Podcasts about quaalude

An extended show today leading into Twins pregame and its worth all thirty minutes - Jordana's husband Mark tells the infamous quaalude story and we replay the week that was in our Friday Rewind! 

In de 199e episode knallen Bart, Sven en Maarten nog een voorlaatste keer en hebben ze het over Born on the Fourth of July (1989), Oldboy (2003) en The Wolf of Wall Street (2013). Al dan niet sympathie voor een leading man is een discussiepunt, maar ook valse snorren, spleetfilms, villain motivation en patriotisme zijn factoren die beslissen of er al dan niet nog een seal of approval wordt uitgereikt. De luisteraars blijven ontroerende mails sturen dus worden er nog wat voorgelezen én het trio overloopt de voorbije Oscars. Maakt Maarten zijn winning streak langer of steekt een co-host hem de loef af? De voorlaatste aflevering van de Gremlins Strike Back Film Podcast kan je nu, na het slikken van een Quaalude, beluisteren via onder andere Spotify, SoundCloud, Apple Podcasts,…

Se allo Studio 54 di New York si consumava cocaina e Quaalude direttamente dai vassoi, anche il Melamara di Castiglione delle Stiviere aveva il suo ruolo nella nightlife del mantovano. Ma a due ragazzi le discoteche sembrano più una forma di perdizione che non un innocente divertimento.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Jim interviews Nashville Country Artist Chris Canterbury to talk about his newest album "Quaalude Lullabies", the songwriting process, touring, what he does besides music and more! Chris writes from the heart and while some of his songs are not entirely auto-biographical they will pull you in with their honesty.  There's not a bad song on the album and you really need to listen to Chris' music.  He needs to be heard. ABOUT CHRIS CANTERBURY'S new album "When I sat down to write this project, I tried to present each topic as a straight-forward Saturday morning kitchen conversation. That's how I approach songwriting and it's worked for me for a long time” says Chris Canterbury, a Louisiana native singer-songwriter, now based in Nashville. The project Canterbury is talking about is Quaalude Lullabies, a nine track collection of mostly sad songs that offers on-the-nose lyrical phrasing, subtlety loose production, and an honest insight into razor-edge topics like addiction, depression, and loneliness. In what started as a thought experiment, Quaalude Lullabies was self-produced by Canterbury, his first opportunity to be on both sides of the control room window. “I wanted to woodshop a record together that felt like Nebraska,” says Canterbury. “I wanted it to be loose like a box of bedroom demo tapes, but cohesive enough to stand on its own. I feel like we ended up with a solid album.” ************* KNOW GOOD MUSIC can be found on Podbean, Spotify, Apple Podcasts, Iheart Radio, Pandora and almost anywhere you listen to podcasts.     Be sure to subscribe on apple music / follow on spotify and also you can find us on Instagram (know_good_music) and YouTube (Know Good Music)   Also check out our YouTube channel for portions of video from our interviews.   Thank you for listening! - Jim 

