American poet (1917-1977)
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11 episodes with Robert Lowell
7 episodes with Robert Lowell
10 episodes with Robert Lowell
9 episodes with Robert Lowell
3 episodes with Robert Lowell
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2 episodes with Robert Lowell
2 episodes with Robert Lowell
7 episodes with Robert Lowell
These four winners from year 41 at the Writers & Illustrators of the Future workshop and awards gala: Robert Lowell, author of "Kill Switch"; Jordan Smajstrla, illustrator of "Kill Switch"; CL "Cherrie" Fors, illustrator of "A World of Repetitions"; Ian Keith, author of "Blackbird Stone." We discuss their journey as creative individuals and what makes the workshop so special for them and what Writers and Illustrators of the Future means to them and to the genre.
These four winners from year 41 at the Writers & Illustrators of the Future workshop and awards gala: Robert Lowell, author of "Kill Switch"; Jordan Smajstrla, illustrator of "Kill Switch"; CL "Cherrie" Fors, illustrator of "A World of Repetitions"; Ian Keith, author of "Blackbird Stone." We discuss their journey as creative individuals and what makes the workshop so special for them and what Writers and Illustrators of the Future means to them and to the genre.
The confessional poets of the mid-20th century considered themselves a ‘doomed' generation, with a cohesive identity and destiny. Their intertwining personal lives were laid bare in their work, and Robert Lowell, John Berryman and Elizabeth Bishop returned repeatedly to the elegy to commemorate old friends and settle old scores.In this episode, Mark and Seamus turn to elegies for poets by poets, tracing the intricate connections between them. Lowell, Berryman and Bishop's work was offset by a deep commitment to the literary tradition, and Mark and Seamus identify their shared influences and anxieties.Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe:Directly in Apple Podcasts: https://lrb.me/applecrldIn other podcast apps: https://lrb.me/closereadingsldFind further reading in the LRB:Mark Ford: No One Else Can Take a Bath for Youhttps://www.lrb.co.uk/the-paper/v10/n07/mark-ford/no-one-else-can-take-a-bath-for-youKarl Miller: Some Names for Robert Lowellhttps://www.lrb.co.uk/the-paper/v05/n09/karl-miller/some-names-for-robert-lowellNicholas Everett: Two Americas and a Scotlandhttps://www.lrb.co.uk/the-paper/v12/n18/nicholas-everett/two-americas-and-a-scotlandHelen Vendler: The Numinous Moosehttps://www.lrb.co.uk/the-paper/v15/n05/helen-vendler/the-numinous-mooseGet the books: https://lrb.me/crbooklistNext episode: Self-elegies by Hardy, Larkin and Plath. Hosted on Acast. See acast.com/privacy for more information.
As the long, exhausting march toward summer begins for many students, the wise and compassionate David Wagoner takes us to the intersection of love and weakness. Happy reading.David Wagoner was recognized as the leading poet of the Pacific Northwest, often compared to his early mentor Theodore Roethke, and highly praised for his skillful, insightful and serious body of work. He won numerous prestigious literary awards including the Ruth Lilly Poetry Prize, two Pushcart Prizes, and the Academy of Arts and Letters Award, and was nominated twice for the National Book Award. The author of ten acclaimed novels, Wagoner's fiction has been awarded the Sherwood Anderson Foundation Award. Professor emeritus at the University of Washington, Wagoner enjoyed an excellent reputation as both a writer and a teacher of writing. He was selected to serve as chancellor of the Academy of American Poets in 1978, replacing Robert Lowell, and was the editor of Poetry Northwest until 2002.Born in Ohio and raised in Indiana, Midwesterner Wagoner was initially influenced by family ties, ethnic neighborhoods, industrial production and pollution, and the urban environment. His move to the Pacific Northwest in 1954, at Roethke's urging, changed both his outlook and his poetry. Writing in the Contemporary Authors Autobiography Series, Wagoner recalls: “when I drove down out of the Cascades and saw the region that was to become my home territory for the next thirty years, my extreme uneasiness turned into awe. I had never seen or imagined such greenness, such a promise of healing growth. Everything I saw appeared to be living ancestral forms of the dead earth where I'd tried to grow up.” Wagoner's poetry often mourns the loss of a natural, fertile wilderness, though David K. Robinson, writing in Contemporary Poetry, described the themes of “survival, anger at those who violate the natural world” and “a Chaucerian delight in human oddity” at work in the poems as well. Critics have also praised Wagoner's poetry for its crisp descriptive detail and metaphorical bent. However, Paul Breslin in the New York Times Book Review pronounced David Wagoner to be “predominantly a nature poet…as Frost and Roethke were nature poets.”Wagoner's first books, including Dry Sun, Dry Wind (1953), A Place to Stand (1958), and Poems (1959), demonstrate an early mastery of his chosen subject matter and form. Often comprised of observations of nature, Wagoner links his speakers' predicaments and estrangement to the larger imperfection of the world. In Wagoner's second book, A Place to Stand,Roethke's influence is clear, and the book uses journey poems to represent the poet's own quest back to his beginnings. Wagoner's fourth book, The Nesting Ground (1963), reflects his relocation physically, aesthetically and emotionally; the Midwest is abandoned for the lush abundance of the Pacific Northwest, and Wagoner's style is less concerned with lamentation or complaint and more with cataloguing the bounty around him. James K. Robinson called the title poem from Staying Alive (1966) “one of the best American poems since World War II.” In poems like “The Words,” Wagoner discovers harmony with nature by learning to be open to all it has to offer: “I take what is: / The light beats on the stones, / the wind over water shines / Like long grass through the trees, / As I set loose, like birds / in a landscape, the old words.” Robert Cording, who called Staying Alive “the volume where Wagoner comes into his own as a poet,” believed that for Wagoner, taking what is involves “an acceptance of our fragmented selves, which through love we are always trying to patch together; an acceptance of our own darkness; and an acceptance of the world around us with which we must reacquaint ourselves.”Collected Poems 1956-1976 (1976) was nominated for the National Book Award and praised by X. J. Kennedy in Parnassus for offering poems which are “beautifully clear; not merely comprehensible, but clear in the sense that their contents are quickly visible.” Yet it was Who Shall Be the Sun? (1978),based upon Native American myth and legend, which gained critical attention. Hayden Carruth, writing in Harper's Magazine, called the book “a remarkable achievement,” not only for its presentation of “the literalness of shamanistic mysticism” but also for “its true feeling.” Hudson Review's James Finn Cotter also noted how Wagoner “has not written translations but condensed versions that avoid stereotyped language….The voice is Wagoner's own, personal, familiar, concerned. He has achieved a remarkable fusion of nature, legend and psyche in these poems.”In Broken Country (1979), also nominated for the National Book Award, shows Wagoner honing the instructional backpacking poems he had first used in Staying Alive. Leonard Neufeldt, writing in New England Review,called “the love lyrics” of the first section “among the finest since Williams' ‘Asphodel.'” Wagoner has been accused of using staid pastoral conventions in book after book, as well as writing less well about human subjects. However, his books have continued to receive critical attention, often recognized for the ways in which they use encounters with nature as metaphors for encounters with the self. First Light (1983), Wagoner's “most intense” collection, according to James K. Robinson, reflects Wagoner's third marriage to poet Robin Seyfried. And Publishers Weekly celebrated Walt Whitman Bathing (1996) for its use of “plainspoken formal virtuosity” which allows for “a pragmatic clarity of perception.” A volume of new and collected poems, Traveling Light, was released in 1999. Sampling Wagoner's work through the years, many reviewers found the strongest poems to also be the newest. Rochelle Ratner in Library Journal noted “since many of the best are in the ‘New Poems' section, it might make sense to wait for his next volume.” That next volume, The House of Song (2002) won high praise for its variety of subject matter and pitch-perfect craft. Christina Pugh in Poetry declared “The House of Song boasts a