Podcasts about Andy Warhol

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Cerramos una semana en la que hay títulos para todos los gustos, thriller, drama íntimo, biopic, viajes en el tiempo y hasta experimentos artísticos, Comenzamos con una película muy esperada Los tigres, el último trabajo de Alberto Rodríguez que nos lleva a los fondos marinos. Con él y los actores protagonistas Antonio de la Torre y Bárbara Lennie charlamos esta madrugada. Recién Nacidas de los hermanos Dardenne es otra de las películas que no podíamos perdernos, pone el centro de mira en un centro maternal y en la historia de cinco adolescentes, de todo ello hablamos con sus directores. Recién Nacidas es la cinta internacional que destacamos junto a The Mastermind de Kelly Reichardt y el biopic Monsieur Aznavour que nos acerca nuestra colaboradora Ángeles González Sinde.Nos metemos en el mundo de Andy Warhol y celebramos un cumpleaños muy esperado, los 40 que cumple Regreso al futuro.Todo esto además de las series con Pedro Calvo, el resto de la cartelera donde nos detenemos en La sabana y la Montaña y Las guerreras K-Pop.Escuchar audio

'Baía dos Tigres' é a mais recente longa-metragem de Carlos Conceição. O realizador aclamado em festivais de cinema como Cannes, Berlinale ou Locarno, decidiu apresentar 'Baia dos Tigres', em estreia mundial, recentemente, no festival DocLisboa. Nas palavra de Carlos Conceição, “o filme tenta ir atrás dessa ideia que está a ser gravada uma nova existência por cima de uma existência prévia, mas estão lá fantasmas abstratos, sobrespostos, ruidosos, e que são fantasmas da história do século XX transversais a várias culturas.” Baia dos Tigres foi inteiramente rodado em Angola, país onde Carlos Conceição nasceu e que serviu de fonte de inspiração. A RFI falou com o realizador na capital portuguesa. Carlos Conceição começa por explicar como surgiu o filme 'Baia dos Tigres'. Carlos Conceição: O filme surgiu numa fase que eu, agora, já considero ultrapassada da minha carreira. Uma fase em que eu não tinha grandes perspectivas de como subsidiar o meu trabalho e que, por isso, apostava em ideias que eu conseguisse concretizar com pouco, com elementos que fossem reduzidos, mas intensos, como uma boa malagueta, que é capaz de fazer o melhor por um prato, só aquela malagueta. E a Baía dos Tigres sempre foi um mito para mim. Eu ouvia falar na Baía dos Tigres enquanto sítio desde que era criança. E por volta de 2015, 2016, provavelmente, fiquei, por portas e travessas, familiarizado com duas histórias que acabaram por ter uma grande ressonância na minha vida, ambas japonesas. Uma é o significado da palavra johatsu, que significa evaporação. É uma prática que acontece exclusivamente no Japão e, muitas vezes, com a ajuda de empresas especializadas. Consiste na pessoa eclipsar-se da sociedade, desaparecer. Essa empresa trata do desaparecimento total desta personagem, desta pessoa que os contrata. Isto acaba por ter um contorno que talvez seja comparável aos programas de proteção de testemunhas, porque todas estas pessoas acabam por assumir uma nova identidade, uma nova vida, uma nova história, um novo passado. Escolhem desaparecer pelas mais diversas razões, uma relação fracassada, dívidas de jogo, dívidas ao banco. Aquela coisa muito asiática que é a honra e que nós, na Europa, perdemos no século XV. Parece-me um conceito que, não estando completamente disseminado, não sendo exterior à cultura japonesa, parece-me um conceito interessante para os tempos de hoje. Não me interessa a mim como cidadão, interessa-me como leitor, como espectador, fazer uma história sobre uma pessoa que faz isso, que resolve desaparecer, que organiza o seu desaparecimento. E, paralelamente a isso, a descoberta da história verdadeira do soldado Hiroo Onoda, que foi um soldado japonês que esteve 30 anos perdido numa ilha das Filipinas, convencidíssimo por não ter contato nenhum com ninguém, aliás, inicialmente ele não estava sozinho, mas acabou por ficar, porque os dois companheiros com quem ele estava acabaram por morrer, e ele sozinho permaneceu 30 e tal anos nessa ilha selvagem, nas Filipinas, convencido que a guerra (2ª Guerra Mundial) continuava, e completamente fiel aos seus propósitos e àquilo que tinha sido formado para fazer. Foi uma grande dificuldade convencer o Onoda, quando ele foi descoberto, de que o assunto da Guerra Mundial já tinha acabado, e que aqueles credos todos dele estavam ultrapassados há 30 anos. Isto também é uma ideia que me interessa, como é que uma personagem percebe o tempo quando está isolada. Uma, no caso de uma das personagens do filme, é o desejo que o tempo pare, e, no caso da outra personagem, o desejo que o tempo ande mais depressa. Portanto, acho que o filme é sobre essa diferença, a diferença entre querer que o tempo pare e querer que ele ande mais depressa. RFI: A Baia dos Tigres é em Angola, no sudoeste de Angola. O que é que levou o Carlos Conceição a escolher ir filmar em Angola? Qual é a linha que se constrói que liga Angola a esta personagem? Ou a estes personagens, pois são dois personagens. Carlos Conceição: Podem ser, ou duas versões da mesma personagem. Eu filmo em Angola da mesma maneira que o Woody Allen filma Manhattan, ou o João Rosas filma Lisboa. É natural para mim, porque foi onde eu cresci. É mais fácil para mim filmar em Angola, em particular no sul, em particular no deserto, do que filmar em Lisboa. Para mim é mais difícil enquadrar em Lisboa. Ali sinto que estou muito seguro e, para onde quer que eu olhe, eu sei como é que o plano deve acontecer. E as narrativas que a maioria das vezes me surgem para contar são de alguma forma relacionadas com a minha própria vivência e, como tal, Angola está sempre envolvida de alguma maneira. Portanto, os meus filmes têm tido essa relação com Angola pelo menos os últimos três. O Serpentário, que é a minha primeira longa, e o Nação Valente, acima de tudo, e este filme. Que seria logo seguinte ao Serpentário, mas que estreia depois do Nação Valente, porque a vida dá muita volta, porque as coisas atrasam-se e metem-se pandemias e metem-se prazos e coisas do género. Mas acho que são dois filmes que são feitos num só gesto, de certa forma. Acho que a questão da Baía dos Tigres tem a ver com misticismo. Desde criança que eu ouvia falar da Baía dos Tigres como sendo uma ilha deserta, uma aldeia abandonada, uma cidade fantasma, como algumas que se vê nos westerns, relativamente perto, mas muito inacessível, muito difícil de lá chegar. Sempre foi uma ambição minha conhecer o sítio em si. E quando conheci, a primeira coisa que senti foi ... isto é um filme inteiro, este sítio é um filme. Eu já sei qual é o filme e tenho-o dentro de mim, tenho de o fazer e se não fizer vou morrer. Foi assim que o filme surgiu. Curiosamente, houve duas fases de rodagem. Na primeira nós não chegámos a conseguir ir à Baía dos Tigres. Estivemos na Floresta do Maiombe, em Cabinda. Estivemos no Uige, estivemos em Malanje, nas Quedas de Calandula, as Cataratas de Calandula. Depois filmámos muitas coisas à volta da zona onde eu cresci, que foi no Lubango, na Comuna da Huíla, na zona do ISPT, que é o Instituto Superior Politécnico de Tundavala e que tem uma mata enorme atrás, usámos como backlot. Obviamente, só depois disso é que conseguimos, numa segunda  viagem, organizar a chegada à Baía dos Tigres, que envolve toda uma logística complicadíssima. Entre muitas aventuras possíveis, chegar à Baía dos Tigres, à Ilha dos Tigres, que tem cerca de 30 km de comprimento por uns 11 Km de largura, mas que tem construções concentradas... chegar de barco implicava sair da povoação mais próxima, num barco, que provavelmente seria uma traineira, que levaria 6 a 7 horas a chegar à ilha. Fazer um percurso longitudinal desde o Parque Nacional da Reserva Natural do Iona até ao embarcadouro, que se usa para ir para a Ilha dos Tigres, seria impensável porque a costa continental é toda cheia de poços de areia movediça. Então, a única maneira de chegar ao embarcadouro, sem ser engolido pelas areias movediças, é fazê-lo a uma certa hora da manhã, quando durante cerca de 50 minutos a maré está baixa. Temos de ir quase em excesso de velocidade, em veículos 4x4, pela zona molhada de areia, a partir da cidade do Tômbua, e fazer um percurso que demora mais de uma hora a fazer dentro daquela janela temporal. Caso contrário, ficamos ou atolados pelas ondas ou atolados na areia, onde, aliás, se conseguem ver muitos destroços de experiências fracassadas neste género. Ao chegar ao tal embarcadouro, que é um sítio muito tosco, muito improvisado, está lá alguém com quem nós marcamos. É uma pessoa que se contrata com um barco, uma espécie de lancha. Depois fazemos um percurso de quase uma hora de barco por entre bancos de areia, num mar muito, muito agressivo, cheio de fauna, orcas, focas que espreitam da água a olhar para nós, pássaros que passam rasantes, chuva constante, até que, de repente, começa no horizonte a surgir aquela cidade fantasma, assim, meio embrulhada no nevoeiro.  Vê-se logo uma igreja amarela, uma coisa assim … , parece uma aparição. Há um misticismo à volta da experiência de lá chegar que o meu filme nunca conseguirá mostrar, por mais que eu me esforce, e que é muito difícil de captar. Eu tento, no filme, captar esse misticismo e essa fantasmagoria de maneiras diferentes. Criando alegorias, como o filme tem esta ideia da memória que se apaga. Eu imagino o filme um bocadinho como uma cassete ou uma bobina daquelas antigas, que tem de ser desmagnetizada, mas às vezes não fica completamente desmagnetizada, e, por isso, quando vamos gravar algo em cima, sobram restos de fantasmas de gravações passadas. Fisicamente, o filme tenta ir atrás dessa ideia que está a ser gravada uma nova existência por cima de uma existência prévia, mas estão lá fantasmas abstratos, sobrespostos, ruidosos, e que são fantasmas da História do século XX, transversais a várias culturas. RFI: São fantasmas do período em que a Angola estava colonizada por Portugal? São fantasmas da Guerra da Libertação? Carlos Conceição: É impossível não serem também esses fantasmas. Mas eu acho que são fantasmas do mundo contemporâneo, são fantasmas de 2025, são fantasmas do que está a acontecer em Gaza, do que está a acontecer na Ucrânia, são fantasmas deste ressurgimento da extrema-direita, são fantasmas do novo espaço que as ditaduras estão a ganhar, são fantasmas de coisas que deviam estar enterradas e não estão, e são fantasmas com várias origens. O filme tem, em certos momentos, elementos sonoros que vêm de discursos do Hitler, de Mussolini, de Oliveira Salazar, o Savimbi, a voz da Hanoi Hannah, que era uma vietnamita que transmitia mensagens aos soldados americanos a dizer, “vão-se embora, porque vocês vão morrer, o vosso governo traiu-vos”, e ela também aparece como