Episode one hundred and fifty-seven of A History of Rock Music in Five Hundred Songs looks at “See Emily Play", the birth of the UK underground, and the career of Roger Barrett, known as Syd. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "First Girl I Loved" by the Incredible String Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, due to the number of Pink Floyd songs. I referred to two biographies of Barrett in this episode -- A Very Irregular Head by Rob Chapman is the one I would recommend, and the one whose narrative I have largely followed. Some of the information has been superseded by newer discoveries, but Chapman is almost unique in people writing about Barrett in that he actually seems to care about the facts and try to get things right rather than make up something more interesting. Crazy Diamond by Mike Watkinson and Pete Anderson is much less reliable, but does have quite a few interview quotes that aren't duplicated by Chapman. Information about Joe Boyd comes from Boyd's book White Bicycles. In this and future episodes on Pink Floyd I'm also relying on Nick Mason's Inside Out: A Personal History of Pink Floyd and Pink Floyd: All the Songs by Jean-Michel Guesdon and Philippe Margotin. The compilation Relics contains many of the most important tracks from Barrett's time with Pink Floyd, while Piper at the Gates of Dawn is his one full album with them. Those who want a fuller history of his time with the group will want to get Piper and also the box set Cambridge St/ation 1965-1967. Barrett only released two solo albums during his career. They're available as a bundle here. Completists will also want the rarities and outtakes collection Opel.  ERRATA: I talk about “Interstellar Overdrive” as if Barrett wrote it solo. The song is credited to all four members, but it was Barrett who came up with the riff I talk about. And annoyingly, given the lengths I went to to deal correctly with Barrett's name, I repeatedly refer to "Dave" Gilmour, when Gilmour prefers David. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A note before I begin -- this episode deals with drug use and mental illness, so anyone who might be upset by those subjects might want to skip this one. But also, there's a rather unique problem in how I deal with the name of the main artist in the story today. The man everyone knows as Syd Barrett was born Roger Barrett, used that name with his family for his whole life, and in later years very strongly disliked being called "Syd", yet everyone other than his family called him that at all times until he left the music industry, and that's the name that appears on record labels, including his solo albums. I don't believe it's right to refer to people by names they choose not to go by themselves, but the name Barrett went by throughout his brief period in the public eye was different from the one he went by later, and by all accounts he was actually distressed by its use in later years. So what I'm going to do in this episode is refer to him as "Roger Barrett" when a full name is necessary for disambiguation or just "Barrett" otherwise, but I'll leave any quotes from other people referring to "Syd" as they were originally phrased. In future episodes on Pink Floyd, I'll refer to him just as Barrett, but in episodes where I discuss his influence on other artists, I will probably have to use "Syd Barrett" because otherwise people who haven't listened to this episode won't know what on Earth I'm talking about. Anyway, on with the show. “It's gone!” sighed the Rat, sinking back in his seat again. “So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!” he cried, alert once more. Entranced, he was silent for a long space, spellbound. “Now it passes on and I begin to lose it,” he said presently. “O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.” That's a quote from a chapter titled "The Piper at the Gates of Dawn" from the classic children's book The Wind in the Willows -- a book which for most of its length is a fairly straightforward story about anthropomorphic animals having jovial adventures, but which in that one chapter has Rat and Mole suddenly encounter the Great God Pan and have a hallucinatory, transcendental experience caused by his music, one so extreme it's wiped from their minds, as they simply cannot process it. The book, and the chapter, was a favourite of Roger Barrett, a young child born in Cambridge in 1946. Barrett came from an intellectual but not especially bookish family. His father, Dr. Arthur Barrett, was a pathologist -- there's a room in Addenbrooke's Hospital named after him -- but he was also an avid watercolour painter, a world-leading authority on fungi, and a member of the Cambridge Philharmonic Society who was apparently an extraordinarily good singer; while his mother Winifred was a stay-at-home mother who was nonetheless very active in the community, organising a local Girl Guide troupe. They never particularly encouraged their family to read, but young Roger did particularly enjoy the more pastoral end of the children's literature of the time. As well as the Wind in the Willows he also loved Alice in Wonderland, and the Little Grey Men books -- a series of stories about tiny gnomes and their adventures in the countryside. But his two big passions were music and painting. He got his first ukulele at age eleven, and by the time his father died, just before Roger's sixteenth birthday, he had graduated to playing a full-sized guitar. At the time his musical tastes were largely the same as those of any other British teenager -- he liked Chubby Checker, for example -- though he did have a tendency to prefer the quirkier end of things, and some of the first songs he tried to play on the guitar were those of Joe Brown: [Excerpt: Joe Brown, "I'm Henry VIII I Am"] Barrett grew up in Cambridge, and for those who don't know it, Cambridge is an incubator of a very particular kind of eccentricity. The university tends to attract rather unworldly intellectual overachievers to the city -- people who might not be able to survive in many other situations but who can thrive in that one -- and every description of Barrett's father suggests he was such a person -- Barrett's sister Rosemary has said that she believes that most of the family were autistic, though whether this is a belief based on popular media portrayals or a deeper understanding I don't know. But certainly Cambridge is full of eccentric people with remarkable achievements, and such people tend to have children with a certain type of personality, who try simultaneously to live up to and rebel against expectations of greatness that come from having parents who are regarded as great, and to do so with rather less awareness of social norms than the typical rebel has. In the case of Roger Barrett, he, like so many others of his generation, was encouraged to go into the sciences -- as indeed his father had, both in his career as a pathologist and in his avocation as a mycologist. The fifties and sixties were a time, much like today, when what we now refer to as the STEM subjects were regarded as new and exciting and modern. But rather than following in his father's professional footsteps, Roger Barrett instead followed his hobbies. Dr. Barrett was a painter and musician in his spare time, and Roger was to turn to those things to earn his living. For much of his teens, it seemed that art would be the direction he would go in. He was, everyone agrees, a hugely talented painter, and he was particularly noted for his mastery of colours. But he was also becoming more and more interested in R&B music, especially the music of Bo Diddley, who became his new biggest influence: [Excerpt: Bo Diddley, "Who Do You Love?"] He would often spend hours with his friend Dave Gilmour, a much more advanced guitarist, trying to learn blues riffs. By this point Barrett had already received the nickname "Syd". Depending on which story you believe, he either got it when he started attending a jazz club where an elderly jazzer named Sid Barrett played, and the people were amused that their youngest attendee, like one of the oldest, was called Barrett; or, more plausibly, he turned up to a Scout meeting once wearing a flat cap rather than the normal scout beret, and he got nicknamed "Sid" because it made him look working-class and "Sid" was a working-class sort of name. In 1962, by the time he was sixteen, Barrett joined a short-lived group called Geoff Mott and the Mottoes, on rhythm guitar. The group's lead singer, Geoff Mottlow, would go on to join a band called the Boston Crabs who would have a minor hit in 1965 with a version of the Coasters song "Down in Mexico": [Excerpt: The Boston Crabs, "Down in Mexico"] The bass player from the Mottoes, Tony Sainty, and the drummer Clive Welham, would go on to form another band, The Jokers Wild, with Barrett's friend Dave Gilmour. Barrett also briefly joined another band, Those Without, but his time with them was similarly brief. Some sources -- though ones I consider generally less reliable -- say that the Mottoes' bass player wasn't Tony Sainty, but was Roger Waters, the son of one of Barrett's teachers, and that one of the reasons the band split up was that Waters had moved down to London to study architecture. I don't think that's the case, but it's definitely true that Barrett knew Waters, and when he moved to London himself the next year to go to Camberwell Art College, he moved into a house where Waters was already living. Two previous tenants at the same house, Nick Mason and Richard Wright, had formed a loose band with Waters and various other amateur musicians like Keith Noble, Shelagh Noble, and Clive Metcalfe. That band was sometimes known as the Screaming Abdabs, The Megadeaths, or The Tea Set -- the latter as a sly reference to slang terms for cannabis -- but was mostly known at first as Sigma 6, named after a manifesto by the novelist Alexander Trocchi for a kind of spontaneous university. They were also sometimes known as Leonard's Lodgers, after the landlord of the home that Barrett was moving into, Mike Leonard, who would occasionally sit in on organ and would later, as the band became more of a coherent unit, act as a roadie and put on light shows behind them -- Leonard was himself very interested in avant-garde and experimental art, and it was his idea to play around with the group's lighting. By the time Barrett moved in with Waters in 1964, the group had settled on the Tea Set name, and consisted of Waters on bass, Mason on drums, Wright on keyboards, singer Chris Dennis, and guitarist Rado Klose. Of the group, Klose was the only one who was a skilled musician -- he was a very good jazz guitarist, while the other members were barely adequate. By this time Barrett's musical interests were expanding to include folk music -- his girlfriend at the time talked later about him taking her to see Bob Dylan on his first UK tour and thinking "My first reaction was seeing all these people like Syd. It was almost as if every town had sent one Syd Barrett there. It was my first time seeing people like him." But the music he was most into was the blues. And as the Tea Set were turning into a blues band, he joined them. He even had a name for the new band that would make them more bluesy. He'd read the back of a record cover which had named two extremely obscure blues musicians -- musicians he may never even have heard. Pink Anderson: [Excerpt: Pink Anderson, "Boll Weevil"] And Floyd Council: [Excerpt: Floyd Council, "Runaway Man Blues"] Barrett suggested that they put together the names of the two bluesmen, and presumably because "Anderson Council" didn't have quite the right ring, they went for The Pink Floyd -- though for a while yet they would sometimes still perform as The Tea Set, and they were sometimes also called The Pink Floyd Sound. Dennis left soon after Barrett joined, and the new five-piece Pink Floyd Sound started trying to get more gigs. They auditioned for Ready Steady Go! and were turned down, but did get some decent support slots, including for a band called the Tridents: [Excerpt: The Tridents, "Tiger in Your Tank"] The members of the group were particularly impressed by the Tridents' guitarist and the way he altered his sound using feedback -- Barrett even sent a letter to his girlfriend with a drawing of the guitarist, one Jeff Beck, raving about how good he was. At this point, the group were mostly performing cover versions, but they did have a handful of originals, and it was these they recorded in their first demo sessions in late 1964 and early 1965. They included "Walk With Me Sydney", a song written by Roger Waters as a parody of "Work With Me Annie" and "Dance With Me Henry" -- and, given the lyrics, possibly also Hank Ballard's follow-up "Henry's Got Flat Feet (Can't Dance No More) and featuring Rick Wright's then-wife Juliette Gale as Etta James to Barrett's Richard Berry: [Excerpt: The Tea Set, "Walk With Me Sydney"] And four songs by Barrett, including one called "Double-O Bo" which was a Bo Diddley rip-off, and "Butterfly", the most interesting of these early recordings: [Excerpt: The Tea Set, "Butterfly"] At this point, Barrett was very unsure of his own vocal abilities, and wrote a letter to his girlfriend saying "Emo says why don't I give up 'cos it sounds horrible, and I would but I can't get Fred to join because he's got a group (p'raps you knew!) so I still have to sing." "Fred" was a nickname for his old friend Dave Gilmour, who was playing in his own band, Joker's Wild, at this point. Summer 1965 saw two important events in the life of the group. The first was that Barrett took LSD for the first time. The rest of the group weren't interested in trying it, and would indeed generally be one of the more sober bands in the rock business, despite the reputation their music got. The other members would for the most part try acid once or twice, around late 1966, but generally steer clear of it. Barrett, by contrast, took it on a very regular basis, and it would influence all the work he did from that point on. The other event was that Rado Klose left the group. Klose was the only really proficient musician in the group, but he had very different tastes to the other members, preferring to play jazz to R&B and pop, and he was also falling behind in his university studies, and decided to put that ahead of remaining in the band. This meant that the group members had to radically rethink the way they were making music. They couldn't rely on instrumental proficiency, so they had to rely on ideas. One of the things they started to do was use echo. They got primitive echo devices and put both Barrett's guitar and Wright's keyboard through them, allowing them to create new sounds that hadn't been heard on stage before. But they were still mostly doing the same Slim Harpo and Bo Diddley numbers everyone else was doing, and weren't able to be particularly interesting while playing them. But for a while they carried on doing the normal gigs, like a birthday party they played in late 1965, where on the same bill was a young American folk singer named Paul Simon, and Joker's Wild, the band Dave Gilmour was in, who backed Simon on a version of "Johnny B. Goode". A couple of weeks after that party, Joker's Wild went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] But The Pink Floyd Sound weren't as musically tight as Joker's Wild, and they couldn't make a living as a cover band even if they wanted to. They had to do something different. Inspiration then came from a very unexpected source. I mentioned earlier that one of the names the group had been performing under had been inspired by a manifesto for a spontaneous university by the writer Alexander Trocchi. Trocchi's ideas had actually been put into practice by an organisation calling itself the London Free School, based in Notting Hill. The London Free School was an interesting mixture of people from what was then known as the New Left, but who were already rapidly aging, the people who had been the cornerstone of radical campaigning in the late fifties and early sixties, who had run the Aldermaston marches against nuclear weapons and so on, and a new breed of countercultural people who in a year or two would be defined as hippies but at the time were not so easy to pigeonhole. These people were mostly politically radical but very privileged people -- one of the founder members of the London Free School was Peter Jenner, who was the son of a vicar and the grandson of a Labour MP -- and they were trying to put their radical ideas into practice. The London Free School was meant to be a collective of people who would help each other and themselves, and who would educate each other. You'd go to the collective wanting to learn how to do something, whether that's how to improve the housing in your area or navigate some particularly difficult piece of bureaucracy, or how to play a musical instrument, and someone who had that skill would teach you how to do it, while you hopefully taught them something else of value. The London Free School, like all such utopian schemes, ended up falling apart, but it had a wider cultural impact than most such schemes. Britain's first underground newspaper, the International Times, was put together by people involved in the Free School, and the annual Notting Hill Carnival, which is now one of the biggest outdoor events in Britain every year with a million attendees, came from the merger of outdoor events organised by the Free School with older community events. A group of musicians called AMM was associated with many of the people involved in the Free School. AMM performed totally improvised music, with no structure and no normal sense of melody and harmony: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] Keith Rowe, the guitarist in AMM, wanted to find his own technique uninfluenced by American jazz guitarists, and thought of that in terms that appealed very strongly to the painterly Barrett, saying "For the Americans to develop an American school of painting, they somehow had to ditch or lose European easel painting techniques. They had to make a break with the past. What did that possibly mean if you were a jazz guitar player? For me, symbolically, it was Pollock laying the canvas on the floor, which immediately abandons European easel technique. I could see that by laying the canvas down, it became inappropriate to apply easel techniques. I thought if I did that with a guitar, I would just lose all those techniques, because they would be physically impossible to do." Rowe's technique-free technique inspired Barrett to make similar noises with his guitar, and to think less in terms of melody and harmony than pure sound. AMM's first record came out in 1966. Four of the Free School people decided to put together their own record label, DNA, and they got an agreement with Elektra Records to distribute its first release -- Joe Boyd, the head of Elektra in the UK, was another London Free School member, and someone who had plenty of experience with disruptive art already, having been on the sound engineering team at the Newport Folk Festival when Dylan went electric. AMM went into the studio and recorded AMMMusic: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] After that came out, though, Peter Jenner, one of the people who'd started the label, came to a realisation. He said later "We'd made this one record with AMM. Great record, very seminal, seriously avant-garde, but I'd started adding up and I'd worked out that the deal we had, we got two percent of retail, out of which we, the label, had to pay for recording costs and pay ourselves. I came to the conclusion that we were going to have to sell a hell of a lot of records just to pay the recording costs, let alone pay ourselves any money and build a label, so I realised we had to have a pop band because pop bands sold a lot of records. It was as simple as that and I was as naive as that." Jenner abandoned DNA records for the moment, and he and his friend Andrew King decided they were going to become pop managers. and they found The Pink Floyd Sound playing at an event at the Marquee, one of a series of events that were variously known as Spontaneous Underground and The Trip. Other participants in those events included Soft Machine; Mose Allison; Donovan, performing improvised songs backed by sitar players; Graham Bond; a performer who played Bach pieces while backed by African drummers; and The Poison Bellows, a poetry duo consisting of Spike Hawkins and Johnny Byrne, who may of all of these performers be the one who other than Pink Floyd themselves has had the most cultural impact in the UK -- after writing the exploitation novel Groupie and co-writing a film adaptation of Spike Milligan's war memoirs, Byrne became a TV screenwriter, writing many episodes of Space: 1999 and Doctor Who before creating the long-running TV series Heartbeat. Jenner and King decided they wanted to sign The Pink Floyd Sound and make records with them, and the group agreed -- but only after their summer holidays. They were all still students, and so they dispersed during the summer. Waters and Wright went on holiday to Greece, where they tried acid for the first of only a small number of occasions and were unimpressed, while Mason went on a trip round America by Greyhound bus. Barrett, meanwhile, stayed behind, and started writing more songs, encouraged by Jenner, who insisted that the band needed to stop relying on blues covers and come up with their own material, and who saw Barrett as the focus of the group. Jenner later described them as "Four not terribly competent musicians who managed between them to create something that was extraordinary. Syd was the main creative drive behind the band - he was the singer and lead guitarist. Roger couldn't tune his bass because he was tone deaf, it had to be tuned by Rick. Rick could write a bit of a tune and Roger could knock out a couple of words if necessary. 'Set the Controls for the Heart of the Sun' was the first song Roger ever wrote, and he only did it because Syd encouraged everyone to write. Syd was very hesitant about his writing, but when he produced these great songs everyone else thought 'Well, it must be easy'" Of course, we know this isn't quite true -- Waters had written "Walk with me Sydney" -- but it is definitely the case that everyone involved thought of Barrett as the main creative force in the group, and that he was the one that Jenner was encouraging to write new material. After the summer holidays, the group reconvened, and one of their first actions was to play a benefit for the London Free School. Jenner said later "Andrew King and myself were both vicars' sons, and we knew that when you want to raise money for the parish you have to have a social. So in a very old-fashioned way we said 'let's put on a social'. Like in the Just William books, like a whist drive. We thought 'You can't have a whist drive. That's not cool. Let's have a band. That would be cool.' And the only band we knew was the band I was starting to get involved with." After a couple of these events went well, Joe Boyd suggested that they make those events a regular club night, and the UFO Club was born. Jenner and King started working on the light shows for the group, and then bringing in other people, and the light show became an integral part of the group's mystique -- rather than standing in a spotlight as other groups would, they worked in shadows, with distorted kaleidoscopic lights playing on them, distancing themselves from the audience. The highlight of their sets was a long piece called "Interstellar Overdrive", and this became one of the group's first professional recordings, when they went into the studio with Joe Boyd to record it for the soundtrack of a film titled Tonite Let's All Make Love in London. There are conflicting stories about the inspiration for the main riff for "Interstellar Overdrive". One apparent source is the riff from Love's version of the Bacharach and David song "My Little Red Book". Depending on who you ask, either Barrett was obsessed with Love's first album and copied the riff, or Peter Jenner tried to hum him the riff and Barrett copied what Jenner was humming: [Excerpt: Love, "My Little Red Book"] More prosaically, Roger Waters has always claimed that the main inspiration was from "Old Ned", Ron Grainer's theme tune for the sitcom Steptoe and Son (which for American listeners was remade over there as Sanford and Son): [Excerpt: Ron Grainer, "Old Ned"] Of course it's entirely possible, and even likely, that Barrett was inspired by both, and if so that would neatly sum up the whole range of Pink Floyd's influences at this point. "My Little Red Book" was a cover by an American garage-psych/folk-rock band of a hit by Manfred Mann, a group who were best known for pop singles but were also serious blues and jazz musicians, while Steptoe and Son was a whimsical but dark and very English sitcom about a way of life that was slowly disappearing. And you can definitely hear both influences in the main riff of the track they recorded with Boyd: [Excerpt: The Pink Floyd, "Interstellar Overdrive"] "Interstellar Overdrive" was one of two types of song that The Pink Floyd were performing at this time -- a long, extended, instrumental psychedelic excuse for freaky sounds, inspired by things like the second disc of Freak Out! by the Mothers of Invention. When they went into the studio again with Boyd later in January 1967, to record what they hoped would be their first single, they recorded two of the other kind of songs -- whimsical story songs inspired equally by the incidents of everyday life and by children's literature. What became the B-side, "Candy and a Currant Bun", was based around the riff from "Smokestack Lightnin'" by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] That song had become a favourite on the British blues scene, and was thus the inspiration for many songs of the type that get called "quintessentially English". Ray Davies, who was in many ways the major songwriter at this time who was closest to Barrett stylistically, would a year later use the riff for the Kinks song "Last of the Steam-Powered Trains", but in this case Barrett had originally written a song titled "Let's Roll Another One", about sexual longing and cannabis. The lyrics were hastily rewritten in the studio to remove the controversial drug references-- and supposedly this caused some conflict between Barrett and Waters, with Waters pushing for the change, while Barrett argued against it, though like many of the stories from this period this sounds like the kind of thing that gets said by people wanting to push particular images of both men. Either way, the lyric was changed to be about sweet treats rather than drugs, though the lascivious elements remained in. And some people even argue that there was another lyric change -- where Barrett sings "walk with me", there's a slight "f" sound in his vocal. As someone who does a lot of microphone work myself, it sounds to me like just one of those things that happens while recording, but a lot of people are very insistent that Barrett is deliberately singing a different word altogether: [Excerpt: The Pink Floyd, "Candy and a Currant Bun"] The A-side, meanwhile, was inspired by real life. Both Barrett and Waters had mothers who used  to take in female lodgers, and both had regularly had their lodgers' underwear stolen from washing lines. While they didn't know anything else about the thief, he became in Barrett's imagination a man who liked to dress up in the clothing after he stole it: [Excerpt: The Pink Floyd, "Arnold Layne"] After recording the two tracks with Joe Boyd, the natural assumption was that the record would be put out on Elektra, the label which Boyd worked for in the UK, but Jac Holzman, the head of Elektra records, wasn't interested, and so a bidding war began for the single, as by this point the group were the hottest thing in London. For a while it looked like they were going to sign to Track Records, the label owned by the Who's management, but in the end EMI won out. Right as they signed, the News of the World was doing a whole series of articles about pop stars and their drug use, and the last of the articles talked about The Pink Floyd and their association with LSD, even though they hadn't released a record yet. EMI had to put out a press release saying that the group were not psychedelic, insisting"The Pink Floyd are not trying to create hallucinatory effects in their audience." It was only after getting signed that the group became full-time professionals. Waters had by this point graduated from university and was working as a trainee architect, and quit his job to become a pop star. Wright dropped out of university, but Mason and Barrett took sabbaticals. Barrett in particular seems to have seen this very much as a temporary thing, talking about how he was making so much money it would be foolish not to take the opportunity while it lasted, but how he was going to resume his studies in a year. "Arnold Layne" made the top twenty, and it would have gone higher had the pirate radio station Radio London, at the time the single most popular radio station when it came to pop music, not banned the track because of its sexual content. However, it would be the only single Joe Boyd would work on with the group. EMI insisted on only using in-house producers, and so while Joe Boyd would go on to a great career as a producer, and we'll see him again, he was replaced with Norman Smith. Smith had been the chief engineer on the Beatles records up to Rubber Soul, after which he'd been promoted to being a producer in his own right, and Geoff Emerick had taken over. He also had aspirations to pop stardom himself, and a few years later would have a transatlantic hit with "Oh Babe, What Would You Say?" under the name Hurricane Smith: [Excerpt: Hurricane Smith, "Oh Babe, What Would You Say?"] Smith's production of the group would prove controversial among some of the group's longtime fans, who thought that he did too much to curtail their more experimental side, as he would try to get the group to record songs that were more structured and more commercial, and would cut down their improvisations into a more manageable form. Others, notably Peter Jenner, thought that Smith was the perfect producer for the group. They started work on their first album, which was mostly recorded in studio three of Abbey Road, while the Beatles were just finishing off work on Sgt Pepper in studio two. The album was titled The Piper at the Gates of Dawn, after the chapter from The Wind in the Willows, and other than a few extended instrumental showcases, most of the album was made up of short, whimsical, songs by Barrett that were strongly infused with imagery from late-Victorian and Edwardian children's books. This is one of the big differences between the British and American psychedelic scenes. Both the British and American undergrounds were made up of the same type of people -- a mixture of older radical activists, often Communists, who had come up in Britain in the Ban the Bomb campaigns and in America in the Civil Rights movement; and younger people, usually middle-class students with radical politics from a privileged background, who were into experimenting with drugs and alternative lifestyles. But the  social situations were different. In America, the younger members of the underground were angry and scared, as their principal interest was in stopping the war in Vietnam in which so many of them were being killed. And the music of the older generation of the underground, the Civil Rights activists, was shot through with influence from the blues, gospel, and American folk music, with a strong Black influence. So that's what the American psychedelic groups played, for the most part, very bluesy, very angry, music, By contrast, the British younger generation of hippies were not being drafted to go to war, and mostly had little to complain about, other than a feeling of being stifled by their parents' generation's expectations. And while most of them were influenced by the blues, that wasn't the music that had been popular among the older underground people, who had either been listening to experimental European art music or had been influenced by Ewan MacColl and his associates into listening instead to traditional old English ballads, things like the story of Tam Lin or Thomas the Rhymer, where someone is spirited away to the land of the fairies: [Excerpt: Ewan MacColl, "Thomas the Rhymer"] As a result, most British musicians, when exposed to the culture of the underground over here, created music that looked back to an idealised childhood of their grandparents' generation, songs that were nostalgic for a past just before the one they could remember (as opposed to their own childhoods, which had taken place in war or the immediate aftermath of it, dominated by poverty, rationing, and bomb sites (though of course Barrett's childhood in Cambridge had been far closer to this mythic idyll than those of his contemporaries from Liverpool, Birmingham, Newcastle, or London). So almost every British musician who was making music that might be called psychedelic was writing songs that were influenced both by experimental art music and by pre-War popular song, and which conjured up images from older children's books. Most notably of course at this point the Beatles were recording songs like "Strawberry Fields Forever" and "Penny Lane" about places from their childhood, and taking lyrical inspiration from Victorian circus posters and the works of Lewis Carroll, but Barrett was similarly inspired. One of the books he loved most as a child was "The Little Grey Men" by BB, a penname for Denys Watkins-Pitchford. The book told the story of three gnomes,  Baldmoney, Sneezewort, and Dodder, and their adventures on a boat when the fourth member of their little group, Cloudberry, who's a bit of a rebellious loner and more adventurous than the other three, goes exploring on his own and they have to go off and find him. Barrett's song "The Gnome" doesn't use any precise details from the book, but its combination of whimsy about a gnome named Grimble-gromble and a reverence for nature is very much in the mould of BB's work: [Excerpt: The Pink Floyd, "The Gnome"] Another huge influence on Barrett was Hillaire Belloc. Belloc is someone who is not read much any more, as sadly he is mostly known for the intense antisemitism in some of his writing, which stains it just as so much of early twentieth-century literature is stained, but he was one of the most influential writers of the early part of the twentieth century. Like his friend GK Chesterton he was simultaneously an author of Catholic apologia and a political campaigner -- he was a Liberal MP for a few years, and a strong advocate of an economic system known as Distributism, and had a peculiar mixture of very progressive and extremely reactionary ideas which resonated with a lot of the atmosphere in the British underground of the time, even though he would likely have profoundly disapproved of them. But Belloc wrote in a variety of styles, including poems for children, which are the works of his that have aged the best, and were a huge influence on later children's writers like Roald Dahl with their gleeful comic cruelty. Barrett's "Matilda Mother" had lyrics that were, other than the chorus where Barrett begs his mother to read him more of the story, taken verbatim from three poems from Belloc's Cautionary Tales for Children -- "Jim, Who Ran away from his Nurse, and was Eaten by a Lion", "Henry King (Who chewed bits of String, and was cut off in Dreadful Agonies)", and "Matilda (Who Told Lies and Was Burned to Death)" -- the titles of those give some idea of the kind of thing Belloc would write: [Excerpt: The Pink Floyd, "Matilda Mother (early version)"] Sadly for Barrett, Belloc's estate refused to allow permission for his poems to be used, and so he had to rework the lyrics, writing new fairy-tale lyrics for the finished version. Other sources of inspiration for lyrics came from books like the I Ching, which Barrett used for "Chapter 24", having bought a copy from the Indica Bookshop, the same place that John Lennon had bought The Psychedelic Experience, and there's been some suggestion that he was deliberately trying to copy Lennon in taking lyrical ideas from a book of ancient mystic wisdom. During the recording of Piper at the Gates of Dawn, the group continued playing live. As they'd now had a hit single, most of their performances were at Top Rank Ballrooms and other such venues around the country, on bills with other top chart groups, playing to audiences who seemed unimpressed or actively hostile. They also, though made two important appearances. The more well-known of these was at the 14-Hour Technicolor Dream, a benefit for International Times magazine with people including Yoko Ono, their future collaborator Ron Geesin, John's Children, Soft Machine, and The Move also performing. The 14-Hour Technicolor Dream is now largely regarded as *the* pivotal moment in the development of the UK counterculture, though even at the time some participants noted that there seemed to be a rift developing between the performers, who were often fairly straightforward beer-drinking ambitious young men who had latched on to kaftans and talk about enlightenment as the latest gimmick they could use to get ahead in the industry, and the audience who seemed to be true believers. Their other major performance was at an event called "Games for May -- Space Age Relaxation for the Climax of Spring", where they were able to do a full long set in a concert space with a quadrophonic sound system, rather than performing in the utterly sub-par environments most pop bands had to at this point. They came up with a new song written for the event, which became their second single, "See Emily Play". [Excerpt: The Pink Floyd, "See Emily Play"] Emily was apparently always a favourite name of Barrett's, and he even talked with one girlfriend about the possibility of naming their first child Emily, but the Emily of the song seems to have had a specific inspiration. One of the youngest attendees at the London Free School was an actual schoolgirl, Emily Young, who would go along to their events with her schoolfriend Anjelica Huston (who later became a well-known film star). Young is now a world-renowned artist, regarded as arguably Britain's greatest living stone sculptor, but at the time she was very like the other people at the London Free School -- she was from a very privileged background, her father was Wayland Young, 2nd Baron Kennet, a Labour Peer and minister who later joined the SDP. But being younger than the rest of the attendees, and still a little naive, she was still trying to find her own personality, and would take on attributes and attitudes of other people without fully understanding them,  hence the song's opening lines, "Emily tries, but misunderstands/She's often inclined to borrow somebody's dream til tomorrow". The song gets a little darker towards the end though, and the image in the last verse, where she puts on a gown and floats down a river forever *could* be a gentle, pastoral, image of someone going on a boat ride, but it also could be a reference to two rather darker sources. Barrett was known to pick up imagery both from classic literature and from Arthurian legend, and so the lines inevitably conjure up both the idea of Ophelia drowning herself and of the Lady of Shallot in Tennyson's Arthurian poem, who is trapped in a tower but finds a boat, and floats down the river to Camelot but dies before the boat reaches the castle: [Excerpt: The Pink Floyd, "See Emily Play"] The song also evokes very specific memories of Barrett's childhood -- according to Roger Waters, the woods mentioned in the lyrics are meant to be woods in which they had played as children, on the road out of Cambridge towards the Gog and Magog Hills. The song was apparently seven minutes long in its earliest versions, and required a great deal of editing to get down to single length, but it was worth it, as the track made the top ten. And that was where the problems started. There are two different stories told about what happened to Roger Barrett over the next forty years, and both stories are told by people with particular agendas, who want particular versions of him to become the accepted truth. Both stories are, in the extreme versions that have been popularised, utterly incompatible with each other, but both are fairly compatible with the scanty evidence we have. Possibly the truth lies somewhere between them. In one version of the story, around this time Barrett had a total mental breakdown, brought on or exacerbated by his overuse of LSD and Mandrax (a prescription drug consisting of a mixture of the antihistamine diphenhydramine and the sedative methaqualone, which was marketed in the US under the brand-name Quaalude), and that from late summer 1967 on he was unable to lead a normal life, and spent the rest of his life as a burned-out shell. The other version of the story is that Barrett was a little fragile, and did have periods of mental illness, but for the most part was able to function fairly well. In this version of the story, he was neurodivergent, and found celebrity distressing, but more than that he found the whole process of working within commercial restrictions upsetting -- having to appear on TV pop shows and go on package tours was just not something he found himself able to do, but he was responsible for a whole apparatus of people who relied on him and his group for their living. In this telling, he was surrounded by parasites who looked on him as their combination meal-ticket-cum-guru, and was simply not suited for the role and wanted to sabotage it so he could have a private life instead. Either way, *something* seems to have changed in Barrett in a profound way in the early summer of 1967. Joe Boyd talks about meeting him after not having seen him for a few weeks, and all the light being gone from his eyes. The group appeared on Top of the Pops, Britain's top pop TV show, three times to promote "See Emily Play", but by the third time Barrett didn't even pretend to mime along with the single. Towards the end of July, they were meant to record a session for the BBC's Saturday Club radio show, but Barrett walked out of the studio before completing the first song. It's notable that Barrett's non-cooperation or inability to function was very much dependent on circumstance. He was not able to perform for Saturday Club, a mainstream pop show aimed at a mass audience, but gave perfectly good performances on several sessions for John Peel's radio show The Perfumed Garden, a show firmly aimed at Pink Floyd's own underground niche. On the thirty-first of July, three days after the Saturday Club walkout, all the group's performances for the next month were cancelled, due to "nervous exhaustion". But on the eighth of August, they went back into the studio, to record "Scream Thy Last Scream", a song Barrett wrote and which Nick Mason sang: [Excerpt: Pink Floyd, "Scream Thy Last Scream"] That was scheduled as the group's next single, but the record company vetoed it, and it wouldn't see an official release for forty-nine years. Instead they recorded another single, "Apples and Oranges": [Excerpt: Pink Floyd, "Apples and Oranges"] That was the last thing the group released while Barrett was a member. In November 1967 they went on a tour of the US, making appearances on American Bandstand and the Pat Boone Show, as well as playing several gigs. According to legend, Barrett was almost catatonic on the Pat Boone show, though no footage of that appears to be available anywhere -- and the same things were said about their performance on Bandstand, and when that turned up, it turned out Barrett seemed no more uncomfortable miming to their new single than any of the rest of the band, and was no less polite when Dick Clark asked them questions about hamburgers. But on shows on the US tour, Barrett would do things like detune his guitar so it just made clanging sounds, or just play a single note throughout the show. These are, again, things that could be taken in two different ways, and I have no way to judge which is the more correct. On one level, they could be a sign of a chaotic, disordered, mind, someone dealing with severe mental health difficulties. On the other, they're the kind of thing that Barrett was applauded and praised for in the confines of the kind of avant-garde underground audience that would pay to hear AMM or Yoko Ono, the kind of people they'd been performing for less than a year earlier, but which were absolutely not appropriate for a pop group trying to promote their latest hit single. It could be that Barrett was severely unwell, or it could just be that he wanted to be an experimental artist and his bandmates wanted to be pop stars -- and one thing absolutely everyone agrees is that the rest of the group were more ambitious than Barrett was. Whichever was the case, though, something had to give. They cut the US tour short, but immediately started another British package tour, with the Jimi Hendrix Experience, the Move, Amen Corner and the Nice. After that tour they started work on their next album, A Saucerful of Secrets. Where Barrett was the lead singer and principal songwriter on Piper at the Gates of Dawn, he only sings and writes one song on A Saucerful of Secrets, which is otherwise written by Waters and Wright, and only appears at all on two more of the tracks -- by the time it was released he was out of the group. The last song he tried to get the group to record was called "Have You Got it Yet?" and it was only after spending some time rehearsing it that the rest of the band realised that the song was a practical joke on them -- every time they played it, he would change the song around so they would mess up, and pretend they just hadn't learned the song yet. They brought in Barrett's old friend Dave Gilmour, initially to be a fifth member on stage to give the band some stability in their performances, but after five shows with the five-man lineup they decided just not to bother picking Barrett up, but didn't mention he was out of the group, to avoid awkwardness. At the time, Barrett and Rick Wright were flatmates, and Wright would actually lie to Barrett and say he was just going out to buy a packet of cigarettes, and then go and play gigs without him. After a couple of months of this, it was officially announced that Barrett was leaving the group. Jenner and King went with him, convinced that he was the real talent in the group and would have a solo career, and the group carried on with new management. We'll be looking at them more in future episodes. Barrett made a start at recording a solo album in mid-1968, but didn't get very far. Jenner produced those sessions, and later said "It seemed a good idea to go into the studio because I knew he had the songs. And he would sometimes play bits and pieces and you would think 'Oh that's great.' It was a 'he's got a bit of a cold today and it might get better' approach. It wasn't a cold -- and you knew it wasn't a cold -- but I kept thinking if he did the right things he'd come back to join us. He'd gone out and maybe he'd come back. That was always the analogy in my head. I wanted to make it feel friendly for him, and that where we were was a comfortable place and that he could come back and find himself again. I obviously didn't succeed." A handful of tracks from those sessions have since been released, including a version of “Golden Hair”, a setting by Barrett of a poem by James Joyce that he would later revisit: [Excerpt: Syd Barrett, “Golden Hair (first version)”] Eleven months later, he went back into the studio again, this time with producer Malcolm Jones, to record an album that later became The Madcap Laughs, his first solo album. The recording process for the album has been the source of some controversy, as initially Jones was producing the whole album, and they were working in a way that Barrett never worked before. Where previously he had cut backing tracks first and only later overdubbed his vocals, this time he started by recording acoustic guitar and vocals, and then overdubbed on top of that. But after several sessions, Jones was pulled off the album, and Gilmour and Waters were asked to produce the rest of the sessions. This may seem a bit of a callous decision, since Gilmour was the person who had replaced Barrett in his group, but apparently the two of them had remained friends, and indeed Gilmour thought that Barrett had only got better as a songwriter since leaving the band. Where Malcolm Jones had been trying, by his account, to put out something that sounded like a serious, professional, record, Gilmour and Waters seemed to regard what they were doing more as producing a piece of audio verite documentary, including false starts and studio chatter. Jones believed that this put Barrett in a bad light, saying the outtakes "show Syd, at best as out of tune, which he rarely was, and at worst as out of control (which, again, he never was)." Gilmour and Waters, on the other hand, thought that material was necessary to provide some context for why the album wasn't as slick and professional as some might have hoped. The eventual record was a hodge-podge of different styles from different sessions, with bits from the Jenner sessions, the Jones sessions, and the Waters and Gilmour sessions all mixed together, with some tracks just Barrett badly double-tracking himself with an acoustic guitar, while other tracks feature full backing by Soft Machine. However, despite Jones' accusations that the album was more-or-less sabotaged by Gilmour and Waters, the fact remains that the best tracks on the album are the ones Barrett's former bandmates produced, and there are some magnificent moments on there. But it's a disturbing album to listen to, in the same way other albums by people with clear talent but clear mental illness are, like Skip Spence's Oar, Roky Erickson's later work, or the Beach Boys Love You. In each case, the pleasure one gets is a real pleasure from real aesthetic appreciation of the work, but entangled with an awareness that the work would not exist in that form were the creator not suffering. The pleasure doesn't come from the suffering -- these are real artists creating real art, not the kind of outsider art that is really just a modern-day freak-show -- but it's still inextricable from it: [Excerpt: Syd Barrett, "Dark Globe"] The Madcap Laughs did well enough that Barrett got to record a follow-up, titled simply Barrett. This one was recorded over a period of only a handful of months, with Gilmour and Rick Wright producing, and a band consisting of Gilmour, Wright, and drummer Jerry Shirley. The album is generally considered both more consistent and less interesting than The Madcap Laughs, with less really interesting material, though there are some enjoyable moments on it: [Excerpt: Syd Barrett, "Effervescing Elephant"] But the album is a little aimless, and people who knew him at the time seem agreed that that was a reflection of his life. He had nothing he *needed* to be doing -- no  tour dates, no deadlines, no pressure at all, and he had a bit of money from record royalties -- so he just did nothing at all. The one solo gig he ever played, with the band who backed him on Barrett, lasted four songs, and he walked off half-way through the fourth. He moved back to Cambridge for a while in the early seventies, and he tried putting together a new band with Twink, the drummer of the Pink Fairies and Pretty Things, Fred Frith, and Jack Monck, but Frith left after one gig. The other three performed a handful of shows either as "Stars" or as "Barrett, Adler, and Monck", just in the Cambridge area, but soon Barrett got bored again. He moved back to London, and in 1974 he made one final attempt to make a record, going into the studio with Peter Jenner, where he recorded a handful of tracks that were never released. But given that the titles of those tracks were things like "Boogie #1", "Boogie #2", "Slow Boogie", "Fast Boogie", "Chooka-Chooka Chug Chug" and "John Lee Hooker", I suspect we're not missing out on a lost masterpiece. Around this time there was a general resurgence in interest in Barrett, prompted by David Bowie having recorded a version of "See Emily Play" on his covers album Pin-Ups, which came out in late 1973: [Excerpt: David Bowie, "See Emily Play"] At the same time, the journalist Nick Kent wrote a long profile of Barrett, The Cracked Ballad of Syd Barrett, which like Kent's piece on Brian Wilson a year later, managed to be a remarkable piece of writing with a sense of sympathy for its subject and understanding of his music, but also a less-than-accurate piece of journalism which led to a lot of myths and disinformation being propagated. Barrett briefly visited his old bandmates in the studio in 1975 while they were recording the album Wish You Were Here -- some say even during the recording of the song "Shine On, You Crazy Diamond", which was written specifically about Barrett, though Nick Mason claims otherwise -- and they didn't recognise him at first, because by this point he had a shaved head and had put on a great deal of weight. He seemed rather sad, and that was the last time any of them saw him, apart from Roger Waters, who saw him in Harrod's a few years later. That time, as soon as Barrett recognised Waters, he dropped his bag and ran out of the shop. For the next thirty-one years, Barrett made no public appearances. The last time he ever voluntarily spoke to a journalist, other than telling them to go away, was in 1982, just after he'd moved back to Cambridge, when someone doorstopped him and he answered a few questions and posed for a photo before saying "OK! That's enough, this is distressing for me, thank you." He had the reputation for the rest of his life of being a shut-in, a recluse, an acid casualty. His family, on the other hand, have always claimed that while he was never particularly mentally or physically healthy, he wasn't a shut-in, and would go to the pub, meet up with his mother a couple of times a week to go shopping, and chat to the women behind the counter at Sainsbury's and at the pharmacy. He was also apparently very good with children who lived in the neighbourhood. Whatever the truth of his final decades, though, however mentally well or unwell he actually was, one thing is very clear, which is that he was an extremely private man, who did not want attention, and who was greatly distressed by the constant stream of people coming and looking through his letterbox, trying to take photos of him, trying to interview him, and so on. Everyone on his street knew that when people came asking which was Syd Barrett's house, they were meant to say that no-one of that name lived there -- and they were telling the truth. By the time he moved back, he had stopped answering to "Syd" altogether, and according to his sister "He came to hate the name latterly, and what it meant." He did, in 2001, go round to his sister's house to watch a documentary about himself on the TV -- he didn't own a TV himself -- but he didn't enjoy it and his only comment was that the music was too noisy. By this point he never listened to rock music, just to jazz and classical music, usually on the radio. He was financially secure -- Dave Gilmour made sure that when compilations came out they always included some music from Barrett's period in the group so he would receive royalties, even though Gilmour had no contact with him after 1975 -- and he spent most of his time painting -- he would take photos of the paintings when they were completed, and then burn the originals. There are many stories about those last few decades, but given how much he valued his privacy, it wouldn't be right to share them. This is a history of rock music, and 1975 was the last time Roger Keith Barrett ever had anything to do with rock music voluntarily. He died of cancer in 2006, and at his funeral there was a reading from The Little Grey Men, which was also quoted in the Order of Service -- "The wonder of the world, the beauty and the power, the shapes of things, their colours lights and shades; these I saw. Look ye also while life lasts.” There was no rock music played at Barrett's funeral -- instead there were a selection of pieces by Handel, Haydn, and Bach, ending with Bach's Allemande from the Partita No. IV in D major, one of his favourite pieces: [Excerpt: Glenn Gould, "Allemande from the Partita No. IV in D major"]  As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before. Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. “I beg your pardon; what did you say, Rat?” he asked. “I think I was only remarking,” said Rat slowly, “that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!” And with a cry of delight he ran towards the slumbering Portly. But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.

