Podcasts about riot squad

Joe Blow (Bonus Episode). Joe Blow of Dog Company joins me for a conversation about his solo work, his other bands, the new album, more upcoming new music, and upcoming shows. The episode also includes tracks from Joe Blow, Riot Squad, The Staggers, and Dog Company. Have a GREAT weekend!

Sintonía: "Space Mambo" - The Limboos"This May Be The Last Time" - The Staples Singers; "You Don´t Care" - Bo Diddley; "Sun Arise" - Rolf Harris; "Angels + Devils" - Sun Ra; "Needed Time" - Lightning Hopkins; "Stay" - The Zodiacs; "She´s Coming Home" - The Wailers; "Can´t Let Go" - Evie Sands; "Crawdaddy Simone" - The Syndicats; "Elevator Operator" - The Rays; "Perfidia" - Xavier Cugat; "It Was I" - The Fantastic Baggies; "Firebird" - The White Noise; "The Love Will Find You" - Daniel Johnston; "Just One Time" - Juicy Lucy; "I Take That We´re Through" - The Riot Squad; "Witchdoctor" - John Mayall´s Bluesbreakers; "Ramblin´ Rose" - MC5Todas las músicas (menos la sintonía) extraídas de la recopilación/sesión (1xCD/2xLP) "Spacelines: Sonic Sounds For Subterraneans; A DJ Selection by Sonic Boom" (Munster Records, 2004) Escuchar audio

In Portland, Oregon, the city is bracing itself for a potentially tumultuous election season, reflected in the preparation of new crowd control measures and steel barriers around federal buildings. This initiative stems from past experiences, particularly the 2020 protests, which left scars on the cityscape and its community. Amidst concerns of renewed violence, Portland's police force is assembling a specialized team trained to handle violent protests, equipped with enhanced gear and training. The narrative captures a city still grappling with the aftermath of previous conflicts, seeking to fortify itself against future unrest. The discussion touches upon the broader implications of civic preparedness, public safety, and the right to protest, highlighting the delicate balance cities must maintain in a politically charged atmosphere. This scenario underscores the challenges urban centers face in ensuring peace and security while respecting democratic expressions of dissent. --- Send in a voice message: https://podcasters.spotify.com/pod/show/darien-dunstan3/message

Episode 433... Getting close to the end of the year! We'll be back as brutal as ever in 2024 with some Best of 2023 shows to start the year. Another new one from our collaboration with El Matador (Fight Music), new Pittsburgh's Peace Talks (John from Cruel Noise Podcast), our Cali buds STFU, and once again Noise Itch Cassettes (Germany)! Yule Punkings our friends! Thanks for the support!Listen to Episode 433: (scroll for set list)On ARCHIVE.On Apple or Google Podcasts, hit "play."On blogspot, play it below:Listen to The Brothers Grim Punkcast:ARCHIVE.Org - hear/download past episodesPUNK ROCK DEMONSTRATION - Wednesdays 7 p.m. PSTRIPPER RADIO - Fridays & Saturdays 7 p.m. PSTApple PodcastsGoogle PodcastsContact Brothers Grim Punk:brothersgrimpunk@gmail.com - In a punk band? Send us your music! Want us to make you a punk song? Email us some lyrics!@Punkbot138 on Instagram@BrosGrimPunk on XMore Punk Music:Bandcamp - Follow us and download our albums: Brothers Grim Punk, Fight Music, and more!YouTube - tons of punk playlists, from Anarchy to Zombies!Punk talks...Pittsburgh Cruel Noise TARANAKI 1:29 PEACE TALKS PEACE TALKS-PROGRESS LP Noise Itch CS Germany They Call It Peace (from 'Tombs') 1:24 No Fucker Bandcamp Promo Single Celebrating The Decline 1:01 Richter Scale SPAD - SPAD L.A. Live To Die 1:31 Fatal Riot Live To Die Carny Phobia 2:15 El Matador and the BGP  Unreleased Single Indonesia Consent 1:08 Richter Scale Unspec - Century Of Torture O.L.C. 1:32 XUI Mayhem Promo_Oakland Olympia Too Young Too Retire 0:49 spitpuddle Part Time Epic Rock And Roll Guitar Rock And Roller Rock And Rolling Rocks Rockers Madrid No survivors 1:28 Crust As Fuck Records DEPOPULATION DEPARTMENT "Starvation" 10" (CAF029) dom är idioter på malmös komun (They Are Idiots on Malmo's Commune) 1:00 Kasshuve grisablod 8 track ep Enjoy Your Life 1:06 Kolumna Burruti Tapes Nöt Dead Utmattningssyndromet (The Exhaustion Syndrome)- BITCHCRAFT 0:50 v/a - DBeat The Borders compilation cassette Stuck In The Gutter - PISS 1:35 v/a - DBeat The Borders compilation cassette Riot Squad 0:36 Whisker Biscuit Kill For Beer UK Pain In The Arse 1:53 Demob If It Ain't Punk It Don't Rock!Reseda I HOPE OUR FRIENDSHIP WILL NOT BE TRUNCATED DOWN TO AN EMOJI ON SOCIAL MEDIA 2:05  Shut The Fuck Up Good & Evil 2023

Prepare to be captivated by the remarkable journey of Janessa Finley-Ford as she invites us into her serene suburban home on the outskirts of Lincoln. Behind her quiet and calm demeanor lies a life that defies expectations and takes us from the humble beginnings of a one-room schoolhouse to the hallowed halls of an FBI courtroom.Growing up in Northeast Nebraska, Janessa experienced a childhood that reflected the end of a generation in America. As a fifth-generation farmstead dweller, she witnessed the fading remnants of small schoolhouses and family farms. Raised in a deeply traditional Catholic household, she was the youngest of her family, and her formative years were steeped in the values and traditions of her community.In her early twenties, Janessa took the plunge into marriage, only to find herself divorced at a young age. She also struggled with a debilitating eating disorder, a battle she fought with resilience and determination. As she navigated her way through the trials of her youth, Janessa found solace and purpose in a career within the government sector.Starting as a young prison caseworker, Janessa fearlessly broke barriers, becoming the first female to lead a prison emergency response team, a.k.a. riot squad. Her journey within the criminal justice system provided her with unique insights into the workings of the law, ultimately leading her to a position in homeland security. Her dedication and unwavering commitment to her work earned her the respect of her colleagues and peers.However, amidst her professional achievements, Janessa's personal life took a tumultuous turn. She crossed paths with a man who would forever change her world. Their love story was both passionate and complex, as their relationship faced numerous challenges, examinations, and moments of tearing apart. It was during this time that the unexpected occurred—an unforeseen visit from the FBI to their home.Janessa's partner became the target of an investigation involving threats to an election official. Caught in the overwhelming machinery of the government, their relationship was put to the test. In a whirlwind of legal proceedings, her partner ultimately made the difficult decision to accept a plea agreement. Janessa was left alone, holding the pieces of their lives together, waiting for the day they could be reunited.Undeterred by the hardships she has faced, Janessa has channeled her life experiences into launching her own coaching career. Her deep well of resilience, wisdom, and unwavering strength has empowered her to guide and support others through their own journeys. Her incredible outlook and profound knowledge are a testament to the power of the human spirit in the face of adversity.Join us as we delve into the captivating and inspiring journey of Janessa Finley-Ford and her husband—a story that transcends love, betrayal, and the triumph of the indomitable human spirit. Get ready to be moved, inspired, and reminded of the resilience within us all.For more of Janessa, please check out: Her BlogAs well as: Her Facebook For more of The Jar, visit:Website: https://www.thejar.live/Youtube: https://www.youtube.com/channel/UCaTqB1dhDvl0Oh505ysdxTgFacebook: https://www.facebook.com/podcast.thejarInstagram: https://www.instagram.com/thejar_podcast/Disclaimer: The views stated in this episode are our guest's opinions and do not represent the views, beliefs or opinions of The Jar Podcast. Our goal is to provide a platform for everyone no matter what they believe, and we would like to continue to do that while making it clear our guests are not a representation of The Jar Podcast. 

The annual Police Community Expo showcases the various units within the NSW Police Force including Police Helicopter, Mounted Police, Dog Squad, Riot Squad, Highway Patrol Vehicles, Tactical Operations Unit and much more. Sozan Jabur is the multicultural community liaison officer within the Crime Prevention Unit in the Fairfield City police area. She spoke to SBS about the aim of the expo and its important role in raising awareness of the police force in NSW.