superb architecture, and each one of its rooms (or in Italian, stanzas) affords a pleasure that enhances the last.” In 2008 Wagoner published his twenty-third collection of verse, A Map of the Night. Reviewing the book for the Seattle Times, Sheila Farr found many poems shot through with nostalgia, adding “the book feels like a summing-up.” Conceding that “not all the work reaches the high plane of Wagoner's reputation,” Farr described its “finest moments” as those which “resonate with the title, venturing into darkness and helping us recognize its familiar places.”In addition to his numerous books of poetry, David Wagoner was also a successful novelist, writing both mainstream fiction and regional Western fiction. Offering a steady mix of drama seasoned with occasional comedy, Wagoner's tales often involve a naive central character's encounter with and acceptance of human failing and social corruption. In the Contemporary Authors Autobiography Series, Wagoner described his first novel, The Man in the Middle (1954), as “a thriller with some Graham Greene overtones about a railroad crossing watchmen in violent political trouble in Chicago,” his second novel, Money, Money, Money (1955), as a story about “a young tree surgeon who can't touch, look at, or even think about money, though he has a lot of it,” his third novel, Rock (1958) as a tale of “teenage Chicago delinquents,” and his fifth novel, Baby, Come On Inside (1968) as a story “about an aging popular singer who'd lost his voice.” As a popular novelist, however, Wagoner is best known for The Escape Artist (1965), the story of an amateur magician and the unscrupulous adults who attempt to exploit him, which was adapted as a film in 1981. Wagoner produced four successful novels as a Western “regional” writer. Structurally and thematically, they bear similarities to his other novels. David W. Madden noted in Twentieth-Century Western Writers: “Central to each of these [Western] works is a young protagonist's movement from innocence to experience as he journeys across the American frontier encountering an often debased and corrupted world. However, unlike those he meets, the hero retains his fundamental optimism and incorruptibility.”Although Wagoner wrote numerous novels, his reputation rests on his numerous, exquisitely crafted poetry collections, and his dedication as a teacher. Harold Bloom said of Wagoner: “His study of American nostalgias is as eloquent as that of James Wright, and like Wright's poetry carries on some of the deepest currents in American verse.” And Leonard Neufeldt called Wagoner “simply, one of the most accomplished poets currently at work in and with America…His range and mastery of subjects, voices, and modes, his ability to work with ease in any of the modes (narrative, descriptive, dramatic, lyric, anecdotal) and with any number of species (elegy, satirical portraiture, verse editorial, apostrophe, jeremiad, and childlike song, to name a few) and his frequent combinations of a number of these into astonishingly compelling orchestrations provide us with an intelligent and convincing definition of genius.”Wagoner died in late 2021 at age 95.-bio via Poetry Foundation This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe
"MARY BETH HUGHES - CLASSIC CINEMA STAR OF THE MONTH" - 3/03/2025 For those of you who don't know the charms of MARY BETH HUGHES, when she was under contract at MGM, she was dubbed "the poor man's LANA TURNER." It was a rather unfair assessment since MGM gave Lana all the plum roles, and Mary Beth got her hand-me-downs. But still, Mary Beth had great comic chops, and no one played bitchy, hard-boiled blondes as well as she. Despite her beauty and talent, she never managed to get out of B-pictures. She did have small parts in great films like The Women (1939) and The Ox-Bow Incident (1942). She played the good girl as often as she played the bad girl, but when she played bad....you were in for a treat. Her pouty lips, snappy dialogue, and petulant attitude lit up many a lackluster production. This week, we celebrate her as our Star of the Month. SHOW NOTES: Sources: The Official Mary Beth Hughes Website; “Mary Beth Hughes, Born in Alton, Benign Groomed for Stardom in Movies,” January 4, 1939, Alton Evening Telegraph; “Mary Beth Hughes,” October 1971, by T.P. Turton, Films in Review; “Mary Beth Hughes Stars In A New Shampoo,” December 20, 1976, People Magazine; Mary Beth Hughes: She Never Gave Up,” December 2015, by Dave White, Classic Images; “The Look of Mary Beth Hughes,” June 6, 2019, www.grandoldmovies.com; http://www.briansdriveintheater.com/marybethhughes.html Wikipedia.com; TCM.com; IMDBPro.com; Movies Mentioned: The Women (1939), starring Norma Shearer, Joan Crawford, & Rosalind Russell; The Ox-Bow Incident (1942), starring Henry Fonda, Harry Morgan, Dana Andrews, MBH, & Anthony Quinn; Broadway Serenade (1939), starring Jeanette MacDonald & Lew Ayres; Dancing Co-Ed (1939), starring Lana Turner & Richard Carlson; These Glamour Girls (1939), starring Lana Turner & Lew Ayres: Fast and Furious (1939), starring Franchot Tone & Ann Sothern; Free, Blonde & 21 (1940), starring Lynn Bari, MBH, & Joan Davis; Star Dust (1940), starring Linda Darnell & John Payne; Four Sons (1940), starring Don Ameche, Alan Curtis, Eugenia Leontivich, & MBH; Lucky Cisco Kid (1940), starring Cesar Romero, Dana Andrews, & MBH; The Great Profile (1940), staring John Barrymore & MBH; Sleepers West (1941), starring Lloyd Nolan & MBH: Ride on Vaquero (1941), starring Cesar Romero & MBHs; Charlie Chan In Rio (191410, starring Sidney Toler & MBH; Dressed To Kill (1941), starring Lloyd Nolan & MBH; Design For Scandal (1941), starring Rosalind Russell & Walter Pidgeon; The Cowboy and The Blonde (1941), starring MBH & George Montgomery; Blue, White, and Perfect, (1942), starring Lloyd Nolan & MBH; The Night Before The Divorce (1942), starring Lynn Bari, Joseph Allen, & MBH; Orchestra Wives (1942), starring Ann Rutherford & George Montgomery: Over My Dead Body (1942), starring Milton Berle & MBH; Timber Queen (1944), starring Richard Arlen & MBH; Men On Her Mind (1944), starring MBH; I Accuse My Parents, (1944), starring MBH & Robert Lowell; The Lady Confesses (1945), starring MBH & Hugh Beaumont; The Great Flamarion (1945), starring Erich von Stroheim, MBH, & Dan Duryea; Holiday Rhythm (1950), starring MBH & David Street; Young Man With A Horn (1950), starring Kirk Douglas, Lauren Bacall, & Doris Day; Highway Dragnet (1954), starring Richard Conte & Joan Bennett; Loophole (1955), starring Barry Sullivan, Charles MacGraw, & Dorothy Malone; Gun Battle At Monterey (1957), starring Sterling Hayden & MBH; How's Your Love Life? (1971), starring John Agar, Leslie Brooks, Grant Willians, & MBH; The Working Girls (1974), starring Sarah Kennedy, Laurie Rose, & Cassandra Peterson; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices
fWotD Episode 2856: Anactoria Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Friday, 28 February 2025 is Anactoria.Anactoria (or Anaktoria; Ancient Greek: Ἀνακτορία) is a woman mentioned in the work of the ancient Greek poet Sappho. Sappho, who wrote in the late seventh and early sixth centuries BCE, names Anactoria as the object of her desire in a poem numbered as fragment 16. Another of her poems, fragment 31, is traditionally called the "Ode to Anactoria", though no name appears in it. As portrayed by Sappho, Anactoria is likely to have been an aristocratic follower of hers, of marriageable age. It is possible that fragment 16 was written in connection with her wedding to an unknown man. The name "Anactoria" has also been argued to have been a pseudonym, perhaps of a woman named Anagora from Miletus, or an archetypal creation of Sappho's imagination.The English poet Algernon Charles Swinburne's "Anactoria" was published in his 1866 collection, Poems and Ballads. "Anactoria" is written from the point of view of Sappho, who addresses the title character in a long monologue written in rhyming couplets of iambic pentameter. The monologue expresses Sappho's lust for her in sexually explicit terms; she first rejects art and the gods for Anactoria's love before reversing her stance and claiming to reject Anactoria in favour of poetry. Swinburne's poem created a sensation by openly approaching then-taboo topics such as lesbianism and dystheism. Anactoria later featured in an 1896 play by H. V. Sutherland and in the 1961 poetic series "Three Letters to Anaktoria" by Robert Lowell, in which an unnamed man loves her before transferring, unrequitedly, his affections to Sappho.This recording reflects the Wikipedia text as of 01:22 UTC on Friday, 28 February 2025.For the full current version of the article, see Anactoria on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Olivia.