Summer 2022 erupts. The Georgia Guidestones tumble and with them the mystery held therein, or not. The myth of a Quaalude cache evaporates, a prince's phone is hacked by the WEF? or more MK Ultra infused chaos. A Discussion about Dave's travels to Ohio, Kentucky, W. Virginia; mounds, ancient earthworks, Green Man encounters, and a visit with Dan Dutton and the Mothman. Ben muses on Louise Abrams and alien alphabets, CERN generates new Mandela effects. Some Randonautica points are generated, new paths cut? Join our PATREON for only 5$ a month and access biweekly exclusive episodes, written content, interactive thought experiments and more. If you enjoy the show its the best way to support us! https://www.patreon.com/consensusunreality  

Allegra from the Legally 40ish podcast joined us for a lovely Saturday morning chit chat about the blind bitch bill cosby. Legally 40ish is a podcast where a 40ish lawyer talks about legal issues for 40ish minutes! You'll love listening to Allegra! She is joined by her BFF sometimes, so the vibes are F-A-B-U-L-O-U-S. Follow Legally 40ish on Instagram and Tik Tok! Check out Legally 40ish wherever you listen to our podcast! :) TRIGGER WARNING: BILL COSBY and everything that comes with him. Drugs, assault, conning people, and destroying lives. Ab3j3qVUYQ9OtYslh2q1 AD FREE listening! https://plus.acast.com/s/allegedly-bravo. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

In this episode, we talk about how women are socialized from toddler to teenager to be polite at all costs. To not make waves, to support the status quo. While collaboration and "taking one for the team" is often helpful, here we uncover how dangerous this ingrained behavior can be for our careers, our health and our lives.

Pre- lude or Quaalude? --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Thank you so much to 1/2 of the Treehouse gang from 1500 Radio King Stinyon blessing our podcast this week. We got really personal with him down to his first time going "downtown". You gotta hear it to believe it!!!

Glen Smith was born and raised in New Orleans Louisiana. He's lived a very interesting life. His wife was brutally murdered over 20 years ago. Leaving him to raise two daughters on his own without a mother. He's a successful business owner and recovering addict. His story is unlike anything I've ever heard. From selling and being addicted to drugs, dealing with the Cartel all while living a normal life. This first episode is one for the times. --- Support this podcast: https://anchor.fm/erics-adhd-experience/support

Brothers Phil & Warren show up in the back of a limo wearing $2,000 suits and $40,000 gold f@#%-ing watches for a deep dive into the comedy crime drama sales masterpiece “The Wolf of Wall Street.” Topics include: the film's five year holdup & the production (3:00), the stars of the picture (17:05), stats & accolades (32:00), best scenes & lines (39:00), Judge Bob's recasting court (1:04:10), and the film's legacy & lore (1:20:15), plus much more.

Brothers Phil & Warren show up in the back of a limo wearing $2,000 suits and $40,000 gold f@#%-ing watches for a deep dive into the comedy crime drama sales masterpiece “The Wolf of Wall Street.” Topics include: the film's five year holdup & the production (3:00), the stars of the picture (17:05), stats & accolades (32:00), best scenes & lines (39:00), Judge Bob's recasting court (1:04:10), and the film's legacy & lore (1:20:15), plus much more.

