Podcast appearances and mentions of patty smith

The episode explores the importance of creating art for oneself rather than seeking outside validation. Through insights from influential figures like Rick Rubin and Patti Smith, it emphasizes the need for genuine expression, resilience amid challenges, and setting clear goals for the creative journey.• Rick Rubin advocates making art for oneself • Reflecting on the year highlights periods of apathy • The importance of setting micro-goals for artistic progress • Patti Smith's insights on artistry without audience expectations • William Burroughs on maintaining a good reputation in art • Embracing life's challenges as part of the creative process • Building networks and collaborating with other artists • Encouragement to celebrate small achievementsSend us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

Terminamos la semana con nuestro turista musical, que viaja hasta Austria para descubrirnos 'POGOVORIM' de la artista TXPA. A las 8 resumimos todo lo que hay que saber para estar actualizado y una nueva canción que no te puedes sacar de la cabeza: 'People have the power' de Patty Smith. Además, descubrimos una nueva palabra, esta vez desde el Campo de Gibraltar: 'PAVANA'. Por último, Çantamarta viene una vez más al estudio de Radio 3, esta vez para presentarnos su nuevo álbum 'PASARELA'; un trabajo con una fuerte carga social que narra historias de Latinoamérica con influencias andaluzas.Escuchar audio

Julien Dufresne-Lamy a publié Spectacle en mai 2024, aux éditions JC Lattès. C'est un roman fascinant sur Lisa, la chanteuse et leader de Blackpink, groupe de K-pop au succès mondial. Il raconte ses origines, d'abord à Bangkok en Thaïlande où la petite fille rêve de devenir une star, et puis son audition en Corée, sa réussite et ses sacrifices. Plus de famille, pas de copains, pas de réseaux sociaux pendant 5 ans. C'est le prix à payer pour devenir celle qu'elle a toujours rêvé d'être. En parallèle de cette histoire, le roman se plonge dans la vie de Chip-chan, cette femme scrutée par webcam, 7 jours sur 7, depuis sa chambre où elle reste cloîtrée. Est-elle séquestrée ? Les internautes sont de plus en plus nombreux à la regarder. Mais pourquoi sont-ils fascinés à ce point ?Dans cet épisode du Moment des Livres, Alice Develey, journaliste au Figaro Littéraire, reçoit Julien Dufresne-Lamy pour parler de Belle du Seigneur d'Albert Cohen, de Mon père m'a donné un mari d'Emmanuelle Bayamack-Tam et Just Kids de Patty Smith.Vous pouvez retrouver Le moment des Livres sur Figaro Radio, le site du Figaro et toutes les plateformes d'écoute. Si cet épisode vous a plu, n'hésitez pas à vous abonner et à donner votre avis !Montage et mixage : Astrid LandonHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Julien Dufresne-Lamy a publié Spectacle en mai 2024, aux éditions JC Lattès. C'est un roman fascinant sur Lisa, la chanteuse et leader de Blackpink, groupe de K-pop au succès mondial. Il raconte ses origines, d'abord à Bangkok en Thaïlande où la petite fille rêve de devenir une star, et puis son audition en Corée, sa réussite et ses sacrifices. Plus de famille, pas de copains, pas de réseaux sociaux pendant 5 ans. C'est le prix à payer pour devenir celle qu'elle a toujours rêvé d'être. En parallèle de cette histoire, le roman se plonge dans la vie de Chip-chan, cette femme scrutée par webcam, 7 jours sur 7, depuis sa chambre où elle reste cloîtrée. Est-elle séquestrée ? Les internautes sont de plus en plus nombreux à la regarder. Mais pourquoi sont-ils fascinés à ce point ?Dans ce nouvel épisode du Moment des Livres, Alice Develey, journaliste au Figaro Littéraire, reçoit Julien Dufresne-Lamy pour parler de Belle du Seigneur d'Albert Cohen, de Mon père m'a donné un mari d'Emmanuelle Bayamack-Tam et Just Kids de Patty Smith.Vous pouvez retrouver Le moment des Livres sur Figaro Radio, le site du Figaro et toutes les plateformes d'écoute. Si cet épisode vous a plu, n'hésitez pas à vous abonner et à donner votre avis !Montage et mixage : Astrid LandonHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Ecrire c'est une grande partie de sa vie. Ca a commencé tôt puisqu'elle date son premier roman autour de son dixième anniversaire, une première histoire mise sur papier après avoir lu Oliver Twist. Une première histoire qui en entraine bien d'autres. La sienne avant tout avec son journal intime tenu de l'enfance à ses trente ans et ensuite, des livres. Celui qui ouvre le bal c'est « L'appartement témoin » mais le succès arrive sept livres plus tard, avec « Elle s'appelait Sarah ». Entretemps, elle écrit inlassablement : des romans et des articles de presse pour Vanity Fair, Elle ou Psychologie Magazine. La romancière, autrice de nombreux succès, évoque avec Régine Dubois son admiration pour Patty Smith, le chemin trouvé pour se construire à l'ombre de son père, l'humour de son mari, le regard que porte son entourage sur ses livres, son obsession des lieux, ses doutes sur l'avenir de sa plume, les circuits contraignants de la promotion et la difficulté de trouver sa juste place entre l'Angleterre et la France. Au fil des mots piochés dans les Petits Papiers, Tatiana de Rosnay se raconte et lève le voile sur la façon dont elle travaille. « Poussière blonde » son dernier roman est paru chez Albin Michel. Merci pour votre écoute Les petits Papiers c'est également en direct tous les dimanches de 17h à 18h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes des petits Papiers sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/2332 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Zomergeesten in de vroege lente met o.a. Stephen King, H.P. Lovecraft, Knifepoint Horror, Jaws, The Shining, At The Mountains of Madness, Tom Waits, Doris Lessing, Bob Dylan, Sparks, Patty Smith and Robert Maplethorpe, The Sopranos, Lauren Bacall, Saltburn, Get Out, Nope, Jennifer's Body, It Follows, Donna Tartt, Taylor Jenkins Reid, The Iron Claw, Sex and the City en Girls... Gast: Jelle Havermans Audio nabewerking: Jasper Cremers Mecenas Patreon / sponsors : Josha Sietsma, Sietske's Pottery, Cartoon Box *** Jelle Havermans: https://jellehavermans.com *** Steun Open Geesten / Zomergeesten / Boze Geesten Podcast

Spesso la paternità del Rock'N'Roll viene attribuita ad Elvis Presley, Little Richard e Chuck Berry. E spesso le prime donne del Rock ad essere ricordate sono Janis Joplin, Joan Jett e Patty Smith. Ma prima di tutti questi grandi nomi c'era lei: Sister Rosetta, la donna che ha deciso di suonare il Gospel con la sua Gibson SG. Se siete curiosi di sapere come la musica può lottare contro la segregazione razziale, non vi resta che ascoltare questo episodio. Ascolta la playlist dedicata alla puntata: ⁠⁠⁠⁠⁠⁠- Sister Rosetta Tharphe Playlist

Derrière Les Illuminations, chef-d'œuvre de la poésie française, adulé par Patty Smith, on trouve Rimbaud, mais également Verlaine et Nouveau. De 1872 à 1877, ces trois poètes interagissent, se rapprochent, s'éloignent, vivent des moments intenses, cherchent la liberté ou l'évitent. Et puis un manuscrit, l'ultime, circule de main en main et semble leur brûler les doigts..

Este es un CAPÍTULO EXTRA que realizó un amigo mío con motivo de mi cumpleaños el 20 de agosto. Gracias a él por este detalle. Lo transcribo como me lo envió, aunque haciendo algunas precisiones... "Reciban un cordial saludo. Desde Cali (Colombia), les habla Fernando Campiño, compartiéndoles un nuevo episodio de "Así la escuché yo..." En 1893 fue escrita la canción “Buenos días a todos”. Esta obra fue escrita por las hermanas estadounidenses Mildred & Patty Smith Hill, ambas maestras de profesión. La canción fue escrita para que los alumnos se diesen los "buenos días" en clase. Dos años más tarde, Patty Smith decidió cambiarle la letra a “Happy birthday to you”. Siendo la canción inglesa más escuchada en todo el mundo y con miles de versiones alrededor del planeta, hoy hemos escogido la versión que en el año 2005 hiciera la orquesta estadounidense Tabaco y Ron. Todo para decirle a nuestro gran amigo Sergio Luis López: ¡Feliz cumpleaños! " Gracias, Fer. ----------------- Autoras: Mildred Smith Hill & Patty Smith Hill (hermanas estadounidenses) - Adaptación por Patty Smith Hill para “Happy birthday to you” Happy birthday tropical (Cumpleaños feliz / Las mañanitas) - Tabaco y Ron (2005) “Dímelo con Salsa” álbum (2005) Tabaco y Ron (orquesta formada en Los Ángeles, California, Estados Unidos) ___________________ “Así la escuché yo…” Temporada: 7 Episodio: EXTRA (Especial de Cumpleaños) Sergio Productions Cali – Colombia Sergio Luis López Mora

En este episodio Rana Fonk nos trae toda la información sobre la banda sonora y el soundtrack de Daisy Jones & The Six, la serie basada en el Best Seller de Taylor Jenkins Reid. Los protagonistas ponen sus voces para las canciones y además el soundtrack cuenta con canciones de artistas como Patty Smith, Aerosmith, Lou Reed y The Rolling Stones entre otros.@RanaFonk en todas las redes sociales.

New York is a city located in the north east of the United States of america. It is currently home to just under 9 million people and over the years, some famous bands and musicians to have come out of this city include the likes of The Velvet Underground, The Cramps, The Ramones, The New York Dolls, Television, Talking Heads, Blondie, Suicide, Kiss, The Beastie Boys,, Run DMC, A Tribe Called Quest, Public Enemy, Wu Tang Clan, Notorious B.I.G, Jay Z, Sonic Youth, The Strokes, LCD Soundsystem, The Rapture, Interpol, Yeah Yeah Yeahs, Battles, Vampire Weekend, Diiv, Frankie Cosmos, and many more. For this city scenes we look at the story of one venue called CBGB that was a hot spot in New York City in the 1970s and 80s, it played a huge roll in the development of both new york punk, new wave and rock and roll and which hosted, often for the first time, such legendary bands and artists as The Ramones, Pattie Smith, Talking Heads, Television, Blondie, Sonic Youth. CBGB was a rock club that is synonymous with the music scene of new york of the 1970s and 80s. Patty Smith once said “CBGBs is a state of mind”. CBGB opened up in manhattan's east village in 1973. The letters in the name were an abbreviation of County, Blue Grass and Blues which were the types of music that the venue was originally intended to host but the club quickly became a hub for the emerging punk rock and new wave scenes that were developing in New York at the time. Its important to understand that during this time, New York was also in the epicenter of disco music, clubs like studio 54 and the paradise garage with legendary DJ Larry Levan playing every weekend were witnessing a legendary moment in the history of clubbing culture. New York City would also go on to on to become the birthplace of hip hop, DJs like grandmaster flash and Cool Herc that moved to new york from jamaica and brought soundsystem culture with him, ignited a whole new culture when they decided to use two turntables to switch between two record and extend the rhythm section of a disco track, that MCs would then go on to rap over. The birth of Hip Hop was just another example of the groundbreaking music was being made in new york in the 1970s and 80s. Like all good things, CBGB came to an end. In 2006 the legendary venue closed with one final concert performed by Patti Smith, an artist that had been there at the beginning in 1973. As they say though, New York is the city that never sleeps and the end of CBGB by no means meant the end of New York's prolific ability to produce world class musicians and bands.

Today, we're speaking with one Scout Gillett, from Brooklyn, NY by way of Kansas City, MO. Scout is a musician and runs her own booking agency called Road Dog Booking. Her atmospheric and contemplative debut record titled “no roof no floor” is out now via Captured Tracks, and at the time of our conversation in November 2022, wrapped up a tour in support of Sarah Shook and the Disarmers, and celebrated a release party for “no roof no floor” at the record Bar in KC with The Whiffs, Blanky, and Magic Marty. The music of Scout Gillett is very difficult to pin down sonically, and I personally believe that's a very good place to land for an artist. If you enjoy the musical stylings of Sharon Van Etten, Angel Olsen, Mazzy Star, and Patty Smith, Scout has a seat at that table. And, I highly recommend catching her upcoming solo tour on the West Coast through the month of December, starting on Dec 7 at The Firehouse in Joshua Tree, CA, dear listeners. For our conversation, we will be discussing The Man Who Died in His Boat, the 9th studio album by American “experimental pop” musician Liz Harris under the moniker, Grouper, which was released on Monday, February 4, 2013. This record consists of outtakes from the previous years, when she was in the process of recording Dragging a Dead Deer Up a Hill.Enjoy the conversation!

Christian Historical Fiction Talk is listener supported. When you buy things through this site, we may earn an affiliate commission.Become a patron and enjoy special perks and bonus content.Patty Smith Hall joins us on this episode to chat about her new book, On My Honor. Were you ever a Girl Scout? Have you ever been to the Outer Banks of North Carolina? Even if you answered no to these questions, you're going to love this week's chat. Find out how the title came to be and the significance behind it and how God used a devastating attack to bring Patty to the place she is now. On My Honor by Patty Smith HallA Girl Scout Troop Joins the Battle of the AtlanticGinny Mathis was finished with nursing school and had no intention of staying rooted in the Outer Banks—then war broke out. With her father away, she feels duty-bound to stay and help her mother and younger sister. While working as a clerk for the Oregon Inlet ferry, naval officers ask Ginny and others to be watchful for German U-boats reportedly spotted in the area. So to help occupy her teenage sister, Ginny enlists the Girl Scout troop she leads to help watch for suspicious activity along the coast.  Timothy Elliott is no stranger to death. As a British reporter working with the M-6, he's numb to the losses of war after two years of fighting the Germans. Maybe that's why he volunteered for this mission—to connect with an ex-German naval officer who stole the Furor's battle plan for the Atlantic war. When the boat giving him passage to New York is bombed near the Cape Hatteras Lighthouse, Tim is thrown from the boat and wakes up in the care of a group of young girls. Ginny follows her sneaky sister on a clandestine mission and discovers the shipwreck victim. Ginny knows she must take charge, but is this man the enemy, or does he hold secrets that could turn the tide of the Battle of the Atlantic in the allies' favor?Get your copy of On My Honor by Patty Smith Hall.About Patty Smith HallBorn and raised in the suburbs of Atlanta, Patty considers herself a country girl at heart. A seventh generation Georgian, she developed a love of history and books at an early age and read through the county library by the time she was eleven. It wasn't until a brutal attack left her broken and disabled that she picked up a pen and wrote. Since then, she's written over 30 books and novellas as well as hundreds of articles and devotions.When she's not writing, she's spending time with her own real-life hero, Danny, shopping with her girls, playing with her grandsons (who happen to be the two most brilliant and beautiful boys in the world!) or hanging out with her lifelong friends. She considers herself one blessed woman!Visit Patty's website.