Juhu es ist vollbracht...wir dürfen eine Jubiläumsfolge präsentieren. Vor 3 Jahren (am 15.12.21) starteten wir diesen Podcast und wir sind nicht zu bremsen und machen fleißig weiter. Diesmal ist unser Thema "Bipolarität & Kreativität/ Kunst". So anstrengend und mühsam diese Erkrankung sein kann, umso schöner ist die Tatsache dass sie anscheinend auch eine Ader an Kreativität birgt, die zu wahrer Kunst werden kann. Wir möchten ansatzweise - ohne Anspruch auf Vollständigkeit - die Fülle an Künstler:innen mit einer bipolar affektiven Störung aufzeigen. Im zweiten Teil werden dann Texte von 3 Kolleg:innen von "crazy turn - Verein zur Entstigmatisierung psychischer Erkrankungen" live gelesen und diskutiert. Bildende Künstler:innen Vincent van Gogh (1853–1890) Van Gogh gilt als einer der berühmtesten Maler der Kunstgeschichte. Sein intensives und oft wechselhaftes Verhalten und seine depressive Episoden wurden später mit bipolarer Störung in Verbindung gebracht. Edvard Munch (1863–1944) Der norwegische Maler, bekannt für "Der Schrei", kämpfte sein Leben lang mit psychischen Problemen und wird oft als möglicher Kandidat für bipolare Störung beschrieben. Jackson Pollock (1912–1956) Der amerikanische abstrakte Expressionist hatte ein bewegtes Leben mit Alkoholmissbrauch und wurde in späteren Jahren möglicherweise als bipolar eingeschätzt. Schriftsteller:innen und Dichter:innen Virginia Woolf (1882–1941) Die britische Schriftstellerin und Feministin, bekannt für Werke wie "Mrs Dalloway" und "To the Lighthouse", litt an schweren Stimmungsschwankungen und wird posthum oft als bipolar beschrieben. Sylvia Plath (1932–1963) Die amerikanische Dichterin und Autorin des autobiografischen Romans "Die Glasglocke" litt nachweislich unter Depressionen und wurde möglicherweise als bipolar diagnostiziert. Hans Fallada (1893–1947) Der deutsche Schriftsteller, bekannt für "Kleiner Mann – was nun?", hatte ein Leben voller Konflikte und Drogenmissbrauch, was manche als Zeichen einer bipolaren Störung interpretieren. Robert Lowell (1917–1977) Der amerikanische Dichter war berüchtigt für seine Phasen von intensiver Kreativität und Depression, die oft mit einer bipolaren Störung in Zusammenhang gebracht werden. Robert Schuhmann (1810 - 1856) Schumanns große Produktivität als Komponist in Leipzig und Dresden wechselte sich mit Phasen der Melancholie ab. Musiker:innen Kurt Cobain (1967–1994) Der Nirvana-Frontmann zeigte Anzeichen einer bipolaren Störung, darunter ständige Wechsel zwischen Euphorie und Depression, die in seinen Songtexten oft thematisiert werden. Amy Winehouse (1983–2011) Die britische Sängerin und Songwriterin kämpfte öffentlich mit Drogenabhängigkeit und zeigt mögliche Anzeichen von bipolarer Störung. Halsey (*1994) Die amerikanische Sängerin hat offen über ihre bipolare Störung gesprochen und versucht, das Bewusstsein für psychische Gesundheit zu stärken. Demi Lovato (*1992) Die Sängerin und Schauspielerin ist eine der bekanntesten Stimmen für Menschen mit bipolarer Störung und setzt sich aktiv für Enttabuisierung ein. Schauspieler:innen Carrie Fisher (1956–2016) Die amerikanische Schauspielerin, bekannt als Prinzessin Leia in "Star Wars", sprach offen über ihre bipolare Störung und ihre Bemühungen, mit dieser zu leben. Catherine Zeta-Jones (*1969) Die walisische Schauspielerin hat öffentlich ihre bipolare Störung diagnostizieren lassen und setzt sich für Aufklärung ein. Britney Spears (*1981) Die Sängerin hat sich schon ziemlich früh zu ihrer Erkrankung bekannt. ------------------------------ LIEDER Es gibt mehrere Lieder, die sich mit dem Thema *bipolare Störung* oder den damit verbundenen emotionalen Höhen und Tiefen beschäftigen. Hier sind einige Beispiele: 1. *"Breathe Me" – Sia* 2. *"Manic" – Halsey* 3. *"1-800-273-8255" – Logic ft. Alessia Cara, Khalid* 4. *"Lithium" – Evanescence* 4.A *"Lithium" - Nirvana* 5. *"Bi-Polar Bear" – Stone Temple Pilots* 6. *"Gasoline" – Halsey* 7. "Electric Feel" – MGMT 8. "Gimme Sympathy" – Metric 9. "The Way I Am" – Eminem 10. "High and Dry" – Radiohead 11. "Runaway" – Kanye West 12. "The World at Large" – Modest Mouse 13. "Semi-Charmed Life" – Third Eye Blind 14. "manic depression" - jimmy hendrix SERIEN * “Spinning Out” * "Black Box" FILME * "Mr. Jones" * "Silver linings" * "Touched with Fire" * "Infinitely Polar Bear" * "Sylvia" * "Filth" * "Bipolar Rock 'N' Roller" * "Vincent & Theo" * "Of two minds" ...falls ihr Ergänzungen habt...schreibt uns doch unter info@crazyturn.at!
Hey all you Potterheads! A number of “Firsts” on this show, we'll let you reveal just what they are. We talk to Hunter Sanders, writer, father, emergent dresser about lacrosse AND Harry Potter, We talk Oklahoma, What it's like living as a weirdo in the midst of assholes, Problematic Bible Study, Certain Feelings of Obligation, Rural Life, Fantasy, Renn Faire, Breece D'J Pancake, At Long Last: Astrology Discussion, Robert Lowell, Ilya Kaminsky, Matrilineal Jewelry, and more
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SLEERICKETS is a podcast about poetry and other intractable problems. My book Midlife now exists. Buy it here, or leave it a rating here or hereFor more SLEERICKETS, check out the SECRET SHOW and join the group chatLeave the show a rating here (actually, just do it on your phone, it's easier). Thanks!Wear SLEERICKETS t-shirts and hoodies. They look good!SLEERICKETS is now on YouTube!Some of the topics mentioned in this episode:– When the Earth Flies into the Sun by Derek Mong– At Length magazine– 32 Poems No 43. Summer 2024– There by Christopher Childers– I Too Had a Childhood by Eleanor Stanford– One of two poems of mine in the new 32 Poems– The part in Tree of Life where (among other things) Jessica Chastain flies– Marjorie Perloff's review of The Birthday Letters– The Two Ariels: The (Re)making of the Sylvia Plath Canon by Marjorie Perloff– Ariel by Sylvia Plath– Ariel: The Restored Edition– Birthday Letters by Ted Hughes– Sylvia (2003)– Pike by Ted Hughes– Sharon Olds– Anne Sexton– Deborah Landau– Metaphors by Sylvia Plath– Adrienne Rich– Helen Vendler– Daddy by Sylvia Plath– Lady Lazarus by Sylvia Plath– Nick and the Candlestick by Sylvia Plath– A Secret by Sylvia Plath– You're by Sylvia Plath– William Heyen– Swoop by Hailey Leithauser– Transformations by Anne Sexton– Kevin Young– Life Studies by Robert Lowell– Memories of West Street and Lepke by Robert Lowell– 13 Reasons Why (2017)– Wintering by Sylvia Plath– A rough approximation of a store in my town– Purdah by Sylvia Plath– Sheep in Fog by Sylvia Plath– Honey's Dead by The Jesus and Mary Chain– Shaken Baby SyndromeFrequently mentioned names:– Joshua Mehigan– Shane McCrae– A. E. Stallings– Ryan Wilson– Morri Creech– Austin Allen– Jonathan Farmer– Zara Raab– Amit Majmudar– Ethan McGuire– Coleman Glenn– Alexis Sears– JP Gritton– Alex Pepple– Ernie Hilbert– Joanna PearsonOther Ratbag Poetry Pods:Poetry Says by Alice AllanI Hate Matt Wall by Matt WallVersecraft by Elijah BlumovRatbag Poetics By David Jalal MotamedAlice: Poetry SaysBrian: @BPlatzerCameron: CameronWTC [at] hotmail [dot] comMatthew: sleerickets [at] gmail [dot] comMusic by ETRNLArt by Daniel Alexander Smith
The APR team is in a punchy mood on this episode; Elizabeth tries to rein in the conversation as Steven and Hannah riff on topics including Robert Lowell's revision process and the current era of political sloganeering. Also: selections from our July/August 2024 issue, with readings from Leah Umansky and Emily Skaja.
Compra el llibre aquí: https://www.onallibres.cat/apunts-del-natural-morts-per-la-unio Aquesta setmana a L'illa de Maians, presentat i dirigit per Bernat Dedéu, parlem del llibre 'Apunts del natural'. En parlem amb Josep Maria Fulquet, Jaume C. Pons Alorda i Marina Porras. Un podcast d'Ona Llibres - https://onallibres.cat Presentat i dirigit per Bernat Dedéu. Edició per Bernat Marrè. Realització i producció per Albert Olaya.
The queens love to love you--but it didn't always start out like that. Stick around for our game: "Pulitzer Prize Winning Titles from an Alternate Universe."Please Support Breaking Form!Review the show on Apple Podcasts here.Buy our books: Aaron's STOP LYING is available from the Pitt Poetry Series. James's ROMANTIC COMEDY is available from Four Way Books.If you have library access, Ena Jung's 2015 article "The Breath of Emily Dickinson's Dashes" is worth the time.Watch Bill Murray read two of the more obscure Wallace Stevens poems here. Watch Jonathan Pryce read Wordsworth's "Composed Upon Westminster Bridge"Watch James Wright read some of his iconic poems, including "A Blessing" (at 33:15--he calls the poem "a description") here.John Ashbery's Flow Chart is a book-length poem comprising 4,794 lines, divided into six numbered chapters, each of which is further divided into sections or verse-paragraphs, varying in number from seven to 42. The sections vary in length from one or two lines, to seven pages. It includes at least one double-sestina (and one of them references oral sex between men).Hear Linda Gregg read and be interviewed in 1986 (~25 mins).Here's a quick book-trailer of C. Dale Young's The Halo, including a reading of one of the poems by Young.Listen to a few minutes of Archibald Macleish's Conquistador here.We can recommend Peter Maber's 2008 article about John Berryman's Dream Songs, "'So-called black': Reassessing John Berryman's Blackface Minstrelsy" as a good starting place to think about the racism in that book.Jazz Age poet, translator, and Poetry editor George Dillon was born in Jacksonville, Florida, in 1906.At 24, Audrey Wurdemann is the youngest person to win the poetry Pulitzer (for Bright Ambush). Read a few poems here.Read Robert P. Tristram Coffin's poem "Messages"Here's Mark Strand reading "Sleeping With One Eye Open"We reference Stevie Nicks (a Gemini) singing her iconic song "Landslide"Winner of the 1973 Pulitzer Prize in Poetry, Robert Lowell's The Dolphin controversially included letters from Elizabeth Hardwick (Lowell's former wife). The letters were sent to him after he left her for the English socialite and writer Caroline Blackwood. He was warned by many, among them Elizabeth Bishop, that “art just isn't worth that much.”