um fantasma neste filme. Portanto, são esses fantasmas todos que, vindos do passado, constroem o presente. O momento presente que nós estamos a viver no mundo, é todo feito desses restos, na minha opinião, mal enterrados. RFI: O cinema é uma ferramenta para lidar com esses fantasmas? Carlos Conceição: Há uma certa obrigação antropológica em algum cinema, há uma responsabilidade histórica que o cinema deve atentar, mas eu não creio que o cinema deva ser uma arte utilitária exclusivamente. Acho que o cinema é mais interessante quanto mais livre for, e se calhar quanto mais fútil for. Eu vejo o cinema como uma espécie daqueles discos que se gravam e se mandam para o espaço, e acredito que daqui a uns anos, quando nós já cá não estivermos, vai aparecer uma espécie alienígena qualquer, ou uma espécie mais inteligente que nós, que tem estado aí escondida, que não aparece por nossa causa, e que vai descobrir uma carrada de filmes, e vai dizer, olha que interessante que era esta espécie que se autodestruiu. E é para isso que eu acho que o cinema serve. Eu vejo cada filme que faço como uma espécie de filho, até porque fazer um filme é uma espécie de gestação, dura o tempo de uma gestação, alguns mais, alguns trazem as minhas dores de cabeça comparáveis. E às vezes nós perguntamos para quê. Para mim essa é a resposta: é para deixar qualquer coisa, para deixar um legado, para deixar uma marca. Para deixar qualquer coisa que ajude a perceber como é que as coisas eram, como é que deviam ter sido, como é que não foram, por aí fora. RFI: Os primeiros filmes do Carlos Conceição foram curtas-metragens, os últimos três trabalhos foram longas-metragens. Não há uma vontade, não pode haver um desejo de voltar às curtas? Carlos Conceição: Eu penso que o universo das curtas, a existência cultural das curtas, é interessante, mas limitada. Eu fui muito feliz a fazer curtas-metragens, cheguei a dizer que me apetecia fazer curtas para sempre. O meu penúltimo filme, na verdade, não é uma longa-metragem, é uma média-metragem, tem 59 minutos, e eu tenho outro filme com 59 minutos para lançar em 2026. Esse formato de uma hora, para mim, é perfeito. Permite-se uma estrutura de curta-metragem em que nem tudo precisa de lá estar, de ser causa e efeito, nem de estar pejado de consequências, nem hiper-explicado, e ao mesmo tempo também não abusa das boas-vindas que recebe do público.Portanto, gosto de filmes que contêm esse universo mais curto, de certa forma. Para além do filme de 59 minutos que quero estrear para o ano que vem, se tiver sorte, também tenho uma ideia para uma curta-metragem que é toda feita com material que eu já tenho filmado, e que tem a ver com Angola também, curiosamente. Mas é uma curta muito mais sensorial e vai ser como música visual, vai ser baseado em ritmos de planos, e tempos e durações de planos, e o que é que corta para onde. Isso é um exercício que eu sinto que me agrada e que é uma coisa que eu quero fazer, que eu consigo fazer sozinho também. Até porque acho que estou precisando tirar umas férias depois desta maratona que têm sido os últimos três anos, talvez. RFI: Fazer sozinho é? Carlos Conceição: Quando eu digo fazer sozinho, às vezes refiro-me a ser só eu com uma câmera na mão, por exemplo, mas isso não quer dizer que depois a montagem vá ser eu sozinho. Eu gosto de pedir opinião às pessoas e depois já me aconteceu em determinados projetos eu saber exatamente como é que a montagem tende a acontecer, e seria eu dizer à pessoa que está comigo a montar que devíamos fazer assim, devíamos fazer assado, de forma a ir ao encontro da minha ideia. Já me aconteceu, como também acontece em particular no filme Baía dos Tigres, eu ter uma ideia e ficar à espera de ver o que é que a Mariana Gaivão tem para propor dentro da mesma ideia, enquanto montadora o que é que ela me vai contra-propor. E ela diz-me, dá-me dez minutos e volta daqui a dez minutos. E eu volto e ela tem uma proposta para fazer. A maioria das vezes estamos completamente síncronos. Acho que é muito importante essa parceria. Portanto, nós nunca estamos realmente sozinhos. Quando eu digo que posso fazer essa curta sozinho, eu acho que é material que eu fui juntando de outras rodagens, de outras coisas que não utilizei no Nação Valente, de coisas que não utilizei neste filme, e que eu acho que consigo sozinho em casa juntar e criar algo interessante com aquilo. É nesse sentido que digo fazer sozinho. Mas a verdade é que eu dependo sempre, obviamente, do meu colega Marco Amaral, que é o colorista que vai depois pôr aquilo com bom aspecto porque eu não sou diretor de fotografia, por isso ele tem de me salvar, de certa forma. Dependo, obviamente, de quem vai ajudar a fazer a montagem de som e a mistura de som. E, normalmente, eu trabalho com um núcleo muito duro, quase sempre a mesma família. Portanto, quando digo sozinho, às vezes posso estar a dizer que estou a autoproduzir, ou posso estar a dizer que é algo que eu consigo, se calhar, manufaturar, fazer de uma forma menos comunitária, menos convencional, menos industrial. RFI: O Carlos Conceição gosta de trabalhar com um núcleo duro, um núcleo próximo, o ator João Arraias faz parte desse núcleo. O que é que o faz investir nessa relação? Carlos Conceição: Há duas, três dimensões na resposta que eu posso dar. Em primeiro lugar, o João é um ator com capacidades únicas, que eu reconheço como muito valiosas e isso para um realizador é ouro. Pedir a um ator uma ação com meia dúzia de palavras e ele dar-nos exatamente aquilo ou, se calhar, melhor, não acontece todos os dias. Portanto, quando um ator tem esse super poder, nós agarramos nele e nunca mais o deixamos ir. A segunda questão tem a ver com o facto que eu me revejo imenso no João. Ele tem menos de 15 anos do que eu, quase 16, e houve uma altura, quando ele tinha 16, 17, era impossível, para mim, olhar para ele e não me estar a ver a mim. Houve vários filmes que surgiram por causa disso, nomeadamente o Versalhes, o Coelho Mau, e o Serpentário sem dúvida nenhuma. A terceira coisa é que nós somos muito amigos e trabalhar com amigos é o maior prazer do mundo. RFI: Baía dos Tigres teve a estreia mundial no Festival Internacional de Cinema DocLisboa, na origem dedicada aos documentários. Podemos identificar a Baía dos Tigres como um documentário? Carlos Conceição: O Godard dizia que todos os filmes são documentários sobre a sua rodagem, o seu processo de serem feitos. O Baía dos Tigres é uma ficção filmada segundo alguns credos do documentário. É tudo quanto posso dizer. Por ser o realizador do filme e o argumentista do filme, talvez não seja a pessoa mais indicada para o definir nesse sentido. Aliás, os filmes, normalmente, e é uma ideia que eu costumo tentar vender, os filmes não são como são por acidente ou por ingenuidade ou porque a pessoa que os fez não soube fazer melhor. Os filmes são normalmente resultado de um período de deliberação que é longo, ardo, obsessivo e desgastante para o seu realizador. Portanto, não há filme nenhum que seja como é porque o realizador não sabia fazer melhor. Isso quer dizer que, de certa forma, cada filme dita a sua própria gramática. E eu acho que é muito interessante que possa haver fusões entre os sistemas clássicos narrativos e as formas do documentário, o cinema mais contemplativo. Eu gosto, por exemplo, do cinema do Andy Warhol. Eu nunca me sentei a ver o Empire State Building durante oito horas, mas só saber que existe … Eu já vi aos bocados, não é? Mas saber que este filme existe e que pode ser visto dessa maneira, para mim, é uma fonte de inspiração enorme. Da mesma maneira, o James Benning, vários filmes da Chantal Akerman, tudo isso são manifestações cinematográficas de fusão que eu considero que quebram todas as gaiolas e acho que importante, se calhar, para lutar contra o mainstream. Eu acho o mainstream um bocadinho o inimigo principal do crescimento da arte. O mainstream obriga a fazer comparações, obriga a manuais. Acho que não há nada melhor para quebrar com essas gaiolas do que revisitar estes filmes de que eu estava a falar. RFI: Em relação a novos projetos, o que é que está a acontecer? Em off, tinham-me falado de um projeto sobre ópera. O que é que está para vir? Carlos Conceição: Eu tenho, neste momento, três projetos para serem lançados. Um é uma media-metragem de 59 minutos, do qual já tínhamos falado há pouco. O outro é um filme, uma longa-metragem que é uma experiência em linguagem mainstream, por assim dizer, que se chama Bodyhackers. E o terceiro projeto. que é o mais recente, ao qual eu dediquei os últimos 14 meses da minha vida, é um projeto para televisão e para cinema que envolve ópera. São narrativas separadas, autónomas, todas elas com um compositor português, algumas baseadas em fontes literárias, algumas dessas óperas, mas são essencialmente segmentos operáticos que resultarão simultaneamente num filme e numa série de televisão. RFI: O Carlos Conceição nasceu em Angola, viveu em Angola até hoje 22 anos, vai frequentemente a Angola. Qual é a imagem que tem do cinema produzido em Angola? Como é que olha para aquilo que acontece em Angola a nível da produção cinematográfica? Carlos Conceição: Gostava de ver mais, gostava de ver em mais sítios e gostava de ver mais pluralidade. Acho que estamos num momento perfeito para que se revelem novos talentos e comecem a aparecer mais pessoas e mais pessoas arrisquem. Qualquer pessoa com um telemóvel, neste momento, consegue fazer um filme e acho que não deve haver o medo de partir para essa aventura. Hoje em dia temos o HD disponível nos nossos telemóveis, nos smartphones, até nos mais corriqueiros. O que eu acho é que o cinema mais interessante, às vezes, surge daí, surge justamente daquela recusa à inércia. Há um filme dentro de nós, ele pode sair de qualquer maneira e sai. Basta nós queremos que ele saia e ele vem cá para fora. RFI: Já teve oportunidade de visionar algum produto assim feito, feito em Angola? Carlos Conceição: Sim, em particular um filme que eu comprei num semáforo em DVD e que me parece que não era uma versão final de montagem porque tinha a voz do realizador a dar instruções aos atores. Era um filme absolutamente inacreditável sobre uma mãe e umas filhas à procura de vingança por uma coisa que lhes tinha acontecido. Uma mulher que tinha sido injuriada a vida inteira, que usava uma pala no olho e as filhas quando tinham um desgosto morriam com uma hemorragia através da pele. O filme é de tal maneira incrível na sua imaginação que eu fiquei absolutamente estarrecido, senti-me uma formiga perante aquele filme que foi feito num subúrbio de Luanda para ser consumido num subúrbio de Luanda. Eu senti que a genialidade por trás daquilo era uma coisa que devia ser descoberta e valorizada. Ou seja, isso existe em Angola, por isso acho muito importante ir à descoberta disso.

