Podcasts about three pieces

65 -Evènementiel et culture du 27/1au 03/2/2025 (détails dans podcast) 30° Festival « Contes en hiver » du 31/1 au 18/2 conte-en-hiver | ligue65Le 31/1, soirée ouverture contes et légendes du Burkina Faso au Foyer rural d'Odos : 19h Ibrahim KABA et 21h15 François-Moïse BARBALe 1/02 à :- 10h30, médiathèque Rabastens de Bigorre, Stéphane HERNANDEZ, contes japonais- 15h, bibliothèque Sarraute Soues, François-Moïse BAMBA « Aux origines du monde »- 20h30, salle culturelle Adé, François-Moïse BAMBA « A l'école des ancêtres »Le 2/02, Abbaye de l'Escaladieu, Stéphane HERNANDEZ « Balade en kimono »« La Nuit des conservatoires »Le 31/1 à 20h, Auditorium Gabriel Fauré, spectacle poétique autour de la Nuit(Jeunes voix du Conservatoire, CM2 école Th. Gautier et classe de clarinetteConférences :« Aux sources de l'antisémitisme : les Juifs vus par les Grecs et les Romains » par Jean HAILLET le 30/1 à 18h au STAPS« Les couples dans l'art » par Marie DELAHAYE le 31/1 à 18h, Espace de la Gare Argelès-Gazost« La révolution de 1848 à Bagnères de Bigorre » par Jean COURTADET, salle multiculturelle Beaudéan« Les frelons asiatiques » par Annick BALERI le 1/02 à 9h45 , médiathèque Lourdes« La nature est-elle bien faite ? » par Patrick DUPOUEY le 3/02 à 14h30, Hôtel de Journet Vic en BigorreMusée de la Déportation et de la Résistance : lectures théâtralisées « Près de la voie ferrée » par la Cie Hipotengo le 29/1 à 18h30Saison culturelle Bagnères de Bigorre : « La Boîte de Pandore » le 31/1 à 20h30 à la Halle aux GrainsSaison culturelle Lourdes : « Arlequin poli par l'Amour » le 30/1 à 20h30, Espace Robert HosseinSPECTACLES Parvis : www.parvis.net« 20000 lieues sous les mers », « Soon », « Sur le chemin des glaces », « African Jazz Roots »La Gespe : « L'Air de Rien » le 28/1 à 20h30 au PariThéâtre des Nouveautés : « La vague » les 28,30 et 31/1 à 10h et 14h30CAC Séméac : « Un fil à la patte » le 31/1 à 20h30 et « Concert d'Harmonie » le 1/02 à 20h30ECLA Aureilhan : "L'Autre est moi" le 31/1 à 20h30 - Théâtre du MatinMaison du Savoir St Laurent de Neste : Rock Alternatif MARELL le 31/1 à 18h30 et ciné-concert « La volonté du mort » le 1/02 à 20h30Tiers-Lieu Amassa Lourdes : soirée stand-up le 31/1 à 20hMaison Parc National Luz St Sauveur : »En dessous » le 31/1 à 18h30Théâtre de la Gare Cauterets : concert Three Pieces of Trash le 31/1 à 18hSalle fêtes Lannemezan « The Hypnotiseur » Jean-Marc VIDAL le 31/1 à 20h30 (Rotary Club de Lannemezan)« Le cercle » Larreule : « Une enfance sous Franco » lecture en musique le 31/1 à 18hAlamzic- Bagnères: « Epiphanie du DAHO » le 1/02 à 19hEspace Claude Miqueu Vic en Bigorre : « Repas dans le noir aux saveurs corses » le 1/02 à 19hSalle fêtes Lesponne : « Soirée Pastet » le 1/02 à 20h (Association Milharis)Cinéma : Atelier cinéma UTL le 30/1 à 15h au Palais Lourdes, « Hors-piste, sensible et sauvage » le 30/1 à 20h30 Maintenon Bagnères, détail autres séances dans podcastExpositions (toutes les expositions dans podcast)Nouvelles : « Aux sommets »au Hang-Hart à Esquièze-Sère du 1/02 au 31/3« Cito X Libérer l'Enfer » au Pari du 28/1 au 15/2Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

To successfully move in the gift of prophecy, we need to be able to discern the voice of the Holy Spirit. In this podcast, I want to share three things that can lead to us delivering false prophetic words.

The American Democracy Minute Radio Report & Podcast for Nov. 28, 2024Brian is taking off a couple of days, but for Thanksgiving Day, is repeating a report on the increasing voter suppression of Native Americans.  Rank and file voters of all parties find this appalling, but few know that their party perpetrates such suppression tactics to protect political power. Voter Suppression of Native Americans is on the Rise.  Three Pieces of Pending Legislation Could Stop It.The ink wasn't yet dry on the Indian Citizens Act of 1924 when voter suppression of Native Americans began.  Natives have been fighting for their right to register and vote, proper representation, and fair voting districts ever since.To view the whole script of today's report, please go to our website.Today's LinksArticles & Resources:Native American Rights Fund - (2020) Obstacles at Every TurnBrennan Center for Justice - How Voter Suppression Laws Target Native AmericansNPR - Sometimes overlooked by campaigns, Native voters could decide major elections in 2024Split Ticket - The Largest Native American Voting BlocsIntermountain Histories - Trujillo v. Garley: The Struggle for Native American Voting RightsThe White House - (2022) REPORT OF THE INTERAGENCY STEERING GROUP ON NATIVE AMERICAN VOTING RIGHTSU.S. Senator Elizabeth Warren - Native American Voting Rights ActU.S. Congress - John Lewis Voting Rights Advancement ActGroups Taking Action:Native American Rights Fund, Native Vote, National Congress of American Indians, Declaration for American DemocracyCheck Your Voter Registration:U.S. Election Assistance Commission – Register And Vote in Your StatePlease follow us on Facebook and SHARE!  Find all of our reports at AmericanDemocracyMinute.orgWant ADM sent to your email?  Sign up here!Are you a radio station?  Find our broadcast files at Pacifica Radio Network's Audioport and PRX#Democracy  #DemocracyNews #NativeVote #VoterSuppression #JohnLewisAct #FreedomtoVoteAct

Today's episode is going to LIGHT a fire under your BOOTAY baby! Especially if you're in a season of life where you're ready to like take it up a notch because today I'm sharing with you three different pieces of what I'm calling game changing advice because honestly, each of these pieces of advice alone have been tremendously impactful in terms of my growth as an individual, as an entrepreneur, and in terms of my income. So today I'm pulling back the curtain, in hopes to help you expand your own vision on what's possible for you— I think you're going to love this one! Special thank you to our sponsor of today's podcast: CLEARSTEM! Cuz GIRLFRIEND….are you looking for a new SKINCARE line that works and is ACTUALLY non-toxic with no hormone disruptors or CRAP in it? If so, you've got to check out my FAVORITE anti-acne, anti-aging line CLEARSTEM! They have no hormone disrupters or TOXINS and honestly…. Their products have been game-changer in my life for the last 6+ years I've been using them! Tap this link: https://glnk.io/rqop/kacia to check them out & use code “KACIA” for a sweet discount! 