Poet, editor, translator, and critic Louis Simpson was born in Jamaica to Scottish and Russian parents. He moved to the United States when he was 17 to study at Columbia University. After his time in the army, and a brief period in France, Simpson worked as an editor in New York City before completing his PhD at Columbia. He taught at colleges such as Columbia University, the University of California, Berkeley, and the State University of New York at Stony Brook.A contemporary of confessional poets like Robert Lowell, John Berryman, and Sylvia Plath, Simpson's early work followed a familiar arc. In the New York Times Book Review, critic David Orr noted its highlights: “Simpson has followed a path lined with signposts sunk so deep in our nation's poetic terra firma that they've practically become part of the landscape. Those signposts declare that a poet born in or around the 1920s should (1) begin his career writing witty, ironic formal poems bearing the stamp of Eliot and Auden; then (2) abandon that formalism for a more 'natural' free verse approach, while (3) dabbling in surrealism; until (4) finally settling on social, conversational poems in the manner of a man speaking to men.” While Simpson's early books like The Arrivistes (1949) and A Dream of Governors (1959) show the influence of Auden, they also speak to his horrific experiences in World War II, where he served in the 101st Airborne Division and saw active duty in France, Belgium, and Germany. Simpson's intense formal control, at odds with the visceral details of soldiering, also earned him comparisons to Wilfred Owen. At the End of the Open Road (1963) won the Pulitzer Prize and marked a shift in Simpson's poetry as well. In this and later volumes, like Searching for the Ox (1976) and The Best Hour of the Night (1983), Simpson's simple diction and formally controlled verses reveal hidden layers of meaning.Simpson's lifelong expatriate status influenced his poetry, and he often uses the lives of ordinary Americans in order to critically investigate the myths the country tells itself. Though he occasionally revisits the West Indies of his childhood, he always keeps one foot in his adopted country. The outsider's perspective allows him to confront “the terror and beauty of life with a wry sense of humor and a mysterious sense of fate,” wrote Edward Hirsch of the Washington Post. Elsewhere Hirsch described Simpson's Pulitzer Prize-winning collection, At the End of the Open Road (1963), as “a sustained meditation on the American character,” noting, “The moral genius of this book is that it traverses the open road of American mythology and brings us back to ourselves; it sees us not as we wish to be but as we are.” Collected Poems (1988) and There You Are (1995) focus on the lives of everyday citizens, using simple diction and narratives to expose the bewildering reality of the American dream. Poet Mark Jarman hailed Simpson as “a poet of the American character and vernacular.”A noted scholar and critic, Simpson published a number of literary studies, including Ships Going Into the Blue: Essays and Notes on Poetry (1994), The Character of the Poet (1986), and Three on the Tower: The Lives and Works of Ezra Pound, T.S. Eliot, and William Carlos Williams (1975). Simpson also penned a novel, Riverside Drive (1962), and the autobiographies The King My Father's Wreck (1994) and North of Jamaica (1972).Simpson's later work included The Owner of the House: New Collected Poems (2003), a collection that spans his 60-year career, and Struggling Times (2009). In addition to the Pulitzer Prize, Simpson received numerous awards and accolades, including the Prix de Rome, the Columbia Medal for Excellence, and fellowships from the Guggenheim Foundation. He was a finalist for the prestigious Griffin International Poetry Award, and his translation of Modern Poets of France: A Bilingual Anthology (1997) won the Harold Morton Landon Translation Award.Simposon died in Setauket, New York in 2012.-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe
Welcome to the Instant Trivia podcast episode 1111, where we ask the best trivia on the Internet. Round 1. Category: Ask The Nearest Hippie 1: Have you and your teenagers Mao and Cosmos resolved this, a phrase from the '60s meaning a distance between parents and kids?. the generation gap. 2: I'm late for work; do you mind moving this large Volkswagen model first sold in 1950 out of my driveway?. the VW Bus. 3: Do you vote Green Party or write in this comedy duo who went "Up in Smoke" in the '70s?. Cheech and Chong. 4: Moving to Oregon? Does that have anything to do with the passage of measure 91 on the legalization of this?. marijuana. 5: Did you really witness the birth of this rhyming movement at an anti-war rally at UC Berkeley in 1965?. flower power. Round 2. Category: Quoting The Shakespeare Character 1: "I see their knavery. This is to make an ass of me". Bottom. 2: "Tell me, my daughters... which of you shall we say doth love us most". King Lear. 3: "For Brutus is an honourable man; so are they all, all honourable men". Marc Antony. 4: "Cry 'God for Harry, England, and Saint George!'". Henry V. 5: "Come unto these yellow sands, and then take hands". Ariel. Round 3. Category: Pulitzer Prize Categories 1: Bill Mauldin in 1945 and 1959. Cartooning. 2: Joe Rosenthal in 1945 for work done on Iwo Jima. Photography. 3: Robert Lowell in 1947 and 1974. Poetry. 4: Samuel Barber in 1958 and 1963. Music. 5: David McCullough, twice. Biography. Round 4. Category: Good Sportsmanship 1: J.P. Hayes cost himself a 2009 spot on this tour by confessing to using an unapproved ball. the PGA tour. 2: In 2008 Central Wash. players of this sport carried injured Sara Tucholsky of Western Oregon around the bases. softball. 3: Mike Bossy and Alexander Mogilny have won the Lady Byng Trophy for gentlemanly conduct in this sport. hockey. 4: The chronicles of this hard-serving American include, in 2005, calling an opponent's shot in, costing himself the match. Andy Roddick. 5: This backcourt partner of Isiah Thomas on the "bad boys" of Detroit won the NBA's 1st Sportsmanship Award. Joe Dumars. Round 5. Category: LandS Of The World. With Land in quotes 1: This 840,000-square mile area belonging to Denmark lies within 15 miles of Canada. Greenland. 2: The crusade of Father Theobald Mathew reduced this island's whiskey intake by half in the early 1840s. Ireland. 3: From 1900 to 1982 Sobhuza II was king of this country surrounded on 3 sides by South Africa. Swaziland. 4: It's the only U.S. state that fits the category. Maryland (or Rhode Island). 5: Poet John Donne compared his mistress' body to this Canadian province. Newfoundland. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used
Welcome to the Instant Trivia podcast episode 1111, where we ask the best trivia on the Internet. Round 1. Category: Ask The Nearest Hippie 1: Have you and your teenagers Mao and Cosmos resolved this, a phrase from the '60s meaning a distance between parents and kids?. the generation gap. 2: I'm late for work; do you mind moving this large Volkswagen model first sold in 1950 out of my driveway?. the VW Bus. 3: Do you vote Green Party or write in this comedy duo who went "Up in Smoke" in the '70s?. Cheech and Chong. 4: Moving to Oregon? Does that have anything to do with the passage of measure 91 on the legalization of this?. marijuana. 5: Did you really witness the birth of this rhyming movement at an anti-war rally at UC Berkeley in 1965?. flower power. Round 2. Category: Quoting The Shakespeare Character 1: "I see their knavery. This is to make an ass of me". Bottom. 2: "Tell me, my daughters... which of you shall we say doth love us most". King Lear. 3: "For Brutus is an honourable man; so are they all, all honourable men". Marc Antony. 4: "Cry 'God for Harry, England, and Saint George!'". Henry V. 5: "Come unto these yellow sands, and then take hands". Ariel. Round 3. Category: Pulitzer Prize Categories 1: Bill Mauldin in 1945 and 1959. Cartooning. 2: Joe Rosenthal in 1945 for work done on Iwo Jima. Photography. 3: Robert Lowell in 1947 and 1974. Poetry. 4: Samuel Barber in 1958 and 1963. Music. 5: David McCullough, twice. Biography. Round 4. Category: Good Sportsmanship 1: J.P. Hayes cost himself a 2009 spot on this tour by confessing to using an unapproved ball. the PGA tour. 2: In 2008 Central Wash. players of this sport carried injured Sara Tucholsky of Western Oregon around the bases. softball. 3: Mike Bossy and Alexander Mogilny have won the Lady Byng Trophy for gentlemanly conduct in this sport. hockey. 4: The chronicles of this hard-serving American include, in 2005, calling an opponent's shot in, costing himself the match. Andy Roddick. 5: This backcourt partner of Isiah Thomas on the "bad boys" of Detroit won the NBA's 1st Sportsmanship Award. Joe Dumars. Round 5. Category: LandS Of The World. With Land in quotes 1: This 840,000-square mile area belonging to Denmark lies within 15 miles of Canada. Greenland. 2: The crusade of Father Theobald Mathew reduced this island's whiskey intake by half in the early 1840s. Ireland. 3: From 1900 to 1982 Sobhuza II was king of this country surrounded on 3 sides by South Africa. Swaziland. 4: It's the only U.S. state that fits the category. Maryland (or Rhode Island). 5: Poet John Donne compared his mistress' body to this Canadian province. Newfoundland. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used
Welcome to the Instant Trivia podcast episode 1111, where we ask the best trivia on the Internet. Round 1. Category: Ask The Nearest Hippie 1: Have you and your teenagers Mao and Cosmos resolved this, a phrase from the '60s meaning a distance between parents and kids?. the generation gap. 2: I'm late for work; do you mind moving this large Volkswagen model first sold in 1950 out of my driveway?. the VW Bus. 3: Do you vote Green Party or write in this comedy duo who went "Up in Smoke" in the '70s?. Cheech and Chong. 4: Moving to Oregon? Does that have anything to do with the passage of measure 91 on the legalization of this?. marijuana. 5: Did you really witness the birth of this rhyming movement at an anti-war rally at UC Berkeley in 1965?. flower power. Round 2. Category: Quoting The Shakespeare Character 1: "I see their knavery. This is to make an ass of me". Bottom. 2: "Tell me, my daughters... which of you shall we say doth love us most". King Lear. 3: "For Brutus is an honourable man; so are they all, all honourable men". Marc Antony. 4: "Cry 'God for Harry, England, and Saint George!'". Henry V. 5: "Come unto these yellow sands, and then take hands". Ariel. Round 3. Category: Pulitzer Prize Categories 1: Bill Mauldin in 1945 and 1959. Cartooning. 2: Joe Rosenthal in 1945 for work done on Iwo Jima. Photography. 3: Robert Lowell in 1947 and 1974. Poetry. 4: Samuel Barber in 1958 and 1963. Music. 5: David McCullough, twice. Biography. Round 4. Category: Good Sportsmanship 1: J.P. Hayes cost himself a 2009 spot on this tour by confessing to using an unapproved ball. the PGA tour. 2: In 2008 Central Wash. players of this sport carried injured Sara Tucholsky of Western Oregon around the bases. softball. 3: Mike Bossy and Alexander Mogilny have won the Lady Byng Trophy for gentlemanly conduct in this sport. hockey. 4: The chronicles of this hard-serving American include, in 2005, calling an opponent's shot in, costing himself the match. Andy Roddick. 5: This backcourt partner of Isiah Thomas on the "bad boys" of Detroit won the NBA's 1st Sportsmanship Award. Joe Dumars. Round 5. Category: LandS Of The World. With Land in quotes 1: This 840,000-square mile area belonging to Denmark lies within 15 miles of Canada. Greenland. 2: The crusade of Father Theobald Mathew reduced this island's whiskey intake by half in the early 1840s. Ireland. 3: From 1900 to 1982 Sobhuza II was king of this country surrounded on 3 sides by South Africa. Swaziland. 4: It's the only U.S. state that fits the category. Maryland (or Rhode Island). 5: Poet John Donne compared his mistress' body to this Canadian province. Newfoundland. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used
Welcome to the Instant Trivia podcast episode 1111, where we ask the best trivia on the Internet. Round 1. Category: Ask The Nearest Hippie 1: Have you and your teenagers Mao and Cosmos resolved this, a phrase from the '60s meaning a distance between parents and kids?. the generation gap. 2: I'm late for work; do you mind moving this large Volkswagen model first sold in 1950 out of my driveway?. the VW Bus. 3: Do you vote Green Party or write in this comedy duo who went "Up in Smoke" in the '70s?. Cheech and Chong. 4: Moving to Oregon? Does that have anything to do with the passage of measure 91 on the legalization of this?. marijuana. 5: Did you really witness the birth of this rhyming movement at an anti-war rally at UC Berkeley in 1965?. flower power. Round 2. Category: Quoting The Shakespeare Character 1: "I see their knavery. This is to make an ass of me". Bottom. 2: "Tell me, my daughters... which of you shall we say doth love us most". King Lear. 3: "For Brutus is an honourable man; so are they all, all honourable men". Marc Antony. 4: "Cry 'God for Harry, England, and Saint George!'". Henry V. 5: "Come unto these yellow sands, and then take hands". Ariel. Round 3. Category: Pulitzer Prize Categories 1: Bill Mauldin in 1945 and 1959. Cartooning. 2: Joe Rosenthal in 1945 for work done on Iwo Jima. Photography. 3: Robert Lowell in 1947 and 1974. Poetry. 4: Samuel Barber in 1958 and 1963. Music. 5: David McCullough, twice. Biography. Round 4. Category: Good Sportsmanship 1: J.P. Hayes cost himself a 2009 spot on this tour by confessing to using an unapproved ball. the PGA tour. 2: In 2008 Central Wash. players of this sport carried injured Sara Tucholsky of Western Oregon around the bases. softball. 3: Mike Bossy and Alexander Mogilny have won the Lady Byng Trophy for gentlemanly conduct in this sport. hockey. 4: The chronicles of this hard-serving American include, in 2005, calling an opponent's shot in, costing himself the match. Andy Roddick. 5: This backcourt partner of Isiah Thomas on the "bad boys" of Detroit won the NBA's 1st Sportsmanship Award. Joe Dumars. Round 5. Category: LandS Of The World. With Land in quotes 1: This 840,000-square mile area belonging to Denmark lies within 15 miles of Canada. Greenland. 2: The crusade of Father Theobald Mathew reduced this island's whiskey intake by half in the early 1840s. Ireland. 3: From 1900 to 1982 Sobhuza II was king of this country surrounded on 3 sides by South Africa. Swaziland. 4: It's the only U.S. state that fits the category. Maryland (or Rhode Island). 5: Poet John Donne compared his mistress' body to this Canadian province. Newfoundland. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used
The poet, novelist and playwright Fred D'Aguiar was born in Britain, grew up in Guyana and now lives in Los Angeles. There he came across the story which became his most recent collection of poems, For the Unnamed. It was originally entitled For the Unnamed Black Jockey Who Rode the Winning Steed in the Race Between Pico's Sarco and Sepulveda's Black Swan in Los Angeles, in 1852. That tells us what we know: the horses' names, who owned them, where and when the race was run, and that the winning jockey was black. His name, though, was not recorded. Fred D'Aguiar recovers and re-imagines his story, in several voices – including the horses. In this edition of In the Studio, Julian May meets D'Aguiar on the cusp. For The Unnamed is written and D'Aguiar explains how he is now preparing it for publication and his way of proof-reading. He is also feeling his way towards his next project, beginning a series of poetic studies of people he has known, people he has lost and people who inspire him. This is, tentatively, entitled Lives Studied. D'Aguiar reveals his processes, how he begins, rising very early, taking his dog, Dexter, for a walk, drinking a coffee, then setting to. He speaks quickly, so writes always in longhand with a pen, to slow thought down, to consider. He speaks too of his reading and influences, for instance Robert Lowell and his collection ‘Life Studies'. For D'Aguiar the practice of writing is integral to his existence - writing is living.
John Orley Allen Tate (November 19, 1899 – February 9, 1979) was a poet, critic, biographer, and novelist. Born and raised in Kentucky, he earned his BA from Vanderbilt University, where he was the only undergraduate to be admitted to the Fugitives, an informal group of Southern intellectuals that included John Crowe Ransom, Donald Davidson, Merrill Moore, and Robert Penn Warren. Tate is now remembered for his association with the Fugitives and Southern Agrarians, writers who critiqued modern industrial life by invoking romanticized versions of Southern history and culture. Tate's best-known poems, including “Ode to the Confederate Dead,” confronted the relationship between an idealized past and a present he believed was deficient in both faith and tradition. Despite his commitment to developing a distinctly Southern literature, Tate's many works frequently made use of classical referents and allusions; his early writing was profoundly influenced by French symbolism and the poetry and criticism of T.S. Eliot. During the 1940s and 1950s, Tate was an important figure in American letters as editor of the Sewanee Review and for his contributions to other midcentury journals such as the Kenyon Review. As a teacher, he influenced poets including Robert Lowell, John Berryman, and Theodore Roethke, and he was friends with Hart Crane, writing the introduction to Crane's White Buildings (1926). From 1951 until his retirement in 1968, Tate was a professor of English at the University of Minnesota.In the decades that he was most active, Tate's “influence was prodigious, his circle of acquaintances immense,” noted Jones in the Dictionary of Literary Biography. James Dickey could write that Tate was more than a “Southern writer.” Dickey went on, “[Tate's] situation has certain perhaps profound implications for every man in every place and every time. And they are more than implications; they are the basic questions, the possible solutions to the question of existence. How does each of us wish to live his only life?”Allen Tate won numerous honors and awards during his lifetime, including the Bollingen Prize and a National Medal for Literature. He was the consultant in poetry at the Library of Congress and president of the National Institute of Arts and Letters.-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe
Snap out of it! The queens use Cher to revise some poems and the result is ICONIC!Support Breaking Form!Review the show on Apple Podcasts here.Buy our books: Aaron's STOP LYING is available from the Pitt Poetry Series. James's ROMANTIC COMEDY is available from Four Way Books. You can hear Louise Glück read "The Mirror" here and read it for yourself here. (The show was taped before LG's untimely death.)Read "Old Ironsides" by Oliver Wendell HolmesRead "Homage to my hips" by Lucille CliftonYou can read Alexandra Teague's excellent poem "Language Lessons" here. Tess Gallagher's "I Stop Writing the Poem" can be found here. Go here to read Dorothea Lasky's poem "If you can't trust the monitors"Here's Robert Lowell's poem "The Quaker Graveyard in Nantucket"Finally, we mention Hart Crane's poem "Chaplinesque"Here are two clips from Moonstruck"Meeting outside the opera"I want you to come upstairs with me and get in my bed!"
Poet and critic Robert B. Shaw earned a BA from Harvard University, where he studied with Robert Lowell, and a PhD from Yale University. Influenced by Elizabeth Bishop and Philip Larkin, Shaw's wry and plainspoken formal verse is often grounded in, or sprung from, the debris of daily life. He is the author of several collections of poetry, including Solving For X (2002), which won the Hollis Summers Poetry Prize; Below the Surface (1999); and The Wonder of Seeing Double (1988). His criticism appears widely in such places as the New York Times Book Review, and he has also published a critical study of poets John Donne and George Herbert, The Call of God: The Theme of Vocation in the Poetry of Donne and Herbert (1981). Shaw has received Shenandoah's James Boatwright III Prize for Poetry as well as fellowships from the National Endowment for the Arts and the Ingram Merrill Foundation. Since 1983, Shaw has taught at Mount Holyoke College as the Emily Dickinson Professor of English.-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe
Today's poem is by Seamus Justin Heaney MRIA (/ˈʃeɪməs ˈhiːni/; 13 April 1939 – 30 August 2013), an Irish poet, playwright and translator. He received the 1995 Nobel Prize in Literature.[1][2] Among his best-known works is Death of a Naturalist (1966), his first major published volume. Heaney was and is still recognised as one of the principal contributors to poetry in Ireland during his lifetime. American poet Robert Lowell described him as "the most important Irish poet since Yeats", and many others, including the academic John Sutherland, have said that he was "the greatest poet of our age".[3][4] Robert Pinsky has stated that "with his wonderful gift of eye and ear Heaney has the gift of the story-teller."[5] Upon his death in 2013, The Independent described him as "probably the best-known poet in the world".[6]—Bio via Wikipedia Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe
Today's poem is Epilogue by Robert Lowell.The Slowdown is your daily poetry ritual. In this episode, Major writes… “Today's poem affirms the simple approach of narrating our lives as a means of shining a light on our complex era. Given our quick passage on earth, the poem argues that to tell our stories and name the people who populate our lives is noble and rewarding enough.” Celebrate the power of poems with a gift to The Slowdown today. Every donation makes a difference: https://tinyurl.com/rjm4synp
Read by Terry Casburn Production and Sound Design by Kevin Seaman
This week's challenge: notice little victories.You can hear the after show and support Do By Friday on Patreon!——Edited by Alex Cox——Show LinksOblique Strategies - WikipediaOblique StrategiesEp. 268: "A Principled Ohioan" - Roderick on the Line - Merlin MannRobert Lowell - WikipediaWaking in the Blue by Robert Lowell (read by Tom O'Bedlam) - YouTubeLamotrigine - WikipediaNext to Normal performance at 2009 Tony Awards - Aaron Tveit - YouTubeWho's Crazy / My Psychopharmacologist and I - Next to Normal - YouTubePose (TV series) - WikipediaMj Rodriguez & George Salazar: Suddenly Seymour - YouTubemr schue being a bad (and creepy) teacher for 4 min and 45 secs straight - YouTube"Documentary Now!" Soldier of Illusion, Part 1 (TV Episode 2022) - IMDb"Documentary Now!" Soldier of Illusion, Part 2 (TV Episode 2022) - IMDbAguirre, the Wrath of God - WikipediaGrizzly Man - WikipediaBurden of Dreams - WikipediaFitzcarraldo - WikipediaOriginal Cast Album: Company (1970) - YouTube"Documentary Now!" Original Cast Album: Co-Op (TV Episode 2019) - IMDbJiro Dreams of Sushi - Wikipedia"Documentary Now!" Juan Likes Rice and Chicken (TV Episode 2016) - IMDbSantaland Diaries - This American LifeWorld Wide Web - WikipediaSTRANGE WAY OF LIFE | Official Trailer (2023) - YouTubeWhy Trump's CNN event was ideal for him—and bad for journalism.Domino (character) - Wikipedia(Recorded Wednesday, May 17, 2023)Next week's challenge: plug into ChatGPT.
What better way to bring back The Daily Poem than with a poem by one of my favorite poets, Seamus Heaney. Heaney was an Irish poet, playwright and translator. He received the 1995 Nobel Prize in Literature.[1][2] Among his best-known works is Death of a Naturalist (1966), his first major published volume. Heaney was and is still recognised as one of the principal contributors to poetry in Ireland during his lifetime. American poet Robert Lowell described him as "the most important Irish poet since Yeats", and many others, including the academic John Sutherland, have said that he was "the greatest poet of our age".[3][4] Robert Pinsky has stated that "with his wonderful gift of eye and ear Heaney has the gift of the story-teller."[5] Upon his death in 2013, The Independent described him as "probably the best-known poet in the world".[6](Bio via Wikipedia) Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe
This week's challenge: look at the sky.You can hear the After Show and support Do By Friday on Patreon!----Edited by Alex Cox----CW: mental health, drug use, brief mention of sexual assaultShow LinksNEU! - "Hero" (Live, 1974)John Mulaney: "Baby J" | Official Teaser | Netflix - YouTubeInside the Making of John Mulaney's ‘Baby J' Netflix Special | Vanity FairDolphin by Robert Lowell - Poems | Academy of American PoetsMarriage, Betrayal, and the Letters Behind “The Dolphin” | The New Yorker"Waking in the Blue" by Robert Lowell (read by Tom O'Bedlam) - YouTubeHomer's Enemy - WikipediaBob Welch - Ebony Eyes - YouTubeBilly Joel - Big Shot (Official Video) - YouTubeDonna and Crazy Craig | Parks and Recreation - YouTubeI Think I Found the Rolex Buyer From John Mulaney's Baby JWhy weather apps blow.Carrot Weather for iOS and AndroidSmart Home Weather Station | NetatmoSkyView on the App StoreAstronomy Apps | Best space exploration apps - YouTubeEasily Identify Stars At Night | Mobile Stargazing | Essential Guide To Astronomy | Star WalkMy Octopus Teacher - WikipediaThe Soul of an Octopus: A Surprising Exploration into the Wonder of Consciousness: Montgomery, Sy: 9781451697728: Amazon.com: Books(Recorded Wednesday, April 26, 2023)Next week's challenge: talk to your phone.
Welcome back to ParaPower Mapping and the fourth installment of "The Secret History of MasSUSchusetts". It's a surprise double header! This was initially going to be one episode, but I got so obsessed w/ mapping William Pynchon's fur-trading monopoly and decoding the Rosicrucian wordplay in Thomas Pynchon's short story "Under the Rose" that I had to split this episode into 2. But don't worry, if you're anxious for our MasSUSchusetts Pynchon special, it's waiting for you. This episode includes: more maypole mythos; the veggie god Attis and "Great Mother" Cybele; correspondence b/w Cybele & Demeter; Demeter & Persephone myth variants, origins of the Eleusinian Mysteries; agrarian cult connections b/w the Eleusinian Mysteries & Cult of Cybele; aspects of the Eleusinian Greater Mysteries, sacraments, sacred words, and the prototypical oath of secrecy punishable by death (possible origin point of future initiatic societies' militant approach); the "Galli", the eunuch priests of the Cult of Cybele; the sacred feast day "Dies sanguinis" (Day of Blood) and their ritual castration; the ritual sacrifice continuum from Bacchanalia/ Dionysia, Thesmophoria, Eleusinian Mysteries, & Cult of Cybele to the Minotaur and child sacrifice to Moloch in Phoenicia & Canaan... ...the conclusion of the Saga of Thomas Morton; a note on Morton's maypole rite's efficacy as sympathetic magick and the fact that the frequent starvation of the colonizers likely contributed to their decision to hold the maypole revel; John Winthrop Sr. & the Puritan authorities' possible framing & murder accusations against Morton & their burning of his house; his second exile; Puritan attempts at suppressing his text New English Canaan; colonial-era depictions of indigenous society; the Ninnimissinuok & Algonquian pantheon, including elemental & cardinal directional deities, the creator god Kytan, & the evil Hobbamock; the Ninnimissinuok etiology of the giant Maushop/ Moshup, who threw massive boulders into the bay by Martha's Vineyard & used tree trunks to cook whales on spits; tobacco offerings to the giant; Ninnimissinuok ingenuity, craftsmanship, agriculture, and economy; the colonizers' weird race-science-y beliefs that indigenous Americans originated in the Trojan diaspora or one of the Ten Lost Tribes of Israel; Morton's belief in indigenous origins in the Trojan diaspora & attempts at syncretizing their spiritual beliefs into Greek & Latin myth; his argument that the frequent indigenous use of the word "Pan" indicated to past worship of the pagan god "Pan"; the Puritan desecration of Cheecatawback's mother's grave & other incidents of Pilgrim's backstabbing the Algonquian; Morton & Sir Ferdinando Gorges's legal quo warranto case against MA Bay Colony's royal charter; the resolution of Gorges's power struggle by his reception of a charter to territory in Maine; Morton's return to New England & death in Acomenticus... ...Puritan lit brat pack nepo-babies obsession w/ Morton; Jefferson & Adams family's interest in him; Nathaniel Hawthorne's numerous appropriations and other remixers of the Morton saga, including Longfellow, William Carlos Williams, the NYT, and the neo-pagan Thomas Morton Alliance; Robert Lowell's dramatization of Hawthorne's "Endecott & the Red Cross" and interest in Morton & Rosicrucian apocalyptic ideas; and finally Philip Roth's The Dying Animal and anti-protagonist sleazy professor David Kapesh's obsession w/ Morton and reappropriation of Morton as progenitor of the "cultural tsunami" that was the "sexual revolution" of Henry Miller & the 1960s. Songs: | Morris On — "Staines Morris" | | Cocteau Twins — "Ivo" | | Soft Machine — "Esther's Nose Job" |
Read by Juliet Prew Production and Sound Design by Kevin Seaman
Read by Terry Casburn Production and Sound Design by Kevin Seaman
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
Hannah is in Paris and the bookstore owners are just going right ahead and asking her to take over their shops. Not happening! But she did buy three books from the Red Wheelbarrow, with a train theme of sorts that she didn't plan, a couple of which aren't available yet here in the States. We then chat briefly about "Saxophone Colossus" (don't miss the special episode Sam recorded, EP35), and a book Hannah probably won't finish even though she sorta likes it (yes, Elizabeth Hardwick and Robert Lowell were married in Beverly Farms), but then we move into a long discusion of the neurological underpinnings of why we like the music and books that we like. Oh, plus "Zig Zag," a good book about doing drugs, and "Demon Copperhead," which is making Hannah sad even though it might win the Pulitzer.
On the centenary of the publication of Eliot's ‘The Waste Land' in book form, Mark and Seamus finish the second series of Modern-ish Poets by considering how revolutionary the poem was, the numerous meanings that have been drawn out of it, and its lasting influence.To listen to series one of Modern-ish Poets and all our other Close Readings series, sign up here:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: https://lrb.me/closereadingsFurther reading on Eliot in the LRB:Frank KermodeDan JacobsonBarbara EverettMark FordTerry EagletonSeries one of Modern-ish Poets looks at Philip Larkin, W. H. Auden, Elizabeth Bishop, Thomas Hardy, Stevie Smith, A. E. Housman, Wallace Stevens, Sylvia Plath, Seamus Heaney and Robert Lowell.This episode was first published on the LRB Podcast in December 2022. Hosted on Acast. See acast.com/privacy for more information.
Seamus Perry and Mark Ford discuss the lives and works of Frank O'Hara and John Ashbery, close friends and leading lights of the New York School, who sought to create an anti-academic, hedonistic poetry, freeing themselves from the puritan American tradition.To listen to series one of Modern-ish Poets and all our other Close Readings series, sign up here:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: https://lrb.me/closereadingsSeries one of Modern-ish Poets looks at Philip Larkin, W. H. Auden, Elizabeth Bishop, Thomas Hardy, Stevie Smith, A. E. Housman, Wallace Stevens, Sylvia Plath, Seamus Heaney and Robert Lowell.Further reading on O'Hara and Ashbery in the LRB:C.K. SteadJohn BayleyStephanie BurtJohn KerriganThis episode was first published on the LRB Podcast in June 2022. Hosted on Acast. See acast.com/privacy for more information.
Seamus Perry and Mark Ford look at the life and work of Charlotte Mew, who brought the Victorian art of dramatic monologue into the 20th century, and whose difficult experiences are often refracted through her damaged and marginalised characters.To listen to series one of Modern-ish Poets and all our other Close Readings series, sign up here:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: lrb.me/closereadingsFurther reading on Mew in the LRB:Matthew BevisPenelope FitzgeraldSusannah ClappSeries one of Modern-ish Poets looks at Philip Larkin, W. H. Auden, Elizabeth Bishop, Thomas Hardy, Stevie Smith, A. E. Housman, Wallace Stevens, Sylvia Plath, Seamus Heaney and Robert Lowell.This episode was first published on the LRB Podcast in March 2021. Hosted on Acast. See acast.com/privacy for more information.
Seamus Perry and Mark Ford continue their series with a look at the life and work of W.B. Yeats, from his early quest for a mythological Irish culture, to his shift towards the Modernist experiment, and preoccupation with the ‘murderousness of the world'.To listen to series one of Modern-ish Poets and all our other Close Readings series, sign up here:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: https://lrb.me/closereadingsSeries one of Modern-ish Poets looks at Philip Larkin, W. H. Auden, Elizabeth Bishop, Thomas Hardy, Stevie Smith, A. E. Housman, Wallace Stevens, Sylvia Plath, Seamus Heaney and Robert Lowell.This episode was first published on the LRB Podcast in December 2021. Hosted on Acast. See acast.com/privacy for more information.
Seamus Perry, Mark Ford and Joanne O'Leary discuss the life and work of Emily Dickinson—her dashes, death instinct and obliquity.To listen to series one of Modern-ish Poets and all our other Close Readings series, sign up here:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: https://lrb.me/closereadingsSeries one of Modern-ish Poets looks at Philip Larkin, W. H. Auden, Elizabeth Bishop, Thomas Hardy, Stevie Smith, A. E. Housman, Wallace Stevens, Sylvia Plath, Seamus Heaney and Robert Lowell.This episode was first published on the LRB Podcast in June 2021.Further reading on Dickinson in the LRB:Joanne O'LearyMark FordDanny KarlinTom PaulinSusan Eilenberg Hosted on Acast. See acast.com/privacy for more information.
Seamus Perry and Mark Ford discuss the life and work of the Saint Lucian Nobel laureate Derek Walcott, the island poet and playwright surrounded by an oceanic consciousness, whose writing recognises at once the terrible gulfs between peoples and our common predicament.To listen to series one of Modern-ish Poets and all our other Close Readings series, sign up here:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: https://lrb.me/closereadingsSeries one of Modern-ish Poets looks at Philip Larkin, W. H. Auden, Elizabeth Bishop, Thomas Hardy, Stevie Smith, A. E. Housman, Wallace Stevens, Sylvia Plath, Seamus Heaney and Robert Lowell.This episode was first published on the LRB Podcast in March 2021.Further reading on and by Walcott in the LRB:'Militia' by Derek WalcottIan SansomNicholas EverettStephen BrookBlake Morrison Hosted on Acast. See acast.com/privacy for more information.
Seamus Perry and Mark Ford discuss the life and work of Louis MacNeice, the Irish poet of psychic divisions and authoritative fretfulness, in the fourth episode of series two of Modern-ish Poets.To listen to series one of Modern-ish Poets and all our other Close Readings series, sign up here:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: https://lrb.me/closereadingsSeries one of Modern-ish Poets looks at Philip Larkin, W. H. Auden, Elizabeth Bishop, Thomas Hardy, Stevie Smith, A. E. Housman, Wallace Stevens, Sylvia Plath, Seamus Heaney and Robert Lowell.This episode was first published on the LRB Podcast in November 2020.Further reading on MacNiece in the LRB:Ian HamiltonJohn KerriganMarilyn ButlerNick Laird Hosted on Acast. See acast.com/privacy for more information.
In the third episode of their second series of Modern-ish Poets, Seamus Perry and Mark Ford turn to the life and work of Adrienne Rich, in whose poems the personal becomes not only political, but epic.To listen to series one of Modern-ish Poets and all our other Close Readings series, sign up here:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: https://lrb.me/closereadingsSeries one of Modern-ish Poets looks at Philip Larkin, W. H. Auden, Elizabeth Bishop, Thomas Hardy, Stevie Smith, A. E. Housman, Wallace Stevens, Sylvia Plath, Seamus Heaney and Robert Lowell.This episode was first published on the LRB Podcast in September 2020.Further reading on Rich in the LRB:Jacqueline RoseStephanie Burt Hosted on Acast. See acast.com/privacy for more information.
Seamus Perry and Mark Ford look at the life and work of Robert Frost, the great American poet of fences and dark woods. They discuss Frost's difficult early life as an occasional poultry farmer and teacher, his arrival in England in 1912 amid the flowering of Georgian poetry, and his emergence as the first 20th-century professional poet, whose version of the American wilderness myth, full of mischief and foreboding, took him to packed concert halls and a presidential inauguration.To listen to series one of Modern-ish Poets and all our other Close Readings series, sign up here:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: https://lrb.me/closereadingsSeries one of Modern-ish Poets looks at Philip Larkin, W. H. Auden, Elizabeth Bishop, Thomas Hardy, Stevie Smith, A. E. Housman, Wallace Stevens, Sylvia Plath, Seamus Heaney and Robert Lowell.This episode was first published on the LRB Podcast in August 2020.Further reading on Frost in the LRB:Leo MarxHelen VendlerPeter HowarthMatthew Bevis Hosted on Acast. See acast.com/privacy for more information.
In the first episode of their second series of Modern-ish Poets, Seamus Perry and Mark Ford take on Gerard Manley Hopkins: Victorian literature's only anti-modern proto-modernist queer-ecologist Jesuit priest.To listen to series one of Modern-ish Poets and all our other Close Readings series, sign up here:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: https://lrb.me/closereadingsSeries one of Modern-ish Poets looks at Philip Larkin, W. H. Auden, Elizabeth Bishop, Thomas Hardy, Stevie Smith, A. E. Housman, Wallace Stevens, Sylvia Plath, Seamus Heaney and Robert Lowell.This episode was first published on the LRB Podcast in March 2020.Further reading on Hopkins in the LRB:Helen VendlerPatricia BeerJohn Bayley Hosted on Acast. See acast.com/privacy for more information.
Eric Newman and Kate Wolf speak with the novelist and critic Darryl Pinckney about his new memoir, Come Back in September: A Literary Education on West Sixty-Seventh Street, Manhattan. The book recounts Pinckney's relationship with a legend of American letters: the singular stylist Elizabeth Hardwick. Hardwick was Pinckney's professor in a creative writing class at Barnard in the early 1970s, and they quickly became close friends. She invited him into her home, into her writing process, and into a world of New York literary culture and gossip, which Pinckney doles out here in generous cupfuls. It was through Hardwick that Pinckney met Barbara Epstein, an editor and co-founder of the New York Review of Books, where he began his writing career. His memoir documents a critical time in both his own life and in Hardwick's, including the dissolution of her marriage to the poet Robert Lowell, and the composition of her masterful novel, Sleepless Nights. Also, Namwali Serpell, author of The Furrows, returns to recommend "Old Boys Old Girls" a short story by Edward P. Jones from his collection All Aunt Hagar's Children.
The Catholic Culture Podcast Network sponsored a poetry reading session at the fourth biennial Catholic Imagination Conference, hosted by the University of Dallas. Thomas Mirus moderated this session on Sept. 30, 2022, introducing poets Paul Mariani, Frederick Turner, and James Matthew Wilson. Paul Mariani, University Professor Emeritus at Boston College, is the author of twenty-two books, including biographies of William Carlos Williams, John Berryman, Robert Lowell, Hart Crane, Gerard Manley Hopkins, and Wallace Stevens. He has published nine volumes of poetry, most recently All that Will be New, from Slant. He has also written two memoirs, Thirty Days and The Mystery of It All: The Vocation of Poetry in the Twilight of Modernism. His awards include fellowships from the Guggenheim Foundation, the NEA and NEH. He is the recipient of the John Ciardi Award for Lifetime Achievement in Poetry and the Flannery O'Connor Lifetime Achievement Award. His poetry has appeared in numerous anthologies and magazines, including Image, Poetry, Presence, The Agni Review, First Things, The New England Review, The Hudson Review, Tri-Quarterly, The Massachusetts Review, and The New Criterion. Frederick Turner, Founders Professor of Arts and Humanities (emeritus) at the University of Texas at Dallas, was educated at Oxford University. A poet, critic, translator, philosopher, and former editor of The Kenyon Review, he has authored over 40 books, including The Culture of Hope, Genesis: An Epic Poem, Shakespeare's Twenty-First Century Economics, Natural Religion, and most recently Latter Days, with Colosseum Books. He has co-published several volumes of Hungarian and German poetry in translation, including Goethe's Faust, Part One. He has been nominated internationally over 40 times for the Nobel Prize for Literature and translated into over a dozen languages. James Matthew Wilson is Cullen Foundation Chair of English Literature and Founding Director of the MFA program in Creative Writing at the University of Saint Thomas, in Houston. He serves also as Poet-in-Residence of the Benedict XVI Institute for Sacred Music and Divine Worship, as Editor of Colosseum Books, and Poetry Editor of Modern Age magazine. He is the author of twelve books, including The Strangeness of the Good. His work has won the Hiett Prize, the Parnassus Prize, the Lionel Basney Award (twice), and the Catholic Media Book Award for Poetry.
In this episode, I speak with the poet, critic, and biographer Paul Mariani, professor emeritus at Boston College. We discuss his new book, All that Will be New and his biography of Robert Lowell, The Lost Puritan. We discuss Lowell's life, poetry, and his struggle with the permanent things: religion, marriage, art, family. Given the influence of Hopkins on his early poems, I think this episode pairs well with episode 38 with Nick Ripatrazone. As always, I hope you enjoy our conversation. Paul Mariani is the University Professor of English emeritus at Boston College. He is the author of twenty books, including biographies of William Carlos Williams, John Berryman, Robert Lowell, Hart Crane, Gerard Manley Hopkins, and Wallace Stevens. He has published nine volumes of poetry: All That Will New, Ordinary Time, Epitaphs for the Journey, Deaths & Transfigurations, The Great Wheel, Salvage Operations: New & Selected Poems, Prime Mover, Crossing Cocytus, and Timing Devices. He is also the author of the spiritual memoir, Thirty Days: On Retreat with the Exercises of St. Ignatius and The Mystery of It All: The Vocation of Poetry in the Twilight of Modernity. His awards include fellowships from the Guggenheim and the NEA and NEH. In September 2019, he was awarded the inaugural Flannery O'Connor Lifetime Achievement Award from the Catholic Imagination Conference at Loyola University, Chicago. Jennifer Frey is an associate professor of philosophy and Peter and Bonnie McCausland Faculty Fellow at the University of South Carolina. She is also a fellow of the Institute for Human Ecology at the Catholic University of America and the Word on Fire Institute. Prior to joining the philosophy faculty at USC, she was a Collegiate Assistant Professor of Humanities at the University of Chicago, where she was a member of the Society of Fellows in the Liberal Arts and an affiliated faculty in the philosophy department. She earned her Ph.D. in philosophy at the University of Pittsburgh, and her B.A. in Philosophy and Medieval Studies (with a Classics minor) at Indiana University, in Bloomington, Indiana. She has published widely on action, virtue, practical reason, and meta-ethics, and has recently co-edited an interdisciplinary volume, Self-Transcendence and Virtue: Perspectives from Philosophy, Theology, and Psychology. Her writing has also been featured in Breaking Ground, First Things, Fare Forward, Image, Law and Liberty, The Point, and USA Today. She lives in Columbia, SC, with her husband, six children, and chickens. You can follow her on Twitter @ jennfrey. Sacred and Profane Love is a podcast in which philosophers, theologians, and literary critics discuss some of their favorite works of literature, and how these works have shaped their own ideas about love, happiness, and meaning in human life. Host Jennifer A. Frey is an associate professor of philosophy at the University of South Carolina. The podcast is generously supported by The Institute for Human Ecology at the Catholic University of America and produced by Catholics for Hire.
Seamus Justin Heaney MRIA (/ˈʃeɪməs ˈhiːni/; 13 April 1939 – 30 August 2013) was an Irish poet, playwright and translator. He received the 1995 Nobel Prize in Literature.[1][2] Among his best-known works is Death of a Naturalist (1966), his first major published volume. Heaney was and is still recognised as one of the principal contributors to poetry in Ireland during his lifetime. American poet Robert Lowell described him as "the most important Irish poet since Yeats", and many others, including the academic John Sutherland, have said that he was "the greatest poet of our age".[3][4]Robert Pinsky has stated that "with his wonderful gift of eye and ear Heaney has the gift of the story-teller."[5] Upon his death in 2013, The Independent described him as "probably the best-known poet in the world".[6]Bio via Wikipedia See acast.com/privacy for privacy and opt-out information.
(Recorded March 2021) These two comedy nerds discuss the elements of math, science, art, and music that go into constructing the perfect joke as they trade collected wisdom about writing from Steve Martin, Mary Karr, Robert Lowell, Philip Roth, and Anne Lamott. They also dig into the rule of 3s, growing up in Massachusetts, the difference between “book smahrt” and “street smaht” and how Gary turned tragedy into comedy in his hit HBO special, “The Great Depresh.” Please consider donating to: Helen Keller International
The editor and publisher Robert Giroux was born on this day, 1914. He published Jean Stafford, Robert Lowell, and Flannery O'Connor.
Hosts Jim DeRogatis and Greg Kot do a classic album dissection of John Prine's debut album with author Erin Osmon. They also listen to feedback on recent episodes from listeners and bid farewell to Meat Loaf. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lURecord a Voice Memo: https://bit.ly/2RyD5Ah Featured Songs:John Prine, "Angel From Montgomery," John Prine, Atlantic, 1971John Prine, "A Good Time," Live at the 5th Peg, unreleased, 1970John Prine, "Paradise," John Prine, Atlantic, 1971John Prine, "Sam Stone," John Prine, Atlantic, 1971Dusty Springfield, "Son of a Preacher Man," Dusty In Memphis, Atlantic, 1969Bonnie Raitt, "Angel From Montgomery," Streetlights, Warner Bros, 1974John Prine, "Illegal Smile," John Prine, Atlantic, 1971John Prine, "Spanish Pipedream," John Prine, Atlantic, 1971John Prine, "Hello In There," John Prine, Atlantic, 1971John Prine, "Your Flag Decal Won't Get You Into Heaven Anymore," John Prine, Atlantic, 1971Viagra Boys, "In Spite Of Ourselves (feat. Amy Taylor)," Welfare Jazz, Year0001, 2021Iris DeMent, "Let The Mystery Be," Infamous Angel, Philo, 1992John Prine, "Jesus, The Missing Years," The Missing Years, Oh Boy, 1991John Prine, "When I Get To Heaven," The Tree of Forgiveness, Oh Boy, 2018Throwing Muses, "Counting Backwards," The Real Ramona, 4AD, Sire, 1991Neal Francis, "Can't Stop The Rain," In Plain Sight, ATO, 2021Aimee Mann, "Robert Lowell and Sylvia Plath," Queens of the Summer Hotel, SuperEgo, 2021Pom Pom Squad, "Head Cheerleader," Death of a Cheerleader, City Slang, 2021Meat Loaf, "Bat Out of Hell," Bat Out of Hell, Cleveland International, 1977The Go-Go's, "Vacation," Vacation, I.R.S., 1982
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