Judson and his husband celebrate their 10th wedding anniversary in Eureka Springs, Arkansas, while Brian and his family discover a free gallery show featuring original works by Basquiat, Haring, Koons, Mapplethorpe, Sherman, Warhol, and more. The two hosts each go without physical release for longer than usual and expound on the joys of refraining. Brian then experiences a moment of undeniable divine intervention, and Judson starts his new job. They enjoy a pocket-sized Hookup of the Week about the joys of being Daddy to a pocket-sized partner. Brian spends three nights at the theater seeing Ragtime, Dylan Mulvaney's solo show, The Least Problematic Woman in the World, and, of course, Brandon Kyle Goodman's Heaux Church off-Broadway at Ars Nova—where he was joined by Judson and several Dads and Daddies listeners. Brian then makes a proposal to any theater producers listening to bring this year's queer theater standouts to more audiences. Writer, actor, host, and sexual/mental wellness advocate Brandon Kyle Goodman then sits down with Brian to discuss how writing on Netflix's hit animated series Big Mouth put them on their mission to deshame sex by talking about it. They also cover Brandon's journey with their husband from monogamy to polyamory, how dating other people has benefited their primary relationship, being an educator of oral pleasure, how to make kindness cool within the queer community, and all about the past, present, and future of Heaux Church. The episode concludes with Brandon helping address a Go Ask Your Dad question from a listener frustrated by how their partner prioritizes a dom hookup over their relationship, and finally, with some words of guidance from Brandon on coming together during these difficult times. Brandon Kyle Goodman on the Web: https://www.brandonkylegoodman.com/ Heaux Church at Ars Nova: https://arsnovanyc.com/events/heaux/ Downtown/Uptown - New York in the Eighties at Levy Gorvy Dayan gallery: https://www.levygorvydayan.com/exhibitions/downtown-uptown Email your Hookup of the Week and Go Ask Your Dad submissions to dadsanddaddies@gmail.com Dads and Daddies on the Web: https://www.dadsanddaddies.com/ Dads and Daddies on Instagram: https://www.instagram.com/dadsanddaddiespod Dads and Daddies on TikTok: https://www.tiktok.com/@dadsanddaddiespod Dads and Daddies on Bluesky: https://bsky.app/profile/dadsanddaddiespod.bsky.social Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this week's episode of the Rich Habits Podcast, Robert Croak and Austin Hankwitz walk you through the five financial accounts you need to set up BEFORE the calendar turns to 2026. ---

Gubbstön och buffé-lagar. Pernilla samlar fru-poäng i Rom och Sofia lider av PTSD i Bangkok. Tänk att Andy Warhol gjort en tavla till Frölunda Hockey. Och om vi rensar ut orden magisk, ikoniskt och episkt ur Instagramflödet, vad finns då kvar? Hosted on Acast. See acast.com/privacy for more information.

El Museo Nacional Thyssen-Bornemisza presenta “Warhol, Pollock y otros espacios americanos”, una exposición que explora cómo estos grandes artistas revolucionaron el arte del siglo XX a través de su visión del espacio, la cultura y la pintura contemporánea. En este episodio conversamos con Estrella de Diego, comisaria de la muestra y catedrática de Historia del Arte en la Universidad Complutense de Madrid, y Rodrigo Navia-Osorio Vijande, presidente de la Fundación Suñol Soler. Juntos analizamos la conexión entre ambos creadores y cómo su obra sigue definiendo el arte moderno estadounidense.

Das Schauwerk Sindelfingen zeigt erstmals in einem deutschen Museum das Lebenswerk des Pop-Art-Künstlers Mario Schifano - ein Künstler im Austausch mit Warhol und den Rolling Stones, der sein Leben und Werk eine „Never-Ending-Tour“ nannte.

El Museo Nacional Thyssen-Bornemisza presenta “Warhol, Pollock y otros espacios americanos”, una exposición que explora cómo estos grandes artistas revolucionaron el arte del siglo XX a través de su visión del espacio, la cultura y la pintura contemporánea. En este episodio conversamos con Estrella de Diego, comisaria de la muestra y catedrática de Historia del Arte en la Universidad Complutense de Madrid, y Rodrigo Navia-Osorio Vijande, presidente de la Fundación Suñol Soler. Juntos analizamos la conexión entre ambos creadores y cómo su obra sigue definiendo el arte moderno estadounidense.

This week, religious scholar Paul Elie discusses his latest book The Last Supper: Art, Faith, Sex, and Controversy in the 1980s. This enthralling group portrait brings to life a moment when popular culture became the site of religious strife—strife that set the stage for some of the most salient political and cultural clashes of our day. Elie is interviewed by Emily D. Crews, the Executive Director of the Martin Marty Center at the University of Chicago Divinity School. This conversation originally took place May 30, 2025 and was recorded live at the American Writers Museum. This episode is presented in conjunction with the American Writers Museum's forthcoming exhibit American Prophets: Writers, Religion, and Culture. This exhibit and programming series explores the profound ways writing reflects and influences our understanding of religion. American Prophets opens November 21, 2025. We hope you enjoy entering the Mind of a Writer. AWM PODCAST NETWORK HUB More about The Last Supper: Circa 1980, tradition and authority are in the ascendant, both in Catholicism (via Pope John Paul II) and in American civic life (through the Moral Majority and the so-called televangelists). But the public is deeply divided on issues of body and soul, devotion and desire. Enter the figures Paul Elie calls "crypto-religious." Here is Leonard Cohen writing "Hallelujah" on his knees in a Times Square hotel room; Andy Warhol adapting Leonardo's The Last Supper in response to the AIDS pandemic; Prince making the cross and altar into "signs o' the times." Through Toni Morrison, spirits speak from the grave; Patti Smith and Bruce Springsteen deepen the tent-revival intensity of their work; Wim Wenders offers an angel's-eye view of Berlin; U2, the Neville Brothers, and Sinéad O'Connor reckon with their Christian roots in music of mystic yearning. And Martin Scorsese overcomes fundamentalist ire to make The Last Temptation of Christ—a struggle that anticipates Salman Rushdie's struggle with Islam in The Satanic Verses. In Elie's acclaimed first book, The Life You Save May Be Your Own, Catholic writers ventured out into the wilds of postwar America; in this book, creative figures who were raised religious go to the margins of conventional belief, calling forth controversy. Episodes such as the boycott sparked by Madonna's "Like a Prayer" video and the tearing-up of Andres Serrano's Piss Christ in Congress are early skirmishes in the culture wars—but here the creators (not the politicians) are the protagonists, and the work they make speaks to conflicts that remain unsettled. The Last Supper explores the bold and unexpected forms an encounter with belief can take. It traces the beginnings of our postsecular age, in which religion is at once surging and in decline. Through a propulsive narrative, it reveals the crypto-religious imagination as complex, credible, daring, and vividly recognizable. PAUL ELIE is the author of The Life You Save May Be Your Own (2003) and Reinventing Bach (2012), both National Book Critics Circle Award finalists. He is a senior fellow in Georgetown University's Berkley Center for Religion, Peace, and World Affairs, and a regular contributor to The New Yorker. He lives in Brooklyn.

durée : 00:45:46 - Les Nuits de France Culture - par : Christine Goémé - En 1967, c'en est fini de l'art "rare et cher". Andy Warhol est capable d'aligner 32 boites de soupe Campbell en 1962 et la société post-industrielle de produire des œuvres d'art à la chaîne. Dans cette nouvelle loi des séries, s'inscrit l'œuvre pré-numérique de l'artiste Vera Molnár. - réalisation : David Jacubowiez - invités : Vera Molnár Plasticienne, pionnière de la création assistée par ordinateur; Jean Bazaine Peintre.; Alfred Manessier Peintre; Pierre Soulages Artiste peintre

Avui, al "Loft", descobrim tots els detalls del robatori del segle al Louvre i repassem els robatoris m

durée : 00:02:01 - Les 80'' - par : Nicolas Demorand - Avec "Miroirs du Sphinx", la collection Bouquins signe sans doute le portrait le plus déroutant de ce prophète à perruque argentée, figure de la modernité devenue elle-même une icône. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

The Museum of Modern Art, also known as the MoMA, in New York City, is one of the most worthwhile museums to visit while in the city. With 5+ floors and hundreds of thousands of pieces, including works by Jackson Pollock, Pablo Picasso, and Paul Cézanne, there is something for everyone at this world-class museum.Before you go, listen to this episode covering some of the most famous art, tour options, ticket prices, and must-know tips for your museum visit.

