Podcasts about Plastic People

This is a free preview of a paid episode. To hear more, visit www.wethefifth.com* We think we *might* have talked about politics in this episode?* Happy anniversary Christian Cooper! * Talking to the dude who made those drug PSAs* The Glug (1981)* 2020: The year that broke America* Burning down the house (almost) * The tax protestor in our midst* Johnny Rotten, Johnny Ramone, the Plastic People, and the politics of punl* Nick of Schumpeterian Gatsby…

Plastic surgery takes center stage—BBLs, nose jobs, fillers, and the rest. Unapologetic, unfiltered takes on the procedures everyone's getting (and pretending they're not).

Wrapping up Earth Month, we're revisiting Jann's conversation with Ziya Tong and her incredible work on the documentary Plastic People. In case you're not familiar, she is an award-winning author and broadcaster, best known for her work with Discovery's flagship science show, Daily Planet, and NOVA ScienceNow on PBS. She is the author of the best-selling book ⁠The Reality Bubble⁠, which was shortlisted for Canada's most prestigious non-fiction literary prize, and won the Lane Anderson Award for best science writing. Ziya served as the Vice Chair of WWF Canada and currently serves as a trustee of WWF International. Ziya co-directed a new documentary called Plastic People: The Hidden Crisis of Microplastics with Ben Addelman, and she stars alongside Executive Producer Rick Smith. Jann, Caitlin and Ziya discuss the dangers of microplastics in our bodies and the environment. Ziya shares that microplastics are found everywhere, including in our blood, placenta, and even the human brain. They discuss the impacts to our health such as increased risk of stroke, heart attack, and cancer. Ziya emphasizes the need for individual and collective action to reduce plastic consumption and advocates for joining organizations that are working towards solving the plastics crisis. Ziya and her team are still raising money for the documentary's impact campaign and they plan to release a podcast to delve deeper into the dark secrets and stories of the plastics industry. You can support the campaign ⁠HERE⁠. Watch Plastic People on CBC Gem: https://gem.cbc.ca/the-nature-of-things/s64e11 Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Here's Hoping, host Jada G. sits down with award-winning broadcaster, journalist, and environmental advocate Ziya Tong to explore the intersection of hope, science, and environmental activism. They trace Ziya's journey from discovering a love for nature through David Attenborough documentaries to becoming a leading voice in climate science. The conversation spotlights her film Plastic People, which investigates the microplastics crisis, and her bestselling book The Reality Bubble, which reveals our environmental blind spots. Ziya shares inspiring stories—from meeting Jane Goodall to swimming with belugas—and offers thoughtful reflections on turning despair into action, using beauty to fuel resistance, and the power of community in driving change. Listen for an uplifting and urgent conversation on joyful resistance, collective action, and finding real hope in the face of environmental crisis.Follow Plastic People DocFollow Jayda GFollow Here's Hoping PodcastMore on our guestZiya Tong is an award-winning broadcaster best known for hosting Daily Planet on Discovery Channel. Her bestselling book The Reality Bubble was shortlisted for the RBC Taylor Prize and won the Lane Anderson Prize for science writing. She has also hosted shows on CBC and PBS, including ZeD, Wired Science, and NOVA scienceNOW with Neil deGrasse Tyson. Her latest documentary, Plastic People, premiered at SXSW, earning critical acclaim from The New York Times and Variety, which called it one of the best documentaries of 2024. Hosted on Acast. See acast.com/privacy for more information.

Send us a texthttps://www.pastorbencooper.co.uk/When the crowd gathers around the fire, whose voice will you listen to? In this deeply moving episode, Pastor Ben Cooper delves into the profound story of Peter's denial of Jesus in the courtyard, offering a powerful reflection on the importance of the company we keep on our spiritual journeys. Drawing from Luke 22:54-62, Pastor Ben highlights how external influences can distort our perception of Christ, urging us to carefully examine the voices we allow to shape our faith.Key Insights from the Episode:Peter's Denial and the Influence of External Voices: In Luke 22:54-62, we read about Peter, a devoted disciple who vowed to die for Jesus, denying Christ three times in the courtyard. Pastor Ben uses this moment to illustrate how, even with strong convictions, we may falter in moments of fear and doubt. The "fire bin" becomes a metaphor for those places in our lives where negative external voices weaken our resolve and obscure our focus on Jesus. This powerful moment challenges us to evaluate the people and environments that influence our spiritual lives. Are we allowing them to strengthen our faith or pull us away from Christ?The Power of Fear Over Faith: Fear is one of the greatest challenges to maintaining a strong Christian walk. In the courtyard, Peter allowed fear of rejection and persecution to overpower his faith. Pastor Ben compares this to how external forces can cloud our faith today. Whether it's the pressure of society, relationships, or even workplace culture, fear can drive us to compromise our beliefs. Jesus warned us of such pressures, yet He showed us the way through His own example. When we place our trust in God and His word, we gain the courage to stand firm in the face of opposition.Jesus' Humanity and Compassion for Our Weakness: One of the most moving parts of this message is the comparison between Peter's failure and Jesus' own moment of intense emotional and spiritual struggle in the Garden of Gethsemane (Matthew 26:36-39). Pastor Ben highlights how Jesus, in His humanity, faced deep anguish, sweating drops of blood, yet He submitted to God's will. This portrayal of Jesus' empathy is deeply comforting for anyone dealing with fear, doubt, or spiritual struggles. Knowing that Jesus understands our weaknesses gives us the strength to persevere in our own faith journey.The Dangers of “Plastic People” in Religious Communities: Pastor Ben challenges us to distinguish between religious systems that seek to control and an authentic relationship with Christ. He warns against surrounding ourselves with “plastic people” who may appear supportive but lack the depth and conviction to stand firm when the heat is on. This insight calls for a deeper evaluation of who we invite into our lives and spiritual circles. Are they helping us grow in Christ or simply leading us to conform to societal pressures?Conclusion:Have you ever found yourself compromising your faith to fit in? Do the voices in your life strengthen or weaken your commitment to Christ? This episode offers a profound opportunity to reflect on the influences that shape our decisions and relationships. Pastor Ben's teaching reminds us that true discipleship requires not just strong convictions but also the courage to stand firm, even when the fire of life threatens to sway us. Tune in for more life-changing teachings that bring scripture into the everyday struggles of faith.Call to Action: If this message resonates with you, subscribe to the Reverend Ben Cooper PoSupport the showhttps://www.pastorbencooper.co.uk/

In this fascinating conversation, Charlie shares his profound journey through music and mental health with Jayda. Talking about the incredible highs he's experienced as a DJ, but also the often unspoken harder parts of the industry, including the loneliness and depression he experienced. Diving deeper into his mental health, Charlie talks with Jayda about he was struggling the hardest at some of the most pivotal moments in his career, and how discovering running and yoga transformed his mental health. Jayda hears how the significant impact running had for Charlie, led him to found the urban running collective Run Dem Crew, to encourage more inner city Londoners to take up running. They talk about how running, movement and community are pillars of hope for them, internally and socially, as well as why Charlie works with disadvantaged communities, including in prisons, to share the practice of yoga with them, to help give hope and inner strength to those he feels needs it most. Charlie also expands on why yoga classes and wellness spaces must diversify, so people of all backgrounds can see themselves in the spaces and feel a sense of belonging and connection with wellness practice too. Follow Charlie DarkFollow Jayda GFollow Heres HopingMore on our guestRun Dem CrewHailing from South London, growing up on pirate radio and warehouses parties, Charlie Dark is a stalwart of the underground UK music scene, spinning records and igniting dance floors since the early eighties. From his time on Mo Wax records with Attica Blues in the 90's, a major label deal on Sony Records and the plethora of remixes and productions, DJing and bringing people together has been at the heart of everything he's gone onto achieve. If you ever caught his Blacktronica Parties, sets at the legendary Plastic People or listened to his Worldwide FM or NTS radio shows then you'll know that 'All forms of music in one room the way it used to be' has always been his motto and his record crates run deep. Charlie is also the founder of the urban run collective Run Dem Crew, a Yoga teacher and advocate for mental health and wellness within the music industry. Hosted on Acast. See acast.com/privacy for more information.

Podcast Overview: In this conversation, Will Clarke and Yanis aka Dr. Dubplate discuss the evolution of the UK dance music scene, the influence of iconic venues like Plastic People, and the challenges faced by smaller venues in the current climate. Yanis shares his journey in music, the founding of his record label EC2A, and the innovative strategies he employed to build a community and support emerging artists. The discussion highlights the importance of grassroots culture in music and the impact of commercialism on the industry. In this engaging conversation, Yanis and Will Clarke explore the evolving landscape of the music industry, focusing on the importance of community, the resurgence of vinyl, and the innovations in music distribution. They discuss the pressures artists face in the digital age, the significance of supporting local economies, and theneed for genuine connections between fans and artists. The conversation emphasizes the importance of passion, persistence, and the value of tangible music experiences in a streaming-dominated world.Who Is Dr Dubplate: Be it viral moments during DJ sets or breaking down barriers for the new generation with his label ec2a, Dr Dubplate and the UK's new underground run closely alongside one another. Dr Dubplate's entry into dance music came as a teenager. Heavily influenced by his father – then manager of London institution Plastic People – he grew up absorbing Afrobeat, Rare Groove, House and Funk. Working the cloakroom on Thursday nights at Plastic People he was exposed to residencies and performances from some of the most esteemed artists – Theo Parrish, Four Tet and Floating Points to name a few- which paved the way for an education in and appreciation of UK Sound system and club culture. Dr Dubplate's DJ stripes were earned in Bristol, as promoter and resident for party series Piff where he played alongside artists such as Mall Grab, DJ Seinfeld and Hodge. In 2020 he established ec2a – a more personal project referencing his inspiration and upbringing. Emerging during the height of the new UK Garage scene, Yanis's debut as Dr Dubplate soon followed. With label and DJ projects running side by side, a following quickly formed, leading to bookings up and down the country when clubs re-opened, and a breakthrough year in 2021. A memorable headline B2B set with Interplanetary Criminal for Keep Hush, at their sold out summer festival, catapulted him into the eyes and ears of post-pandemic clubbers as did an ec2a Fabric RM3 takeover later that year. With a rich musical upbringing, it's no coincidence that Dr Dubplate's sets reflect his character; a positive, multi-genre taste with gun fingers as part of the blueprint and treating his crowds to everything from Gil Scott Heron to Kwengface, Dubstep to UK Funky and Trap.Join for updates: https://laylo.com/willclarke⏲ Follow Will Clarke ⏱https://djwillclarke.com/https://open.spotify.com/artist/1OmOdgwIzub8DYPxQYbbbi?si=hEx8GCJAR3mhhhWd_iSuewhttps://www.instagram.com/djwillclarkehttps://www.facebook.com/willclarkedjhttps://twitter.com/djwillclarkehttps://www.tiktok.com/@djwillclarke Hosted on Acast. See acast.com/privacy for more information.

Hudson Hall in Hudson, New York is partnering with Beyond Plastics and Columbia County Reduces Waste–Bring Your Own (CCRW–BYO) to screen the 2024 documentary “Plastic People: The Hidden Crisis of Microplastics” on March 14 at 6:30pm. The screening is free, but reservations are recommended.

(S4-EP 12) Frank Zappa and The Mothers of Invention-Absolutely Free (Verve) (Special Guest Steve DeLuca) Released May 26, 1967  recorded November 15–18, 1966 March 6, 1967[Absolutely Free, the second album by The Mothers of Invention. Expanding on the experimental nature of their debut, Freak Out!, the album blends rock, jazz, and classical music with biting social and political satire. Structured as two conceptual suites—"Absolutely Free" and "The M.O.I. American Pageant"—the album critiques American culture, consumerism, and political corruption. Tracks like "Plastic People" and "Brown Shoes Don't Make It" mock conformity and hypocrisy, while the ambitious composition of "Brown Shoes" showcases Zappa's mastery of genre fusion. Recorded in just four days with a limited budget, Absolutely Free incorporates influences from Stravinsky, Holst, and Varèse, foreshadowing Zappa's later experimental works. Though controversial and facing censorship, the album reached #41 on the Billboard 200 and has since become a cult classic. It remains a landmark in avant-garde rock, cementing Zappa's reputation as a fearless musical innovator. Joining Jay on this extended episode is returning guest music historian and drummer Steve DeLuca. Signature Tracks "Plastic People,"  "Call Any Vegetables"  "Brown Shoes Don't Make It" Playlist:  You Tube Playlist   Spotify Playlist Full Albums YouTube , Spotify Playlist

Producer and DJ Chloé Robinson provides us with her 'Plastic People' Mini Mix. This mix is inspired by the sonics of the 'Plastic People' club which closed down in 2015. The sonics of the mix are a snapshot into the soundscape of dubstep at the time and the music Chloé would hear when she was raving in Plastic People.

In part two of my conversation with DJ/producer Warlock, we explore his fascinating musical evolution and contributions to UK electronic music. The episode traces his journey from playing UK hardcore in the early 90s to embracing the harder European techno scene as well as a multitude of other underground genres and styles over the years.Jason shares his experiences working at Kickin Records alongside Peter Harris, where he handled A&R and compilation licensing. He then discusses co-founding Rag & Bone Records with Stacey (NoYeahNo). Throughout his career, Jason has produced music under various aliases including Warlock, Lorenz Attractor, Han Do Jin, and Hooverian Blur.The conversation offers an intimate look at the golden era of UK club culture, featuring stories from legendary parties such as Knowledge at SW1 in Victoria and the influential FWD nights at Plastic People. Beyond nostalgic reminiscence, Jason provides insightful perspectives on contemporary electronic music, discussing the current jungle revival and how a new generation of producers is breaking down traditional genre boundaries. He emphasises the importance of maintaining musical open-mindedness rather than becoming confined to a single genre.Support the showhttps://www.youtube.com/@ControlledWeirdnesshttps://open.spotify.com/artist/20nC7cQni8ZrvRC2REZjOIhttps://www.instagram.com/controlledweirdness/https://controlledweirdness.bandcamp.com/Theme song is Controlled Weirdness - Drifting in the Streetshttps://open.spotify.com/track/7GJfmYy4RjMyLIg9nffuktHosted from a South London tower block by Neil Keating aka Controlled Weirdness. Tales from a Disappearing City is a chance for Neil to tell some untold subcultural stories from past and present, joined by friends from his lifelong journey through subterranean London. Neil is a veteran producer and DJ and has been at the front line of all aspects of club and sound system culture since the mid 80's when he first began to go to nightclubs, gigs, and illegal parties. His musical CV includes playing everywhere from plush clubs to dirty warehouses as well as mixing tunes on a variety of iconic London pirate radio stations. He has released music on numerous underground record labels and was responsible for promoting and playing at a series of legendary early raves in the USA at the start of the 90's. He still DJ's in the UK and throu...

Špičkový český fotograf Jan Ságl začínal v 60. letech, a to nejprve se skupinou The Primitives Group, pak s The Plastic People of the Universe. Proslavily ho ale nejen undergroundové snímky. „Když jsem fotil, byl jsem hlavně jen sám se sebou – a pak se najednou objevila kapela The Primitives Group, holky svlékaly blůzičky a házely je na pódium. To pro fotografa, který je jako jezevec, bylo něco jako zjevení,“ vzpomíná.Všechny díly podcastu Hovory můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Marii jsem nejlíp znala před nějakými pětadvaceti lety. Tenkrát si ještě říkala Brabenec, byla koneckonců vdaná za Vráťu Brabence, saxofonistu Plastic People. Až když se jejich vztah začal rozpadat, Brabence si ze jména vynechala a byla pouze Marie Benetková.

