Brandt navigate the murky waters of Dullsville and must avoid the eldritch beasts that live within.   Our theme music is J'accuse by Mucca Pazza, composed by David E. Smith! They were generous enough to let us use the song, and we can't thank them enough! Go check out their website, as they are amazing!! http://www.muccapazza.com

The recent release of Kingdom Hearts 3 has inspired out goblin boys to create something even bigger, even better, and even more obtuse.   Our theme music is J'accuse by Mucca Pazza, composed by David E. Smith! They were generous enough to let us use the song, and we can't thank them enough! Go check out their website, as they are amazing!! http://www.muccapazza.com

In this, our very first episode of Rotten To The Lore, the goblins decide what the show will be about, as well as creating their first ever, joke themed, world. Our theme music is J'accuse by Mucca Pazza, composed by David E. Smith! They were generous enough to let us use the song, and we can't thank them enough! Go check out their website, as they are amazing!! http://www.muccapazza.com    

Turns out, insurance companies allow — even encourage — crazy price-gouging by hospitals. For example, the leg brace Blake needed was available for $150 on Amazon. But thanks to his insurance, he paid more than $500.Investigative reporter Jenny Gold’s work helps us understand how that kind of thing happens.She compares health care to shopping for a gallon of milk.“We can look at the cost of a gallon of milk at lots of different stores and decide which one is the best,” she says.At the store, there’s maybe there’s a couple different brands, with the prices on the shelf. We pick the one we want, pay on the way out.“Now with healthcare,” she says, “the analogy would be, you go to the store for a gallon of milk. You have no idea what it costs. You don’t know what it costs at that store compared to other stores. You walk into a random store, pick out a gallon of milk, go through check-out. You still don’t know what it costs. You give them your credit card information and then a few weeks later you get a bill telling you how much they charged you.”Super-crazy. Jenny’s reporting shows how insurance companies help to keep those prices hidden, and keep them high.Jenny Gold works for Kaiser Health News — which, we should explain, is not part of Kaiser Permanente health care. It’s part of an independent foundation that basically runs on an endowment set up by Mr. Kaiser, more than 50 years ago.RESOURCE ALERT: Jenny’s boss, former New York Times reporter Elisabeth Rosenthal, published an amazing book in 2017: An American Sickness: How Healthcare Became Big Business and How You Can Take It Back. I have been studying it like a bible and a playbook since I started working on this show. If you want to really get mad — and learn a ton about how health care got so crazy in the U.S. — this is the book to read.An audio version of Jenny’s story ran on the public-radio show Marketplace. Thanks to Kaiser Health News, and to Marketplace for the story and for the tape of Sarah Azad and Ken Weber.Photo, above: by Liza, via Flickr. CC 2.0 license.Thanks again to the great Mucca Pazza for the use of their tune War of Amusements at the close of this episode.Find Us OnlineWebsite: http://armandalegshow.comTwitter:

Because as smart economists recently proved) it is super-confusing, and most of us can’t do the math.But! We found glimmers of hope. So don’t be scared.We’d like to hear how you’re choosing your health insurance for next year— or are you going to do without? — and what you’ve learned from past mistakes. You can scroll down and just start typing, or hit us up at insurance [[at]] arm and a leg show [[dot]] [[com]] EXTRA CREDIT: We’d love it if you send us a voice memo!Finally, we’ve got some resources here — guides from some smart, friendly folks — to help you get smarter and avoid some worst-case outcomes.The basics from a smart, kind civilian: Arm and a Leg listener Anna Jo Beck gave herself an education on the topic after her husband was diagnosed with cancer (he’s fine now) — and captured what she learned in a charming, self-published booklet. For Your Health: Making Sense of American Health Insurance starts with “What is it, and do I need it?” and goes on from there. BONUS: It’s peppered with what Anna describes as “moments of cute, heartwarming distraction to keep you from wanting to totally give up hope.”Another version of the basics, from a smart journalist: Vox.com health-care reporter Sarah Kliff published I’m a health-care reporter. Here’s how I shop for health insurance in 2015. It’s still a good primer.More advanced and detailed (also funny), from another smart journalist: Business Insider’s health editor Zachary Tracer chronicled his own decision-making — including actual math — in fall 2018: My company offers free health insurance — here’s why I decided to spend $1,000 more on a better plan.The basic premise all around: If you can afford to think about anything but the lowest-possible monthly premium, then a good thing to think about is: Financially speaking, what’s the worst-case scenario, if I get hit by a bus or something? Which is not exactly a fun scenario to contemplate, but still. It’s why the very cheapest plans, in terms of what you pay every month, may not be a good deal.The Oh My Dollar podcast goes into good-humored detail in a recent Halloween episode, The $30 Spooky Health Plan You Probably Don’t Want. (No time to listen? No problem: They’ve done a great write-up.)This episode closes with War of Amusements by Mucca Pazza—a Chicago treasure since 2004. The group’s self-description — “the marching band that thinks it’s a rock’n’roll band” — doesn’t begiin to do it justice. You can download the track on a pay-what-you-want basis, or listen on Spotify. See acast.com/privacy for privacy and opt-out information.