  This week, we print big or go home. Bad at Sports cast their eyes to New York from the safe confines of the Chicago Architectural Biennial booth at EXPO 2025 to talk with the legendary Two Palms studio in the guise of Alex Slattery. If you've ever stood slack-jawed in front of a monoprint the size of a small car or a woodblock cut so large it needed its own logistics plan, chances are Two Palms was behind it. Since the 1990s, David Lasry and company have been redefining what printmaking can be—working with artists like Carroll Dunham, Elizabeth Peyton, Mel Bochner, Cecily Brown, Terry Winters, Chris Ofili, Dana Schutz, Richard Prince, Chuck Close, Jeff Koons, and yes, even channeling the ghost of Andy Warhol. From delicate gestures to total madness with ink and paper, the studio's collaborations are as unpredictable as they are radical. We talk risk, scale, failure, and discovery—the alchemy of artist–printer collaborations that make Two Palms a force in contemporary art. Along the way we wander through stories of impossible woodblocks, ink disasters turned into triumphs, and why printmaking might just be the most punk medium of them all. So pour a glass, sharpen your barens, and get ready to nerd out about the future of prints.   Two Palms https://www.twopalms.us/ @twopalmsnyc   Name-Drop  Carroll Dunham — https://www.presenhuber.com/artists/carroll-dunham#tab:slideshow Elizabeth Peyton — https://www.davidzwirner.com/artists/elizabeth-peyton Mel Bochner — http://www.melbochner.net/ Cecily Brown — https://gagosian.com/artists/cecily-brown/ Terry Winters —https://www.terrywinters.org/ Chris Ofili — https://www.davidzwirner.com/artists/chris-ofili/survey Dana Schutz — https://www.davidzwirner.com/artists/dana-schutz Richard Prince — http://www.richardprince.com/ Chuck Close — https://www.pacegallery.com/artists/chuck-close/ Jeff Koons — https://www.jeffkoons.com/ Two Palms — https://www.twopalms.us/ Marilyn Minter — https://www.twopalms.us/featured-works/marilyn-minter Stanley Whitney — https://www.twopalms.us/featured-works/stanley-whitney Ana Benaroya — https://www.twopalms.us/featured-works/ana-benaroya David Paul Lasry — https://www.nga.gov/artists/21067-david-paul-lasry Alex Slattery — https://www.instagram.com/alexslattery/ EXPO CHICAGO - https://www.expochicago.com/ Chicago Architectural Biennial 6 - https://chicagoarchitecturebiennial.org/ Institutions that love these prints: Whitney Museum of American Art — https://whitney.org/ MoMA — https://www.moma.org/ The Met — https://www.metmuseum.org/  

In our Singapore Home Brew segment “Saturday Mornings Show” host Glenn van Zutphen and co-host Neil Humphreys talk with Gilles Dyan, Founder and Chairman of Opera Gallery regarding “The Singapore Masters Show: From Monet to Condo” — a landmark exhibition running to 3 November at Opera Gallery Singapore in ION Shopping Centre. Timed to coincide with the Formula 1 Singapore Grand Prix, this show features 25 iconic works spanning 135 years of art history, from Impressionism to Pop Art to contemporary figuration. See masterpieces by Claude Monet, Pierre-Auguste Renoir, Pablo Picasso, Yayoi Kusama, Andy Warhol, Jean-Michel Basquiat, George Condo, and more. This episode offers a glimpse into the provenance, cultural significance, and curatorial vision behind one of Singapore’s most ambitious commercial art showcases. Learn more at operagallery.com.See omnystudio.com/listener for privacy information.

What is the fascination that we have with seductive avatars of oblivion? Carolyn Jones as Morticia Addams indoctrinated the adolescent me to the possibilities of the Succubus, and became my tween age, gothic sex symbol; the painting by Pre-Raphaeite John Millet:  Ophelia (who floats beautifully in the river) hung on my dorm wall for years.  Today, Double Trouble features a couple of ice queens who inspire detached sexual delirium, one contemporary, and one long gone, but still as magnetic as when she walked the earth: the enigmatic Lana Del Rey and Andy Warhol's muse - Nico (nee Christa Paffgen). LANA DEL REYWhen Lana Del Rey sings “We were born to die,” you know she's not fooling around. Her voice might be studiously without affect, but you can sense some psychic turmoil underneath. And when she purrs, “you like your girls insane,” she is obviously speaking from experience. Her Greta Garbo air of mystery smolders like an ember that could reignite and singe you at any moment. Of course, LDR is vastly more multi-dimensional as an artist than simply existing as a blank canvas on which to project our emo fantasies. Her later work, such as her fifth album, the widely acclaimed “Norman Fucking Rockwell” has generous reserves of humor, complexity, and intelligence to ponder and appreciate.  And, her recent marriage hints at even further explorations of domestic bliss. So maybe our gothic goddess will be embracing life going forward.NICOSpeaking of blank canvasses on which we can project our fantasies - Nico, the fashion model, turned Chanteuse, was the ultimate receptive surface.  She wasn't even a singer at first, veering off key as she often did, but her voice with its hypnotic, Germanic drone had its undeniable charms. And, Andy Warhol knew the socko glamor that he was wielding when he saddled the Velvet Underground with her, making her their front person. Who knows if the group, as brilliant as they were, would have garnered any attention initially if it wasn't for Warhol's 1960s answer to Marlene Dietrich. Nico struggled with heroin addiction and died tragically young in a senseless bicycle accident, but before she left us she created, (with the help of Velvet's veteran John Cale as producer) some unforgettable mantras. Frozen Warnings is one of the most compelling - It's harmonium and droning viola conjure the sense of tip-toeing across a frozen lake and feeling the ice cracking under your feet as you try to reach the glaciated siren.

London's Blitz club in 1980 had a huge impact on the way the decade looked and sounded, the launchpad for Boy George, Spandau Ballet, a new age of electro-pop and many writers, designers and photographers. The author and broadcaster Robert Elms was one of its cornerstones, “a place for people who'd outgrown the 20th Century”. We talk here about his book ‘Blitz: the Club That Created the ‘80s' with all of this on the dancefloor … … the Blitz Club rules, “unspoken until Steve Strange spoke them”. And the door policy: “Look at yourself, darling. Would YOU let yourself in?” … first nights “with a Space Cossack shirt and asymmetric wedge” and the origin of the term New Romantic … the rise of the “home-made Macaronis” (dictionary definition: “over-dressed popinjays of dubious sexuality”) … Bowie's Starman, Roxy, soul, disco, Weimar, Max Ernst, Otto Dix, Edith Piaf, Swinging London, Andy Warhol and other keys strands of Blitz DNA … its anti-rock stance and impact on the mid-‘80s American charts … the news-friendly night Mick Jagger was barred entry … “I was spat at by an old lady at a bus stop for wearing eyeliner and a kilt” … when Island offered Spandau a deal after just three numbers … the role of the Face, Smash Hits and the new full-colour media … the author's “dilettante” passage through skinhead, suedehead, soul boy and punk … and the night Bowie appeared, “like Jesus walking into your local church and sitting in a pew”. Order ‘Blitz: The Club That Created the 80s' here:https://uk.bookshop.org/p/books/blitz-the-club-that-created-the-eighties-robert-elms/e672041a84e0cde9?ean=9780571394180&next=t&next=tFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

London's Blitz club in 1980 had a huge impact on the way the decade looked and sounded, the launchpad for Boy George, Spandau Ballet, a new age of electro-pop and many writers, designers and photographers. The author and broadcaster Robert Elms was one of its cornerstones, “a place for people who'd outgrown the 20th Century”. We talk here about his book ‘Blitz: the Club That Created the ‘80s' with all of this on the dancefloor … … the Blitz Club rules, “unspoken until Steve Strange spoke them”. And the door policy: “Look at yourself, darling. Would YOU let yourself in?” … first nights “with a Space Cossack shirt and asymmetric wedge” and the origin of the term New Romantic … the rise of the “home-made Macaronis” (dictionary definition: “over-dressed popinjays of dubious sexuality”) … Bowie's Starman, Roxy, soul, disco, Weimar, Max Ernst, Otto Dix, Edith Piaf, Swinging London, Andy Warhol and other keys strands of Blitz DNA … its anti-rock stance and impact on the mid-‘80s American charts … the news-friendly night Mick Jagger was barred entry … “I was spat at by an old lady at a bus stop for wearing eyeliner and a kilt” … when Island offered Spandau a deal after just three numbers … the role of the Face, Smash Hits and the new full-colour media … the author's “dilettante” passage through skinhead, suedehead, soul boy and punk … and the night Bowie appeared, “like Jesus walking into your local church and sitting in a pew”. Order ‘Blitz: The Club That Created the 80s' here:https://uk.bookshop.org/p/books/blitz-the-club-that-created-the-eighties-robert-elms/e672041a84e0cde9?ean=9780571394180&next=t&next=tFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

London's Blitz club in 1980 had a huge impact on the way the decade looked and sounded, the launchpad for Boy George, Spandau Ballet, a new age of electro-pop and many writers, designers and photographers. The author and broadcaster Robert Elms was one of its cornerstones, “a place for people who'd outgrown the 20th Century”. We talk here about his book ‘Blitz: the Club That Created the ‘80s' with all of this on the dancefloor … … the Blitz Club rules, “unspoken until Steve Strange spoke them”. And the door policy: “Look at yourself, darling. Would YOU let yourself in?” … first nights “with a Space Cossack shirt and asymmetric wedge” and the origin of the term New Romantic … the rise of the “home-made Macaronis” (dictionary definition: “over-dressed popinjays of dubious sexuality”) … Bowie's Starman, Roxy, soul, disco, Weimar, Max Ernst, Otto Dix, Edith Piaf, Swinging London, Andy Warhol and other keys strands of Blitz DNA … its anti-rock stance and impact on the mid-‘80s American charts … the news-friendly night Mick Jagger was barred entry … “I was spat at by an old lady at a bus stop for wearing eyeliner and a kilt” … when Island offered Spandau a deal after just three numbers … the role of the Face, Smash Hits and the new full-colour media … the author's “dilettante” passage through skinhead, suedehead, soul boy and punk … and the night Bowie appeared, “like Jesus walking into your local church and sitting in a pew”. Order ‘Blitz: The Club That Created the 80s' here:https://uk.bookshop.org/p/books/blitz-the-club-that-created-the-eighties-robert-elms/e672041a84e0cde9?ean=9780571394180&next=t&next=tFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

In this special Birthday Crossover Episode of Dennis Anyone and Dennis Hensley's Happy & Gay, Dennis breaks down his five days of birthday activities, which included two films (Almost Famous & Magnolia), one museum excursion (the Queer Lens exhibit at the Getty Center), one game day at Lawless Brewery and one marvelous outdoor play; Wine in the Wilderness by Alice Childress at the Will Geer Theatricum Botanicum. Dennis also sings the praises of the returning TV shows The Morning Show and English Teacher as well as his friend David Kittredge's wonderful new feature film documentary Boorman and the Devil, which is about the director John Boorman and his movie Exorcist 2: Heretic. In the Observation Deck segment, Dennis's recent podcast guest Rob Loveless, host of the A Jaded Gay podcast, recalls a time he felt totally starstruck. Dennis ends the episode with two happiness-related quotes from Andy Warhol and shares a recent experience related to his new game Search Party where he had to put on his big boy pants and lived to tell about it.