The American Democracy Minute Radio Report & Podcast for Oct. 14, 2024Suppression of Native American Voters is on the Rise.  Three Pieces of Pending Legislation Could Stop It.The ink wasn't yet dry on the Indian Citizens Act of 1924 when voter suppression of Native Americans began.  Natives have been fighting for their right to register and vote, proper representation, and fair voting districts ever since.To view the whole script of today's report, please go to our website.Today's LinksArticles & Resources:Native American Rights Fund - (2020) Obstacles at Every TurnBrennan Center for Justice - How Voter Suppression Laws Target Native AmericansNPR - Sometimes overlooked by campaigns, Native voters could decide major elections in 2024Split Ticket - The Largest Native American Voting BlocsIntermountain Histories - Trujillo v. Garley: The Struggle for Native American Voting RightsThe White House - (2022) REPORT OF THE INTERAGENCY STEERING GROUP ON NATIVE AMERICAN VOTING RIGHTSU.S. Senator Elizabeth Warren - Native American Voting Rights Act U.S. Congress - John Lewis Voting Rights Advancement ActGroups Taking Action:Native American Rights Fund, Native Vote, National Congress of American Indians, Declaration for American DemocracyCheck Your Voter Registration: U.S. Election Assistance Commission – Register And Vote in Your State USA Vote Foundation – Registration, Eligibility, State Election Office Links Vote.Gov – Register to Vote in Your State Vote.Org – Check Your Registration to Vote Please follow us on Facebook and SHARE!  Find all of our reports at AmericanDemocracyMinute.orgWant ADM sent to your email?  Sign up here!Are you a radio station?  Find our broadcast files at Pacifica Radio Network's Audioport and PRX#Democracy  #DemocracyNews #NativeVote #VoterSuppression #JohnLewisAct #FreedomtoVoteAct

Capstone ConversationsWith Jean CaragherFor CPA TrendlinesAccording to Korby Boswell, Adams Brown's senior marketing and growth manager, successful accounting firm marketing lies in effective project management, smart content marketing, and producing solid sales leads.Full episode note here | More Capstone Conversations here | Follow Jean Caragher on CPA Trendlines here. | Get her best-selling handbook, The 90-Day Marketing Plan for CPA Firms, here | Catch Jean Caragher every Friday with Gear Up for Growth here |In this episode of Capstone Conversations with Jean Caragher, Boswell delivers three pieces of advice for CPA firm managing partners.

WWJ auto analyst John McElroy reports suppliers will still write some software even though automakers want to write it all. 

Five Minute Fix -  Three Pieces of Gear to Bring on Every Trip In todays episode of the Five Minute Fix we discuss my top 3 pieces of gear that go with me just about everywhere.   A lightweight rain jacket, a light to midnight quarter zip and a packable puffy jacket. A couple good choices include the  Drake MST Puffy Jacket - https://amzn.to/3QDXwYu Black Ovis 1/4 zip Merino - https://www.blackovis.com/blackovis-tuscarora-merino-zip-base-layer-top Huntworth Tricot rain jacket - https://phantomoutdoors.com/products/huntworth-mens-tricot-rain-jacket-disruption https://www.spartanforge.ai - save 25% with code bowhunter   https://www.latitudeoutdoors.com https://www.zingerfletches.com https://huntworthgear.com/ https://www.lucky-buck.com https://www.bigshottargets.com  https://genesis3dprinting.com https://vitalizeseed.com https://waypointtv.com/#podcast  If you like what we are doing and want to see more, please consider checking out our Patreon account. Any funds generated through our Patreon account are funneled right back into the podcast to help fund equipment, hosting fees and gear for reviews and giveaways and as always future hunts.  http://bit.ly/BHCPatreon   http://bit.ly/BowhunterChroniclesPodcas https://huntworthgear.com/?utm_source=Pro+Staff&utm_medium=Direct+Link&utm_campaign=Preseason+Sale Learn more about your ad choices. Visit megaphone.fm/adchoices

Dale Whelehan, CEO of Four Day Week Global, joins host, Andy Goram to share his expertise on the potential benefits and challenges of implementing a four-day workweek, and how this can reframe the role that work plays in our lives, and re-shape business and society for good. If you're a business leader seeking to create a more sustainable and equitable work environment while enhancing employee well-being, this episode might be just what you're looking for. ----more---- Key Takeaways The benefits a four-day workweek can bring for your team's well-being and productivity. Actionable strategies for successfully implementing a four-day workweek in your organisation. The positive impact of reduced work hours on employee productivity. How a four-day workweek can significantly improve work-life balance and increase satisfaction and retention. How AI supports shorter workweeks and how it will revolutionise the way we approach productivity. ----more---- Key Moments The key moments in this episode are: 00:00:10 - Building Stickier, Competition-Smashing Organisations 00:03:22 - The Four-Day Workweek Debate 00:06:18 - The Purpose of the Four-Day Workweek 00:08:07 - Addressing Concerns and Criticisms 00:13:21 - Human Motivation and Organizational Behavior 00:15:14 - The Psychological Impact of Work Hours 00:18:07 - Evidence for a Four-Day Workweek 00:20:36 - Broader Societal Impact 00:25:30 - Long-Term Effects and Industry Differences 00:28:17 - Employee Utilization of Time Off 00:30:00 - Importance of Psychological Safety in Leadership 00:31:01 - Global Leadership in Work Time Conversations 00:36:15 - Impact of a Four-Day Week on Financial Situations 00:37:55 - Harnessing AI and the Future of Work 00:43:21 - Emphasising Quality Over Output 00:44:59 - The Impact of AI and the 80/20 Rule 00:45:37 - Three Pieces of Advice for Businesses 00:47:06 - Motivating the Workforce 00:47:45 - Where to Find More Information ----more---- Join The Conversation Find Andy Goram on LinkedIn here Follow the Podcast on Instagram here Follow the Podcast on Twitter here Follow the Podcast on Facebook here Check out the Bizjuicer website here Get a free consultation with Andy here Check out the Bizjuicer blog here Download the podcast here ----more---- Useful Links Follow Dr. Dale Whelehan on LinkedIn here Find Dr. Dale Whelehan on the 4 Day Week Global Website here Follow Dr. Dale Whelehan on X here Find Dr. Randy Ross on Instagram here ----more---- Full Episode Transcript Get the full transcript of the episode here

It's episode ONE HUNDRED and time to share the whole dang story of how I got started in this work and three key pieces of encouragement for YOU. This is the whole story of where I started and desperately wanting to be a stay at home mom leading me to my first business venture that eventually became MOMSET we have today! Whew, buckle up for this one my friend and I truly hope you leave with an "I can do this, too" mentality. I adore you and this life so dang much! Take the three pieces of encouragement and get the heck after the life you WANT to experience, even if it takes a journey of 8 years and beyond like me. Thank you for being here! xoxo Tessa Romero p.s. You better believe I journaled SO MUCH about each step and the vision I've held on to using Alignment Journaling. I'd love to teach you how to do that, too!