The men of the amazing Chicago band Moon (Shen, David and Chris) jumped in the car for tacos at "Jolly Science;" or, more accurately, Taco El Jalisciense (2859 W Chicago Ave). Before playing a killer acoustic version of their new song "Wish List," we discussed: David's blinding eating speed. I should only book trios for the Mazda 3. If I were to record with Mucca Pazza, I'd need a bigger Mazda. Also? Mucca Pazza would be awesome on Car Con Carne. Moon's almost 10-year history. Moon's new release, "Extinction." Where does it come from? The scariness of the nightly news. Napkin-sharing turns into "Hunger Games." The rib-eye tacos are waaaay better than expected. "There's Light Here" is a monster song, and it was very frustrating for David to figure out the guitar part for. My failed attempt to see Pearl Jam and time spent in the Claustrophobic Confines. My guilty pleasure vinyl-buying trip, done under the cover of night. Eddie Vedder: Quintessential frontman. Was there ever a concern about band-name-Googleability? My sweet new Aiwa Arc-1 headphones. The band played their first-ever acoustic song... and it was a show-stopper. My low end is finally recognized.

The men of the amazing Chicago band Moon (Shen, David and Chris) jumped in the car for tacos at "Jolly Science;" or, more accurately, Taco El Jalisciense (2859 W Chicago Ave). Before playing a killer acoustic version of their new song "Wish List," we discussed: David's blinding eating speed. I should only book trios for the Mazda 3. If I were to record with Mucca Pazza, I'd need a bigger Mazda. Also? Mucca Pazza would be awesome on Car Con Carne. Moon's almost 10-year history. Moon's new release, "Extinction." Where does it come from? The scariness of the nightly news. Napkin-sharing turns into "Hunger Games." The rib-eye tacos are waaaay better than expected. "There's Light Here" is a monster song, and it was very frustrating for David to figure out the guitar part for. My failed attempt to see Pearl Jam and time spent in the Claustrophobic Confines. My guilty pleasure vinyl-buying trip, done under the cover of night. Eddie Vedder: Quintessential frontman. Was there ever a concern about band-name-Googleability? My sweet new Aiwa Arc-1 headphones. The band played their first-ever acoustic song... and it was a show-stopper. My low end is finally recognized.

The battle for the soul of Dana Cardinal begins. The voice of Dana Cardinal is Jasika Nicole. Weather: “J'Accuse” by Mucca Pazza. http://www.muccapazza.com Night Vale Presents Birthday Party, June 8th at the Bell House in New York City. Tickets on sale now. http://www.welcometonightvale.com/live Brand new pins, bumper stickers, t-shirts and more in our store. https://topatoco.com/collections/wtnv Music: Disparition http://disparition.info Logo: Rob Wilson http://robwilsonwork.com Written by Joseph Fink & Jeffrey Cranor. Narrated by Cecil Baldwin.  http://welcometonightvale.com Follow us on Twitter @NightValeRadio or Facebook. Produced by Night Vale Presents.  http://nightvalepresents.com Learn more about your ad choices. Visit megaphone.fm/adchoices

The battle for the soul of Dana Cardinal begins. The voice of Dana Cardinal is Jasika Nicole. Weather: “J'Accuse” by Mucca Pazza. http://www.muccapazza.com Night Vale Presents Birthday Party, June 8th at the Bell House in New York City. Tickets on sale now. http://www.welcometonightvale.com/live Brand new pins, bumper stickers, t-shirts and more in our store. https://topatoco.com/collections/wtnv Music: Disparition http://disparition.info Logo: Rob Wilson http://robwilsonwork.com Written by Joseph Fink & Jeffrey Cranor. Narrated by Cecil Baldwin.  http://welcometonightvale.com Follow us on Twitter @NightValeRadio or Facebook. Produced by Night Vale Presents.  http://nightvalepresents.com

Il caso della mucca pazza raccontato da Marco Gisotti

New releases from The Dress Circle, Althea Grace, Dead Rider, Mucca Pazza and Daniel Robbins.  Plus, Steve Carver's "Autumn Leaves" and a Holiday Spectacular classic (2008) from Essex Channel!