The contemporary opioid crisis is widely seen as new and unprecedented. Not so. It is merely the latest in a long series of drug crises stretching back over a century. In White Market Drugs: Big Pharma and the Hidden History of Addiction in America (U Chicago Press, 2020), David Herzberg explores these crises and the drugs that fueled them, from Bayer's Heroin to Purdue's OxyContin and all the drugs in between: barbiturate "goof balls," amphetamine "thrill pills," the "love drug" Quaalude, and more. As Herzberg argues, the vast majority of American experiences with drugs and addiction have taken place within what he calls "white markets," where legal drugs called medicines are sold to a largely white clientele. These markets are widely acknowledged but no one has explained how they became so central to the medical system in a nation famous for its "drug wars"--until now. Drawing from federal, state, industry, and medical archives alongside a wealth of published sources, Herzberg re-connects America's divided drug history, telling the whole story for the first time. He reveals that the driving question for policymakers has never been how to prohibit the use of addictive drugs, but how to ensure their availability in medical contexts, where profitability often outweighs public safety. Access to white markets was thus a double-edged sword for socially privileged consumers, even as communities of color faced exclusion and punitive drug prohibition. To counter this no-win setup, Herzberg advocates for a consumer protection approach that robustly regulates all drug markets to minimize risks while maintaining safe, reliable access (and treatment) for people with addiction. Accomplishing this requires rethinking a drug/medicine divide born a century ago that, unlike most policies of that racially segregated era, has somehow survived relatively unscathed into the twenty-first century. By showing how the twenty-first-century opioid crisis is only the most recent in a long history of similar crises of addiction to pharmaceuticals, Herzberg forces us to rethink our most basic ideas about drug policy and addiction itself--ideas that have been failing us catastrophically for over a century. David Herzberg is an associate professor of history at the University of Buffalo is also the author of Happy Pills in America from Milltown to Prozac. David is also the co-editor of the journal Social History of Alcohol and Drugs.  Jay Shifman is a vulnerable storyteller, a stigma-destroying speaker, and the founder of Choose Your Struggle podcast. A guy in long-term recovery, Jay is dedicated to ending stigma and promoting fact-based education around Mental Health, Substance Misuse & Recovery, and Drug Use & Policy. You can learn more about Jay at his links here. Learn more about your ad choices. Visit megaphone.fm/adchoices

The contemporary opioid crisis is widely seen as new and unprecedented. Not so. It is merely the latest in a long series of drug crises stretching back over a century. In White Market Drugs: Big Pharma and the Hidden History of Addiction in America (U Chicago Press, 2020), David Herzberg explores these crises and the drugs that fueled them, from Bayer's Heroin to Purdue's OxyContin and all the drugs in between: barbiturate "goof balls," amphetamine "thrill pills," the "love drug" Quaalude, and more. As Herzberg argues, the vast majority of American experiences with drugs and addiction have taken place within what he calls "white markets," where legal drugs called medicines are sold to a largely white clientele. These markets are widely acknowledged but no one has explained how they became so central to the medical system in a nation famous for its "drug wars"--until now. Drawing from federal, state, industry, and medical archives alongside a wealth of published sources, Herzberg re-connects America's divided drug history, telling the whole story for the first time. He reveals that the driving question for policymakers has never been how to prohibit the use of addictive drugs, but how to ensure their availability in medical contexts, where profitability often outweighs public safety. Access to white markets was thus a double-edged sword for socially privileged consumers, even as communities of color faced exclusion and punitive drug prohibition. To counter this no-win setup, Herzberg advocates for a consumer protection approach that robustly regulates all drug markets to minimize risks while maintaining safe, reliable access (and treatment) for people with addiction. Accomplishing this requires rethinking a drug/medicine divide born a century ago that, unlike most policies of that racially segregated era, has somehow survived relatively unscathed into the twenty-first century. By showing how the twenty-first-century opioid crisis is only the most recent in a long history of similar crises of addiction to pharmaceuticals, Herzberg forces us to rethink our most basic ideas about drug policy and addiction itself--ideas that have been failing us catastrophically for over a century. David Herzberg is an associate professor of history at the University of Buffalo is also the author of Happy Pills in America from Milltown to Prozac. David is also the co-editor of the journal Social History of Alcohol and Drugs.  Jay Shifman is a vulnerable storyteller, a stigma-destroying speaker, and the founder of Choose Your Struggle podcast. A guy in long-term recovery, Jay is dedicated to ending stigma and promoting fact-based education around Mental Health, Substance Misuse & Recovery, and Drug Use & Policy. You can learn more about Jay at his links here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics

The contemporary opioid crisis is widely seen as new and unprecedented. Not so. It is merely the latest in a long series of drug crises stretching back over a century. In White Market Drugs: Big Pharma and the Hidden History of Addiction in America (U Chicago Press, 2020), David Herzberg explores these crises and the drugs that fueled them, from Bayer's Heroin to Purdue's OxyContin and all the drugs in between: barbiturate "goof balls," amphetamine "thrill pills," the "love drug" Quaalude, and more. As Herzberg argues, the vast majority of American experiences with drugs and addiction have taken place within what he calls "white markets," where legal drugs called medicines are sold to a largely white clientele. These markets are widely acknowledged but no one has explained how they became so central to the medical system in a nation famous for its "drug wars"--until now. Drawing from federal, state, industry, and medical archives alongside a wealth of published sources, Herzberg re-connects America's divided drug history, telling the whole story for the first time. He reveals that the driving question for policymakers has never been how to prohibit the use of addictive drugs, but how to ensure their availability in medical contexts, where profitability often outweighs public safety. Access to white markets was thus a double-edged sword for socially privileged consumers, even as communities of color faced exclusion and punitive drug prohibition. To counter this no-win setup, Herzberg advocates for a consumer protection approach that robustly regulates all drug markets to minimize risks while maintaining safe, reliable access (and treatment) for people with addiction. Accomplishing this requires rethinking a drug/medicine divide born a century ago that, unlike most policies of that racially segregated era, has somehow survived relatively unscathed into the twenty-first century. By showing how the twenty-first-century opioid crisis is only the most recent in a long history of similar crises of addiction to pharmaceuticals, Herzberg forces us to rethink our most basic ideas about drug policy and addiction itself--ideas that have been failing us catastrophically for over a century. David Herzberg is an associate professor of history at the University of Buffalo is also the author of Happy Pills in America from Milltown to Prozac. David is also the co-editor of the journal Social History of Alcohol and Drugs.  Jay Shifman is a vulnerable storyteller, a stigma-destroying speaker, and the founder of Choose Your Struggle podcast. A guy in long-term recovery, Jay is dedicated to ending stigma and promoting fact-based education around Mental Health, Substance Misuse & Recovery, and Drug Use & Policy. You can learn more about Jay at his links here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The contemporary opioid crisis is widely seen as new and unprecedented. Not so. It is merely the latest in a long series of drug crises stretching back over a century. In White Market Drugs: Big Pharma and the Hidden History of Addiction in America (U Chicago Press, 2020), David Herzberg explores these crises and the drugs that fueled them, from Bayer's Heroin to Purdue's OxyContin and all the drugs in between: barbiturate "goof balls," amphetamine "thrill pills," the "love drug" Quaalude, and more. As Herzberg argues, the vast majority of American experiences with drugs and addiction have taken place within what he calls "white markets," where legal drugs called medicines are sold to a largely white clientele. These markets are widely acknowledged but no one has explained how they became so central to the medical system in a nation famous for its "drug wars"--until now. Drawing from federal, state, industry, and medical archives alongside a wealth of published sources, Herzberg re-connects America's divided drug history, telling the whole story for the first time. He reveals that the driving question for policymakers has never been how to prohibit the use of addictive drugs, but how to ensure their availability in medical contexts, where profitability often outweighs public safety. Access to white markets was thus a double-edged sword for socially privileged consumers, even as communities of color faced exclusion and punitive drug prohibition. To counter this no-win setup, Herzberg advocates for a consumer protection approach that robustly regulates all drug markets to minimize risks while maintaining safe, reliable access (and treatment) for people with addiction. Accomplishing this requires rethinking a drug/medicine divide born a century ago that, unlike most policies of that racially segregated era, has somehow survived relatively unscathed into the twenty-first century. By showing how the twenty-first-century opioid crisis is only the most recent in a long history of similar crises of addiction to pharmaceuticals, Herzberg forces us to rethink our most basic ideas about drug policy and addiction itself--ideas that have been failing us catastrophically for over a century. David Herzberg is an associate professor of history at the University of Buffalo is also the author of Happy Pills in America from Milltown to Prozac. David is also the co-editor of the journal Social History of Alcohol and Drugs.  Jay Shifman is a vulnerable storyteller, a stigma-destroying speaker, and the founder of Choose Your Struggle podcast. A guy in long-term recovery, Jay is dedicated to ending stigma and promoting fact-based education around Mental Health, Substance Misuse & Recovery, and Drug Use & Policy. You can learn more about Jay at his links here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/law

The contemporary opioid crisis is widely seen as new and unprecedented. Not so. It is merely the latest in a long series of drug crises stretching back over a century. In White Market Drugs: Big Pharma and the Hidden History of Addiction in America (U Chicago Press, 2020), David Herzberg explores these crises and the drugs that fueled them, from Bayer's Heroin to Purdue's OxyContin and all the drugs in between: barbiturate "goof balls," amphetamine "thrill pills," the "love drug" Quaalude, and more. As Herzberg argues, the vast majority of American experiences with drugs and addiction have taken place within what he calls "white markets," where legal drugs called medicines are sold to a largely white clientele. These markets are widely acknowledged but no one has explained how they became so central to the medical system in a nation famous for its "drug wars"--until now. Drawing from federal, state, industry, and medical archives alongside a wealth of published sources, Herzberg re-connects America's divided drug history, telling the whole story for the first time. He reveals that the driving question for policymakers has never been how to prohibit the use of addictive drugs, but how to ensure their availability in medical contexts, where profitability often outweighs public safety. Access to white markets was thus a double-edged sword for socially privileged consumers, even as communities of color faced exclusion and punitive drug prohibition. To counter this no-win setup, Herzberg advocates for a consumer protection approach that robustly regulates all drug markets to minimize risks while maintaining safe, reliable access (and treatment) for people with addiction. Accomplishing this requires rethinking a drug/medicine divide born a century ago that, unlike most policies of that racially segregated era, has somehow survived relatively unscathed into the twenty-first century. By showing how the twenty-first-century opioid crisis is only the most recent in a long history of similar crises of addiction to pharmaceuticals, Herzberg forces us to rethink our most basic ideas about drug policy and addiction itself--ideas that have been failing us catastrophically for over a century. David Herzberg is an associate professor of history at the University of Buffalo is also the author of Happy Pills in America from Milltown to Prozac. David is also the co-editor of the journal Social History of Alcohol and Drugs.  Jay Shifman is a vulnerable storyteller, a stigma-destroying speaker, and the founder of Choose Your Struggle podcast. A guy in long-term recovery, Jay is dedicated to ending stigma and promoting fact-based education around Mental Health, Substance Misuse & Recovery, and Drug Use & Policy. You can learn more about Jay at his links here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/public-policy

The contemporary opioid crisis is widely seen as new and unprecedented. Not so. It is merely the latest in a long series of drug crises stretching back over a century. In White Market Drugs: Big Pharma and the Hidden History of Addiction in America (U Chicago Press, 2020), David Herzberg explores these crises and the drugs that fueled them, from Bayer's Heroin to Purdue's OxyContin and all the drugs in between: barbiturate "goof balls," amphetamine "thrill pills," the "love drug" Quaalude, and more. As Herzberg argues, the vast majority of American experiences with drugs and addiction have taken place within what he calls "white markets," where legal drugs called medicines are sold to a largely white clientele. These markets are widely acknowledged but no one has explained how they became so central to the medical system in a nation famous for its "drug wars"--until now. Drawing from federal, state, industry, and medical archives alongside a wealth of published sources, Herzberg re-connects America's divided drug history, telling the whole story for the first time. He reveals that the driving question for policymakers has never been how to prohibit the use of addictive drugs, but how to ensure their availability in medical contexts, where profitability often outweighs public safety. Access to white markets was thus a double-edged sword for socially privileged consumers, even as communities of color faced exclusion and punitive drug prohibition. To counter this no-win setup, Herzberg advocates for a consumer protection approach that robustly regulates all drug markets to minimize risks while maintaining safe, reliable access (and treatment) for people with addiction. Accomplishing this requires rethinking a drug/medicine divide born a century ago that, unlike most policies of that racially segregated era, has somehow survived relatively unscathed into the twenty-first century. By showing how the twenty-first-century opioid crisis is only the most recent in a long history of similar crises of addiction to pharmaceuticals, Herzberg forces us to rethink our most basic ideas about drug policy and addiction itself--ideas that have been failing us catastrophically for over a century. David Herzberg is an associate professor of history at the University of Buffalo is also the author of Happy Pills in America from Milltown to Prozac. David is also the co-editor of the journal Social History of Alcohol and Drugs.  Jay Shifman is a vulnerable storyteller, a stigma-destroying speaker, and the founder of Choose Your Struggle podcast. A guy in long-term recovery, Jay is dedicated to ending stigma and promoting fact-based education around Mental Health, Substance Misuse & Recovery, and Drug Use & Policy. You can learn more about Jay at his links here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

The contemporary opioid crisis is widely seen as new and unprecedented. Not so. It is merely the latest in a long series of drug crises stretching back over a century. In White Market Drugs: Big Pharma and the Hidden History of Addiction in America (U Chicago Press, 2020), David Herzberg explores these crises and the drugs that fueled them, from Bayer's Heroin to Purdue's OxyContin and all the drugs in between: barbiturate "goof balls," amphetamine "thrill pills," the "love drug" Quaalude, and more. As Herzberg argues, the vast majority of American experiences with drugs and addiction have taken place within what he calls "white markets," where legal drugs called medicines are sold to a largely white clientele. These markets are widely acknowledged but no one has explained how they became so central to the medical system in a nation famous for its "drug wars"--until now. Drawing from federal, state, industry, and medical archives alongside a wealth of published sources, Herzberg re-connects America's divided drug history, telling the whole story for the first time. He reveals that the driving question for policymakers has never been how to prohibit the use of addictive drugs, but how to ensure their availability in medical contexts, where profitability often outweighs public safety. Access to white markets was thus a double-edged sword for socially privileged consumers, even as communities of color faced exclusion and punitive drug prohibition. To counter this no-win setup, Herzberg advocates for a consumer protection approach that robustly regulates all drug markets to minimize risks while maintaining safe, reliable access (and treatment) for people with addiction. Accomplishing this requires rethinking a drug/medicine divide born a century ago that, unlike most policies of that racially segregated era, has somehow survived relatively unscathed into the twenty-first century. By showing how the twenty-first-century opioid crisis is only the most recent in a long history of similar crises of addiction to pharmaceuticals, Herzberg forces us to rethink our most basic ideas about drug policy and addiction itself--ideas that have been failing us catastrophically for over a century. David Herzberg is an associate professor of history at the University of Buffalo is also the author of Happy Pills in America from Milltown to Prozac. David is also the co-editor of the journal Social History of Alcohol and Drugs.  Jay Shifman is a vulnerable storyteller, a stigma-destroying speaker, and the founder of Choose Your Struggle podcast. A guy in long-term recovery, Jay is dedicated to ending stigma and promoting fact-based education around Mental Health, Substance Misuse & Recovery, and Drug Use & Policy. You can learn more about Jay at his links here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The contemporary opioid crisis is widely seen as new and unprecedented. Not so. It is merely the latest in a long series of drug crises stretching back over a century. In White Market Drugs: Big Pharma and the Hidden History of Addiction in America (U Chicago Press, 2020), David Herzberg explores these crises and the drugs that fueled them, from Bayer's Heroin to Purdue's OxyContin and all the drugs in between: barbiturate "goof balls," amphetamine "thrill pills," the "love drug" Quaalude, and more. As Herzberg argues, the vast majority of American experiences with drugs and addiction have taken place within what he calls "white markets," where legal drugs called medicines are sold to a largely white clientele. These markets are widely acknowledged but no one has explained how they became so central to the medical system in a nation famous for its "drug wars"--until now. Drawing from federal, state, industry, and medical archives alongside a wealth of published sources, Herzberg re-connects America's divided drug history, telling the whole story for the first time. He reveals that the driving question for policymakers has never been how to prohibit the use of addictive drugs, but how to ensure their availability in medical contexts, where profitability often outweighs public safety. Access to white markets was thus a double-edged sword for socially privileged consumers, even as communities of color faced exclusion and punitive drug prohibition. To counter this no-win setup, Herzberg advocates for a consumer protection approach that robustly regulates all drug markets to minimize risks while maintaining safe, reliable access (and treatment) for people with addiction. Accomplishing this requires rethinking a drug/medicine divide born a century ago that, unlike most policies of that racially segregated era, has somehow survived relatively unscathed into the twenty-first century. By showing how the twenty-first-century opioid crisis is only the most recent in a long history of similar crises of addiction to pharmaceuticals, Herzberg forces us to rethink our most basic ideas about drug policy and addiction itself--ideas that have been failing us catastrophically for over a century. David Herzberg is an associate professor of history at the University of Buffalo is also the author of Happy Pills in America from Milltown to Prozac. David is also the co-editor of the journal Social History of Alcohol and Drugs.  Jay Shifman is a vulnerable storyteller, a stigma-destroying speaker, and the founder of Choose Your Struggle podcast. A guy in long-term recovery, Jay is dedicated to ending stigma and promoting fact-based education around Mental Health, Substance Misuse & Recovery, and Drug Use & Policy. You can learn more about Jay at his links here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/drugs-addiction-and-recovery