Matthew Rolston describes his big break into editorial photography, which came through Andy Warhol and *Interview* magazine. His first significant assignment was photographing Steven Spielberg, who was a rising director at the time, having just completed *Jaws* and with *Close Encounters of the Third Kind* about to be released. Rolston also reflects on the decline of print magazines and the shift towards digital and experiential media.Show Clip from The Paris Chong Show with Matthew Rolstonhttps://youtu.be/SGbg4x9LIG8https://www.theparischongshow.com

Visit our Substack for bonus content and more: https://designbetterpodcast.com/p/rewind-paola-antonelli Design Better has been on the road recently, recording a live episode in Manhattan for design search firm Wert & Co's 30th anniversary. Guests for the episode included Paola Antonelli (senior curator in the Department of Architecture and Design at MoMA) Mike Davidson (VP of Design and User Research at Microsoft AI), Kate Aronowitz (Design Partner at Google Ventures), Meaghan Choi (Product Designer at Anthropic), & Mark Wilson (Global Design Editor at Fast Company). While Aarron and I are catching up from travel, and as a lead-in to the live episode airing next week, we're rewinding to our interview with Paola Antonelli. We hope you enjoy the episode. And if you haven't checked it out yet, did you know you can save over $1600 on popular productivity tools and design and AI courses with the Design Better Toolkit? Just head over to dbtr.co/toolkit to learn more. *** The Museum of Modern Art brings to mind images of Van Gough's Starry Night, Salvador Dali's Persistence of Memory, and Andy Warhol's Campbell Soup Cans. But thanks to Paola Antonelli, senior curator in the Department of Architecture and Design, MoMA exhibitions also encompass the role design has played in shaping culture and the human experience. We talk with Paola about how we can look at digital design through a historic lens, some of the most important design movements in the past 100 years, and how the creative process has evolved through these different movements. We also talk about the history of the @ symbol, why craftsmanship is necessary to experimentation, and some of the current challenges in design education. We hope you enjoy this episode which is a part of our series on design history, with upcoming episodes on typography with Jonathan Hoefler, and the history and philosophy of design with Professor Barry Katz. Paola Antonelli joined The Museum of Modern Art in 1994 and is the Museum's Senior Curator in the Department of Architecture and Design, as well as MoMA's founding Director of Research and Development. Her work investigates design in all its forms, from architecture to video games, often expanding its reach to include overlooked objects and practices. An architect trained at the Polytechnic of Milan and a pasionaria of design, Antonelli has been named one of the 25 most incisive design visionaries in the world by TIME magazine, has earned the Design Mind Smithsonian Institution's National Design Award, has been inducted in the US Art Directors Club Hall of Fame, and has received the AIGA (American Institute of Graphic Artists,) the London Design Medal, and the German Design Award, among other accolades.

In this week's episode of the Rich Habits Podcast, Robert Croak and Austin Hankwitz sit down with Ilya Pozin, the co-founder and CEO of Telly. Telly's business model is simple: give away premium TVs for free, then make money on the backend with ads. To learn more about Ilya Pozin, follow him on X and Instagram. To sign up for Telly's waitlist, visit their website. ---

Paris hosts renowned photographer Matthew Rolston, delving into his illustrious career that began in editorial photography with Interview Magazine and Rolling Stone. Rolston shares anecdotes about working with iconic figures like Michael Jackson and Madonna, revealing his conceptual approach to celebrity portraits, such as his Marlene Dietrich-inspired shoot with Madonna and Michael Jackson's "King of Pop" request. He also discusses his extensive work in advertising for major cosmetic brands like Revlon and L'Oréal, and his transition into directing music videos during the MTV era, highlighting how these commercial ventures fueled his creative pursuits.Rolston reflects on the evolving media landscape, expressing his views on the decline of print magazines and the rise of social media and AI imagery. He emphasizes that while traditional platforms are changing, the essence of powerful image-making remains, and sees AI as a tool that can both lower and raise the bar for creative output. The conversation also touches on his early influences, including his childhood experiences in Los Angeles, his grandfather's connections to MGM stars, as well as his education at Art Center, all of which shaped his artistic vision.Finally, Rolston discusses his shift from commercial work to personal art projects, driven by a desire to create a lasting legacy. He introduces his conceptual projects like the ventriloquist dummies series, “Talking Heads” and his exploration into art artmaking with "Art People," and details his upcoming "Vanitas" exhibition, which will be spread across four venues in Los Angeles, including ArtCenter and Leica Gallery, Los Angeles. He expresses his excitement for this new chapter and his love of teaching, giving him the opportunity to share his knowledge with the next generation of visual artists.Show Notes:www.theparischongshow.com/episodes/matthew-rolston-an-unparalleled-career-from-pop-culture-iconography-to-fine-artUpcoming Shows:Hollywood Royale: Out of the School of Los Angeles: https://www.hollywoodroyale.comTalking Heads: The Vent Haven Portraits: https://matthewrolstontalkingheads.combeautyLIGHT: Pictures at a Magazine: https://www.beautylight.comArt People: The Pageant Portraits: https://www.matthewrolstonartpeople.comVanitas: The Palermo Portraits: https://www.vanitasproject.comTHE POWER OF PLEASURE, ARTCENTER CLASShttps://www.thepowerofpleasure.comChapters:(00:00:00) Intro(00:00:30) Matthew Rolston(00:00:54) Editorial Work(00:07:50) Who's who of the 80's(00:11:38) Sunny, Cher or Chastity(00:12:54) Bucket List(00:13:55) Advertising(00:16:22) MTV & Music Videos(00:17:35) Teaching(00:22:30) Social Media(00:24:45) AI(00:29:01) Early Influences(00:35:43) LA(00:37:02) Andy Warhol & the Factory(00:40:34) Long Live Print(00:45:11) Disaster Story(00:49:11) Shifting Focus(00:56:04) Vanitas & Upcoming Shows(01:03:04) What's The Most Important Thing You Are?(01:05:36) Outro

Our five senses constantly make adjustments and compromises—an observation that explains a cryptic comment by Andy Warhol. Get in touch: podcast@gretchenrubin.com Visit Gretchen's website to learn more about Gretchen's best-selling books, products from The Happiness Project Collection, and the Happier app. Find the transcript for this episode on the episode details page in the Apple Podcasts app. See omnystudio.com/listener for privacy information.

Brian Walshe: The Anatomy of An Alleged Narcissistic Killer From one case of hidden horror to another, the show transitions to the tragic murder of Ana Walshe at the hands of her husband, Brian Walshe. This segment meticulously pieces together the final days of their unraveling marriage. Ana, a successful real estate executive, was ready to leave. Brian, a convicted art fraudster on house arrest, was watching his world collapse. We delve into Brian Walshe's shocking history of manipulation and deceit, from selling fake Andy Warhol paintings to being explicitly disinherited by his neurosurgeon father, who called him "dishonest" in his will. The hosts explore the complex and toxic psychology of the Walshe relationship. Why did Ana stay for so long? Using the "frog in the boiling pot" analogy, Stacy Cole explains how abuse can escalate so gradually that the victim doesn't realize the danger until it's too late. The discussion also highlights the bizarre family dynamics, including the allegation that Brian's own mother hired a private investigator to tail Ana, seemingly more concerned with her daughter-in-law's rumored affair than her own son's criminal behavior. This is a deep dive into the anatomy of a narcissistic mindset and the catastrophic breakdown of a marriage that ended in murder. Hashtags: #AnaWalshe #BrianWalshe #TrueCrime #Murder #Investigation #Narcissist #Psychology #HiddenKillers #Massachusetts #ToxicRelationship Want to comment and watch this podcast as a video? Check out our YouTube Channel. https://www.youtube.com/@hiddenkillerspod Instagram https://www.instagram.com/hiddenkillerspod/ Facebook https://www.facebook.com/hiddenkillerspod/ Tik-Tok https://www.tiktok.com/@hiddenkillerspod X Twitter https://x.com/tonybpod Listen Ad-Free On Apple Podcasts Here: https://podcasts.apple.com/us/podcast/true-crime-today-premium-plus-ad-free-advance-episode/id1705422872