Marii jsem nejlíp znala před nějakými pětadvaceti lety. Tenkrát si ještě říkala Brabenec, byla koneckonců vdaná za Vráťu Brabence, saxofonistu Plastic People. Až když se jejich vztah začal rozpadat, Brabence si ze jména vynechala a byla pouze Marie Benetková.Všechny díly podcastu Glosa Plus můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Roger, playing drums with Sheffield post-punk band The Box, gets to visit the city of Prague in the former Czechoslovakia, and plays a secret gig. Along the way he meets rebels, students, rock 'n' rollers and artists, all trying to express themselves as individuals while living under an oppressive regime.Intro and outro music: Simon Elliott-KempArtwork: RionaghEditor: Nigel FloydSound FX courtesy of Freesound.org, with particular thanks to:Marek 222 - Prague railway station.Rikus 246 - club ambience.Zabuhailo - "Pub Vegas 3" (rock 'n' roll band 1)Serge Quadrado - "Joker Boy" (rock 'n' roll band 2)Klankbeeld - winter field ambience.Drummered 64 - Tupolev TU 154.Aleff-Atmos - metal tapping.Matucha - Prague pub.Big Joe Drummer - congas.Dan J Films - sax.Valentin Sosnitskiy - slide guitar.Tim Kahn - amp noise.Vincent Sermonne - punk rock drums.Berwitz - restaurant ambience.LG - Ford Transit.Magedu - roadside ambience.Never miss an episode.Follow me at: https://twitter.com/rogerquailhttps://www.instagram.com/rogerquail/RSS feed - https://feeds.buzzsprout.com/289673.rss

Právník Otakar Motejl se narodil 10. září 1932 v Praze. Po absolvování právnické fakulty v roce 1955 pracoval řadu let jako advokát, od roku 1968 působil dva roky jako soudce Nejvyššího soudu v Praze a pak se na dalších dvacet let vrátil k advokacii. Proslul tím, že obhajoval disidenty a stoupence neoficiální kultury, například skupinu Plastic People of the Universe. Po převratu se v roce 1990 se stal soudcem Nejvyššího soudu.

Právník Otakar Motejl se narodil 10. září 1932 v Praze. Po absolvování právnické fakulty v roce 1955 pracoval řadu let jako advokát, od roku 1968 působil dva roky jako soudce Nejvyššího soudu v Praze a pak se na dalších dvacet let vrátil k advokacii. Proslul tím, že obhajoval disidenty a stoupence neoficiální kultury, například skupinu Plastic People of the Universe. Po převratu se v roce 1990 se stal soudcem Nejvyššího soudu. Všechny díly podcastu Příběhy z kalendáře můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

If you're concerned about how plastics might be affecting our health... you're invited to Friday's free public screening of the film "Plastic People" at The Lantern in St. John's. To set up the documentary we chat with an assistant professor in MUN's Department of Chemistry, as well as a visiting scientist from the Netherlands who'll be at the event. (Krissy Holmes with Lindsay Cahill and Kas Houthijs)

Catching up on recent figure purchases, wrestling journeys and Zack educating us about the existence of unofficial Red Dead figures . . Merch: brainbustertees.com/moondog-greg-murray Paypal: paypal.me/shellshocknetwork . . Network Twitter: twitter.com/ShellshockNet Greg's Twitter: twitter.com/moondogmurray

Už od středy můžete na Vltavě poslouchat novou Četbu s hvězdičkou. Budou to vzpomínky a tentokrát potěšíme všechny milovníky československého undergroundu. Nabídneme vám totiž dosud nepublikované deníkové prózy hudebníka a básníka, člena legendárních The Plastic People of the Universe Vratislava Brabence.Všechny díly podcastu Mozaika můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Ziya Tong returns to the show this week! In case you're not familiar, she is an award-winning author and broadcaster, best known for her work with Discovery's flagship science show, Daily Planet, and NOVA ScienceNow on PBS. She is the author of the best-selling book The Reality Bubble, which was shortlisted for Canada's most prestigious non-fiction literary prize, and won the Lane Anderson Award for best science writing. Ziya served as the Vice Chair of WWF Canada and currently serves as a trustee of WWF International. Ziya co-directed a new documentary called Plastic People: The Hidden Crisis of Microplastics with Ben Addelman, and she stars alongside Executive Producer Rick Smith. "We live in a time where some of our greatest threats are invisible. Like the climate crisis, microplastic pollution cannot be: it spans the globe, chokes up rivers and animals, and insidiously infiltrates the human body. As a science journalist and author, I have been reporting on the threat of plastic for almost two decades and believe that now more than ever, we need to reveal the connection between planetary health and human health, which is why I've put my own body on the line for the “Plastic People” project. As part of my journey, I will test my own home, my own food, and even my own feces for microplastics. We are very fortunate to also have a world-first for this project, as we meet surgeons and scientists who are probing the human brain to reveal whether microplastics can cross the blood-brain barrier. The results of testing here will be incredibly significant." Jann, Caitlin and Ziya discuss the dangers of microplastics in our bodies and the environment. Ziya shares that microplastics are found everywhere, including in our blood, placenta, and even the human brain. They discuss the impacts to our health such as increased risk of stroke, heart attack, and cancer. Ziya emphasizes the need for individual and collective action to reduce plastic consumption and advocates for joining organizations that are working towards solving the plastics crisis. Ziya and her team are still raising money for the documentary's impact campaign and they plan to release a podcast to delve deeper into the dark secrets and stories of the plastics industry. You can support the campaign HERE. You can even plan your own screening for this important documentary HERE. Find an upcoming screening near you: Vancouver May 24 - VIFF Centre May 25 - Rio Theatre May 25 - VIFF Centre May 26 - VIFF Centre May 29 - VIFF Centre Toronto May 28 - The Royal Theatre June 1 - Hot Docs Ted Rogers Cinema June 2 - Revue Cinema June 11 - Hot Docs Ted Rogers Cinema St. Catherine's, Ontario June 25 & 30 - The Film House Stream the documentary HERE. Jann also wanted to share the link to the donut shop she mentioned in this episode, Donut Party. Learn more about your ad choices. Visit megaphone.fm/adchoices

From Marvel Legends to WWE Mattel and Pop Vinyl Figures, Greg and Zack give their top 5 favorite figures. . . Merch: brainbustertees.com/moondog-greg-murray Paypal: paypal.me/shellshocknetwork . . Network Twitter: twitter.com/ShellshockNet Greg's Twitter: twitter.com/moondogmurray

This week's guest is Ziya Tong, an award-winning author and broadcaster, best known for her work with Discovery's flagship science show, Daily Planet, and NOVA ScienceNow on PBS. She is the author of the best-selling book The Reality Bubble, which was shortlisted for Canada's most prestigious non-fiction literary prize, and won the Lane Anderson Award for best science writing. Ziya served as the Vice Chair of WWF Canada and currently serves as a trustee of WWF International. Ziya co-directed a new documentary called Plastic People: The Hidden Crisis of Microplastics with Ben Addelman, and she stars alongside Executive Producer Rick Smith. "We live in a time where some of our greatest threats are invisible. Like the climate crisis, microplastic pollution cannot be: it spans the globe, chokes up rivers and animals, and insidiously infiltrates the human body. As a science journalist and author, I have been reporting on the threat of plastic for almost two decades and believe that now more than ever, we need to reveal the connection between planetary health and human health, which is why I've put my own body on the line for the “Plastic People” project. As part of my journey, I will test my own home, my own food, and even my own feces for microplastics. We are very fortunate to also have a world-first for this project, as we meet surgeons and scientists who are probing the human brain to reveal whether microplastics can cross the blood-brain barrier. The results of testing here will be incredibly significant." Ziya discusses her experience premiering the documentary at South by Southwest and the positive reception it received. She explains that the threat of microplastics is similar to the climate crisis in that it is invisible to the naked eye. She also shares some shocking findings from her research, including the presence of microplastics in the human body and the intentional spread of microplastics in the food chain. She also talks about her experience as a first-time filmmaker and the challenges she faced as a director. Ziya also discusses the challenges of dealing with misinformation online, the experiences of women in the media industry, and the importance of supporting upcoming female journalists. Ziya mentions Sarika Suzuki and Severn Suzuki (David Suzuki's daughters) as women she admires in the media. Ziya and her team are still raising money for the documentary's impact campaign and they plan to release a podcast to delve deeper into the dark secrets and stories of the plastics industry. You can support the campaign HERE. Stream the documentary HERE. You can even plan your own screening for this important documentary HERE. Find an upcoming screening near you: Vancouver May 22 - Rio Theatre May 24 - VIFF Centre May 25 - Rio Theatre May 25 - VIFF Centre May 26 - VIFF Centre May 29 - VIFF Centre Toronto May 28 - The Royal Theatre June 1 - Hot Docs Ted Rogers Cinema June 2 - Revue Cinema June 11 - Hot Docs Ted Rogers Cinema Kitchener-Waterloo May 21 - Princess Cinemas Hamilton May 22 - Playhouse Cinema Guelph May 21 & 22 - Bookshelf Cinema Learn more about your ad choices. Visit megaphone.fm/adchoices

This is VANCOLOUR host Mo Amir asks former Daily Planet host Ziya Tong (co-director, "Plastic People") explains how microplastics are polluting everything in the environment, including our bodies. "Plastic People: The Hidden Crisis of Microplastics" makes it Canadian screening premiere at the DOXA Film Festival. Recorded: May 6, 2024

Amy talks with Director of “Plastic People” Ben Adelman. This documentary features scientists investigating the threat of microplastics in human bodies. Ben visits labs and undergoes testing to find plastic in home, food and body.

Mikroplast har hittats i människans lungor och i vårt blod. Samtidigt pågår en politisk dragkamp om plasten i Bryssel. Lyssna på alla avsnitt i Sveriges Radio Play. Plastens utbredning i våra kroppar är en relativt ny upptäckt. Men forskningen går snabbt framåt. Plastpartiklar har hittats i gravida kvinnors moderkakor och i våra viktigaste organ. En helt ny studie visar kopplingen mellan stroke och mikroplast i blodet.Och medan forskare varnar för att något måste göras pågår en dragkamp mellan politiker i Bryssel.Lobbyister stoppar nya lagförslagDet är mycket som står på spel. Plast finns inom förpackningsindustrin, i snabbmatskedjornas restauranger och runt salladen i grönsaksdisken.Lagstiftarna i EU blir ständigt uppvaktade av företag som motsätter sig försöken att begränsa engångsplasten och öka återanvändningen.Nya lagförslag som ska bidragit till att minska antalet engångsförpackningar i Europa läggs fram. Men i den avgörande omröstningen tar en svensk EU-parlamentariker täten emot förslagen.Medverkande: Hanna Karlsson, forskningsledare för en grupp som forskar på mikroplastpartiklar på institutet för miljömedicin vid Karolinska Institutet, Andrea Montano Montes, doktorand vid KI, Barbro Melgert, professor i respiratorisk immunologi, vid Groningen universitetet i Nederländerna, Rick Smith, kanadensisk toxikolog, författare och medproducent till filmen ”Plastic People”, Sedat Gündoğdu, forskare i Turkiet, Guiseppe Paolisso professor i invärtes medicin i Italien, Jessica Polfjärd, EU-parlamentariker för Moderaterna, Maria Angela Danzi, EU-parlamentariker för det italienska partiet Femstjärnerörelsen, Larissa Copello vid organisationen Zero Waste i Bryssel.Programledare: Fernando Ariasfernando.arias@sr.seProducent och reporter: Lotten Collinlotten.collin@sr.seTekniker: Fabian Begnert

Join Marc Caron as he speaks with Ziya Tong about her most recent documentary “Plastic People”.  ZIYA TONG is an award-winning author and broadcaster, best known for her work with Discovery's flagship science show, Daily Planet, and NOVA ScienceNow on PBS. She is the author of the best-selling book The Reality Bubble, which was shortlisted […] The post Plastic People with Ziya Tong appeared first on Conscious Living Radio.

Zack is overloaded on plastic, Greg has a solid haul and the discussion of action figures . . Merch: https://brainbustertees.com/moondog-greg-murray Paypal: https://paypal.me/shellshocknetwork . . Network Twitter: https://twitter.com/ShellshockNet Greg's Twitter: https://twitter.com/moondogmurray

A new MP3 sermon from Old Path Baptist Church is now available on SermonAudio with the following details: Title: The Plastic People! Speaker: Joey Faust Broadcaster: Old Path Baptist Church Event: Sunday Service Date: 3/17/2024 Bible: Exodus 23:2; Proverbs 24:21 Length: 52 min.

It's a new year and that means a new season of TNT! This year we're still digging into full-length albums - but we're also uncovering the record labels that provide the world with these releases and the rare gems that we look forward to uncovering. On our first show of Season 5 (!) Thanh + Tim talk about the 2017 Luaka Bop release, "Reflections: Mojave Desert" by British electronic music producer, DJ, and musician Floating Points.

Microplastics. They are in our beer, salt, fresh fruit and vegetables, and drinking water. We eat, according to one estimate, a credit card's worth every week. They can also rain down upon us, and we can breathe them in. They have been found in our blood and embedded in our lungs. How dangerous are they? Do we enough to say they are harmful to us? The Agenda examines the microplastics inside us.See omnystudio.com/listener for privacy information.

It's a new year. You know what that means: another 365 days of this shit. On this episode, we're joined with Columbus-based cartoonist Brian Canini to talk about his variety of self-published fiction and auto-bio comics, including Applewood Canyon, Plastic People, and Airbag. We also talk about his role as founder and editor of The Columbus Scribbler, a free comics-centric newspaper that highlights Ohio-based cartoonists. You can follow Brian on Instagram @briancanini. Questions? Comments? Suggestions? Email us at gutterboyspodcast@gmail.com and we'll read it on the next episode, or give the Gutter Boys a follow on Instagram and Twitter (JB: @mortcrimpjr; Cam: @camdelrosario). And of course, please rate, review, like, share, and subscribe on your preferred podcast platform and help grow the Gutter Gang Nation! If you're feeling generous, subscribe to our Patreon at patreon.com/gutterboys (or gutterboys.top) and browse our different subscription tiers to receive exclusive merch, behind-the-scenes comic process updates, bonus episodes, plus much more! --- Support this podcast: https://podcasters.spotify.com/pod/show/gutterboys/support

In this episode of the Cool Zone Media Book Club, Margaret reads Gare a story about making fun of rich people in space.See omnystudio.com/listener for privacy information.

In this episode of the Cool Zone Media Book Club, Margaret reads Gare a story about making fun of rich people in space.See omnystudio.com/listener for privacy information.

English electronic musician Kieran Hebden has been a constant artist in my life's history of listening to music.Recently, the artist has exploded in popularity in his DJ partnership with Skrillex and Fred Again.., but as we'll discuss, headlining Coachella this year, was just a natural culmination of two decades plus of music making and collaborations.On this week's episode it is all about the music of Four Tet.We discuss his origins in the Elliott School with fellow now-famous musicians Burial and Hot Chip, the formation of his first band Fridge, who signed their first record deal when Hebden was just 15.We take you through an output that moves from jazz, folk, electronica stylings of his early work, the seminal album Rounds from 2003, his subsequent collaborations with Burial, Steve Reid, remixes work for the likes of Madvillain and Caribou, and how his live show worked. // On Wednesday November 8th, we are putting on a Listening Party at the Big Romance playing Four Tet's Rounds (2003) in full, as part of the Listen Closely monthly series.And onto his independent releases throughout the last 15 years as his music moves from the ambient instrumental electronic music to the more club-focused 4/4 tracks that came about as he began to DJ at Plastic People and DJ at festivals around the world.We discuss his court case with Domino, and how his flirtations with remixing pop artists telegraph his bromance with Fred Again.. and Skrillex. Plus, we spotlight some of our favourite Four Tet / KH / Kieran Hebden Percussions tracks.The Accompanying Four Tet playlist for the episode* Support Nialler9 on PatreonListen on Apple | Android | ACAST | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS FeedShow notesSongs played on the Nialler9 Podcast Spotify Playlist Hosted on Acast. See acast.com/privacy for more information.

Welcome to A Plastic People, a capstone podcast from Moms Clean Air Force hosted by Osasenaga Idahor! Moms Clean Air Force is a community of over 1.5 million parents and caregivers fighting for clean air and climate action. This capstone podcast takes a deep dive into the way our plastic-filled world harms both our health and the climate. Osasenaga and many special guests introduce us to the basics of plastic production and teach us about where it comes from, how it's made, and why it's a problem. And we know this can be a daunting topic, so make sure to take action with us along the way and stick around for our conversation about resilience in the last episode!

Zack and Greg return to talk about Quake Collectibles, Hasbro's attempt to save the environment, tax paying citizen fighting over wrestling figures and more . . Merch: https://brainbustertees.com/moondog-greg-murray Paypal: https://paypal.me/shellshocknetwork . . Network Twitter: https://twitter.com/ShellshockNet Greg's Twitter: https://twitter.com/moondogmurray

This week's guest is award-winning broadcaster Ziya Tong. She is best known as the anchor of Daily Planet, Discovery Channel's flagship science program. Her book The Reality Bubble won the Lane Anderson Prize for best science writing in Canada and was shortlisted for the RBC Taylor Prize. The book has been translated into multiple languages, and has earned praise from luminaries including Naomi Klein and David Suzuki who calls Tong's book, “required reading for all who care about what we are doing to the planet.” Tong also hosted the CBC's Emmy-nominated series ZeD, PBS's national prime-time series, Wired Science, and worked as a correspondent for NOVA scienceNOW alongside Neil deGrasse Tyson on PBS.  Ziya served as the Vice Chair of the World Wildlife Fund Canada and is now on the board of directors of WWF International. She is currently working on a new documentary called Plastic People, looking at the frightening impact of microplastics on human health. Twitter: @ziyatongBlue Sky: @ziyatong.bsky.socialMastodon: @ziya@journa.host http://ziyatong.com/

Paul Farber:You are listening to Monument Lab Future Memory where we discuss the future of monuments and the state of public memory in the US and across the globe. You can support the work of Monument Lab by visiting monumentlab.com, following us on social @Monument_Lab, or subscribing to this podcast anywhere you listen to podcasts. Li Sumpter:Our guest today on Future Memory is artist, scholar, and composer, Nathan Young. Young is a member of the Delaware Tribe of Indians and a direct descendant of the Pawnee Nation and Kiowa Tribe, currently living in Tahlequah, Oklahoma. His work incorporates sound, video, documentary, animation, installation, socially-engaged art, and experimental and improvised music. Young is also a founding member of the artist collective, Postcommodity. He holds an MFA in Music/Sound from Bard College's Milton Avery School of the Arts and is currently pursuing a PhD in the University of Oklahoma's innovative Native American art history doctoral program. His scholarship focuses on Indigenous Sonic Agency. Today we discuss his art and practice and a recently opened public art project at Historic site Pennsbury Manor entitled nkwiluntàmën, funded by the Pew Center for Arts & Heritage and curated by Ryan Strand Greenberg and Theo Loftis. Let's listen.Welcome to another episode of Future Memory. I'm your co-host, Li Sumpter. Today my guest is Nathan Young. Welcome, Nathan.Nathan Young:Hello. Thank you. It's nice to be here with you today. Li:Future Memory is the name of Monument Lab's podcast. In the context of your own work, when you hear the words "future memory," what does that mean to you? Do any images or sounds come to mind? Nathan:They really do. There's one. It was a website of a sound artist, a writer, an educator, Jace Clayton, DJ/Rupture, had a mixed CD called "Gold Teeth Thief". I remember it was kind of a game changer in the late '90s. I got that mixed CD from a website called History of the Future. Li:That's very close. It was very close.Nathan:It's always stuck with me. I'm fortunate enough to be able to grapple with a lot of these kind of ideas. I'm not really quite sure how I feel about some of the history of the future because in some ways I work within many different archives so I am dealing with people's future or thinking about or reimagining or just imagining their future.But future monuments are something that I grapple with and deeply consider in my artwork. I think it's one of the more challenging subjects today in art. I think we see that with the taking down of monuments that were so controversial or are so controversial. But I find it fascinating the idea of finding new forms to make monuments to remember and the idea of working with different communities of memory. It's key to my work. It's just a lot of listening and a lot of pondering. Actually, it's a very productive space for me because it's a place to think about form. Also, it opens doors for me just to think about the future. I will say this, that one problem that often arises as a Lenape Delaware Pawnee Kiowa person is we're often talking about the past, and I really like to talk about the future and to work with organizations that are thinking about the future. Li:I can relate to that. Nathan:I think it's a misunderstanding. We always really are talking about the future. I've had the great fortune to be around some people. Actually, I grew up in the capital of the Cherokee Nation, Oklahoma. A lot of people know that Oklahoma is the home to 39 federally recognized tribes. I was fortunate enough to grow up in Tahlequah, which is the capital of the Cherokee Nation, and was able to be around a well-known and respected medicine man named Crosslin Smith, also an author. I remember being a part of an interview with Crosslin. I grew up, he was a family friend.He said, "I'm often asked about the old or ancient ways and the new ways." What Crosland said was, and I'll try my best to articulate this idea, is that there is no difference between the ancient ways and today. These things still exist. It might be an illusion or we might not be able to comprehend or understand it, but there is no difference between the ancient, when we're thinking of things in the sense of the sublime, I think. There is no understanding the ancient and what is contemporary. That was really an important moment for me as an adult. To hear him articulate that was really important. So I think about that. I'm not really sure about a lot of things, but I really like to think about that when I'm working. Li:It kind of runs through your mind as you're working and creating. It's a deep thought, that's for sure, connecting those things. Even thinking back on your own personal history with sound, when did you first connect your relationship to place and homeland to sound and music? Nathan:Well, my earliest remembrances of music, honestly, are my dad driving me around in his truck, picking me up after school, and singing peyote songs, Native American Church songs, peyote songs. The members of the Native American Church call that medicine. My father was an active member of a chapter of the Native American Church at that time. I was fortunate enough to receive my Lenape Delaware name in a peyote meeting. But the first things I remember are the music he played in the car, but really the singing in the car, the singing in the truck that he would do of those peyote songs. Even after he quit going to meetings or he wasn't active in the Native American Church anymore, he still would sing these peyote songs, and I would ask him about the peyote songs, because they're different for every tribe. The forms, they still have their kind of conventions, but they're very tribally specific.Everything in what we call legally Indian Country here in the United States is super hyper local. So just down the road, that's really the beautiful thing about living in Oklahoma, is you have people whose ancestors are from northeast, southeast, southwest. There's only one tribe here from California. So it's a really rich place for sound and song. Both of my parents are Indigenous American Indian. My mother is Pawnee and Kiowa. My father is Lenape Delaware. I also grew up around the Big Drum, what we call the Big Drum at powwows. I never became a powwow singer or anything like that. Never learned anything around the Big Drum. But I did eventually learn Pawnee songs, Native American Church Pawnee songs.But really, I was just a kid in a small town in Oklahoma. When skateboarding hit and you become kind of an adolescent, you start to discover punk rock and things like that. Those to me were the way that the culture was imported to me. I didn't realize that I was already surrounded by all this beautiful culture, all of the tribes and my parents' tribes and my grandparents'. But then it was like a transmitter. Even these tapes were just transmitters to me. So those were really important also. I have a lot of thoughts about sound. Other thing I remember is my father often would get onto us or make fun of us for being so loud and saying we would be horrible scouts or hunters.Li:Making too much noise. Nathan:The Native Americans, yeah, yeah. We weren't stealth. You'd hear us coming a mile away. So he would always say, "You wouldn't be a very good one," just to try to get us quiet down.Li:No one wants to be a bad hunter, right? Can you break down the concept of Indigenous Sonic Agency? is this based on ancestral traditions, your artistic practice, academic scholarship, or a bit of all the above? Nathan:Well, Indigenous Sonic Agency is really one piece of a larger subject sonic agency, which I encountered in a book titled Sonic Agency by Brandon LaBelle. I was a former member of this collective, Postcommodity, and I'm reading this book. When we were first starting the collective, we had the opportunity to work with this Czech poet named Magor, Ivan Jirous Magor. It means blockhead, I believe. It's a nickname. He was kind of described as the Andy Warhol of the Plastic People of the Universe. He was an art historian. He spent most of his life in prison just for being an artist, an art historian. He was an actual musician. He didn't play with the Plastic People of the Universe, to my knowledge, but he did to write the lyrics, to my knowledge. We had the opportunity to record with Magor. So I'm reading this book about sonic agency, and here I find somebody that I'd actually had an experience with sonic agency with in my early days and as a young man and an artist.But ultimately Indigenous Sonic Agency is, in some sense, similar but different to tribal sovereignty. So when you think of agency or sovereignty, it's something that they sometimes get mixed up. I'm really trying to parse the differences between this, what we understand so well as political sovereignty as federally recognized tribes and what agency means, say, as an artist. But in my research, in the subject of sonic agency and Indigenous Sonic Agency, it encompasses pretty much everything. That's what I love about sound. Everything has a sound, whether we can hear it or not. Everything is in vibration. There are sounds that are inaudible to us, that are too high or too low. Then there's what we hear in the world and the importance of silence with John Cage. I think that they're just super productive.I was introduced really to sound studies through this book called Sonic Warfare by Steve Goodman. It was really about how the study of sound was, in a sense, still emerging because it had mostly been used for military purposes and for proprietary purposes such as commercials and things like that. As I stated earlier, I felt like music was my connection to a larger world that I couldn't access living in a small town. So even everything that came with it, the album covers, all that, they really made an impression on me as a young person, and it continues to this day, and I've been focusing deeply on it.My studies in sonic agency -- Indigenous Sonic Agency -- encompass everything from social song, sacred song, voice, just political speech and language, political language. There's so much work to be done in the emerging sound studies field. I felt that Indigenous Sonic Agency, there was a gap there in writing and knowledge on it. Now though, I acknowledge that there has been great study on the subject such as Dylan Robinson's book, Hungry Listening. I am fortunate enough to be around a lot of other Indigenous experimental artists who work in all the sonic fields. So it's an all-encompassing thing. I think about the sacred, I think about the political, I think about the nature of how we use it to organize things and how language works. Silence is a part of it. Also, listening is very important. It's something that I was taught at a very young age. You always have to continue to hone that practice to become a better and better listener. Li:That's the truth. Nathan:My grandmother was very quiet, but whenever she did talk, everybody loved it. Li:That's right. That's right. Let's talk about the Pennsbury Manor project. Can you share how you, Ryan Strand Greenberg, and Theo Loftis met and how nkwiluntàmën came to be? Nathan:Well, to my recollection, I try to keep busy around here, and oftentimes it means traveling to some of the other towns in the area such as Pawnee or Bartlesville or Dewey or Tahlequah. I wasn't able to do a studio visit with Ryan, but I wanted to see his artist talk that he was giving at the Tulsa Artist Fellowship, which I was a fellow at at that time. I remember seeing these large public art projects that were being imagined by Ryan. We had worked on some other projects that, for one reason or another, we weren't unable to get off the ground. Eventually, Pennsbury Manor was willing to be this space where we could all work together. I remember rushing back and being able to catch Ryan's artist talk. Then right before he left town, we had a studio visit and found out how much we had in common concerning the legacy of the Lenape in the Philadelphia area, what we used to call Lenapehoking. So it was a really a moment of good fortune, I believe. Li:Monument Lab defines monument as a statement of power and presence in public. The nkwiluntàmën project guide describes Pennsbury Manor as a space to attune public memory. It goes on to say that sites like these are not endpoints in history, but touchstones between generations. I really love that statement. Do you think Pennsbury Manor and the land it stands on, do you consider it a monument in your eyes? Why or, maybe even, why not? Nathan:Well, yeah, I would definitely consider Pennsbury Manor, in a sense, a monument. I think that we could make an argument for that. If we were talking about the nature of it being William Penn's home and it being reconstructed in the 20th century, you could make a very strong argument that it is a monument to William Penn and also as William Penn as this ideal friend to the Indian. Some people don't like that word. Here in Oklahoma, some of us use it. Technically, it was Indian Country legally. But I use all terms: Native American, Indigenous, Indian. But I'd mostly like to just be called a Lenape Delaware Pawnee Kiowa.I definitely would say that you could make an argument that is a monument to William Penn especially as part of that, as this ideal colonist who could be set as a standard as for how he worked with the Lenape and then other tribes in the area at the time. I think that's kind of the narrative that I run into mostly in my research, literally. However, I would not say that it was established or had been any type of monument to my Lenape legacy. I did not feel that... I mean, there was always mention of that. It was, like I said, as this ideal figure of how to cooperate with the tribes in the area. But I would definitely say it's not a monument to the Lenape or the Delaware or Munsee.Li:Can you share a bit more about the project itself in terms of nkwiluntàmën and what exactly you did there at Pennsbury Manor to shift and really inform that history from a different perspective? Nathan:Well, first of all, at Pennsbury Manor, I was given a lot of agency. I was given a lot of freedom to what I needed to as an artist. I was really fortunate to be able to work with Doug and Ryan and Theo in that manner where I could really think about these things and think deeply about them. I started to consider these living history sites. My understanding is that they're anachronisms. There's a lot of labor put into creating a kind of façade or an appearance of the past, and specifically this time, this four years that William Penn was on this continent. So this idea that nothing is here that is not supposed to be here became really important to me. What I mean by that is, say, if you threw in a television set, it kind of throws everything off. Everybody's walking around in clothing that reflects that era and that time. If you throw some strange electronics in the space, it kind of is disruptive. I didn't feel the need to do anything like that.I felt that one of the great things about working in sound and one of the most powerful things about sound is that sound can also be stealth. You can't see sound. We can sonify things or we can visualize it or quantify it in different ways. But to me, this challenge of letting the place be, but using sound as this kind of stealth element where I could express this very, very difficult subject and something that really nobody has any answers to or is sure about... I was trained as an art historian, and I know that we're only making guesses and approximations just like any doctors. We are just trying to do these things.But sound gave me the ability at Pennsbury Manor and nkwiluntàmën to work stealthy and quiet, to not disturb the space too much because there's important work that's done there, and I want to respect people's labor. As a member of the Delaware tribe of Indians of Lenape, I felt that it was a great opportunity to be the person who's able to talk about this very difficult subject, and that is not lost on me. That's a very, very heavy, very serious task. Li:Yeah, big responsibility. Nathan:Yes. It is not lost on me at all how serious it is, and I feel very fortunate. I think without such a great support system in place, it wouldn't have been possible. nkwiluntàmën means lonesome, such as the sound of a drum. We have a thing called the Lenape Talking Dictionary,  Li:I've seen it. I've seen it. Nathan:I'm often listening. I'm listening to Nora Dean Thompson who gave me my Delaware name, my Lenape name, Unami Lenape name in a peyote ceremony. So I often go there to access Delaware thought and ideas and to hear Delaware voices and Delaware language being spoken. I know that some people have different views on it, but let's say, I think artists and people have used the Unami Lenape before and art exhibitions as a lost or an endangered languages. I know that in the entire state that I live in, and in most of Indian country, there's a great language revitalization movement that I was fortunate to be a part of and contribute to.Really, that's where I discovered that that's really where through language, there's nothing more Lenape, there's nothing more Delaware, Unami Lenape than to be able to talk and express yourself in that manner or, say, as a Pawnee or a Kiowa to be able to talk and express. Embedded in those words are much more than just how we think of language. They're really the key to our worldviews. Our languages are the keys to our worldview and really our thought patterns and how we see the world and how we should treat each other or how we choose to live in the world or our ancestors did. So I'm fascinated by the language. I was fortunate enough to be around many, many different native languages growing up. But ours was one because of the nature of us being a northeastern tribe that was very much in danger of being lost. Some would say that at one point it was a very, very, very endangered language to the point to where nobody was being born in what we call a first language household, where everybody could speak conversationally in Unami Lenape.So these things, we all think about this, by the way, all of my community, the Delaware Tribe of Indians. I was fortunate enough to serve on the Tribal Council as an elected member for four years. We think about these things definitely all the time, and people do hard work to try to revitalize the language. I know at this time that the Delaware Tribe of Indians is actively working to revitalize our language. Li:That's a part of that preservation and remembrance because your work, really does explore this idea of ancestral remembrance and is rooted in that. Then again, you're also engaging with these historic sites, like Pennsbury Manor, that tap into public memory. So in your thoughts, how are ancestral remembrance and public memory connected? Are there any similar ways that they resonate? Nathan:Well, I think of different communities of remembrance. Within this idea of memory there are just different communities. I don't want to want to create a dichotomy, but it's easily understood by those who focus on the legacy of William Penn and those who focus on the legacy of the Lenape or the Pawnee. But ancestral memory is key to my culture, I believe, and I really don't know any way to express it other than explaining it in a contemporary sense. If you're deeply involved in your tribal nation, one of the one things that people will ask you is they'll say, "Who are your folks?" Literally, people will say, "Who are your folks?" Li:Who are your peoples? Nathan:"What family do you come from?" I didn't start to realize this until I was an adult, of course. It's not something you think you would ever think of as a child or anything. It started to become really apparent to me that we're families that make up communities that have stayed together in our case for hundreds of years across thousands of miles. It's a point to where we got down to very small numbers. We still stuck together. Then there was also a diaspora of Lenape that went to Canada, the Munsee and the Stockbridge. There was the Delaware Nation who has actually lived more near the Kiowa. My grandmother was Kiowa. But we still had the same family names. For instance, there are people and members of the Delaware Nation that are actually blood related to the Delaware Tribe. So that is really our connection to each other is our ancestors. That's purely what binds us to together is that our ancestors were together, and we just continue that bond. Li:Thank you. A part of Monument Lab's mission is to illuminate how symbols are connected to systems of power and public memory. What are the recurring or even the most vital symbols illuminated in your work? Nathan:Oh, that's a really tough question because my work is all over the place. I work across a lot of different mediums, although I've trained as an art historian, so I came into this as a visual artist. I just happened to be a musician and then discovered installation art and how sound works in art. But for me, the story I feel that I'm trying to tell cannot be held by any number of symbols or signs. I want to give myself the freedom and agency to use whatever is needed, actually, whatever is needed to get across the idea that is important to me. So going back to nkwiluntàmën, lonesome, such as the sounds, these colors, we use these white post-Colonial benches, and there's four large ones, placed across the grounds of Pennsbury Manor. You'll see that, if one were to visit, they would see a black bench, a yellow bench, a white bench, and a red bench. Nathan:If you're from my community, a Delaware Tribe of Indian member and you know that you're a Lenape, you understand that those colors have meaning to our tribe, and you'll know that those colors have sacred meaning. So in some sense, I will use whatever I think is the most appropriate way to use it also. I want to give myself the freedom to use any type of symbolism. I loved growing up with my mother and my grandmother being able to go to powwows. My mom would say, "Well, here comes the Shawnee women. Here comes the Delaware women. They dress like this. Here comes..." Li:You can recognize from their dress. Nathan:My mother and my grandmother taught me that iconography of our clothing, what we now call regalia. Li:I was curious if perhaps the drum or even the idea of homeland show up in your work? Nathan:Oh, they definitely show up in my work when appropriate. But rather than a drum, I would say sound or song or music. We do have these iconographies and symbols that are deeply meaningful to us, and I often use those in my artwork. But really the question for me is how to use them appropriately and, also at the same time, expand the use of these things appropriately. It's just being accountable to your legacy and your community in a sense and not crossing these boundaries, but still at the same time pushing form, pushing the edge.I'm a contemporary person. We're all contemporary people. We want to add something. We want to contribute. We want to be useful. So I'm searching for symbols and forms all the time, different ones. Whether it be a mound, whether it'd be a swimming pool inside an art gallery or a singing park bench or a post-Colonial bench in Pennsbury Manor, in some ways you could say I would be indigenizing and musicalizing those benches. But I consciously work to have a very broad palette. I want my work to be expansive and be able to encompass any subject or idea, because that's why I got into art is because you can talk about anything.Li:Yeah, it's boundless. It's boundless. Then also thinking about the connections and the symbols that you mentioned, the colors that you mentioned, the iconography, what systems of power might they be connected to? Nathan:Well, ultimately, I think that most of the power that is embedded in these symbols comes from the sublime, that come from the sacred. It's complicated. The sacred means to not be touched. That's my understanding, it's to not be touched. However, it's been the source of inspiration for artists of any continent of any time is, if you want to call it, a spiritual, sublime, religious connection, inspiration, whatever, but ultimately, that is my understanding. From my research, even as a young person studying Pawnee mythologies at the University of Oklahoma and special collection and learning stories, our origin stories and what color meant and how the world was seen by my ancestors from other tribes as well as Lenape stories, it's something that's hard to grasp and to hold onto, but that's how we've come to identify each other. It's as simple as we have car tags here that represent our tribes. We have a compact with the state. So everybody's looking around at all these different car tags.Li:Wow. Nathan:You see a regular Oklahoma one, and then you'll see... A very common one is a Cherokee because they're one of the biggest tribes. You'll see a blue one, it's Pawnee. Now you'll see a red one, and it's Delaware or Lenape. It says Unami Lenape on it, and it has our seal. So we play this kind of game all of us. I mean, it's not a game, but we're always looking at license plates to see... It might be your mom's car you're driving that has, say, a Kickapoo license plate or something, and it's a Cherokee driving it or a non-Indian or something, a relative, say. It's not for me to say where these came from. It's something that I actually just really explore and that fascinates me. It's very rich growing up and being a member of my tribal communities. I learn something new almost daily. Li:I can imagine like you said, the learning experience that you have as a child growing up in your community. You mentioned mythologies earlier. I study mythology. One of the purposes I've come to understand is education, educating through these stories. I recently interviewed Jesse Hagopian from the Zinn Education Project and the movement for anti-racist education. The struggles for education reform and reckoning with Eurocentric understandings of history seem to be deeply connected efforts. So on nkwiluntàmën, I understand an educational curriculum has been developed for younger audiences. What do you hope that people take away from this project that they might not find in a textbook or a classroom? Nathan:Well, I would hope that when people visit the large-scale sound installation and visual elements of it that they would understand... my greatest hope that people would learn what I learned while creating the work was that I really don't know what it felt like. I just came across, I was looking for the words in the Delaware Talking Dictionary for feelings, and I found a sentence or a way of saying feeling that said, "It did not penetrate me. I did not feel it." It made me realize that I don't know. I've never had this happen to me. The history of the Delaware Lenape is of constant removal, of constant pushing. Most people know the Cherokee Nation and the Trail of Tears. Actually, there were many movements of the Cherokee. It's very complex. All tribes are very complex. You always have to qualify. But the Trail of Tears is what most people know about. It was this very long, two-year complex journey. It was fraught. Li:That's one of the stories that we learned in school, if at all. Nathan:So our story is of nine of those and, to my understanding and research, was about once every 30 years. So it seemed to me that most Lenape, who came to be known as the Delaware Tribe, who I grew up with as, had ancestors that had experienced a removal. It's something that we still live and deal with today. We came to Oklahoma from what is now Lawrence, Kansas, when this was called Indian Territory. We had been living before that north of Kansas and had adapted our way of life as we changed across this territory and through time to survive.So as we moved into the Plains, we started to hunt buffalo, and then we get kind of crosswise with some other tribes. I think when the federal government was constituting Indian Country, they were concerned with the relationships between other tribes and how they felt. My understanding is we had upset some... By Buffalo hunting and adopting that way of survival and life, there was some trepidation about us. They wanted our reservation. The railroad wanted our reservation, and Lawrence, Kansas, to run directly through our reservation. They were forcing us to move off that reservation, and they couldn't find a place. That was kind of my understanding of the situation. So we ended up in the northernmost part of the Cherokee Nation. This made us a landless tribe for a very, very long time. Technically, we didn't have a reservation. We were living in the Cherokee's reservation because we had this very ancient but kind of tangential connection to the Cherokees. So that's a very long and complicated story as well. Li:That's actually a beautiful setup for one of my last questions actually. This idea of documentation and stewardship are key for Indigenous communities, as you just mentioned, that continue to contend with stolen land, forest displacements, cultural erasure, and lost languages. Monument Lab thinks a lot about the future archives that can hold the dynamic nature of public memory in all its forms. What would a future archive of ancestral memory look, feel, or even sound like for you? Nathan Young:I love that question because we do work with future archives of our ancestors, all of us do today. So I think it's really a question of form. I've encountered this in my studies of Sonic Agency and Indigenous Sonic Agency. The invention of the phonograph and the wax cylinder are very important. It didn't look like anything. It looked like sound or that archive. I think that unknowingly, we're all living in an archive. We're archiving moments now as things speed up constantly. Paul Virilio, the theorist, was very, very important to my thinking because he theorized about speed and the speed of, say, how a camera shutter and a gun are very similar in their repeatingness. I think about repetition a lot. But today, we live in this hyper surveillance society that any moment could be archived, any moment could be filmed, and also these things will be lost. So that is a fascinating thought to think about what may survive and become the archive and what may not, even with all of this effort to constantly surveil and document everything.But it's my hope that archives are important just because they give us a deeper understanding of a connection to something we will never be able to experience. So I think that a future archive is something that we cannot imagine. We don't know what it's going to look like, and it's up to us to find out and to explore form and explore possibilities so that we're not stuck in this mindset that has to be in steel and monumentalized as a figure or a person or something like that. So in my mind, it's just to be revealed to us. We'll know later, but I would hope that were to make...I know this is what people still do today that make monuments. They want to make something beautiful, but that means something different to Lenape or a Pawnee or Kiowa, so that seems very different to us. And so we do that. We do memorialize things in different ways. But I think that we think of them as more ethereal, whether we think of them as things that we know that aren't going to really last forever. I feel that way, at least. I don't speak for all of my culture. But I know that some of us are trying to find new forms to really memorialize our past and unite our community of memory and our tribes, our experiences.Li:Like you said, time, everything's moving so fast and everything's evolving. Everything's constantly changing. So who knows what the forms will take. This has been such a wonderful conversation. I really appreciate your time. I just wanted to see if you had any final words or even gems of ancestral wisdom you might want to leave with us before we finish. Nathan:No, I can't share any ancestral wisdom, not knowingly or very well. I just appreciate the opportunity to create the piece. I appreciate the opportunity to expand upon the piece by talking with you about this because I'm just trying to figure this out. I don't have all the answers. Li:Right, that is part of  being a life learner and walking this path. Everyone's on their journey. We are constantly learning at every turn. I'm with you, Nathan. I often admit that I do not have all the answers. That is for sure. I really enjoyed learning about your work and your practice. I definitely plan on getting down to Pennsbury Manor and look forward to the curriculum for the youth when it comes out. Nathan:Well, thank you. I hope you enjoy it. I hope that it's a meaningful experience for you. I'm a very fortunate person to be able to work on such a project and very grateful to the entire team and everybody that supported the process. Li:Thank you, and thank you again to Ryan Strand Greenberg, who is also the producer of this podcast and worked with you on the project for nkwiluntàmën. Thank you to Nathan Young, our guest today on Future Memory. This is another one for the Future Memory archives.Monument Lab Future Memory is produced by Monument Lab Studio, Paul Farber, Li Sumpter, Ryan Strand Greenberg, Aubree Penney, and Nico Rodriguez. Our producing partner for Future Memory is RADIOKISMET, with special thanks to Justin Berger and the Christopher Plant. This season was supported with generous funding by the Stuart Weitzman School of Design and the University of Pennsylvania.

In today's audio essay we're focused on Artificial Intelligence.  Entrepreneur, incubator director and community developer Scott M. Graves is pondering the future, more specifically how we build a better one. 'Could we create a great tipping point where a society, devoid of the means for cultivating its great creative class warriors, cease to provide the know-how to create more ‘tech' to feed the AI revolution. How Ironic.'   'Revolution?  Or de-volution.  It's for us to decide.'    About Scott Scott M. Graves is founder of M the Media Project and SMGraves Associates.  As contributing writer to M, he writes under the series Politics, Done Local and Democratic Capitalism in addition to Essays from An Artist. He is Director of StartUp Rutland, a technology business incubator re-defining the economy for Rutland, VT which he and his family recently moved to.  StartUp Rutland is housed in The Hub CoWorks. His work at SMGraves Associates focuses on building value in real property by considering the commercial and social ecosystems that play out within our built environments.  Community Development that seeks to build pride in place and create economic opportunity for more citizens of our cities and towns.  

A Culture Filled with Plastic People Lenny once again joins Dr. Harry Edwards and Dr. Jacob Daniel to discuss Carl Trueman's landmark book The Rise and Triumph of the Modern Self. This discussion centers on how for the first time in history people define themselves primarily by their feelings instead of more objective standard and the dangers such subjective and ethereal measurements create.

RockerMike and Rob Presents: Joe Yanosik Welcome to the RockerMike and Rob Presents Show about The Plastic People of the Universe by Joseph Yanosik (2020). This podcast will explore the fascinating history and legacy of one of the most influential underground bands in Czechoslovakia during the 1970s. We'll discuss topics such as their music, their influence on Czech culture, and what their legacy has meant for generations of musicians who followed in their footsteps. Join us as we dive deep into the story of The Plastic People of the Universe and how they continue to shape and inspire today. #JosephYanosik #RockMusic #CzechRock #ExperimentalRock #AmWriting #WriteTip #WritingCommunity #WriteMotivation #WritersLife #WriterProblems #WritersGuild #WritingGoals #WritersSupportingWriters #CzechRockMusic #CzechRockBand #CzechRockScene #CzechRockStars #PragueRocks #BohemianRocks http://furious.com/perfect/pulnoc.html https://rockcritics.com/2022/08/26/top-10-plastic-people-of-the-universe-joe-yanosik/ https://mobile.twitter.com/jyanosik?lang=en jyanosik@optonline.net https://rockandrollglobe.com/author/joe-yanosik/ https://www.tomhull.com/ocston/guests/jy/jy-ppu.php#:~:text=Ordering%20Information%3A&text=To%20order%20the%20book%2C%20send,plus%20%2425%20shipping%20(%2450) http://plasticpeople.cz/ https://m.facebook.com/100037714062243/ Ordering Information: The book is available in English language only. The first printing is limited to 250 copies. Future printings are not guaranteed so get your copy today! To order the book, send PayPal payment to Joe Yanosik (@plasticpeople): For orders shipping within U.S., the price of book is $25 plus $5 shipping ($30) For orders shipping outside U.S. (international), the price of book is $25 plus $25 shipping ($50) The book can also be ordered via Ebay. For orders shipping to USA only, the book can also be purchased by sending a personal check for $30 to: Joe Yanosik
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Guests: Tim Matthews and Jonathan Teague   Strange New World: How Thinkers and Activists Redefined Identity and Sparked the Sexual Revolution By Carl R. Trueman   Strange New World is an abbreviated edition of Dr. Trueman's longer book titled The Rise and Triumph of the Modern Self: Cultural Amnesia, Expressive Individualism, and the Road to Sexual Revolution   In this book, Dr. Trueman is going to examine how a person became a self, the self became sexualized, and sex became politicized.   Chapter 5 The Revolt of the Masses   Technology also reinforces the focus on the individual, and upon individual satisfactions.   To this we might add the observation of Yuval Levin concerning the reversal in the understanding of the purpose of institutions that characterizes our present age: We have moved, roughly speaking, from thinking of institutions as molds that shape people's character and habits towards seeing them as platforms that allow people to be themselves and to display themselves before a wider world.   We can express this more bluntly: institutions are no longer authoritative places of formation but of performance.   Dan - some parents see their role not as an authority figure, but as a facilitator to allow your children be whatever they want to be. Many people don't regard science/biology as being authoritative in terms of gender and sexuality, just because a “doctor” says you're a boy, doesn't make you a boy - that's the mindset of a growing group today!   Dan - difference between reforming institutions and rejecting institutions. If you reject these institutions, what do you replace them with?   To use a distinction deployed by philosopher Roger Scruton, pornography is about bodies, not faces. If sex is just about my pleasure, any body will do as a partner. But in a marriage, the specific identity of the sexual partners is critical. The purpose of sex is not to have sex but to make love, to reinforce a relationship with a particular person–or, to use Scruton's terminology, with a face, not just with a body. Chapter 6 Plastic People, Liquid World   “Contours of the MODERN SELF” - the emphasis on the authority of our inner feelings; the centrality of sexual desire to this; the way in which this is now a political and not merely a personal matter; and the various cultural and technological factors that have also served to promote this way of understanding the self.   Plastic people - those who believe they can make and remake themselves at will   Liquid world - to borrow a phrase from Karl Marx, all that is solid seems continually to melt into air.   This highlights the fact that human beings do not simply wish to be free. We also wish to belong, to be part of a group where we are accepted and affirmed.   Now we are free to choose the narrative to which we wish to belong, the imagined community that will provide us with our identity and purpose. We can focus on those narratives that make us feel good and that confirm our chosen view of the world and ignore those that present challenges to this. Jonathan - if self is god, then my experience becomes my gospel   Modern American society is fragmenting because the imagined communities to which people choose to belong lack any shared narrative. Therefore, the terms of recognition that one group wishes to see American society adopt are often antithetical to those of others.  

Ľudské práva sa za posledné tri desiatky rokov stali bežnou, takmer klišéovitou, súčasťou spoločenského slovníka. Avšak v kontexte udalostí posledných dní, tých globálnych ale aj lokálnych, asi nikomu z nás netreba pripomínať, že to nie vždy tak je, že to nie vždy tak bolo. Aj ľudské práva majú svoj príbeh, aj ľudské práva majú svoje dejiny. V dnešnom podcaste hovoríme o dôležitom momente tohto príbehu, o ktorom dnes vieme už len veľmi málo. O konci 70. rokov 20. storočia. Ľudské práva, sa totiž v tomto čase stávajú globálnou témou, globálnym záujmom. Keď sa v 1975 stretnú v Helsinkách zástupcovia sovietskych satelitov so zástupcami západných krajín, aby sa pokúsili nájsť spoločnú reč, nevyhnú sa ani téme ľudských práv: v záverečnom akte sa napokon obe strany zaviažu k ich dodržiavaniu. Jedným zo signatárov tohto aktu je aj Československo. Tento moment v dejinách ľudských práv je tak dôležitý nielen globálne ale aj lokálne. Medzinárodná debata o ľudských právach sa veľmi konkrétne začína týkať aj komunistického Československa, ktoré len pred pár rokmi s pomocou tankov varšavskej zmluvy potlačilo posledný pokus o demokratizáciu. V 70. rokoch sa však zdá, že medzinárodný záväzok dodržiavať ľudské práva u nás doma takmer nič nezmenil. Československo si ide svoju normalizačnú pesničku a s pomocou polície a tajnej polície drží pod kontrolou a tvrdo potláča akékoľvek nezávislé iniciatívy. V 1975 sa uskutoční súd s pražskou kapelou Plastic People of Universe a jej členovia sú odsúdení na roky väzenia. Avšak napriek tejto evidentnej snahe pokračovať v represii je nereálne aby Československo zostalo mimo. Je nereálne aby porušovanie ľudských práv v Československu prešlo nepovšimnuté za jeho hranicami. A čo je rovnako dôležité - v Československu vzniká občianska iniciatíva Charta 77, ktorej cieľom je monitorovať dodržiavanie týchto záväzkov. Príbeh Charty 77 nám bude v dnešnom podcaste slúžiť ako blízky sprievodca v širších a zložitých dejinách ľudských práv posledných desaťročí. S našim dnešným hosťom budeme mať výnimočnú príležitosť pozrieť sa priamo na najnovší výskum. Do akej miery je teda príbeh Charty súčasťou globálních dejín ľudských práv? Je príbeh Charty aj slovenským príbehom? Bola Charta v spojení s bežnými ľuďmi a ich problémami alebo išlo o elitný klub? Čo riskovali signatári Charty 77? A napokon ako si Chartu pamätáme dnes a čo tieto naše spomienky alebo ich absencia robia s našou predstavou o ľudských právach jako takých? Agáta Šústová Drelová sa rozprávala s historikom Michalom Kopečkom z Ústavu Soudobých dejin Českej Akadémie Vied. Michal Kopeček bol tiež hosťujúcim profesorom na Univerzite v Cambridge a riaditeľom Imre Kertész Kolégia na Univerzite Friedricha Schillera v nemeckej Jene. Vo svojom výskume sa venuje intelektuálnym dejinám politického myslenia a okrem desiatok štúdií vo viacerých jazykoch je tiež spoluautorom dvojdielnej Histórie moderného politického myslenia v stredovýchodnej Európe, ktorá vyšla vo vydavateľstve Oxfordskej univerzity. – Ak máte pre nás spätnú väzbu, odkaz alebo nápad, napíšte nám na jaroslav.valent@petitpress.sk - Všetky podcasty denníka SME nájdete na sme.sk/podcasty – Podporte vznik podcastu Dejiny a kúpte si digitálne predplatné SME.sk na sme.sk/podcast – Odoberajte aj denný newsletter SME.sk s najdôležitejšími správami na sme.sk/suhrnsme – Ďakujeme, že počúvate podcast Dejiny.

Host Nate Wilcox asks Joe about the history of this remarkable band.Order the book.Download this episode.Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.comFollow us on Twitter.Follow us on Facebook.Let It Roll is proud to be part of Pantheon Podcasts.

News; Signal festival of light hits Prague; Lauder School marks 25 years; US writer does deep dive into Plastic People of Universe.

Microplastics. They are in our beer, salt, fresh fruit and vegetables, and drinking water. We eat, according to one estimate, a credit card's worth every week. They can also rain down upon us, and we can breathe them in. They have been found in our blood and embedded in our lungs. How dangerous are they? Do we enough to say they are harmful to us? The Agenda examines the microplastics inside us.See omnystudio.com/listener for privacy information.

We used to find our identity and belonging from a shared national narrative. Our families, our churches and our nation provided a moral framework and a national identity which created a sense of belonging and unity. With the advent of the internet, we are able to pick and choose our own communities and identities. The result is a divided nation marked by instability, volatility and contentiousness. Where do we go from here?

Episode 152 of A History of Rock Music in Five Hundred Songs looks at “For What It's Worth”, and the short but eventful career of Buffalo Springfield. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "By the Time I Get to Phoenix" by Glen Campbell. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, there's a Mixcloud mix containing all the songs excerpted in the episode. This four-CD box set is the definitive collection of Buffalo Springfield's work, while if you want the mono version of the second album, the stereo version of the first, and the final album as released, but no demos or outtakes, you want this more recent box set. For What It's Worth: The Story of Buffalo Springfield by Richey Furay and John Einarson is obviously Furay's version of the story, but all the more interesting for that. For information on Steve Stills' early life I used Stephen Stills: Change Partners by David Roberts.  Information on both Stills and Young comes from Crosby, Stills, Nash, and Young by David Browne.  Jimmy McDonough's Shakey is the definitive biography of Neil Young, while Young's Waging Heavy Peace is his autobiography. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before we begin -- this episode deals with various disabilities. In particular, there are descriptions of epileptic seizures that come from non-medically-trained witnesses, many of whom took ableist attitudes towards the seizures. I don't know enough about epilepsy to know how accurate their descriptions and perceptions are, and I apologise if that means that by repeating some of their statements, I am inadvertently passing on myths about the condition. When I talk about this, I am talking about the after-the-fact recollections of musicians, none of them medically trained and many of them in altered states of consciousness, about events that had happened decades earlier. Please do not take anything said in a podcast about music history as being the last word on the causes or effects of epileptic seizures, rather than how those musicians remember them. Anyway, on with the show. One of the things you notice if you write about protest songs is that a lot of the time, the songs that people talk about as being important or impactful have aged very poorly. Even great songwriters like Bob Dylan or John Lennon, when writing material about the political events of the time, would write material they would later acknowledge was far from their best. Too often a song will be about a truly important event, and be powered by a real sense of outrage at injustice, but it will be overly specific, and then as soon as the immediate issue is no longer topical, the song is at best a curio. For example, the sentencing of the poet and rock band manager John Sinclair to ten years in prison for giving two joints to an undercover police officer was hugely controversial in the early seventies, but by the time John Lennon's song about it was released, Sinclair had been freed by the Supreme Court, and very, very few people would use the song as an example of why Lennon's songwriting still has lasting value: [Excerpt: John Lennon, "John Sinclair"] But there are exceptions, and those tend to be songs where rather than talking about specific headlines, the song is about the emotion that current events have caused. Ninety years on from its first success, for example, "Brother, Can You Spare a Dime?" still has resonance, because there are still people who are put out of work through no fault of their own, and even those of us who are lucky enough to be financially comfortable have the fear that all too soon it may end, and we may end up like Al begging on the streets: [Excerpt: Rudy Vallee, "Brother Can You Spare a Dime?"] And because of that emotional connection, sometimes the very best protest songs can take on new lives and new meanings, and connect with the way people feel about totally unrelated subjects. Take Buffalo Springfield's one hit. The actual subject of the song couldn't be any more trivial in the grand scheme of things -- a change in zoning regulations around the Sunset Strip that meant people under twenty-one couldn't go to the clubs after 10PM, and the subsequent reaction to that -- but because rather than talking about the specific incident, Steve Stills instead talked about the emotions that it called up, and just noted the fleeting images that he was left with, the song became adopted as an anthem by soldiers in Vietnam. Sometimes what a song says is nowhere near as important as how it says it. [Excerpt: Buffalo Springfield, "For What It's Worth"] Steve Stills seems almost to have been destined to be a musician, although the instrument he started on, the drums, was not the one for which he would become best known. According to Stills, though, he always had an aptitude for rhythm, to the extent that he learned to tapdance almost as soon as he had learned to walk. He started on drums aged eight or nine, after somebody gave him a set of drumsticks. After his parents got sick of him damaging the furniture by playing on every available surface, an actual drum kit followed, and that became his principal instrument, even after he learned to play the guitar at military school, as his roommate owned one. As a teenager, Stills developed an idiosyncratic taste in music, helped by the record collection of his friend Michael Garcia. He didn't particularly like most of the pop music of the time, but he was a big fan of pre-war country music, Motown, girl-group music -- he especially liked the Shirelles -- and Chess blues. He was also especially enamoured of the music of Jimmy Reed, a passion he would later share with his future bandmate Neil Young: [Excerpt: Jimmy Reed, "Baby, What You Want Me To Do?"] In his early teens, he became the drummer for a band called the Radars, and while he was drumming he studied their lead guitarist, Chuck Schwin.  He said later "There was a whole little bunch of us who were into kind of a combination of all the blues guys and others including Chet Atkins, Dick Dale, and Hank Marvin: a very weird cross-section of far-out guitar players." Stills taught himself to play like those guitarists, and in particular he taught himself how to emulate Atkins' Travis-picking style, and became remarkably proficient at it. There exists a recording of him, aged sixteen, singing one of his own songs and playing finger-picked guitar, and while the song is not exactly the strongest thing I've ever heard lyrically, it's clearly the work of someone who is already a confident performer: [Excerpt: Stephen Stills, "Travellin'"] But the main reason he switched to becoming a guitarist wasn't because of his admiration for Chet Atkins or Hank Marvin, but because he started driving and discovered that if you have to load a drum kit into your car and then drive it to rehearsals and gigs you either end up bashing up your car or bashing up the drum kit. As this is not a problem with guitars, Stills decided that he'd move on from the Radars, and join a band named the Continentals as their rhythm guitarist, playing with lead guitarist Don Felder. Stills was only in the Continentals for a few months though, before being replaced by another guitarist, Bernie Leadon, and in general Stills' whole early life is one of being uprooted and moved around. His father had jobs in several different countries, and while for the majority of his time Stills was in the southern US, he also ended up spending time in Costa Rica -- and staying there as a teenager even as the rest of his family moved to El Salvador. Eventually, aged eighteen, he moved to New Orleans, where he formed a folk duo with a friend, Chris Sarns. The two had very different tastes in folk music -- Stills preferred Dylan-style singer-songwriters, while Sarns liked the clean sound of the Kingston Trio -- but they played together for several months before moving to Greenwich Village, where they performed together and separately. They were latecomers to the scene, which had already mostly ended, and many of the folk stars had already gone on to do bigger things. But Stills still saw plenty of great performers there -- Miles Davis and Dizzy Gillespie and Thelonius Monk in the jazz clubs, Woody Allen, Lenny Bruce, and Richard Pryor in the comedy ones, and Simon and Garfunkel, Richie Havens, Fred Neil and Tim Hardin in the folk ones -- Stills said that other than Chet Atkins, Havens, Neil, and Hardin were the people most responsible for his guitar style. Stills was also, at this time, obsessed with Judy Collins' third album -- the album which had featured Roger McGuinn on banjo and arrangements, and which would soon provide several songs for the Byrds to cover: [Excerpt: Judy Collins, "Turn, Turn, Turn"] Judy Collins would soon become a very important figure in Stills' life, but for now she was just the singer on his favourite record. While the Greenwich Village folk scene was no longer quite what it had been a year or two earlier, it was still a great place for a young talented musician to perform. As well as working with Chris Sarns, Stills also formed a trio with his friend John Hopkins and a banjo player called Peter Tork who everyone said looked just like Stills. Tork soon headed out west to seek his fortune, and then Stills got headhunted to join the Au Go Go Singers. This was a group that was being set up in the same style as the New Christy Minstrels -- a nine-piece vocal and instrumental group that would do clean-sounding versions of currently-popular folk songs. The group were signed to Roulette Records, and recorded one album, They Call Us Au-Go-Go Singers, produced by Hugo and Luigi, the production duo we've previously seen working with everyone from the Tokens to the Isley Brothers. Much of the album is exactly the same kind of thing that a million New Christy Minstrels soundalikes were putting out -- and Stills, with his raspy voice, was clearly intended to be the Barry McGuire of this group -- but there was one exception -- a song called "High Flyin' Bird", on which Stills was able to show off the sound that would later make him famous, and which became so associated with him that even though it was written by Billy Edd Wheeler, the writer of "Jackson", even the biography of Stills I used in researching this episode credits "High Flyin' Bird" as being a Stills original: [Excerpt: The Au-Go-Go Singers, "High Flyin' Bird"] One of the other members of the Au-Go-Go Singers, Richie Furay, also got to sing a lead vocal on the album, on the Tom Paxton song "Where I'm Bound": [Excerpt: The Au-Go-Go Singers, "Where I'm Bound"] The Au-Go-Go Singers got a handful of dates around the folk scene, and Stills and Furay became friendly with another singer playing the same circuit, Gram Parsons. Parsons was one of the few people they knew who could see the value in current country music, and convinced both Stills and Furay to start paying more attention to what was coming out of Nashville and Bakersfield. But soon the Au-Go-Go Singers split up. Several venues where they might otherwise have been booked were apparently scared to book an act that was associated with Morris Levy, and also the market for big folk ensembles dried up more or less overnight when the Beatles hit the music scene. But several of the group -- including Stills but not Furay -- decided they were going to continue anyway, and formed a group called The Company, and they went on a tour of Canada. And one of the venues they played was the Fourth Dimension coffee house in Fort William, Ontario, and there their support act was a rock band called The Squires: [Excerpt: The Squires, "(I'm a Man And) I Can't Cry"] The lead guitarist of the Squires, Neil Young, had a lot in common with Stills, and they bonded instantly. Both men had parents who had split up when they were in their teens, and had a successful but rather absent father and an overbearing mother. And both had shown an interest in music even as babies. According to Young's mother, when he was still in nappies, he would pull himself up by the bars  of his playpen and try to dance every time he heard "Pinetop's Boogie Woogie": [Excerpt: Pinetop Smith, "Pinetop's Boogie Woogie"] Young, though, had had one crucial experience which Stills had not had. At the age of six, he'd come down with polio, and become partially paralysed. He'd spent months in hospital before he regained his ability to walk, and the experience had also affected him in other ways. While he was recovering, he would draw pictures of trains -- other than music, his big interest, almost an obsession, was with electric train sets, and that obsession would remain with him throughout his life -- but for the first time he was drawing with his right hand rather than his left. He later said "The left-hand side got a little screwed. Feels different from the right. If I close my eyes, my left side, I really don't know where it is—but over the years I've discovered that almost one hundred percent for sure it's gonna be very close to my right side … probably to the left. That's why I started appearing to be ambidextrous, I think. Because polio affected my left side, and I think I was left-handed when I was born. What I have done is use the weak side as the dominant one because the strong side was injured." Both Young's father Scott Young -- a very famous Canadian writer and sports broadcaster, who was by all accounts as well known in Canada during his lifetime as his son -- and Scott's brother played ukulele, and they taught Neil how to play, and his first attempt at forming a group had been to get his friend Comrie Smith to get a pair of bongos and play along with him to Preston Epps' "Bongo Rock": [Excerpt: Preston Epps, "Bongo Rock"] Neil Young had liked all the usual rock and roll stars of the fifties  -- though in his personal rankings, Elvis came a distant third behind Little Richard and Jerry Lee Lewis -- but his tastes ran more to the more darkly emotional. He loved "Maybe" by the Chantels, saying "Raw soul—you cannot miss it. That's the real thing. She was believin' every word she was singin'." [Excerpt: The Chantels, "Maybe"] What he liked more than anything was music that had a mainstream surface but seemed slightly off-kilter. He was a major fan of Roy Orbison, saying, "it's almost impossible to comprehend the depth of that soul. It's so deep and dark it just keeps on goin' down—but it's not black. It's blue, deep blue. He's just got it. The drama. There's something sad but proud about Roy's music", and he would say similar things about Del Shannon, saying "He struck me as the ultimate dark figure—behind some Bobby Rydell exterior, y'know? “Hats Off to Larry,” “Runaway,” “Swiss Maid”—very, very inventive. The stuff was weird. Totally unaffected." More surprisingly, perhaps, he was a particular fan of Bobby Darin, who he admired so much because Darin could change styles at the drop of a hat, going from novelty rock and roll like "Splish Splash" to crooning "Mack The Knife" to singing Tim Hardin songs like "If I Were a Carpenter", without any of them seeming any less authentic. As he put it later "He just changed. He's completely different. And he's really into it. Doesn't sound like he's not there. “Dream Lover,” “Mack the Knife,” “If I Were a Carpenter,” “Queen of the Hop,” “Splish Splash”—tell me about those records, Mr. Darin. Did you write those all the same day, or what happened? He just changed so much. Just kinda went from one place to another. So it's hard to tell who Bobby Darin really was." And one record which Young was hugely influenced by was Floyd Cramer's country instrumental, "Last Date": [Excerpt: Floyd Cramer, "Last Date"] Now, that was a very important record in country music, and if you want to know more about it I strongly recommend listening to the episode of Cocaine and Rhinestones on the Nashville A-Team, which has a long section on the track, but the crucial thing to know about that track is that it's one of the earliest examples of what is known as slip-note playing, where the piano player, before hitting the correct note, briefly hits the note a tone below it, creating a brief discord. Young absolutely loved that sound, and wanted to make a sound like that on the guitar. And then, when he and his mother moved to Winnipeg after his parents' divorce, he found someone who was doing just that. It was the guitarist in a group variously known as Chad Allan and the Reflections and Chad Allan and the Expressions. That group had relatives in the UK who would send them records, and so where most Canadian bands would do covers of American hits, Chad Allan and the Reflections would do covers of British hits, like their version of Geoff Goddard's "Tribute to Buddy Holly", a song that had originally been produced by Joe Meek: [Excerpt: Chad Allan and the Reflections, "Tribute to Buddy Holly"] That would later pay off for them in a big way, when they recorded a version of Johnny Kidd and the Pirates' "Shakin' All Over", for which their record label tried to create an air of mystery by releasing it with no artist name, just "Guess Who?" on the label. It became a hit, the name stuck, and they became The Guess Who: [Excerpt: The Guess Who, "Shakin' All Over"] But at this point they, and their guitarist Randy Bachman, were just another group playing around Winnipeg. Bachman, though, was hugely impressive to Neil Young for a few reasons. The first was that he really did have a playing style that was a lot like the piano style of Floyd Cramer -- Young would later say "it was Randy Bachman who did it first. Randy was the first one I ever heard do things on the guitar that reminded me of Floyd. He'd do these pulls—“darrr darrrr,” this two-note thing goin' together—harmony, with one note pulling and the other note stayin' the same." Bachman also had built the first echo unit that Young heard a guitarist play in person. He'd discovered that by playing with the recording heads on a tape recorder owned by his mother, he could replicate the tape echo that Sam Phillips had used at Sun Studios -- and once he'd attached that to his amplifier, he realised how much the resulting sound sounded like his favourite guitarist, Hank Marvin of the Shadows, another favourite of Neil Young's: [Excerpt: The Shadows, "Man of Mystery"] Young soon started looking to Bachman as something of a mentor figure, and he would learn a lot of guitar techniques second hand from Bachman -- every time a famous musician came to the area, Bachman would go along and stand right at the front and watch the guitarist, and make note of the positions their fingers were in. Then Bachman would replicate those guitar parts with the Reflections, and Neil Young would stand in front of him and make notes of where *his* fingers were. Young joined a band on the local circuit called the Esquires, but soon either quit or was fired, depending on which version of the story you choose to believe. He then formed his own rival band, the Squires, with no "e", much to the disgust of his ex-bandmates. In July 1963, five months after they formed, the  Squires released their first record, "Aurora" backed with "The Sultan", on a tiny local label. Both tracks were very obviously influenced by the Shadows: [Excerpt: The Squires, "Aurora"] The Squires were a mostly-instrumental band for the first year or so they were together, and then the Beatles hit North America, and suddenly people didn't want to hear surf instrumentals and Shadows covers any more, they only wanted to hear songs that sounded a bit like the Beatles. The Squires started to work up the appropriate repertoire -- two songs that have been mentioned as in their set at this point are the Beatles album track "It Won't Be Long", and "Money" which the Beatles had also covered -- but they didn't have a singer, being an instrumental group. They could get in a singer, of course, but that would mean splitting the money with another person. So instead, the guitarist, who had never had any intention of becoming a singer, was more or less volunteered for the role. Over the next eighteen months or so the group's repertoire moved from being largely instrumental to largely vocal, and the group also seem to have shuttled around a bit between two different cities -- Winnipeg and Fort William, staying in one for a while and then moving back to the other. They travelled between the two in Young's car, a Buick Roadmaster hearse. In Winnipeg, Young first met up with a singer named Joni Anderson, who was soon to get married to Chuck Mitchell and would become better known by her married name. The two struck up a friendship, though by all accounts never a particularly close one -- they were too similar in too many ways; as Mitchell later said “Neil and I have a lot in common: Canadian; Scorpios; polio in the same epidemic, struck the same parts of our body; and we both have a black sense of humor". They were both also idiosyncratic artists who never fit very well into boxes. In Fort William the Squires made a few more records, this time vocal tracks like "I'll Love You Forever": [Excerpt: The Squires, "I'll Love You Forever"] It was also in Fort William that Young first encountered two acts that would make a huge impression on him. One was a group called The Thorns, consisting of Tim Rose, Jake Holmes, and Rich Husson. The Thorns showed Young that there was interesting stuff being done on the fringes of the folk music scene. He later said "One of my favourites was “Oh Susannah”—they did this arrangement that was bizarre. It was in a minor key, which completely changed everything—and it was rock and roll. So that idea spawned arrangements of all these other songs for me. I did minor versions of them all. We got into it. That was a certain Squires stage that never got recorded. Wish there were tapes of those shows. We used to do all this stuff, a whole kinda music—folk-rock. We took famous old folk songs like “Clementine,” “She'll Be Comin' 'Round the Mountain,” “Tom Dooley,” and we did them all in minor keys based on the Tim Rose arrangement of “Oh Susannah.” There are no recordings of the Thorns in existence that I know of, but presumably that arrangement that Young is talking about is the version that Rose also later did with the Big 3, which we've heard in a few other episodes: [Excerpt: The Big 3, "The Banjo Song"] The other big influence was, of course, Steve Stills, and the two men quickly found themselves influencing each other deeply. Stills realised that he could bring more rock and roll to his folk-music sound, saying that what amazed him was the way the Squires could go from "Cottonfields" (the Lead Belly song) to "Farmer John", the R&B song by Don and Dewey that was becoming a garage-rock staple. Young in turn was inspired to start thinking about maybe going more in the direction of folk music. The Squires even renamed themselves the High-Flying Birds, after the song that Stills had recorded with the Au Go Go Singers. After The Company's tour of Canada, Stills moved back to New York for a while. He now wanted to move in a folk-rock direction, and for a while he tried to persuade his friend John Sebastian to let him play bass in his new band, but when the Lovin' Spoonful decided against having him in the band, he decided to move West to San Francisco, where he'd heard there was a new music scene forming. He enjoyed a lot of the bands he saw there, and in particular he was impressed by the singer of a band called the Great Society: [Excerpt: The Great Society, "Somebody to Love"] He was much less impressed with the rest of her band, and seriously considered going up to her and asking if she wanted to work with some *real* musicians instead of the unimpressive ones she was working with, but didn't get his nerve up. We will, though, be hearing more about Grace Slick in future episodes. Instead, Stills decided to move south to LA, where many of the people he'd known in Greenwich Village were now based. Soon after he got there, he hooked up with two other musicians, a guitarist named Steve Young and a singer, guitarist, and pianist named Van Dyke Parks. Parks had a record contract at MGM -- he'd been signed by Tom Wilson, the same man who had turned Dylan electric, signed Simon and Garfunkel, and produced the first albums by the Mothers of Invention. With Wilson, Parks put out a couple of singles in 1966, "Come to the Sunshine": [Excerpt: The Van Dyke Parks, "Come to the Sunshine"] And "Number Nine", a reworking of the Ode to Joy from Beethoven's Ninth Symphony: [Excerpt: The Van Dyke Parks, "Number Nine"]Parks, Stills, and Steve Young became The Van Dyke Parks Band, though they didn't play together for very long, with their most successful performance being as the support act for the Lovin' Spoonful for a show in Arizona. But they did have a lasting resonance -- when Van Dyke Parks finally got the chance to record his first solo album, he opened it with Steve Young singing the old folk song "Black Jack Davy", filtered to sound like an old tape: [Excerpt: Steve Young, "Black Jack Davy"] And then it goes into a song written for Parks by Randy Newman, but consisting of Newman's ideas about Parks' life and what he knew about him, including that he had been third guitar in the Van Dyke Parks Band: [Excerpt: Van Dyke Parks, "Vine Street"] Parks and Stills also wrote a few songs together, with one of their collaborations, "Hello, I've Returned", later being demoed by Stills for Buffalo Springfield: [Excerpt: Steve Stills, "Hello, I've Returned"] After the Van Dyke Parks Band fell apart, Parks went on to many things, including a brief stint on keyboards in the Mothers of Invention, and we'll be talking more about him next episode. Stills formed a duo called the Buffalo Fish, with his friend Ron Long. That soon became an occasional trio when Stills met up again with his old Greenwich Village friend Peter Tork, who joined the group on the piano. But then Stills auditioned for the Monkees and was turned down because he had bad teeth -- or at least that's how most people told the story. Stills has later claimed that while he turned up for the Monkees auditions, it wasn't to audition, it was to try to pitch them songs, which seems implausible on the face of it. According to Stills, he was offered the job and turned it down because he'd never wanted it. But whatever happened, Stills suggested they might want his friend Peter, who looked just like him apart from having better teeth, and Peter Tork got the job. But what Stills really wanted to do was to form a proper band. He'd had the itch to do it ever since seeing the Squires, and he decided he should ask Neil Young to join. There was only one problem -- when he phoned Young, the phone was answered by Young's mother, who told Stills that Neil had moved out to become a folk singer, and she didn't know where he was. But then Stills heard from his old friend Richie Furay. Furay was still in Greenwich Village, and had decided to write to Stills. He didn't know where Stills was, other than that he was in California somewhere, so he'd written to Stills' father in El Salvador. The letter had been returned, because the postage had been short by one cent, so Furay had resent it with the correct postage. Stills' father had then forwarded the letter to the place Stills had been staying in San Francisco, which had in turn forwarded it on to Stills in LA. Furay's letter mentioned this new folk singer who had been on the scene for a while and then disappeared again, Neil Young, who had said he knew Stills, and had been writing some great songs, one of which Furay had added to his own set. Stills got in touch with Furay and told him about this great band he was forming in LA, which he wanted Furay to join. Furay was in, and travelled from New York to LA, only to be told that at this point there were no other members of this great band, but they'd definitely find some soon. They got a publishing deal with Columbia/Screen Gems, which gave them enough money to not starve, but what they really needed was to find some other musicians. They did, when driving down Hollywood Boulevard on April the sixth, 1966. There, stuck in traffic going the other way, they saw a hearse... After Steve Stills had left Fort William, so had Neil Young. He hadn't initially intended to -- the High-Flying Birds still had a regular gig, but Young and some of his friends had gone away for a few days on a road trip in his hearse. But unfortunately the transmission on the hearse had died, and Young and his friends had been stranded. Many years later, he would write a eulogy to the hearse, which he and Stills would record together: [Excerpt: The Stills-Young Band, "Long May You Run"] Young and his friends had all hitch-hiked in different directions -- Young had ended up in Toronto, where his dad lived, and had stayed with his dad for a while. The rest of his band had eventually followed him there, but Young found the Toronto music scene not to his taste -- the folk and rock scenes there were very insular and didn't mingle with each other, and the group eventually split up. Young even took on a day job for a while, for the only time in his life, though he soon quit. Young started basically commuting between Toronto and New York, a distance of several hundred miles, going to Greenwich Village for a while before ending up back in Toronto, and ping-ponging between the two. In New York, he met up with Richie Furay, and also had a disastrous audition for Elektra Records as a solo artist. One of the songs he sang in the audition was "Nowadays Clancy Can't Even Sing", the song which Furay liked so much he started performing it himself. Young doesn't normally explain his songs, but as this was one of the first he ever wrote, he talked about it in interviews in the early years, before he decided to be less voluble about his art. The song was apparently about the sense of youthful hope being crushed. The instigation for it was Young seeing his girlfriend with another man, but the central image, of Clancy not singing, came from Young's schooldays. The Clancy in question was someone Young liked as one of the other weird kids at school. He was disabled, like Young, though with MS rather than polio, and he would sing to himself in the hallways at school. Sadly, of course, the other kids would mock and bully him for that, and eventually he ended up stopping. Young said about it "After awhile, he got so self-conscious he couldn't do his thing any more. When someone who is as beautiful as that and as different as that is actually killed by his fellow man—you know what I mean—like taken and sorta chopped down—all the other things are nothing compared to this." [Excerpt: Neil Young, "Nowadays Clancy Can't Even Sing (Elektra demo)"] One thing I should say for anyone who listens to the Mixcloud for this episode, that song, which will be appearing in a couple of different versions, has one use of a term for Romani people that some (though not all) consider a slur. It's not in the excerpts I'll be using in this episode, but will be in the full versions on the Mixcloud. Sadly that word turns up time and again in songs of this era... When he wasn't in New York, Young was living in Toronto in a communal apartment owned by a folk singer named Vicki Taylor, where many of the Toronto folk scene would stay. Young started listening a lot to Taylor's Bert Jansch albums, which were his first real exposure to the British folk-baroque style of guitar fingerpicking, as opposed to the American Travis-picking style, and Young would soon start to incorporate that style into his own playing: [Excerpt: Bert Jansch, "Angie"] Another guitar influence on Young at this point was another of the temporary tenants of Taylor's flat, John Kay, who would later go on to be one of the founding members of Steppenwolf. Young credited Kay with having a funky rhythm guitar style that Young incorporated into his own. While he was in Toronto, he started getting occasional gigs in Detroit, which is "only" a couple of hundred miles away, set up by Joni and Chuck Mitchell, both of whom also sometimes stayed at Taylor's. And it was in Detroit that Neil Young became, albeit very briefly, a Motown artist. The Mynah Birds were a band in Toronto that had at one point included various future members of Steppenwolf, and they were unusual for the time in that they were a white band with a Black lead singer, Ricky Matthews. They also had a rich manager, John Craig Eaton, the heir to the Eaton's department store fortune, who basically gave them whatever money they wanted -- they used to go to his office and tell him they needed seven hundred dollars for lunch, and he'd hand it to them. They were looking for a new guitarist when Bruce Palmer, their bass player, bumped into Neil Young carrying an amp and asked if he was interested in joining. He was. The Mynah Birds quickly became one of the best bands in Toronto, and Young and Matthews became close, both as friends and as a performance team. People who saw them live would talk about things like a song called “Hideaway”, written by Young and Matthews, which had a spot in the middle where Young would start playing a harmonica solo, throw the harmonica up in the air mid-solo, Matthews would catch it, and he would then finish the solo. They got signed to Motown, who were at this point looking to branch out into the white guitar-group market, and they were put through the Motown star-making machine. They recorded an entire album, which remains unreleased, but they did release a single, "It's My Time": [Excerpt: The Mynah Birds, "It's My Time"] Or at least, they released a handful of promo copies. The single was pulled from release after Ricky Matthews got arrested. It turned out his birth name wasn't Ricky Matthews, but James Johnson, and that he wasn't from Toronto as he'd told everyone, but from Buffalo, New York. He'd fled to Canada after going AWOL from the Navy, not wanting to be sent to Vietnam, and he was arrested and jailed for desertion. After getting out of jail, he would start performing under yet another name, and as Rick James would have a string of hits in the seventies and eighties: [Excerpt: Rick James, "Super Freak"] Most of the rest of the group continued gigging as The Mynah Birds, but Young and Palmer had other plans. They sold the expensive equipment Eaton had bought the group, and Young bought a new hearse, which he named Mort 2 – Mort had been his first hearse. And according to one of the band's friends in Toronto, the crucial change in their lives came when Neil Young heard a song on a jukebox: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Young apparently heard "California Dreamin'" and immediately said "Let's go to California and become rock stars". Now, Young later said of this anecdote that "That sounds like a Canadian story to me. That sounds too real to be true", and he may well be right. Certainly the actual wording of the story is likely incorrect -- people weren't talking about "rock stars" in 1966. Google's Ngram viewer has the first use of the phrase in print being in 1969, and the phrase didn't come into widespread usage until surprisingly late -- even granting that phrases enter slang before they make it to print, it still seems implausible. But even though the precise wording might not be correct, something along those lines definitely seems to have happened, albeit possibly less dramatically. Young's friend Comrie Smith independently said that Young told him “Well, Comrie, I can hear the Mamas and the Papas singing ‘All the leaves are brown, and the skies are gray …' I'm gonna go down to the States and really make it. I'm on my way. Today North Toronto, tomorrow the world!” Young and Palmer loaded up Mort 2 with a bunch of their friends and headed towards California. On the way, they fell out with most of the friends, who parted from them, and Young had an episode which in retrospect may have been his first epileptic seizure. They decided when they got to California that they were going to look for Steve Stills, as they'd heard he was in LA and neither of them knew anyone else in the state. But after several days of going round the Sunset Strip clubs asking if anyone knew Steve Stills, and sleeping in the hearse as they couldn't afford anywhere else, they were getting fed up and about to head off to San Francisco, as they'd heard there was a good music scene there, too. They were going to leave that day, and they were stuck in traffic on Sunset Boulevard, about to head off, when Stills and Furay came driving in the other direction. Furay happened to turn his head, to brush away a fly, and saw a hearse with Ontario license plates. He and Stills both remembered that Young drove a hearse, and so they assumed it must be him. They started honking at the hearse, then did a U-turn. They got Young's attention, and they all pulled into the parking lot at Ben Frank's, the Sunset Strip restaurant that attracted such a hip crowd the Monkees' producers had asked for "Ben Frank's types" in their audition advert. Young introduced Stills and Furay to Palmer, and now there *was* a group -- three singing, songwriting, guitarists and a bass player. Now all they needed was a drummer. There were two drummers seriously considered for the role. One of them, Billy Mundi, was technically the better player, but Young didn't like playing with him as much -- and Mundi also had a better offer, to join the Mothers of Invention as their second drummer -- before they'd recorded their first album, they'd had two drummers for a few months, but Denny Bruce, their second drummer, had become ill with glandular fever and they'd reverted to having Jimmy Carl Black play solo. Now they were looking for someone else, and Mundi took that role. The other drummer, who Young preferred anyway, was another Canadian, Dewey Martin. Martin was a couple of years older than the rest of the group, and by far the most experienced. He'd moved from Canada to Nashville in his teens, and according to Martin he had been taken under the wing of Hank Garland, the great session guitarist most famous for "Sugarfoot Rag": [Excerpt: Hank Garland, "Sugarfoot Rag"] We heard Garland playing with Elvis and others in some of the episodes around 1960, and by many reckonings he was the best session guitarist in Nashville, but in 1961 he had a car accident that left him comatose, and even though he recovered from the coma and lived another thirty-three years, he never returned to recording. According to Martin, though, Garland would still sometimes play jazz clubs around Nashville after the accident, and one day Martin walked into a club and saw him playing. The drummer he was playing with got up and took a break, taking his sticks with him, so Martin got up on stage and started playing, using two combs instead of sticks. Garland was impressed, and told Martin that Faron Young needed a drummer, and he could get him the gig. At the time Young was one of the biggest stars in country music. That year, 1961, he had three country top ten hits, including a number one with his version of Willie Nelson's "Hello Walls", produced by Ken Nelson: [Excerpt: Faron Young, "Hello Walls"] Martin joined Faron Young's band for a while, and also ended up playing short stints in the touring bands of various other Nashville-based country and rock stars, including Patsy Cline, Roy Orbison, and the Everly Brothers, before heading to LA for a while. Then Mel Taylor of the Ventures hooked him up with some musicians in the Pacific Northwest scene, and Martin started playing there under the name Sir Raleigh and the Coupons with various musicians. After a while he travelled back to LA where he got some members of the LA group Sons of Adam to become a permanent lineup of Coupons, and they recorded several singles with Martin singing lead, including the Tommy Boyce and Steve Venet song "Tomorrow's Gonna Be Another Day", later recorded by the Monkees: [Excerpt: Sir Raleigh and the Coupons, "Tomorrow's Gonna Be Another Day"] He then played with the Standells, before joining the Modern Folk Quartet for a short while, as they were transitioning from their folk sound to a folk-rock style. He was only with them for a short while, and it's difficult to get precise details -- almost everyone involved with Buffalo Springfield has conflicting stories about their own careers with timelines that don't make sense, which is understandable given that people were talking about events decades later and memory plays tricks. "Fast" Eddie Hoh had joined the Modern Folk Quartet on drums in late 1965, at which point they became the Modern Folk Quintet, and nothing I've read about that group talks about Hoh ever actually leaving, but apparently Martin joined them in February 1966, which might mean he's on their single "Night-Time Girl", co-written by Al Kooper and produced and arranged by Jack Nitzsche: [Excerpt: The Modern Folk Quintet, "Night-Time Girl"] After that, Martin was taken on by the Dillards, a bluegrass band who are now possibly most famous for having popularised the Arthur "Guitar Boogie" Smith song "Duellin' Banjos", which they recorded on their first album and played on the Andy Griffith Show a few years before it was used in Deliverance: [Excerpt: The Dillards, "Duellin' Banjos"] The Dillards had decided to go in a country-rock direction -- and Doug Dillard would later join the Byrds and make records with Gene Clark -- but they were hesitant about it, and after a brief period with Martin in the band they decided to go back to their drummerless lineup. To soften the blow, they told him about another band that was looking for a drummer -- their manager, Jim Dickson, who was also the Byrds' manager, knew Stills and his bandmates. Dewey Martin was in the group. The group still needed a name though. They eventually took their name from a brand of steam roller, after seeing one on the streets when some roadwork was being done. Everyone involved disagrees as to who came up with the name. Steve Stills at one point said it was a group decision after Neil Young and the group's manager Frazier Mohawk stole the nameplate off the steamroller, and later Stills said that Richey Furay had suggested the name while they were walking down the street, Dewey Martin said it was his idea, Neil Young said that he, Steve Sills, and Van Dyke Parks had been walking down the street and either Young or Stills had seen the nameplate and suggested the name, and Van Dyke Parks says that *he* saw the nameplate and suggested it to Dewey Martin: [Excerpt: Steve Stills and Van Dyke Parks on the name] For what it's worth, I tend to believe Van Dyke Parks in most instances -- he's an honest man, and he seems to have a better memory of the sixties than many of his friends who led more chemically interesting lives. Whoever came up with it, the name worked -- as Stills later put it "We thought it was pretty apt, because Neil Young is from Manitoba which is buffalo country, and  Richie Furay was from Springfield, Ohio -- and I'm the field!" It almost certainly also helped that the word "buffalo" had been in the name of Stills' previous group, Buffalo Fish. On the eleventh of April, 1966, Buffalo Springfield played their first gig, at the Troubadour, using equipment borrowed from the Dillards. Chris Hillman of the Byrds was in the audience and was impressed. He got the group a support slot on a show the Byrds and the Dillards were doing a few days later in San Bernardino. That show was compered by a Merseyside-born British DJ, John Ravenscroft, who had managed to become moderately successful in US radio by playing up his regional accent so he sounded more like the Beatles. He would soon return to the UK, and start broadcasting under the name John Peel. Hillman also got them a week-long slot at the Whisky A-Go-Go, and a bidding war started between record labels to sign the band. Dunhill offered five thousand dollars, Warners counted with ten thousand, and then Atlantic offered twelve thousand. Atlantic were *just* starting to get interested in signing white guitar groups -- Jerry Wexler never liked that kind of music, always preferring to stick with soul and R&B, but Ahmet Ertegun could see which way things were going. Atlantic had only ever signed two other white acts before -- Neil Young's old favourite Bobby Darin, who had since left the label, and Sonny and Cher. And Sonny and Cher's management and production team, Brian Stone and Charlie Greene, were also very interested in the group, who even before they had made a record had quickly become the hottest band on the circuit, even playing the Hollywood Bowl as the Rolling Stones' support act. Buffalo Springfield already had managers -- Frazier Mohawk and Richard Davis, the lighting man at the Troubadour (who was sometimes also referred to as Dickie Davis, but I'll use his full name so as not to cause unnecessary confusion in British people who remember the sports TV presenter of the same name), who Mohawk had enlisted to help him. But Stone and Greene weren't going to let a thing like that stop them. According to anonymous reports quoted without attribution in David Roberts' biography of Stills -- so take this with as many grains of salt as you want -- Stone and Greene took Mohawk for a ride around LA in a limo, just the three of them, a gun, and a used hotdog napkin. At the end of the ride, the hotdog napkin had Mohawk's scrawled signature, signing the group over to Stone and Greene. Davis stayed on, but was demoted to just doing their lights. The way things ended up, the group signed to Stone and Greene's production company, who then leased their masters to Atlantic's Atco subsidiary. A publishing company was also set up for the group's songs -- owned thirty-seven point five percent by Atlantic, thirty-seven point five percent by Stone and Greene, and the other twenty-five percent split six ways between the group and Davis, who they considered their sixth member. Almost immediately, Charlie Greene started playing Stills and Young off against each other, trying a divide-and-conquer strategy on the group. This was quite easy, as both men saw themselves as natural leaders, though Stills was regarded by everyone as the senior partner -- the back cover of their first album would contain the line "Steve is the leader but we all are". Stills and Young were the two stars of the group as far as the audience were concerned -- though most musicians who heard them play live say that the band's real strength was in its rhythm section, with people comparing Palmer's playing to that of James Jamerson. But Stills and Young would get into guitar battles on stage, one-upping each other, in ways that turned the tension between them in creative directions. Other clashes, though were more petty -- both men had very domineering mothers, who would actually call the group's management to complain about press coverage if their son was given less space than the other one. The group were also not sure about Young's voice -- to the extent that Stills was known to jokingly apologise to the audience before Young took a lead vocal -- and so while the song chosen as the group's first A-side was Young's "Nowadays Clancy Can't Even Sing", Furay was chosen to sing it, rather than Young: [Excerpt: Buffalo Springfield, "Nowadays Clancy Can't Even Sing"] On the group's first session, though, both Stills and Young realised that their producers didn't really have a clue -- the group had built up arrangements that had a complex interplay of instruments and vocals, but the producers insisted on cutting things very straightforwardly, with a basic backing track and then the vocals. They also thought that the song was too long so the group should play faster. Stills and Young quickly decided that they were going to have to start producing their own material, though Stone and Greene would remain the producers for the first album. There was another bone of contention though, because in the session the initial plan had been for Stills' song "Go and Say Goodbye" to be the A-side with Young's song as the B-side. It was flipped, and nobody seems quite sure why -- it's certainly the case that, whatever the merits of the two tracks as songs, Stills' song was the one that would have been more likely to become a hit. "Nowadays Clancy Can't Even Sing" was a flop, but it did get some local airplay. The next single, "Burned", was a Young song as well, and this time did have Young taking the lead, though in a song dominated by harmonies: [Excerpt: Buffalo Springfield, "Burned"] Over the summer, though, something had happened that would affect everything for the group -- Neil Young had started to have epileptic seizures. At first these were undiagnosed episodes, but soon they became almost routine events, and they would often happen on stage, particularly at moments of great stress or excitement. Several other members of the group became convinced -- entirely wrongly -- that Young was faking these seizures in order to get women to pay attention to him. They thought that what he wanted was for women to comfort him and mop his brow, and that collapsing would get him that. The seizures became so common that Richard Davis, the group's lighting tech, learned to recognise the signs of a seizure before it happened. As soon as it looked like Young was about to collapse the lights would turn on, someone would get ready to carry him off stage, and Richie Furay would know to grab Young's guitar before he fell so that the guitar wouldn't get damaged. Because they weren't properly grounded and Furay had an electric guitar of his own, he'd get a shock every time. Young would later claim that during some of the seizures, he would hallucinate that he was another person, in another world, living another life that seemed to have its own continuity -- people in the other world would recognise him and talk to him as if he'd been away for a while -- and then when he recovered he would have to quickly rebuild his identity, as if temporarily amnesiac, and during those times he would find things like the concept of lying painful. The group's first album came out in December, and they were very, very, unhappy with it. They thought the material was great, but they also thought that the production was terrible. Stone and Greene's insistence that they record the backing tracks first and then overdub vocals, rather than singing live with the instruments, meant that the recordings, according to Stills and Young in particular, didn't capture the sound of the group's live performance, and sounded sterile. Stills and Young thought they'd fixed some of that in the mono mix, which they spent ten days on, but then Stone and Greene did the stereo mix without consulting the band, in less than two days, and the album was released at precisely the time that stereo was starting to overtake mono in the album market. I'm using the mono mixes in this podcast, but for decades the only versions available were the stereo ones, which Stills and Young both loathed. Ahmet Ertegun also apparently thought that the demo versions of the songs -- some of which were eventually released on a box set in 2001 -- were much better than the finished studio recordings. The album was not a success on release, but it did contain the first song any of the group had written to chart. Soon after its release, Van Dyke Parks' friend Lenny Waronker was producing a single by a group who had originally been led by Sly Stone and had been called Sly and the Mojo Men. By this time Stone was no longer involved in the group, and they were making music in a very different style from the music their former leader would later become known for. Parks was brought in to arrange a baroque-pop version of Stills' album track "Sit Down I Think I Love You" for the group, and it became their only top forty hit, reaching number thirty-six: [Excerpt: The Mojo Men, "Sit Down I Think I Love You"] It was shortly after the first Buffalo Springfield album was released, though, that Steve Stills wrote what would turn out to be *his* group's only top forty single. The song had its roots in both LA and San Francisco. The LA roots were more obvious -- the song was written about a specific experience Stills had had. He had been driving to Sunset Strip from Laurel Canyon on November the twelfth 1966, and he had seen a mass of young people and police in riot gear, and he had immediately turned round, partly because he didn't want to get involved in what looked to be a riot, and partly because he'd been inspired -- he had the idea for a lyric, which he pretty much finished in the car even before he got home: [Excerpt: The Buffalo Springfield, "For What it's Worth"] The riots he saw were what became known later as the Riot on Sunset Strip. This was a minor skirmish between the police and young people of LA -- there had been complaints that young people had been spilling out of the nightclubs on Sunset Strip into the street, causing traffic problems, and as a result the city council had introduced various heavy-handed restrictions, including a ten PM curfew for all young people in the area, removing the permits that many clubs had which allowed people under twenty-one to be present, forcing the Whisky A-Go-Go to change its name just to "the Whisk", and forcing a club named Pandora's Box, which was considered the epicentre of the problem, to close altogether. Flyers had been passed around calling for a "funeral" for Pandora's Box -- a peaceful gathering at which people could say goodbye to a favourite nightspot, and a thousand people had turned up. The police also turned up, and in the heavy-handed way common among law enforcement, they managed to provoke a peaceful party and turn it into a riot. This would not normally be an event that would be remembered even a year later, let alone nearly sixty years later, but Sunset Strip was the centre of the American rock music world in the period, and of the broader youth entertainment field. Among those arrested at the riot, for example, were Jack Nicholson and Peter Fonda, neither of whom were huge stars at the time, but who were making cheap B-movies with Roger Corman for American International Pictures. Among the cheap exploitation films that American International Pictures made around this time was one based on the riots, though neither Nicholson, Fonda, or Corman were involved. Riot on Sunset Strip was released in cinemas only four months after the riots, and it had a theme song by Dewey Martin's old colleagues The Standells, which is now regarded as a classic of garage rock: [Excerpt: The Standells, "Riot on Sunset Strip"] The riots got referenced in a lot of other songs, as well. The Mothers of Invention's second album, Absolutely Free, contains the song "Plastic People" which includes this section: [Excerpt: The Mothers of Invention, "Plastic People"] And the Monkees track "Daily Nightly", written by Michael Nesmith, was always claimed by Nesmith to be an impressionistic portrait of the riots, though the psychedelic lyrics sound to me more like they're talking about drug use and street-walking sex workers than anything to do with the riots: [Excerpt: The Monkees, "Daily Nightly"] But the song about the riots that would have the most lasting effect on popular culture was the one that Steve Stills wrote that night. Although how much he actually wrote, at least of the music, is somewhat open to question. Earlier that month, Buffalo Springfield had spent some time in San Francisco. They hadn't enjoyed the experience -- as an LA band, they were thought of as a bunch of Hollywood posers by most of the San Francisco scene, with the exception of one band, Moby Grape -- a band who, like them had three guitarist/singer/songwriters, and with whom they got on very well. Indeed, they got on rather better with Moby Grape than they were getting on with each other at this point, because Young and Stills would regularly get into arguments, and every time their argument seemed to be settling down, Dewey Martin would manage to say the wrong thing and get Stills riled up again -- Martin was doing a lot of speed at this point and unable to stop talking, even when it would have been politic to do so. There was even some talk while they were in San Francisco of the bands doing a trade -- Young and Pete Lewis of Moby Grape swapping places -- though that came to nothing. But Stills, according to both Richard Davis and Pete Lewis, had been truly impressed by two Moby Grape songs. One of them was a song called "On the Other Side", which Moby Grape never recorded, but which apparently had a chorus that went "Stop, can't you hear the music ringing in your ear, right before you go, telling you the way is clear," with the group all pausing after the word "Stop". The other was a song called "Murder in my Heart for the Judge": [Excerpt: Moby Grape, "Murder in my Heart for the Judge"] The song Stills wrote had a huge amount of melodic influence from that song, and quite a bit from “On the Other Side”, though he apparently didn't notice until after the record came out, at which point he apologised to Moby Grape. Stills wasn't massively impressed with the song he'd written, and went to Stone and Greene's office to play it for them, saying "I'll play it, for what it's worth". They liked the song and booked a studio to get the song recorded and rush-released, though according to Neil Young neither Stone nor Greene were actually present at the session, and the song was recorded on December the fifth, while some outbursts of rioting were still happening, and released on December the twenty-third. [Excerpt: Buffalo Springfield, "For What it's Worth"] The song didn't have a title when they recorded it, or so Stills thought, but when he mentioned this to Greene and Stone afterwards, they said "Of course it does. You said, 'I'm going to play the song, 'For What It's Worth'" So that became the title, although Ahmet Ertegun didn't like the idea of releasing a single with a title that wasn't in the lyric, so the early pressings of the single had "Stop, Hey, What's That Sound?" in brackets after the title. The song became a big hit, and there's a story told by David Crosby that doesn't line up correctly, but which might shed some light on why. According to Crosby, "Nowadays Clancy Can't Even Sing" got its first airplay because Crosby had played members of Buffalo Springfield a tape he'd been given of the unreleased Beatles track "A Day in the Life", and they'd told their gangster manager-producers about it. Those manager-producers had then hired a sex worker to have sex with Crosby and steal the tape, which they'd then traded to a radio station in return for airplay. That timeline doesn't work, unless the sex worker involved was also a time traveller,  because "A Day in the Life" wasn't even recorded until January 1967 while "Clancy" came out in August 1966, and there'd been two other singles released between then and January 1967. But it *might* be the case that that's what happened with "For What It's Worth", which was released in the last week of December 1966, and didn't really start to do well on the charts for a couple of months. Right after recording the song, the group went to play a residency in New York, of which Ahmet Ertegun said “When they performed there, man, there was no band I ever heard that had the electricity of that group. That was the most exciting group I've ever seen, bar none. It was just mind-boggling.” During that residency they were joined on stage at various points by Mitch Ryder, Odetta, and Otis Redding. While in New York, the group also recorded "Mr. Soul", a song that Young had originally written as a folk song about his experiences with epilepsy, the nature of the soul, and dealing with fame. However, he'd noticed a similarity to "Satisfaction" and decided to lean into it. The track as finally released was heavily overdubbed by Young a few months later, but after it was released he decided he preferred the original take, which by then only existed as a scratchy acetate, which got released on a box set in 2001: [Excerpt: Buffalo Springfield, "Mr. Soul (original version)"] Everyone has a different story of how the session for that track went -- at least one version of the story has Otis Redding turning up for the session and saying he wanted to record the song himself, as his follow-up to his version of "Satisfaction", but Young being angry at the idea. According to other versions of the story, Greene and Stills got into a physical fight, with Greene having to be given some of the valium Young was taking for his epilepsy to calm him down. "For What it's Worth" was doing well enough on the charts that the album was recalled, and reissued with "For What It's Worth" replacing Stills' song "Baby Don't Scold", but soon disaster struck the band. Bruce Palmer was arrested on drugs charges, and was deported back to Canada just as the song started to rise through the charts. The group needed a new bass player, fast. For a lipsynch appearance on local TV they got Richard Davis to mime the part, and then they got in Ken Forssi, the bass player from Love, for a couple of gigs. They next brought in Ken Koblun, the bass player from the Squires, but he didn't fit in with the rest of the group. The next replacement was Jim Fielder. Fielder was a friend of the group, and knew the material -- he'd subbed for Palmer a few times in 1966 when Palmer had been locked up after less serious busts. And to give some idea of how small a scene the LA scene was, when Buffalo Springfield asked him to become their bass player, he was playing rhythm guitar for the Mothers of Invention, while Billy Mundi was on drums, and had played on their second, as yet unreleased, album, Absolutely Free: [Excerpt: The Mothers of Invention, "Call any Vegetable"] And before joining the Mothers, Fielder and Mundi had also played together with Van Dyke Parks, who had served his own short stint as a Mother of Invention already, backing Tim Buckley on Buckley's first album: [Excerpt: Tim Buckley, "Aren't You the Girl?"] And the arrangements on that album were by Jack Nitzsche, who would soon become a very close collaborator with Young. "For What it's Worth" kept rising up the charts. Even though it had been inspired by a very local issue, the lyrics were vague enough that people in other situations could apply it to themselves, and it soon became regarded as an anti-war protest anthem -- something Stills did nothing to discourage, as the band were all opposed to the war. The band were also starting to collaborate with other people. When Stills bought a new house, he couldn't move in to it for a while, and so Peter Tork invited him to stay at his house. The two got on so well that Tork invited Stills to produce the next Monkees album -- only to find that Michael Nesmith had already asked Chip Douglas to do it. The group started work on a new album, provisionally titled "Stampede", but sessions didn't get much further than Stills' song "Bluebird" before trouble arose between Young and Stills. The root of the argument seems to have been around the number of songs each got on the album. With Richie Furay also writing, Young was worried that given the others' attitudes to his songwriting, he might get as few as two songs on the album. And Young and Stills were arguing over which song should be the next single, with Young wanting "Mr. Soul" to be the A-side, while Stills wanted "Bluebird" -- Stills making the reasonable case that they'd released two Neil Young songs as singles and gone nowhere, and then they'd released one of Stills', and it had become a massive hit. "Bluebird" was eventually chosen as the A-side, with "Mr. Soul" as the B-side: [Excerpt: Buffalo Springfield, "Bluebird"] The "Bluebird" session was another fraught one. Fielder had not yet joined the band, and session player Bobby West subbed on bass. Neil Young had recently started hanging out with Jack Nitzsche, and the two were getting very close and working on music together. Young had impressed Nitzsche not just with his songwriting but with his arrogance -- he'd played Nitzsche his latest song, "Expecting to Fly", and Nitzsche had said halfway through "That's a great song", and Young had shushed him and told him to listen, not interrupt. Nitzsche, who had a monstrous ego himself and was also used to working with people like Phil Spector, the Rolling Stones and Sonny Bono, none of them known for a lack of faith in their own abilities, was impressed. Shortly after that, Stills had asked Nitzsch

Gilmore Girls S5 E18 "To Live and Let Diorama"/Buffy S5 E18 "Intervention"Taylor Doose has gathered many mannequins to tell the history of Stars Hollow, meanwhile Spike's acquired just the one, which he's using for... a different purpose... The former share the story of Buff Rite, while the latter is definitely Buff WRONG. Glory attempts to get Spike to give up the key, while Luke attempts to get Taylor to give up a whole dang house. Rory and her friends have a little too much to drink, while real Buffy goes to the desert without anything to drink. We get special guest appearances by Dean and Giles's gourd. And Bryan's sick, so we're having pizza rolls!Want more content? Sing up for our Patreon! We've got 3 different tiers of bonus content, including early access to extended episode previews, monthly outtakes, monthly watch parties, and of course, our weekly Angel video reviews! patreon.com/bryanandstaceyIf you're in NYC on Monday August 1st, come see Stacey's show at Asylum NYC. Tickets now on sale!Be sure to take advantage of our wine partnership with Winc! 4 bottles of wine, custom-selected for your palate, for just $29.95 plus free shipping! Order now by clicking here to take their short quiz and get started! And be sure to use promo code "gilmoreslayer" at checkout. (If available, any current/better deals may be applied by using our link above.)And if you're a fan of Rose, be sure to check out Winc's award-winning "Summer Water" by joining the Summer Water Societé.Disclaimer: We are Winc affiliates. If you make a purchase, we may receive a commission, at no extra cost to you, that will go towards growing our podcast and producing more content.Introduction - 0:00Gilmore Girls S5 E18: To Live and Let Diorama - 4:33Meanwhile on Charmed - 41:02Buffy S5 E18: Intervention - 45:12The Winner - 1:16:37Don't forget to follow us on social media for more Buffy/Gilmore content as well as other comedy content.YouTube:Bryan & StaceyInstagram:@gilmoreslayer@bryanandstacey@BMofunny@staceykulowTikTok:@gilmoreslayer@bryan.and.staceyTwitter:@gilmoreslayer@bryanandstacey@BMofunny@staceykulowFacebook:Bryan & StaceyBuffy the Gilmore SlayerCheck out bryanandstacey.com to find out what else we've been up to, or email us at: bryanandstaceyreviews@gmail.comTheme song written and performed by Louie Aronowitz @louiearonowitzSupport the show