Book mentioned: “Powwowing in Pennsylvania: Braucherei & the Ritual of Everyday Life” by Patrick J. Donmoyer https://www.goodreads.com/book/show/40605053-powwowing-in-pennsylvania Eric's website is at www.ericsteinhart.com Remember, we welcome comments, questions and suggested topics at thewonderpodcastQs@gmail.com   S3E27 TRANSCRIPT:----more----   Mark: Welcome back to the Wonder Science: Based-Paganism. I'm your host Mark. Yucca: And I'm the other one Yucca. Mark: And today we have a very special episode of The Wonder. We're really excited to discuss urban paganism with two guests from New York City, Joh and Eric Steinhart. And so welcome to both of you. Eric: Hello. Joh: Hi, thank you so much for having us great to be here. Mark: really delighted to have you, so I guess, to get started why don't we just ask you to tell us a bit about yourselves? How did you come to non paganism? You wanna start Joh? Joh: Sure. My name is Joh. I've lived in New York for about 16 years. My path is very new. It's only about four years old. I've always been drawn to certain. Aesthetics around the occult I was a teen goth in the nineties, which perfect for that, but I never, I never really thought that I fit into any of those paths. I couldn't put my finger on why. A few years ago I purchased a, a beginner's book on, on witchcraft and developing your own identity as a witch. I got it just for fun, for a long train ride. There's a bit in there in the beginning that outlines different kinds of witches or witchcraft like green witches, kitchen, witches, chaos, magic, wicca. I'd heard some of these. Terms before, but they're described very plainly in the book and it gave me a little bit of a glimpse into how vast of a world paganism might be that I didn't know anything about, or I hadn't realized. So I started reading a lot more about developing a practice, but still didn't really feel like I fit in. I couldn't relate to the belief system parts. And in one of my internet rabbit holes, I learned about the book godless paganism, which described paganism from a more science based lens. And I just got really excited about what that sounded like. So I ordered it to my local bookstore and I devoured that book, the concepts, it taught me even more about how personal one's path can be and that there is this little corner of this world that felt like a fit and like I could belong. So then I started looking for a community because I was so excited and I wanted to talk about it with people. And I was clicking on links and links and links online and finally found the atheopagan Facebook group, which was the first active community that I had found that actually had recent activity in there. So I, I joined and I've been in that community for about two to three years, and it's just such an incredibly supportive, inspiring place that gives me ideas of how to develop my practice even more. And you know, now fast forward to today, I'm just really grateful to have found this community and group and little subset of of the path. Mark: That's great. Thank you. Yucca: Yeah, Eric, what about you? Eric: Yeah. So, I mean, I come from a very strange place. I mean, I'm Pennsylvania, German and Pennsylvania, German culture often known as Pennsylvania, Dutch, but we're not Dutch. We're Germans. And that culture is a magical culture and, you know, magic was normalized in that culture from the very beginning from its very roots. And so I grew up with a lot of that stuff. I mean, I grew up in, in a culture that was filled with magical practices of all sorts. And I mean, nominally, I mean, you know, nominally explicitly a Christian culture, but probably a lot of Christians would say, no, you know, you guys are doing some weird stuff. And, you know, I, I became attracted to science and early on and, you know, just don't really have a theistic worldview at all. So combining some of those things got me and I, you know, and I was in, I was involved sort of in, in atheist movements for a while and found a lot of atheism to be kind of, practically shallow, you know, there's, it's like, yeah, after you're done being mad at God, what do you do then? I mean, and there was like nothing. And you know, my, I would always say things like, look, there's no atheist art. You know, there's like atheist music, you know, there's just, you know, there's, there's no culture, right. Or the culture is, and more and more people have observed this. It's kind of parasitic on Christianity in a way. And so I found that very unsatisfying, right? Certainly I know plenty of atheists. I'm a philosopher, I'm a philosophy professor and I know plenty of, you know, professional atheists and all they do is talk about God. And so I'm like, look, I don't wanna talk about God. Let's let's let's talk about something else. Let's do something else. And I found that paganism in various forms, it was just kind of, kind of starting, but in various forms, you know, had a culture had art, had aesthetics, had practices, had symbols had a fairly rich worked out way of life. And as a philosopher, you know, I've got plenty of training in ancient cultures, particularly Greek and Roman but also also Germanic. And you know, I just thought, oh, This stuff, all kind of fits together. And so I became very interested in thinking about ways and I've advocated among atheists to say things like, look, you guys have to start. And, and, and women too, you've gotta start building a culture and you can't build a culture of negativity, you know, a culture of no, a culture and especially not a culture. That's essentially a mirror image of Christianity that all you're doing is talking about God. And you know, I've had a little success there, but it's a, it's a tough hall. But I think more and more something like a kind of atheopagan could really be a live option for the future of lots of aspects of American culture, right? As people become de Christianized, what are they gonna do? And some people say, well, they're just gonna be secular. But that's not really an answer and that's not a culture. And as you start looking around, you start to see these other cultures that are kind of bubbling up and developing. So yeah, I mean, I came to it from, you know, both the sort of old ethnic, Pennsylvania, German angle, the kind of philosophy and science angle and dissatisfaction with you know, sort of mainstream atheism. So lots of different roads in Yucca: Wow. That's a, that's a really interesting path to, to come on. So it'd be interesting hear more about the practice, the magical kind of practices that you talked about. Eric: well, there's a good, there's a good book by this guy, Patrick, Don moer called pow wowing. So you can check that out. It's incredibly rich and incredibly weird stuff, you know, Yucca: well, we'll find that and put it in the show notes. If people wanna take a look at it. Eric: Right. Mark: Yeah. Well, both of your stories are really very interesting that way in, in in that identification of Something being missing, but the, the main, the main offerings that are, that surround us in our culture, not really fitting that hole. That's certainly what I found as well, you know, and it's the reason that I wrote the essay that first started out a paganism. And I, I should probably introduce at this point that Eric, you, you especially have been involved with various non theist pagan efforts since long before I wrote that essay I just was, did a poor job of research and didn't find the other naturalistic non-theistic paganism efforts that were being done around the world. Until after I had already, you know, published and was starting to get attention for atheopagan So, as urban pagans living in the city what do your practices look like? Joh, you wanna, you wanna start on that? Joh: Sure. My practice may not be super urban sounding, but, but. There's some stuff about like spots in the city that, that I do. But generally my, my daily practice is in the morning. My apartment faces east and I wake up early enough to catch the sunrise every day. And I'll kind of first just stare at stare at it and kind of greet the sky every morning. I do stretches to start the day and I position my mat to face that window so that I can really connect with the day while I'm waking up. I have a small focus that I decorate seasonally. I really connect with ritual and the different physical objects around my practice, probably because I was raised Catholic and I always loved the sacred spaces, the incense, the bells, the rituals, and the regalia of it all. So it's a very tangible practice for me. And I have a. Personal calendar with the, the, you know, the solstice and the equinoxes in it. But also with other days that are very personal to me. Like I celebrate Freddie Mercury's birthday every year, for example, and, and the anniversary of when I move to New York and I'll actually take that day off of work and like use that whole day to really explore parts of the city that I love. And don't as easily make time for during the rest of the year. And then I also try to cook and eat seasonally as much as possible and really understand what the, what the ecology of this region is like. And I made this spreadsheet that tells me what's in season around here based on what month it is. It makes it easier to shop for and plan meals and things like that. Mark: Hm. Yucca: Hmm. Mark: Wow. That's a lot. Yucca: Yeah. Mark: Yeah, that's very cool. Thank you, Joh. Yucca: you have any parks nearby that you go to? Is that part of your practice or more? Just the relationship with the city and the sky. Joh: There is a really beautiful community garden in my neighborhood. That's open to the public a couple of days a week, and sometimes I'll walk there or ride my bike there and just kind of slowly walk down the paths and see how everyone's set up their plots and what they're growing. And there are bees everywhere and some benches off to the side. So sometimes I'll sit there and journal a little bit, or just kind of stare into space. And, you know, the people who have plots there are required to volunteer, you know, certain number of hours every week. And there's this section at the end where you can see everyone composting and things like that. So there's that piece. And then. In the city as well. There are different ways. Speaking of composting, that you can participate in kind of that cycle. So you can go to a drop off spot and bring your food scraps and they'll compost them and, and then use that for the public parks and things like that. Yucca: Oh, nice. Joh: that's like another way that allows me to feel more connected to the public parks and spaces of nature that are kind of engineered in such a dense area. Mark: Uhhuh. Nice. Nice. Eric. How about your practice? Eric: Yeah. I mean, my practices are probably a little too intellectual. I mean, one of my main practices is trying to figure out how all this stuff can work out and how to make sense of, of, of pagan ideas and practices. Right. That's cuz I'm a philosopher. That's what I do. I mean I do have a little I have a little altar and I do, you know, things, things like that, but I, I do try to think. A lot about how what paganism means and what kind of pagan concepts are relevant, for instance, in an urban context, right? I mean, cities are not trying to be forests. That's not what they're trying to do. They're not. And, and, you know, trying to work out pagan contexts or concepts and beliefs and practices in an urban setting it may, you, you have to think a little bit differently, right. Because there's a lot of you know, what you might call mainstream paganism that has a very I think very biased view of what paganism is or should be like we're all supposed to be farmers or, or, or Amish or something. I mean, I grew up with the Amish, you know, I mean, so I'm like, no, no, I know what that is. And so, you know, thinking of the ways that that cities are natural spaces and that cities are ecosystems not because they're trying to be, you know, a national park, right. I mean, and there's more and more wonderful research among, you know, biologists and ecologists of, of how cities themselves are ecosystems, you know, they are not, they're not phony ecosystems like, oh, New York. City's great because it's got central park. No, you know, the, the city isn't eco, I mean more and more research onto this is fascinating stuff because you're finding all these species, not just humans, humans are a natural species, but you know, raccoons, cougars, coyotes, you know, and New York city has there, there's beautiful research that's been done in New York city. Right. We have herds of deer. Wandering the city. We have, you know, foxes. I mentioned the, the raccoons, I think the bird life in New York city is, you know, and so you find things like, and there's a term for this, a technical term for these kinds of critters, right. Sin, Andros, right. These are animals that have adapted to humans and now live. They flourish with humans. They flourish in cities, right? So, New York city for instance, is an extraordinary place to be a Raptor, a bird of prey, right? New York city has some of the highest Paran, Falcon and Hawk populations anywhere. Right? Because they love the tall buildings. They love the bridges. Like the bridges are filled with Paragon, Falcon nests. And you're like, yeah, these, you know, life is adaptive. And So I try to think of all the ways that we live together with all these things in the cities and how humans have made a home, not just for humans, but for, for a whole ecosystem of, of critters. And, you know, like urban raccoons are not like rural raccoons, right. They've things. Right. And it's really interesting, you know, and people study this, you know, scientists, they study like how cities are driving bur particularly birds and raccoons. Are the species been studied most to become more intelligent, they're learning how to solve all sorts of problems. Right. So, so I find, you know, so part of, I guess my practice is sort of learning about that, observing that, thinking about ways that I mean, we haven't, we have a general issue. In the United States, right. Which is that so much of our space and structure is thoroughly Christianized. And it's not an easy thing to say, oh, well, let's, we're, you know, we're just gonna do something different, right. When all of your space is structured around a certain way of life. And so, you know, I, I try to think about ways that we can think of all kind like, okay, the four elements, you know, fire earth, air and water for me, light, you know, how do those relate in an urban context, right? Then in the, in a great way in New York city, you know, you can actually go into the earth. You know, in ways that most ordinary people can't right. And you can go deep into the earth right. In the, in the subways. I mean, you can do that on a daily basis. Right. And you can, you know, I mean, being stuck on a subway, train deep in the earth right. Is a way to like, encounter something that's terrifying and forceful. So how do you think of that sort of thing in, in a, in pagan ways, right? How do you think of, I mean, New York city is also very close to water. I mean, that's the reason the city exists. Right. It's one of the greatest bays in the world. We have dolphins, we have whales in the Hudson seals thinking of that kind of life as part of the city too. And I'll mention one other thing, thinking of things like, I don't know if people know about, I mean, you know, about Manhattan henge. Right. So, so you've got, you know, you've got structures there that people recently have started to say things like, Hey, we Stonehenge, we have Manhattan henge. You know, we have a, we have a thing and it wasn't designed that way, but Mark: Eric, would you like to explain what that is for our listeners? That don't know what it is? Eric: Yeah, Manhattan henge because Manhattan, the you know, the streets are in a sort of Southeast Northwest orientation. There are two times of the year when the sun come, you know, if you're stand on 42nd street in the middle and you've got skyscrapers on either side, my head is the sun, right. And the son just comes down between, you know, vertically between the skyscrapers and sets, right. You know, across the water sort of like Stonehenge, right? Like coming down between these monoliths. And I've seen it is, is really incredible. And people, you know, thousands and thousands of people go out in the streets to photograph it. And Thinking about ways that that kind of stuff can develop. And it might not be stuff that somebody says explicitly like, oh, this is pagan, like it's Wiccan or ARU or drew it, or, or whatever, or witchy witchcraft or something, but these are cultural things that people start to do. Right. And if you start to look around, you see all kinds of little shrines in the city, you know, I mean, there are, there are some obvious big ones in the statue of liberties, like a big pagan statue. And there are statues of old Greek and Roman deities in the city. There's like, mercury and Atlas are down at Rockefeller center, right? There's a statue of pan at Columbia university there. These, you know, these things exist. And not to, I mean, I, I think also, you know, a lot of urban places in a sort of practical sense of things to do things like art museums, right. Where you can go in, in New York, the metropolitan museum, and you can see lots of in fact they just are now having a big show on what old pagan statues used to look like. Right. Because they weren't white, they weren't white Mar they were painted. Right. They were dye. And so they've taken a bunch of them made replicas and they could still find microscopic traces of these dyes in the rock. And so they've now repainted them as they looked. So I'll go see that soon. So there's lots of opportunities for people to do all kinds of things. And I, and I real, but I really do think that. There's a, still a need to develop a lot of cultural infrastructure, right? You could go out in central park and, and do some ritual on the solstice or something, but that's really not. That to me is like something that sort of slides right off the surface of the culture, cuz it doesn't have any connections to things. There used to be some larger connections before COVID there was a network of drum circles. I don't know if people had been to prospect park in Brooklyn, there were some immense, there was immense drum drum stuff going on there. COVID kind of brought an end to a lot of that. So we'll see how that starts up, but I, I think there's a lot of There's there's a lot of thing. And if you do wanna go out in, in you know, in a kind of less urban environment, you know, New York city is actually is the highest density of Woodland trails over 2000 miles of trails within a 60 mile radius of the city, cuz the Appalachian mountains just arc right across the north. Mark: Right. Eric: And so you can, you can, yeah. It's the highest concentration of Woodland parks and trails anywhere in the United States. Mark: Wow. Eric: There's a lot, there's a lot still to be done. And I think I'll just, I'll just leave off with that. Mark: I was that's. Yeah. There's so much to say there. I mean, you mentioned the met and it's that talk about sacred spaces? I, I mean, the metropolitan museum of art is one of the great sacred spaces of the world. It's like a shrine to all human culture. Joh, I, I know you live in Queens, so I imagine you get to the Cloisters which is another super sacred space for me. This is kind of out of order of the, the questions that we talked about doing, but are there specific places or sacred spaces that you think of? When you, when you think about urban paganism in your city, Joh: Yeah. One thing that New York really does well is bigness. There are a few very stereotypically New York spaces that I have like religious experiences and in their giant. So the inside of grand central terminal is one of them. It's massive. It's echoy. The ceiling is painted with this beautiful night sky scene with the Zodiac constellations on it. Part of what feels so humbling being in there is going off of something. Eric said before is knowing that it's also this hub of this massive living transportation network that enables the movement of thousands, millions of people within this tri-state area. Another one is the branch of the New York public library with the very iconic lions out front it's, it's a beautiful piece of architecture. It's also inside cavernous full of this beautiful art, larger than life and quiet. It's really like church almost. You feel like when you're in there, cuz you have this like reverence and respect and gratitude for all of this knowledge that's contained in there and that it's free. Like you can just go and like getting a card is free. It's it still blows my mind. This one is pretty kind of cliche, but the empire state building it's so tall, but the city is so dense that I never expect to see it when I do so I'll be walking somewhere, probably distracted, multitasking, and then I'll look up and it'll just be there in front of my face. And it's this like instantly calming moment for me and kind of resets me in whatever's going on in life at the time. And then there's like smaller little smaller spots. Like there's a Steinway piano showroom near times square that I like to go visit. I play the piano and it's a really silencing experience, even though it's so busy around there and, and crowded and, and loud, but just to stand outside and gaze in at these beautiful pianos that are handmade just across the river in Queens, like it's really, really cool how accessible places like this are because of that, you know, that network that connects, although the parts of the city, so well, the subway. So yeah, those are, those are a few that come to mind. how about you? Eric: Yeah, I think, I think Joh says some great things. I mean, one point there is like the urban sublime, right? Like these, you know, towers that rise to infinity. I mean, it, you can have a kind of experience. That's hard to get anywhere else. If you go like up to the observation deck on the, you know, the freedom tower that replace the world trade centers or the empire state building or Rockefeller center, right. You go up on tops of these things and you see, you know, from a. Point, and that kind of space is you know, I mean, it's commercial, right? You pay, you're going up to the top of, of a skyscraper, but you, it can induce kinds of experiences that are hard to get elsewhere. And sure, grand central station, that's like a great example of a kind of space that's already, you know, sort of semi pagan in its kind of classical thing. Like the Zodiac is there and it's this immense space and you can, you can go in and just be you can experience awe and, and, and humbleness and things like that. A lot in the city. And I think, you know, especially when I first started coming to the city and, and probably a lot of people would have a similar experience. You, you just feel overwhelmed. I mean, the, the sheer size of these things that are around you and unlike I mean, other cities have some of this, but you know, it's not like in New York city, you can walk, you walk a few blocks and you're out. Right. I mean, if you're in Manhattan, you can walk for like 12 miles through this amenity and you're sort of like, I mean, it's, it's humbling. So I think that, I think, and I think there's a lot of symbolism that goes into that. I'll mention that there have been a couple of urban terror decks, right? That use, I mean, if you think of the tower and you think of just, well, the tower, you know, or you think of things like that, there have been some there have been, there are a couple of urban TA decks, some better than others, but you know, people are, and this is what I think about the cultural infrastructure. People are starting to build that kind of thing. Right. And start to see these symbolisms in these, in these places. So, yeah, that, I like, I like that. What Joh said about sort of the urban sublime and what mark, you said about kind of these museums that hold all this, this cultural stuff and. You know, I often think of, of paganism in terms of the symbolic, right. Rather than you know, I'm not much for, for ancient, ancient roots. That, that seems a little racist to me. I'm more into thinking about the future and thinking about things like, you know, if I think about superhuman minds, right? I mean, the city itself is like a high of mind. You know, the city itself is a super organism. It's a superhuman intelligence. Right. And, and things like me, I'm just like a little sell in this organism. I'm passing through contributing something to it, but the, the amount of energy that flows through San Francisco or New York, or, you know, something like that is astonishing. Mark: Yes. Eric: And it's it's information too. I mean, places like, okay. New York, Tokyo, you know, San Francisco, you know, are, are some of the most information rich places on the planet. Mark: London, Hong Kong. Eric: Right. And, and so if you think of like, you know, you think of a deity like mercury or somebody like, or thought, or Glen, you know, these, you may think of these divine minds and these patterns of information. I mean, I prefer to leave those Dees in the past where they lived, but now you look at super, if you want a symbol, cuz for me, a lot of this is symbolic. If you want symbolism for superhuman intelligence, you know, superhuman mind a superhuman agency, right? I mean the place to one place to find that there are other places, but one place to find that is in the, you know, the rich information flows the density of information flows in cities. Mark: Mm-hmm Eric: Right? You, you can really, you can, you don't have to think like, I mean, Okay. I lived in New York city. This means I am part of something that is immense it's 400 years old. It's I don't know how long it'll last, but you know, so many people have contributed to it and you're there you feel it you're like, yeah, I there's this thing, you know, it's immense, I'm a tiny little part of this huge thing. So. Mark: and, and I think that's really well said, and it also, it extends beyond the bounds of New York city so much. I mean, I, I think about watching old movies where pretty much everybody came from New York or their immediate family came through New York. It's like the entire culture of the United States is deeply informed by this urban collective experience that then spread throughout the rest of the country. I was thinking about, you were talking about culture and of course, city is where the culture is, right? I mean, there's culture everywhere, but big cities are there're places where it's easier for people that are cultural creatives to make it. There are more opportunities for them to, to make a living. And it reminded me, I've lived in two big cities in my life. I've lived in San Francisco and in Barcelona. And one of the things that attracted me the most about both of those places is busking in the underground. Eric: Oh  Mark: the, the caliber of musical performance that you can experience. Just at random, you know, by stepping off of a train and suddenly finding yourself surrounded by it is it's like this, this spontaneous moment of, you know, truly religious kind of joy to me. And it's, it's one of the things that leaps immediately to mind to me, when I think about my fondness for those cities, right. Eric: Yeah. I mean, I, I think, and maybe Joh can speak to this too. I mean, the you know, thinking of those of those spaces where you can go and, and, and hear music and often the, the cultural thing is, is mixtures of cultures too, like in San Francisco or Chicago or New York. I mean, I can, you know, there are all these little I think, was it, Joh, did you mention Centia, did somebody mention that somebody mentioned that, but you know, there are all these, there are all these, you know, Afro-Caribbean cultures that have come into New York city and you could find all these little things, like all over the streets. You know, and they have some, you know, Afro-Caribbean significance and there they are. Right. And so you already find lots of, you know, there are lots of alternatives to a dominant, this sort of dominant Christian narrative. There are lots of alternatives already in these urban spaces, right. That come from from other other sources. Joh: I was actually also thinking about the, the mixture of different cultures. When thinking about some of the places that I like to visit there, there are a couple of neighborhoods in downtown Manhattan that I like to just I'm drawn to them. And I just like to walk around in and think about. The history and evolution of culture in those neighborhoods, like the history of music, of counterculture, of the different immigrant communities that settled there over time and everywhere you look, you can see little remnants of all this history from like a German inscription in the brick facade of a building or a plaque telling you that Charlie Parker lived in that building a 24-hour Ukrainian diner founded by refugees in the sixties that like still you know, still you can't, you it's always a weight. So there's that, there's that kind of magic too. And then I think just walkable urbanism in general, like increases the likelihood that you'll have chance encounters with not just different cultures, but like different kinds of people who are living different lives from you. Like. There's a community of local businesses and neighbors, and then the city workers, and it's all happening all in the same space. Like there's no alleyways in New York city. There's like two in the whole city. And so all that stuff is, and activity is just running up against itself and like keeping the environment running and thriving and kind of with this magical energy all the time. Mark: Yeah. And, and when you think about that, when you think about all those different cultures and different sort of value systems and so forth, all kind of coming together and finding a way to coexist, then it's no surprise that it's the cities that are the blue parts of the United States, right? It's like in the cities, people have figured out how to get along, cuz they have to, there's no choice about it, Joh: Yeah. And to coexist peacefully. Mark: And eventually to thrive. I mean, not, not just to coexist, but I to actually have melding of cultures and you know, new and interesting combinations of stuff like jazz, for example in new Orleans and New York and Chicago. Anyway, I, I don't know where I was going with that, but it, it occurs to me that the, the values that we associate with paganism, right? The inclusiveness, the tolerance, the the appreciation for beauty and culture and diversity and all those things, they really thrive more in the cities than they do in the, in the rural areas, which we think of as more natural, right. Eric: Yeah. I mean, that's a weird, you know, you find that kind of, to me, very, almost paradoxical or contradictory view in a lot of paganism, which is like, oh, the rural environment is the pagan environment. And you're like, no, the rural environment is filled with fundamentalists, man. Mark: Well, not entirely, not, not Yucca. Eric: nah, well, I mean sure, but, but still it's it's yeah, I mean, if you have a sort of polycentric culture where you've got lots of different cultures and lots of different religious ideas and lots of TISM lots of mixing of different religious ideas and you've got, you know, intelligent raccoons and, and you know, sparrows and yeah. Racoons have little hands, you know, they're learning to work stuff. They're gonna, that's what we're that's what's gonna take over after we're gone. You know, so, so I think that that's already seeing the multiplicity. I, I think of paganism often in terms of multiplicity, instead of, you know, unity, it's like, yeah, there are, there are many perfections and many ways to bring those together and, and integrate them into a system without, you know, reducing 'em to a, to like everybody has to act the same, you know? And I do think so. I think in, in that sense mark, what you said yeah. About cities having that, all those combinations right. Are really good. Really good. I don't think we're quite there yet in trying to figure out what, you know, the sort of next culture is gonna be, but won't happen in my lifetime, but I, I hope it will happen. So. Yucca: One of the things to kind of shift a little bit that, or some qualities that are usually not associated with urban environments that sometimes are, are highly valued in certain pagan circles are things like solitude and stillness and quietness. And those are things that I'm curious. Do you feel like. It is a fair assessment. That that's not something that really happens in urban environments. And also, is that something important in your practice? If it is, how is that something that is a pagan you, you search out or cultivate in your life? Joh: This made me think of something really specific. So it's actually, I feel like one thing that happens here is there's so much stimuli going on all the time. That it's actually, for me, at least fairly easy to, to, to be find myself in solitude. I, I live alone and You know, during the pandemic, especially, I didn't see anybody. And it was, it was very quiet. Actually, if you, you know, if you live in a more busy part of the city and you have an apartment facing the back of the building, that's like a sign that it's gonna be quiet. It actually can get really quiet here, surprisingly. But one thing that I don't know, I think this happened in multiple places around the world, in the beginning of the pandemic, but this, this thing started happening here where at 7:00 PM every day, everyone would leave their apartment and go outside and start clapping for the healthcare workers and essential workers who were actually having to still leave their apartments and help the city run. And this happened for months and months, every day at 7:00 PM, everyone would go outside and start clapping and, and it really helped, I think with the. Precarious kind of mental health situation that we were all finding ourselves in because we were trapped in these tiny boxes for so long, like scared of going outside because of the density and everything. And it helped us feel kind of alone together in a way. So that, that goes veers a little bit off of what you were asking, but I think it's actually not that it's pretty easy to find that piece and that, that that quiet and solitude if you if you try, like, not during a global pandemic, but but yeah, that just my mind kind of went there when you asked that. Eric: I think that was, that was a, a great place to go. I mean, I remember that we didn't go outside, but we leaned out our windows and banged on pots and pans, you know? And that's that was kind of a collective ritual. Mark: Yeah. Eric: I mean, it kind of, I mean, it was a collective ritual and I think, you know, I, I wonder about some of that solitude or something. I mean, certainly in, in lots of urban areas, there's a lot more, I think maybe I'm maybe I'm wrong here, but you know, a lot of collective action, there's a lot of political awareness political activity. And maybe that solitude, isn't quite what people are wanting. Right. Because it's not like I'm gonna go into myself and, and I'm gonna go, I mean, cities face outward, right. I mean, and that energy gets radiated outward. And I, I probably, if I had to think of my most well, you know, the two very pagan moments in New York city, both were musical. One was when I heard the band high long in New York, which was. You know, almost surreal in the, in the, the juxtaposition of this, this high, long shamanistic, you know, whatever they're trying to bring up. And it's in, it's in a theater in Manhattan and there are thousands of us there and we're all chanting and clapping and dancing and stuff like that. But probably even, even a little more, you know, pagan than high, long was like one time when I went to a Patty Smith concert in Manhattan. And that was just an, you know, an, I don't like to use this word, but that was intense. You know? I mean, that was something that was, I've been to a bunches of concerts and that was, you know, everyone just collectively this was, I think the 50th anniversary of her horses album and that's what they played. Mark: Oh, Eric: Right. And everyone knew all the words of course, and everyone was simply. Well, like in this unison and that's already you know, Patty Smith's already like, what space is she in with with these kinds of cultural things? You know? So I, I think there's a lot of opportunities for those kinds of collective mu I mean, music is one, art is one political, you know, political gatherings are be they protests or just activist gatherings.  Mark: Dancing thing. Eric: Dancing. Yeah. All those kinds of activities really happen in, in cities. So I wouldn't go with the no, I mean, yeah, like, I mean, Joh was right. You can be solitary in the city if you want to. I mean, it's probably more solitary there than anywhere else. Right. Because it's certainly in New York because you know, if you're not engaged, like nobody's gonna talk to you. Mark: Yeah. Eric: Right. I mean, they're gonna leave you alone. And but I, I do think that there is an enormous amount of col I mean, that's the point of a city it's collective activity. Right. You know, I lived on a farm. I know what I know what rural isolation is. Like I, you know, I don't wanna do that ever, ever again, so yeah, I dunno if that answers that, but there you go. Mark: You know, it occurs to me when you talk about that. When I was, when I was in late high school and, and into my first couple of years of college, I was really into punk rock. And of course I was living, you know, very close to San Francisco and there was a huge punk rock scene there at the Maha gardens and some other places. And so I saw a ton of shows and one of the things that always struck me was these bands never come 60 miles north to where I live. They, they don't leave an urban environment. Right. Because punk lives in the cities and and many of those concerts were truly ecstatic experiences. Eric: Right. Mark: I, I mean, the mosh pit was just this glorious experience of mutual trust, where we knew we weren't going to hurt one another, but we were going to fling one another around. My partner NAEA tells a story about being in a pit in Philadelphia where somebody lost a contact lens and the entire pit sort of went who to make a space so that they could find their contact lens. And they actually did find their contact lens. So, you know, it very, I mean, there's a, there's a very abrasive kind of quality to the punk aesthetic, but really people who cared about one another and, you know, were, were part of something. And that was very much an urban experience. Yucca: Hmm. Eric: Right, right. I mean, I think you, can you get that kind of you get those kinds of energies and a lot of that so far is kind of aesthetic, right? Music, art, dancing, things like architecture, you know? And, and it'll be interesting to see, you know, people translating that more. You know, that's why, I mean, I think for instance, sort of the pagan music is really interesting and the ways that that can go. And different kinds of artistic expressions. And one of the things we didn't really talk about, which I think of as kind of pagan is sort of the, the visionary community, right? The transformational festivals and, and, you know, visionary art and that stuff, which to, to my mind, is in entirely a pagan culture, a pagan subculture. And that's, that's there too. Right? A lot of that is in urban areas. Also in New York city, there was an San Francisco too, I believe, but they're a big, you know, I think of stoicism as, as a pagan movement, contemporary stoicism, and there's an enormous enormously rich stoic groups in in New York. San Francisco comes to mind and a few, there are a few other cities that have, but yeah, San Francisco certainly has all this transformative tech stuff.  Mark: And the, the whole burning man phenomenon, which is really interesting when you think about it. Because a lot of the people who go to burning, man, don't come from urban centers, but they have to build a city Eric: right. Mark: in order to have. The kind of crucible of creativity that they want. And burning man is a very pagan experience in, in at least the one time I was there. It definitely was not necessarily in a worshipful kind of way, but in a, in a cultural way, the, the kind of mutuality and celebration and expressiveness and creativity that you have in those kinds of environments are they remind me of the pagan community. And of course there's a lot of people there who are pagans. Eric: Oh yeah. Yucca: A lot of rituals. Mark: Yeah. Yeah. Eric: Yeah, that's gotta be like a paradigm case of how to do religion differently than it was done before. Right. And yeah, I mean, I teach a lot about burning man and you know, I always say to my students, I'm like, well, what do you think a new religion would look like? It's not gonna look like the old ones, you know? And you find, I mean, there's a lot of that around, I mean, that's, that's obviously closely connected with San Francisco, but there is a lot of that around not just burning man, but there's a, there's lots of places around New York city that are filled with that kind of stuff. I mean, yeah. I'm thinking in particular of like Alex Gray's chapel of sacred mirrors, Mark: mm-hmm Eric: which, which used to be in Manhattan, Joh, did you ever see that? Joh: No, I didn't. Unfortunately. Eric: It used to be in Manhattan. And now it's moved up the river into the Hudson valley and COVID kind of shut it down, but that guy used to have like weekly I'll just say raves at his place. Right. Wa in Weiner's falls check an hour north of the city. So, so that stuff is all around. Right. And it will be interesting to see if it gets more, you know, as things go on, if it gets, I mean, maybe it will just remain at a kind of level where it's people doing aesthetic things. Right. And they'll come together in these kind of groups and maybe it'll get more organized. I don't know. Mark: Hmm. Eric: Yeah, go to go to, Wappinger go to the chapel. I can't wait till the chapel sacred mirrors opens up again. I went with my, my friend, my friend of mine, Pete, and there was something about, I don't know what, you know, iowaska or something. And Pete looked at me and said, I didn't think this guy would be into drugs if you know, Alex Mark: Alex Gray. Really? Eric: yeah. It's like, Mark: the man who envisions gigantic halos of color all around the human form. Eric: you know, like 47 eyeballs, you know, like yeah, right. A little irony. But you know, that's, that's you know, it's all around and you know, maybe people don't conceive of it as pagan in a unified way, but maybe they should. Right. So we'll, we'll see where that goes. Mark: And I think, you know, the other part of it is that people are looking for rituals for, for shared communal experiences. Some of which we've just been talking about, but even people that are doing rituals in a more formally pagan kind of way, they have a much easier time finding others of like mind in a city than they do in an area like mine. For example, even though I'm close to San Francisco and there's a pretty large population of pagans here there's exactly one atheopagan other than me living in my county to my knowledge. Oh, that's not true four, there, there there's four of us, including me. And that's a, you know, there's half a million people living in my county, so yeah. Cities become this focus of such energy and, and collaboration. Eric: Yeah, I think they might. I mean, I, I, you know, there's probably like, you know, 7 million atheopagan in, in New York city. They just don't call themselves that. Mark: Huh? Eric: Right. And I think that's an inter I don't know if that's quite true, but it's, I think an interesting point, right? That you have people that are maybe nominally secular, but yet they do all these kinds of things. Right. And they don't I mean, I make contact with this through my students. Right. Who don't identify as, you know, pagan or atheists, but yet they're doing all sorts of they, you know, if you ask them, do they believe in God? No, but they don't identify as atheists. It's just, they just, they just don't do that stuff, but then they do all kinds of other things. Right. And you know, they, they do all sorts of, I mean, witchcraft was a kind of popular thing. I don't know if it still is, but they do things right. And they have all sorts of little rituals. Some of which are, are, come from family, traditions, others, you know, they do strange things with crystals, with their cell phones. Right. Those kinds of things could easily become more you know, a little deeper and a little more widespread where people start to think organically like, oh, what? And sometimes they might just not say, no, I'm not doing anything religious because they think of religion as Christianity and maybe they're right. And maybe that's right. And so I do find it an interesting point. That you say like, yeah, there might be a lot of atheopagan around you. They just don't call themselves that, Mark: right. Eric: you know, and they don't, you know, I mean, I know Masimo is a big leader of the stoic community and we just have this debate about whether or not he was a pagan. He'd be like, no, cuz that's like star Hawk. And I was like, no, dude, you're reviving, you're reviving an ancient pagan way of life, which is, oh, by the way, your own family history by your own admission, you know? And he's kind of like, like, guess that's true, you know? But he wouldn't call himself a pagan. Right. But he's doing the thing. So I, I do. And all those people out in San Francisco who do like the transformative text stuff and. A lot of the kind of consciousness hacking and things that goes into like some Americanized forms of Buddhism and things like that. That's, you know, there just might not be a single word for it yet. Mark: Sure sure. And all the, all the tech millionaires going to south America for iowaska ceremonies, you know, I mean, these, these are not the, the men who founded IBM in the 1950s and all wore an identical blue suit with a white shirt and tie. You know, this is, this is a very, very different culture that we've got now. Eric: Yeah. I think so. Was there, Joh, were you gonna say it, that it looked like you were gonna say a thing. Joh: The thing you were the thing you said about, you know, there, there might be 7 million Athens here, but they don't call it that. I just keep thinking about that because there's so many parts about like the set of values and the just human universal human needs, or like seeking for community for for ritual. The I've, I've seen acts of service, like in the past couple of years, like just becoming more community based here, like mutual aid, community fridges things like that. And, and what you were describing, like not, not your IBM founder, you know, people kind of looking for more right. Trying to. To look for more meaning it's all these little pieces kind of just existing at the same time, but not being named in any way. Eric: Yeah, or people aren't quite sure. That's why I think that, you know, building a cultural infrastructure, you know, some way to fit things together that says, oh, you guys are all have a lot in common. Right. I don't Joh, maybe, you know, maybe you're tapped into the secret networks. I mean, I don't know, like allegedly there's a zillion you know, iowaska rituals, like all the time in New York or there were before the pandemic. I don't know what the Panda, I mean, the pandemic transformed so much. There are big psychedelic conferences in New York, right? The the horizons which I've gone to. And but I, I don't know if this stuff is all, is all, you know, secret or, or not. Mark: Well, it seems as though we're at a time where culture and particularly the monopoly of Christianity has really shattered. And of course it's rebelling right now and trying to lock down everything it possibly can, as it loses its grip on the population. But there are all these fragments of things that are kind of floating around. It's like the accretion disc around a star, you know, Those things are going to, to glom onto one another and get bigger and bigger. And some of them will just spin off into space and be their own thing or dissolve. But I feel like nontheistic paganism is a kind of an organizing principle that a lot of these things can fit under because it provides meaning it provides pleasurable activities that people find joyful, provides opportunities for people to be expressive and to create family in whatever form that is meaningful and helpful to them. So it's, it's kind of an exciting time and I, I agree with you, Eric. We're not gonna see the outcome in our lifetimes. I don't think, but this, I think we're at a really pivotal time in this moment. And so working to be a culture creator is a really exciting thing. Eric: Yeah, I think that's true. And I, I mean, sure. I mean, I think that you know, and I don't know what to make of this as a, you know, an American who's growing older, but yeah, the, the sort of angry Christian nationalists trying to lock down what they can. And I don't know what it's like to live in, you know, Tennessee or Georgia or Indiana. I lived in the Northeast and, you know, Pennsylvania's an interesting case too, but I mean, you know, New York and north and east, it's like, Christianity's gone. Mark: Yeah. Eric: It's like, it's not here anymore. And I don't know if California or the west coast is that way. Certainly you have pockets here and there, but what a strange, yeah, that's just strange, Mark: After 2000 years of complete hegemony, right? Eric: Well, right. And you know, how are people living their lives around that? I mean, one of the things I like to do is catalog the existence of stone circles in the United States, you know? And like they're all over the place. I just found one like three miles from where I am now, Mark: Wow. Eric: know? I mean, and so what are people doing? Like what, Mark: It's a lot of work to build a stone circle. They must be doing something. Yucca: Is this is this in a park. Eric: No, this is on private land, up in the Hudson valley, you know, and I, and I just, just learned about it and you know, so I, I, I think we're all gonna, my prediction is we're everybody's gonna smoke weed and look at birds that's gonna be the, that's gonna be the thing, you know, bird. Now he's a bird, you know, now that now that weed is legal, but yeah. Where's this gonna go, Joh? You're young. It's up to you. Mark: Yucca is young Eric: Yucca is young too. That's right. You guys are young. Not, not is old, old foggy like us. Mark: Yeah. Eric: So what are you gonna do? I telescopes you got it all there. Yucca: Oh, yeah, I'm a science teacher. that's this is my classroom back here. Yeah. Eric: Oh, all right. Mark: Well, this has been an incredible conversation and I know we could go on for hours. But I think it's probably a good point for us to kind of draw down for this episode. And I would imagine we're gonna get a lot of really positive response from this episode. And we may ask to have you back to talk more about these things, cuz it's, it's really been just wonderful and super interesting talking with both of you. Yucca: Thank you for joining us so much to think about. Eric: Yeah. Thanks. Thanks for having us. Thanks for having Joh: Yeah, thank you so much. Us on, this was super fun to, to reflect on and think about, and talk about in this group. So thank you. Mark: You're very welcome. And of course we welcome feedback and questions from our listeners. The email address is the wonder podcast, QS, gmail.com. That's the wonder podcast, QS, gmail.com. So we hope to hear from you have a great week, everybody, and we'll be back next week.  

What do U2, Rocky, and Ron Jeremy have in common?  They're all featured in this edition of Beyond the Goatee. Throw in Jack White, Patty Smyth, and "The Hustle"... well then, you really have something.  Enjoy the ride!See omnystudio.com/listener for privacy information.

‘Novelas distópicas feministas'. Un futuro en el que las mujeres no pueden pensar, hablar, trabajar. Un futuro donde solo son buenas para tener hijos o para realizar labores que los hombres controlan; y mucho se ha escrito sobre este género en el mundo. Patricia del Río aborda esta temática citando diversas historias que nos alertan sobre el peligro de que las mujeres vivan en mundos opresivos. La antropóloga Angélica Motta y la poeta y Violeta Barrientos, activistas feministas, explican por qué últimamente estamos en un contexto de retroceso en cuanto a los derechos de las mujeres se refiere. En el libro de la semana, presentamos a Clemencia Granados, autora de la primera novela de su saga ‘Pangea. Un espía en el palatino', donde recrea un nuevo mundo para la civilización que sobrevivió a la devastadora guerra nuclear. El periodista Diego Pajares recomienda las películas "El cuento de la criada", con Elisabeth Moss y Joseph Fiennes; y "Persépolis", película de animación escrita y dirigida por Majane Satrapi. Mientras que el crítico literario y gerente de ‘Escena libre', nos aproxima a estas lecturas: "Riesgos de los viajes en el tiempo", de Joyce Carol Oates; "Un futuro hogar para el Dios viviente", de Louise Erdrich; y "Ucrónica. Rutas alternativas de la realidad", colección de relatos con varias autoras LA. Las canciones que recrean el programa son: ‘Ripple', de Grateful dead; ‘Fix yoy', de Fearless Soul; ‘Feelings', de Nina Simone; ‘People have the power', de Patty Smith; ‘Power to the people', de John Lennon; ‘Son of a preacher man', de Dusty Springfield; y ‘Libre', de Nino Bravo. Conducción: Patricia del Río ||| Producción: Amelia Villanueva ||| Edición de audio: Andrés Rodríguez ||| Episodio 26 – Tercera temporada

‘Novelas distópicas feministas'. Un futuro en el que las mujeres no pueden pensar, hablar, trabajar. Un futuro donde solo son buenas para tener hijos o para realizar labores que los hombres controlan; y mucho se ha escrito sobre este género en el mundo. Patricia del Río aborda esta temática citando diversas historias que nos alertan sobre el peligro de que las mujeres vivan en mundos opresivos. La antropóloga Angélica Motta y la poeta y Violeta Barrientos, activistas feministas, explican por qué últimamente estamos en un contexto de retroceso en cuanto a los derechos de las mujeres se refiere. En el libro de la semana, presentamos a Clemencia Granados, autora de la primera novela de su saga ‘Pangea. Un espía en el palatino', donde recrea un nuevo mundo para la civilización que sobrevivió a la devastadora guerra nuclear. El periodista Diego Pajares recomienda las películas "El cuento de la criada", con Elisabeth Moss y Joseph Fiennes; y "Persépolis", película de animación escrita y dirigida por Majane Satrapi. Mientras que el crítico literario y gerente de ‘Escena libre', nos aproxima a estas lecturas: "Riesgos de los viajes en el tiempo", de Joyce Carol Oates; "Un futuro hogar para el Dios viviente", de Louise Erdrich; y "Ucrónica. Rutas alternativas de la realidad", colección de relatos con varias autoras LA. Las canciones que recrean el programa son: ‘Ripple', de Grateful dead; ‘Fix yoy', de Fearless Soul; ‘Feelings', de Nina Simone; ‘People have the power', de Patty Smith; ‘Power to the people', de John Lennon; ‘Son of a preacher man', de Dusty Springfield; y ‘Libre', de Nino Bravo. Conducción: Patricia del Río ||| Producción: Amelia Villanueva ||| Edición de audio: Andrés Rodríguez ||| Episodio 26 – Tercera temporada

Harpist Lavinia Meijer has worked with an impressive list of people, including Philip Glass, Iggy Pop and Patty Smith, she joins Jess Gillam this week to chat about the music they can't get enough of. Lavinia is declaring her love for the bagpipes with a track by The Chieftains, we've two stunning concertos from Unsuk Chin and Korngold, re-worked film music by Peter Gabriel plus Stravinsky, Alabama Shakes and a very famous Waltz! Playlist: Johann Strauss II - An der schönen, blauen Donau, Op. 314 [Berlin Philharmonic Orchestra, Herbert von Karajan] Peter Gabriel - With this Love The Chieftains - The Humours of Carolan Debussy – Trio for Piano, Violin and Cello in G Major, L. 3: Third Movement [Andre Previn (piano), Julie Rosenfeld (violin), Gary Hoffman (cello)] Unsuk Chin - Violin Concerto; Movement I [Viviane Hagner (violin), Orchestre symphonique de Montréal, Kent Nagano] Korngold - Cello Concerto in C Major, Op.37; I. Allegro moderato, ma con fuoco [Edgar Moreau (cello), Lucerne Symphony Orchestra, Michael Sanderling]

El escritor y periodista Oriol Nolis nos presenta su nueva novela, 'La fragilidad de todo esto', una historia sobre la pérdida, las despedidas, el amor o la identidad trufada de referencias musicales y cinéfilas. Además, nuestra corresponsal en Berlín Beatriz Domínguez, nos lleva a Documenta, el Festival de Arte Contemporáneo de Kassel, y nos acercamos, un año más, al Congreso Galdosiano de Gran Canaria. No nos olvidamos de hablar de ciencia con Miguel Ángel Domínguez y terminamos con música, con el nuevo disco del ex-Beach Boy Brian Wilson y con el concierto en Madrid de Patty Smith. Escuchar audio

Programa completo de Más de uno con Carlos Alsina. En la tertulia, Paco Marhuenda, Javier Caraballo, Rafa Latorre y Rubén Amón debaten sobre la actualidad política. En 'La ínsula' Borja Sémper y Edu Madina hablan sobre las responsabilidades que Mónica Oltra debería asumir tras ser imputada. Luego, en la sección de cocina hablamos de lo que comíamos en verano cuando éramos pequeños. En 'La Cultureta' Rubén Amón, Rosa Belmonte, Guillermo Altares y Nacho Vigalondo charlan sobre el Caso Watergate 50 años después. Por último, J.F León pone el broche musical al programa con la canción 'People have the power' de Patty Smith y otra de Bruce Springsteen. 

Programa completo de Más de uno con Carlos Alsina. En la tertulia, Paco Marhuenda, Javier Caraballo, Rafa Latorre y Rubén Amón debaten sobre la actualidad política. En 'La ínsula' Borja Sémper y Edu Madina hablan sobre las responsabilidades que Mónica Oltra debería asumir tras ser imputada. Luego, en la sección de cocina hablamos de lo que comíamos en verano cuando éramos pequeños. En 'La Cultureta' Rubén Amón, Rosa Belmonte, Guillermo Altares y Nacho Vigalondo charlan sobre el Caso Watergate 50 años después. Por último, J.F León pone el broche musical al programa con la canción 'People have the power' de Patty Smith y otra de Bruce Springsteen. 

Here's what happened on the full show available on my Patreon.1 – 0:00:00 – Winter Wonderland. Eric excited WZZM noticed his patio furniture. Ben made the Subreddit. Lions barely win. Bob Kaser called up to the Wings for a bit.2 – 0:18:57 – Trump was in town; protestors sure handled rougher now. Bad decision to steal a TV.3 – 0:29:24 – Brady Bunch bummer sound effect. Cindy Brady goes berserk and gets fired.4 – 0:39:29 – Carrie Fisher is still bragging about her Harrison Ford affair. Sports updates.5 – 0:52:05 – More fun with Brady Bunch sound effects. Dude too excited to get Rose Bowl tickets.6 – 1:01:27 – Caledonia student collapsed and saved by AED device.7 – 1:10:36 – Technical difficulties. Patty Smith fails at singing Bob Dylan. Peter Lombardo from previous segment on air talking about the scary ordeal; interrupted by a ‘Brought to you by' moment. Sports updates.8 – 1:28:54 – Christmas Survivor game.9 – 1:47:57 – Funny stories about Prince.10 – 2:02:31 – Correct answers from Christmas Survivor game. Ken Kolker on air with Jeffrey Willis case updates. Sports updates. More Jacking it with Jaconette. Eric filling in for Sound Off West Michigan.11 – 2:25:43 – Julius not sensitive to a woman north of 1000 lb.12 – 2:33:04 – More details of Eric on Sound Off West Michigan; Jaconette does not like his music.13 – 2:41:37 – Zaniacs attack a troll. 10 minutes with Huge.Support this podcast at — https://redcircle.com/the-eric-zane-show-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Entertaining, emotional, and informative, exploring the loss of Taylor Hawkins, and ruminations on Billy Eilish, Elton John, Lady Gaga, Roxy Music, Patty Smith, and podcast and documentary recommendations. Tremendous!

Today's show is a collection of 7inch singles from my private collection. Today's show includes classics from Sammy Davis Jr. Kate Bush, Mr Mister, midnight Oil, Patty Smith, Edith Piaf and more.

Patty Smith, Ian McEwan, Zaha Hadid, Isabel Coixet, Delphine de Vigan, Miguel Milá, Milton Glaser son algunos de los autores que Zabalbeascoa recopia en 'Gente que cuenta'

Gabrielle è nata nel 1919 a Ginevra, è diventata medico molto presto, nonostante fosse una donna in un ambito prettamente maschile. Si è dedicata alla ginecologia intuendo che sarebbe stato il campo più accessibile per lei, accorgendosi però immediatamente che le pazienti erano le prime a preferire un medico uomo! Ma a poco a poco è riuscita a ritagliarsi uno spazio tutto suo e a esercitare liberamente senza gli sguardi di derisione del corpo medico maschile. E a poco a poco, con gli anni, c'era la fila per diventare sua paziente. Perché? Era una donna, aveva una sensibilità diversa, nuova, e un'attenzione verso la sfera psicologica che non tutti possedevano ancora. E poi perché tra le prime, è riuscita a rendersi conto dei gravissimi danni psicologici che una gravidanza non desiderata - spesso conseguenza di violenze - poteva arrecare a una donna e al suo bambino. E di conseguenza, a praticare interruzioni di gravidanza in nome della legge, in un epoca nella quale gli aborti illegali erano la silenziosa e triste prassi. L'aborto era, ed è tutt'ora, un tabù. Lo dimostra anche la storia di Gabrielle Perret-Gentil, e quella legata al suo nome, che ora campeggia - non senza contestazione - sulla via adiacente all'Ospedale Universitario di Ginevra. Questo quinto episodio racconta la vita e l'opera di una battagliera silenziosa e determinata, oggi giustamente ricordata per la sua lotta contro l'aborto clandestino e la sua attenzione verso le donne in gravi difficoltà, che fossero sociali, economiche, psicologiche. Con lei cantano: Camilla Sparksss, Patty Smith in Land: Horses, e le CW/A con Only Straight Girls Wear Dresses.

This week we have part one of our talk with KC Queen Afentra. We talked growing up Greek in Detroit. We also talked about dating, the "whore phase" and the no relationship phase. We decided that there were too many Bad Ass ladies to name just one. So here they are: Patty Smith, Tina Turner, Aretha Franklin, Oprah, Dolly Parton and Billie Eilish. That is an incredible list. Our featured charities are KC Locals. First is El Centro and you can find them at https://www.elcentroinc.com/ Afentra also wanted to feature Catholic Charities for their help during covid. You can find them here: https://catholiccharities-kcsj.org/ Jesicha and I were drinking Sippin Pretty from ODell Brewing Company. DELICIOUS You can find us on Twitter and IG @TLALPodcast and email us at tlalpcast@gmail.com --- Support this podcast: https://anchor.fm/talklike-a-ladypodcast/support

‘Libros que nos ayudan a elegir'. ¿Cómo funciona el Congreso de la República? ¿Elegir un candidato es como comprar una refrigeradora? ¿Quién fue el último dictador? ¿Cuáles son los secretos de la señora K? las respuestas a estas y otras interrogantes en el especial de Patricia del Río con los periodistas y especialistas en temas electorales, Alfredo Torres, autor de ‘Elecciones y decepciones. Historia de una democracia en construcción (Planeta, 2020); Rolando Arellano, autor de ‘Votar y comprar. Cómo votar mejor usando nuestra experiencia de compra' (Planeta, 2021); Mabel Huertas, coautora de ‘Señora K. Ni víctima, ni heroína' (Página 11, Editorial Crisol, 2020); José Alejandro Godoy, autor de ‘El último dictador. Vida y gobierno de Alberto Fujimori' (Sello Debate, Pengüin Random&House, 2021); y Martín Hidalgo, autor de ‘Congresopedia. Veinte años de un sistema parlamentario fallido' (Planeta, 2021). Las canciones que visten el programa son ‘People have the power', de Patty Smith; ‘Should I stay or should I go', por The Cooltrane quartet; ‘You can't always get what you want', de The Rolling Stones; y ‘Abajo todos los presidentes del planeta', de Los aldeanos.

‘Libros que nos ayudan a elegir'. ¿Cómo funciona el Congreso de la República? ¿Elegir un candidato es como comprar una refrigeradora? ¿Quién fue el último dictador? ¿Cuáles son los secretos de la señora K? las respuestas a estas y otras interrogantes en el especial de Patricia del Río con los periodistas y especialistas en temas electorales, Alfredo Torres, autor de ‘Elecciones y decepciones. Historia de una democracia en construcción (Planeta, 2020); Rolando Arellano, autor de ‘Votar y comprar. Cómo votar mejor usando nuestra experiencia de compra' (Planeta, 2021); Mabel Huertas, coautora de ‘Señora K. Ni víctima, ni heroína' (Página 11, Editorial Crisol, 2020); José Alejandro Godoy, autor de ‘El último dictador. Vida y gobierno de Alberto Fujimori' (Sello Debate, Pengüin Random&House, 2021); y Martín Hidalgo, autor de ‘Congresopedia. Veinte años de un sistema parlamentario fallido' (Planeta, 2021). Las canciones que visten el programa son ‘People have the power', de Patty Smith; ‘Should I stay or should I go', por The Cooltrane quartet; ‘You can't always get what you want', de The Rolling Stones; y ‘Abajo todos los presidentes del planeta', de Los aldeanos.

Patricia del Río repasa las biografías de todas aquellas autoras, editoras y entusiastas que han sacado a la luz mujeres que a lo largo de la historia estuvieron escondidas. Mujeres de las que nadie reconoció sus méritos. Científicas, literatas, compositoras... A ellas les dedicamos el programa. Las escritoras y periodistas Rocío Silva Santisteban y Teresina Muñóz-Nájar, la editora Anahí Barrionuevo, y la directora del Concytec, Fabiola León Velarde, nos cuentan sus experiencias. Con los aportes del librero Julio Zavala y el investigador literario Luis Rodríguez Pastor. Las canciones que visten el programa son 'Six melodies por piano Op. 4, de Fanny Mendelson; 'Smells like teen spirit', de Patty Smith; 'Respirar', de Bebé; y 'Mujeres', de Silvio Rodríguez. Esto y mucho más en el contexto del Día de la No Violencia contra la Mujer.

Patricia del Río repasa las biografías de todas aquellas autoras, editoras y entusiastas que han sacado a la luz mujeres que a lo largo de la historia estuvieron escondidas. Mujeres de las que nadie reconoció sus méritos. Científicas, literatas, compositoras... A ellas les dedicamos el programa. Las escritoras y periodistas Rocío Silva Santisteban y Teresina Muñóz-Nájar, la editora Anahí Barrionuevo, y la directora del Concytec, Fabiola León Velarde, nos cuentan sus experiencias. Con los aportes del librero Julio Zavala y el investigador literario Luis Rodríguez Pastor. Las canciones que visten el programa son 'Six melodies por piano Op. 4, de Fanny Mendelson; 'Smells like teen spirit', de Patty Smith; 'Respirar', de Bebé; y 'Mujeres', de Silvio Rodríguez. Esto y mucho más en el contexto del Día de la No Violencia contra la Mujer.

Hello everyone and welcome to another episode of The Innovative OT podcast! Today I have on Patty Smith who is an occupational therapist and board certified lactation consultation. She has over 25 years of practitioner experience, and an innate ability to assess and treat the body holistically. She is passionate about educating clients, fostering a connection between parents and their children, and optimizing patient wellbeing.

finiremo la puntata su patty smith

Episodio número 293 del programa "Rock Ladies". Presentado por Loreto Sánchez, Blanca Acebo y Juan Acebo. Frases célebres de ayer y de hoy presenta: "ES MI CANCIÓN Y ME LA CANTO CUANDO QUIERA". Con unas condiciones técnicas mejoradísimas, donde por fin, y a pesar de la distancia escucharemos a nuestra reina unicornia en dignas condiciones... y ya que la mentamos, (que no lamentamos), aprovechamos para ovacionar los textos desarrollados por ella de esta magnífica idea de Chris Robinson. ¿Y qué os contamos hoy? Pues que hay muchos artistas, que escriben canciones que inicialmente, por unas razones u otras, deciden cedérselas a otros artistas, los cuales las popularizan y llevan a lo más alto. Entonces, años después, deciden rescatarlas y hacer una versión de la canción que escribieron ellos mismos... dejando bien claro eso de "ES MI CANCIÓN, Y ME LA CANTO CUANDO QUIERA". Algo así le ocurría a Springsteen con su "Because tht night", que popularizó Patty Smith. Pero no será él quien pase por nuestras ondas podcastianas hoy... ¡Dale al play, y descúbrelo! ¡Qué bien empezamos febrero!

Patty Smith is the CEO and Co-founder of Managerie, a platform connecting hiring managers to professionals looking to advance their careers on the basis of their professional growth goals and aligned company mission, setting up potential connections for a future hire. Managerie has attracted over 400+ candidates to support the delicate construction of high-performing teams, which balances a genuine human connection with a laser focus on dynamic professional growth. Managerie is advised by Dr. Frances Frei [HBS Professor and Uber, WeWork culture-fixer], Jared Erondu [Head of Design at Lattice], and Alex Roetter [ex-SVP of Engineering at Twitter]. Before founding Managerie, Patty built the Analytics function at Lattice from scratch. During her tenure, she owned all source-of-truth company data while the company grew from $3M to $20M in ARR and supported Series B and Series C fundraises. Lattice supports over 3,670+ People leaders to create processes of continuous performance management through their suite of People Management tools. Prior to working in HR tech, Patty worked in Operations at Apple and in Marketing at Lumosity. She graduated from Harvard Business School in 2016 and Harvard College in 2011 studying Applied Math with a minor in Psychology. In her free time [pre-COVID], Patty enjoys acting in a parody-driven Backyard Theater Troupe in San Francisco, rock climbing, and leading weekly morning workouts. Shownotes at www.jeremyau.com/blog/patty-smith

En weer legt een leraar Engels, halverwege de jaren zeventig onverwacht een plaat op een platenspeler in de klas. En knauwt er een zeurende stem door het lokaal. Maar een vijftienjarig meisje wordt meteen gegrepen, daar op het Hervormd Lyceum Zuid in Amsterdam. En hoewel de punk de herinnering aan de openbarende verzen van de jonge Dylan al gauw zou doen vervagen, misschien is het toch niet teveel gezegd wanneer we een deel van dichter Diana Ozon daar geboren laten worden. En trouwens, dat Bob de Moeder van de Punk, Patty Smith, naar Stockholm stuurde om zijn Nobelprijs op te halen, was dat niet ook een punky statement? Diana Ozon in de BOBcast.

Gay Mercader es el nuevo e ilustre invitado a SIMPATÍA POR LA INDUSTRIA MUSICAL en SUBTERFUGE RADIO. Promotor pionero en España, trajo a los ROLLING STONES en 1976 con el cadáver de Franco aún caliente, más de 50 años de profesión le avalan como uno de los grandes de todos los tiempos. PATTY SMITH, IGGY POP, STING, LOU REED, SANTANA, TINA TURNER, BOB DYLAN o THE CURE, han sido disfrutados en nuestros escenarios gracias a su intermediación.Un testimonio el que nos deja, tintado de entusiasmo y pasión, de una personalidad arrebatadora, sin el que sería imposible comprender muchas de las cosas que han pasado en nuestro país, escribiendo muchas de las pautas de las que muchos han aprendido. Personalmente, un lujo. Absolutamente imprescindible y necesario.

Presentiamo "La mostruositrans", Eris Edizioni, di Filomena "Filo" Sottile, pamphlet per un'alleanza transfemminista fra le creature mostre; Daria Campriani, del direttivo di intersexioni, sul Transgender day of remembrance del 20 novembre e la lotta per i diritti delle persone trans; la rubrica musicale di Clarice Trombella: l'artista di oggi è Patty Smith.

Presentiamo "La mostruositrans", Eris Edizioni, di Filomena "Filo" Sottile, pamphlet per un'alleanza transfemminista fra le creature mostre; Daria Campriani, del direttivo di intersexioni, sul Transgender day of remembrance del 20 novembre e la lotta per i diritti delle persone trans; la rubrica musicale di Clarice Trombella: l'artista di oggi è Patty Smith.

Último programa de la temporada. Gracias por esas 60.000 y pico escuchas y por suscribiros a nuestro podcast. Gracias a todos aquellos que han pasado por aquí: a Azalí, a Fausto, a Jesús, a Marta y a todos lo que han participado como invitados. En septiembre volvemos con el arranque de la segunda temporada y esperamos volver con más ganas para haceros compañía. ¡Cuidaos, disfrutad de la vida y de la música! ¡¡¡MUK MUK MUK MUK!!!

Último programa de la temporada. Gracias por esas 60.000 y pico escuchas y por suscribiros a nuestro podcast. Gracias a todos aquellos que han pasado por aquí: a Azalí, a Fausto, a Jesús, a Marta y a todos lo que han participado como invitados. En septiembre volvemos con el arranque de la segunda temporada y esperamos volver con más ganas para haceros compañía. ¡Cuidaos, disfrutad de la vida y de la música! ¡¡¡MUK MUK MUK MUK!!!

This week we discuss what inspired us to start Mëttle in the first place as well as all of the iterations it took us to get here. Make sure to stick around till the end to check out our song of the week "Because the Night" by Patty Smith.

Gionata Colaprisca è batterista e percussionista. Ha suonato e collaborato con tanti artisti, tra cui: Lucio Dalla, Samuele Bersani, Carmen Consoli, Francesco De Gregori, Ron, Giusy Ferreri, Patty Smith, Maceo Parker...) - - - - -Nell’intervista racconta come ha iniziato, chi l’ha ispirato, il rapporto tra batteria e percussioni, come è entrato in contatto con le realtà discografiche del nord pur rimanendo stabile nella sua Sicilia, offrendo consigli utili e spunti di grande valore - - - - - Gionata sui social: www.instagram.com/gionatacolaprisca - - - - -I miei corsi online: http://corsi.suonarelabatteria.it - - - - - Music: "Animals" (Michele Quaini / Claudio Sannoner / Corrado Bertonazzi)

Topics discussed in this episode:Being diagnosed at 10 years old with a mystery skin condition.Spending your teenage years covered in boils, warts and having your fingernails falling off whilst at school. Having a failing immune system and constant bouts of pneumonia at 11 years old.Being so self-conscious at school about having your arms or any skin on show it became normal to cover up - even when in fancy dress costume. Being told at 27 to have surgery to remove a cyst the size of a GOLF BALL in your lung then being told by another doctor not to have the surgery because you might die. Finally being diagnosed with Job's syndrome* or hyper-IgE syndrome a rare autoimmune deficiency typically occurring in people creating skin and lung issues, also dental issues. Finding a quality research hospitalHaving a lobectomy to remove ¼ of her right lung - even though it was risky and doctors were afraid to.Harper never shared anything with her friends until it was time to have surgery, leave work for a few months Harper didn't find a community of people for some time but when she did she said it was so incredibly helpful and she wished she found them sooner. Treatment for Harper include daily oral drugs, a nebulizer and every two weeks, an injection. These all help with the functioning of her lungs. What's the best, worst piece of unhelpful advice you've ever been given? Does a diet specific to your blood type really help with my condition that you know nothing about? What is the most annoying thing about having an invisible illness? Probably that it's invisible. No one gets it. Is it right to self advocate and go against doctors advice when it doesn't feel right to us?Are meds to override symptoms worth the side effects?Entrepreneurship. Should we all be entrepreneurs? Being a life and business coach and helping people start their own business  Want to be an entrepreneur? Ask yourself what you like doing and what you're good at. Don't overthink it, just do it. Podcasting is an awesome medium for sharing peoples story's, whether it be people with chronic illnesses, their caregivers, doctors, wellness practitioners, etc. It keeps it fresh and unique. Top tips for starting your own podcastTop book recommendations: Just Kids by Patty Smith and Chronic resilience by Dana Horne (Job's Syndrome: Autosomal dominant hyper-IgE syndrome (AD-HIES), formerly known as Job syndrome, is a condition that affects several body systems, particularly the immune system. Recurrent infections are common in people with this condition. Affected individuals tend to have frequent bouts of pneumonia, which are caused by certain kinds of bacteria that infect the lungs and cause inflammation. Inflammation is a normal immune system response to injury and foreign invaders (such as bacteria). However, excessive inflammation can damage body tissues. Recurring pneumonia often results in the formation of air-filled cysts (pneumatoceles) in the lungs. Frequent skin infections and an inflammatory skin disorder called eczema are also very common in AD-HIES. These skin problems cause rashes, blisters, accumulations of pus (abscesses), open sores, and scaling.For unknown reasons, people with AD-HIES have abnormally high levels of an immune system protein called immunoglobulin E (IgE) in the blood. IgE normally triggers an immune response against foreign invaders in the body, particularly parasitic worms, and is involved in allergies. However, IgE is not needed for these roles in people with AD-HIES, and it is unclear why affected individuals have such high levels of the protein without having allergies.AD-HIES also affects other parts of the body, including the bones and teeth. Many people with AD-HIES have skeletal abnormalities such as an unusually large range of joint movement (hyperextensibility), an abnormal curvature of the spine (scoliosis), reduced bone density (osteopenia), and a tendency for bones to fracture easily. A common dental abnormality in this condition is th

Two-time Grammy nominee and the award-winning author — Holly George-Warren has written 16 books including the New York Times bestseller The Road to Woodstock and the new biography Janis: Her Life and Music about rock icon Janis Joplin. Holly is also working with Petrine Day Mitchum on a new documentary called Rhinestone Cowboy about the story of Nudie, the Rodeo Tailor. Find out more about Holly George-Warren. Read more about The Passionistas Project. FULL TRANSCRIPT: Passionistas: Hi and welcome to the Passionistas Project Podcast. We're Amy and Nancy Harrington and today we're talking with two-time Grammy nominee and the award winning author Holly George-Warren. To date, Holly has written 16 books, including the New York times bestseller, “The Road to Woodstock” and the forthcoming biography, “Janice: Her Life and Music” about rock icon Janice Joplin. Holly is also working with Patrine Day Mitchell on a new documentary called “Rhinestone Cowboy” about the story of Nudie, the rodeo tailor. So please welcome to the show Holly George-Warren. Holly: Great to be here. Thanks so much for having me. Passionistas: What's the one thing you're most passionate about? Holly: Wow, gosh, what time is it? Every time it changes on the hour it seems like, but of course right now I'm most passionate about, I guess both Janis Joplin and Nudie. As far as my work life goes, my head is wrapped around both of those people. And interestingly enough, Nudie actually did make some outfits for Janice in 1970 so there's a connection with everything. And of course my other passion in my personal life is my family, my husband Robert Brook Warren and my son Jack Warren, who fill my life with joy and excitement and share, uh, my love for the arts, film, music, the outdoors, etc. So I'm very blessed. Passionistas: So tell us a little bit about what first inspired you to become a writer. Holly: I think music really did first inspire me beginning at a very, very young age. I grew up in a small town in North Carolina and literally I'm old enough to have discovered music back in the days of am radio. And in my town it was so tiny. We had very, you know, little radio, just some gospel, I think country and Western. This was in the ‘60s. But I discovered at night after like say nine o'clock on my little clock radio that I could tune into w ABC in New York and WCFL in Chicago. And that just blew my mind. It opened up this whole world for me of all these different sounds and styles of music. Cause that was in the day of very eclectic radio. Playing a DJs, they, they didn't go by strict playlists or anything like that. And I literally started just kind of writing, I think inspired by the music I was hearing. I started writing a little bit about music and I of course started reading biographies also at the same time. So that was the other major I would say inspiration for me. I started reading in elementary school these biographies of all kinds, everyone, you know, from like George Washington Carver to Florence Nightingale to Abraham Lincoln biographies and became kind of obsessed with reading those books. And you know, I just love to read from a young age. So I think those interests kind of combined that. Um, by the time I got to college I was writing quite a bit and uh, always did quite well with my writing assignments in school and then found myself writing more and more about music, going out and seeing bands performing live. And then that's what I did when I moved to New York city in 1979 I started writing for all kinds of fanzines and underground magazines that existed at that time in the East village. About then, it was kind of the post punk scene I guess, but I had been inspired by the original punk rockers, you know. I got to see the Ramones and bands like that in North Carolina before I moved to New York. So I've just started writing about the scene, which was not that well covered at the time. Talk a little bit more about the scene at that point. Back in those days, in the late seventies in New York city, there were only a couple of clubs where you could go out and see bands that had, were kind of either following in the footsteps of the original punk scene in New York and London. And a few of those people were still around New York and playing. So there was this great resurgence of kind of DIY homemade magazines, sort of called fanzines that all kinds of people that were into the scene started writing articles for. And it didn't have as many gatekeepers as say the big glossy magazines of the day, you know, even Cream magazine, which was kind of an upstart as compared to say Rolling Stone was pretty restrictive as far as who could write for those magazines. And I would send out queries and tried to get assignments and never hear back anything. But in the meantime, just people out on the scene who were playing in bands, booking bands, going out to see shows every night we're putting out these music magazines that pretty much anyone through, you know, string a sentence together and had a little bit of knowledge about writing. But a lot of passion basically. Again, passion was very much the key word of I would say the music scene, the people on stage and then also people writing about the music. So that's really what got me started and I started getting published in some, again very small run underground, a little music magazines. Passionistas: Then you did eventually start to write for Rolling Stone and you became an editor of the Rolling Stone press in '93. So tell us about the road to that and your experience working there. Holly: It was quite the fun road. It was circuitous because I did get swept up in the whole band scene and actually started playing in bands very early. I played, I used to call it lead rhythm guitar. So again, playing in different bands over pretty much throughout the 1980s and while I was doing that, I didn't write quite as much, but I felt like it was a huge tool for being able to write about music to actually be in a band. You know, we went on the road, we toured around some of my different bands, I did several recordings. So I learned what it was like to work in a recording studio. And just the whole life of being a musician became a real thing for me. So I felt like I could write about musicians with much more authority. I never considered myself a real musician. I still was a fan, but I, I could play a mean bar chord. And I started out with a fender Mustang and then I moved up to a fender Jazzmaster of the vintage one from the late fifties so I was pretty hip. Let me tell you. In the meantime, I did start getting some real jobs to pay the bills, including, believe it or not, I became an editor at American Baby magazine, which funnily enough, almost everyone that worked there was childless. And that was really my first nationally published articles was for this magazine. Um, how to know when your child is old enough for a pet or, you know, I did a research article where I went out and interviewed parents of quintuplets and quadruplets and triplets, you know, um, but I, you know, really kinda cut my teeth writing for that magazine. I learned how to be a journalist, you know, a real journalist. And then gradually through meeting people and also being a total rock and roll geeky nerd who was constantly reading every rock biography that would come out. And also I was really into, it was weirdly enough through punk rock, I got totally into old timey country music, like the Carter family. And honkytonk music like Hank Williams and I loved, uh, Patsy Cline, Wanda Jackson, the queen of rockabilly. So I got into that kind of music pretty much while I was a full-fledged punk rocker. And again, I think passion is the line between those two, the thread that connects them that, you know, both of those kinds of music, that earlier country that were raw primitive kind of country music as well as punk rock had that passion was very obvious in the music and that I loved it. I was totally into all that kind of music. And in fact, I saw George Jones at the Bottom Line in 1980 which blew my mind. So anyway, so I started learning more about that kind of music by just reading books all the time and eventually heard about a job as a fact checker at Rolling Stone press in the 1980s they were doing this big rock and roll encyclopedia and needed someone to double check everything. You know, these established writers who I'd been reading for years, Rolling Stone, like people like Dave Marsh had written. And so that was my first, you know, I was getting to call up Question Mark of Question Mark and the Mysterians and asking him, you know, was it true that he came from another planet and called up, you know, all these people. In fact, funnily enough, I handsome Dick Manitoba, the singer, the Dictators, I called him up to check some facts about this notorious horrible fight on stage, basically abroad between him and Jayne County at CBGBs. And then literally when I was playing in my band, we were rehearsing and this music building famously where Madonna once lived before she got an apartment near times square I was in, had gotten a taxi to get home with my equipment and there was, who was driving me, but you know, Richard, Manitoba, handsome Dick himself, who I had just caught up and asked him about his career as a fact checker. So anyway, that kind of got my foot in the door at Rolling Stone, which led to me over the years doing freelance projects for them. And till finally in 1993, well actually ‘91, they hired me as the editor to do a couple of their Landmark books, had deals with Random House to do new additions, “The Rolling Stone Album Guide” and “The Rolling Stone Illustrated History of Rock and Roll.” And so they hired me to kind of be the editor to work with uh, Anthony DeCurtis and Jim Hinky at the magazine to guide these books, which are these massive, massive researched, you know, a lot of people involved, you know, a lot of moving parts to do these new, uh, additions. So that went really well. So in 1993 they decided to start up a new book division, which had kind of fallen by the wayside and they hired me to come on board and run that book division. And that was a great experience and that's what led me to start writing for the magazine. I started doing assignments for the magazine, record reviews and things like that while running the book division. I learned so much from working on those kinds of big reference books. You know, and again, we had amazing writers that I got to interface with and on “The Illustrated History of Rock and Roll,” too, I got to work with everyone from Peter [inaudible] to Mark Marcus to the late great Robert Palmer. Again, Dave Marsh, you know, many, many writers. And then I got to assign a lot of new chapters and in fact I wrote a chapter, Anthony DeCurtis became a real mentor to me. He was an editor at Rolling Stone that was in the trenches with me on these book projects and he assigned me as the writer to do a big piece on the changing role of women and rock, you know, beginning with Patty Smith, et cetera. Up to that current time. I think, you know, I covered, I think Sinead O'Connor at that point was maybe one of the newer artists that was, uh, the focus of my chapter. But that was a real huge, exciting thing to get to be part of. And then I got to do another very cool book with a wonderful writer editor named Barbara Odair, who came to my office. She was working at Rolling Stone and then at US magazine back in the day when it was owned by Winter media and said, “Let's do a whole book on women in music with every chapter written by women and every, as much as possible, all the photography done by women.” So we did this really cool book called “Trouble Girls: The Rolling Stone Book of Women in Rock.” And funnily enough, one of the chapters I did for that one was this big piece on Nico, who was my first ever famous person I ever interviewed when I was, you know, living in New York city. I was still waitressing at the time. And Nico, of course from the velvet underground fame was kind of down at the heels. Editorials at the time, but having to go to a methadone clinic across from where I was working and would come in every day afterwards and have an amaretto on the rocks and cheesecake. So I got up my courage and asked her if I could interview her and I didn't even have a platform for my interview, but she said yes and got to spend some time with her and interview her and use part of the interview and a little fanzine back in the day. But then I got to really expand and write this whole chapter on Nico and use this interview I'd done 10 years earlier or even earlier than me, I guess 12 years earlier for this book “Trouble Girl.” So that was really exciting. Yeah. Passionistas: So you were writing about women, you're interviewing women, but what was it like for you as a woman starting in those early days in the punk rock scene through this time where you've becoming a more established rock journalist? What were your experiences like both as a musician and a journalist, as a woman in the music industry? Holly: Well, when I met people face to face and worked with them, say for example, Anthony DeCurtis and Jim Hinky, who sadly just passed away just a few weeks ago or a month, a month or so ago. They were very, very encouraging and very supportive. They really encouraged me to write and gave me assignments, et cetera. But before that I really found, and maybe it's true whether you're male or female or whatever gender, you know, but if I just blindly sent out queries or blindly tried to get gigs writing, when I first moved to New York City, it was a disaster. I mean, people either ignored me or just blew me off or said no or you know, it was really hard to get the foot in the door without actually working with people and for them to see what my work was like. Now, I did have the good fortune early on to meet some people that had worked with punk magazine and part of, there was this whole cool kind of resurgence of comics. This really great artists. Peter Bag had joined forces with John Holmstrom who had done punk magazine. And Peter and I, a Peter's wife and I work together, you know, at this restaurant. So Peter knew that I, you know, at this time I was just going out and writing about stuff on my own and pitching it to a few people I knew actually from North Carolina had moved to New York, but then they started giving me assignments for this. These magazines they started, one was called Stop and when it was called comical funny. So they, you know, they really encouraged me. So, you know, I can't say that I experienced gender bias or anything like that. Once I knew the people, I think maybe I was just, it's hard to know. I mean I did definitely get a lot of rejection. A lot of people that I pitched didn't really take me seriously and whether it's they didn't really know my work or because I was a woman, I don't know. I mean I, I did frequently find myself being the only music geek, you know, blabbing away on all this arcane kind of Trainspotting rock and roll history trivia with, you know, I'd be the only gal in the room blabbing away about that, you know, with some guys and stuff like that. There weren't a lot of women doing it and there weren't that many women around Lee for me that I crossed paths with to kind of support my endeavors at that part of my career. However, I very fortunately met a couple of women when I was a fact checker at Rolling Stone Press who were very, very encouraging and really I would not be talking to you right now if not for them. And one was Patti Romanowski who was the editor of Rolling Stone Press at the time, who hired me as a fact checker back in the ‘80s. She went on to write many as told two books with everyone from Mary Wilson to Otis Williams at the temptations. And that book has recently been the basis for this very successful Broadway show right now. So Patty was fantastic. And then her boss, the woman who ran rolling stone press with Sarah Layson who became, you know, really made my career because after she left Rolling Stone Press, she started a book packaging company and became a literary agent and hired me continuously for her book company. And then she became my literary agent when I left Rolling Stone. No, actually before I even started at Rolling Stone, my first ever book, which I uh, got my first book deal around 1990. So it was even before I went to Rolling Stone actually, she became my literary agent and my first ever book, she connected me with my coauthor Jenny Boyd, who had been married to make Fleetwood and her sister Patty Boyd, you might know the name was married to George Harrison, Eric Clapton. And Patty was a really interesting person who had kind of dug out a new life for herself. After her marriage with Mick Fleetwood ended, went back to school, became a psychologist, got a PhD and wanted to do a book on creativity and in musicians. So she hired me to be her co-author and we did this book called, well, it's available now. It got repackaged again and republished in England called, “It's Not Only Rock and Roll,” but it was basically about the creative process of musicians based on interviews with 75 musicians. So that really started me on my path as an author. That was my first book and that came out and a ‘91 Simon Schuster, a Fireside Division. So Sarah did that and then she became my, you know, agent. I wrote a few other books, a couple while I was at Rolling Stone and then when I left there in 2001 I've been writing books ever since. And Sarah has been my agent for all of them up to this my Janice Joplin book. And she definitely is one of my, you know, if not for her, I would, you know, like I said, I would not be talking to you right now. Passionistas: You're listening to the Passionistas Project Podcast and our interview with award winning author Holly George-Warren. To find out more about her latest book, “Janice: Her Life and Music” visit HollyGeorgeWarren.com. Now here's more of our interview with Holly. So clearly you have an extreme in depth knowledge of the history of women in the music industry. So how do you think the music industry has evolved over the years in terms of opportunities for women? Holly: When I first moved to New York as far as women performing in bands, that was just starting to really happen thanks to the whole, you know, punk explosion with bands from England, like the Slits and the Raincoats, the Modettes, you know, I saw all those bands, that little tiny clubs and it just was a much more welcoming atmosphere for women to pick up instruments and play in pants. And like I said, I started playing guitar in bands. Then of course, you know people like Tina Weymouth and Chrissy Hynde, I mean Patty Smith of course. So as far as getting the courage to get up on stage and play and then just, um, to have other like-minded souls out there that wanted to be in bands with you was very, uh, it was a great time to be in New York and gradually there became more and more venues, places to play. I got to play at all of them from, you know, CBS to Max's Kansas city, peppermint lounge, Danceteria, you know, all these great classic clubs in New York, you know, late seventies, early eighties. And as far as the music business, I mean, you know, at that time we were like screw the music, but you know, we were punk rockers, man. We were underground. We didn't want anything to do with that. In fact, when I started even working for Rolling Stone in ‘93, I would tell people like, yeah, I'm working for Rolling Stone so I can afford now to write about the bands I really love. For it cause I was still writing for this really cool magazine called Option, which, and I'll if you remember that magazine, but very cool magazine based on the West Coast. And so I'd still write about people that would never ever get covered in Rolling Stone, but all different types of music. And again started writing about some of the early country music pioneers and rockabilly people like Wanda and people like that. So I didn't really interface that much with the mainstream music business at that time. You know, I basically had good experiences on that very low level. Again, this was the time of the Go-Go's had come around and the Bangles, my band Dos Furlines, went on a tour of Canada with a couple of other all women bands and it was, you know, it was a male promoter and everything went really great. Once I started moving up the food chain, once I was at Rolling Stone, I started working on producing some CD packages with labels. And again, everybody I worked with were male, but they were very supportive. They were really into what, you know, my ideas were. So I didn't really have any problem with that. And you know, gradually I started meeting some very cool women that a lot of women I discovered had been really behind the scenes. So I started meeting some of those women who had been working at labels for years. Some of them had left, it started their own publicity companies, some of them were in management, et cetera. So, and then I, you know, finally got to meet a few of the women who had been pioneering women, female journalists. But again, there weren't that many. It was very cool to see. And then, you know, like I said, Barbeau Dara and I did a whole book with lots of great, great women writers. The scene I think helped, um, a lot of women find their, you know, their niche a lot. You know, a lot of women were total big into music just the way I was. But you know, finally, all these channels that opened up for them to pursue it as either a writer or you know, an A& R person manager, publicist, a photographer, lots of great women photographers. And again, I was, I loved meeting women who started in the business in the ‘60s into the ‘70s. So I loved getting to meet them in the ‘90s and just, I wish I would've known them or could've somehow met them when I first started out in the ‘70s, late seventies, even early eighties to get encouragement from them. But you know, they, they were really kind of behind the scenes. They weren't that obvious. And some of them became very good friends like Jan new house ski, uh, fabulous, wonderful. A writer who was one of the early women writers for Cream magazine. And, uh, I got to know her and work with her and you know, Daisy McLean, who had written for Rolling Stone, um, back in the glory days of rock journalism where they were all these junkets and you were flown all over and wined and dined by the labels and all that kind of stuff. And she had some amazing stories to tell about being in the trenches. And Ellen sand or another wonderful writer who her great book called, I think it's called trips, was just reissued last year. And she was a very early writer. And when out on the road with, you know like LEDs up one and covered a Woodstock and a lot of Janis Joplin gigs, Forest Hills tennis stadium wrote about that. And so again, just these great writers who were hard to find when I started out. Passionistas: You have an interest in all these genres. And you've written about such a wide range of music from country to punk. What makes a topic or an artist compelling enough for you to dedicate a book to the subject? Holly: I guess if there's a complexity to the person and arguably perhaps all artists are a complex people, who knows cause I don't know about all of them, but I've been really attracted to writing about people that have had to really struggle, who've had to break down barriers to be heard, who have, you know, a lot of facets to their personality. And Janice is my third biography. My first one was Gene Autry, the singing cowboy who was a very complex man and very much a groundbreaking artist going way back to the beginning in the late 1920s broke through in the early thirties. And then Alex Chilton, who of course a lot of people know from big star, but it started out as this pop star at age 16 and the Box Tops and just had this incredible career in life. I become passionate about them, their music, their lives. I never lose that passion. I mean I still get excited if some crazy, you know, online radio station plays, you know, a Gene Autry song. Same thing without, I was so thrilled. I went to see once upon a time at time in Hollywood and to hear a very deep cut box top song on the soundtrack of a, of the new Quintin Tarantino films. So two to train. By the way, I never lose the passion for the people that I like. Literally moving in with one of my biography subjects, you know, for several years. And you never forget your roommates, right? Most of them. Passionistas: Tell us about why you chose to write a book about Janis Joplin and what you learned about her that you found most fascinating from writing the book. Holly: I have to say part of it, I mean, I really believe that my subjects also choose me somehow. Again, following my passion, I ended up in a place where it just kind of comes together and with Janice for years, of course I had loved her music. She was definitely an inspiration for me growing up again in this tiny town in North Carolina, that didn't have a lot going on for me as far as the kind of things I was interested in. And now again, I might be like one of my biography subjects, but I think I saw her on the Dick Cavett show and just her whole look and attitude and sensibility and not to mention her incredible voice. I'm like, what's that? I want to be that. She was probably actually a little did I know at the time wearing this outfit that Nudie made for her. Of course. I was one of those people that was devastated when she died in 1970 and in 1971 I had joined the Columbia Record Blub and got Pearl. I still have my original copy. So just a fan and then once I was working at Rolling Stone and started doing projects with the Rock and Roll Hall of Fame, the Hall of Fame did a really cool symposium on Janis back in the nineties, I think it was ‘97. And Bob Santoli, the head of education, VP of education and programming at the time invited me to be part of it and I'm, I got to go to Cleveland and give a talk about Janice's influence on contemporary women musicians, but the best part was I got to meet Janice's brother and sister Michael and Laura. I got to meet Sam Andrew, her a guitar player, Chet Holmes, who was the manager for Big brother and the Holding Company and started the Avalon Ballroom dances there back in the ‘60s some other people to her, John Cook, her road manager. So I got to meet all these people. Then lo and behold, they did an American masters, American Music masters panel on Janice or weekend symposium on Janice again in 2009 I believe it was. And once again this time, um, and powers and I were asked to give talks about, Janis kind of a keynote thing with Lucy O'Brien, a grade a woman, rock journalists who's based in London. So the three of us kind of gave a joint keynote and again got to meet all these amazing people. So I just kind of got to learn more and more and more about Janice and about her music. The thing that really got me was I was asked to write liner notes for this two CD set called the Pearl sessions that Sony was doing in the early teens. And for the first time they had gone into the vaults and pulled out all this talk back between Janice and Paul Rothchild, her producer, who was known for being a very authoritarian producer. Like he worked with Joni Mitchell and one of her first or I think or second album. And she's like, no, I can't work with him. He's too bossy. He tells me what to, you know, so she wouldn't work with him. He famously produced most of the Door's albums and he would make Jim Morrison like redo his vocal like 10 times or whatever. But he listening to them in the studio together, I'm like, Oh my gosh, this woman is calling the shots. Janis Joplin is telling Paul Rothchild like, Oh wait, let's slow it down here. Wait, let's try a different arrangement on this. Let's have this guitar part here. I mean, she was basically producing the record with him. She's never gotten credit really for being this very thoughtful orchestrator of music and hardworking musician. She created a very different image of herself in order to sell herself as a persona, this rock persona. And she was very successful at that and I think I, and almost everybody else bought it, but I realized from listening to these recordings that there was a whole other side to her, this musician side, that she wasn't just blessed born with this incredible voice that she just came out of the box singing. She worked, she really worked. And that very much intrigued me and that made me more interested in wanting to spend four and a half, five years working on Janice's life story and trying to make a write a book about her that shows her trajectory as a musician because you know, there had been some other books, some very well researched. I'm Alice Echols wrote a great book about Janis with a lot of research, but I felt still that somehow or musicianship and had not ever been acknowledged the extent that it should have been. So that was kind of my goal for this book to really find out who her musical influences were. What did she do to improve her craft, or how did she discover her voice? What were the obstacles she had to overcome, all those kinds of things. So that really fired me up. And again, my wonderful agent, Sara Liaison, who had actually been the agent for Laura Joplin's book that she wrote called “Love Janice,” which told her story of growing up with Janice as her sister and used a lot of letters that Janice had written home. She reproduced a lot of the letters in the book and my agent told Laura about me and I had met her back in the nineties and so I was able to come to an agreement that, again, similar to the Autry book, they would allow me to go into Janice's personal files or scrapbooks or letters, and I could use all that in my book, but without any controls over what I wrote, they would not have any editorial approvals or anything like that. So again, that's, that's how that came about. Passionistas: And your other current passion, you've touched on it a couple times, but tell us a little bit more about “Rhinestone Cowboy,” the story of Nudie. Holly: I think there's kind of a pattern here. You can see that none of these, I'm no one overnights and station or whatever. All of my projects really, they come from years of passionately pursuing something just really for the love of it, more than with any sort of goal in mind. And that's kind of the same story with Nudie. As I mentioned, I was a collector of Western where I worked on the, “How the West Was Worn” book and that's when I really learned about Nudie, who was this very showman, like couturier the Dior of the sagebrush or whatever they used to call him, who catered to early on cellular Lloyd Cowboys, people like gene Autry. And Roy Rogers was a huge client and then all the stars like Hank Williams making their incredible embroidered outfits. Then he started putting rhinestones on the outfits. I'm for a country in Western singers. And then in the late sixties people like Graham Parsons, The Flying Burrito Brothers, Janice, the Grateful Dead, the Rolling Stones, Elton John all started going there, getting these really outrageous over the top and bordered and rhinestone suits. So I learned about him gradually and then it turns out through doing “How the West Was Worn,” I met Patrine Day Mitchum, who herself had actually hung out at Nudie's back in the ‘70s, knew him and he had tapped her to write his memoir with him. So she has hours and hours and hours of taped, uh, recordings with him telling his fascinating story about being an immigrant as a young boy from the Ukraine to New York, all these ups and downs. He went through very colorful stories that finally landed him in Los Angeles in the late forties and started his shop and started making outfits for all these Western swing performers. Tex Williams was his first. So we teamed up and started talking literally back in 2002 about, Oh, we should do a project together about Nudie. Should we do a book, because should we do a film? And so literally, all these years later now, we've actually started working on our documentary. In the meantime, I had worked on several documentaries over the years as a consulting producer and producer on lots of music documentaries that have been on PBS, etc. So I had that experience. And then Trina has worked in the film industry over the years as well. So we were able to kind of combine our passion for Nudie and his incredible clothing and some of the other outfits were made by some other great, also immigrants from Eastern Europe. This guy named Turk who was out on the end. VanNess was the first one. His shop opened in 1923 and then back in Philadelphia on the East coast rodeo. Ben had a shop beginning in 1930 all three of them in Nudie where they came from. Eastern Europe was young boys, young men, and then also the whole story of the immigrants from Mexico. Manuel who still at age 86 is designing these incredible outfits in Nashville. He worked with Nudie and Heimaey Castenada who is still right there in North Hollywood, making incredible outfits for Chris Isaac and Billy Gibbons and Dwight Yoakam. So it's a bigger story. Even then I realized as far as it's a story of immigrants coming to this country and creating the iconic American look, the rhinestone cowboy outfit. Right. So go figure. Passionistas: Looking back on your journey so far, is there one decision you've made that you consider the most courageous? That sort of changed your trajectory? Holly: Oh, I guess it was just picking up and moving to New York city with, I had a little audio cassette player. You remember those? It was even pre Walkman. I had that. If you could set mix tapes or suitcase and that was it. 500 bucks, maybe 700 I don't know. Just kind of moved to New York and I mean, I think, I guess that was the smartest thing I ever did because basically in New York I made lifelong friends. I met my husband, he was playing in a band, the flesh tones. Um, we were on a double bill. My band does for line. So that's how we met in the 80s all these passions, some of which I had as a young girl growing up in North Carolina, I was literally able to materialize into projects, into a lifestyle and into a livelihood. I mean, gosh, I mean, how lucky am I that that happened? Things that could have just been a hobby actually became a way of life and an occasional paycheck here and there. So I feel very, very lucky. And I think moving to New York city, almost at a whim, I went to school at the University of North Carolina, Chapel Hill. So I had two sides of my personality, the former hippie Janice wannabe, and the punk rocker. So when I was going to leave Chapel Hill, I'm like, well, I'm either gonna move to New York City or Key West. So I think it's a good thing. I moved to New York city. Passionistas: What's your secret to a rewarding life? Holly: Again, and I teach, I tell my students this, whatever you do, if you can pursue it with passion. You guys nailed it with the name of your podcast. Because if you can approach even, you know, path things with passion, you know, with anger or … of one with passion, I think, you know, whatever it is, if you can just engage and be passionate about things that's going to enrich your life. I mean it can maybe take its toll on you too. But I think how that kind of feeling and motivation that you're driven by the passion of whatever it is that you're thinking about or wanting to learn about or whatever, you're going to do a much better job with whatever it is you're pursuing. Passionistas: What's your definition of success? Holly: I guess success is not only attaining a goal that you had for yourself, but within that goal also having happiness and a good state of mind about it. Because I think horribly, you know, in our culture, a lot of people that find certain success, you know, material success or even career success, there's other aspects of their life that is not working out too well. So that's not really success is that I think you have to put all the parts of the puzzle together so that they're all kind of working out together to really be successful. It's tricky. It's difficult because life has a way of throwing lots of curve balls at ya. Passionistas: So what advice would you give to a young woman who wants to be a journalist or an author? Holly: First off, subscribe to your podcast. And seriously, I think surrounding yourself or finding out about or listening to other people who are passionate about things that you're interested in doing or even if it's something different, but people that their passion is driven them to be successful or to work towards attaining success, that that can be very inspirational and motivational for them. And then also not just do things through rote or whatever. You have to really find something that energizes you and does and passion you to want to pursue it, and I think that's really important and not do something just because you're supposed to or someone tells you you should do this, but you have to really find things that are going to bring you fulfillment. Passionistas: Thanks for listening to the Passionistas Project Podcast and our interview with Holly George-Warren to find out more about her latest book, “Janice: Her Life and Music,” visit HollyGeorgeWarren.com. And don't forget, our quarterly subscription box The Passionistas Project Pack goes on sale October 30th. Each box is filled with products made by women owned businesses and female artisans to inspire you to follow your passions. Sign up for our mailing list@thepassionistasproject.com to get 10% off your first purchase. And be sure to subscribe to the Passionistas Project Podcast so you don't miss any of our upcoming inspiring guests.

I got a chance to chat with Nikki Barber of The Minks recently and we chatted about their newest release coming out on Cafe Rooster Records. It's a great album with a really unique sound. Nikki has all kinds of cool influences that you can hear in her songwriting ranging from Led Zeppelin to Patty Smith. The music has a 70s Rock Psychedelic feel that blends well with a modern alt-country sound. They're a really cool band, check em out!

Muitos assuntos: os livros de Patty Smith, os livros de Patrícia Mello e mais alguns papos soltos com Marcelo Pires. PS do PS do PS é uma coprodução de Marcelo Pires com America Podcast. America Podcast é uma plataforma e produtora de podcast como séries autorais e também para marcas. [...]

In The Trenches w/ @GregKoch1 and @NDKalu 6/17/19The Texans GM search continues (0:00)The Astros fall to the Reds after a 52 minute rain delay (8:05)The truth about Brian Gaine's firing may never come out (31:59)Patty Smith from the Harris County - Houston Sports Authority joins Greg and ND Live In Studio to discuss the Houston Hall of Fame Ring Ceremony (41:39)Why is everyone freaking out over LaVar Ball's comments, they weren't offensive. (1:07:01)Kawhi Leonard's Parade Speech In Toronto (1:17:22)

Les nouveautés rock sont nombreuses encore cette semaine ! Après les chansons de Matt Surfin, Jean Leloup, Sara Dufour, Brass Box et Better Oblivion Community Center, on se verse une camomille bien chaude le temps de reprendre nos esprits et d'écouter Julia Jacklin, Patty Smith et Twain, et de revisiter le mythique album The Soft Bulletin des Flaming Lips. L'intensité reprend le contrôle de l'émission en fin de parcours avec un virage rock des plus lourds : Gold fait place à Pelican avant que les cris stridents de Cocaine Piss et Warforged viennent nous faire saigner des oreilles ! Bonne écoute de cette émission diffusée LIVE sur les ondes de CIBL 101,5 le lundi soir.

Vandaag in het teken van 1 APRIL, Fools in Love. Je hoort muziek van Patty Smith, Passenger, Anouk, Joe Jackson, Gregory Porter, Keith Jarrett en Kurt Elling.

On this episode, Nicole and Ali share #meltdownmoments, talk about what they have been up to. Ali talks about her side hustle game and tries out being a ghostwriter for a dating website and Nicole talks about going her intentions going to TravelCon and blunders with writing. Laughter ensues. People/things mentioned in this episode: Lighthouse of the Blind http://thelighthousefortheblindinc.org/ (http://thelighthousefortheblindinc.org/) Melanie Wimmenaur @melaniewimmenauer Al Simmons Sound Swiped documentary about modern dating https://www.imdb.com/title/tt4867110/ (https://www.imdb.com/title/tt4867110/) TravelCon https://travelcon.org/ (https://travelcon.org/) Book Reommendations     Just Kids, by Patty Smith

Glenn kicks off Soccer Matters with talk of the UEFA Nation’s League. He recaps the games and gives his thoughts on all the action thus far. Glenn talks about the Houston Dynamo and their struggles against LAFC. He ponders if the season is a success or a failure for the Dynamo since they won the Lamar Hunt Cup but have troubles in the regular season. Glenn recaps Usain Bolts’ two goals from this past weekend. Patty Smith from the Harris County Sports Authority joins the show to talk about Houston Sports.

Stephanie Szostak stars on A Million Little Things, a TV show that shares the story of a group of friends in the wake of suicide. I'm honored to have Stephanie on the show to bring mental health into the light during Suicide Prevention Awareness Month. We'll also talk about her life, inspiration, work (Dinner for Schmucks, The Devil Wears Prada, Iron Man 3!) and how she became a fan of the Live Inspired Podcast. SHOW NOTES: Take our survey to be entered to win autographed goodies from past guests!  Stephanie shared that the director wrote A Million Little Things to honor his friend who died by suicide + hoped it would create opportunities to start conversations about this difficult topic. "You only live once. It's an adventure! It will be great for the kids to see their mother pursue her dreams." The support her husband shared when taking a role that entailed commuting. "You will always know what is right from wrong. You won't always do it, but you'll always know." "Be curious and don't judge." "Working on Iron Man 3 with Robert Downy Jr. was like doing a dance with an unbelievably talented and generous partner who led you. It was a really incredible experience."  "Show your vulnerability. We think it makes us weak, but it makes us free. It is courageous." What would you say to someone going through a hard time? Talking is helpful. Sometimes we don't want to open up or be a drag. Pick up the phone, go to therapy, speak to somebody, so that you can get a tool to brighten your day and change your mindset. STEPHANIE SZOSTAK'S LIVE INSPIRED 7 1. What is the best book you’ve ever read? The Seven Spiritual Laws of Success by Deepak Chopra. It changed my life. And The Power of Now by Eckhart Toehl. 2. What is a characteristic or trait that you possessed as a child that you wish you still exhibited today? Playfulness, as a mom when I am caught up in the domesticity of life, cooking dinner and all this, I wish I would just let go and be more playful. 3. Your house is on fire, all living things and people are out. You have the opportunity to run in and grab one item. What would it be? The old family pictures on our book shelf and passports. 4. You are sitting on a bench overlooking a gorgeous beach. You have the opportunity to have a long conversation with anyone living or dead. Who would it be? Bob Marly, Mick Jagger, Patty Smith and my brother! We're looking at the ocean. They're all such poets and free spirits the conversation just starts; life, creativity and love. And I am in heaven listening to all of them. 5. What is the best advice you've ever received? To do the exercise called the Impossible Future. My husband and I went into different rooms and answered: "If there were no obstacles and anything was possible, what would every aspect of your life look like?" Then share it. It's a great way to get to know each other. Also, give to each other without expecting anything in return or calling out what you did. 6. What advice would you give your 20-year-old self? You don't know who you are yet. It's okay. Take your time and be curious. 7. It’s been said that all great people can have their lives summed up in one sentence. How do you want yours to read? She did it her way and inspired others to do the same. *** If you enjoyed today’s episode: Subscribe, rate & review wherever you get your podcasts. See you here next Thursday! Live Inspired with John every day on Facebook, Twitter, YouTube, LinkedIn, Pinterest, Instagram and get his Monday Motivation email: www.JohnOLearyInspires.com/Monday-Morning

This roundtable discussion included the following featured speakers: Cynthia Marsh, Professor of Art, Founder of the Goldsmith Press & Rare Type Collection, Austin Peay State University (Clarksville, TN); Rebecca Michaels, Associate Professor of Photography, Tyler School of Art (Philadelphia, PA); Patty Smith, artist, printmaker, book artist, and professor of Fine Arts, Printmaking at The University of the Arts (Philadelphia, PA). Moderated by Tony White, the Florence and Herbert Irving Associate Chief Librarian at the Thomas J. Watson Library, The Metropolitan Museum of Art, will serve as moderator. Co-presented with the Center for Book Arts; the New York City Chapter of the American Printing History Association (APHA); Small Editions Artist's Books; and Theta Chapter, Beta Phi Mu Honor Society, Pratt Institute School of Information.

Magnus Zackariasson, poet och musiker, pratar jag med i säsongens sista avsnitt. Han berättar bland annat om skillnaden att skriva låttexter och dikter. Vilka av dagens svenska låtskrivare han tycker är i samma som är i klass med Carl Mikael Bellman och Evert Taube. Prenumerera på iTunes  / På Acast  / På Soundcloud Magnus Zackariasson berättar om sin nya diktsamling, sitt diktande och delar med sig av ett skrivtips och tipsar om poeter du inte ska missa. Vi pratar en hel om svensk och amerikans hiphop och Eva Dahlgren och Patty Smith dyker också upp i samtalet. Anarko Haiku Birk Andersson läser dikter ur sin diktsamling ”Anarko Haiku”. Upplysta mörkrum Avslutningsvis läser Stefan Albrektsson tre dikter ur sin diktsamling ”Upplysta mörkrum” där också Gunnar Sjödin medverkar med konstfoton. Min stol knarrar lite här och där i avsnittet. Jag lovar att jag ska fixa det tills vi hörs i slutet av augusti eller i början på september! TYCKER DU OM DET DU HÖR I POETPODDEN? Swisha 20 kr eller mer till 123 540 62 85. Bankgironr 743-0804 om du hellre själv vill sätta pengarna. PayPal, 20 kr eller mer till irene@poeten.se. VIKTIGT! Tycker du om Poetpodden och att jag gör ett bra jobb? Gå då in på iTunes skriv en kommentar. Varför? Det är ett bra sätt att få podden att nå ut till allt fler lyssnare. Glöm inte heller att kommentera här i bloggen. DELA, DELA OCH DELA Hjälp mig att dela det här inlägget och alla andra du lyssnar på i dina sociala medier som Facebook, Twitter och alla andra. Då hjälper du poesin att få vingar. LÄNKAR TILL INNEHÅLLET: Poetpoddens blogg: https://poeten.se/ Magnus Zackariasson: 2066: https://www.facebook.com/2066publishing/ Trots allt det andra vi leker i vinden: https://www.2066.se/trots-allt-det-andra SkrivarSidans dikttävling 2018: https://skrivarsidan.nu/tavlingar/skrivarsidans-dikttavling-2018.html Stefan Albrektsson: https://www.poeter.se/Medlem?author_id=43361 Upplysta mörkrum: https://www.poeter.se/Utgiven+Bok?author_id=43361&published_book_id=602 Birk Andersson: https://www.poeter.se/Medlem?author_id=89230 Anarko Haiku: https://fripress.se/titlar/#!/products/anarko-haiku.html Skicka in frågor och dina egna inspelade dikter Så skicka dina egna dikter och frågor om poesi till Poetpodden Facebooksida: https://www.facebook.com/poetpodden Kontakt via e-post: podden@poeten.se Twitter: https://twitter.com/poetenirene Magnus Zackariasson, poet och musiker ÄR AVSNITT 47 I POETPODDEN Fler avsnitt i Poetpodden

To start the show, Nate and Creight try to conjure up some sports talk as they volley some banter back and forth before ripping into Major Applewhite's comment on the Kendal Briles hiring. As the show continues, they discuss the aftermath of the horrific Larry Nassar case, the relaunch of the XFL, and the controversy surrounding Ravens CB Marlon Humphrey. To round out the hour, they are joined by Patty Smith from the Harris County Houston Sports Authority to talk about the Houston Sports Awards on February 8th.

San Francisco's Magic Theatre Artistic Director Loretta Greco talks about her friendship and work with the late playwright, actor, author, screenwriter and director, Sam Shepard, who passed away on July 27, 2017 at the age of 73.Transcript:Speaker 1: Method to the madness is next. You listening to method to the madness, a public affairs show on k a l x Berkeley Celebrating Bay area innovators. I'm your host, Lisa Keifer. And today I'm speaking with Loretta Greco, the artistic director of San Francisco's magic theater. We'll be talking about Sam Shepherd, one of America's greatest playwrights who passed away this year, July 27th, 2017 at his [00:00:30] home in Kentucky due to complications of Lou Gehrig's disease at the age of 73. Sam Shepard spent a decade as playwright in residence at San Francisco's magic theater. Loretta, thank you for coming over here. My pleasure. And I just want to talk about Sam shipSpeaker 2: because I feel like if people pass away and then it's over, I have to talk about his work. And you actually worked with him for several years. How did you [00:01:00] meet? Well, I should back up and say that I had been reading about the magic theater in San Francisco my whole life. I grew up in Miami, went to school in New Orleans, Washington, New York. And it was because of Sam, uh, you know, uh, John Lyon gave Sam a residency there for 10 years, starting when starting in 74 to about 84. But that's where he wrote bury child and full for love and true West family trilogy, family trilogy, and probably [00:01:30] well undoubtedly plays that are going to go on forever. And, uh, and so when I got here 10 years ago, I started looking for Sam and he, he was, he, when you say you were looking for him drop, what do you mean?Speaker 2: Well, I mean, literally I got there and there was like no number, no, like it was there. It was a lot of fun tracking them down. And I finally, um, I went through his agent and Judy Dolan and she sort of was a great like guard dog. So I had to meet her and then she said, [00:02:00] Oh yeah, yeah, Sam will love you. And so, but you said you're on your own, you know, here's this number. You have my blessings, good luck. And, um, when we finally reached each other about five years ago, six years ago, he just, he was incredible. He was just so real. And so we, I was reaching it because I wanted to celebrate him while I was still around and you had just taken over the magic taken over. And I wanted [00:02:30] to do a shepherding America where we went through all of his major plays and, um, but I didn't want to do it if he didn't want to be a part of it.Speaker 2: And, um, so that's why I was reaching out to him. Boy, it was just something meeting him. He came out and he did an evening where he just read from his work and Lisa, it was incredible. And that's when we spent about five days together. And then, you know, he, he surprised me several times in San, like he'd just show [00:03:00] up. Um, and then if he was in New York and I was in New York, we would see each other there. So he was just, he was so incredibly kind and generous and I think, um, a lot of other things as well. But I think those are the things that you don't hear about him as much. Um, he's just incredible. Let's talk about his work just a bit because I feel like he's one of our greatest absolute rights. What is it that you find or found in his work that made you want to seek him out?Speaker 2: [00:03:30] Well, they're inexplicably, they are, um, not, they are plays that are not meant to be understood, fully digested, wrapped up in a big bow. They're works that are there to make you feel and to lean in. They're muscular, they're visceral, they're active, they are totally active. And um, I just, I got in a huge argument once with the patron, cause I said [00:04:00] Shepard is without a doubt our greatest American. Dramatist and um, you know, she took me on. What about Miller? What about Alby? And I said shepherd has been writing. He's, he wrote into his six decade, he wrote, since he was a little, you know, late teens, he wrote 55 plays. He wrote screenplays. He has five collections of pros, like the sheer magnitude and depth of that work. I mean there isn't [00:04:30] a canon like it. Actors kill to play these roles. I mean, you know you fell in love with them. I do. You know, through his work. I mean you can't, my introduction was true west and I was so blown over and then that led me down the path.Speaker 3: Are you crazy? You went to college [inaudible] you're rolling in the docks floating up and down in elevators and you want to learn how to live on the yaks. Yeah, I do [00:05:00] lake. Hey, there's nothing down here for me. There never was when we were kids here was different. There was a lights here then. No, no. I keep coming down here like it's the 50s or something. I get off the freeway and familiar landmarks. They turn out to be unfamiliar on my way to do these, these appointments. I wondered on the streets, I thought I recognized they turned out to be replicants as traits. I remember streets I mr member streets. I don't know if I lived out of her. If I saw [00:05:30] him in a scary field, the just don't exist. There is no point in crying about that as not been rammed down their lien. Please dear mommy, I can't save you and you can let me come with you guys. Let me come with the weight that I choose to live in the middle of nowhere. Huh? You think [00:06:00] it's some kind of philosophical decision I took. Boy, I live out there. Be Cold. I can't make it here.Speaker 2: Jessica Lange said that no man she had ever met compared to Sam. In terms of maleness, what do you think about that statement? You know, um, he had it going on until the last time I saw him and I saw him when he was sick. I said, what do you think she meant by this wellness? He is [00:06:30] profoundly male. He is. Um, first of all, he was a long, tall drink of water, man. He just, I'm, I'm five, nine and he made me feel small and that's great. And he's just, I mean, come on. He hunts. I, I can't, it's so [inaudible] reminds me of, he reminds me a lot of William Faulkner, the way they live, the way they drank their maleness. And what they said about [00:07:00] the myth of the American dream? Well, exactly. I mean, I think the thing about Sam was he was the iconic marble man.Speaker 2: I mean, he, he hunted, he, he, he smoked, he drank. He, um, he rode horses. He loved his horses, he loved his dogs. He, um, he was just incredible and he lived so long that he really did experience the west, that old mythic west and [00:07:30] the promise of the American dream. And then lived to see that promise reneged, you know? And so I think that, um, he also, he turned heads everywhere. He went. I mean, we'd be sitting in a diner and people would come up and say, are you Sam Shepard? And they'd be in their teens all the way to women, much more mature. Um, what was it like for actors to work under his direction? Did you [00:08:00] observe that? I knew several, and I think that actors loved him because, because a, he was an actor and a fine one, and he understood and respected the craft.Speaker 2: And so he guided with a loving, gentle hand, but he didn't get in people's way. He knew that if he laid a little path that people would find their own way. And so he wasn't a micromanager. He really [00:08:30] let people soar and find their own, their own journey to his characters. And he said once that he assumed that if you are, if you're doing this, and you must understand what I'm saying. Yes, yes. And speaking Sam's words like that's come on. Malcovich um, James Gammon, um, uh, uh, ed Harris, Kathy Baker. Um, these are people that were drawn to that [00:09:00] muscularity and lived for it. And it, I think that Sam and that work baked a kind of muscularity into the magic into Steppenwolf so that then it set the bar high in terms of what theater really was and what you needed to feel across the boards for it to be viable. And he never stopped writing.Speaker 1: If you're just tuning in, you're listening to method to the madness. Public Affairs [00:09:30] show on k a l x Berkeley Celebrating Bay area innovators. Today we're remembering Sam Shepard and talking with Loretta Greco, San Francisco's magic theaters, artistic director, Sam Shepard's association with the Magic Theater included 24 productions in total. He spent a decade as playwright in residence where he premiered his master works buried child, true west and fool for love. He returned in the year 2000 [00:10:00] to direct the world premier of his work, the late Henry Moss. And he had just written a fictional [inaudible]Speaker 2: book, which is kind of autobiographical in his last year. The one inside was published last January and he wrote it while he was sick, but he wrote it and it's astounding. The particle of dread was published a [00:10:30] couple months later. That was his re dreaming of Oedipus. And he did it in dairy Ireland with Steven Ray. It's an incredible script and his latest spy of the first person has just come out. It's being published months after his death. He was working on this as he was sick. He was recording it and he was dictating to Roxy and sandy has two sisters. And um, and it's my understanding [00:11:00] then his daughter. And, um, and then Patty Smith worked with them on both the last two novels to help that it, they go way back and they remained such close friends. And so, I mean, who does that? I mean I just, I opened this book, I wanted to look at the letters between Sam and Joe Chaikin before I came here and look at what he opens this with.Speaker 2: It's a Brecht who he loved Brecht and Beckett. This is [00:11:30] his opening quote. You can make a fresh start with your final breath. Oh, that's, that kills me. Yeah. He never stopped. The last time I saw him was the day before he left for Kentucky. I sat with Sandy and Roxie and Sam and my partner mark in Healdsburg. And um, Sam was writing, we talked about Beckett. We talked about where do you think the Beatles came up with the lyrics for blackbird? He was contemplating all these things [00:12:00] and he said to me, can you believe it? I'm still writing. I'm not stopping. I can't stop. I mean, I think this is the thing about Sam. He was profoundly himself from the beginning until the end. Flawed and damaged and chasing a dream of America that did not exist any longer and chasing the tail of his father.Speaker 2: And he did it honestly, humbly and painfully. And I love him for that. [00:12:30] He never made facades. He never hid. He was profoundly himself till the end. Yeah. What was your favorite of his works? Well, you know, it's funny, I would have, if we had talked a year and a half ago, I would've said Barry Child, because I have, I have loved that place since I read it 1978 and didn't know what the heck to make of it. And I kept reading and reading and I finally directed it and I thought, oh my gosh, it's like king lear. It's like you could direct it five times. Yeah. [00:13:00] Just start to, to grasp the, the depths of the meaning of that play. But I did full for love last year and I have to say, Lisa, it was like working on a Beckett play. When you work on Beckett, you think you know a little something and then you get in rehearsal and you realize you know nothing.Speaker 2: And every day it's like an archaeological dig and you learn a little more and you make a discovery and that leads to 17 other big deep questions. Working [00:13:30] on fool for love was one of the joys of my life because it was also, I mean, Sam never shied away from taboo. Right. So it's a love story about siblings and um, see this is where I see the Falkner connection. Yeah. Because the more you read say an Absalom, Absalom, you know, it's about incessant and family. It's about miscegenation. I mean it's about all these things and every time you read it you see something else, [00:14:00] a real artist. That's what you feel when you read it. It's new every time. Every time, every 10, it will be a new play. I really do feel like fool and berry child and true west, if there's a bottle that gets dug up centuries from now, those are going to be in it.Speaker 2: I mean, they're going to talk about who this country was and what, what our goals were, what our aims were and how broken hearted and yet undaunted the human American [00:14:30] spirit thing is. He got to appreciate the world's appreciation of him pretty early on. Like you say, when you met him, you sensed the honesty and the appreciation. He was one of the shyest people I'd ever met for him to do an interview for me to convince him to do an interview with Rob Harwood at the SF chronicle. I had to agree to come and sit with him and he, he detested post show talk backs. [00:15:00] He didn't want to talk about the work. He didn't, you know, if you asked him what is it about, he would say, Oh, if I knew I wouldn't have to. Right. And so he, he was uncomfortable in a way with the kind of fame, but I, you know, like [inaudible] I think he appreciated, the thing is he got that Pulitzer early, that was 79 for a play he wrote in 78 and [00:15:30] I think, you know, it's funny because he said to me once, I don't know what all the fuss is about those plays, they're just plays.Speaker 2: I wrote when I was a kid, you know, [inaudible] you know, but, but that wasn't him being self-deprecating. That's really what's really lad. And I mean he was so comfortable in his skin as a human being and as a male. But as a, as an actor, as a, as someone who was famous, I never saw him and joy that in the way [00:16:00] I did. Interesting that he moved easily between his literature and film and his acting and acting. You know, that's not easy for a lot of people to go in between those. I know. And, and it's interesting because he was up for an academy award the same year that he won the Pulitzer. And I think that the acting informed the writing and the writing informed the acting. And that's the thing about the writing. There's [00:16:30] not an extra syllable. I mean there just really isn't. And he wrote Paris, Texas and many other Oh, absolutely.Speaker 2: Films. So he really knew both sides of the camera. And I have to say the pros, his five collections of pros, um, motel chronicles and, and cruising paradise and dad of days and, and great dreams of heaven. Those, we would read them every day. Every time I was in rehearsal for live the mind for Barry Child for fool, for love, [00:17:00] for a big Sam Festival we did on a 70th birthday, we would start every day by opening the books and reading his prose, short little pieces that were all about this country and they are magnificent and a completely different discipline. That's one of the hardest, you know, that's one of the hardest short stigma. And I think, I think if there was one thing he wouldn't mind me saying is that he wanted [00:17:30] to crack the long form novel and he felt like he never did. He wanted to write something that was longer form and it just kicked his booty.Speaker 2: You know? And, and he talked about that several times with this before or after he had written the, the, the novel, the fictional, the novel, the, I'm one inside, and I haven't read this by the first person, but, or spy of the first person. But the one inside is like a little novella. It's, it's [00:18:00] naked. It is so unbelievably transparent about him and his dad, him and his dad, him and his women, him and his drinking. Maybe our listeners don't know about his relationship with his father. Maybe you can tell it was, um, I learned part of this from Sam. The last time I saw him. I didn't know that his dad was a Fulbright scholar. He told me his dad was a, was an absolute learn it man. And [00:18:30] he knew he was a bomber pilot. He went to war and he came back and, um, he, he was lost it to his dad and it really destroyed him.Speaker 2: Sam's, you know, his family was, you know, his mom was a rock and his, you know, his home was full of violence and alcoholism. His Dad, I mean, if, you know, lie of the mind, you know, it's a pretty, pretty, uh, close to Real, you know, [00:19:00] portrayal of how his dad died in the middle of a highway, run down drunk. And, um, and Sam will talk about it, you know, um, in, in, uh, in a variety of ways. But I think that his dad's heart ache and his dad's being destroyed and, and that being present in his household. I mean, Sam writes about finance and m knows it firsthand and I think that he wanted more time [00:19:30] with his dad. His Dad was a man of very few words and I think that Sam spent his entire life trying to figure him out.Speaker 4: Yeah. I grew up in this, this World War Two world where the women were continually trying to heal up the man, you know, and, and suffering horribly behind it. Now, I don't know why that came about, but I have a strong thing that had to do with World War II. These men returned from this sheer ROIC [00:20:00] victory of one kind or another, and entered this Eisenhower age and were devastated in some basic way. You know, I mean, almost all those men that, uh, that, that were of my father's generation seemed like they were devastated in a way that, that it's mysterious still and the women didn't understand it and the men didn't understand it. So the, the, the, uh, the medicine was booze for the most part. Boots. It suddenly occurred [00:20:30] to me that I was maybe avoiding a territory that I needed to investigate, which is a family and add voided for, for quite a while. Because to me it was, it was, it was a danger in, in, I was a little afraid of it, you know, particularly around my own man and all of that emotional territory. You know, I w I didn't really want to tip toe in there and then I said, well, maybe a better,Speaker 2: and he, he also [00:21:00] wrote about how you really never escape the past, the history. No, and I think that, you know, sometimes people think about him and his images stick dialogue, which is absolutely unparalleled. But for me, in all of these mediums, Sam is digging up our primordial pasts. He knows that you can't take a step forward without the ghosts of what came before. And he knew that as a young writer [00:21:30] and he never forgot it.Speaker 4: I do honor the ones that have come before me, you know? I mean, you know, it's ridiculous to think that you're, uh, you're, you're, you were born out of thin air. There's, there's, there's things that, uh, there's ancestors, you know, and uh, if you don't honor your ancestors in the real sense, [00:22:00] you, uh, you're committing a kind of suicide. Yeah.Speaker 2: Do you have a story that you can tell us about you and Sam that you wouldn't mind sharing maybe no one else in the world knows about? I'll tell you two things. One is that I had loved his writing for so long and when we finally met, I picked him up at the cleft. It's funny because I got him this beautiful sweet that was basically like an apartment [00:22:30] with views, almost three 60 of the city at the top of the cliff hotel. And I picked him up there and met him in the lobby and I was taking him to see a show and we would then spend almost a week together and get to know each other. But I was so nervous and he was nervous. He said he, he's, he was late and he said, I got in the elevator and I just couldn't figure out all those buttons.Speaker 2: And he said, next time I do not want to be in a fancy hotel, I want [00:23:00] to put me up in a Ho motel, right by the water, by the magic or just on the other side. And I was so nervous, Lisa driving him that I turned the wrong way on Franklin. I've been driving on Frank Lennon golf since I moved here. I knew one goes north and one goes south. I turned onto oncoming traffic. I was just beside myself. I was so nervous. There was no one in my life that I would have been more nervous about meeting. [00:23:30] And you know, we hung out in the theater and just talked and talked one day and I'll tell you, I just, I grew to love him and, and he, the thing about him is he was just profoundly real and he wanted to make sure I was too.Speaker 2: And so one time in New York I met him and I was supposed to go to a matinee and he just, we were supposed to have a quick tea. We ended up having lunch and just, and I asked him about Joe Chaikin and he started to talk about [00:24:00] making tongues and savage lab, which made it at the magic and with Joe and Lisa, his eyes brimmed with tears talking about how humbled he was to be in a room with Joe, let alone making something with Joe. And if you read their letters back and forth, you know, they had an extraordinary relationship. Betty talked about that time and then he, he started [00:24:30] talking about back at any, started reciting back at just off the, I mean off the cuff. And I was sitting there listening to his stories and I just, I thought, I don't ever want to get up. Like I just don't want to leave him. He loved making theater so much and he remained in awe of the masters and in awe of all those Irish cats. And [00:25:00] um, but him reciting back at that was, that was a highlight for me. Yeah, that's pretty great.Speaker 4: It's very interesting to me, aloneness. Very interesting. Because it's always this balance between aloneness and being a part of a community or a part of, you know, it's always been interesting from the very start is this exile. That's what Beckett is so powerful. I said, [00:25:30] you know, he's bad. It's all about Exxon. It's about banishment about being cut away. Uh, and then at the same time having to take part in it.Speaker 2: Since he had kind of a, well, he had a bad relationship with his father. Was he able to bridge that and get past that and have a good relationship with his own kids? I wish that I could speak to that personally. What I'll tell you is, man, he loved Jesse and Jesse loves him and I know all of his kids, [00:26:00] Anna and Walker. I mean they were there the whole time. And, and what I know is Sam speaking of them and he often said, it's, it's a wonder that Jessica and I turned out to have the greatest, most sane human beings ever and a miracle that Jesse is as extraordinary a man and father as he is. And Sam once said to me that just hearing the sound of his daughter's voice set him right every time. So I know, I mean, I [00:26:30] think that he was just, that he was mythic, that he was interested in things larger, you know, than a kitchen table story.Speaker 2: And I think, um, the size of him, the size of his is gonna live on. And I think that people are going to, when they think about the American spirit, I really do think they're going to call upon his, his Canon of work, which is unparalleled. Again, 55 plays five collections of prose. And he played [00:27:00] over 50 roles on film. Yeah, I mean it's just, there hasn't been an artist like him and I, I really don't think there'll be one. Again, are you going to be doing anything coming up? We're going to do something at the very end of the season to commemorate him. Mike, a big Rawkus memorial and when you say end of the season, but it would be in May. And then we're going to set an annual celebration of Sam on his birthday at the magic every November [00:27:30] 5th, and we're hoping it'll be like Bloom's day. Like everybody getting together to read Joyce on, uh, on Bloom's Day. We want to get together and just have a community where people just pick up Sam's work and read it aloud and that every year we can hear his words hit the air and be reminded of their power. Loretta, it's so great to talk to you about Sam Shepherd. Thank you so much for coming on method to the madness. You are so welcome.Speaker 5: When you die,Speaker 2: [00:28:00] go straight to heaven or hell.Speaker 5: When you die,Speaker 2: disintegrate into energy.Speaker 5: When you die, who are reborn into another body. When you die, you turn dished. When you die, you travel to other [inaudible]Speaker 2: planets.Speaker 5: When you die,Speaker 2: you get to start all over.Speaker 5: When [00:28:30] you die, get marked in the book. When you dry,Speaker 2: rejoined with your ancestors.Speaker 5: Where'd you die?Speaker 2: Oh, your dreams will come true.Speaker 5: When you die,Speaker 2: you speak to the angels.Speaker 5: When you die, he'll get what you deserve when [00:29:00] you die. It'sSpeaker 2: absolutely the finalSpeaker 5: when you die and never come back. When you die, you die forever. When you die,Speaker 2: it's the end of your life. You've been listening to method to the madness. A public affairs show on k a [00:29:30] l x Berkeley Celebrating Bay area innovators today show was all about Sam Shepherd. You can find all of our podcasts on iTunes university. We'll seeSpeaker 6: you in two weeks. [00:30:00] [inaudible]. See acast.com/privacy for privacy and opt-out information.

Legendary Punk Photographer Theresa Kereakes had a show at Get Hip Records in Pittsburgh PA. One look at her photos and one conversation i knew i had to chat w her. She documented the LA punk scene in the very early days and got the photos and saw the shows and knew the people that any fan of that era would kill to have shot, witnessed and been down with. This conversation is unedited and sprawling and it touches on the likes of Nietzche, Patty Smith, LA Noir as well as many other punk rock thisses and thats. The Podcast here between Jaybo and Theresa Kereakes was recorded on a macbook pro in the live venue and art space provided by Gregg Kostelich of Get Hip Records. Enjoy! J

In this episode we visit Chuck Olivia and Patty Smith in their home to talk about the upcoming Amelia Island Rendezvous Film Festival and their documentary highlighting the local music scene, O Amelia! The Rendezvous Film Festival is celebrating 10 years! The festivities begin on Thursday, Nov. 16th. There is a line-up on films and … Continue reading Episode 23: Chuck & Patty & The Rendezvous Film Festival →

Session guitarist Tim Pierce has played with Rick Springfield, Bruce Springsteen, Bon Jovi, Johnny Van Zant, Meat Loaf, Patty Smith, Joe Cocker, Michael Jackson, Madonna, Tina Turner, Rod Stewart, Roger Waters, Ricky Martin, Celine Dion, Eric Clapton, The Doobie Brothers, Elton John, Alice Cooper, Shakira, Carlos Santana, Ozzy Osbourne, Tracy Chapman, Phil Collins and many more. Recorded in October 2017 in Los Angeles.

Marko Babineau is one of the original rock music promoters. He has worked with artists like Patty Smith, Joe Jackson and The Kinks as well as touring with Aerosmith, Guns N Roses, and The Police.   Marko shares his unlikely start in the rock world, an amazing tribute to his late wife Lauren plus an amazing philosophy on how to really live. He dishes on what The Police were like, how long it took to break Guns N Roses and the shocking things Patty Smith would do on stage.   Band Or Bar takes place in Reykjavik, Iceland thanks to our last guest, Ian Bagg. Plus, his first concert is surprisingly….NOT a rock concert. Catch up with Marko on Facebook after getting the inside scoop of some of rock music’s favorite artists.

Jim DeRogatis and Greg Kot from the rock n' roll talk radio show Sound Opinions talk about "Walking on the Moon" by the Police, Patty Smith's "Gloria" and how music criticism is all about conversation and connection.

Los amigos Carlos y Sergio del RECORD STORE DAY SPAIN repasan los lanzamientos más sonados del RSD 2017, incluyendo el libro 'Ruta de tiendas de discos independientes'. Suenan y comentamos temas de Five Fingers with Parasol, Pearl Jam, Madee, Sunny Day Real Estate, David Bowie, The Beatles, The Distillers, Astralia, Sex Pistols, Ramones, Ànteros, Patty Smith, The Wax y The Unfinished Sympathy, entre muchos otros. Toda la info en www.recordstoreday.es

Lucy is an artist from Melbourne, Australia who specializes in fine pen and ink drawings.  Her work is a light and dark combination of romanticism, fantasy, and natural phenomenon, offering the viewer a contemplation of life’s infinite beauty and mystery. Full shownotes: http://yourcreativepush.com/lucyhardie In this episode, Lucy discusses: -How her parents built a Waldorf school on their farm and how that influenced her creativity and her style. -Her first show at the age of 23 and her decision to make art her full-time career. -The balance between planning and spontaneity. -How it is actually hard for her to make any major mistakes because of how the work is built up in so many fine layers. -Some of the forms of resistance that she has dealt with, including self-doubt and self-criticism. -Dealing with “the gap” between what you know you have the potential to achieve and what you are currently capable of achieving, especially when you are first starting out. -Making your creativity a habit, like going to the gym. -Being pulled in many directions when you don’t yet have a strong artistic identity. -How Resistance is always going to be there, so you just have to learn to live with it. -The power that can come from simply admitting out loud the Resistances that you are dealing with. -Her advice for someone that is thinking about potentially diving into his or her first show. -How she is inspired by Patty Smith. Lucy's Final Push will inspire you to take your time to develop your skills, and to also be able to answer that big question of WHY are you pursuing this creative passion?   Quotes: “Creativity was encouraged but being an artist and doing that as a profession… that was a whole other idea.” “It’s always a process.  I learn from each piece and ask, “What would I do differently next time?” “Especially when I was starting out, I experienced a lot of self-doubt and self-criticism.” “I always find it hard to just do the work and be imperfect, especially if I’m trying something new.” “I see it more as a challenge that I like to take on.  Rather than resisting criticism or negative feedback from others, I say “bring it on,” because it is going to help me grow.” “I view Resistance as something that’s always going to be there.  I’ve never gotten rid of it.  So my take on it is how can I be better at being with Resistance?  Because going to war with it just doesn’t work.” “It’s really helpful to have someone to talk to who doesn’t buy the bullshit.” Links mentioned: Just Kids by Patti Smith Patti Smith Interview: Advice to the Young [YouTube] Connect with Lucy: Website / Facebook / Instagram

Mapplethorpe, Patty Smith incontra Robert, Vivian Mayer

Born in Mississippi, raised in Pennsylvania, Patty Smith now calls D.C. home. It’s here where she’s spent the last decade selling Street Sense. She started in 2005, two years after the paper was founded. Her life, like many struggling with housing stability, was steeped in unexpected setbacks, bad luck, bad relationships, and bad health. The one constant through the tough times has been music -- Patty looooves music. She’s always singing, taking the pain and the grief of life -- the blues --and transforming it into song. Sounds From the Street is a bi-weekly podcast elevating the voices of people engaged with the homeless community in our nation’s capital.

Giacomo Di Girolamo, speaker di RMC 101 - Antonio Pariante, Presidente del comitato civico di S. Maria di Portosalvo, Luigi Vinci, Presidente dell'Ordine degli ingegneri.

Det svåra hundratjugosjätte avsnittet med den fantastiska folk-americana-pop-duon First Aid Kit – alltså Johanna och Klara Söderberg. Vi pratade om lågt blodsocker, familjeråd, vanliga frågor, att skriva låtar på fem minuter visavi två år, hur Johanna låter när hon är missnöjd, att bli beroende av kaffe, bråk, vad pappa Benkt sysslar med medan vi snackar, fördelarna med att dela skivbolag med Bob Dylan och Patty Smith, I hate Johanna Soderberg-bloggen, att vara full på scen, att lasra bort grejer från kroppen, att vara bandets redaktör och givetvis en hel del om var han i Fleet Foxes pluggar. Avsnittet presenteras av Läkerol – makes people talk. Redaktör och redigering: Lovisa Ohlson. Distribution: Acast. (För Android här! Och i App store här!) See acast.com/privacy for privacy and opt-out information.

Solo. We begin coverage of the whole flap over Satanic influences in Rock music which go back to the very beginnings of Rock & Roll. Preachers emphatically warn of all the musical dangers to youth as many examples of the music, from Elvis to Patty Smith, routinely prove them right! If you listen to Rock, you're going to Hell and that's all there is to it. 3 Hours. The post Over the Edge – “Your Music Is The Devil” Part 1 appeared first on KPFA.

This show; Michael and Patty Smith will be calling in to share their experiences homeschooling on a Native American reservation.Dayna Martin will be the guest speaker. Dayna has been vocal in her promotion of unschooling as a way of life and you will understand why when you hear her speak on the topic. She's been interviewed on TV, has a series of segments describing unschooling on youtube and she hosts an unschooling conference cruise every year.So call to speak to Dayna and I at 347-633-9765

This show; Michael and Patty Smith will be calling in to share their experiences homeschooling on a Native American reservation.Dayna Martin will be the guest speaker. Dayna has been vocal in her promotion of unschooling as a way of life and you will understand why when you hear her speak on the topic. She's been interviewed on TV, has a series of segments describing unschooling on youtube and she hosts an unschooling conference cruise every year.So call to speak to Dayna and I at 347-633-9765