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

Pendant les années 70, Bowie va publier onze albums incroyablement en avance sur tout et dont les noms évoquent une certaine idée de la musique, sans calcul, sans concession, sans esbrouffe, dans lesquels il est moins David Bowie que les personnages qu'il crée, transgresse les normes, défie les conventions, allie musique, théâtre et danse.Onze albums, certes inégaux, mais qui marquent la décennie, comme seul Prince saura faire durant les années 80. The Man Who Sold the World, Hunky Dory, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, alors qu'il n'a que 25 ans, puis Aladdin Sane, Pin Ups, Diamond Dogs, Young Americans, Station to Station, Low, Heroes, Lodger, Scary Monsters.. Artiste : David Bowie. Genre : glam rock, art rock, space rock, pop rock, dance-rock, pop, jazz, musique expérimentale. Époque : de 1962 à 2016, te fatigue pas j'ai compté pour toi, ça fait 54 ans de musique. De 1 à 10, probabilité que tu connaisses : alors pour la pâte à galette, rajoute un ou deux jaunes d'œuf avant de la laisser reposer deux heures, elles seront joliment dorées à la cuisson.. Artiste : The Konrads, The King Bees, The Manish Boys, The Lower Third, The Riot Squad, Hype, Arnold Corns, Tin Machine, the Thin White Duke, Tao Jones, Halloween Jack, John Merrick, David Robert Jones, j'ai nommé, David Bowie. Numéro de l'épisode : 131Pour l'écouter, c'est par ici si tu utilises Apple Podcasts, ici si tu utilises Deezer ou encore ici si tu utilises Spotify.Pour me contacter, pour me dire que tu as adoré (ou pas du tout mais j'y crois pas) ou encore me suggérer un artiste pour le prochain épisode, tu peux m'écrire à contact@lavoixdessillons.comGros Naze te souhaite une très bonne écoute. On se retrouve dans un prochain numéro de La Voix des Sillons, en attendant café et à la messe !Pour soutenir gratuitement le podcast :1. Abonne-toi2. Laisse-moi un avis et 5 étoiles sur Apple Podcasts, ou Spotify et Podcast Addict3. Partage ton épisode préféré à 3 personnes autour de toiEt pour le soutenir pas gratuitement :Alimenter ce podcast prend beaucoup de temps, sans compter les coûts induits. Alors, si tu prends du plaisir à écouter ces chroniques, si tu te marres, si tu apprends des choses, si tu découvres de nouveaux artistes, aide-moi à continuer, tout apport sera le bienvenu. Rendez-vous sur Tipeee ou Paypal. Tu peux aussi suivre la sortie des prochains épisodes sur mon site internet, sur ma page Facebook et sur mon compte Instagram. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Rob GEE on the Virtual Sessions presented by The DJ Sessions 1/12/23   About Rob GEE - Rob GEE is famous all across The Universe as "the hardest DJ to ever play the Limelight in NYC." In the club's early 90's heyday, the versatile GEE kept delirious audiences going through spinning at Limelight's "Future Shock" dance/techno nights and performing with his live band as well as spinning at the club's "Rock And Roll Church" metal/ rock/ industrial nights. The crowds kept coming back to Limelight, just like they did in Australia, Japan, Italy, Spain, Scotland, Austria, Hungary and Belgium to name a few. GEE is a recurring headliner at Sensation,Thunderdome, Mysteryland, and Love Parade, where GEE played before one million people.  His diverse appeal keeps him performing weekly at all types of musical events and concerts. GEE has shared the stage with everyone from Hatebreed and Biohazard to Crystal Method, Busta Rhymes, Kurtis Blow, and Afrika Bambaataa. His GEEness has also has spun at many Slipknot and Korn after parties with his good friend, DJ Starscream a.k.a. #0 of Slipknot.  GEE's history of DJing and live performances shows his dedication of bringing the fusion of organic and electronic music to a wide variety of listeners. GEE's love of hip-hop, hardcore, techno, metal and every other genre for that matter set him apart from the rest. While other DJs make tracks and spin records, GEE is an Artist who writes original songs. His indecisiveness as to whether or not he wanted to breakdance and spin hip-hop or jump in the mosh pit and play in a metal band was one of the reasons he began to cultivate his own style of both.  Rob GEE is the only artist of his kind to collaborate and create with members of respected rock, metal, hardcore and hip-hop acts such as Slipknot, Hatebreed, Biohazard, Wu-Tang Clan, Cypress Hill, and System Of A Down (just to name a few) creating a unification of Rock, Electronic, & Metal as well any other style GEE chooses to use. The GEEsult is Rob GEE gabber music.  Rob GEE says, "There are no boundaries in music" . GEE is writing history launching gabber into the scene of the galaxy...... "The Gabber Guru," as GEE is known for his constant motivation of #PositivianVibes gained worldwide fame after the release of "Ecstasy You Got What I Need". The song went Gold and was the #1 video on The Box for 13 straight weeks. At the same time, "Ecstasy" rose to #9 on the pop charts and earned him Best Artist, Best Producer and Best Song of the year at The Thunder Awards in Holland. The GEE Man has recently enjoyed more worldwide success along with band mates Neophyte and Tieum with their collective efforts "Coming At You Strong", "Anxiety", & "Rage With Pride" under the name "Riot Squad". Rob GEE is still pushing solo success globally with his most recent hit "Right Now". GEE, always with his open mind, has enjoyed recent Hardstyle & Rawstyle bangers teaming up with heavy hitters like The Prophet and Adaro. While in the same breath has been rocking the mainstream airwaves collaborating with hardcore giants Noize Suppressor, Mad Dog, & Furyan. Look out later this year, nu metal will meet hardcore in the studio ring when Rob GEE teams up with none other than Shavo Odadjian of System Of A Down. Rob GEE won't be stopped!!!!!! The sound is 100% Rob GEE, which means eclectic, unexpected and completely unique. Much #GEEspect & #PositivianVibes   About The DJ Sessions - “The DJ Sessions” is a Twitch/Mixcloud "Featured Partner” live streaming/podcast series featuring electronic music DJ's/Producers via live mixes/interviews and streamed/distributed to a global audience. TheDJSessions.com The series constantly places in the “Top Ten” on Twitch Music and the “Top Five” in the “Electronic Music", “DJ", "Dance Music" categories. TDJS is rated in the Top 0.11% of live streaming shows on Twitch out of millions of live streamers. It has also been recognized by Apple twice as a "New and Noteworthy” podcast and featured three times in the Apple Music Store video podcast section. UStream and Livestream have also listed the series as a "Featured" stream on their platforms since its inception. The series is also streamed live to multiple other platforms and hosted on several podcast sites. It has a combined live streaming/podcast audience is over 125,000 viewers per week. With over 2,400 episodes produced over the last 12 years "The DJ Sessions" has featured international artists such as: BT, Youngr, Sevenn, Wuki, Scott Slyter, Simply City, Micke, Netsky, Rich DietZ, Bexxie, Boris, MJ Cole, Flipside, Skeeter, Bissen, Katie Chonacas, Hollaphonic, Lady Waks, Arty/Alpha 9, Miri Ben-Ari, DJ Ruby, DJ Colette, Nima Gorji, Kaspar Tasane, Andy Caldwell, Party Shirt, Plastik Funk, ENDO, John Tejada, Hoss, DJ Sash U, Arkley, Bee Bee, Cozmic Cat, Superstar DJ Keoki, Crystal Waters, Swedish Egil, Martin Eyerer, Dezarate, Maddy O'Neal, Sonic Union, Lea Luna, Belle Humble, Marc Marzenit, AthenaLuv, Maximillian, Inkfish, Kidd Mike, Michael Anthony, They Kiss, Downupright, Harry “the Bigdog” Jamison, DJ Tiger, DJ Aleksandra, 22Bullets, Carlo Astuti, Mr Jammer, Kevin Krissen, Amir Sharara, Coke Beats, Danny Darko, DJ Platurn, Tyler Stone, Chris Coco, Purple Fly, Dan Marciano, Johan Blende, Amber Long, Robot Koch, Robert Babicz, KHAG3, Elohim, Hausman, Jaxx & Vega, Yves V, Ayokay, Leandro Da Silva, The Space Brothers, Jarod Glawe, Jens Lissat, Lotus, Beard-o-Bees, Luke the Knife, Alex Bau, Arroyo Low, Camo & Crooked, ANG, Amon Tobin, Voicians, Florian Kruse, Dave Summit, Bingo Players, Coke Beats, MiMOSA, Drasen, Yves LaRock, Ray Okpara, Lindsey Stirling, Mako, Distinct, Still Life, Saint Kidyaki, Brothers, Heiko Laux, Retroid, Piem, Tocadisco, Nakadia, Protoculture, Sebastian Bronk, Toronto is Broken, Teddy Cream, Mizeyesis, Simon Patterson, Morgan Page, Jes, Cut Chemist, The Him, Judge Jules, DubFX, Thievery Corporation, SNBRN, Bjorn Akesson, Alchimyst, Sander Van Dorn, Rudosa, Hollaphonic, DJs From Mars, GAWP, Somna, David Morales, Roxanne, JB & Scooba, Spektral, Kissy Sell Out, Massimo Vivona, Moullinex, Futuristic Polar Bears, ManyFew, Joe Stone, Reboot, Truncate, Scotty Boy, Doctor Nieman, Jody Wisternoff, Thousand Fingers, Benny Bennasi, Dance Loud, Christopher Lawrence, Oliver Twizt, Ricardo Torres, Patricia Baloge, Alex Harrington, 4 Strings, Sunshine Jones, Elite Force, Revolvr, Kenneth Thomas, Paul Oakenfold, George Acosta, Reid Speed, TyDi, Donald Glaude, Jimbo, Ricardo Torres, Hotel Garuda, Bryn Liedl, Rodg, Kems, Mr. Sam, Steve Aoki, Funtcase, Dirtyloud, Marco Bailey, Dirtmonkey, The Crystal Method, Beltek, Darin Epsilon, Kyau & Albert, Kutski, Vaski, Moguai, Blackliquid, Sunny Lax, Matt Darey, and many more. In addition to featuring international artists TDJS focuses on local talent based on the US West Coast. Hundreds of local DJ's have been featured on the show along with top industry professionals. We have recently launched v3.1 our website that now features our current live streams/past episodes in a much more user-friendly mobile/social environment. In addition to the new site, there is a mobile app (Apple/Android) and VR Nightclubs (Oculus). About The DJ Sessions Event Services - TDJSES is a WA State Non-profit charitable organization that's main purpose is to provide music, art, fashion, dance, and entertainment to local and regional communities via events and video production programming distributed via live and archival viewing. For all press inquiries regarding “The DJ Sessions”, or to schedule an interview with Darran Bruce, please contact us at info@thedjsessions.

In this episode of CTM, Former member of the NSW police force / and also well known in the Australian bodybuilding / powerlifting scene, Sonia Williams, joins me in conversation revolving around the topic of ‘I Refuse To Stop'.

Welcome to Season 3 of the 192 Podcast!!!!! Getting season 3 started up is one of the most influenced people in my life. Terry Smith comes with such a diverse background in the music industry. We dive into so much information about having those relationships and the background of what it takes to run a huge music festival. Lets Dive into Episode 2 of Season 3. This interview was so packed we had to split this episode into multiple episodes. Wanna Get Ahold of Riot Squad Media or information on Camp Punksylvania. All the information you need is listed below Camp Punksylvania https://www.camppunksylvania.com/?fbclid=IwAR36BbmGcEpCa_YX9M4SOoOv3OTmj8DuiFCdSSJwFUQnJyD4y_GN07IflDw Facebook for Camp Punksylvania https://m.facebook.com/CampPunksylvania/Riot Squad Media Website Instagram for Riot Squad Media https://www.instagram.com/camppunksylvania/?hl=en&fbclid=IwAR2cpOSL3iPzGrdFvEVZygCAimBAORuCp7IIMNdfJEUPT3sTdxfeMMBuGRg Website for Riot Squad Media https://www.riotsquadmedia.com/?fbclid=IwAR1OYAOOTnII8TKT7nZBAewOSR_ffsYJpSNCHPxQUC7cMS9TxHgzF0_tTc4 Facebook for Riot Squad Media https://www.facebook.com/riotsquadmedia Youtube for Riot Squad Media https://www.youtube.com/channel/UC5LEqdLHFl6rNUde7PITtsA

A major police operation is unfolding at Yongah Hill Detention Centre in Northam, with dozens of officers, including the riot squad, on site. At least one man has been arrested, and it's understood someone has been stabbed and a fire was lit inside the facility. Police have yet to release any details but 9 News Perth reporter Kelly Haywood told Gareth Parker on 6PR Breakfast the incident appeared to unfold last night and she saw an ambulance leaving when arriving on the scene a few hours ago. See omnystudio.com/listener for privacy information.