Brian Walshe: The Anatomy of An Alleged Narcissistic Killer From one case of hidden horror to another, the show transitions to the tragic murder of Ana Walshe at the hands of her husband, Brian Walshe. This segment meticulously pieces together the final days of their unraveling marriage. Ana, a successful real estate executive, was ready to leave. Brian, a convicted art fraudster on house arrest, was watching his world collapse. We delve into Brian Walshe's shocking history of manipulation and deceit, from selling fake Andy Warhol paintings to being explicitly disinherited by his neurosurgeon father, who called him "dishonest" in his will. The hosts explore the complex and toxic psychology of the Walshe relationship. Why did Ana stay for so long? Using the "frog in the boiling pot" analogy, Stacy Cole explains how abuse can escalate so gradually that the victim doesn't realize the danger until it's too late. The discussion also highlights the bizarre family dynamics, including the allegation that Brian's own mother hired a private investigator to tail Ana, seemingly more concerned with her daughter-in-law's rumored affair than her own son's criminal behavior. This is a deep dive into the anatomy of a narcissistic mindset and the catastrophic breakdown of a marriage that ended in murder. Hashtags: #AnaWalshe #BrianWalshe #TrueCrime #Murder #Investigation #Narcissist #Psychology #HiddenKillers #Massachusetts #ToxicRelationship Want to comment and watch this podcast as a video? Check out our YouTube Channel. https://www.youtube.com/@hiddenkillerspod Instagram https://www.instagram.com/hiddenkillerspod/ Facebook https://www.facebook.com/hiddenkillerspod/ Tik-Tok https://www.tiktok.com/@hiddenkillerspod X Twitter https://x.com/tonybpod Listen Ad-Free On Apple Podcasts Here: https://podcasts.apple.com/us/podcast/true-crime-today-premium-plus-ad-free-advance-episode/id1705422872

In this week's episode of the Rich Habits Podcast, Robert Croak and Austin Hankwitz explain how $9.99 tricks your brain into buying more subscriptions than you need. By simply investing the $194 / month the average American has in subscriptions they don't use at 12% over 30 years, you'll have $678K in retirement. ---

Brian Walshe: The Anatomy of An Alleged Narcissistic Killer From one case of hidden horror to another, the show transitions to the tragic murder of Ana Walshe at the hands of her husband, Brian Walshe. This segment meticulously pieces together the final days of their unraveling marriage. Ana, a successful real estate executive, was ready to leave. Brian, a convicted art fraudster on house arrest, was watching his world collapse. We delve into Brian Walshe's shocking history of manipulation and deceit, from selling fake Andy Warhol paintings to being explicitly disinherited by his neurosurgeon father, who called him "dishonest" in his will. The hosts explore the complex and toxic psychology of the Walshe relationship. Why did Ana stay for so long? Using the "frog in the boiling pot" analogy, Stacy Cole explains how abuse can escalate so gradually that the victim doesn't realize the danger until it's too late. The discussion also highlights the bizarre family dynamics, including the allegation that Brian's own mother hired a private investigator to tail Ana, seemingly more concerned with her daughter-in-law's rumored affair than her own son's criminal behavior. This is a deep dive into the anatomy of a narcissistic mindset and the catastrophic breakdown of a marriage that ended in murder. Hashtags: #AnaWalshe #BrianWalshe #TrueCrime #Murder #Investigation #Narcissist #Psychology #HiddenKillers #Massachusetts #ToxicRelationship Want to comment and watch this podcast as a video? Check out our YouTube Channel. https://www.youtube.com/@hiddenkillerspod Instagram https://www.instagram.com/hiddenkillerspod/ Facebook https://www.facebook.com/hiddenkillerspod/ Tik-Tok https://www.tiktok.com/@hiddenkillerspod X Twitter https://x.com/tonybpod Listen Ad-Free On Apple Podcasts Here: https://podcasts.apple.com/us/podcast/true-crime-today-premium-plus-ad-free-advance-episode/id1705422872

Todo empezó con Andy Warhol, que fue el que descubrió que lo mejor es enemigo de lo bueno. ¿Para qué aprender a hacer las cosas bien si te consideran un genio haciéndolas mal? Warhol no sabía pintar y se forró vendiendo como pintura sus fotocopias en color.

Cʹest un film pas tout à fait comme les autres qui nous permet dʹévoquer un cinéaste pas tout à fait comme les autres. Faster, Pussycat! Kill! Kill! est un film américain de Russ Meyer, sorti en 1965. Russ Meyer vous le connaissez peut-être, cʹest le chantre de la sexploitation, un vrai cinéaste indépendant qui développe une esthétique particulière, très colorée, érotique, avec des contre-plongées magnifiques. Lʹhomme montre un amour certain pour les actrices à très forte poitrine et pour les décolletés dans lesquels on peut se perdre. Russ Meyer est considéré comme un auteur majeur du cinéma de série B à tendance X. Il a influencé de nombreux réalisateurs et artistes, que ce soit Andy Warhol ou John Waters. Quentin Tarantino est même son fan numéro 1. Russ Meyer est connu pour ses films Vixen, Supervixens, Up et Beneath The Valley of the Utlra-Vixens mais également pour Faster, Pussycat ! Kill ! Kill ! qui raconte lʹhistoire de trois femmes sauvages, dans trois voitures de sport, qui, avec violence, férocité, et sensualité, vont braquer un homme infirme et ses deux fils dans leur ranch, tout en ayant kidnappé et drogué la petite amie dʹun homme qui a eu le malheur de croiser leur chemin. Mettant en scène des actrices sulfureuses, dont la très iconique Tura Satana, le film séduit un public tant masculin que féminin. Car pour la première fois, à lʹécran, ce sont des femmes très fortes, véritables Virago, qui sont montrées, capables de plaquer au sol, de briser des vertèbres, de gagner au bras de fer, et qui sont fières de leur sexualité quʹelles exhibent comme une arme. Et ça plaît. Tant aux misogynes quʹaux féministes. Les féministes américaines en font, à lʹépoque, leur film étendard. Vous vous ferez votre propre opinion. Aujourdʹhui dans Travelling, nous allons parler de Russ Meyer, de Tura Satana, de Faster Pussycat ! Kill ! Kill. Nous parlons de films érotiques, sensuels. Vous verrez que Russ Meyer est souvent volontairement provocateur dans les archives. Mais tout va bien se passer. Enfin jʹespère. Puisque nous allons croiser la route de trois femmes, de trois furies, et le monde du cinéma changera radicalement. REFERENCES RUSS MEYER, IN THE LATE NIGHT 1993 https://www.youtube.com/watch?v=2XdYcyuikcU TURA SATANA EN INTERVIEW https://www.youtube.com/watch?v=Km5K6UklFPU

In Part Two of our late-night conversation, Bad at Sports digs deeper into the remarkable trajectory of Kenny Schachter. From law school dropout to autodidact philosopher, from Sotheby's bidder to artist and teacher, Schachter traces the unlikely path that brought him into the heart of the art world — a place he insists remains strangely conservative despite all its pretenses of progress. The discussion moves between personal history and systemic critique. Schachter recounts the role of art in surviving trauma, loss, and addiction, and why surrounding himself with works by others has been both solace and education. He reflects on the stubborn conservatism of the market, celebrity crossovers from Johnny Depp to Julian Schnabel, and the tension between wanting freedom and the systems that resist it. For Schachter, art is both a lifeline and a way to comment on the world's chaos — a practice rooted in generosity, curiosity, and contradiction. This episode captures him at his most reflective and most biting, moving from humor to vulnerability and back again. Highlights • Schachter's first encounters with Twombly, Rauschenberg, and Frankenthaler at the National Gallery. • The shock of Andy Warhol's estate sale in 1988. • Dealer-to-dealer hustling as an unlikely entry into art. • Why “there are no rules” is his best definition of being an artist. • The paradox of an art world that markets rebellion but runs on tradition. Names Dropped Andy Warhol I.M. Pei, https://www.pcf-p.com/about/i-m-pei/ Chase Manhattan Bank, https://www.jpmorganchase.com/about/art-collection Christie's, https://www.christies.com/en Sotheby's, https://www.sothebys.com/en/ Phillips Auction House, https://www.phillips.com/ Patrick Drahi, https://www.artnews.com/art-collectors/top-200-profiles/patrick-drahi/ Leonard Lauder, https://www.artnews.com/art-news/news/leonard-lauder-sothebys-klimt-matisse-1234751922/ The Pritzker family, https://www.artnews.com/art-news/news/pritzker-art-collection-sothebys-breuer-1234751864/ Elaine Wynn, https://www.christies.com/en/events/the-collection-of-elaine-wynn Wyatt Kline, https://unframed.lacma.org/2014/01/28/contemporary-friends-acquire-ten-new-works-by-artists-from-around-the-world Alex Burns, Felix Reuter (Ryder), https://felixreuter.bandcamp.com/ Guerrilla Girls, https://www.guerrillagirls.com/ Old Friends Gallery, https://www.oldfriendsgallery.com/ David Letterman, https://en.wikipedia.org/wiki/David_Letterman The Suburban, http://www.thesuburban.org/

This week on Bad at Sports, Duncan MacKenzie and Ryan Peter Miller find themselves in Chicago with curator Bianca Bova and the indefatigable Kenny Schachter — artist, writer, teacher, collector, and provocateur. What begins as a conversation about Schachter's exhibition at Old Friends Gallery — featuring chicken-assisted artworks and bronze casts forged in Slovenia — quickly expands into a meditation on the art world itself. Schachter reflects on his collaborations, his obsession with foundries, and his refusal to keep resources secret. The group debates the zero-sum mentality of the art market, why artists sabotage themselves, and how absurd projects (sometimes with actual chickens) can be the most serious acts of art-making. Equal parts candid and comedic, the conversation cuts across auctions, art fairs, and the everyday realities of teaching. Expect reflections on generosity vs. gatekeeping, the fragility of the art system, and what it means to make art that is more conceptual than commercial. Highlights • Chickens as collaborators and muses. • The foundry in Slovenia that casts Rudolf Stingel's panels. • Why keeping fabricators secret is a sign of weakness. • Auctions as democratizing, even anarchic, art spaces. • The necessity of art in a divided and compassion-starved world. Names Dropped Kenny Scharf, https://kennyscharf.com/ Kenny Schachter, https://www.kennyschachter.art/ Bianca Bova, https://www.biancabovagallery.com/ Billy Connolly, https://en.wikipedia.org/wiki/Billy_Connolly Rudolf Stingel, https://gagosian.com/artists/rudolf-stingel/ Tobias Rehberger, https://pedrocera.com/artists/tobias-rehberger Paul Thek, https://whitney.org/exhibitions/paul-thek Giacometti, https://www.moma.org/artists/2141-alberto-giacometti Jerry Saltz, https://nymag.com/author/jerry-saltz/ Cy Twombly, https://cytwombly.org/ Jasper Johns, https://whitney.org/artists/653 Robert Rauschenberg, https://www.rauschenbergfoundation.org/ Joan Mitchell, https://www.joanmitchellfoundation.org/joan-mitchell Helen Frankenthaler, https://gagosian.com/artists/helen-frankenthaler/ Georgia O'Keeffe, https://www.okeeffemuseum.org/ Andy Warhol, https://www.warhol.org/ Joseph Beuys, https://walkerart.org/collections/artists/joseph-beuys Sigmar Polke, https://www.tate.org.uk/art/artists/sigmar-polke-2213 John Cage, https://www.johncage.org/ Devendra Banhart, https://devendrabanhart.com/ Brad Pitt, https://www.theartnewspaper.com/2022/09/19/brad-pitt-debuts-his-sculptures-in-finland Cindy Sherman, https://www.hauserwirth.com/hauser-wirth-exhibitions/cindy-sherman/ Robert Longo, https://www.robertlongo.com/ Julian Schnabel, https://www.julianschnabel.com/ Old Friends Gallery, https://www.oldfriendsgallery.com/