Hear prog-marching band music from Chicago's Mucca Pazza, ambient-gothic Norwegian-Icelandic music from the duo Jo Berger Myhre & Ólafur Björn Ólafsson, jazz-tronic ambient minimalism from London's Portico Quartet, and new work from Danish experimental supergroup Girls in Airports. Also, hear new music by Molly Joyce for cellist Nick Photinos, new work from Kaki King & the Porta Girevole Chamber Orchestra, and more. Hear ambient-gothic music from Norwegian bassist Jo Berger Myhre and Icelandic drummer Ólafur Björn Ólafsson  in their composed work, “1000%,” which was recorded in an abandoned Reykjavik warehouse.  Also, listen to driving indie jazz from the Danish experimental ensemble, Girls in Airport, recorded live in Germany. Plus, hear a sample from Brooklyn's own Afrobeat big band, Antibalas.  There’s a new release from Chicago’s “interdisciplinary instrumental music and performance ensemble” – or circus-spectacle alt marching band, Mucca Pazza. It’s a bit proggy (Yes, Weather Report, Rush) and perhaps hard to march to, but “[t]he band spent eight years practicing counting to seven before they were ready to record this piece.” There’s also a new work by Terry Riley for Del Sol String Quartet, “Dark Queen Mantra,” featuring guitarist Gyan Riley. Plus listen to music by Kaki King - arranged for guitar and orchestra from her forthcoming Live At Berklee release. Listen to music from Eighth Blackbird founding cellist Nick Photinos; it’s a work by Molly Joyce, originally for for baroque cello and pre-recorded electronics, called “Sit and Dance.” Also, there’s music from London-based composer & producer Leah Kardos, which was made using analogue instruments and technologies, from her record, Rococochet. August & September 2017 New Releases (Special Podcast)(Similar to Show #4018, airdate: 8/31/2017)    ARTIST: Jo Berger Myhre & Ólafur Björn ÓlafssonWORK: 1000%, excerpt [1:00]RECORDING: The Third ScriptSOURCE: Hubro MusicINFO: hubromusic.com ARTIST: Mucca PazzaWORK: Andy Deitrich: Barbarous Relic [3:30] RECORDING: Barbarous RelicSOURCE/INFO: store.muccapazza.com ARTIST: Leah KardosWORK: Malio Malio [2:35]RECORDING: RococochetSOURCE: Bigo & TwigettiINFO: bigoandtwigetti.bandcamp.com ARTIST: Portico QuartetWORK: Current History [6:07] RECORDING: Art In The Age Of AutomationSOURCE: Gondwana RecordsINFO: porticoquartet.bandcamp.com ARTIST: AntibalasWORK: Gold Rush, excerpt [1:30]RECORDING: Live on Soundcheck, 9/15/17 SOURCE: This tune appears on Where the Gods are in PeaceINFO: antibalas.bandcamp.com ARTIST: Jo Berger Myhre & Ólafur Björn ÓlafssonWORK: 1000%  [6:42]RECORDING: The Third ScriptSOURCE: Hubro MusicINFO: hubromusic.com ARTIST: Girls in AirportsWORK: King's Birthday [3:28]RECORDING: LiveSOURCE: Edition Records EDN1097INFO: girlsinairports.bandcamp.com ARTIST: Nick PhotinosWORK: Molly Joyce: Sit and Dance [6:34] RECORDING: Petits ArtefactsSOURCE: New Amsterdam RecordsINFO: newamsterdamrecords.bandcamp.com ARTIST: Del Sol String Quartet, Gyan RileyWORK: Terry Riley: III. Dark Queen Mantra [11:49] RECORDING: Dark Queen MantraSOURCE: Sono Luminus 92215INFO: delsolquartet.com ARTIST: Kaki King, Porta Girevole Chamber Orchestra, Gabriela Sofia Gomez Estevez, student conductorWORK:  Magazine [5:30]RECORDING: Live At BerkleeSOURCE: BIRN Cooperative RecordingsINFO: smarturl.it/KakiKingLive

Vanessa Valliere - a Chicago-based performer with Manual Cinema and Mucca Pazza who toured with Tour de Fat, and now takes her puppet shows around the country - tells me about the pain of creating, swing dancing in Japan, finding one's place in the ensemble, and trying not to eat your puppets.   Music by S.J. Roberts: Find more at sjroberts.bandcamp.com

Billie stops by Ronnie Kuller's home and studio spaces where they laugh about staying creative, how funding plays a role in an artist's life and what's for lunch. Songs featured are Tube Sock Tango by Mucca Pazza and Altocumulus by Ronnie Kuller. To view photos of Ronnie's work spaces, visit http://bymeasure.blogspot.com/

Child's play. From treasure hunters to mechanical towers and crazy cosmic cows, we review three games nominated for the Kinderspiel des Jahres (German Children's Game of the Year) and try to predict the winner.

Child's play. From treasure hunters to mechanical towers and crazy cosmic cows, we review three games nominated for the Kinderspiel des Jahres (German Children's Game of the Year) and try to predict the winner.

Child's play. From treasure hunters to mechanical towers and crazy cosmic cows, we review three games nominated for the Kinderspiel des Jahres (German Children's Game of the Year) and try to predict the winner.

When you have Mucca Pazza performing, it's a special occasion. When the sprawling marching band performed on The Morning Shift, we asked them to stick around and play a song in our public studio for the denizens of Navy Pier.

Radio Three Sixty Part 83: Back to the Beats: ACTIVE CHILD, BELLERUCHE, RUNAWAYS UK, FOLD, HANDBOOK, MODULE, DAN THE AUTOMATOR, MUCCA PAZZA, NEEDS A NAME, SHIGETO, T_MO AND TALK IN COLOR.

Radio Three Sixty Part 83: Back to the Beats: ACTIVE CHILD, BELLERUCHE, RUNAWAYS UK, FOLD, HANDBOOK, MODULE, DAN THE AUTOMATOR, MUCCA PAZZA, NEEDS A NAME, SHIGETO, T_MO AND TALK IN COLOR.

From the album "Plays Well Together". You, Me, Them, Everybody Chicago Music Podcast.