Welcome to the Hey Docs! Podcast with your host, Jill Allen. Today, I have a special guest, Charles Loretto, from Cain Watters & Associates, joining me on the show. I know that financial planning can be a bit of an undertaking for us all, so Charles is here to break it down. From where you should start to market trends and the best pieces of advice, there is a lot to learn! Pull out your notebooks. Let's get into it! Summary Charles Loretto, a financial planner specializing in dentistry, shares his journey and passion for orthodontics. He emphasizes the importance of owning a business and provides insights into the financial aspects of starting and growing an orthodontic practice. Charles discusses the different stages of financial planning, from basic accounting to tax planning and wealth building. He also highlights current trends in the industry, such as lower down payments and the impact of private equity on practice valuations. In this conversation, Charles Loretto and Jill discuss the value of dental practices, trends in practice transitions, the role of technology in orthodontics, and the availability of practices for sale. They also touch on private equity and the financial planning considerations for young doctors.  https://www.cainwatters.com/https://www.facebook.com/CainWatters/https://www.linkedin.com/company/cain-watters-&-associates/?trk=top_nav_home https://www.youtube.com/channel/UCCu1ZtPhTapsGg_-MPSxRng Takeaways Owning a business offers financial benefits, including increased income, equity building, and tax planning opportunities.Financial planning should be tailored to the unique needs of orthodontic practices, including specific accounting practices and projections.As practices grow, it is important to graduate to more comprehensive financial planning services that address complex issues like pension planning and investments.Trends in the industry include lower down payments for treatment and the continued influence of private equity on practice valuations. Understanding the value of a dental practice is crucial when considering a sale or transition.Outsourcing and lean practices are becoming more common in the dental industry.Customized treatment plans and the use of technology are shaping the future of orthodontics.Private practice sales and private equity investments are impacting the industry.Financial planning and surrounding oneself with the right professionals are key for young doctors.Connect With Our AdvertisersKaleidoscope - Orthodontic Digital Marketing GreyFinch - Web Based Practice Management SoftwareSmileSuite - Customizable Presentation Software and Post-Consultation Follow-Up Chapters 00:00 Introduction and Background03:20 Passion for Orthodontics09:58 Financial Planning at Different Stages27:50 Trends in Financial Planning33:08 Understanding the Value of a Dental Practice34:02 Trends in Practice Transitions 35:35 Outsourcing and Lean Practices36:27 Customized Treatment Plans 38:22 The Role of Technology in Orthodontics39:25 Managing Team Costs and Lab Bills40:22 Private Practice Sales and Private Equity41:47 The Availability of Practices for Sale43:10 Evaluating Practices from a Private Equity Perspective45:39 Valuing Higher-End Practices 47:53 Taking the Money Off the Table48:18 Financial Planning for Young Doctors49:29 Three Pieces of Advice for Young Doctors55:21 Speed Round Are you ready to start a practice of your own? Do you need a fresh set of eyes or some advice in your existing practice? Reach out to me- www.practiceresults.com.    If you like what we are doing here on Hey Docs! and want to hear more of this awesome content, give us a 5-star Rating on your preferred listening platform and subscribe to our show so you never miss an episode.   New episodes drop every Thursday!   Episode Credits:Hosted by Jill AllenProduced by Jordann KillionAudio Engineering by Johnny Mitchell

“My ultimate recommendation [for Górecki's Symphony No. 3] goes not to Nonesuch's success, but to the moving recording on Koch Schwann [reissued here on Alto] – this is heartfelt music-making, pure and simple, that succeeds admirably in conveying the sorrow of these aptly named songs. Koch also provides better value for money with their inclusion of the very approachable Three Pieces in Old Style. … [‘Totus Tuus' is] a simple, fetching, unaccompanied motet, written for Pope John Paul's visit to Poland.” -GramophoneTracksSymphony No. 3, Op. 36 “Symphony of Sorrowful Songs” I. Lento (24:23) II. Lento e Largo (8:34) III. Lento cantabile, semplice (12:14) Three Pieces in Olden Style I. (3:19) II. (1:56) III. (3:16) Totus Tuus, Op. 60 (10:50) Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Halle and Gray take listener questions and talk about their Thanksgiving plans. -- SHOW INFORMATION Mega HQ Get ad free + bonus content with MEGA PREMIUM Support Us on Patreon Instagram: @MegaThePodcast Twitter: @MegaThePodcast Follow Holly and Greg Holly Laurent: Twitter | Instagram Greg Hess: Twitter | Instagram Music by Julie B. Nichols Edited by Makenzie Mizell Learn more about your ad choices. Visit megaphone.fm/adchoices

Has anybody ever told you to believe in yourself? Or to follow your heart? On the surface these words appear to be encouraging, but dig into the Bible and you'll find that “encouragement” is actually bad advice.As Christian communicators and business owners, it's imperative that we discern between worldly wisdom and God's wisdom, especially when it comes to how we manage the call God has placed on our lives. In this episode of The Inspired Business Podcast, we're dissecting three pieces of popular advice and revealing why the opposite is actually a wiser approach.Highlights:Recognizing the actual source of your value and why it takes the pressure offTrusting that God will open and close the right doors, even if they aren't the ones you picked in the first placeWhat the definition of insanity gets wrongResources mentioned in this episode:Hebrews 13:20-21Philippians 2:13John 15:5Ephesians 3:20-21Are you a digital marketing genius? Take our quiz to find out!Plus watch our FREE masterclass: How to Create and Sell Digital Products Without Feeling Stupid, Salesy, or Sacrilegious

What I've heard this last week from other coaches, therapists and influencers

Boireann features two compositions specifically crafted for this release. "Five Études for Two Flutes" reimagines earlier pieces for two violins, demonstrating Buckley's ability to transpose musical ideas across different instrumental settings. "In Memoriam Doris Keogh," a three-movement piece for flute and piano, reflects the broad musical interests of Buckley's flute teacher, Doris Keogh, offering a touching tribute to her influence.TracksFive Études for Two Flutes* Perpetuum Mobile (2:13) Ebbing and Flowing (4:32) Canon (2:27) Duetto Notturno (3:53) Streetcar (2:15) In Memoriam Doris Keogh (for flute and piano) I. Seascape (3:34) II. Nocturne (6:02) III. Dance (3:25) Two Fantasias for Alto Flute I. Fantasia No. 1 (2:54) II. Fantasia No. 2 (4:36) Airflow (for solo flute) (5:03) Three Études for Piano (Études 1-3) I. Nine Variations (2:27) II. Through the Empty-Vaulted Night (4:57) III. Stars and Dreams (4:07) Three Pieces for Solo Flute I. No. 1 (3:38) II. No. 2 (2:49) III. No. 3 (2:59) Sea Echoes (for glissando flute) (3:34) Boireann (for flute and piano) (10:44) Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcast with the permission of Sean Dacy from Rosebrook Media.

In the coaching world, some ideas can seem a little out there. For example, the idea of creating a conscious relationship may feel a little airy fairy to you.I mean, it sounds like a good idea. But what exactly does it mean? What does a more conscious relationship look like, and how do you create one?In this episode of The Loving Truth podcast, you'll learn what it takes to create a more conscious relationship. I'll show you what it looks like to be a more conscious partner with examples of how it benefits your marriage.1:04 - Defining the word conscious and what it means as far as your relationship2:49 - How to become a conscious watcher of your relationship5:49 - The piece that makes you easier to be in a relationship with9:40 - The unpleasant (on the surface) piece that offers you an opportunity12:19 - Ways in which growth can appear in a conscious relationship (and a quick recap of the three pieces)Mentioned In Three Pieces You Need to Create a More Conscious RelationshipStay or Go? How to Find Confidence and Clarity So You Can Fix Your Marriage, or Move Forward Without Regret by Sharon PopeIs it possible to ever bring a marriage back to life? Find out in my free on-demand training called Living Like Roommates. I'll dive deep into what may have caused this distance in your relationship so you can understand how to move forward in a new direction. Sign up for the training livinglikeroommates.com.

This episode of the Networking Rx Minute with Frank Agin (http://frankagin.com) enourages you to take everyday advice from iconic science legend Stephen Hawking.   For more great insight on professional relationships and business networking visit https://www.networking-rx.com or contact Frank Agin at frankagin@amspirit.com    

Likewise with the Anglo-Scottish composer William Wordsworth (1908–88), great-great-grandnephew of the poet, with whom I occasionally exchanged letters and phone calls in the pre-e-mail late 1970s and early 1980s: I never could have predicted that his reputation might be restored by a series of Toccata Classics albums of his orchestral music, and I confess to an inordinate degree of pleasure in having helped right that injustice. Wordsworth's piano music, too, was poorly known before now, none of it recorded since a handful of pieces appeared on LP 60 years ago – though his epic Piano Sonata is a work of major importance. The first-ever complete recording, on this release, reveals an honest, unfussy approach to the keyboard akin to that of two other major symphonists, Sibelius and Rubbra: like them, Wordsworth's primary concern seems to have been the expression of deep feeling – which makes the gentle story-telling of his miniatures for children all the more surprising. The pianist is that stalwart defender of Scottish piano composers, Christopher Guild – who grew up just a few miles along the Moray Firth from Wordsworth's Highland home overlooking Glen Feshie in the Cairngorms.TracksPiano Sonata in D Minor, Op. 13 (1938-39) (27:04) I. Maestoso (13:21) II. Largamente e calmato – (6:13) III. Allegro molto – Poco adagio – Tempo I (7:30) Three Pieces for Piano* (10:35) Prelude (1932) (4:40) Scherzo (undated) (2:04) Rhapsody (spring 1934) (3:51) Cheesecombe Suite, Op. 27 (1945) (13:18) I. Prelude (4:35) II. Scherzo (1:34) III. Nocturne (4:58) IV. Fughetta (2:11) Ballade, Op. 41 (1949) (7:55) A Tale from Long Ago (publ. 1952)* (1:48) March of the Giants (publ. 1952)* (1:16) Ding Dong Bell (publ. 1952)* (1:19) Snowflakes (publ. 1952)* (1:38) Fireside Story (publ. 1952)* (2:28) Bedtime (Six O'Clock) (publ. 1952)* (1:13) Bedtime Story (publ. 1952)* (1:25) Hornpipe (publ. 1952)* (1:03) Valediction, Op. 82 (1967)* (10:00) - First RecordingsHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcast with the permission of Sean Dacy from Rosebrook Media.

A. Put the money aside first.B. Give Often, You Pump Up The Kindness In Your Heart and Mind one thousand fold each time.C. Think: Don't feel bad, you're not giving away anything, G-d has made you an ambassador of kindness by blessing you with more.Support the show

This podcast has been graciously sponsored by JewishPodcasts.fm. There is much overhead to maintain this service so please help us continue our goal of helping Jewish lecturers become podcasters and support us with a donation: https://thechesedfund.com/jewishpodcasts/donate

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

Question: What are three pieces of information each patent listed in the Official Gazette may give? Answer: As to each patent listed in the Official Gazette, the following information may be given: (A) Patent number; (B) Title of the invention; (C) Name of inventor(s), city, and state or country of residence; (D) Assignee’s name, city, and state or country of residence, if assigned; (E) Applicant’s name, city, and state or country of residence; (F) Filing date and application number; (G) For reissue patents, the original patent number and issue date, and the original application number and filing date; (H) U.S.… The post MPEP Q & A 271: What are three pieces of information each patent listed in the Official Gazette may give? appeared first on Patent Education Series.

Three pieces of good news all related to the human eye- we're talking: retina, cornea, cataracts... all the hits!  ★ Support this podcast on Patreon ★

Introduction: Welcome to Five & Thrive: a weekly podcast highlighting the Southeast's most interesting news, entrepreneurs, and information of the week, all under 5 minutes.  My name is Jon Birdsong and I'm with Atlanta Ventures.  Welcome everyone to episode 31 of Five and Thrive and the last one of 2022. Outside of the Braves making major trade plays last week, there was some movement in the tech space as well which we'll cover shortly but before we get there, we did want to highlight some valuable and insightful pieces of content that spoke the most to us from the investment perspective. Also, if you're looking for a recap of all of Atlanta Ventures' investments in 2022, we'll link to the news portion of our website which goes through the year's investments and we'll also link to the sign up page to our newsletter which Jacey Cadet sends out monthly on all the specific investments, news, and more.  3 Pieces of Content We Really Like: I'm not putting out a listicle or Top 10 List. But since we started producing this podcast back in June, there are a few pieces of content that really resonated with us. We're only offering 3 to enhance the gravity of the recommendations.  The first one is TwentyVC where Martin Escobari of General Atlantic shares his wisdom and insight around why markets matter most, how to remain a disciplined investor, what they look for in due diligence and much more. I liked this interview because it was so normal. Martin makes his opinion clear on several topics and it all seems so cogent and well thought out.  The second is an article coming from Mark Suster of Upfront VC titled: What does the post crash VC market look like? Mark wrote this in July of this year and there are some timeless themes put into actions specifically discipline and focus. Suster argues in times like these, there are only two things a VC firm can do: either go very big or get very focused. Upfront is does the latter. He walks through, with metrics, how they've kept their strategy consistent of writing checks early at an amount and price point in a very specific ballpark regardless of all of shifting and shiny objects out there in the macroeconomy. A good one to read.    Our third is back to TwentyVC this time Harry Stebbings interviews Brian Singerman of Founders Fund. Brian is a pro's pro and goes into a significant amount of information here including FoundersFund investing style, the overall mismatch in public vs. private markets right now. By the way, this was recorded in October of 2022. Brian also talks about how venture capital is investing in the best entrepreneurs building the best companies at the best possible price. Pretty simple, yet so hard. Worth a listen for sure.  Market Opportunity To Watch:  As y'all know, we love sparking startups out of the Atlanta Ventures' Studio and markets are the biggest factor to success. One market opportunity we are excited about over the next 5-7 years is around solar panels and more specifically solar panel installations. As more and more consumers and businesses install solar panels due to either cost and energy savings, maybe with the help of government incentives as well, there will be an increased number of solar installers. Software will be needed to organize and streamline those services as demand increases. A market to watch for sure.   Raise a Glass: Lastly, as mentioned above, there were deals made into the final holiday hours of the year, maybe even one more between now and the new year but Qualytics out of Orlando went through the Engage program and just closed a $2.5M round led Tech Square Ventures, who've we've highlighted before on this podcast as well as Knoll Ventures — both firms out of Atlanta. Qualytics solves the massive problem of scattered and unorganized data within the organization. When this happens, even the smartest folks in the room are not informed enough to make meaningful, strategic decisions. Qualtyics helps companies manage data quality at scale. Imagine millions or billions of data points scattered across several applications, the opaqueness and confusion can compound quickly. Well done to Founder and CEO, Gorkem Sevinc on closing the round before the final bell of the year.   Annnnd, that's 5 minutes. Thank you for listening to Five and Thrive. We provide 5 minutes of quality information, so you can thrive in the upcoming week. Please subscribe to the show and spread the good word!  Resources discussed in this episode: Atlanta Ventures News from the Year:  https://www.atlantaventures.com/resources/news https://www.atlantaventures.com/newsletter  3 Pieces of Content We Really Like: Martin Escobari of General Atlantic on TwentyVC Mark Suster of Upfront VC - What does the post-crash VC market look like? Brian Singerman of FoundersFund on TwentyVC Market Opportunity to Watch: Solar Panel Installations and Installers Raise a Glass: Qualytics Raises $2.5M  

This episode is a compilation of answers to YOUR questions that were asked directly from my listeners who attend my weekly business education YouTube live webcast. Topics covered include: Interview with Yoodli founder Varun Puri, What are three pieces of advice you would give your younger self, How to gain the courage to talk to powerful people and more. Refer to chapter marks for a complete list of topics covered and to jump to a specific section. Download my free "Networking eBook": www.harouneducation.comAttend my weekly YouTube Live every Thursday's 8am-11am PT. Subscribe to my YouTube Channel to receive notifications. Learn more about my MBA Degree ProgramConnect with me: YouTube: ChrisHarounVenturesCompleteBusinessEducationInstagram @chrisharounLinkedIn: Chris HarounTwitter: @chris_harounFacebook: Haroun Education Ventures  TikTok: @chrisharoun

In this episode I talk about some dating advice that I have shared before that I want to update. Join the waitlist for coaching:www.ambergrubenmann.com/coachingFollow me on Instagram: https://www.instagram.com/ambergrubenmannGet the free guide Copy And Paste Texts For When He Is Pulling Away Or Acting Flaky:https://www.ambergrubenmann.com/copy-and-paste-texts-for-when-he-is-pulling-away-or-acting-flaky

Gary Thomas has joined me this week on the podcast to provide insight regarding toxic relationships (familial, intimate, professional, friendships).  In this week's conversation, Gary is able to help us recognize people that are toxic and ways in which we can move on from these painful relationships. Toxic individuals not only affect the relationship, but they bring us down and add to our daily stressors. It's important to understand that toxic people slowly chip away at your well-being. As a mother, I enjoyed the conversation with Gary because it brought up the importance of healing and putting ourselves first. This conversation is inspired from Garry's book: When to Walk Away.  According to Gary, not every difficult person is toxic. Those that are toxic people want to control you, haunt you, and enjoy conflict. He speaks about how to incorporate faith, restraint, self-soothing methods, and forgiveness in our journey to walk away from toxic relationships. Join in and plunge into the episode to explore more about it. Listen in to learn more about: {04:00} Identifying Toxic People{06:20} Toxic People and Scripture{09:25} How to Walk Away Physically{11:00} How to Walk Away Mentally {12:25} Toxic Marriage and Licensed Counselors{16:00} Self-Soothing{26:00} Forgiveness{28:35} Three Pieces of Wisdom Favorite Quotes“Lord, I pray…that they'll become a person of love instead of hate.” “Take the temptation to fixate on toxic people as motivation to plan to do something healthy in a healthy relationship.”“Don't let someone tear you apart. God created you not just to be loved but to love others.” “Relationships are key to who God made us to be.” About Gary:Gary is a best-selling author and international speaker. He has worked to foster personal growth by means of scripture and community outreach. His incorporation of the Christian faith and public speaking have allowed him to identify how to end the chain of toxic relationships and how to find our way to a journey full of healing and self-love. If you'd like to hear more about what Gary's advice is you can check out his book When to Walk Away.  To Connect with Gary: Follow on IG: @garythomasbooks Facebook: https://www.facebook.com/AuthorGaryThomasTwitter: https://twitter.com/GaryLThomasLinkedIn: https://www.linkedin.com/in/gary-thomas-26b44a14/Website: https://garythomas.com To Connect with Jenny Follow on IG: @wholymom or Facebook: facebook.com/wholymom Have Questions? Send me an email at: info@wholymom.com. To Support My Podcast, use: Paypal Or Venmo: @wholymomSupport the show

Say you could only have a home gym, and that home gym could only have three pieces of gym equipment. What would they be? How would you choose? Your favorite ones? Or the most versatile ones? Avi Lieu, a USAPL pro powerlifter, joins us again. You can find Avi on Instagram @avi.lieu and Tiktok @avi.lieuHave a question for one of our Friday “One Good Question” episodes? Hit us up on social media and use the hashtag #onegoodquestion. If your question is picked, you'll get something special from us!Join our Discord for free! https://discord.com/invite/XVvJ5eNzdqSign up for our February USAPL meet. https://liftingcast.com/meets/mkbnzdv3k80y/rosterCheck out our gym (Third Street Barbell) at ThirdStreetBarbell.com https://www.thirdstreetbarbell.com/ and subscribe for updates about our apparel line at 3sb.co https://3sb.co/! Local memberships and international fresh fits! Get early access to our NEXT DROP!Check out our podcast website: 50percentfacts.com https://www.50percentfacts.com/50% Facts is a Spreaker Prime podcast on OCN – the Obscure Celebrity Network.____Hosted by Mike Farr (@silentmikke) https://www.instagram.com/silentmikke/ and Jim McDonald (@thejimmcd). https://www.instagram.com/thejimmcd/Produced by Jim McDonaldProduction assistance by Sam McDonald.Theme by Aaron Moore.Branding by Joseph Manzo (@jmanzo523)

Kari Trent-Stageberg has joined me this week to provide knowledge regarding the path to healing and understanding domestic violence as a first-hand survivor herself.  Domestic violence is one of the most threatening issues which can curtail one's mental and psychological growth. Individuals may face verbal, emotional, or physical abuse that may leave you questioning everything you've ever said or done in a relationship. Experiencing this abuse has been shown to leave lasting effects that are even more profound than physical damage itself. Due to the toll that is left by domestic violence, it is important to understand the narrative through first-hand experiences which is why Kari has joined the podcast today.According to Kari, the first and foremost thing to escape from domestic violence is to recognize such a toxic relationship and tackle it in the most appropriate manner, followed by setting a safety plan and boundaries. It will not be a cakewalk unless one gets proper guidance and knowledge regarding this evil. Listening to the words of a survivor will help others to be fit enough to fight brilliantly against the abuse. So don't hesitate to plunge into the episode to explore more about it.  Additionally, for anyone that may be experiencing domestic violence and needs further resources or guidance please call the National Domestic Violence Hotline at 800-799-7233.Listen in to learn more about: {03:40} The Journey of Kari as A Survivor{05:00} Abuse Defined{07:00} Book Suggestions on Abusive Relationships{11:20}  Along with Faith{14:00} Strategies and Pieces Of Advice To Apply{16:30} National Domestic Violence Helpline Number{27:25} Three Pieces of AdviceFavorite Quotes:“You are not created to do life alone.” “An abundance of counselors is wisdom.”“It's always one step forward, three steps back…God is so kind, he is so faithful, and he is not going to leave you where you are.”About Kari: Kari is a wife and mother. She has experienced an IVF journey which blessed her with a little boy. Growing up she was part of a faith-filled home with no paradigm for what abuse looked like. Through her journey she has walked away from faith, eloped, grown closer to God, and found her way to the beautiful family she now has. Her struggles have allowed her to bring hope, healing, and knowledge to both her and others faced with similar situations. To Connect with Kari:Follow on IG: @karitrentstageberghttps://www.karitrentstageberg.com/To Connect with JennyFollow on IG: @wholymom or Facebook: facebook.com/wholymomHave Questions? Send me an email at: info@wholymom.com.To Support My Podcast, use: Paypal Or Venmo: @wholymomSupport the show

#009: In this episode, I share with you my three pieces of advice on how to push your BPM ahead.In all the years I've been driving BPM at the Lufthansa Group, we've always come up with questions where we didn't know how to move forward.In some cases, the issue was the standardization of processes, in others the definition of the role of the process owner, and in others how to better link process with the organizational structure. And again and again, the question was how to get employees and management excited about processes.Looking back, three approaches have worked for me and I'd like to share them with you. They are benchmarking, collaboration with universities and innovations created by the organization itself.You'll learnHow to solve your BPM challenges by:benchmarking and learning from other expertscooperating with universitiesdeveloping innovations on your ownHow to apply these three approaches on your ownI hope, you enjoy this episode of the New Process Podcast and are curious to learn more in the next episode. Hit subscribe to not miss it!To provide me with feedback, please use this link:http://www.NewProcessLab.com/feedbackIf you'd like to get the links and show notes for this episode, head to:http://www.NewProcessLab.com/episode9---Follow me on LinkedIn:https://www.linkedin.com/in/mirkokloppenburg/Want to know how to start rethinking processes? Get my free checklist here: http://www.NewProcessLab.com/checklist

ITL Hour 4: Around The NFL, Big News involving Stanford Routt and Three-Pieces of wild Texans news.

On this "potpourri" episode of the podcast, Jason tackles three separate items in segments that had been previously record and unreleased. Here, he does a deep dive on Three Pieces of Advice, Want To vs. Have To, and Accidental Life Lessons. 

The Shop is back with all new services and we've got tons of new podcast episodes coming. In the midst of all of our growth, Team AP Consulting has become the business that I always dreamed of having. There's validation in seeing all of my hard work pay off, even with the ups and downs of entrepreneurship. I know that many of you have asked me for advice on building your dream business, and I want to share the biggest pieces of advice that I feel were absolutely essential to getting me where I am today. 00:42 — The Current State of My Business 02:04 — What Success Looks Like to Me 03:43 — Batching Content + Social Media Tips 08:12 — Free is Key 12:12 — Acting Like The Business You Want to Become Resources: Team AP Consulting Services New Resource Shop! _____ Into it? Subscribe/Follow/Rate the podcast wherever you are listening (from one entrepreneur to another, we know how important this is right?!) And make sure you take your Archetype quiz to unlock loads of free content tailored to you + your business. Follow us on IG here! And check out all the other bomb podcasts from Fast Forward Productions right here. Get more from Ashli over on this side and leave your listener voicemails at the link below! --- Send in a voice message: https://anchor.fm/unfiltered-entrepreneur/message

Former Young Women General President Ardeth Kapp and her husband Heber went through a lot during their 67 years of marriage before Heber passed away in May 2017. They worked together as president and matron of the Cardston Alberta Temple, were mission leaders of the Canada Vancouver Mission, and dedicated their lives to serving God in every calling in between. The Kapps also faced plenty of ups and downs in their marriage as they struggled with infertility and were never able to have children. In this episode, we speak with Ardeth about true partnership in marriage and learn from her example of how to choose faith and grace through thick and thin. “We need to be able to reinforce that statement of love and not just assume, ‘We're getting along okay, we don't have to repeat it.' Yes we do have to repeat it!”  Show Notes 2:36- Dreaming of Ironing Clothes and Learning to be Obedient 6:10- "What Did We Learn from It?" 7:44- Infertility and Unforeseen Opportunities 12:24- How Does He See It?  13:30- Three Pieces of Advice 17:31- Treasured Letters 22:41- Giving Space and Letting Spouse Fly 25:46- Observing Qualities in Other Marriages 28:58- Never Alone 32:36- What Does It Mean to Be All In the Gospel of Jesus Christ?  Find the full episode transcript at ldsliving.com/allin. See omnystudio.com/listener for privacy information.

Loneliness has been a major topic of conversation in recent years.  What is the antidote for loneliness?  Dr. Eric Jacobsen wrote a book recently on this very topic, entitled "Three Pieces of Glass."   We discuss what it looks like to cultivate belonging, not only on an individual level but also on a societal level.  Eric is passionate about reframing and restructuring the built environment, and believes that much of the loneliness we experience is not just a result of individual choices, but also due to choices we have made as a society.   Enjoy this conversation. We hope it inspires you to cultivate belonging in your own environment.  

Stravinsky's solo piano output may be modest in size, but it contains one of the absolute pinnacles of piano virtuosity, the Three Pieces from Petrushka. To call these pieces "arrangements" from the ballet score would be true, but misleading: they are brilliant recompositions from the ballet's material, stranger and more elusive, and with the added dimension of extreme virtuosity (he was never brave enough to give a public performance himself). Unlike many composers, Stravinsky always wrote his music at the piano, and the feel of chords-under-fingers, pushing against each other, overlapping and colliding goes a long way towards explaining the unique harmonic imagination that still has an international influence that stretches far beyond the confines of modernist classical music. Where the Romantics had turned the piano from a complex machine into a living, breathing musical being, Stravinsky wanted to unpick the illusion, and bring the mechanical aspects to the fore. He often sought to bypass the pianist's predilection for "expression", and even turned to pianolas for a time, which dispense with the need for a performer altogether. The clockwork character of his writing tends to dehumanise his source materials, whether these happen to be Russian folksongs, Baroque and Classical idioms or the latest jazz. Where does this leave a pianist who is prepared to meet this challenge?A lecture by Marina Frolova-Walker 26 FebruaryThe transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/lectures-and-events/stravinsky-pianoGresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 2,000 lectures free to access or download from the website.Website: http://www.gresham.ac.uk Twitter: http://twitter.com/GreshamCollege Facebook: https://www.facebook.com/greshamcollege Instagram: http://www.instagram.com/greshamcollege

This month's edition of the podcast is a little different than usual. We have no guest. We play whole songs at the end in a playlist (time stamped track list below). And most importantly we discuss three big pieces of news for us! News: 1. Appointment Shopping is now available! More details at this link. 2. We are moving! A bigger store is coming (just a short distance away in Wallingford). More details to come. We hope to be open in the new space for Black Friday (November 27th). 3.  We are releasing a record by Chained to the Bottom of the Ocean! It is called The Vestige and it is all of their long out of print records in one giant package! A double LP in a tri-fold jacket with incredible new art. More on all of that on the podcast. Plus, the side note that we'll be running the next RSD Drop in the same way we did the September Drop so look out for that at the end of the month. The Chained to the Bottom of the Ocean record can be pre-ordered now through our Big Cartel page here: https://redscrollrecords.bigcartel.com/product/pre-order-rsr-025-chained-to-the-bottom-of-the-ocean-the-vestige-2xlp 250 copies on White/Black Vinyl and 250 on Black Vinyl Full Time Stamped Track List: [00:00] Airhorn Intro [06:41] Chained to the Bottom of the Ocean “I've Got A Gut Feeling” I Carry My Awareness of Defeat Like a Banner of Victory / The Vestige (Fucking Kill Records / Redscroll Records) [13:09] Slikback “Black” /// (self released) [16:22] Sarah Davachi “Play the Ghost” Cantus, Descantus (Late Music) [21:11] Makaya McCraven “Kings and Queens” Universal Beings E & F Sides (International Anthem) [25:49] Dame “Mensrea” Dame (Beach Impediment Records) [28:50] Sevdaliza “Joanna” Shabrang (Butler Records / Music On Vinyl) [33:00] PJ Harvey “Sheela-Na-Gig” Dry (Too Pure / Island Records) [36:03] Vatican Shadow “Rehearsing For The Attack” Persian Pillars Of The Gasoline Era (20 Buck Spin) [41:32] Uniform “Dispatches From The Gutter” Shame (Sacred Bones Records) [43:41] Idles “War” Ultra Mono (Partisan Records) [46:43] Realize “Disappear” Machine Violence (Relapse Records) [50:06] Chained to the Bottom of the Ocean “Hollow Feeds The Emptying Death” Decay and Other Hopes Against Progress / The Vestige (Howling Frequency / Redscroll Records) The Redscroll Podcast is a monthly show (new episodes on the first of the month) that works as a companion to what we do at Redscroll Records in Wallingford, CT USA. We are a record store that has a heavy emphasis on the left of center / underground music of the world. Whether it be underappreciated or just has a niche audience, marginalized or just off the radar it's all of interest to us. With the show we'll generally have a localized focus. We'll discuss what is in our personal rotation at the moment. We'll talk to guests who have to do with all of the above. And we'll talk about specific dealings with the store. If you have input you're welcome to contact us through email (redscroll@gmail.com). Oh, and please do subscribe! New episodes on the first of every month! (Subscribe on Android)(Subscribe elsewhere just by searching for us please!)

Dana Allin and Eric Jacobsen discuss the importance of creating a culture of belongIng to defend against the feeling of loneliness in our society. They explore how living in a digital world surrounded by screens affects all aspects of our lives. They discuss Eric's book, Three Pieces of Glass and look at how being in the midst of a global pandemic which has increased isolation has changed and added to the ideas Eric discusses in his book. Dana and Eric go into detail about the reasons why screens affect the feeling of being lonely and the unique role the Church plays in decreasing loneliness and creating community.

In this episode, Sara Joy interviews Eric about his most recent book, Three Pieces of Glass: Why We Feel Lonely in a World Mediated by Screens. Released in May of 2020, Eric's book dives into our current crisis of loneliness citing it as partly resulting from a lack of belonging we feel in regard to the places and the people who most often inhabit the world in proximity to us. He makes the case that from the advent of the car (the windshield) and designing our cities for driving, to our TV screens, and now our smart phones, we have become more fragmented from places, neighbors, and friends. These three mediating pieces of glass remove us from embodied interaction with one another and have slowly atrophied our abilities to engage in neighborly and civic discourse, eroding a sense of belonging for us.He encourages his readers to be catalysts of belonging by taking small steps that can emulate the goodness of belonging and community connection as represented by the "kingdom belonging" modeled for us in the gospel. He challenges churches and individuals to be active in supporting policy choices at the city level that provide places for walkability, connection, and gathering with people over auto-oriented developments. And,  he urges people to put away their smart phones, turn off their TVs, and take some walks to connect with the places and people in proximity to them. Access more Show Notes with pictures and resources related to this episode.More information about this podcast and helpful church and urbanism resources can be found on The Embedded Church website.Related ResourcesThree Pieces of Glass: Why We Feel Lonely in a World Mediated by Screens by Eric O. JacobsenThe Gospel in a Pluralist Society by Lesslie NewbiginThe Death and Life of Great American Cities by Jane JacobsTogether: The Healing Power of Human Connection in a Sometime Lonely World by Vivek MurthyUnlocking Us Podcast: Dr. Vivek Murthy & Brene Brown on Loneliness and ConnectionI Miss Singing at Church (NY Times Op Ed) by Tish Harrison WarrenFind these Key Terms on The Embedded Church website:- Belonging- Fragmentation- Kingdom Belonging- Personal Belonging- Proximity - Public Belonging- Social Belonging- ZoningShow CreditsHosted and Produced by Eric O. Jacobsen and Sara Joy ProppeEdited by Adam Higgins | Odd Dad Out Voice ProductionsTheme Music by Jacob ShafferArtwork by Lance Kagey | Rotator Creative

With all the change and uncertainty in the world right now, many are turning towards more entrepreneurial endeavors. As a life long entrepreneur, today I'm giving 3 Pieces of Advice Every Entrepreneur Needs to Hear. But don't pass this one up if you don't consider yourself an “entrepreneur.” These can definitely be universally applied.

Today's episode is from Dancing in Social with M&O where I discuss what advantaged of dancing at home. We go deep into 3 important components on how to set progress formula in pursuing your dance goals and most important being happy. Enjoy! Galaxy Dance Academy. Let us know what you think, Tweet me or leave a review.

March 22, 2020: Three Pieces of Wisdom  

Today's Christmas Eve episode of Locked On Broncos features us selecting the best fan responses to our question of the day. What were the best 3 Broncos gifts and the 3 pieces of coal from the team's 2019 season? We analyze each and every one as selected by the fans. Plus we hear from Broncos HC Vic Fangio who had a lot to say in his Monday Press Conference. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This podcast is a quick, powerful episode with Three Pieces Of Advice That Will Make You A Better Human Being. This advice comes from: Bestselling Author Neen James, Pro Basketball Player Jimmer Fredette and World Record Holder Brad Barton. Listen in & let me know which piece of advice resonates with you the most.

I'm sharing three pieces of advice I've received from very successful entrepreneurs (one was Stephen Covey). This advice will serve you as an entrepreneur but also applies in whatever you do – in and out of business.

Ep. 21 - "Through the Looking Glass" --- Its 1974, and the great composers of the Western avant-garde continue to drift ever further apart. Stockhausen tours the globe and dreams of a life among the stars, Boulez becomes a world-renowned conductor, John Cage adds to his growing list of artistic pursuits, and György Ligeti settles down to a life as a teacher and begins planning his next moves as a composer. Much more composing and much more life is to come. We see Ligeti through dry spells and periods of great productivity. We see him deal with life and death in his own way. Then we see him to the end of his life, which ended much differently than it began. Please rate, review, and subscribe on iTunes! Like our Facebook page too! https://www.facebook.com/thegreatcomposerspodcast/ www.kevinnordstrom.com All music heard in this episode is by Ligeti unless otherwise noted. Most are short clips of the larger work. Please listen to the complete works (especially the the piano etudes and Hamburg Concerto!) after the episode. San Francisco Polyphony Tierkreis (Verison for clarinet, flute, trumpet, and piano)- K. Stockhausen Pli Selon Pli, Don - Pierre Boulez Music for Five - John Cage Hungarian Rock for Harpsichord "Overture" to Le Grand Macabre Monument, from "Three Pieces for Two Pianos" Horn Trio mvt. 2 Vivace molto ritmico Study for player piano no. 9 - Conlon Nancarrow Etude no. 13 L'esceliere du diable (The Devil's Staircase) Sonata for Viola Solo - Kevin Nordstrom, viola - mvt. 2 "Loop" - mvt. 5 "Lamento" - mvt. 6 "Chaccone Chromatique" All materials used in this episode are meant for educational purposes only. Thank you for listening! ---------------- For all things GCP Please rate, review, and subscribe on iTunes! The App!  https://apps.apple.com/us/app/the-great-composers-the-gcp/id1465809545?fbclid=IwAR0tQTElluT8I3jn6SYFcQst70IY0Ym52LjEz1Z3DR11oq5ZGDLV_URNyHk&ls=1 Like our Facebook page! https://www.facebook.com/thegreatcomposerspodcast/ A complete bibliography for all episodes can be found on my website: www.kevinnordstrom.com

They haven't kicked us out of the new studio space, so we're back for the second week from our digs on Broadway Avenue. This week Sorg, Larry, Rob and Bobby are joined by Billy Ruxpin to chat about what's happening in wrestling:WMS If you stopped watching RAW at 10:15, you were good to go. RAW was in Pittsburgh last night. Yep. We were there. MizTV and Jason Jordan are topping the show chatter tonight. Best part of the Kurt Angle and Jason Jordan visit to Pittsburgh could have been the very Pittsburgh family aspect. Larry is calling for a DNA test error angle with Kurt Angle and Jason Jordan. John Cena and Shinsuke Nakamura? We enjoyed it, but it was obvious Cena is heading out to do some stuff. Jinder and Shinsuke. Larry is calling for a cash-in after the match. We're actually happy to see big guys beating the crap out of each other! We're actually discussing things commentators say during matches. If you're going to piss JBL off, it's best to do it on air apparently. Enzo isn't liked because he's Enzo 24/7? We're waiting to see Braun do a shooting star press off the top rope! Sorg got to experience RAW with a child last night. It reminded him of why he got into wrestling. What happened to Miz and Ambrose? This week's Big Question: Which UFC or WWE star would you like to see cross over to the other? Shane-O-Mac was in a helicopter crash and is even more badass! Is there too much wrestling podcasting happening these days? What did YOU learn in wrestling this week? Follow our stable on Twitter: Sorg (@Sorgatron), Larry (@MutilatorLarry), Billy Ruxpin (@billyruxpin), and Ringside Rob (@RobBrownPA78)! If you are in Pittsburgh, you got to go to Slice on Broadway (@Pgh_Slice) and get their food! (sliceonbroadway.com) You can support the show at Patreon.com/wrestlingmayhemshow! Go to wrestlingmayhemshow.com for more entertainment! Remember to LIKE and FOLLOW us on Facebook for updates and video.