A MODERN FORM OF WORSHIP—Name the five photographers who, more than any others, defined the dramatic shift in the approach to magazine photography in the late eighties and early nineties. There's Herb Ritts, Bruce Weber, Steven Meisel. Richard Avedon, of course. Who's missing? I'm getting to that.Today's guest was discovered while still a student at ArtCenter College of Design in Los Angeles, by Andy Warhol no less, whose upstart (and budget-deficient) team at "Interview" couldn't afford to send a crew to LA for a shoot. His first subject, newbie director Steven Spielberg, launched his photography career, and soon he was shooting for every magazine you could imagine.We're talking, of course, about Matthew Rolston. He, and his fellow rebels, changed everything by bringing both a sensuality and a sexuality to newsstands that big publishing hadn't seen before. Readers ate it up. Ask him to explain this transformation and you'll get a hot take that will completely change how you think about media and celebrity:“I think glamour—and glamour photography—is a substitute for god and goddess worship. The altar is the photo studio. So the goddess comes to the dressing room like she would've come to the preparation chamber of a temple. She's anointed with oils and potions—that would be the hair and makeup team. She's dressed in symbolic raiment—that would be the styling. And she's led to the altar where the adherents kneel before her—that would be me on the floor with my camera. It is really the same thing. It's just a modern, twisted version of the same impulses that we have to idolize people and worship them.” Just this year ArtCenter, his alma mater, presented the photographer, director, author, artist, and educator with its prestigious Lifetime Achievement Award, honoring both his creative legacy and his role as a mentor to the next generation. It's the perfect moment to look back on his remarkable career, and to hear directly from Rolston himself.Our Anne Quito caught up with Matthew in the lead up to the premiere of an evocative new body of work, "Vanitas: The Palermo Portraits," a site-specific installation at ArtCenter, which premieres this weekend.—This episode is made possible by our friends at Commercial Type and Freeport Press. A production of Magazeum LLC ©2021–2025

Long time supporter Kent has picked the 1965 experimental film Empire for this week!. True to form in the year of the stitch-up, Kent has chosen a film that's as unconventional and divisive as it gets. Directed by Andy Warhol, Empire exemplifies the avant-garde spirit of mid-1960s New York, pushing the boundaries of traditional cinema with radical minimalism, extreme duration, and an obsessive focus on observation as art.The production of Empire was as audacious as the film's concept. Warhol employed a static 8-hour continuous shot of the Empire State Building, with no camera movement or dialogue, letting the mere passage of time become the centerpiece. Shot at Warhol's Factory studio, the production encouraged collaboration among artists and performers, embracing monotony and stillness as creative tools. Though challenging for conventional audiences, Empire has secured its place as a landmark in experimental filmmaking and continues to influence artists interested in perception, endurance, and the art of cinematic patience.If you enjoy the show, we have a Patreon, so become a supporter ⁠⁠here⁠⁠.Referral links also help out the show if you were going to sign up:⁠⁠NordVPN⁠⁠⁠⁠NordPass⁠⁠Trailer Guy Plot SummaryImagine… eight hours.A single frame.A building.From the legendary Andy Warhol comes the film that redefines patience, perception, and what it means to watch a movie. Empire — the Empire State Building like you've never stared at it before, daring you to survive the longest cinematic gaze in history. Will you sit… or will time sit on you?Empire — it's not just a film, it's a test.Fun FactsOriginally shot in 6.5 hours – The film was filmed over approximately 6 hours and 36 minutes, from 8:06 p.m. to 2:42 a.m. on July 25–26, 1964.Extended to 8 hours in projection – By projecting the film at 16 frames per second instead of the standard 24 fps, Warhol extended the runtime to roughly 8 hours.Andy Warhol's experimental movie – Empire is a landmark in avant-garde cinema, cementing Warhol's reputation as a pioneer in minimalist filmmaking.Filmed at The Factory – Production took place at Warhol's famous New York studio, a hub for artists, musicians, and performers.No camera movement – The camera remains completely static for the entire duration, emphasizing stillness and observation.No dialogue or actors – The film features no spoken lines, with the Empire State Building itself as the “star” of the work.Endurance viewing experience – Original screenings required audiences to sit for the full 8 hours, turning watching into a performance art experience.Influence on experimental cinema – Empire inspired future filmmakers and artists interested in minimalist cinema and long-duration art films.Screened in galleries and museums – Rather than conventional cinemas, Empire is often exhibited in art institutions, highlighting its status as both visual art and film.Historical record of 1960s New York – The film captures the Empire State Building and surrounding skyline before major renovations, preserving a piece of mid-1960s Manhattan.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thevhsstrikesback@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/vhsstrikesback⁠⁠⁠⁠⁠⁠⁠⁠⁠

Hello, everyone! Gabe is back for a rare treat: an interview with David Warhol, a man of many achievements but in this case, the composer of music for the DnD computer games Pool of Radiance and Curse of the Azure Bonds. Come along and hear Gabe and David talk about game development, music composition, and more!

This week, Ceri is delighted to introduce you to the extraordinary Ben Luke, who has spent three decades at the heart of the art world, his voice shaping how we hear from artists—now it's his turn to share what shaped him. A writer, broadcaster and host of A Brush With… and The Week in Art, his new book What is Art For?, published by HENI, gathers 25 conversations with established international artists including Michael Armitage, Phyllida Barlow, Jeremy Deller, Ellen Gallagher, Theaster Gates, Julie Mehretu and Doris Salcedo. You'll hear about his early life in suburban Kent, how drama classes shaped his voice, why Warhol and Dalí obsessed him as a teenager, the critics and pop stars who influenced his style, and the moments that pushed him to stop painting and start writing. Most of all, they unpack what drives and motivates him after 30 years in the art world—and why he believes artists hold the keys to how we see and live. KEY TAKEAWAYS Encounters with Warhol, Dalí, Bowie and Eno, changed Ben´s outlook and sparked his imagination. They inspired him to embrace creativity and explore new ideas. Ben's parents nurtured his creative ambitions and never curtailed his dreams, while his father's strong political values instilled in him a sense of curiosity, openness, and commitment that shaped his path as a writer and critic. Criticism doesn't have to come from cynicism. It can come from love. Interviews can be collaborations rather than interrogations. The true measure of art is whether it helps us see differently, feel differently. So keep following the references and going down the rabbit holes, because art, as Ben suggests, isn't just for looking, it's for living. BEST MOMENTS “I remember everybody I ever liked being described as pretentious, so I saw people being called pretentious as being a badge of honour.” “Fund culture. It makes us better. It makes us more human. It makes us more alive. It makes us understand each other better.” “The responsibility of the critic is to engage as deeply as possible with the work before writing about it.” GUEST RESOURCES Ben´s Book - published by HENI - https://heni.com/shop/books/what-is-art-for https://www.theartnewspaper.com https://podcasts.apple.com/gt/podcast/a-brush-with/id1525997434 https://podcasts.apple.com/gb/podcast/the-week-in-art/id1280469178 HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership **** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network **** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media https://disruptivemedia.co.uk

For one of our first episodes back in 2018 (S1E3), we discussed 'Hunky Dory' by David Bowie with then co-host Barry Stock. Honestly, though, for our first 20 episodes or so we were still finding our way and weren't even playing any music clips at that point. So when this week's guest, musician David J (Bauhaus, Love and Rockets), suggested taking on Bowie's fourth studio album, we couldn't resist revisiting this stone cold classic with such a thoughtful, well-informed guest. Essential listening! Songs discussed in this episode: Changes (David Bowie cover) - The Muffs/Robyn Hitchcock/Shawn Mullins/Cybernauts/Bananarama; Bela Lugosi's Dead - Bauhaus; No New Tale To Tell - Love and Rockets; Mambo Sun - T Rex; 10538 Overture - Electric Light Orchestra; The Shape Of Things To Come - Slade; You Can Get It If You Really Want - Desmond Dekker; Ziggy Stardust, Starman, Changes - David Bowie; Sheep (Pink Floyd cover) - Arthur Brown, Rick Wakeman, Jan Akkerman, David J., Carmine Appice; Oh! You Pretty Things - David Bowie; Oh! You Pretty Things - Peter Noone; The Bewlay Brothers, Eight Line Poem - David Bowie; My Way - Frank Sinatra; Life On Mars - David Bowie; Judy Teen - Steve Harley & Cockney Rebel; Kooks - David Bowie; This Guy's In Love With You - Burt Bacharach; Exquisite Corpse - Bauhaus; Quicksand - David Bowie; An Old Fashioned Love Song - Paul Williams; Fill Your Heart, Andy Warhol, Song For Bob Dylan - David Bowie; Ziggy Stardust (David Bowie cover) - Bauhaus; Waiting For The Man - The Velvet Underground; Amsterdam (Live, Olympia 1964) - Jacques Brel; Queen Bitch, The Bewlay Brothers - David Bowie; Oh No! Not Another Songwriter! - David J  