Welcome to Season 3 of the 192 Podcast!!!!! Getting season 3 started up is one of the most influenced people in my life. Terry Smith comes with such a diverse background in the music industry. We dive into so much information about having those relationships and the background of what it takes to run a huge music festival. Lets Dive into Episode 1 of Season 3. This interview was so packed we had to split this episode into multiple episodes. Wanna Get Ahold of Riot Squad Media or information on Camp Punksylvania. All the information you need is listed below Camp Punksylvania https://www.camppunksylvania.com/?fbclid=IwAR36BbmGcEpCa_YX9M4SOoOv3OTmj8DuiFCdSSJwFUQnJyD4y_GN07IflDw Facebook for Camp Punksylvania https://m.facebook.com/CampPunksylvania/Riot Squad Media Website Instagram for Riot Squad Media https://www.instagram.com/camppunksylvania/?hl=en&fbclid=IwAR2cpOSL3iPzGrdFvEVZygCAimBAORuCp7IIMNdfJEUPT3sTdxfeMMBuGRg Website for Riot Squad Media https://www.riotsquadmedia.com/?fbclid=IwAR1OYAOOTnII8TKT7nZBAewOSR_ffsYJpSNCHPxQUC7cMS9TxHgzF0_tTc4 Facebook for Riot Squad Media https://www.facebook.com/riotsquadmedia Youtube for Riot Squad Media https://www.youtube.com/channel/UC5LEqdLHFl6rNUde7PITtsA

Episode 334... A couple songs to remind us of Kurdt this week. 28 years later. It doesn't feel like that long ago. Along with a batch of 2022 Bandcamp rippers. Enjoy!!Download and stream here (iTunes and Google Podcasts as well):BROS GRIM APE 8 334  Airing Wednesdays 7pm PST on PUNK ROCK DEMONSTRATION & Fridays 7pm PST on RIPPER RADIO.Send us stuff  to brothersgrimpunk@gmail.com.Punkers be punkin...Betrayed Again 1:27 Fuck On The Beach Slap A Ham Twin Best_BETRAYED AGAIN 1998Fire in the Hole 2:03 Driller Killer And The Winner Is_ Osmose ProductionsWar Drug 1:24 ARAME Genocidal 2020 A.D.Tourettes (Nirvana Cover) 1:14 Wardomized Money Isn't RealANXIETY 0:48 Ättestor Ättestor IIProtect and Swerve 0:57 C.H.E.W. s/tDemocrazy 2:05 Dead Fly Punkoholic EPTry 2:33 Pennywise About Time_EpitaphFester Youth- United As One 1:23Australia 1:21  Guttermouth Chicken and Champagne Split w/ Mach PelicanWith Friends Like You 1:46 Submachine Now That I've Given Up Hope, I Feel Much BetterCall the Cops 1:51 Frontside Five Fall Out of Line Uberlebenschance (Chance of Survival) 2:17 Vorkriegsphase Auf In Den TodOutcast 1:50 Die Mutts AKA The Mutts_IAEl Paso The Unholy Maggots which Feast in the Dark Recesses of the Human Soul 0:53 Polluted Womb Polluted Womb IIINJ A Conversation With The Shadow Self 0:32 noXrealism DEMONSTRATIONIndonesia Negara = Inferno 2:04 Dimensi Liar Morbid Distort, Damn it! Crust yer Brain!New Orleans Parody 2:12 D.SABLU "LIVE" FOR TOURShallow 0:49 Kill Enemy Records God Plutonium DemoGive Praise Records Freedom Fries 1:24 Operation Eat Shit Cessplant Comp #1Government ignorance 1:43 Dischange Seeing Feeling Bleeding_D-takt & RåpunkDead To Me 1:12 Deviated State NO CONTROLThe Myth 0:45 POR037 HEAT S/T CSVague Motive 1:30 Foul Play Hell DimensionSlave to convention 1:02 FOKKUM Notice yourselfHesitate 1:19 DARK THOUGHTS MUST BE NICEC.R.I.N.G.E 1:33 POR058 FLUKE - Pest EP CSA Better Tomorrow 1:03 POR057 CERKKYU ‎– Demo 2018 CSAgents of the Machine 1:54 Pure Disgust Pure DisgustRiot Squad 0:36 Whisker Biscuit Cessplant Comp #1No Reason 1:58 Minor Threat Complete DiscographyReturn of The Rat 3:09 Nirvana With the Lights Out

Ryan O'Connor, the president of the Rutgers Riot Squad, joins Aaron Breitman to discuss the official student section of Rutgers Athletics, there relationship with the athletic department, some of his favorite basketball memories, and more! Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week we chat with director and independent filmmaker, Justin Powers. Justin recently released a documentary, “Everything is A OK” which covers the Dallas punk scene from the late 1970's to the early 2000's. It features interviews with The Nervebreakers, Riot Squad, Loco Gringos, Pumpin Ethyl and tons of others! We talk about the making of the movie, how the pandemic helped him focus on editing, and what he's up to now. dallaspunkdoc.com instagram.com/fringemedia

‘Seinfeld' writer Dan O'Keefe is the man who gave us the holiday of Festivus—and as he reveals for the first time on Fever Dreams, its origins are pretty dark. Elsewhere on the podcast, the big MAGA civil war between Trump-loving attorney Lin Wood and former national security advisor Michael Flynn went nuclear this week and has turned into a circular MAGA firing squad. The co-hosts identify the next anti-vaxxer trend to sweep the far right internet, and it involves black sharpies. Finally, O'Keefe—who also worked on ‘Veep'—talks about how Trump's awful presidency totally changed Selina Meyer's story arc. See acast.com/privacy for privacy and opt-out information.

NSW Police from the Public Order and Riot Squad have joined the Australian contingent sent to the Solomon Islands to help quell violence in Honiara. See omnystudio.com/listener for privacy information.

Our guest today is Terry Smith, one half of the core team at Riot Squad Media. Herself and co-founder Laura Rose formed the multi-faceted agency out of a shared love for the music scene, punk rock, and a desire to contribute to them utilizing their strengths. Part PR agency, part website and design shop, part promotions group, Riot Squad Media kinda do it all. As Terry shares in the episode, they met while attending a music festival and became fast friends. Though she is located in Canada and Laura is in New York, the two of them have been able to stay connected and bring a lot to the punk scene. For example, every week they contribute a video which showcases two albums that they are currently stoked on, called Sunday Spin. This year, they are endeavoring on a major music festival, Camp Punksylvania. The fest features headliners Voodoo Glow Skulls, Bigwig, The Queers and Blanks 77, along with about 20 other bands! The logistics behind making this kind of thing work are pretty intense, as Terry attests, but they are up for the challenge! For more info about Riot Squad Media, or to hire them for their services - https://www.riotsquadmedia.com/ For more info on Camp Punksylvania - https://www.camppunksylvania.com/ To hear some of the music mentioned on this and our previous episodes, check out and follow this playlist on Spotify: https://bit.ly/3oI01ZU​​​​​​​​​ Question The Answers is co-sponsored by The Bad Copy and Sell The Heart Records, be sure to follow them as well to stay up to date on music news, reviews, and to check out the releases on our label. Sell The Heart Records - https://www.selltheheartrecords.com​​... | @selltheheartrecords (IG) The Bad Copy - https://www.thebadcopy.com​​​​​​​​​ | @thebadcopy (IG) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In follow up to our review of Ecstasy: The Battle Of The Rave we have the pleasure of having the brilliant Chris Waburton and Ciaran Tracey on the show.Tune in to hear all about the team that brought the podcast together and gain insight into how the podcast was made. 

Hi great punk friends! On this episode of The Punk Roquette show I asked my friends Terry and Laura from the Riot Squad media, Sunday spins and Camp Punksylvania to be my co hosts and to choose all the RePUNKmmendations. We talked about all their amazing projects, how they met, how they got into punk rock and their current music tastes. They made great RePUNKmmendations for The What Nows?!, The Filthy Lowdown, Stolen Wheelchairs and Voodoo glow skulls. Enjoy and follow them! ...... If you want to financially support the show, you can help me on the Patreon page for exclusive content, on buy me a coffee plateforme or on Paypal, for a one time donation. Thank you so much! :) Patreon : https://www.patreon.com/Punkroquette https://www.buymeacoffee.com/Punkroquette Paypal : https://www.paypal.com/paypalme/punkroquette   Émilie:  IG https://www.instagram.com/punk_roquette Facebook : https://www.facebook.com/punkroquette   Email :  punkroquette@gmail.com https://punkroquetteshow.podbean.com   Sponsor: Epic Merch Store                  Website :  www.epicmerchstore.com                   IG : https://www.instagram.com/epicmerchstore                   FB : https://www.facebook.com/epicmerchstore   If you want to sponsor the show, write me a email, or send me a DM on social medias :)   EPISODE 20   Laura and Terry Riot Squad Media https://www.instagram.com/riotsquadmedia/?hl=fr https://www.facebook.com/riotsquadmedia https://www.youtube.com/channel/UC5LEqdLHFl6rNUde7PITtsA   Camp PUNKsylvania https://camppunksylvania.com/ https://www.instagram.com/camppunksylvania/?hl=fr   RePUNKmmendations The What Nows?! https://www.instagram.com/thewhatnows/?hl=fr https://www.facebook.com/TheWhatNows https://thewhatnows.bandcamp.com/ The Filthy Lowdown https://www.instagram.com/thefilthylowdown/?hl=fr https://www.facebook.com/thefilthylowdown https://thefilthylowdown.bandcamp.com/ Stolen wheelchairs https://www.instagram.com/stolenwheelchairs/?hl=fr https://www.facebook.com/StolenWheelchairs https://stolenwheelchairs.bandcamp.com/ Voodoo Glow skulls https://www.instagram.com/voodooglowskulls/?hl=fr https://www.facebook.com/voodoo.glow.skulls

The Rapid Response Team, a unit within the Portland police department, voted unanimously to resign on Wednesday during a meeting with the police union. This follows the criminal indictment of an officer for assault stemming from a riot in August 2020, sources within the police bureau told The Post Millennial.Officer Corey Budworth was on the Rapid Response Team, a group police officers that volunteer for the post, and are deployed to respond to riots, civil unrest, and demonstrations in Portland. Budworth was indicted and charged with one count of fourth degree assault, a misdemeanor by Multnomah District Attorney Mike Schmidt's office on Tuesday.On the night of August 18, 2020, Antifa militants threw a Molotov cocktail into the County Sheriff's Department Headquarters as the Rapid Response Team struggled to contain the riot.Join your host Sean Reynolds, owner of Summit Properties NW and Reynolds & Kline Appraisal as he takes a look at this developing topic.Support the show (https://buymeacoff.ee/seattlepodcast)