The contemporary opioid crisis is widely seen as new and unprecedented. Not so. It is merely the latest in a long series of drug crises stretching back over a century. In White Market Drugs: Big Pharma and the Hidden History of Addiction in America (U Chicago Press, 2020), David Herzberg explores these crises and the drugs that fueled them, from Bayer's Heroin to Purdue's OxyContin and all the drugs in between: barbiturate "goof balls," amphetamine "thrill pills," the "love drug" Quaalude, and more. As Herzberg argues, the vast majority of American experiences with drugs and addiction have taken place within what he calls "white markets," where legal drugs called medicines are sold to a largely white clientele. These markets are widely acknowledged but no one has explained how they became so central to the medical system in a nation famous for its "drug wars"--until now. Drawing from federal, state, industry, and medical archives alongside a wealth of published sources, Herzberg re-connects America's divided drug history, telling the whole story for the first time. He reveals that the driving question for policymakers has never been how to prohibit the use of addictive drugs, but how to ensure their availability in medical contexts, where profitability often outweighs public safety. Access to white markets was thus a double-edged sword for socially privileged consumers, even as communities of color faced exclusion and punitive drug prohibition. To counter this no-win setup, Herzberg advocates for a consumer protection approach that robustly regulates all drug markets to minimize risks while maintaining safe, reliable access (and treatment) for people with addiction. Accomplishing this requires rethinking a drug/medicine divide born a century ago that, unlike most policies of that racially segregated era, has somehow survived relatively unscathed into the twenty-first century. By showing how the twenty-first-century opioid crisis is only the most recent in a long history of similar crises of addiction to pharmaceuticals, Herzberg forces us to rethink our most basic ideas about drug policy and addiction itself--ideas that have been failing us catastrophically for over a century. David Herzberg is an associate professor of history at the University of Buffalo is also the author of Happy Pills in America from Milltown to Prozac. David is also the co-editor of the journal Social History of Alcohol and Drugs.  Jay Shifman is a vulnerable storyteller, a stigma-destroying speaker, and the founder of Choose Your Struggle podcast. A guy in long-term recovery, Jay is dedicated to ending stigma and promoting fact-based education around Mental Health, Substance Misuse & Recovery, and Drug Use & Policy. You can learn more about Jay at his links here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

The contemporary opioid crisis is widely seen as new and unprecedented. Not so. It is merely the latest in a long series of drug crises stretching back over a century. In White Market Drugs: Big Pharma and the Hidden History of Addiction in America (U Chicago Press, 2020), David Herzberg explores these crises and the drugs that fueled them, from Bayer's Heroin to Purdue's OxyContin and all the drugs in between: barbiturate "goof balls," amphetamine "thrill pills," the "love drug" Quaalude, and more. As Herzberg argues, the vast majority of American experiences with drugs and addiction have taken place within what he calls "white markets," where legal drugs called medicines are sold to a largely white clientele. These markets are widely acknowledged but no one has explained how they became so central to the medical system in a nation famous for its "drug wars"--until now. Drawing from federal, state, industry, and medical archives alongside a wealth of published sources, Herzberg re-connects America's divided drug history, telling the whole story for the first time. He reveals that the driving question for policymakers has never been how to prohibit the use of addictive drugs, but how to ensure their availability in medical contexts, where profitability often outweighs public safety. Access to white markets was thus a double-edged sword for socially privileged consumers, even as communities of color faced exclusion and punitive drug prohibition. To counter this no-win setup, Herzberg advocates for a consumer protection approach that robustly regulates all drug markets to minimize risks while maintaining safe, reliable access (and treatment) for people with addiction. Accomplishing this requires rethinking a drug/medicine divide born a century ago that, unlike most policies of that racially segregated era, has somehow survived relatively unscathed into the twenty-first century. By showing how the twenty-first-century opioid crisis is only the most recent in a long history of similar crises of addiction to pharmaceuticals, Herzberg forces us to rethink our most basic ideas about drug policy and addiction itself--ideas that have been failing us catastrophically for over a century. David Herzberg is an associate professor of history at the University of Buffalo is also the author of Happy Pills in America from Milltown to Prozac. David is also the co-editor of the journal Social History of Alcohol and Drugs.  Jay Shifman is a vulnerable storyteller, a stigma-destroying speaker, and the founder of Choose Your Struggle podcast. A guy in long-term recovery, Jay is dedicated to ending stigma and promoting fact-based education around Mental Health, Substance Misuse & Recovery, and Drug Use & Policy. You can learn more about Jay at his links here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The contemporary opioid crisis is widely seen as new and unprecedented. Not so. It is merely the latest in a long series of drug crises stretching back over a century. In White Market Drugs: Big Pharma and the Hidden History of Addiction in America (U Chicago Press, 2020), David Herzberg explores these crises and the drugs that fueled them, from Bayer's Heroin to Purdue's OxyContin and all the drugs in between: barbiturate "goof balls," amphetamine "thrill pills," the "love drug" Quaalude, and more. As Herzberg argues, the vast majority of American experiences with drugs and addiction have taken place within what he calls "white markets," where legal drugs called medicines are sold to a largely white clientele. These markets are widely acknowledged but no one has explained how they became so central to the medical system in a nation famous for its "drug wars"--until now. Drawing from federal, state, industry, and medical archives alongside a wealth of published sources, Herzberg re-connects America's divided drug history, telling the whole story for the first time. He reveals that the driving question for policymakers has never been how to prohibit the use of addictive drugs, but how to ensure their availability in medical contexts, where profitability often outweighs public safety. Access to white markets was thus a double-edged sword for socially privileged consumers, even as communities of color faced exclusion and punitive drug prohibition. To counter this no-win setup, Herzberg advocates for a consumer protection approach that robustly regulates all drug markets to minimize risks while maintaining safe, reliable access (and treatment) for people with addiction. Accomplishing this requires rethinking a drug/medicine divide born a century ago that, unlike most policies of that racially segregated era, has somehow survived relatively unscathed into the twenty-first century. By showing how the twenty-first-century opioid crisis is only the most recent in a long history of similar crises of addiction to pharmaceuticals, Herzberg forces us to rethink our most basic ideas about drug policy and addiction itself--ideas that have been failing us catastrophically for over a century. David Herzberg is an associate professor of history at the University of Buffalo is also the author of Happy Pills in America from Milltown to Prozac. David is also the co-editor of the journal Social History of Alcohol and Drugs.  Jay Shifman is a vulnerable storyteller, a stigma-destroying speaker, and the founder of Choose Your Struggle podcast. A guy in long-term recovery, Jay is dedicated to ending stigma and promoting fact-based education around Mental Health, Substance Misuse & Recovery, and Drug Use & Policy. You can learn more about Jay at his links here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

