Podcasts about Primitives

This week's pick is the 1978 Indonesian"cannibal" movie Primitives. Four students go deep into the jungle searching for a truly primitive tribe but get more than they bargain for. Features unfortunate scenes of animal abuse and Barry Prima screaming in his speedos a bunch.

OpenAI just released a new report breaking down the six core ways businesses are using AI today. They call these “AI use case primitives”—the main types of work where AI tools keep showing up: content creation, research, coding, data analysis, ideation and strategy, and automation. NLW shows where they're headed in the emerging era of agents. Get Ad Free AI Daily Brief: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://patreon.com/AIDailyBrief⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Brought to you by:KPMG – Go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://kpmg.com/ai⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to learn more about how KPMG can help you drive value with our AI solutions.Blitzy.com - Go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://blitzy.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to build enterprise software in days, not months Vertice Labs - Check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://verticelabs.io/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - the AI-native digital consulting firm specializing in product development and AI agents for small to medium-sized businesses.The Agent Readiness Audit from Superintelligent - Go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://besuper.ai/ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠to request your company's agent readiness score.The AI Daily Brief helps you understand the most important news and discussions in AI. Subscribe to the podcast version of The AI Daily Brief wherever you listen: https://pod.link/1680633614Subscribe to the newsletter: https://aidailybrief.beehiiv.com/Join our Discord: https://bit.ly/aibreakdownInterested in sponsoring the show? nlw@breakdown.network

Episodio 7.10 de Las Cosas Que Hay Que Escuchar, en el cual se aún no vimos El Eternauta mientras escuchamos la música de The Muffs, Shonen Knife, The Primitives, Les Rita Mitsouko, Jacques Higelin, Alabama 3, Pere Ubu, María Peláe, The Big Moon, Morzelpronk, Silver Apples, Palusunsystem y Montecarlo Jazz Ensamble. Y, obviamente, todo el delirio habitual de Saurio y las voces que lo atormentan. Si quieren convidar con un cafecito ☕, pueden hacerlo acá: https://cafecito.app/saurio

This week, Steve picked two sets of songs about years.  In this show you will hear songs from the artists: Howard Jones, Nushu, Cults, New Order, Joey Ramone, Phoenix, April Wine, The Krispies, Inhaler, David Bowie, Arctic Monkeys, Imperial Drag, Caesars, Cast, The Black Keys, The Primitives. AI-free since 2016! On the Air on Bedford 105.1 FM Radio      *** 5pm Friday ***      *** 10am Sunday ***      *** 8pm Monday *** Stream live at http://209.95.50.189:8178/stream Stream on-demand most recent episodes at https://wbnh1051.podbean.com/category/suburban-underground/ And available on demand on your favorite podcast app! Facebook: SuburbanUndergroundRadio   ***    Instagram: SuburbanUnderground   ***    #newwave #altrock #alternativerock #punkrock #indierock

The Primitives crashed into pop history with their 1988 anthem, and four decades later, Paul Court and Tracy The post The Primitives appeared first on The Strange Brew .

The Primitives, la mítica banda de los 80, protagoniza esta edición de Toxicosmos con un nuevo disco en el que recogen singles y canciones perdidas de su etapa más reciente. Se titula "Let's go round again. Second wave singles & rarities 2011-2025" y lo escuchamos con la participación de su frontwoman Tracy Tracy. La actualidad internacional nos trae también lo nuevo de Hannah Cohen, Bear, Brian Bilston and The Catenary Wires, Stephen McCafferty, Telyscopes, Ally Kerr, Tony Billings, Simon Lara, Tito Reis, Saldi, Bariri, La Texana, Mathis Clamens y Bubble Tea and Cigarettes. Además suena lo nuevo de Japanese Breakfast mientras te hablamos de la próxima edición del Bilbao BBK Live y te damos los detalles de este festival recomendado. En el apartado nacional escuchamos lo nuevo de La Bien Querida, Biela, Los Acebos, Marta Tchai, Lisasinson, Jordana B, Sweet Q, Rufus T Firefly, Karavana, Fizz, Pumuky y Los Punsetes. Y el broche lo ponemos con la versión de The Clash que acaban de marcarse Killers Barbies.

Episode 738: March 27, 2025 playlist: Cross Record, "Charred Grass" (Crush Me) 2025 Ba Da Bing! Diamanda Galas, "De-formation 4" (De-formation: Piano Variations) 2019 intravenal Sound Operations Angel Bat Dawid and Naima Nefertari, "Procession of the Equinox" (Journey to Nabta Playa) 2025 Spiritmuse Demdike Stare and Kristen Pilon, "A Greater Name Is You" (To Cut and Shoot) 2025 [self-released] The Primitives, "Sweet Sister Sorrow" (Let's Go Round Again • Second Wave Singles and Rarities 2011-2025) 2025 Elefant Galactic Embrace, "Pink Snow" (Happy Collapse) 2025 Ministry of Spoons Blenk, "Outline" (Breaking The Loop) 2025 Enemy Parade Ground, "The Net" (The Hidden Side) 1984 Mask Music / 2025 Dark Entries JJULIUS, "doedsdisco feat. clara flygare" (JJULIUS-VOL.3) 2025 Mammas Mysteriska Jukebox Guided By Voices, "The Great Man" (Universe Room) 2025 GBV Inc Drick, "Sinjake Panambola ("Dance of the rich")" (Tsapiky! Modern Music From Southwest Madagascar) 2025 Sublime Frequencies Cosey Fanni Tutti, "Stound" (2t2) 2025 Conspiracy International Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

Surgidos en Glasgow en 1985, este año Deacon Blue celebran sus 40 años de carrera con la publicación de un disco de canciones nuevas que esta semana protagoniza nuestro tiempo de radio. Además recuperamos algunos de sus hits de los 80 y escuchamos a su frontman Ricky Ross con un mensaje que nos ha hecho llegar para compartir con nosotros ese aniversario. La actualidad internacional la completan The Primitives, Haim, Snow Patrol, April June, Moki, Nick Deutsch, Roberto Celi, Rich Swingle, RedLight, Zachary Mason, Bernard Côté, Phil Swanson, Romain Gutsy y Minna Lafortune. Además seguimos descubriendo el disco de Manic Street Preachers que la pasada semana protagonizó nuestro álbum de la semana. En el apartado nacional destacamos las novedades de Rigoberta Bandini, La Bien Querida, Niña Polaca y Carlangas, Kitai, Living Camboya, Naked Eva, Hijo Terco Bufalo Gris, Mairena y Maria Rodés. Además Malmö 040 hacen aparición para hablarnos de su nuevo disco y próximos conciertos. No nos olvidamos de seguir recomendándote festivales. En esta ocasión te hablamos del Low Festival de Benidorm mientras suena lo nuevo de The Kooks. El broche lo ponen Niños Bravos con su sorprendente nueva versión de "Un beso y una flor" de Nino Bravo que ellos mismos nos presentan.

Jim shovels some coal into the New Music Train. Get on board with some tunes by the Primitives, Galactic with Irma Thomas, Lola Kirke and Caamp. Get with Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, like audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984.

Los galeses Manic Street Preachers regresan con su decimoquinto álbum, un disco con el que demuestran estar más en forma que nunca. Y no es una forma de hablar: es un discazo que incluye algunas de sus mejores canciones en los últimos tiempos. Lo destacamos esta semana mientras gira en nuestro tocadiscos. El resto de novedades de la escena internacional que destacamos esta semana las firman Ezra Furman, Deacon Blue, Arrows in Action, Banners, The Lovelines, Fraser, The Primitives, Juan y la Hormiga, Maxi Lambert, Jonas & the Jaguar Moon, Tristan Auber, Rip Gerber, Jeff Vidov, Breudd, Lestroso, Martin Oh, Gengvej, Winne Ama y Miki Berenyi Trio. En el apartado nacional suena lo nuevo de Tripulante, Ilinoise, Maria Rodes feat. Delafe, Merino y Exfan. Nuestra versión de la semana la firman Roots Asylum con la que recordamos un clásico de The Velvet Underground. Y no es el único momento en el que echamos la vista atrás pues también recuperamos un clásico de Teenage Fanclub y te damos los últimos detalles del valenciano Deleste Festival. El punto bailable lo pone el DJ valenciano McCallister compartiendo con nosotros la remezcla que acaba de hacer del último tema de Viva Suecia, que él mismo nos presenta. Y el broche lo ponemos con una recomendación literaria: "¡Lo tengo en vinilo!", un libro que firma Oscar Avendaño sobre la fidelidad y el amor a ese formato.

Nueva entrega de Música de Contrabando, semanario de actualidad musical (06/03/2025)Entrevistas: - Vruto, nuevo proyecto de Jorge Guirao- Second y Rafa Don Fluor- Tominokers, con una producción intermitente, casi subterránea, reaparecen en directo (Jose Luis Muelas, Juanjo Martínez Cánovas)Noticias:Nos han dejado David Johansen (New York Dolls) y Angie Stone. Charlie XCX triunfa en los Brits Awards. Neil Young prepara concierto gratuito en Ucrania previo a su gira europea (¡Seguid rockeando en el mundo libre!). Katy Perry al espacio en el cohete de Jeff Bezos. R.E.M. se a reunir otra vez más en una fiesta entre amigos. El documental ‘Bono: Historias de Surrender” llega a finales de mayo . Rockland cierra su cartel con The Black Keys, Iggy Pop, Sex Pistols...Low festival confirma a Pet Shop Boys. Stereolab actuarán en Madrid. Richard Hawley celebra 20 años de ‘Cles Corner' con reedición y conciertos acompañado de orquesta. Glastonbury 2025 anuncia el grueso de su cartel. Arde Bogotá actuarán en L.A. en un show benéfico para los afectados por los incendios. Novedades musicales:Van Morrison, Suzanne Vega, Billy Idol, Leiva y Robe, Cocorosie, The Low Flying Panic Attack, The Raveonettes, Black Country New Road, Destroyer, Yuno, Car Seat Headrest, Anika, Girlpuppy, Eli Rodríguez, Tunde Adebimpe , Two Shell, Sarria, Astropical, Parquesvr, Bravender, Detergente Líquido, Sexy Zebras, The Flints, Carey ft Iván Ferreiro, Ángelpop, Repion y Tulsa, The Primitives, Adiós Noviembre, Carmesí, Fito Páez, M76, David Lowery.Agenda de conciertos:The New Raemon, Vega, Soge Culebra, Biznaga, Airbag, Tominokers, Thee Psychovskys, Judeline, Kokoshca, Sueño Xanadú, Minor Trío, Evve, Los Rebeldes, Igualdad es Murcia (Karlan, Kuve, Madbel, Vondee), María de Juan, Victorias, Aló Presidente, Que Dios te lo pague, Doble Esfera….

Oracle Sisters es un trio parisino que acaba de publicar el segundo LP en su carrera: Divinations. En este disco exploran las influencias de Talking Heads, Richard Hawley, Air o Suicide, todo aderezado con pinceladas de psicodelia setentera e indie-pop. Exploramos este trabajo que se firma nuestro disco de la semana. La actualidad internacional nos trae también lo nuevo de Manic Street Preachers, The Wombats, Luke Sital-Singh, The Primitives, Suki Waterhouse, Terje Gravdal, Teyna, L-Satine, Zhazhelo, Stephen McCafferty, Sten Veiths, Cotton Kid, O Jonas! y Obscurely Indigo. Además retrocedemos a 1980 para recordar un clásico de The Police versioneado por Zircon Skyeband. En el apartado nacional los protagonistas son Jordana B, Öpik, Mairena, Sandrasan, Ari Revelli, Marsella y Viva Suecia. El broche al programa lo ponen un par de festivales recomendados. Te hablamos del valenciano Deleste Festival mientras suenan Death In Vegas, Teenage Fanclub y Anna of the North y te damos los últimos detalles del San San Festival de Benicàssim escuchando a Dorian, Sen Senra y Amaia.

Join me as I chat with Zach Yadegari, Co-Founder of Cal AI, as we discuss his frameworks and strategies for building and scaling viral AI Apps. Learn his step-by-step formula creating viral apps. 00:00 - Intro01:40 - Concept Behind Dr. AI and App Feature Overview05:37 - Designing the User Experience08:42 - Inspiration and Primitives in App Design11:10 - User Experience and Simplicity16:05 - Gamification and User Engagement17:26 - Shareability and Marketing Potential20:07 - History Feature and User Retention21:14 - Symptoms Quiz Design23:58 - Incorporating Sources and References24:39 - Chatbot Functionality25:33 - Marketing Strategy and Influencer Outreach28:34 - Prompting for AI Responses33:15 - Go-to-Market Strategy Discussion37:14 - Identifying Target Influencers41:04 - Pricing Structure and Revenue Models1) The Core App Features:• Skin scan for diagnosis• Symptoms quiz• Medical chatbot• History trackingKey insight: Keep it SIMPLE. Basic features done well better than complex features done poorly.2) UX Design Strategy:- Start with basic wireframes• Copy "primitives" from successful apps• Design for influencer marketing• Put app name on key screens• Make results instantly digestiblePro tip: Design screens thinking about how influencers will showcase them in content.3) Growth Strategy:Target audience = concerned parentsBest channels:• Mom influencers• Family content creators• Parenting communitiesLook for creators with 250k+ views/videoBudget: $4-5k per 1M views4)Monetization Structure:Weekly pricing model works best:• $4-7/week• No free trial initially• A/B test different prices• Optimize for repeat usersStrategy: People will delete/resubscribe when needed5) Technical Implementation:- Use ChatGPT API with custom prompts• Bypass medical disclaimers creatively• Build clear diagnosis displays• Include danger levels (1-5)• Add sources for credibility6) Marketing Angles:- Target anxious parents• Focus on peace of mind• Show quick diagnosis stories• Emphasize "should I see a doctor?" use case• Leverage influencer storytelling7) Key Success Factors:• Heavy disclaimers• Accurate diagnostics• Simple UX• Clear value prop• Strong retention hooksWant more free ideas? I collect the best ideas from the pod and give them to you for free in a database. Most of them cost $0 to start (my fav)Get access: https://www.gregisenberg.com/30startupideasLCA helps Fortune 500s and fast-growing startups build their future - from Warner Music to Fortnite to Dropbox. We turn 'what if' into reality with AI, apps, and next-gen products https://latecheckout.agency/BoringAds — ads agency that will build you profitable ad campaigns http://boringads.com/BoringMarketing — SEO agency and tools to get your organic customers http://boringmarketing.com/Startup Empire - a membership for builders who want to build cash-flowing businesses https://www.startupempire.coFIND ME ON SOCIALX/Twitter: https://twitter.com/gregisenbergInstagram: https://instagram.com/gregisenberg/LinkedIn: https://www.linkedin.com/in/gisenberg/FIND ZACH ON SOCIALX/Twitter: https://x.com/zach_yadegari

Sintonía: "Je Je Jeox" - Fitness Forever"Wrong Feels Right" - Dum Dum Girls; "I Surrender", "Where Will You Be" y "Time Slips Away" - The Primitives; "Such a Waste", "Shadows" y "Fuzzy Feather" - Sad Day For Puppets; "Intro" + "Probabilmente", "Albertone" y "Bacharach" - Fitness Forever; "Ronda Go ´Round", "Canada In Springtime", "Make The Madness Stop" y "The Proper Ornaments" - Free DesignEscuchar audio

Episodio 6.39 de Las Cosas Que Hay Que Escuchar, en el cual miramos la guerra nuclear que se acerca mientras escuchamos la música de The Like, The Primitives, Wall of Voodoo, They Might Be Giants, Violent Femmes, The Ghost Of A Saber Tooth Tiger, Throwing Muses, Viuda e Hijas de Roque Enroll, Tronco, Úrsula Ramat, Wild Billy Childish & The Singing Loins, ZZ Top, Tomates Asesinos, The Wolfgang Press y Carlos Perón. Y, obviamente, todo el delirio habitual de Saurio y las voces que lo atormentan. Si quieren convidar con un cafecito ☕, pueden hacerlo acá: https://cafecito.app/saurio Programa emitido originalmente el 24 de noviembre de 2024 por FM La Tribu, 88.7, Buenos Aires, Argentina. Repite el 26 y 30 de noviembre en Radio de la Calle, FM 87.9, Bahía Blanca y el 27 de noviembre de 2024 en Radio Asamblea FM 94.1, CABA.

In this episode, we want to thank all who have supported our organization this year. Listeners like you make it possible for our organization to help retailers in need. This week, we traveled to Chimney Rock, NC, to donate to Bubba O'Leary's General Store. The funds for this donation came from individuals, other retail owners, and small business enthusiasts from across the US (and even one international donation). We are thankful of your support and that you trust Heart on Main Street to help affected retailers. On December 3rd, Giving Tuesday, we will be making three more donations to retailers affected by the recent hurricanes. This is also money that has been donated by individuals from around the country. We will also raise money for three more retailers affected by natural disasters this year. Donations on Giving Tuesday will be matched dollar-for-dollar up to a certain amount by the following companies: Bridgewater Candle Company, Fresh Scents by Willowbrook, Ganz, Greenleaf Gifts, Just Got 2 Have It, Notes Candles, Primitives by Kathy, Raz Imports, tag, and Votivo.  To donate to our Giving Tuesday fundraising: https://www.heartonmainstreet.org/giving-tuesday

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.

The Jokermen speak with Jason Stern & Don Fleming of the Lou Reed archive team about Lou's earliest days as a songwriter, The Primitives, Terry Phillips & Tony Conrad, and the essential new Light In The Attic compilation Why Don't You Smile Now: Lou Reed at Pickwick Records. COP "WHY DON'T YOU SMILE NOW" NOW

En la semana en la que más recordamos a los muertos, en Toxicosmos te hablamos de 3 libros que tienen al rock gótico, los cementerios y las fotos post mortem como protagonistas. Por una parte repasamos la historia del rock gótico con "Temporada de brujas" que recientemente ha publicado Editorial Contra mientras recuperamos a bandas como Siouxsie and the Banshees, Joy Division, Bauhaus, The Cure, Sisters of Mercy, Echo and the Bunnymen y Soft Cell. También hablamos de "Alguien camina sobre tu tumba" de la argentina Mariana Enriquez en la que repasa sus viajes a cementerios de todo el mundo mientras suena Joy Division con su disco "Closer", en cuya portada aparece una de las tumbas reseñadas en el libro y que además ilustra esta entrega de nuestro tiempo de radio. Y completamos nuestras recomendaciones literarias con "Anoxia" de Miguel Ángel Hernandez, novela que tiene a la fotografía post mortem como protagonista. No nos olvidamos de las novedades. Suenan Panda Bear, Fitness Forever, Javiera Mena, Lowly Light, Moki, Planterose, Andrew Batcheler, Arnaud Keller, Dayeyez y Extra Time en el apartado internacional. Y en el nacional los protagonistas son Parade & Nacho Casado, Ruvenruven, Rumia y Ciutat, que además hacen aparición en el programa para presentarnos su nuevo disco. Te hablamos del festival Primavera Sound y te nombramos algunas de sus primeras confirmaciones para su edición de 2025, además de otros eventos como el 30º aniversario de Jabalina Música. La versión de la semana la firman Copernikal con un tema original de Shinova y el toque más bailable lo ponen David Van Bylen y Eme DJ remezclando a Kuve. Nos visita Obtuso, DJ habitual de salas valencianas como XtraLrge y Play Club, para hablarnos de su carrera y nuevos proyectos. Además pone el toque más siniestro con un tema de Xmal Deutschland. Y completamos el programa con otras canciones fantásticas y terroríficas de Alaska y Dinarama, The Primitives, La Casa Azul y Papa Topo.

El recopilatorio “Why don’t you smile now” (Light In The Attic) recoge parte del trabajo de Lou Reed para Pickwick Records en los dos años previos a la formación de The Velvet Underground. En 1964 Reed fue contratado por esta disquera como compositor, músico de sesión y ocasional intérprete. Un trabajo a destajo en donde aprendió el funcionamiento de la industria de la música comercial, co-escribiendo decenas de canciones de todos los estilos, las cuales eran grabadas por bandas ficticias de estudio o artistas emergentes que aspiraban a convertirse en estrellas del pop.(Foto del podcast por Matthew Kloss)Playlist (Todas las canciones de “Why don’t you smile now” salvo donde indicado;(sintonía) LOU REED “I’m waiting for the man (demo mayo 1965)” (Words and Music)THE PRIMITIVES “Sneaky Pete”LOU REED “Merry-go-round” (single 1962)SPONGY and THE DOLLS “Really really really really really love”THE ALL NIGHT WORKERS “Why don’t you smile”ROBERTHA WILLIAMS “Tell mamma not to cry”THE J BROTHERS “Ya running, but I’ll getcha”BEVERLEY ANN “We got trouble”RONNIE DICKERSON “Oh no don’t do it”THE PRIMITIVES “The Ostrich”THE ROUGHNECKS “You’re driving me insane”THE BEACHNUTS “Cycle Annie”JEANNIE LARIMORE “Johnny won’t surf no more”THE SURFSIDES “Little Deuce Coupe”THE HOLLYWOODS “Teardrops in the sand”THE HI-LIFES “Soul City”RONNIE DICKERSON “What about me”THE BEACHNUTS “Sad, lonely, orphan boy”THE HI-LIFES “I’m gonna fight”LOU REED “Heroin” (demo mayo 1965)” (Words and Music)Escuchar audio

1. Secure the scene 2. Call an ambulance 3. Assess the injuries It's time to put your First Aid training to the test as Dan and Hank discuss their recent, worst double bike crash ever in BikeRides history. Bike Crash related tracks forthcoming from La Lucura; Alasondro Alegre; Sun Room; Declan Murry Brown; Gracie Addison; The Coronets; John Linnell; The Tennessee Mafie Jug Band; Keith Cameron; Primitives.

The group known as the New Primitives has been playing its brand of American Reggae for over twenty years. It's new CD is called Primitive Road, and among its many engagements will be two days at the Minnesota State Fair. The New Primitives play multiple times at the International Bazaar Stage on Thursday and Friday August 22 and 23. Phil Nusbaum talked to New Primitives percussionist Stanley Kipper about how he approaches New Primitives music in general.

Vacation's over, turkeys. Back to school again... and the Professor is in the house takin' you on a trans-world field-trip for some savage Freakbeat, 60s Fuzz Garage Rock, and tons o' Punk Rock BOOM! We'll visit the U.K., Sweden, Spain, Austria, Australia, Japan, and more.This episode features: The Primitives, Thee Headcoatees, The Wylde Mammoths, Los Retumbes, Wild Evel & The Trashbones, The Fun Things, Blitzkrieg Bop, Puncture, The Vicious, and Teengenerate.  Join me on my Patreon page at patreon.com/radioblivion Blow Yer Radio Up, Baby!! If you cannot see the audio controls, your browser does not support the audio element DOWNLOAD | SUBSCRIBE

LB, Niki and John crest the final apex of Gimmick Month, playing a brand-new game of Niki's design, pushing friendships to the limit and making us rethink everything we know about the 2008 Beijing Summer Olympics. Other topics of discussion include (but are not limited to) Christian for-profit universities, Hootie & the Blowfish, sex ramps, tinned fish, and with our arms wide, somehow even more.Welcome to If You're Driving, Close Your Eyes, a podcast about navigating the cruelty, chaos, and wonder of our terrifying world. Niki, John, LB— and our producer Jordo— try to find meaning and clarity one or twelve subjects at a time: from the menu at Cheesecake Factory to a human man dressed up as Snoopy tucking you into bed.Who are we?: We are Niki Grayson (https://twitter.com/godsewa) (the Buster Keaton of basketball), John Warren (https://twitter.com/FloppyAdult) (business boy and wassail pervert, short), LB Hunktears (https://twitter.com/hunktears) (handsome genius, 5'8", America's Gamer), and producer Jordan Mallory (https://bsky.app/profile/jordo.bsky.social) (frog with computer). Music by Jordan Mallory and Art by Max Schwartz (https://maxds.itch.io/).Follow the show: https://www.twitter.com/ifyouredriving Support us: https://www.patreon.com/ifyouredriving Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In episode 161, we're excited to welcome Alexander Aleksashev-Arno, CEO & Founder of CHOICE, a decentralised community that stands for LGBTQIA+ rights and accelerates the culture of diversity, equity and inclusion through secure and immersive technologies. We discuss their Global Digital Pride campaign, the role of decentralization in empowering activists around the world, how Metaverses, NFTs, and other Web3 primitives can build a more inclusive Web3 & world, and much more.--Three Key Takeaways--Metaverses can be valuable tools to create safe spaces for LGBTQIA+ people around the world. The ability to choose how you share your identity on line, and the option to remain anonymous are helpful for individuals from regions that criminalize LGBTQIA+ communities. They can also help connect LGBTQIA+ people from around the world, and provide opportunities for them to celebrate their identity, especially for those who live in areas where it is unsafe to celebrate publicly.NFTs can be a valuable way for traditionally underserved artists to bypass gatekeepers and middlemen, bring their art directly to the community, and connect with new audiences. It can also be a helpful fundraising tool for nonprofits and LGBTQIA+ audience, while giving artists a new medium to express themselves and celebrate their identities.To build a more inclusive Web3, it's important to start at the individual level by participating in inclusive spaces and communities like CHOICE, educating oneself on the challenges and barriers facing LGBTQIA+ communities, and ensuring diverse voices are represented at the table. By doing this, we can help embed the values of equity and inclusion into the foundation of Web3.--Full shownotes with links available at--https://www.cryptoaltruism.org/blog/crypto-altruism-podcast-episode-161-choice-leveraging-web3-primitives-to-advance-lgbtqia-rights-and-build-an-inclusive-world--Support us with a Fiat or Crypto contribution--Learn more at cryptoaltruism.org/supportus--This episode was recorded on Zencastr!--Interested in starting your own podcast? Use my special link to save 30% off your first month of any Zencastr paid plan. Alternatively, head to zencastr.com/pricing and use my code "CryptoAltruism".Please note: we make use of affiliate marketing to provide readers with referrals to high quality and relevant products and services.--DISCLAIMER --While we may discuss specific web3 projects or cryptocurrencies on this podcast, please do not take any of this as investment advice, and please make sure to do your own research on potential investment opportunities, or any opportunity, before making an investment. We host a variety of guests on this podcast with the sole purpose of highlighting the social impact use cases of this technology. That being said, Crypto Altruism does not endorse any of these projects, and we recognize that, since this is an emerging sector, some may be operating in regulatory grey areas, and as such, we cannot confirm their legality in the jurisdictions in which they operate, especially as it pertains to decentralized finance protocols. So, before getting involved with any project, it's important that you do your own research and confirm the legality of the project. More on the disclaimer at cryptoaltruism.org.

Fontaines D.C. Comparten la canción de cierre de "Romance", su nuevo disco, se trata de "Favourite", un corte pop que muestra su lado más romántico y pasional. Escuchamos también "Fin de Gira", el nuevo EP de Pasajero, después de seis años en a sombra y la reedición de "Spin-O-Rama", de The Primitives, con motivo de su décimo aniversario.  KARAVANA - Quién Quiere MásIGGY POP - Lust For Life (Prodigy Remix)GUILLE WHEEL - Island BoyTHE PRIMITIVES - Dandelelion SeedLOS FULANOS - Blue MondayISLEÑA ANTUMALEN - Cumbia de ChichaBOMBA ESTÉREO - FuegoJOE GODDARD - Follow YouTSHA - Girls (ft Rose Gray )JAMIE XX - Life ft RobynFONTAINES D.C. - FavouritePASAJERO - El EmisorPASAJERO - PollockHEAL - The ShiverNUDOZURDO ft. ALONDRA BENTLEY - BrutalismánBAD WITH PHONES - TicketEscuchar audio

Know Good Music Podcast Magazine for JUNE 2024 We cover a lot of ground on today's podcast.  We start with "give it a listen" with a new song by the UK band VIOLENT HEARTS "Johnny I'm only Speeding" ... think the Primitives meet the Clash... then we go right into our Music News Brief, Album Anniversaries, New Releases, What's in Rob's Pile, New Music Vidoes and much more!  We end the podcast with "give it a listen" and a new song by the band Halflives (based in paris, france) with "Everybody Knows It"   ARTISTS MENTIONED IN THIS PODCAST ARE: THE BEATLES  STEVE MILLER NEIL DIAMOND (you bet your balls, it's Neil Diamond) THE JACKSON 5 HOOTIE & THE BLOWFISH DEEP PURPLE VIGGO MORTENSON  BILLIE EILLISH VAN HALEN CROWDED HOUSE & MORE ********* KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora and almost anywhere you listen to podcasts.   Links to more sources at Link Tree - www.linktr.ee/knowgoodmusic    Visit our YouTube Channel where you can see video segments from all of our interviews.  Just search "know good music"    

Final Settlement: a biweekly podcast presented by Onramp which explores the breadth and depth of the Bitcoin thesis, focusing on the underlying mechanics of the protocol, its ongoing development, and real-world applications of the technology. Hosted by Brian Cubellis (Head of Strategy & Research at Onramp) and Michael Tanguma (Co-founder & CEO of Onramp), Final Settlement aims to go beyond the conventional view of Bitcoin as merely a financial asset, or “digital gold." Discover how this groundbreaking technology has the potential to benefit society through rearchitecting how value is stored and transferred. A resource for institutional investors and bitcoin enthusiasts alike, our discussions aim to enhance your understanding and conviction in Bitcoin's broader utility – tune in to grasp the full scope of bitcoin's transformative power in the digital age. 0:00 - Introduction to Mark Connors 9:01 - A message from Onramp 9:32 - Recognizing flaws of the incumbent system 23:40 - Opportunity cost & bitcoin as the true cost of capital 34:39 - ETFs: positives, negatives, & risks 44:41 - Onramp Branches 45:11 - Leveraging bitcoin's native properties 50:22 - The need for reliable on-ramps & off-ramps 1:05:58 - Educating prospective investors 1:10:22 - Psychological biases & humility 1:16:18 - Price appreciation & thesis validation 1:20:01 - Outro Schedule time with the link below if you would ever like to learn more about Onramp and please sign up for Research & Insights to get access to the best content in the ecosystem weekly: https://onrampbitcoin.com/contact-us/ https://onrampbitcoin.com/category/onramp-media/

In this conversation, Sal is joined by Justin Gary to discuss the design and creation of Solforge Fusion, a hybrid deck game from the creators of Magic the Gathering. They delve into the gaming industry, the evolution of trading card games, and the impact of digital technology on game design. They also explore the concept of Web3 gaming and the unique mechanics of Solforge Fusion as it looks to straddle the physical and web 3 card game world and usher in the next phase of Web3 gaming. - - Time Stamps (0:00) - Justin's Career to Date (2:43) - The Evolution of Trading Card Games (13:09) - Solfate Ad (13:36) - How Solforge is Utilising Crypto Primitives (21:27) - Card Creation Mechanism (27:47) - Understanding Good Game Design (38:40) - Future State of Solforge (44:41) - Combining Physical Games With Web3 (46:36) - State of Crypto Gaming (56:24) - Closing Thoughts - - Podcast Resources Follow Sal: https://twitter.com/salxyz Follow Dave: https://twitter.com/SolBeachBum Follow Zen : https://twitter.com/ZenLlama Follow Unlayered: https://twitter.com/UnlayeredPod Subscribe on Spotify, Apple, or Google: https://unlayered.io/ Subscribe on YouTube: https://www.youtube.com/@UnlayeredPod - - Episode Resources Follow Justin : https://Twitter.com/justin_gary Follow Solforge : https://Twitter.com/SolForgeGame

Une équipe d'astrophysiciens démontre que les toutes premières étoiles, des étoiles de Population III, qui auraient une masse entre 2000 et 9000 M⊙ chacune permettent d'expliquer les rapports N/O, C/O et O/H qui ont été observés dans les galaxies à très haut redshift : les galaxies GN-z11 et CEERS 1019. Ils publient leur étude dans Astronomy & Astrophysics. Source Explaining the high nitrogen abundances observed in high-z galaxies via population III stars of a few thousand solar massesDevesh Nandal et al.A&A Volume 683, 15 March 2024https://doi.org/10.1051/0004-6361/202348035

It's a New Wave, Post-Punk, Synth Pop Party on this weeks Viny Fridays episode as Brandon and AP Lindsay welcome back DJs Stacey/DC and This Margin Walker, Jeff Gilman, to the Blue Island Radio Podcast studio to play some records and talk about the monthly New Wave night they host at the Rock Island Public House in beautiful Blue Island, Illinois. On today's episode you will hear songs by Liquid Liquid, Shopping, Wolf Parade, The Primitives, Fuzzbox, Chromatics, Japan, DEVO, Future Islands and more! Oh yeah, and hear the debut (demo) of the new Vinyl Fridays by Brandon's one man band Dazzleflage.     Intro bed music: Apache by Jorgan Ingmann Biradio.libsyn.com Instagram: @birp60406 Facebook: @blueislandradio If you'd like to support the show visit Patreon.com/blueislandradio Stacey: Instagram @dj_stacey_dc Jeff: Instagram this_margin_walker    

Catch up with or listen again to Going Indieground broadcast on Mad Wasp Radio week commencing 20 February 2024. On this show you can hear: Primitives – Earth ThingHappy Mondays- Olive Oil (Peel Session)Joy Division – WarsawIan Brown – Golden GazeChesterfields – Holiday HymnNew Musik – SanctuaryMy Best Unbeaten Brother – Slayer on a Sunny … Continue reading →

Welcome to the Weird Al vs. Everybody season of MASTAS! We're looking at a couple dozen Weird Al Yankovic songs and the originals that inspired him, and choosing a winner in each match-up -- starting with Coolio homage "Amish Paradise"! Before we get into self-serious videos for movies we think might be fake, cultural appropriation of pre-tech societies, and how Stevie Wonder feels about our swearing, we've got an important announcement about voting and future in-person events...but then we're back to discussing whether Weird Al-chemy turns "Gangsta's" into gold. Listen now, English! Our intro is by David Gregory Byrne; the WAvE theme-let is a mash-up of Oingo Boingo, Elvis Costello, Black Box, and Michael Buffer; and our outro is by The Primitives. For more information/to become a patron of the show and hear all episodes this season, visit patreon.com/mastas. SHOW NOTES The "Gangsta's Paradise (feat. L.V.)" video The "Amish Paradise" video People recaps the Coolio/Al "feud" Vision Quest: it exists, people "Pastime Paradise" at WhoSampled.com

Array Cast - January 19, 2023 Show NotesThis link will take you to the Show notes on the ArrayCast website: https://www.arraycast.com/episode71-show-notes

durée : 00:44:40 - Les Nuits de France Culture - par : Albane Penaranda - Claude Lévi-Strauss, Jean Malaurie, Georges Balandier et Robert Jaulin sont les invités du quatrième volet d'une série sur la naissance des civilisations. Ils sont les acteurs d'une ethnologie moderne et nous apportent leur éclairage sur la vie des sociétés primitives qu'ils ont appris à observer. - invités : Claude Lévi-Strauss Anthropologue et ethnologue français; Jean Malaurie Ethnologue, géographe spécialisé en géomorphologie, directeur et fondateur de la collection Terre Humaine; Georges Balandier

In this episode I spoke to my friend and scholar Tara Merk who is part of BlockchainGov and has been focusing her PhD thesis on Exit to Community (E2C). E2C is proposed as an alternative to IPOs or buyouts for founders of businesses to be able to be compensated for their work while giving ownership of their business to those that work on or use their product. During the discussion we talked about what crypto brings to E2C, the regulatory landscape for community ownership, and whether web3 workers should become unionized. We also talked about her recently published research done with Other Internet on Solidarity Primitives for Web3 Social Security which explored the current state of working in web3 and potential solutions for its issues. I took part in the research study where I contributed the concept of solidarity primitives which we wrote about on the Breadchain Cooperative blog.  If you liked the podcast be sure to give it a review on your preferred podcast platform. If you find content like this important consider donating to my Patreon starting at just $3 per month. It takes quite a lot of my time and resources so any amount helps. Follow me on Twitter (@TBSocialist) or Mastodon (@theblockchainsocialist@social.coop) and join the r/CryptoLeftists subreddit and Discord to join the discussion.Support the showICYMI I've written a book about, no surprise, blockchains through a left political framework! The title is Blockchain Radicals: How Capitalism Ruined Crypto and How to Fix It and is being published through Repeater Books, the publishing house started by Mark Fisher who's work influenced me a lot in my thinking. The book is officially published and you use this linktree to find where you can purchase the book based on your region / country.

Benny Giang is the Co-Founder & Partner @ Future Primitive (https://futureprimitive.xyz). Future Primitive is a venture studio that builds startups, projects, and technologies for decentralized communities—including projects like token bound accounts (ERC 6551), a new primitive that will give every NFT its own account/wallet address. In this episode we chat through his work as a founding member of CryptoKitties and Dapper Labs, how he determines which projects to back as an angel investor or advisor, the genesis and possibilities of token bound accounts, how to think about learning about your community, his view on the near-term future of crypto, & much more.Recorded Monday November 13, 2023.

The Primitives, Galore is re-visited.New Music from:Dolph Chaneyhttps://bigstirrecords.bandcamp.comDr. David Freedy https://freedy.bandcamp.com/musicTaking On Waterhttps://takingonwater.bandcamp.com/

This week, we taste the proverbial rainbow with our Top 5 Colourful Songs...that is, songs with colours in the title. And what an incredible thrill it is to have Tracy Tracy and Paul Court from one of the greatest indie pop bands of the O3L era, The Primitives, join us! The Primitives are an English indie pop band who formed in Coventry in 1984, disbanded in 1992, and reformed in 2009 for one of the best "second acts" in music. After a string of classic Top 10 indie singles on the band's Lazy Records imprint, they signed with RCA for three albums: Lovely (1988, which spawned the #5 hit 'Crash'), Pure (1989), and Galore (1992). Since reforming, The Primitives have released a handful of EPs and singles, including 2022's 'Don't Know Where To Start' and this year's 'I Won't Care' (both of which you'll hear on this very episode!), and two full length albums, Echoes and Rhymes (2012) and Spin-O-Rama (2014). This one is a lot of fun, and as real as it gets - we talk about dogs, sweets, friendship, travel and...uh, Iron Maiden, as well as The Primitives' roots (both musical and hair), return and future. Also, as a technical note: You will notice some audio imperfections in this episode. Brett was recording in Berkeley in his son's mostly empty studio apartment, with a cheap mic and very boomy room ambience. And, for some unknown reason, Tracy's local track stopped recording after about 20 minutes, so we had to grab the rest from a lower resolution combined conference audio track. It made for some very tricky editing and moments of inconsistent volume so we could capture as much of this fabulous conversation as possible. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we taste the proverbial rainbow with our Top 5 Colourful Songs...that is, songs with colours in the title. And what an incredible thrill it is to have Tracy Tracy and Paul Court from one of the greatest indie pop bands of the O3L era, The Primitives, join us! The Primitives are an English indie pop band who formed in Coventry in 1984, disbanded in 1992, and reformed in 2009 for one of the best "second acts" in music. After a string of classic Top 10 indie singles on the band's Lazy Records imprint, they signed with RCA for three albums: Lovely (1988, which spawned the #5 hit 'Crash'), Pure (1989), and Galore (1992). Since reforming, The Primitives have released a handful of EPs and singles, including 2022's 'Don't Know Where To Start' and this year's 'I Won't Care' (both of which you'll hear on this very episode!), and two full length albums, Echoes and Rhymes (2012) and Spin-O-Rama (2014). This one is a lot of fun, and as real as it gets - we talk about dogs, sweets, friendship, travel and...uh, Iron Maiden, as well as The Primitives' roots (both musically and hair), return and future. Also, as a technical note: You will notice some audio imperfections in this episode. Brett was recording in Berkeley in his son's mostly empty studio apartment, with a cheap mic and very boomy room ambience. And, for some unknown reason, Tracy's local track stopped recording after about 20 minutes, so we had to grab the rest from a lower resolution combined conference audio track. It made for some very tricky editing and moments of inconsistent volume so we could capture as much of this fabulous conversation as possible. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hello, Primitives ! Today Mike & Dan have been transported back in time and are about to go Medieval on some Deadites !!! Join us as we face a massive Skeleton Army, too many jokes & more Bruce Campbell than you can handle ! We fell through a portal because of a book and now everyone is talking all King Arthur in Army of Darkness !!! 

One of the biggest obstacles for Japanese language learners is trying to learn and master the written alphabets, specifically kanji. So many common questions come with learning kanji… What's the right reading? Am I using the correct character? What does this kanji even mean? Well, in today's episode, the Krewe sits down with Dr. James Heisig, author of the Remembering the Kanji book series, to discuss the series' origin story, how this method works, understanding the anatomy of kanji characters, and so much more. Hear it directly from the source right here on Krewe of Japan Podcast!------ About the Krewe ------The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts. Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram:@kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ More Info on Dr. James Heisig ------Dr. James Heisig's Books on AmazonDr. Heisig's Profile

Today on the Ether we have the Injective Hackathon Panel discussing building new financial primitives. You'll hear from Frontrunner, Albert Chon, Julie Lee, Nimesh Amin, and more! Recorded on April 12th 2023. If you enjoy the music at the end of the episodes, you can find the albums streaming on Spotify, and the rest of your favorite streaming platforms. Check out Project Survival, Virus Diaries, and Plan B wherever you get your music. Thank you to everyone in the community who supports TerraSpaces.

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

All of the songs from this week's Song of the Night segment. Artists include: The Primitives, The Presidents of the United States of America, Mac Miller, and The Byrds.

Tom Shaughnessy, host of The Delphi Ventures Podcast and Co-lead for Delphi Ventures brings on Ashwath Balakrishnan, VP of research at Delphi Digital, and Jordan Yeakley, Research Analyst at Delphi Digital, to cover their Year Ahead for DeFi report. Access the report: The State of DeFi and Where It's Going We cover: Pushing DeFi Forward: Themes for the Future Theme #1: Tailwinds for DEXs -- A Loss of Trust in Centralized Platforms Theme #2: DeFi Blue Chips Rise From the Ashes Theme #3: 0-1 Speculation Primitives Theme #4: Undercollateralized Money Markets Theme #5: Improving the State of Passive LP Products and Emphasizing Delta Neutrality Theme #6: The Rebirth of UX Aggregators: A Front End for DeFi Theme #7: Ditching veTokens for More Sustainable Alternatives What Surprised Us Surprise #1: Underwhelming Derivatives Traction Surprise #2: Saturation of the Structured Products Space Futuristic Ideas Idea #1: Envisioning a Consumer-Grade DeFi Experience Idea #2: How to Scale Undercollateralized Lending Idea #3: The Advent of True On-Chain Arbitrage Conclusion

It's time for Side B of my conversation on DUMB AND DUMBER with Scott Benson (@bombsfall on Twitter and IG). In this episode we finish our discussion of the movie, and finally get to the soundtrack. Which, if you didn't know, is incredibly good. In this half, we talk about the lines that stick with us, continue getting to the bottom of what makes this movie not creepy, give love to The Primitives, dig into the rest of the jangle-pop, very 1994 soundtrack and more. Alright, welp, see you later.Keep up with Scott at www.bombsfall.comSupport Night in the Woods here: http://www.nightinthewoods.com/Support the show on Patreon! It's the one thing that's gonna help keep the show going: www.patreon.com/soundtracker

When Foursquare launched in 2009, the app was consumer facing, letting you know where friends had checked in and what spots might appeal to you. People competed to be the “mayor” of certain locations and built guides to their favorite neighborhoods., The service expanded to allow merchants to offer discounts to frequent guests and track foot traffic in and out of the stores. While you can still use the Swarm app to find the best Manhattan in Manhattan, the company realized that real estate and data share the same three key rules: location, location, location. On this sponsored episode of the podcast, Ben and Ryan talk with Vin Sharma, VP of Engineering at Foursquare, about how they're finding the atomic data that makes up their location data—their location data—and going from giving insight to individual app users about the locations around them to APIs that serve these location-based insights to developers at organizations like Uber, Nextdoor, and Redfin, who want to build location based insights and features into their own apps. Show notesIf you still want to check in at your local bakery and remember all the place you'll go, the original Foursquare app is now Swarm. If you're looking to build on their data instead, you can start with their developer documentation. They have almost 70 location attributes that they are starting to deconstruct and decompose into fundamental building blocks of their location data. Like data primitives—integers, booleans, etc.—these small bites of data can be remade with agility and at scale. Through the recent acquisition of Unfolded, Foursquare allows you to visualize and map location data at any scale. Want to see patterns across the country? Zoom out. Want to focus on a square kilometer? Zoom in and watch the data move. Today's lifeboat shoutout goes to Rohith Nambiar for their answer to Visual Studio not installed; this is necessary for Windows development. You can find Vin Sharma on Twitter. 

In Part 2 of our special Velvet Underground episode we explore more of Lou Reed's activities at Pickwick Records, the public appearances of the Primitives, the Soundsville LP, the Surfsiders, and Lou's first musical collaboration with John Cale, “Why Don't You Smile Now.”

There was a "35 moisture-units per hour" joke here but Sarah just couldn't get it to go. YOU should go listen to the second-to-last episode of our America's Damp 40 countdown, as America, Dan Hill, Seals & Crofts, Kenny Loggins, and Foreigner all slosh onto the chart. How did George Martin get in here? Did one of the legion of Dans solve toxic masculinity -- from Canada? Why did the users disagree with us about the dampness of partnered sex on a hot day? And who won the battle for Kenny Loggins's soul, feelings and underpants or triumph and uniforms? Fill a 200-lb bag with tapioca and draw a Sharpie beard on the side of it: it's Episode 07. Our intro is by David Gregory Byrne, and our outro is by the Primitives. Interstitial music provided by Aimee Mann. To contact us or buy our books, visit MarkAndSarahTalkAboutSongs.com. To become a patron of the show, visit patreon.com/mastas. SHOW NOTES The Damp 40 homepage America's Gerry Beckley talks to American Songwriter about "Sister Golden Hair" Someone get Dan Hill a cocktail Check out our sponsor, Noom