Pull the Pin Already (WAR ROOM Ep 20): Jim and Mike discuss various topics concerning specific situations in America today. PTPA talks about different topics from China's F-22 Jets flying off the coast of Hawaii, North Korea's possibility of having 50 nuclear weapons and Portland Police Officers resigning from the “Riot Squad”. What's your take on the opinions and concerns expressed during the show? Let them know by discussing your own views in the comments below. If you like what they have to say click the like button below and share this video with your friends. Don't forget to subscribe and hit the notification bell for future episodes. www.pullthepinalready.com VIDEO CHANNELS Youtube www.youtube.com/channel/UCfUOkihz4MloQUyWWYypPGw Rumble https://rumble.com/c/PullThePinAlready Bitchute https://www.bitchute.com/accounts/referral/pullthepinalready/ UGE tube https://ugetube.com/@Pull%20The%20Pin%20Already

1. Pro-Choice Catholics May Be Denied Communion 2. Reps. Oppose Juneteenth as ‘Independence Day' 3. Reps. Gohmert, Gaetz Want Answers From Feds 4. Portland Police's Entire “Riot Squad” Resigns 5. McCloskeys Plead Guilty: ‘I'll Do It Again'

1. Pro-Choice Catholics May Be Denied Communion 2. Reps. Oppose Juneteenth as ‘Independence Day' 3. Reps. Gohmert, Gaetz Want Answers From Feds 4. Portland Police's Entire “Riot Squad” Resigns 5. McCloskeys Plead Guilty: ‘I'll Do It Again'

YEAHHHHHHH, GOT A NEW SHOW FOR Y'ALL!! Hodgetwins discuss the "Entire Portland Riot Squad" resigning after officer's indictment. APPAREL // www.officialhodgetwins.com TOUR // https://www.hodgetwinstour.com YOUTUBE // www.youtube.com/c/ConservativeTwins --- Support this podcast: https://anchor.fm/hodgetwins/support

DDSA – WKRP / DMV car dealership.Porn star sword / Pursuit. Tory Carlon service.Noory / Portland Riot Squad resigns 50 officers.

Paul is back from holiday and is armed to the teeth with stories and even a new theme tune! You lucky people! Get ready for nine songs from The Drippers, UK Subs, Chron Gen, Punky Ruckus, Mose Allison, Nightwatchers, Resistance 77, Riot Squad and Los Chicos.Comedy Suburbs, The Voice Of Jeff, Punk and Disorderly, Charlie Harper, Tony has your Facebook comments, Airbrushing... Monkeyshine Airbrushing, Eurovision video, time travel, last week, week off work, Tony has a Drum kit, Paul went on holiday, big mistake, kids and dogs, From the Vaults, no gigs, donations, The Routes new bed, this week, learning drums, Ellis and Resistance 77, Riot Squad, no Izzatwat, Ragnarok, Sweet Tooth, it ain't right and a reminder of the ways you can listen.Song 1: The Drippers – Hammerless NailSong 2: UK Subs – Police StateSong 3: Chron Gen - OutlawSong 4: Punky Ruckus – Gotta SaySong 5: Mose Allison – Look HereSong 6: Nightwatchers – Common CrusadesSong 7: Resistance 77 – Join The ArmySong 8: Riot Squad – Society's FodderSong 9: Los Chicos – I Don't Wanna Learn Anymore

This week, Joshua Holland kicks off the show with a look at a new study that helps explain how disinformation spreads so much faster and further than real news. Then we're joined by Heather "Digby" Parton to talk about how the Democrats don't seem to have the sense of urgency about safeguarding American democracy that this moment calls for. And then The Intercept's Robert Mackey talks about his investigation into "The Riot Squad," an informal group of videographers who feed the right-wing media out-of-context and often selectively edited video to smear the overwhelmingly peaceful Movement for Black Lives as a violent threat.PlaylistMindless Drug Hoover: "The Reefer Song"Dan and Dan: "The Daily Mail Song"Bill Bailey: "I'm Going To Kill You So I Can Ignore You In Heaven" 

Listen and subscribe at www.JustProWrestlingNews.com I'm Michael Sorg and this is JUST Pro Wrestling News for Saturday, May 29, 2021. Matt Carlins in on holiday. A special welcome to those of you listening on WrestleMap.com. If you want to bring our updates to your website...email us: desk@justprowrestlingnews.com. (STINGER: AEW) AEW's Double Or Nothing pay per view is Sunday night. There are FIVE title matches on the card. Kenny Omega defends the AEW Championship in a 3-Way...against Pac and Orange Cassidy. Dr. Britt Baker looks to end Hikaru Shida's one-year reign as AEW Women's Champion. Jon Moxley & Eddie Kingston challenge the Young Bucks for the AEW Tag Titles. Miro puts his TNT Championship on the line against Lance Archer. Plus, Serena Deeb will defend the NWA Women's World Championship on the “Buy In” pre-show...against Riho. Also on show...The Inner Circle vs. The Pinnacle in a Stadium Stampede. If The Inner Circle loses, they must disband. Sting & Darby Allin team up against Scorpio Sky & Ethan Page...Cody Rhodes faces Anthony Ogogo...and Hangman Page goes one-on-one with Brian Cage. On Friday Night Dynamite in front of a seemingly full capacity Daly's Place saw Darby Allin over Cezar Bononi in the opening match followed by Dark Order saving Sting and Darby from an attack by Page and Sky. Paul Wight hosted a weigh in for Anthony Ogogo vs Cody Rhodes, which didn't end in physicality. Hangman Page defeated Joey Janela followed by a face to face with Page and Cage where Page asked for a one on one without Team Taz Jade Cargill defeated her challenger KiLynn King but also took on her official new manager Mark Sterling. Miro successfully defended the TNT title against Dante Martin Dark Order's Evil Uno & Stu Grayson fell to Ethan Page & Scorpio Sky before being attacked by an ARMY of STINGS! The Inner Circle Celebration ended with the group being lured into an ambush by The Pinnacle who had kidnapped Dean Malenko! Shaquille O'Neal says he will wrestle again…”this summer”. He made the comment during Thursday's “NBA on TNT” broadcast. (STINGER: WWE) WWE has a date set for SummerSlam. It'll be held on a SATURDAY - August 21st. The location is being kept under wraps...for now. WWE says it'll be revealed next Saturday...on NBC...during the Belmont Stakes' pre-race show. The SummerSlam announcement was part of a big release of dates and locations for live WWE events over the summer. Some are non-televised “Supershows”. There are also Raw dates now set for Chicago...Orlando..San Antonio...San Diego...Oklahoma City...and Miami. As well as SmackDown dates in Tampa...Tulsa, Oklahoma...Phoenix...Little Rock, Arkansas...and Jacksonville. Tickets go on sale on Friday, June 11th. On Smackdown Friday night… The reunited Usos defeated the Street Profits Natalia & Tamina beat Riot Squad in a non-title match Bianca Bellaire defeated Carmella with Bayley on commentary Keven Owens nearly beat Intercontinental Champion Apollo Crews before interference by General Aziz Nakamura defeated Chad Gable and narrowly avoided losing his crown back to Baron Corbin thanks to Rick Boogs Dominik Mysterio defended the Smackdown Tag Team Championship solo against Ziggler and Roode after an apparent attack on Rey Mysterio during the break . Rey came out to distract for the win and retain. The Usos are now set to challenge for the championships next week on Smackdown. (STINGER: New Japan) On Friday's New Japan Strong, Recent Dojo graduate Clark Connors defeated AJZ El Phantasmo defeated Wheeler Yuta Strong Openweight Champion Tom Lawler successfully defended against Chris Dickenson And finally, Due to the extension to the State of Emergency, nd requests to limit weekend events, in the Osaka, a, Dominion in Osaka Jo Hall has been postponed to Monday June 7 That's JUST Pro Wrestling News for Saturday, May 29. Please rate, review, subscribe and hit that notification bell so you don't miss our next update. I'm Mike Sorg. Thank YOU for listening. ~Full run down at www.justprowrestlingnews.com ~ • • • • • wwe #wrestling #prowrestling #smackdown #wwenetwork #wweraw #romanreigns #ajstyles #NXT #raw #njpw #wwenxt #SethRollins #TNA #johncena #RandyOrton #wrestlemania #ROH #WWF #summerslam #tripleh #aewdynamite #professionalwrestling #aew #allelitewrestling #aewontnt #DeanAmbrose #nxt #KevinOwens #wwesmackdown 

Listen and subscribe at www.JustProWrestlingNews.com I'm Michael Sorg and this is JUST Pro Wrestling News for Saturday, May 29, 2021. Matt Carlins in on holiday. A special welcome to those of you listening on WrestleMap.com. If you want to bring our updates to your website...email us: desk@justprowrestlingnews.com. (STINGER: AEW) AEW's Double Or Nothing pay per view is Sunday night. There are FIVE title matches on the card. Kenny Omega defends the AEW Championship in a 3-Way...against Pac and Orange Cassidy. Dr. Britt Baker looks to end Hikaru Shida's one-year reign as AEW Women's Champion. Jon Moxley & Eddie Kingston challenge the Young Bucks for the AEW Tag Titles. Miro puts his TNT Championship on the line against Lance Archer. Plus, Serena Deeb will defend the NWA Women's World Championship on the “Buy In” pre-show...against Riho. Also on show...The Inner Circle vs. The Pinnacle in a Stadium Stampede. If The Inner Circle loses, they must disband. Sting & Darby Allin team up against Scorpio Sky & Ethan Page...Cody Rhodes faces Anthony Ogogo...and Hangman Page goes one-on-one with Brian Cage. On Friday Night Dynamite in front of a seemingly full capacity Daly's Place saw Darby Allin over Cezar Bononi in the opening match followed by Dark Order saving Sting and Darby from an attack by Page and Sky. Paul Wight hosted a weigh in for Anthony Ogogo vs Cody Rhodes, which didn't end in physicality. Hangman Page defeated Joey Janela followed by a face to face with Page and Cage where Page asked for a one on one without Team Taz Jade Cargill defeated her challenger KiLynn King but also took on her official new manager Mark Sterling. Miro successfully defended the TNT title against Dante Martin Dark Order's Evil Uno & Stu Grayson fell to Ethan Page & Scorpio Sky before being attacked by an ARMY of STINGS! The Inner Circle Celebration ended with the group being lured into an ambush by The Pinnacle who had kidnapped Dean Malenko! Shaquille O'Neal says he will wrestle again…”this summer”. He made the comment during Thursday's “NBA on TNT” broadcast. (STINGER: WWE) WWE has a date set for SummerSlam. It'll be held on a SATURDAY - August 21st. The location is being kept under wraps...for now. WWE says it'll be revealed next Saturday...on NBC...during the Belmont Stakes' pre-race show. The SummerSlam announcement was part of a big release of dates and locations for live WWE events over the summer. Some are non-televised “Supershows”. There are also Raw dates now set for Chicago...Orlando..San Antonio...San Diego...Oklahoma City...and Miami. As well as SmackDown dates in Tampa...Tulsa, Oklahoma...Phoenix...Little Rock, Arkansas...and Jacksonville. Tickets go on sale on Friday, June 11th. On Smackdown Friday night… The reunited Usos defeated the Street Profits Natalia & Tamina beat Riot Squad in a non-title match Bianca Bellaire defeated Carmella with Bayley on commentary Keven Owens nearly beat Intercontinental Champion Apollo Crews before interference by General Aziz Nakamura defeated Chad Gable and narrowly avoided losing his crown back to Baron Corbin thanks to Rick Boogs Dominik Mysterio defended the Smackdown Tag Team Championship solo against Ziggler and Roode after an apparent attack on Rey Mysterio during the break . Rey came out to distract for the win and retain. The Usos are now set to challenge for the championships next week on Smackdown. (STINGER: New Japan) On Friday's New Japan Strong, Recent Dojo graduate Clark Connors defeated AJZ El Phantasmo defeated Wheeler Yuta Strong Openweight Champion Tom Lawler successfully defended against Chris Dickenson And finally, Due to the extension to the State of Emergency, nd requests to limit weekend events, in the Osaka, a, Dominion in Osaka Jo Hall has been postponed to Monday June 7 That's JUST Pro Wrestling News for Saturday, May 29. Please rate, review, subscribe and hit that notification bell so you don't miss our next update. I'm Mike Sorg. Thank YOU for listening. ~~~Full run down at www.justprowrestlingnews.com ~~~ • • • • • wwe #wrestling #prowrestling #smackdown #wwenetwork #wweraw #romanreigns #ajstyles #NXT #raw #njpw #wwenxt #SethRollins #TNA #johncena #RandyOrton #wrestlemania #ROH #WWF #summerslam #tripleh #aewdynamite #professionalwrestling #aew #allelitewrestling #aewontnt #DeanAmbrose #nxt #KevinOwens #wwesmackdown 

Dr. Karlyn B joins me to run down the current state of affairs, including a new phrase the liberal media loves and developments on state sanctioned racism. We're going to talk about Cacti to lighten the mood a bit. - Support me & my work -

Support me & my work -

What do Acid house, police riots and car convoys have in common?,,, How ecstasy changed the club scene in the UK in the 1980s.Tune in this week as Ollie introduces James to a podcast that explores how a group of lives was changed forever when Ecstasy and Acid House first swept Britain, with Ecstasy The Battle Of The Rave. Brought to us by BBC Radio 5 Live, The producers have decided to tell that tale in two ways. First, a six-part documentary (plus a bonus episode), hosted by 5 Live’s Chris Warburton. Second, five monologues written by Danny Brocklehurst. Hear all the reasons you need to get around this podcast ASAP.

Today the boys talk about riots, nicknames and going bald

Hello! This episode I have Laura and Terry from Riot Squad Media and Camp Punksylvania! Make sure to buy your tickets to Camp Punksylvania. It will be taking place September 9-12th 2021.  Go to https://camppunksylvania.com/ to buy tickets. Art by Kat Lanser hatemail.bigcartel.com https://www.instagram.com/_hatemail_ Animation by Bradley Thomas Turner http://bradleythomasturner.com/ https://www.instagram.com/bradleythomasturner/ Music by Brady Turner https://www.bradyturnermusic.com/ https://www.instagram.com/bradyturnermusic You Had Options socials https://www.instagram.com/youhadoptions https://www.twitter.com/youhadoptions youhadoptions@gmail.com  

The Sisters kick things off with a roundtable discussion focusing on the do's and don'ts of rebranding. This episode's guests have a lot of experience in this arena, Terry Smith and Laura Rose from Riot Squad Media join the conversation to chat about their insights on the topic. As previous hosts of Punksylvania, they authentically and transparently dig into how they crossed over into their new platform. They also talk about how their DIY female empowered collective / media firm provides a lot of PR, promotion, and support to punk musicians globally through their podcast as well as other Riot Squad branded outlets. Their fresh and polished new format is not only celebrated, but needed in a time where so many currently feel musically disconnected. There are talks of Camp Punksylvania, ghosts, females lifting each other up, how to collaborate in a long distance working relationship, Canada's take on Trump, plus what type of sandwiches, and poutine they would be. To say many laughs and virtual hugs were had is an understatement. All this and more, on this riot-of-an-episode of the Sound Sisters podcast. Music by KRANG and Tsunami Bomb

The super talented duo, Laura and Terry from Riot Squad Media talk with Trev about their website RiotSquadMedia.com, their podcast Sound the Alarm, Sunday Spin, and Record Label Exclusives. All found on the Riot Squad Media Youtube Channel, What brought them together,  Punksylvania, and so much more! On Saturday, February 20th Riot Squad media has a record label exclusive with Thousand Islands Records. Be sure to save the date and check that out as well as Their Podcast Sound the Alarm, and the Sunday Spin on their Youtube channelFor more on what they  have going on and services they can provide head to their  Website: Riotsquadmedia.comFollow Riot Squad Media on Social media:IG:  @RiotsquadmediaFacebook: Riot Squad MediaGetPunk.com The internets best source for punk vinyl Use the offer code STRUGGLE at check out for 10% off your order

Jeremy "The Impact" York is BACK for Season 2 of Strong Style where he STILL brings you his unique takes from one of his favorite sports AND topics: Pro Wrestling and MMA! Join him each week as he breaks down all the big action, interviews, craziness and more from WWE, AEW, Impact Wrestling, NJPW, RoH, WOW, UFC, Bellator and so much more! On the 14th episode of Season 2, Jeremy reacts to the HUGE fights on UFC 257, explains how Alexa Bliss is carrying a major storyline while not even being a feature player in it, tries his shot at predicting the 155 lb division title picture in UFC, PLUS he states his case for why "matches" like the Fight Pit are not needed!!! BONUS: He previews WWE's Royal Rumber (including his picks)!!! Special shoutouts to Alexa Bliss, The Riot Squad and Marina Rodriguez! PLUS he discusses the week that was for WWE, Impact Wrestling, Ring of Honor and AEW PLUS his breakdown of all the great UFC and Bellator action! Lace up your boots, walk through the curtain and take in the (virtual) crowd: YOUR match is next on Strong Style!

Behind the Scenes with Genesis'88 | Acid House 1989Genesis'88 staged three illegal parties in Ferry Lane, North London. The first epic party was on the 11th February 1989 and the last a few weeks later. Numerous waypoints worthy of note have been documented including fronting two police captains, standing up against two police riot squads, and staring down the barrel of a robbers gun. This is also the night their full security team demanded a cut of profits from then onwards otherwise they'd take the nights takings and leave. Thousands of people attended the events, many later commented on how their lives are transformed by Genesis'88 events.Host: Wayne Anthony (Genesis'88 / Class of 88 Author)In This Episode*   Genesis'88 & Sunrise 14th January 1989*   Genesis'88 11th February 1989*   Finding and Blagging Warehouses*   Producing Fake Leases From Estate Agent Letter Leaded Paper*   Gangster Lee (RIP) Types Up The Fake Leases*   Traffic Strategy for Ensuring Cars Reach the Venue *   Staging Genesis'88 Parties Every Week for Months*   Sunrise Tony Threatened By East Enders*   Chapter of Chapters Flyer*   Meeting Warehouse Owner Ten Years Later*   Wag Club - Gerry (Mini Cab Operator) *   Meeting WD Cab Driver (Wizard Sparky)*   Arriving on Night of Party (No Power in Building)*   Hiring Lasers for First Time*   Gurkhan (RIP) Story*   Fronting Police Captains & Riot Squads *   The Fiat 126 Story*   Folks Start Arriving at Meeting Points*   1st Police Captain Arrives - Interrogates Wayne *   Carlton Leech (Rise of Foot Soldier) First E   *   Security Demand 25% of Profits*   Yardies Attempted Armed Robbery*   Collaborating With Acid House Heavyweights*   Crashing Aerodrome on Ferry Lane*   Biology Stage First Event Same Night as Genesis'88*   Second Police Captain Arrives with Riot Squad*   And Much MoreSupporting the PodcastWe have only recently launched the video and audio podcast, which means we really need the support of our viewers and listeners. The team will provide high quality interviews at every endeavour. Once published we kindly ask YOU to help share the message. This is accomplished in the following ways. Tell everyone that will listen about the podcast. LIKE the posts wherever you see them. Leave a REVIEW and COMMENT, let us know how we're doing. It's important that you SUBSCRIBE to our Youtube Channel. SIGN UP for our newsletter, we don't spam. FOLLOW us on Social Media and SHARE, COMMENT. If you own a website feel free to EMBED our videos. We need YOUR help to grow, do it now before you forget. THANK YOU Our NetworkWebsite: http://theeightyeightpodcast.com/
Youtube Channel: https://www.youtube.com/c/TheEightyEightPodcast Instagram: https://www.instagram.com/the88podcast/
Twitter: https://twitter.com/The88Podcast
Facebook: https://www.facebook.com/Theeightyeightpodcast/Support this podcast at — https://redcircle.com/the-eighty-eight-podcast-introduction-00/donations

LeadingJoseph "Jopet" Dela Cruz was born and raised in Houston, TX and started dancing at the age of 12. He is graduate of the University of Houston, and was a member of the UH's Filipino Student Association (UHFSA), where he co-codirected the Modern Dance team. Jopet started his dance journey at the age of 12 and idolized his hometown heroes of Wyld Styl and Soreal. Since then, he has danced with Riot Squad, Wyld Styl, Sandlot, UHFSA's Modern Dance Team, and now Galing. He currently works as a Data Analyst and co-directs a Houston dance team called Galing that is housed by the one and only Soundbox Studios. Jopet is also one of the teachers at Soundbox. Outside of dance, Jopet likes to stay active by playing sports such as basketball, tennis, or even just doing a 5K around his neighborhood. He's a firm believer that health is wealth, and does his best to take care of his mind, body and spirit. #OfLikeMindsPodcast #Lifestyle #Dance Intro.: 0:00 Checking in.: 0:28 Workout for the day.: 0:44 Where do you workout during covid?: 1:54 Adjustment wearing a mask while working out?: 8:26 Sedentary lifestyle.: 9:55 Taking care of our bodies.: 12:35 Work flexibility with working out.: 15:19 Minimalist approach and lifestyle.: 17:57 Applying minimalism to other aspects (shoes, hats).: 23:07 A shoe connection.: 24:15 How you got into basketball?: 27:45 Describing your gameplay to a pro baller.: 31:23 Background and how you started dancing?: 35:33 Transitioning into a leadership position.: 45:40 Leading, directing and managing a group during covid?: 53:23 Outlook on the world in the near future?: 1:00:09 What would you say to your thirteen-year-old self?: 1:05:12

Issue # 157... 2020 Survivor Series Review Host Casey Corbin is joined by Big 4 review regular Jeff McEnery as the two of them break down the annual Thanksgiving classic, Survivor Series. We talk about each of the matches as we remember them. RAW Vs. SmackDown male 5 on 5. New Day vs. Street Profits. Auska vs Sasha Banks. We will also talk about Rick Martel for no reason. As well as the women's 5 on 5. Will Lana go through another table? Will there be a Sara Logan run in that would lead to a Riot Squad reunion. In the battle of heavyweights, find out which champ will rule...Drew McIntyre or Roman Reigns, not to mention the final appearance of the Undertaker. All this and so much more. So spend a bit with us hear on Talk'N Wrestling, where wrestling and comedy collide!!

Tim and Lydia host Shelby Talcott (@ShelbyTalcott on Twitter), Jorge Ventura (@VenturaReport on Twitter) and Richie McGinniss (@RichieMcGinniss on Twitter) to discuss the recent experiences Shelby, Jorge, and Richie had at protests, including arrests, being hit by less-than-lethal munitions, being held at gunpoint, and firsthand witnessing the Kenosha event. Support the show (http://Timcast.com/donate)

@only1tonid and I give our thoughts on the multiple women feuds in WWE from non title feuds like Bianca vs Zelina, Sonya vs Lacey, Rhea vs Mercedes. We also discuss our issues with Riot Squad underwhelming reunion, Toni tweet about Bayley vs Asuka/ Sasha vs Bayley, and Io moonsault being a reckless mess lately --- Support this podcast: https://anchor.fm/tpa-pettiestboss/support

On this episode of Wrestling Talk, we analyze so much on what was happening on this past week shows.  We started off with Monday Night Raw and happy for the return of the Riot Squad.  We then moved over to Tuesday with Impact Wrestling where the TNA Championship Title was up against Moose and Heath, with Heath finally getting a Impact contract if he wins.  Wednesday didnt let us down with NXT kicking out a guest commentator, and AEW having a kick ass debate with a special guest moderator.  Friday Night Smackdown ended in what can only be described as RETRIBUTION.  We talk about it all and ask you to join the conversation by using #vegasbadboyzofpodcasting. We also just released our new APP on iOS and Android, just search Vegas Bad Boyz. Last, dont forget to SUBSCRIBE . DOWNLOAD . LISTEN . SHARE!

So much happened this week in the wrestling and the Get Cho boys are here to cover it in episode 68. We give our mixed reactions on Raw Underground, Drew McIntyre’s authentic promo on Randy Orton, Montez Ford passing out and the Riot Squad reuniting. For AEW, we had to talk about Sammy Guevara’s botch that led to Matt Hardy’s stitches, Cody Rhodes putting everyone over, Matt Cardona’s debut and a great match between John Moxley and Darby Allin. We wrap up the wrestling haps with NXT where we bag on Karrion Kross’ video, Dakota Kai’s win and so much more. In honor of the women carrying the WWE brand, we do a women’s basketball team draft in light of the NBA restart. Follow us on Twitter and Instagram @Getchopodcast. Enjoy, y’all! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/Getchopodcast/message

Hello everyone and welcome to another episode of The Four Jobbers! This week The Jobbers recap a crazy episode of Monday Night Raw! Including their thoughts on Raw Underground, Drew McIntyre Vs Randy Orton, Mr. Nice Kevin Owens, Riot Squad, Sasha & Bayley, and more! They also dive into Jason's jobber homework of the week "Who are your Top 4 Favorite Female Wrestlers of all-time?"! We would love to hear who your Top 4 Favorite Female Wrestlers of all-time are! hello@TheFourJobbers.com @thefourjobbers @GingerHeat @TheyHateJason @AtRyanW @JordanDeaves Vegan Daddy

My podcast is doing VERY well! Thank you for downloading, listening on Podbean, iTunes, and wherever good podcasts are found. I love doing this work. Obscure music is a passion of mine.    Billy Bossman - Up The Road (1965) Junco Partner rip-off The Bompers - Do The Bomp (1965) Written by Carol Connors and Roger Christian The Creations IV - Dancin' In The Sand (1965) Featured in an episode of the Flintstones, this was the work of studio musicians including  Larry Goldberg, the man entrusted to run the label's rock output. Also likely to be involved from the start was Danny Hutton, later of the Three Dog Night. Jean King - Watermelon Man (1966) Taken from her live-in-the-studio HBR long-player "Sings For The In-Crowd". Recent pro-draft duo Jan & Dean are among those supplying the live ambiance. Kenny Rogers and the First Edition - Calico Silver (1972)  Kenny Rogers and the First Edition - Elvira (1970) Later, a massive hit for long-time gospel group The Statler Brothers.  Skafish - Sign Of The Cross (rarely heard studio version) (1976) Jim Skafish on Facebook: "When I wrote Sign of the Cross in 1976, it was the first blatantly sacrilegious rock song in history. I was rebelling against a lifetime of religious abuse. The recording most of you know of the song is from the concert film Urgh! A Music War! You might also like the first known live recording of the song at this time, which is from my 21st birthday party concert in Chicago! The intensity is otherwordly! Get bonus points for blasting it on Sundays!" This reporter opines that the live version you know from Urgh! A Music War kicks this version's ass.  Kenny Rogers and the First Edition - Tell It All, Brother (1970)  Kenneth Rogers - That Crazy Feeling (1958)  Kenny Rogers and the First Edition - Dirty Work (1974) A pretty awful version of the Becker/Fagen classic sound-wise, I know. But it speaks to KR's band's attempts to broaden their audience before ol' KR split for greener pastures.  Kenny Rogers and the First Edition - Lena Lookie (1973) Almost prog! Jimmy Ellis (aka Orion) & "Carl Perkins" - Matchbox (1975)  The Carl Perkins recording was probably way before Orion came to Sun Studios and "duetted" with Perkins. I did a whole show segment of a previous show on Orion and his "duet" with Jerry Lee Lewis.  Murray's Monkeys - Gipsy [sp] (1966) Songwriter Mitch Murray and his group.  Scatman Crothers - What's A Nice Kid Like You Doing In A Place Like This? (1966) Airing in March '66 on ABC, "The New Alice In Wonderland" was an animated special featuring Sammy Davis Jr. among its stellar voiceover cast. When Davis couldn't be secured for the soundtrack LP, veteran actor/musician Crothers took his place as the Cheshire Cat on the only track to see release on a 45. Simon T. Stokes - Big City Blues (1966)  The First Edition - Marsha 2 AM (1967) The Riot Squad  - I Take It That We're Thru (1966) Featuring Joe Meek of Telstar fame.  The WC Fields Memorial Electric String Band -Hippy Elevator Operator (1966) Oh to be a record collector in the late '60s.  Thema Camacho - Take Me To The River (1980)  Charlie Ross - Without Your Love (Mr. Jordan) (1976) The Guess Who? - Flying On The Ground Is Wrong (1967) Sylvester & The Hot Band - Southern Man (1973) Burson Enterprise - Mr. Soul (1968)  

On this brand new episode of Retrocade we talk about plenty glorious topics, including the state of the world, Dave Chappelle 8:46, Pete Davidson's The King of Staten Island, the Kenner Classics Ghostbusters figures, video games including the Pokemon Snap remake, Jerry Stiller's passing and more. Join us!

Brian Davies speaks to Keep Cardiff Live about The Cardiff and London Music scene of The Swinging Sixties, The Riot Squad, Playing with Dave Edmunds, The famous Flamingo Club in London and what really happened at Cardiff's Capitol Theatre The night of that Famous Kinks Bust up. http://www.numberonemusic.com/briandaviesmariaholiday

Sunday's Elimination Chamber is the final event before WrestleMania.  The match cards may not be the all star line-up but it has a strong impact on the road to WrestleMania.  Here are the following match cards:Daniel Bryan vs Drew Gulak - This has a potential kickoff show match.There is a saying, “If you talk smack, you better back it up.”  Or, “Put your money where your mouth is.” For Gulak, he better do something about it or he may find himself gone.  Since Bryan's loss to the Fiend, Gulak has been taunting Bryan stating he has a 100 PowerPoint pages that makes Bryan vulnerable to lose matches.  If so, could Gulak win this match?  I do not think so.  Gulak has not wrestled since February 14.  He is on a total 13 match losing streak.  One of those losses was to Lio Rush, losing the NXT Cruiserweight title.  Prediction:Ovi - Daniel BryanHector - Daniel BryanTyler - Daniel BryanAJ Styles vs Aleister Black - No Disqualification MatchThe OC did a number on Black simply because of a stipulation contract on Styles part.  Black had to compete with each member of the OC in order to have a match with Styles.  Black was successful but did not have enough stamina by the time he had the match with Styles.  Hopefully we will get to see a one-on-one match.  However, this is a no DQ match so this is an unfair advantage for Black. Could we see the Undertaker take down Styles and point at the WrestleMania board for an official match between them?  I hope so.Prediction:Ovi - Aleister Black with Undertaker to the rescueHector - Aleister BlackTyler - AJ StylesAndrade (C) vs Humberto Carrillo - United States ChampionshipThis will be their sixth meeting in a singles competition.  It will be the third time for the United States Championship.  Carrillo finally pinned Andrade in a tag team match and now finds himself with momentum coming in to the match.  Andrade returned at Super Showdown from a 30-day suspension.  Since his return, he has not looked the same.  Either he was rusty, travel issues, or maybe we have seen Angel Garza outshining him in the ring.  Regardless, Carrillo is on fire and has been active throughout Andrade's absence.  This has a potential upset.  Prediction:Ovi - Humberto CarrilloHector - AndradeTyler - AndradeStreet Profits (C) vs Seth Rollins and Buddy Murphy - RAW Tag Team ChampionshipThe Street Profits had assistance with all the distractions in the ring to allow them pick up the victory and become tag team champions.  The rematch will be very interesting to see if the scenario would repeat itself again.  Rollins was pinned by Ford thanks to Kevin Owens stunner.  Tonight, Murphy will be pinned, at least that is my prediction.Prediction:Ovi - Street ProfitsHector - Street ProfitsTyler - Street ProfitsBraun Strowman (C) vs Shinsuke Nakamura, Cesaro, and Sami Zayn - Intercontinental Championship Handicap MatchThe Intercontinental Title is finally on the line but what value does it have when it is a handicap match?  Never in history have we seen three men as Intercontinental Champion.  I do not believe we will see it either.  This match is predictable and an unanimous vote is in play.  Prediction:Ovi - Braun StrowmanHector - Braun StromanTyler - Braun StrowmanElimination Chamber Match for Smackdown Tag Team ChampionshipsThe Miz and John Morrison (C) The UsosThe New DayHeavy MachineryDolph Ziggler/Robert RoodeLucha House PartyThis match may be the craziness of them all.  I expect high-flying, acrobatic maneuvers, and maybe some bloodshed as theses tag team superstars will give it their all to make a point that the Elimination Chamber is worth watching. The Miz and John Morrison will be defending their titles for the first time.  They lost to the Usos and did not last long in the gauntlet match with Heavy Machinery.  They are still the favorites to win but would they actually win and still celebrate with their HEY HEY HO HO chants. The Usos bring charisma and superb in-ring performance in the chamber.  They are former champions and seek to retake the titles.  The New Day lost the titles at Super Showdown.  They hope to retake the titles as well.Heavy Machinery would have won the gauntlet match if it were not for the Miz/Morrison sore losing attitude beatdown after the elimination.  Ziggler/Roode will be the last entry in the Chamber.  With no effort needed, they eliminated Heavy Machinery for the win.  Otis and Ziggler have history and we can see these two finally go at it in the chamber.  The Broken-Hearted Soul vs The CockBlocker.  Prediction: Ovi - Miz/MorrisonHector - Miz/MorrisonTyler - The UsosElimination Chamber Match for RAW Women's Championship Number One ContenderShayna BaszlerNatalyaLiv MorganAsukaRuby RiottSarah LoganThe winner of this match will go on to face Becky Lynch for the RAW Women's Championship.  The best superstar to win should be Shayna Baszler.  It would make sense since she attacked and bit Lynch.  Lynch has not been able to solve her problems with her. Rumor has it that Vince McMahon is not happy with Baszler's performance.  It is not the same energy as being in NXT. Would this be a trick to have the WWE Universe in suspense?  Who knows!Natalya is best for making others be better at their game.  She is a former champion and there is no storyline with anyone in the ring for her.  Liv Morgan, Ruby Riott and Sarah Logan have their issues.  The three were the former Riot Squad.  Since FOX took over Smackdown, the three split and Liv somehow changed her ways.  The three deserve each other in a Fatal-three-way match in the future.  But in this match, Liv might have the last laugh between them.  Asuka is one half of the tag team champion. She has lost two consecutive times against Lynch that it seems improbable to have her win and challenge Lynch again.  Prediction:Ovi - Shayna BaszlerHector - Shayna BaszlerTyler - Shayna Baszler

Josh and Lachie speak to Josh Stevenson from Around The Bloc about policing at the Sydney Derby, including allegations of assault and heavy-handed tactics by the Riot Squad. Plus, Pete Nowakowski, Technical Assistant to the Australian Deaf Football Team, joins us to discuss their preparations for the World Championships in September, and how helping coach a hearing-impaired squad has made him a better coach.

Josh and Lachie speak to Josh Stevenson from Around The Bloc about policing at the Sydney Derby, including allegations of assault and heavy-handed tactics by the Riot Squad.

Talking points include:- The basic (and BIG) mistakes people make when raising funds- When to squeeze your nearest and dearest and when to go wider- How to prove your worth and build your value in the eyes of donors- The critical difference between intention and action- How crowdfunding validates actions- Keeping your community engagedWant more? Explore live projects and start your own on StartSomeGood: https://startsomegood.com/Skill up with their Good Hustle program: https://www.goodhustle.online/.Join the Riot Squad:https://www.richbrophy.com/riot-squad-join

Talking points include:- An introduction to three approaches to activism: Revolution, Reform and Withdrawal- The challenges and opportunities for Revolution- Using reform as a stepping stone for bigger change- The strategy of Withdrawal- How comedy, theatre and parody can create cut through- How to mix spectacle and ideology- Policy vs agitationWant more?Check out Nick's work on The Conversation: https://theconversation.com/profiles/nick-pendergrast-5089Join the Riot Squad:https://www.richbrophy.com/riot-squad-join

Another laid back Sunday show, and our last show before the December madness. So, whip out those air pods, pick your favourite superlative and funk on down to nine songs from Danny Cleaver, Spanking Charlene, Gino And The Goons, Pi$$er, MFC Chicken, L.O.A.D, Crash Induction, Sugarwolf and C R Dicks.Poetry Corner, Nesclaimer, Tony has your Facebook comments, last week, Bryan Ferry, house parties, From the Vaults, cigars, Tony's International Gig Guide, Riot Squad, Luke Puke, Concrete Punx gig, L.O.A.D, this week, Roofgate, Forest v Cardiff, Apocalypse Babys recording, Izzatwat, it is all Nes's fault and a reminder of the ways you can listen.Song 1: Danny Cleaver – Circling The DrainSong 2: Spanking Charlene – Find Me OutSong 3: Gino And The Goons – She Said NoSong 4: Pi$$er – The Lie Is As Good As The MedicineSong 5: MFC Chicken – Wine, Women And Rock & RollSong 6: L.O.A.D. – Working ManSong 7: Crash induction - LadyshaveSong 8: Sugarwolf – Scared of The DarkSong 9: C R Dicks – Skate 2 Die

Talking Points include: - Understanding the VUCA forces - How (and why) leadership has changed - What makes great teams tick - Key characteristics of modern leaders - A simple formula for leading through VUCA - Questions every leader should ask themselves daily Want more? Join the Riot Squad

Talking points include:Using your instincts to pick the right issueScoping out the problem spaceTesting your problem with peoplePicking your momentCommitting for the long road and when to try something newWant more?Learn more (and join) GetUp! via their websiteJoin the Riot Squad

Talking Points- How viral movements actually get started- Setting yourself up for success- Reacting and responding as things start to go viral- Spotting the cultural trends- Capitalising on social media mechanics- Empowering followers- Evolving your cause- Leveraging your networkWant more?Check out the DIY Rainbow PageJoin the Riot Squad.

Talking PointsCreating a unified message for your movementArticulating demands for politiciansUsing the media to amplify your messageStaying strong as a teamStaying on top of protest logisticsBuilding and maintaining partnerships with related NGO’s and activist groups.Want more?Check out the SchoolsStrike4Climate pageJoin the Riot Squad.

In this week's episode members of the L.A Riot Squad, an LA Galaxy Soccer Supporter Group, join in on the conversation to talk about the origins of their group, the passion for supporting their home team, and what it means to be part of a collective group that helps bring people together. ***** Music: Foreign/National - Mr. Unlucky --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/social-primate-podcast/support

1. Brian Fletcher tells us what the Bubble is like, why the Riot Squad was called and Nathan Hindmarsh's unique grooming technique. 2. Barmy Army are back with the Ashes around the corner now that Smith and Warner are clear to play. 3. Michael Bridges talks us through the Premier League and who he thinks will win and also the AMAZING week that was in Champions League football. 4. What did I miss?

The Vape Show is your weekly dose of vaping news, previews & reviews delivered as a irreverent talkshow. We also do weekly giveaways on YouTube, so be sure to subscribe and follow us across social media. YouTube: https://www.youtube.com/TheVapeShow Facebook: https://www.facebook.com/TheVapeShow Instagram: https://www.instagram.com/vapepodcast/ Twitter: https://twitter.com/VapePodcast For more info on the products featured: Innokin Zlide https://www.flavourvapour.co.uk/categories/details/innokin-zlide-tank/2204/ VooPoo Drag Mini https://www.flavourvapour.co.uk/categories/details/voopoo-drag-mini-mod/2210/ Riot Squad Bang Juice https://www.flavourvapour.co.uk/brands/riot-squad-e-liquid/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

The Vape Show #4 - Featuring The VooPoo Drag Mini, Riot Squad & Living With The Nautilus AIO The Vape Show is your weekly dose of vaping news, previews & reviews delivered as a irreverent talkshow. We also do weekly giveaways on YouTube, so be sure to subscribe and follow us across social media. YouTube: https://www.youtube.com/TheVapeShow Facebook: https://www.facebook.com/TheVapeShow Instagram: https://www.instagram.com/vapepodcast/ Twitter: https://twitter.com/VapePodcast For more info on the products featured: https://www.flavourvapour.co.uk --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In this Episode Pinky and Perky (that’s Bob and Marc to you) dig deep into the Underground. The Velvet Underground. Only to discover the whimsical David Bowie currently ensconced in the world of the Laughing Gnome had gone ‘rogue’ with his Lou Reed inspired alter-ego! Here we see David as an unsure bohemian artist heading up the slightly bewildered Riot Squad outfit. It wouldn’t last. His friendship with Lou Reed however…would.As well as continuing the podcast journey from A to Z you can also immerse yourself in more Bowie related interviews, quizzes, and filmed pieces at our exclusive members club called "Cheap Things", simply by following the link www.patreon.com/cheapthings See acast.com/privacy for privacy and opt-out information.

Robbe recently wrote a compelling piece for Runner's World Magazine about an curios observation noticed while on Strava.  The story was inspired by a book he'd just finished reading entitled "Not In My Neighborhood" written by Antero Pietila.  Pietila spent 35years with the Baltimore Sun.  "Baltimore is the setting for (and typifies) one of the most penetrating examinations of bigotry and residential segregation every published in the United States".   While viewing the city on Strava he was amazed to see the White L and Black Butterfly a phrase coined by  Morgan State Assistant Lawrence Brown.  "Baltimore's so segregated, even Strava shows it.  These runners want to change that". Robbe is part of the Faster Bastards a running crew based in Baltimore that runs along the Baltimore harbor and other parts of the city with the RIOT Squad and the Black Running Organization. --- Support this podcast: https://anchor.fm/derek-oxley/support

Extreme Rules Review! Lashley VS Roman for SummerSlam Title match vs Brock Lesner Is Shasha VS Bayley a love story? Rhonda Rosey gets SS Title shot WTF IS WITH THE MAKEUP Ember moon and Riot Squad are stuck in limbo Jeff Hardy & Nakumara have chemistry The Viper is back RKO! Cien Almas gets push from AJ Styles Becky Lynch continues to win and calls out Division R Truth cameo with Tye Dillinger Joe Kills Tye Dillinger The Miz has Team Hell No funeral and Daniel Bryan kicks his ass Kofi Kingston VS Eric Young = Good match but sloppy ending? Is Sanity Boring?

Special Edition: Episode 51.5, Rebellion Festival Day 1 Preview. Featuring songs from Arch Rivals, Delinquents, Bad Cop Bad Cop, Top Dog, Revenge of the Psychotronic Man, Riot Squad, T.S.O.L., The Lillingtons, Soap Girls, The Restarts, Red Light Rebels, East End Badoes, Mad Caddies, and The Vandals.

The Goofharaja has landed in NY! Dan is joined by his best friend/King of the Custom Intro Jason Shebiro and the infamous Loved/Hated Terrible Tullo. In this ep we discuss Strowman needing more promo freedom! Sheb YELLS about how much he hates the Riot Squad! Tullo fawns over Rollins new pants! Everyone agrees that CASS & Shinsuke are good now! And more of that hot hot wrestling action! Check out Patreon.com/ComediansOfWrestling to pledge your support! COW merch is now available at prowrestlingtees.com/comediansofwrestling Join the 4am fun with the COW Facebook page: www.facebook.com/groups/1097358233676577/ Got a hot take you wanna cash-in? Leave a voicemail at (316) 530 2429

This episode of Chasing Glory with Lilian Garcia features Lilian giving you an exclusive backstage pass to WWE Axxess, Hall of Fame, & Wrestlemania!! And Lilian is also the guest ring announcer for the first-ever WrestleMania Women’s Battle Royal. Listen as she talks to all your favorite WWE Superstars backstage live from New Orleans. She takes you behind the scenes with Ivory, Sasha Banks, Mandy Rose, Tino Sabbatelli, Nia Jax, Alexa Bliss, AJ Styles, Riot Squad, Trish Stratus, Lita, Jinder Mahal, Peyton Royce, Paige, Naomi and more including fans from all over the world! Join in now for an intimate backstage look! It’s about to get real, raw and exciting at Wrestlemania 34!

After a particularly rock and roll easter weekend, we sit back, relax and chill with nine great songs from Bobby Funk, Reverend Beat Man And The New Wave, Hack The Mainframe, And We All Die, The Rezillos, Hypnos, Bird Shoes, Cup and The Cavemen.Comedy Suburbs, YouTube, we're both ill, Tony has your Facebook comments, Xray.fm, big in Germany, last week, Black Panther, Tony's new shiny flu, new denture, Splendour, Elvis is back and at the Pelham, Cherry Red, From the Vaults, Tony's International Gig Guide, Riot Squad, Luke Puke, the week ahead, Tony's off to the Dentist, Robin Hood Travelcard, Hitchin, Izzatwat, fracking and don't forget no one wants to be geologically uncertain.Song 1: Bobby Funk – Roid Rage RuckusSong 2: Reverend Beat Man And The New Wave – If I KnewSong 3: Hack The Mainframe - AnxietySong 4: And We All Die – Mindless Faith (Remix)Song 5: The Rezillos – (My Baby Does) Good SculpturesSong 6: Hypnos – Looking OutSong 7: Bird Shoes - DoorSong 8: Cup – Cosmic BrainSong 9: The Cavemen – Gimme Beer Or Gimme Death

On This Episode of #FlipDaSCript, The DUO sits down with Riot Squad 's own Bynoe. Bynoe & Flip has a lot of history, Bynoe helped Queenzflip in his beginning stages of his music career and was not afraid to let the world know. Bynoe also opens up about Stack Bundles, Chinx Drugz, bringing Flip to Miami and much more amazing stories. #PRESSPLAY

Episode # 16 includes new tracks from Cold Wrecks, Iron Chic, Drawstring, Bash & Pop, and Hard Girls plus classics from Riot Squad, The Pietasters, and Capterhouse. 1. "Past Is Pain" by Boys Home (from Wishbone)2. "Drunk Again" by Bogues (from Mulligan)3. "We're Gonna Need a Bigger Boat" by Landlines (from Blue)4. "River Mountain Love" by Truck Stop Love (from Can't Hear It: 1991?-?1994)5. "Up Against the Wall" by Superchunk (from "I Got Cut" b/w "Up Against the Wall")6. "Forever Family" by Ann Beretta (from Ann Beretta)7. "Puddle of Blood" by Hard Girls (from Floating Now)8. "Madison" by Cold Wrecks (from Tiny Refuge)9. "Forecast" by Drawstring (from Forecast)10. "Bad News" by The Lazy Cowgirls (from A Little Sex and Death)11. "West End Kids" by The Bodies (from Cheap Shots and Low Blows, Vol. 1: The TKO Singles 1997-1998)12. "New Breed" by The Pietasters (from Willis)13. "Front Seat" by Dropkick Murphys (from Boys on the Docks)14. "Fool for Love" by The Heartdrops (from This is The Heartdrops)15. "You're the Love" by The Inciters (from Movin' On)16. "James 5" by Riot Squad (from Riot Squad)17. "Too Late (feat. Nicole Atkins)" by Bash & Pop (from Too Late / Saturday)18. "Hot Tramps (Quiet Slang)" by Beach Slang (from Hot Tramps (Quiet Slang) [Amazon Original])19. "Breather" by Chapterhouse (from Whirlpool)20. "Tellin' Lies" by The Menzingers (from After The Party)21. "A Headache With Pictures" by Iron Chic (from You Can't Stay Here)22. "Totally Fucked" by Pass Away (from Totally Fucked)

This is the first of a two part Vaper Expo Special, and contains live recordings taken at the event. Please Note: These interviews were recorded live at the Expo in the NEC and so there is plenty of background noise! The Expo was HUGE and so there is music and voices that I couldn't edit out!! It does add to the atmosphere and I hope that you will feel like you are actually there! Just to warn you that this is not a perfectly edited podcast!! Interviews include: Smokin' Guns Loaded Liquid - www.smokinguns.com Stu Vapes - V- Juice - vjuiceeliquid.co.uk Umit - Riot Squad - www.riotsquadeliquid.com Lewis - Chef's Flavours - www.chefsflavours.co.uk John, - Ideal Ohm Show - (search for Ideal Ohm Show on YouTube) - justaddnic.co.uk Matt, Suck my Mod - (search for Suck My Mod on YouTube) Part two coming in two weeks time!

Originally released in 1997, Point Of Interest Zine #15 tape compilation. Eight local punk bands from the Seattle/Vancouver Canada area.

JBcast #8 Chinese Warrior Techniques For Optimised Recovery & Enhanced Performance Stanley Tam is a lifelong Qigong Coach and Martial Artist.  He consults various Elite Forces in China such as the Shanghai Anti Terrorism Unit, Police Force and Riot Squad. He is also China's first homegrown BJJ black belt and runs his own academy Shanghai […] The post JBcast #8 Chinese Warrior Techniques For Optimised Recovery & Enhanced Performance appeared first on Jungle Brothers Strength and Movement.

JBcast #8 Chinese Warrior Techniques For Optimised Recovery & Enhanced Performance Stanley Tam is a lifelong Qigong Coach and Martial Artist.  He consults various Elite Forces in China such as the Shanghai Anti Terrorism Unit, Police Force and Riot Squad. He is also China's first homegrown BJJ black belt and runs his own academy Shanghai […] The post JBcast #8 Chinese Warrior Techniques For Optimised Recovery & Enhanced Performance appeared first on Jungle Brothers Strength and Movement.

Chameleon, Pool, Superdoop Eva Hurychová, Elektra, Za Mléčnou Dráhou • Elektra Snowy Red, Come On Dance, Snowy Red Kazino, Binary, Around My Dream / Binary Visions, Everybody (Remix) (First Version), Everybody Autre Caire, Save Me (Versione Dub), Save Me Dollkraut & Bernard Crochet, Amplitude, Zero Ep Information Society, Running (Instrumental), Running Paul Hardcastle, The Wizard, The Definitive Paul Hardcastle New Order, Kiss Of Death, Substance [disc 2] Keith Mansfield, Kinetics (A), KPM 1321 - The Video Connection Brian Bennett, Ocean Glide, Voyage (A Journey Into Discoid Funk) El Aviador Dro, Selector De Frecuencias, Alas Sobre El Mundo Andreas Dorau & Die Marinas, Fred Vom Jupiter, Fred Vom Jupiter Das Kabinette, Fudge It, Spy Thriller Vice Versa, Riot Squad, Music 4 Lena Lovich, Savages, New Toy Le Cliché, Red Movies, Synesthesia - The First Five Years (MR-050) SPK, Metal Dance (Original Mix), Machine Age Voodoo (Junk Funk) Lè Travo, Hips, Erring And Errant Tres, Operator, Smile On My Face Vitor Hublot, Aller Simple, Bippp - French Synth Wave 1979-85 Tik & Tok, Crisis, Summer In The City Acts Of Madmen, The Dream, The Dream VC-People, Moonless Night, Mystery Of Bomarzo Claude Larson, Springtime in Slicon Valley, Digital Landscape J. Fajerman - J. Yrssen, Racines Synthetiques, Racines Synthetiques Daniele Ciullini, The Shadow Whisper, Domestic Exile

On March 12th 2014 Destruction's Singer/Bassist Schmier was interviewed by Japan Nick contributing writer for the Aquarian Weekly and host of Japan Nick's Rock and Metal Pandemonium on Montclair State University's WMSC 90.3 Radio Station. Topics that were gone over included speaking about the writing sessions for Spiritual Genocide with what song took the most takes as well as the fewest. Discussing the parallels of tape trading and fanzines with youtube and blog sites. There was some discussion about Destruction's live album Live Without Sense. Schmier looked back on how the studio sessions of the 1980s were done. We spoke about Black Mass (Sentence of Death) and Black Death (Infernal Overkill being recorded in the 1980s. Schmier discussed a new side project with members of Accept. We discussed analog recordings of recent years. Schmier talked about the meaning of the song Riot Squad. We ended the interview speaking about the first Destruction tour of the USA. On March 21st 2014 this article got on blabbermouth as my 9th blabbermouth article. http://www.blabbermouth.net/news/destructions-schmier-discusses-his-new-side-project-featuring-accept-members-audio/

Tone & Pack chop it up re: tattoos, sex tourettes, dutch riot squads and debut the 'Yo Pack Lightning Round'. Recorded 7.17.12 (NYC)

Featuring Riddims Like "Off The Bench" "Riot Squad" "School Bag" "Riva Stone" "Buss Pipe" and a hot new artist name Alandon! www.DivaNikkiZ.com/hot20 @DivaNikkiZ

New Years Eve Sirius XM invited the dancehall giants to rock out! Kicking it off with Nikki Z. Catch the DIva as she rocked out on riddims like Ackee Seed, Monkey Barrel, Riot Squad, Steppingz and so much more!!!