 In a world, where the midnight train podcast is at the top of the podcast game, one thing has the power to destroy everything they have worked for. This week their world will come crumbling down as everything they've achieved will be tested and possibly destroyed due to the madness that is (dun dun duuuuuuuunnnnn) cursed Movies!!! Tonight on the midnight train we are combining two of our favorite things…. This podcast and lots and lots of beer…YEAH! Oh wait, we do that every week… Oh, that's right, it's this podcast and….moooovies!! But… In true midnight train fashion, we can't just talk about movies…. We're gonna talk about cursed movies!!! That's right we are going to look at movies that for one reason or another have led to tragedy during and after the movies were made! Everything is on the table from health issues like cancer, accidental deaths while filming, people going crazy after filming, and just about everything else you can think of. Should be a fun and creepy ride discussing all these movies with you passengers and, in case you're wondering, yes we're still going to have a movies list at the end.    Ok so let's get into this and see what we have as far as cursed movies!   We're gonna start it with a big one since we just covered the subject matter of the film! The first cursed movie on our list is the exorcist. The filming of THE EXORCIST was done over nine months. The main set, a reproduction of the Georgetown home, was built in a warehouse in New York. During the filming, several curious incidents and accidents took place on the set and plagued those involved with the production. In addition, the budget of the film rose from $5 million to more than twice that amount. Obviously, any film production that lasts for more than a month or so will see its share of accidents and mishaps, but THE EXORCIST seems to have been particularly affected by unforeseeable calamities. Coincidence? Perhaps, but it left the cast and crew rightfully shaken.    The first incident occurred around 2:30 a.m. one Sunday morning when a fire broke out on the set. There was only one security guard at the Ceco 54th Street Studios when the McNeil house set caught fire and burned. The fire was the result of a bad electrical circuit, but it shut down filming for six weeks while the set was reconstructed from scratch. Ironically, as soon as the new set was ready, the sprinkler system broke down, causing an additional two-week delay.    Few of the actors in the film escaped personal troubles during the shoot. Just as Max Von Sydow (who played Father Merrin) touched down in New York to film his first scenes, he received a phone call saying that his brother died unexpectedly in Sweden. Von Sydow himself later became very ill during the filming. Irish actor Jack MacGowran (who played Burke Dennings) died only one week after his character was killed by the demon in the movie. Jason Miller (who played Father Karras) was stunned when his young son, Jordan, was struck down on an empty beach by a motorcyclist who appeared out of nowhere. The boy ALMOST died. THAT'S GOOD NEWS! Ellen Burstyn (who played Chris McNeill) wrenched her back badly during one scene when she was slapped by the possessed girl. The stunt went badly awry and she was laid up in bed for several weeks afterward, causing more delays in the filming. They had a rig attached to her where a guy offscreen would pull a rope that was tied to her to get that “smacked hard as shit and launched across the room” look the director wanted. Apparently, the director didn't like the first take or two and told the guy with the rope to yoke the living piss out of her. He got his shot. She screwed up her back.    In New York, one of the carpenters accidentally cut off his thumb on the set and one of the lighting technicians lost a toe. This was all over the news at the time due to the mixup at the hospital where they put the wrong appendages on the wrong patients. Yep, they switched the toe for the thumb. And if you believed that, well… I'm not sorry even a little bit. Anyway, The exorcist's location trip to Iraq was delayed from the spring, which is relatively cool, to July, the hottest part of the summer, when the temperature rose to 130 degrees and higher. Out of the eighteen-man crew that was sent there, Friedkin lost the services of nine of them, at one time or another, due to dysentery (which is super shitty) or sunstroke. To make matters worse, the bronze statue of the neo-Assyrian winged demon Pazazu, which was packed in a ten-foot crate, got lost in an air shipment from Los Angeles and ended up in Hong Kong, which caused another two-week delay.    "I don't know if it was a jinx, really," actress Ellen Burstyn later said. "But there were some really strange goings-on during the making of the film. We were dealing with some really heavy material and you don't fool around with that kind of material without it manifesting in some way. There were many deaths in the film. Linda's grandfather died, the assistant cameraman's wife had a baby that died, the man who refrigerated the set died, the janitor who took care of the building was shot and killed … I think overall there were nine deaths during the course of the film, which is an incredible amount… it was scary." Unholy shit, batman!   Things got so bad that William Friedkin took some drastic measures. Father Thomas Bermingham, S.J., from the Jesuit community at Fordham University, had been hired as a technical advisor for the film, along with Father John Nicola, who, while not a Jesuit, had been taught by Jesuit theologians at St. Mary of the Lake Seminary in Mundelein, Illinois. Friedkin came to Bermingham and asked him to exorcise the set. The priest was unable to perform an actual exorcism, but he did give a solemn blessing in a ceremony that was attended by everyone then on the set, from Max Von Sydow to the technicians and grips. "Nothing else happened on the set after the blessing,” Bermingham stated, "but around that time, there was a fire in the Jesuit residence set in Georgetown." And while nothing else tragic occurred on the set, strange events and odd coincidences were reported during the post-production work on the film. "There were strange images and visions that showed up on film that were never planned," Friedkin later claimed. "There are double exposures in the little girl's face at the end of one reel that are unbelievable."   As we talked about in previous episodes, The film opened on December 26, 1973, to massive crowds. Within weeks of the first public screenings of the film, stories started to make the rounds that audience members were fainting and vomiting in the theaters. There were also reports of disturbing nightmares and reportedly, several theater ushers had to be placed under a doctor's care, or quit their jobs, after experiencing successive showings of the movie. In numerous cities that were checked after THE EXORCIST had run for several weeks, reporters found that every major hospital had been forced to deal with patients who reported, after seeing the film, severe cases of vomiting and hallucinations. There were also reports of people being carried out of theaters in stretchers. What do you think, passengers? Mere publicity stunts, or was this the real thing?    The info for this cursed movie came from a great article on americanhauntingsink.com check them out!   Next up we're gonna dive into a sweet little movie about a tree, a child's toy, and REAL SKELETONS IN THE SWIMMING POOL! Yep, you guessed it, poltergeist! The curse of Poltergeist spawned many theories about why the movie and its sequels were cursed with so much tragedy, with one suggesting the use of real-life human bones in the original film caused the hauntings.   Actress JoBeth Williams - who played the mother, Diane Freeling - is seen dropping into a pool of skeletons in one spooky scene and she later reveals the bones were real. She told TVLand: "In my innocence and naiveté, I assumed that these were not real skeletons.   "I assumed that they were prop skeletons made out of plastic or rubber . . . I found out, as did the crew, that they were using real skeletons, because it's far too expensive to make fake skeletons out of rubber."   Just four months after the film's release, tragedy struck with actress Dominique Dunne, who played the family's eldest daughter Dana, who became the victim of a grisly murder. On the day before Halloween in 1982, the actress, 22, was strangled by her ex-boyfriend John Thomas Sweeney outside their home in West Hollywood. She survived the attack but was left in a coma. She never regained consciousness and died five days later. Sweeney was later convicted of voluntary manslaughter and spent three and half years of a six-year sentence behind bars for the killing. He changed his name to John Maura so if you want to let him know what a twat he is, I mean… we can't stop you.   In the years after the film's release movie bosses plowed ahead with plans for a sequel and Poltergeist II: The Other Side hit cinemas in 1986. Among the cast was Will Sampson, best known for playing Chief Bromden in One Flew Over the Cuckoo's Nest opposite Jack Nicholson. The actor - cast as shaman Taylor in the movie - was concerned about the use of real skeletons in the first film and offered to perform a real-life exorcism. He's believed to have conducted the ceremony alone and in the middle of the night, but the cast reportedly felt relieved afterward. However, less than a year after the film's release - the curse had claimed another victim. Sampson had long-term health problems as he suffered from a degenerative condition called scleroderma, which affected his heart and lungs. He underwent a heart and lung transplant in the summer of 1987 but died of post-operative kidney failure on June 3.    Ok, this one is sad and you've probably heard of it. The most famous victim of the Poltergeist curse was Heather O'Rourke. She appeared as Carol Anne in the first two films as well as the third installment, Poltergeist III, which hit cinemas in 1988. She died just four months before the movie's release at only 12 years of age. In January 1988, Heather fell ill with what appeared to be flu-like symptoms. She collapsed at home the following day and was rushed to the hospital. She suffered a cardiac arrest but doctors were able to revive her and they diagnosed her with intestinal stenosis - a partial obstruction of the intestine. She underwent surgery, but went into cardiac arrest again in recovery and doctors were unable to save her. She passed away in February 1988, just weeks after her 12th birthday, and it was later reported she died from congenital stenosis and septic shock. Absolutely heartbreaking.   Character actor Lou Perryman became the second cast member to fall victim to murder. He played Pugsley in the original movie and suffered a brutal end in 1992 when he was hacked to death with an ax aged 67. A convict recently released from prison, Seth Christopher Tatum, confessed he had killed Perryman at his home after coming off his medication and going on a drinking binge. Tatum pleaded guilty to his murder in 2011 and was sentenced to life in prison.   Actor Richard Lawson played one of the parapsychologists, Ryan, in the original film (not the guy who ate the chicken with the maggots… you're welcome) and he came close to becoming another victim of the curse in 1992. He was involved in a terrifying plane crash in 1992 when the USAir Flight 405 crashed into New York City's Flushing Bay on route to guess where? Cleveland friggin Ohio. The crash claimed the lives of 27 of the 51 passengers, but Lawson was among the survivors. He put his lucky escape down to a last-minute seat change that saved his life. Lawson went on to be part of showbiz royalty when he married Beyonce's mother, Tina Knowles in 2015.   Info for this movie was taken from mirror.co.uk.    Next up how about… Hmm…. Oh, I know… The omen! The 2976 version of course. Obviously, Moody is a time traveler and saw the upcoming remake, 955 friggin years in the future! No! It was 1976! Of all the world's cursed film productions, The Omen is considered to have one of the worst movie curses of all time. The 1976 film tells the story of a man who accidentally adopts Damien the Antichrist as his son and the movie remains one of horror's most successful franchises. But what was so odious about the set that led producers to believe the devil was punishing them for making the movie? Is The Omen really cursed? The Omen film set haunting includes death, injury, and lots of lightning bolts: after all, the creator himself warned the cast and crew that Satan wasn't going to like what they were doing. Here's what happened behind the scenes of The Omen movie and why, despite its several sequels and a 2006 remake, it remains one of history's movies that indeed may have angered Satan himself!   In June 1975, Gregory Peck's son, Jonathan Peck, killed himself with a bullet to the head, two months before filming was to start. Several strange events then surrounded the production.   For protection on the set of "The Omen," Bernhard wore a Coptic cross. In an interview, Bernhard spoke about the production's eerie events, which included the death of an animal trainer.   Precisely one day after they shot the sequence involving the baboons at the animal center, Bernhard said that a tiger seized the animal trainer by the head, causing his death immediately. Whhhaat the fuuuuuck?   One of the most haunting stories surrounding The Omen didn't happen during the shoot, but during the production of the World War II epic A Bridge Too Far. John Richardson, who did special effects on The Omen, was involved in a head-on collision that beheaded his girlfriend, eerily mirroring the decapitation scene with David Warner. Supposedly, after the crash, Richardson saw a street sign that said, "Ommen, 66.6 km." This accident occurred after The Omen had wrapped production, but many of course linked it to the evil aura of the film.   Several planes were also set ablaze, including the plane carrying Peck and screenwriter David Seltzer. Meanwhile, Bernhard said they had to land in Nova Scotia after flying back from England. He added:   "We had the film on board... Dick [Donner] and I were very, very nervous." IRA bombs ripped through a hotel, in which executive producer Mace Neufeld and his wife stayed, and another in which prominent executives and stars, including Peck, were to have dinner.   Once word got back to Fox about all the terrible incidents that plagued production, the studio saw it as a great way to drum up a ton of publicity and add to the film's ominous aura. They also put a great tagline into the film's ad campaign:                        You have been warned. If something frightening happens to you today, think about it. It may be The Omen.   As Donner recalled in The Omen: Curse or Coincidence, "If we had been making a comedy, you would have recalled all the funny, great, ridiculous, silly moments that happened in that film. if you were doing a love story, you'd remember all the times somebody left their wife, fell in love... You're doing The Omen, anything that happens on that film, you don't tell about the jokes, you don't talk about the love stories, you don't even think about them. You think about things that coincidentally could have been something to do with The Omen. We had lots of them."   Creepy stuff right there my friends.   Next up we have one of my personal all-time favorites, the crow! The Crow began filming in Wilmington, North Carolina, in 1993. Cursed Films revealed that before production got underway, a mysterious caller left a voicemail message warning the crew not to shoot the movie because bad things would happen. Eerily, two on-set electricians were involved in an accident in which their truck hit a live wire. One of the men experienced second and third-degree burns and lost both ears.   Disaster also struck the entire production when a hurricane destroyed the movie set. That is when the “curse of The Crow” rumors began circulating in Hollywood. The star of The Crow, Brandon Lee, was the son of martial arts legend, Bruce Lee. The elder Lee died during the production of his final film. Some fans speculated that the Chinese mafia had placed a hit on the actor for betraying martial arts secrets. Others suspected that he had been struck by an insidious death blow at an earlier time.   The most popular theory about The Dragon's death is that he was a victim of the Lee Family Curse. His older brother had died, and Lee's parents believed there was a demon targeting the males in the Lee family.   Like his father, Brandon Lee died before he finished filming The Crow. In a fluke accident, the performer was shot while completing an action sequence, as described in Cursed Films. The crew used what are called ‘dummy rounds,' for the scene, but there was something in the barrel of the gun that acted as a lethal projectile, killing Lee.    To complete the final photography for The Crow, the man who had been working as Lee's stunt double wore a mask in his image.   Crazy stuff!   How about some of our patented quick hitters!    The Conqueror" is a whitewashed 1956 film with John Wayne as Genghis Khan. The film was shot at a location downwind from a nuclear testing site, causing dozens of crew members to eventually die of cancer. so maybe not so much a curse as a poor choice of locations.   Apocalypse Now"   The horror! Francis Ford Coppola was tempting fate when he decided to film "Apocalypse Now" during monsoon season. Big mistake. The monsoon destroyed multiple sets, Martin Sheen suffered a heart attack during filming, and Coppola was so stressed that he suffered a seizure, according to The Independent. "Apocalypse Now" (1979) turned out to be a masterpiece anyway, but the documentary "Hearts of Darkness: A Filmmaker's Apocalypse" about its making is just as engrossing.    "Fitzcarraldo"    Dysentery. Injuries. Fights among the crew. Nothing seemed to go right during the filming of 1982's "Fitzcarraldo." The story concerns hauling a boat over a hill, which the crew literally accomplished, but not without the same nightmarish difficulty as is depicted in the film. And in the end, director Werner Herzog looked as mad and overly driven as its hero. Check out the documentary "Burden of Dreams" for more.   The Superman Curse    Comic book movie fans may know about the "Superman Curse," which is said to afflict multiple actors involved in Superman films. Christopher Reeve was paralyzed following a horse accident. And Margot Kidder, who played Lois opposite Reeve, suffered from bipolar disorder, according to TCM. Also, the original Superman, George Reeves, supposedly committed suicide. His death at age 45 from a gunshot remains a controversial subject; the official finding was suicide, but some believe that he was murdered or the victim of an accidental shooting.   "The Lord of the Rings: The Two Towers"    Bad luck ran amok in Middle Earth during the filming of 2002's "The Lord of the Rings: The Two Towers." DVD interviews revealed that multiple actors and stuntmen suffered injuries while shooting the film's elaborate fight sequences. The worst was Viggo Mortensen, who broke his toe and chipped his tooth while filming.   The Exorcism of Emily rose   Dexter star Jennifer Carpenter reported that during the making of The Exorcism of Emily Rose — in which she played a big-screen version of German woman Anneliese Michel, whose poor health and subsequent death was blamed on a failed exorcism — her radio would mysteriously turn on and off. From an interview with Dread Central:   Q: A common question when making a film like this; did anything weird happen during filming?   JC: I thought about that when it happened, and two or three times when I was going to sleep my radio came on by itself. The only time it scared me was once because it was really loud and it was Pearl Jam's “Alive” (laughs). Laura's TV came on a couple of times.   Q: At 3:00 a.m.?   JC: Mine wasn't 3:00 a.m. I was born at 3:00 a.m. but it hasn't happened to me. I did check.   We'll totally do an episode on Analiese one of these days   Psycho Myra Jones (aka Myra Davis) was the uncredited body double/stand-in for Psycho star Janet Leigh during the making of Hitchcock's 1960 film. A handyman named Kenneth Dean Hunt, who was supposedly a Hitchcock “obsessive,” murdered her.   The Conjuring   Real-life ghost hunters Ed and Lorraine Warren, who aided the real-life Amityville Horror case, investigated the haunting of the Perron family home — a farmhouse plagued by generations of death, disaster, and a possessed doll. The case inspired James Wan's supernatural film, which left some audiences in the Philippines with such a fright there were priests available at screenings to bless viewers and provide counseling. On and off-set paranormal incidents — including strange claw marks on star Vera Farmiga's computer, Wan's tormented dog growling at invisible intruders, a strange wind (that apparently put Carolyn Perron in the hospital), and fire — were reported.   The Innkeepers   Filmed at the reportedly haunted hotel the Yankee Pedlar Inn in Torrington, Connecticut, The Innkeepers director Ti West was skeptical about the strange occurrences during the making of his movie. Still, creepy stories from the set became the focus in the press. From an interview with West:   I'm a skeptic so I don't really buy it. But I've definitely seen doors close by themselves; I've seen a TV turn off and on by itself; lights would always burn out in my room. Everyone on the crew has very vivid dreams every night, which is really strange.   The one story that is the most intriguing to me — In the film, the most haunted room is the Honeymoon Suite. That's where the ghost stuff started in the hotel. The only reason I picked the room that I picked to shoot in, was because it was big enough to do a dolly shot. No more thought went into it other than pure technical reasons. So when we're finishing the movie, I find out that the most haunted room in real life is the room I picked to be the haunted room in the movie. It could be a coincidence. It's weird that it happened that way. . . . [Star] Sara Paxton would wake up in the middle of the night thinking someone was in the room with her. Everyone has stories, but I was too busy saying, “Let's shoot this! We have 17 days!   Atuk"    "Atuk" is a movie so cursed that it never got made. The project, based on a 1963 Mordecai Richler novel about an Eskimo in New York, had four different men attached to play the lead while in development hell through the 1970s and '80s: John Belushi, Sam Kinison, John Candy, and Chris Farley. All four died shortly after entering negotiations to be in the film. Holy shit!    Ok how about twilight zone the movie. The 1983 film 'Twilight Zone: The Movie' directed by John Landis and Steven Spielberg gained publicity pre-release because of the deaths of lead actor Vic Morrow and two child extras during the filming of the helicopter crash scene. The children were illegally hired to play the role in this scene, as Landis would go on to reveal in the subsequent trial. It was also prohibited to make children work after a certain hour in the evening. However, Landis insisted that the scene would have to entail a late-night setting to seem more authentic. This was the last scene in the film. It also included explosions as a helicopter flew over the village while Morrow would run across the street to save the Vietnamese children from the explosion. Testing for the scene sparked concerns when the helicopter seemed to vigorously rock at the explosion but despite this, Landis' need to capture the explosion took priority. He reportedly said, "You think that was big? You ain't seen nothing yet." At the controls of this helicopter was a Vietnam War veteran named Dorcey Wingo, who had just joined the movie business. When the cameras began filming, the pyrotechnic fireball that had been fired as part of the explosion hit the helicopter, engulfing it in flames. The helicopter then crashed into the river where the actors were standing — Morrow, 6-year-old Renee Chen, and 7-year-old Myca Dinh Le. Almost a hundred people were present when the tragedy occurred. The helicopter skidded right onto Renee, crushing her to death and when it toppled over, the main blade sliced through Morrow and Myca.   Rosemary's baby is next up on the list. Over the years, the myth surrounding Roman Polanski's 1968 film Rosemary's Baby has only grown in stature. The film is based on the 1967 novel of the same name by American novelist Ira Levin. He came up with the idea for the book in 1965, drawing inspiration from his wife who was pregnant at the time, his New York apartment, and the anxiety of being a parent.   The struggling writer imagined a world where there was no God and the devil was allowed to reign freely. This is evident in the iconic ending where Rosemary finds out that her husband sold her womb to Satan and that her child is the Antichrist. Levin was catapulted into the highest echelons of the literary world due to the success of his novel and a year later, a European auteur who was looking for his own Hollywood break decided to direct the film adaptation of his novel.   However, not everyone was pleased with Levin's attacks on religion. He faced severe backlash from the Catholic Church for his “blasphemy” and his wife left him the year the film was released. He was never the same man again, growing increasingly paranoid over the years. Levin repeatedly had to make public statements denouncing Satanism and told Dick Cavett that he had become “terrified” as he grew older. 30 years after the release of the film, Levin came up with a sequel titled Son of Rosemary but it tanked.   William Castle was the man who first recognized the potential of Levin's work and secured the rights to make a film adaptation. Best known for his work on B-grade horror films, Castle wanted to direct it initially but Paramount Pictures executive Robert Evans agreed to go ahead with the project only if Castle worked as a producer. In April of 1969, Castle was hospitalized because of severe kidney stones. He was already under a lot of stress due to the sheer volume of hate mail he received, a terrible consequence of being attached to Rosemary's Baby. In his autobiography, he claimed that he began to hallucinate scenes from the film during his surgery and even shouted, “Rosemary, for God's sake drop that knife!” Although Castle recovered, he never reached that level of success again.   Producer Robert Evans was not exempt from this alleged curse either. He had risen to the top with major hits like Rosemary's Baby and The Godfather. However, he was convicted of cocaine trafficking in 1980 and got a suspended prison sentence. As a part of his plea bargain, Evans had to make an anti-drug commercial. Three years later, the producer would get caught up in the high-profile murder of Roy Radin which has come to be known as the “Cotton Club murder”. Despite two witnesses testifying that Evans was involved in the case, he was later cleared of the charges. In 1993, he told The New York Times, “I had 10 years of a horrific life, Kafkaesque. There were nights I cried myself to sleep.”   This is arguably the most renowned story that is related to Rosemary's Baby. In autumn of 1968, composer Krzysztof Komeda, who worked on the film, fell off a rocky escarpment while partying and went into a four-month coma. Coincidentally, this affliction is exactly what the witches in Levin's book subject Rosemary's suspicious friend to. Komeda never came out of the coma and died in Poland the following year.   John Lennon was assassinated outside The Dakota in 1980, the famous building where they filmed Rosemary's Baby. Producer Robert Evans claimed that the whole time he was on set at the apartment building he felt a “distinctly eerie feeling”. Lennon was gunned down by alleged “fan” Mark David Chapman who was influenced by Salinger's novel The Catcher in the Rye and the loneliness of protagonist Holden Caulfield. However, the fleeting association with the film has led fans of the film to link Lennon's assassination with the “curse” of the film. It can be said that the primary reason why the myth of the curse came about was the brutal murder of Polanski's wife, actress Sharon Tate. Polanski even wanted to cast Tate as Rosemary but Evans was adamant about Mia Farrow's involvement. A year after the film's release, Tate and her friends were stabbed to death by followers of cult leader Charles Manson. Tate was eight-and-a-half months pregnant at the time of her demise. The members of the Manson Family delivered around 100 stab wounds to the four victims and wrote “Helter Skelter” on the wall in blood.   After his wife and unborn son were killed, Polanski indulged in substance abuse to cope with things but he ended up exemplifying human depravity. While guest editing the French edition of Vogue in 1977, the director preyed upon a 13-year old girl and persuaded her to participate in multiple photoshoots. During the second shoot at Jack Nicholson's house, he incapacitated the minor with champagne and half a Quaalude before sexually violating her multiple times.   Although he was arrested for the felony and spent 42 days in jail, Polanski became a fugitive and fled to France to avoid facing charges. Since then, he has lived the life of a criminal and has avoided traveling to countries where he can be extradited back to the US.   Ok, let's round things out with the wizard of oz. Despite its commercial success, The Wizard of Oz is seen by some as cursed. There were so many serious accidents onset that those Oscar-nominated special effects almost cost cast members their lives, from the two actors playing winged monkeys crashing to the ground when the wires that hoisted them up in the air broke, to the Wicked Witch of the West's stunt double Betty Danko injuring her left leg when the broomstick exploded.   Buddy Ebsen was originally cast in the role of the Tin Woodman, a.k.a. the Tin Man, but he was essentially poisoned by the makeup, which was made of pure aluminum dust. Nine days after filming started he was hospitalized, sitting under an oxygen tent. When he was not getting better fast enough, the filmmakers hired Jack Haley to be the Tin Man instead. This time, instead of applying the aluminum powder, the makeup artists mixed it into a paste and painted it on him. He did develop an infection in his right eye that needed medical attention, but it ended up being treatable.   Margaret Hamilton — who played the Wicked Witch of the West and was the one tipped who Harmetz off to the turmoil on set more than three decades later for her 1977 book — got burns, and the makeup artists had to rush to remove her copper makeup so that it wouldn't seep through her wounds and become toxic. Unlike Ebsen, she didn't get fired because they could live without her on the set for several more weeks.   An actor playing one of the Wicked Witch of the West's soldiers accidentally jumped on top of Dorothy's Toto, Carl Spitz, the dog trainer on set, told Harmetz. The dog (a female Cairn terrier named Terry) sprained its foot, and Spitz had to get a canine double. Terry did recover and returned to the set a few weeks later.   In a memoir by Judy Garland's third husband, Sid Luft, published posthumously in 2017, he writes that, after bar-hopping in Culver City, the actors who played the munchkins “would make Judy's life miserable by putting their hands under her dress.” Harmetz says it's true that the actors would go drinking near the Culver City hotel where they stayed, but she says their interactions with Garland did not rise to the level of what Luft described. “Nobody on the movie ever saw her or heard of a munchkin assaulting her,” said one worker on the film. Garland did say the drinking was annoying in an interview with talk-show host Jack Paar, but experts on Garland's life say that her rant about being scarred by the rowdy behavior on set may have been a deflection from the real damage she suffered during that time, at the hands of the studio. Garland was only 16 when she made The Wizard of Oz, and her struggles with depression and disordered eating started at an early age and continued for the rest of her life. She claimed that the studio executives gave her uppers and sleeping pills so she could keep up with the demanding pace of show business. She struggled with drug addiction and attempted suicide several times before she died of an accidental overdose on June 22, 1969, at just 47 years old.   The film went through four different producers by the time it was through.   Richard Thorpe, the first director, insisted that Judy Garland wear a blonde wig and thick makeup to depict Dorothy. When Buddy Epsen got sick from his Tin Man makeup and filming shut down for two weeks, the studio fired Thorpe and replaced him with George Cukor of My Fair Lady fame. Cukor encouraged Garland to wear natural makeup and play Dorothy less cartoonish and more natural. Cukor later left the film to work on Gone with the Wind instead and Viktor Fleming took his place. However, Cukor came back a few weeks later after getting fired from Gone With the Wind by Clark Gable (supposedly he was fired when Gable found out he was homosexual).   Director King Vidor was responsible for most of the sepia sequences and also helped Mervyn LeRoy with editing in post-production.   Not only did the public think former kindergarten teacher Margaret Hamilton was really evil following the first airing of The Wizard of Oz — she also suffered physically for the role. Hamilton received second and third-degree burns all over her body when the green copper makeup she was wearing got too hot during the fire scene. Her stunt double spent months in the hospital after a prop broom exploded — they were using a double because Hamilton got injured on an earlier take.   Stage makeup and prosthetics in 1939 were nowhere near what they are today. Ray Bolger's Scarecrow makeup left deeply embedded marks in his skin that didn't disappear for more than a year after the movie wrapped up filming. Luckily, this would never happen today.   How bout that hanging munchkin… Well, sorry folks. That seems to be fake. In a scene where Dorothy, the Scarecrow (Ray Bolger), and the Tin Man (Jack Haley) are skipping down the Yellow Brick Road, singing “we're off to see the wizard, the wonderful Wizard of Oz,” some think the dark, moving figure hanging from a tree in the background is an actor who hanged himself on set. More likely, it's one of the exotic birds that the filmmakers borrowed from the Los Angeles Zoo to create a wilderness setting. The rumor has been circulating since around 1989, the time of the 50th anniversary of the film's release. Alright, there you have it… Cursed movies!!!  Obscure 90s horror movies you need to see   https://www.ranker.com/list/obscure-1990s-horror-movies/christopher-myers

From dodgy lyrics, to 1960 festivals, to punk bands with sandwiches made by mum. Not to mention a disclaimer by Peter that drugs will be mentioned in this episode. We seem to cover it all in this chat but will the infamous Mothers Club finally be discussed? Grab your pint and delve into another chat with Peter! Join in with the chat by sending us an email on apintwithpeter@gmail.com or if your on tweet use @apintwithpeter. You can now support the podcast even more by buying us a pint on https://www.buymeacoffee.com/pintwithpeter. --- Send in a voice message: https://podcasters.spotify.com/pod/show/a-pint-with-peter/message

It's time for a brand new season here at Cinema Recall and one that I hope will stick around for a long long time. On each episode I, The Vern will bring on a guest to talk about a movie and a moment from that feature that really stands out or is just something they really love. After the break, we will perform a scene from that film complete with sound effects and possible music. On our 1st episode, Josh G from Your Next Favorite Movie Pod joins to talk about The Wolf of Wall Street starring Leo DiCaprio, Margot Robbie, Jonah Hill and more. Directed by Marty Scorsese. Afterwards we perform the infamous Quaalude scene for you amusement Ads by Time to Rewind 1st Time Watchers Join The Let's Chat Club End Song Loosing it by Scale of None (with Vern on Ze Drums) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/cinemarecall/support

Sha'Carri Richardson - Let her run! Support the show (https://www.patreon.com/headabovehypocrisy)

Song: Dre Stackz - I Am (Feat DKDOUBLEDEEEZ)

Bill Cosby, Olympics shenanigans, Cincinnati Bengals, NBA finals, and more! All da way Dave as guest!

Holy crap, is quaalude-slinging former jailbird Bill Cosby planning a comedy tour? The HuffPo shared a cheery piece on what happens to someone dying of heat stroke. The alcohol content in beer is higher in the UK, so no surprise a majority polled there believe a space alien invasion is inevitable. The Catholic Church sends its congrats to the Boy Scouts who now have the record for the highest sexual abuse settlement. Yet another mass grave was found at the site of another Canadian "residential school." Famous gun waver and Missouri GOP senate candidate Mark McCloskey held a sparsely-attended "Pink Shirt Guy Barbeque and RINO Roast" to celebrate the anniversary of him and his wife brandishing their boomsticks at BLM protestors. Fukushima is being ravaged by radioactive hybrid pig/boars. A cuddly pet spitting cobra escaped from a reptile enthusiast in North Carolina, terrorizing a neighborhood for three days. In the Red Sea, a shark jumped out of the water to snack on the foot of a dangling parasailer. It appears Richard Branson will win the space-age billionaire wiener measuring contest of who will be first in space. An Illinois church youth camp may have spread a lot more COVID-19 than Jesus to the teens there. A Texas appeals court ruled a student can sue the horrible teachers that bullied and harassed her for refusing to stand and recite that creepy Pledge of Allegiance.

Bill Cosby getting out...here's my thoughts

Business side: Pipeline hack and gas prices/ BLM protest in North Texas/ Gun laws in Texas/ Party side: Bengal Tiger on the loose in Houston/ Rick's Quaalude opportunity that fortunately never was 

The dreaded Dinosaur Legion stomps ever forward conquering all in its path. Now, King K. Casserole has tasked five noble adventurers with a Hail Mary of quest. Journey to Mt. Gloom, find the legendary weapon rumored to be there, and help stop these scaled scalawags.Dr. Pilchas and Herzl Quarterling return and are joined by a Salamander, a bard, and a ranger. Find out what happens!This episode includesMatthew as Herzl Quarterling the thiefJacob as Pilchas Goldstein the fighter and gastroenterologistJess as Brandon the Ranger and Federico the OwlJoey as Slim the Salamander ImmolatorVinnie as Bard Bard the Bardand Austin as the Dungeon MasterDungeon World is a game byAdam Koebel and Sage LaTorraMusic for this episode includesLand of a Folk Divided by Mid-Air-MachineMedieval Abstraction by Lucas Perny and Miloslav Kollarand H. Werewolf and Quaalude by Kaupe - https://www.facebook.com/KaupeBand/

Dieter and Jake turn in their best episode yet. They marginally preview the Cowboys game.

The Grammy-winning author and filmmaker’s landmark book, “It Came from Memphis,” has just been reissued in a 25th anniversary revised edition. The cultural collisions between bluesman Furry Lewis, producer Jim Dickinson, Alex Chilton, pro wrestling, photographer Bill Eggleston, fife & drum bands, the Panther Burns, integration, and other disparate elements form a compelling narrative of outsiders, misfits, and rock ’n’ roll in this classic chronicle of the subterranean Memphis music scene. Robert believes that if you’re not on the edge, you’re taking up too much space. He should feel right at home with the Troubled Men. Topics include a virtual gala, a swingers convention recap, a new campaign platform, the Hard Rock demo, the Ring Room reopening, a new monolith, the flaw in the grain, a teenage quest, Mudboy and the Neutrons, Randall Lyons, a childhood memory, the N.O.-Memphis-Baltimore axis, Barbarian Records, a rule of thumb, Jack White’s Third Man Books, a letter of complaint, the ladies, sage advice, a film career, “The Best of Enemies,” the end of civility, an alternative strategy, “Stranded in Canton,” the Quaalude ‘70s, TeleVista, Pat Rainer, Tav Falco, Lee Baker, ghosts, lessons to learn, and much more. Subscribe, review, and rate (5 stars) on Apple Podcasts, Spotify, or almost any podcast aggregator. Follow on social media, share with friends, and spread the Troubled Word. Intro music: Styler/Coman Break music: “Frank, This Is It” by Cliff Jackson and Jillian Delk with the Naturals; Outro music: “Memphis Tennessee” by Jerry Lawler; both from the companion compilation to “It Came from Memphis,” produced by Robert Gordon

The Grammy-winning author and filmmaker's landmark book, “It Came from Memphis,” has just been reissued in a 25th anniversary revised edition. The cultural collisions between bluesman Furry Lewis, producer Jim Dickinson, Alex Chilton, pro wrestling, photographer Bill Eggleston, fife & drum bands, the Panther Burns, integration, and other disparate elements form a compelling narrative of outsiders, misfits, and rock 'n' roll in this classic chronicle of the subterranean Memphis music scene. Robert believes that if you're not on the edge, you're taking up too much space. He should feel right at home with the Troubled Men. Topics include a virtual gala, a swingers convention recap, a new campaign platform, the Hard Rock demo, the Ring Room reopening, a new monolith, the flaw in the grain, a teenage quest, Mudboy and the Neutrons, Randall Lyons, a childhood memory, the N.O.-Memphis-Baltimore axis, Barbarian Records, a rule of thumb, Jack White's Third Man Books, a letter of complaint, the ladies, sage advice, a film career, “The Best of Enemies,” the end of civility, an alternative strategy, “Stranded in Canton,” the Quaalude ‘70s, TeleVista, Pat Rainer, Tav Falco, Lee Baker, ghosts, lessons to learn, and much more. Subscribe, review, and rate (5 stars) on Apple Podcasts, Spotify, or almost any podcast aggregator. Follow on social media, share with friends, and spread the Troubled Word. Intro music: Styler/Coman Break music: “Frank, This Is It” by Cliff Jackson and Jillian Delk with the Naturals; Outro music: “Memphis Tennessee” by Jerry Lawler; both from the companion compilation to “It Came from Memphis,” produced by Robert Gordon Audio Triage: Casey McAllister

Down deep in the catacombs of a long forgotten city, our adventurers find magical portals, ancient tomes, and undead minions. Can they stop the evil ritual that may well be happening in the depths of these caverns?Plus a weird political turn that you wouldn’t expect necessarily. Find out!Dungeon World: Hunt for the Black Stallions is:David as Corvid the CleaverAlex as David John Elijah MichaelCarl as Dormin the FreeAustin as Leonard the Learnedand Leigh as your Dungeon MasterDungeon World is a game by Adam Koebel and Sage LatorraMusic for this episode includes:Quaalude by Kaupe

Today we begin with some movie discussion, just for a change. Individual scenes this time, ones that really exemplify the craft; jazz showdowns, the cooking of soup, swashbuckling adventures, Quaalude benders; it’s all there. Then Jeremy geeks out on Dark for a bit. After some halftime hair talk, the episode rapidly shifts into a completely different area. Surprised? We’re talking expertise, and which areas each of the Talkie Boiyz might like to excel in, given the choice. Josh wants to help with your electrical disconnections, Jeremy and Huw get into an argument about orchestral seating arrangements, and then Huw introduces a very confusing scheme concerning a friend of his who has been (rightfully?) imprisoned in a foreign country. These Talkie Boiyz are searching the void for acknowledgement so if you would like to help these sad, sad boys out, you can find them here: Facebook: @deapodcast https://www.facebook.com/deapodcast/ Instagram: @deapodcast https://www.instagram.com/deapodcast/ Jeremy: @slippin_on_peels Josh: @j__sh._ Huw: @huwperfluous Liv: @livlikesmovies Soundcloud: https://soundcloud.com/dont-expect-anything

Two deaths, a trove of secrets uncovered, and an attempt to atone for something sacrilegious. But for whom will death stop?In the second largest city in the Emerald Empire, there are four new Emerald Magistrates appointed to enforce the Emperor’s laws. On the top of their list of priorities is find out who killed their predecessor. But can they accomplish their goals without being corrupted by a city that is known as the biggest den of sin in Rokugan?Can they find the truth in the City of Lies?Ryoko Owari: City of Lies is:Toan as Kakita AjiBranden as Hida IshiDavid as Bayushi TaiyoAndrew as Agasha YugareAustin as the Game MasterSetting and Npcs based on the City of Lies box set by Greg StolzSystem by Brannen Taylor of Galileo GamesTheme music is Mission of Danger by Lobo LocoAdditional music includes Quaalude by KaupeIntro read by Scott

Seriously our FDOW is getting crazy! I mean its all in the name really and we talk about alot more than just obscure shots we promise.  

The Emerald Magistrates meet with someone who could blow the lid off some of the conspiracies that have been tearing the city apart. However, they’ll need to keep her safe from the forces hunting her.In the second largest city in the Emerald Empire, there are four new Emerald Magistrates appointed to enforce the Emperor’s laws. On the top of their list of priorities is find out who killed their predecessor. But can they accomplish their goals without being corrupted by a city that is known as the biggest den of sin in Rokugan?Can they find the truth in the City of Lies?Ryoko Owari: City of Lies is:Toan as Kakita AjiBranden as Hida IshiDavid as Bayushi TaiyoAndrew as Agasha YugareAustin as the Game MasterSetting and Npcs based on the City of Lies box set by Greg StolzSystem by Brannen Taylor of Galileo GamesTheme music is Mission of Danger by Lobo LocoAdditional music includes Quaalude by Kaupe

As a dark sorcerer approaches Ghree’s child, Ghree and Viscous rush to stop it. But will they be too late? Meanwhile, Tain’s brought an unwelcome visitor to Viscous’s lab….what are his intentions? All this, while Sirquiz’s human friend lies lies dying on the forest floor…slain by Sirquiz’s husband. The eighth episode of This American Dice playtesting a version of the upcoming RPG: Demihumans. Join an Elvin Sparksinger, a Gnomish Inventor, a Troll Greenward, and a Dwarven Lawbinder, as they make a life for themselves in an enclave beset by the human Imperium. Designed by Robert Bohl and a production of Evil Hat Games, Demihumans explores a Tolkien-esque fantasy world while engaging issues of colonialism, racism, and environmental degradation. If you want more info on our character and world creation, check out episode 0 (which is already in our feed). If you’re as excited about this game as we are, keep up to date on Demihumans news and find out when it will hit the shelves at Evil Hat’s website. To delve deeper into Demihumans and to read the thoughts and insights of one of the best RPG designers out there, you might also want to check out Robert Bohl’s blog. Also follow Robert Bohl’s Twitter here. Our cast is: Marisa as Celestia Sirquiz the Elven Sparksinger Eduardo as Viscous Root the Gnomish Inventor Andrew as Ghree the Trollish Greenward Austin as Tain Mulch the Dwarven Lawgiver and David as our Demiurge Our theme music is Oblivion by Whitesand Additional music includes For You King by Ender Guney 2 and Amor and Quaalude by Kaupe (https://www.facebook.com/KaupeBand/)

Jordan Belfort is an American author, motivational speaker, and former stockbroker. He published the memoir The Wolf of Wall Street in 2007, which was adapted into a film with the same name and released in 2013. During his years at Stratton, Belfort developed a lifestyle that consisted of lavish parties and intensive recreational use of drugs, especially methaqualone—sold to him under the brand name "Quaalude"—that resulted in an addiction. Stratton Oakmont at one point employed over 1,000 stock brokers and was involved in stock issues totaling more than US$1 billion, including being behind the initial public offering for footwear company Steve Madden Ltd. Belfort wrote the two memoirs The Wolf of Wall Street and Catching the Wolf of Wall Street which have been published in approximately 40 countries and translated into 18 languages. A movie based on his books opened in 2013 starring Leonardo DiCaprio as Belfort, Jonah Hill, and Margot Robbie; the film was written by Terence Winter and directed by Martin Scorsese. -CREDIT: https://en.wikipedia.org/wiki/Jordan_Belfort-Learn more about Jordan Belfort: https://jordanbelfort.com/-Follow Jordan Belfort on Instagram: https://www.instagram.com/wolfofwallst/?hl=en

Today we talk about the controversy surrounding bullying victim, Quaden Bayles, and find out that he really is a kid that is now getting even more bullied online! We also watch some intensely weird ballet, see a guy smoke weed for the first time, explore the world of coffee enemas and much much more! Get it here - hyperurl.co/nhpodcast This episode is brought to you by www.DubsGreenGarden.com and www.ThomasHallCBD.com

Ishi faces off with the Thunder Guard and Yogo Osako over who can or can’t interrogate the assassin Jaw. Aji faces off against the man who accuses him of standing in the way of finding Naritoki’s killer - the man who has scarred Aji before. And the magistrates are able to find some answers to questions that have been dogging them.In the second largest city in the Emerald Empire, there are four new Emerald Magistrates appointed to enforce the Emperor’s laws. On the top of their list of priorities is find out who killed their predecessor. But can they accomplish their goals without being corrupted by a city that is known as the biggest den of sin in Rokugan?Can they find the truth in the City of Lies?Ryoko Owari: City of Lies is:Toan as Kakita AjiBranden as Hida IshiDavid as Bayushi TaiyoAndrew as Agasha YugareAustin as the Game MasterSetting and Npcs based on the City of Lies box set by Greg StolzSystem by Brannen Taylor of Galileo GamesTheme music is Mission of Danger by Lobo LocoAdditional music includes:The Depths, and Quaalude by Kaupeeand Petrichor by Mid Air Machine

How far can someone be pushed in when they want to protect what they have? A ghost pleads with Ishi, Aji is asked to kill, Ogeie’s murderer is revealed, and Korechika takes a desperate step.In the second largest city in the Emerald Empire, there are four new Emerald Magistrates appointed to enforce the Emperor’s laws. On the top of their list of priorities is find out who killed their predecessor. But can they accomplish their goals without being corrupted by a city that is known as the biggest den of sin in Rokugan?Can they find the truth in the City of Lies?Ryoko Owari: City of Lies is:Toan as Kakita AjiBranden as Hida IshiDavid as Bayushi TaiyoAndrew as Agasha YugareAustin as the Game MasterSetting and Npcs based on the City of Lies box set by Greg StolzSystem by Brannen Taylor of Galileo GamesTheme music is Mission of Danger by Lobo LocoAdditional music includes:Quaalude by KaupeIntro Read by Scott

On this, our last weekly release of our initial podcast launch, and hopefully the last episode with any audio issues, Scott returns! Tyler points out that the best thing Boba Fett did was also hang out in the garbage and not die when he should have, Scott explains why he doesn't want to fuck with no white girl in Italia, Aaron pitches our best t-shirt idea yet, (keep your eyes open, they'll be available soon!), and Ty hits us all with a two for one deal bringing back from the notes, fucker, and a new segment: Trump Quotes. As always thanks for the use of our theme song to Tim Ireland and the Musician Koit, who's work you can find here: https://www.bloggerheads.com/ and here: https://music.apple.com/us/artist/koit/346306441 respectively.

When's the last time you saw a real Quaalude? Well, here's your chance. Just don't pop a handful and try to drive a Lambo to the country club... Vitaly is known as the Russian king of the YouTube pranksters -- he has more than 10 million subscribers and billions of views. He also runs his adult site - Vitaly Uncensored. So, whether it's getting busted by the po-po or discussing the four phases of a Lude high - planning future pranks with Vitaly is a pretty easy affair!Join thousands of other high-achieving professionals who have used the experience and wisdom of Jordan Belfort to take their careers, and their lives, to the next level: https://bit.ly/2XluQJaSubscribe to JB's YouTube: https://www.youtube.com/wolfofwallstLISTEN TO THE WOLF'S DEN ON:ITUNES: https://apple.co/2lbYTSESPOTIFY: https://spoti.fi/2kGDosVCASTBOX: http://bit.ly/2ngKUvrSTITCHER: http://bit.ly/2kvasE6Follow Me:Instagram: https://bit.ly/2Fj4jSzFacebook: https://bit.ly/2Kr2bMOTwitter: https://bit.ly/2Xub1j7Thanks to our Sponsors! -- Policy Genius: Head to https://www.Policygenius.com today and find out how to supplement your workplace life insurance and better protect your family. It’s like a buffet made of life insurance. And what could be more delicious than that?-- Skillshare is offering The Wolf’s Den listeners two months of unlimited access to thousands of classes for free. To sign up, go to https://www.Skillshare.com/WOLF -- PLASTIQ - Sign up for a new account at https://www.plastiq.com/WOLF and send $50 in fee-free payments! That’s P L A S T I Q dot com slash WOLF -- and you can send your first $50 in payments fee-free, but only when you sign up at https://www.Plastiq.com/wolf

John Buettner-Janusch was one of the first Americans to study lemurs. He held prestigious faculty positions at Yale, Duke and NYU, before surprising everyone with a series of increasingly bizarre crimes.   Peter Kobel's Book is The Strange Case of the Mad Professor You can learn more about lemurs at The Duke Lemur Center, which Peter Klopfer and John Buettner-Janusch founded together. Criminal is a proud member of Radiotopia from PRX. If you haven't already, please review us on iTunes! It's an important way to help new listeners discover the show: iTunes.com/CriminalShow. Say hello on Twitter, Facebook and Instagram. Sign up for The Accomplice. If you'd like to introduce friends or family members to podcasts, we created a How to Listen guide based on frequently asked questions. Artwork by Julienne Alexander. Sponsors: Away For $20 off a suitcase, visit awaytravel.com/criminal and use promo code CRIMINAL during checkout. Betterhelp Get 10% off your first month with discount code CRIMINAL when you fill out a questionnaire at betterhelp.com/criminal Perfect Snacks Get 15% off your online order at perf.bar/criminal Quip Get your first refill pack for free at getquip.com/criminal The Real Real Shop in-store, online, or download the app, and get 20% off select items with the promo code REAL. Simplisafe Protect your home today and get free shipping at SimpliSafe.com/CRIMINAL Squarespace Try Squarespace.com/criminal for a free trial and when you’re ready to launch, use the offer code CRIMINAL to save 10% off your first purchase of a website or domain. Sun Basket Go to sunbasket.com/criminal to get up to $80 off today! Zola to start your free wedding website wand also get $50 registry on Zola, go to zola.com/criminal

“People on ‘ludes should not drive.” This elementary declaration made by the infamous Jeff Spicoli from the 1980's movie Fast Times at Ridgemont High should ring indisputable to anyone who's ever clutched a steering wheel (The Quaalude was a popular sedative in the 70's). And if you've seen the movie, you'll remember the defining scene where the epitome of stoner stupidity is blatantly displayed just before he totals Charles Jefferson's shiny silver Camaro while puffing a proverbial brain dart. And so goes the debate of cannabis use while operating a motor vehicle. Is it safe to be under the influence, and if not, can it be accurately proven when you are caught? Marijuana is a mind-altering substance thanks to the psychoactive properties of THC. Therefore, you will experience life through a different lens as the compounds from the magic plant integrate into your bloodstream and attach to your endocannabinoid receptors, modifying your perception. Many would argue that It's not that your motor skills that are affected, but instead, your grasp of reality. So, what is the danger? Well, one time my friend Edible Ed ate a 200-milligram dose of Leaf Chews and tried to drive 3 blocks to a convenient store. He didn't make it. Looking traumatized and weirded out at the end of his own driveway when we arrived, he claimed that he was lucky to be alive having nearly been trampled by a giant armadillo. This turned out to be a hunched, little old cat lady driving a Prius. “People on edibles should not drive.”

S2E1 - Adagio For Things returns for a second season with a dive into the concept of music for relaxation. Is it only good for making you sleepy? Or is there more to it? Then, co-host Will chews the fat with composer Sean Shepherd, discussing everything from pets to the toll that artistic pressure can take. And Myspace makes a brief appearance. You read that right. To read more about Sean Shepherd and his work, visit www.seanshepherd.com. To check out the custom tailored Spotify playlist for this episode, go to https://spoti.fi/2Iopp44. If you want to find out more about loudBOX and the zany stuff we do, visit us at www.loudboxnyc.com. Copyright loudBOX LLC Support Adagio For Things by donating to their Tip Jar: https://tips.pinecast.com/jar/adagioforthings

This is QUAALUDE - 2018 PILLS - A preview of forthcoming Strakton ADE Compilation! Take your daily happiness pill and reach us to ADE 2018! Tracklist: 00. Intro (00:00) 01. Cristian Ferretti - Music Make Me Dancin' (00:29) 02. Guccii - You Know (01:00) 03. Paggi & Costanzi - XLove (01:31) 04. JOSEPH - Funky In Me (02:03) 05. PAIS - Turn Up (02:34) 06. Riccardo Di Lazzaro - Deep In Your Soul (03:10) 07. Federico Kay - Don't Switch Off (03:57) 08. Fabio Angeli - No Result (04:27) 09. Paolo Pirro - Free (04:58) 10. Giovanni Angelucci - Le Flute (05:29) 11. Virox - The Reflection Of The Soul (06:00) 12. Pierpaolo Bonelli - Walk In Space (06:30) 13. Maurizio Accardi - Into The Void (07:00) • STRAKTON RECORDS: ► WEB: www.straktonrecords.com ► FB: www.facebook.com/straktonrecords ► SC: @straktonrecords ► TW: www.twitter.com/straktonrecords ► YT: bit.ly/StraktonTv

Episode 40 - Quaalude Bottles by Junseth

MJ and AJ breakdown the first episode of the Showtime Limited Series, Patrick Melrose. With all the drugs, inner monologues, and some really insane benders - no one makes you want to never do drugs better than Patrick Melrose. Take a Quaalude with us and let’s take this pilot for a spin! See you all at the bottom! Music: yocomet

Turns out Melissa must always be 40% basic bitch in order to survive and Emily is almost at sommelier level after finally learning how drink white wine wine. Trader Joe's, retirement planning, and golf date etiquette are all ready for you this episode. Sit back, take a quaalude, relax, and don't forget about DonnaDonna.bandcamp.com

The definitive podcast on a genre we invented in our laboratory, defined and are calling Quaalude Rock. Our special guest RKD joins us to explore the arguably the worst music ever recorded. Actually, some of it is good. We teased it for months while we were working on it. Now it's available for consumption over the podcast counter. Please use only as directed. The official Spotify playlist for the episode can be found HERE. EXPANDED PLAYLIST FOUND HERE

In the second installment of the Black Women in the Workplace series, the Token Talk crew sits down with Pam Confer. Pam is a speaker, singer, songwriter, editor, and public relations professional and consultant. She is the founder of Speak BIG! and is the Canton Chamber of Commerce President. But most important, shes a bad ass. Tune in and listen to the story of her journey, what has kept her focused, her opinions on #Kanye and #cosby and more! We are The Quaalude

Linda Seabright and James Arey have a lot in common. Linda is a radio personality on KRCB, one of the NPR stations in San Francisco. James is a radio personality on Classical 104.9 in New Orleans, and you might have heard him in his previous incarnation as an announcer on New Orleans NPR station, WWNO. How James jumped ship and ended up back on the same ship is a pretty interesting tale. How Linda ended up teaching mindfulness while still contemplating her previous 6 boyfriends going all the way back to the guy she toured Europe with for a year on 800 is an even more interesting tale. While all that s going on, Kelcy Mae has a new band, called Ever More Nest, a new spirit guide, and a new record coming out, called The Place That You Call Home. And perhaps what might be the biggest revelation to come out of today s show you can get Quaaludes legally in South Africa. If you don t know what a Quaalude is, we ll be selling them at Happy Hour as soon as C Rock hooks us up. Photos at Wayfare by Alison Moon.

Adam and Mark open this week's episode of Reasonable Doubt reviewing a newly released cell phone video of an off duty LAPD officer tussling with a young boy and eventually firing his gun into the ground. This leads Mark to talk about other cases that circle around who is at fault when major fights break out. Then the guys discuss appropriate punishment for a variety of different crimes. Before they wrap, Adam and Mark return to talking about the off duty LAPD officer firing his gun during a scuffle.

Here we are again with another CCR cult classic, has we prepare for our return on November 3rd 2016. This episode was originally recorded on July 8th 2015. Enjoy. Episode Notes: Big B and DK are really fired up so they are firing up the General Lee for tonight's show. They give there feelings on the Confederate Flag, the Washington Redskins, and the state of the USA. Is it becoming a country without a backbone, just worried about who will be offended next? Sound off! Choo Choo Stu calls into the show and he has had a alot to many to drink. While wandering through the streets and forests of England, we meet a brand new guest. Constable Carson. Has he been drinking with Stu too? There is a gal who beat up her boyfriend for refusing sex, a man dies after lighting a firework off his head, theres a dildo factory creating some jobs to help the economy, and Bill Cosby has his statue removed from Disney World after slipping women Quaalude's. We try to introduce our listener story of the week, but its so bad, its been removed. Cave Crew Radio is recorded live every Thursday at 9pm eastern on www.cavecrewradio.com and on 102.6 the Podcast Radio Network on Saturday at 8pm eastern

Today, Lisa Loco, The Guerrilla Feminist will grab the microphone and cover the Abigail Fisher story.  She will also cover some extra details on Abigail's backer, Edward Blum.  Plus,  We have News & Comment.  Subway's Jared Fogle has a child ography case.  Women of "Color take to the streets of Chicago to do what police will never do.  And the Republicans just need to accept that Donald Trump is one of them.  Jill Stein is flexing on Bernie Sanders, calling him another Obama and will bring more endless war.  Pop culture news.  Snoop Dogg done went and made some religious folks mad with his music video.  And more from PIll Cosby... because he's a rapist. 

Big B and DK are really fired up so they are firing up the General Lee for tonight's show. They give there feelings on the Confederate Flag, the Washington Redskins, and the state of the USA. Is it becoming a country without a backbone, just worried about who will be offended next? Sound off! Choo Choo Stu calls into the show and he has had a alot to many to drink. While wandering through the streets and forests of England, we meet a brand new guest. Constable Carson. Has he been drinking with Stu too? There is a gal who beat up her boyfriend for refusing sex, a man dies after lighting a firework off his head, theres a dildo factory creating some jobs to help the economy, and Bill Cosby has his statue removed from Disney World after slipping women Quaalude's. We try to introduce our listener story of the week, but its so bad, its been removed. Cave Crew Radio is recorded live every Wednesday night at 9pm eastern and check out the home page at www.doublekradio.com We will catch you on the flip flop.

01. DC Breaks - Gambino VIP 02. Insideinfo - Mushroom 03. Benny Page and Blackout JA - Push up 04. Dj Phantasy - No way out 05. Dub FX - Light me on fire (High Maintenance remix) 06. Dub FX - Please (Dilemn remix) 07. Callide - In your eyes 08. Misanthrop - Rocknroll 09. oneBYone - Warrior 10. Davip and Downlink - Eliminator 11. Raw Theory - Eye of the storm 12. The Prototypes feat. Mad Hed City - Pop it off 13. Misanthrop - Capitalism 14. Misanthrop - I need more 15. Bro Safari & UFO! & Beauty Brain - No control (Dieselboy & Mark The Beast remix) 16. Cynematic - Space city 17. oneBYone - Away 18. Brookes Brothers - Anthem (extended mix) 19. Metrik - Freefall VIP 20. Zhu - Faded (Delta Heavy bootleg) 21. Insideinfo - Metamorphosis 22. Davip - Sledgehammer 23. Noisia - Banshee 24. Davip & Imetic - Puncture wound (Malk and Fullcasual remix) 25. Toronto is Broken - This way up 26. 2db - Quaalude 27. Martin Solveig & GTA - Intoxicated (Dj Fresh remix) 28. Kubrak - No fear 29. Dub FX - Concord (Benny L remix) 30. Cyantific - Bring you love 31. Friction vs Prolix - Dark moves 32. The Prototypes - Moscow 33. Bluescreens - Clockaround 34. Modestep - Machines (Mefjus remix) 35. Trei - Seeds 36. Neonlight and Wintermute - Guinea pig 37. oneBYone - Enix 38. Davip - Earthquake 39. oneBYone - Becherovka 40. Shockone - Harmonize 41. Modified Motion & Faction - Lurka 42. Prophet - Crematoria 43. Dub FX - Prove me wrong (Xilent remix) 44. Dub FX - Back to basics (James Marvel and Hypoxia remix) 45. Gridlok - Go free 46. Neonlight and Wintermute - Never stop 47. Smooth - Drone 48. Davip & Imetic - Puncture wound (Place 2b and Paimon remix) 49. Prodigy - Nasty (Spor remix) 50. Matrix & Futurebound - Glow worm 51. Xilent feat. Diamond Eyes - Animation 52. Bro Safari - Scumbag (Aero Chord remix) 53. Bensley - Aftermath 54. G-Buck feat. FlyBoi Keno & Four Color Zack - ShakeLine

Adam and Ray are back for the first new show of the year. This week the guys discuss converting a garage to a motorcycle shop, bizarre yearbook pictures, and problems with woodpeckers.

The gang is back and not really doing that well. There is a lot of talk about coke, pills, and all the good stuff of the 70's and 80's...allegedly. God loves a Quaalude. Even more talk of pills. Colorado legal sales. Dane's ass is Sam's sunshine. The Saints win. Doc just trips in. Doc's Thoughts. Other stuff. Call the comment line at (206) 309-7308. Thanks for listening.

The Grammy-winning author and filmmaker's landmark book, "[It Came from Memphis ](https://therobertgordon.com/books#/it-came-from-memphis-updated-and-revised)," has just been reissued in a 25th anniversary revised edition. The cultural collisions between bluesman Furry Lewis, producer Jim Dickinson, Alex Chilton, pro wrestling, photographer Bill Eggleston, fife & drum bands, the Panther Burns, integration, and other disparate elements form a compelling narrative of outsiders, misfits, and rock 'n' roll in this classic chronicle of the subterranean Memphis music scene. Robert believes that if you're not on the edge, you're taking up too much space. He should feel right at home with the Troubled Men. Topics include a virtual gala, a swingers convention recap, a new campaign platform, the Hard Rock demo, the Ring Room reopening, a new monolith, the flaw in the grain, a teenage quest, Mudboy and the Neutrons, Randall Lyons, a childhood memory, the N.O.-Memphis-Baltimore axis, Barbarian Records, a rule of thumb, Jack White's Third Man Books, a letter of complaint, the ladies, sage advice, a film career, “The Best of Enemies,” the end of civility, an alternative strategy, “[Stranded in Canton](https://www.youtube.com/watch?v=M1eDzz5fKio),” the Quaalude ‘70s, TeleVista, Pat Rainer, Tav Falco, Lee Baker, ghosts, lessons to learn, and much more. Support the podcast [here.](https://www.paypal.com/paypalme/troubledmenpodcast) Shop for Troubled Men's Wear [here.](https://www.bonfire.com/troubled-mens-wear/) Subscribe, review, and rate (5 stars) on Apple Podcasts, Spotify, or almost any podcast aggregator. Follow on social media, share with friends, and spread the Troubled Word. Intro music: Styler/Coman Break music: “Frank, This Is It” by Cliff Jackson and Jillian Delk with the Naturals; Outro music: “Memphis Tennessee” by Jerry Lawler; both from the companion compilation to “It Came from Memphis,” produced by Robert Gordon Audio Triage: Casey McAllister