R.U. Sirius, Founding Editor of Mondo 2000 and author, discusses how intentional weirdness is a powerful tool for community and resistance when the fight for reality is being waged.Names referenced in this episode:Alex Jones, Art Bell, Richard Linklater, Robert Anton Wilson, Abby Hoffman, Paul Krasner, Lyndon Johnson, John F. Kennedy, Alfred E. Newman, Timothy Leary, Genesis P-Orridge, Joe Coleman, Aaron Black, Donna Haraway, David Byrne, Jesus, Bob Dylan, Naomi Klein, Astra Taylor, Cory Doctorow, Sandy Pearlman, Lester Bangs, Frank Zappa, Gomez Addams, Andy Warhol, Jerry Garcia, Mark Andreessen, Elvis Presley, David Bowie, Marty Balin, Susan Sarandon, Charlie Manson, Donald Trump, Patty Hearst, Joseph Stalin, Ben Goertzel, Elon Musk, Peter Thiel, Perry Farrell, Jacques Vallée, Kathy Acker, John Barlow, John Oswald, Sam Altman, Walter KirnTeam Human is proudly sponsored by Everyone's Earth.Learn more about Everyone's Earth: https://everyonesearth.com/Change Diapers: https://changediapers.com/Cobi Dryer Sheets: https://cobidryersheets.com/Use the code “rush10” to receive 10% off of Cobi Dryer sheets: https://cobidryersheets.com/Support Team Human on Patreon: https://www.patreon.com/teamhumanFollow Team Human with Douglas Rushkoff:Instagram: https:/www.instagram.com/douglasrushkoffBluesky: https://bsky.app/profile/rushkoff.comGet bonus content on Patreon: patreon.com/teamhuman Hosted on Acast. See acast.com/privacy for more information. Hosted on Acast. See acast.com/privacy for more information.

In this special bonus episode of Book Lounge by Libby, Joe sits down with Daniel Henning to dive deep into the writings and ideas of Andy Warhol. From The Philosophy of Andy Warhol to Popism: The Warhol Sixties to a: a novel, this conversation explores the iconic artist's impact on art, culture, and how we see the world today. Whether you're a longtime Warhol fan or new to his work, you'll walk away seeing his brilliance—and contradictions—in a whole new light. You can find out more about Daniel and his work on his website. Time Stamps:  00:00:00 Title  00:00:16 Intro  00:01:52 Interview with Daniel Henning 01:00:20 Outro Readers can sample and borrow the titles mentioned in today's episode in ⁠Libby⁠. Library friends can add these titles to their digital collections for free in OverDrive Marketplace and Kanopy. Check out our ⁠Cumulative List⁠ for the whole season, or ⁠this list for today's episode⁠!  Looking for more bookish content? Check out the ⁠Libby Life Blog⁠!  We hope you enjoy this episode of Book Lounge by Libby. Be sure to rate, review and subscribe on ⁠Apple Podcasts⁠, ⁠Spotify⁠, or wherever you listen! You can watch the video version of our show on the ⁠Libby App YouTube channel⁠. Keep up with us on social media by following the ⁠Libby App on Instagram⁠!   Learn more about your ad choices. Visit megaphone.fm/adchoices

To celebrate one of the most popular shows in television history, ABC's "The Love Boat," Frank sits down with author and historian Jim Colucci ("Love Boat Forever: An Unauthorized Tour of the Lido Deck"), actor-comedian Murray Hill ("Somebody Somewhere") and Vicki Stubing herself, actress Jill Whelan, for a lighthearted (and revealing!) conversation about the long-running romantic comedy-drama. In this episode, the panel discusses the generosity of Aaron Spelling, the innocence (and absurdity) of the show's storylines, the gallery of legendary guest stars and the series' lasting impact on popular culture. Also, Murray teams with Arnold Schwarzenegger, Jill remembers Leslie Nielsen (and "Airplane!"), Jim shares a special moment with Ricky Martin and Frank shares a very special Jack Jones duet. PLUS: Remembering Ernie Anderson! Jill hangs with Andy Warhol! Debbie Reynolds works blue! Carol Channing eats a Twinkie! And "The Love Boat" inspires the "Amazing Colossal Podcast"!  Subscribe now on  Apple ⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/fun-for-all-ages-with-frank-santopadre/id1824012922⁠⁠⁠⁠ Spotify ⁠⁠⁠⁠https://open.spotify.com/show/18EQJNDwlYMUSh2uXD6Mu6?si=97966f6f8c474bc9⁠⁠⁠⁠ Amazon ⁠⁠⁠⁠https://music.amazon.com/podcasts/13b5ed88-d28d-4f0c-a65e-8b32eecd80f6/fun-for-all-ages-with-frank-santopadre⁠⁠⁠⁠ YouTube ⁠⁠⁠⁠https://www.youtube.com/playlist?list=PLgvlbF41NLLPvsrcZ9XIsYKkH_HvUXHSG⁠⁠⁠⁠ iHeart ⁠⁠⁠⁠https://www.iheart.com/podcast/269-fun-for-all-ages-with-fran-283612643/⁠⁠⁠⁠ TuneIn ⁠⁠⁠⁠http://tun.in/pxOWO Learn more about your ad choices. Visit megaphone.fm/adchoices

This week it's a double bill of absurd comedic 70s Frankenstein adaptations! Sam Pancake joins Mike to discuss Mel Brooks' iconic and loving homage, Young Frankenstein, then Dan Martin drops by to discuss a lesser known cult hit, Andy Warhol's Flesh For Frankenstein!  Hosted, Produced and Edited by Mike Muncer Music by Jack Whitney.  Artwork by Mike Lee-Graham Get ad free episodes and weekly bonus content on our Patreon! www.patreon.com/evolutionofhorror  Mike Muncer is a producer, podcaster and film journalist and can be found on BLUE SKY and INSTAGRAM Visit our website www.evolutionofhorror.com  Buy tickets for our UPCOMING SCREENINGS & EVENTS Buy yourself some brand new EOH MERCH! Email us!  Follow EOH on INSTAGRAM Like EOH on FACEBOOK Join the EOH DISCUSSION GROUP Join the EOH DISCORD Follow EOH on LETTERBOXD  

On this episode of The Adam Carolla Show, comedian Adam Yenser joins Adam in the studio! Adam kicks things off by venting about his ongoing communication struggles with everyone in his life, before discussing a frustrating encounter at Home Depot's Pro Counter, which sparks a conversation about the absurdities of everyday errands. Adam Yenser reflects on performing stand-up comedy on cruise ships and why those audiences aren't always the sharpest, while the two riff on everything from Ozempic for dogs to Andy Warhol's BMW art car worth tens of millions.Elisha Krauss stops by to cover the latest news headlines, starting with Joy Reid's controversial claim that white men are incapable of inventing anything. Her comments spark a spirited back-and-forth about race, culture, and historical achievements. The crew also weighs in on a viral Reddit debate about whether it's rude to ask for a to-go box when someone else is footing the bill, and they cap it off by reacting to Rosie O'Donnell's harsh criticism of Jay Leno after Netflix's Biggest Loser docuseries revealed his cruel behavior toward a contestant.Finally, candidate for Governor of California Leo Zacky joins the show to share his campaign platform and vision for the state. He outlines his plan to undo what he calls the destructive policies of liberal progressives, citing corruption, wasteful spending, and failed projects like the high-speed rail. Adam suggests that fixing California could be as simple as doing the opposite of Gavin Newsom, which leads to a broader discussion about racial issues, political dysfunction, and the urgent need for stronger leadership in California.Get it on.FOR MORE WITH ADAM YENSER:Show with Yakov Smirnoff – The GROVE IN ARKANSAS September 5th-6thMcCurdy's in Sarasota September 10th-14thYOUTUBE Show: The Cancelled NewsINSTAGRAM: @adamyenserTWITTER: @cleancomedian69FOR MORE WITH LEO ZACKY: Running for CA GovernorINSTAGRAM & TIKTOK: @leoszackyWEBSITE: www.leozacky.comFOR MORE WITH ELISHA KRAUSS: INSTAGRAM: @elishakraussWEBSITE: elishakrauss.com JOURNAL: https://www.washingtonexaminer.com/author/elisha-krauss/Thank you for supporting our sponsors:BetOnlineIf you're 21 or older, get 25% OFF your first order + free shipping @IndaCloud with code Adam at https://inda.shop/Adam! #indacloudpodMINTMOBILE.com/ADAMoreillyauto.com/ADAMPluto.tvLIVE SHOWS: August 29 - Provo, UTAugust 31 - Torrance, CASeptember 6 - Charlotte, NCSeptember 12-13 - El Paso, TX (4 Shows)See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

 …the Hollywood and true crime spinoff from the award winning music and true crime podcast, DISGRACELAND, and the newest expansion from the folks at Double Elvis. The most dramatic non-fiction stories ever heard come from the world of entertainment. Specifically the dark side of entertainment. The true crime stories from Hollywood; the mysterious death of Brittany Murphy. The vicious, real-life murder that inspired David Lynch's Twin Peaks. The three conspiracies surrounding Marilyn Monroe's death. The indecent arrest of John Waters. Dennis Hopper's easy riding and excessive 70s Hollywood. Woody Harrelson's Dad's connection to the JFK assassination. The obsessive murder of Dorothy Stratten. Bill Murray's bust. Chris Farley burning out too soon. Al Pacino's armed robbery. The serial killer and Gianni Versace. Heath Ledger's overdose. The list is endless and now all of these stories and more are available for you to listen to in the Hollywoodland podcast. Hollywoodland is hosted by Jake Brennan, creator and host of the award winning music and true crime podcast, Disgraceland. In Hollywoodland you can expect the same deep research, immersive sound design, and edge-of your seat scripted storytelling that myself and the team at Double Elvis have brought you over the years in Disgraceland.  Right now you can binge over thirty episodes of Hollywoodland on James Dean, Paris Hilton, Andy Warhol, River Phoenix, Alfred Hitchcock and more.  Episodes of Hollywoodland are released every monday and are available everywhere. Follow and subscribe on the Audacy app, Apple Podcasts and or wherever you get your podcasts. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices