In September of 1952, Orson Welles worked with the BBC for a portrait of early American director Robert Flaherty. Flaherty, who directed the first docu-drama film, Nanook of the North in 1922, had passed away the previous July. 

As Welles just mentioned, when he got to Hollywood in the late 1930s, he was fascinated by the early film people, and they were more than happy to share their stories with the then-Boy Wonder. 

In April of 1953 the BBC hired Welles to read one hour of poetry from Walt Whitman’s “Song of Myself.” 

The next month the Italian comedy Man, Beast and Virtue debuted, in which Welles co-starred.

From September 7th into October, Welles was involved with Ballet de Paris at the Stoll Theatre in London for a production of The Lady in the Ice. In October the production moved to Paris.

Welles directed, wrote the libretto and was the ballet's costume and set designer. 

He later told Peter Bogdonovich, “It was very successful in London, and only moderately so in Paris, where it was very badly lit — as everything always is in Paris. The plot is: a girl's been found, like dinosaurs have been found, in a block of ice. And she's on display in a sort of carnival. A young man falls in love with her, and his love melts the ice. And when she kisses him, he turns to ice. A little parable for our times.” It would be the only ballet Orson Welles’ ever directed. 

In late September of 1953 Broadcasting Magazine reported that Harry Alan Towers had sold shows to both ABC and NBC for the fall. ABC would welcome Horatio Hornblower back for a second season, starring Michael Redgrave.

Meanwhile on NBC, a new half-hour anthology program starring Sir Lawrence Olivier called Theatre Royal would take to the air.

The program debuted on October 4th, 1953 with Orson Welles starring in an adaptation of Alexander Pushkin’s “The Queen of Spades.” Pushkin wrote “The Queen of Spades” in the fall of 1833. It’s a short story about how human greed can lead to madness. 

Theatre Royal was developed to capitalize on Lawrence Olivier’s name. At the time the program launched, Olivier and then-wife Vivian Leigh were getting set to appear in Terence Rattigan's comedy, The Sleeping Prince in the West End. The play would run for eight months. It made Olivier temporarily unable to star in his own program.

Many fine actors of the British stage and screen were involved in individual episodes of Theatre Royal, like Robert Morley, Harry Andrews, Muriel Forbes, and Daphne Maddox. The music was credited to Sidney Torch. 

Once Sir Lawrence Olivier could no longer appear, Sir Ralph Richardson took over as host of Theatre Royal. 

Selected episodes were repeated, with a different series opening and closing on ABC Mystery Time in the late 1950s. The show remained in active syndication in the U.S. into the 1970s. 

Welles briefly returned to America to make his first appearance on TV, starring in the Omnibus presentation of King Lear, broadcast live on CBS on October 18th, 1953. It was directed by Peter Brook, and co-starred Natasha Parry, Beatrice Straight and Arnold Moss.

BW - EP141—004: Orson Welles In Europe—Song Of Myself And Theatre Royal

In 1953 Orson Welles met Italian actress Paola Mori. She was twenty-four, beautiful, and had lived for eight months in a concentration camp during World War II. Her father, a colonel in the Italian army under King Victor Emmanuel III, was a member of the anti-Mussolini resistance. They were soon dating. 

In early 1954, Welles played a small part as Benjamin Franklin in the French/Italian historical drama Royal Affairs in Versailles.

Later in the year he was cast by director Herbert Wilcox as the main antagonist in Trouble In the Glen, opposite Margaret Lockwood, Forrest Tucker and Victor McLaglen. It portended things to come, as Harry Alan Towers was still producing a series of Sherlock Holmes radio adventures, starring John Gielgud as Holmes and Ralph Richardson as Watson. 

On December 21st, 1954, Orson Welles appeared as Holmes villain Professor Moriarty in the last production of the series. The tale was called “The Final Problem.”

BW - EP141—005: Orson Welles In Europe—Moriarty

On March 15th, 1955, Orson Welles premiered as Lord Mountdrago in the British Omnibus horror film, Three Cases of Murder. The film consisted of three stories, Welles appeared in the one titled after his character.

Ten days later he premiered in the french historical epic film Napoléon. He had a small part as Sir Hudson Lowe. 

Then on April 2nd, Welles appeared for BBC’s TV network in the first of a six-part series entitled, Orson Welles' Sketch Book.

Written and presented by Welles, the fifteen-minute episodes present his commentaries on a range of subjects. The six episodes were called, “The Early Days,” “Critics,” “The Police,” “People I Miss,” “War of the Worlds,” and “Bullfighting.” 

Later that year Welles took part in another series of shorts called Around the World with Orson Welles. 

Between June 16th and July 9th, 1955 at the Duke of York’s Theatre in London, Orson Welles staged a two-act version of Herman Melville’s Moby Dick.

Welles used minimal design. The stage was bare, the props were minimal, and the actors, which included Christopher Lee, Joan Plowright, Kenneth Williams, Patrick McGoohan, and Gordon Jackson, wore street clothes.

Brooms were used for oars, and a stick was used for a telescope. The actors provided the action, and the audience's imagination provided the ocean, costumes, and the whale.

Welles filmed approximately seventy-five minutes of the production, hoping to sell it to Omnibus for a TV film, but he was disappointed in the result.

The next year, old friend John Huston cast Welles as Father Mapple in his 1956 film adaptation of Moby Dick, which starred Gregory Peck.

Welles later cast John Huston as director Jake Hannaford in The Other Side of The Wind. The film wouldn’t be completed and released until 2018, more than thirty-three years after Orson’s death. Welles modeled Jake Hannaford on his good friend Ernest Hemingway.

BW - EP141—006: Orson Welles In Europe—The BBC Sketchbook And Moby Dick

On February 13th, 1955 Orson Welles appeared on an episode of NBC’s Anthology in salute to Abraham Lincoln. Directed by John Malcom Brennen, produced by Steve White, and announced by Harry Fleetwood, Anthology offered dramatic readings of famous and lesser-known plays. Its last episode aired on June 12th, 1955, coinciding with the launch of NBC’s Monitor. 

On May 8th, 1955 at Caxton Hall in London, Orson and Paola Mori tied the knot. Welles was simultaneously finishing the editing on a film that would be called Confidential Report in Britain and Mr. Arkadin elsewhere. He cast Paola as Raina in the film. 

In Mr. Arkadin, American smuggler Guy Van Stratten gets a tip that Russian oligarch Gregory Arkadin, has a dark secret. Wanting to blackmail him, Van Stratten travels to Spain, striking up a friendship with Arkadin’s daughter. 

The movie was shot throughout Europe in 1954, with scenes filmed in Spain, London, Munich, Paris, the French Riviera and at the Château de Chillon in Switzerland.

The story was based on several episodes of The Adventures of Harry Lime and was originally released in Spain in October of 1955. Orson and Paola welcomed the birth of their daughter Beatrice Welles on November 13th, 1955. It was Welles’ third daughter.

By then, Welles was planning a return to the U.S.

BW - EP141—007: Orson Welles In Europe—Mr Lincoln And Mr Arkadin

On Sunday January 1st, 1956 NBC’s Monitor broadcast New World Today.

1956 was a Presidential election year. At the time of this broadcast, Dwight Eisenhower, who’d had a heart attack in September, was still debating whether he would run for a second term. He’d decide in February, eventually winning re-election. 

After the censuring of Senator Joseph McCarthy in 1954, the Red Scare had subsided, overtaken by fear of communism in other parts of the world and general war with Russia. 

Meanwhile, In January of 1956 Orson Welles appeared with The New York City Center Theater Company playing King Lear. He was finally home again.

In February he traveled to Las Vegas where he performed a variety act at the Riviera Hotel. Welles was then contracted by Lucille Ball and Desi Arnaz to create a TV pilot for Desilu Productions.  

The short film was written and directed by Orson Welles, based on the short story "Youth from Vienna" by John Collier. Joi Lansing and Rick Jason star as a narcissistic couple faced with an irresistible temptation concocted by a scientist. Welles was the on-screen narrator. It was called The Fountain of Youth and considered a dark comedy.

Desi Arnaz conceived the series, proposing to Welles that he host and narrate. Arnaz later wrote that before signing the deal he clarified the finances with Welles: "I am not RKO. This is my 'Babalu' money." Filming took five days in early May. The total cost was nearly fifty-five thousand dollars. 

Arnaz reported that CBS gave the series a slot, with General Foods as a sponsor, but the challenges in getting Welles to commit to a series lasting more than thirty weeks were daunting. The series did not go to air. The pilot was later broadcast on September 16th, 1958, during NBC's Colgate Theatre.

That Spring, the Rock n’ Roll era officially arrived. On April 6th, 1956, Elvis Presely signed a three-film deal with Paramount Pictures. By the end of the month, his single, “Heartbreak Hotel” rose to the top of the charts. It would remain there into June. 

Meanwhile, Orson Welles appeared as himself on October 15th, 1956 in a very famous episode of I Love Lucy. 

Two days later, he was on the radio for a special one-off program adapting Philip Wylie’s 1954 novel about post-nuclear civilization. It was called Tomorrow and syndicated by ABC and the Federal Civil Defense Administration.

The next month, on November 13th, 1956, his daughter’s first birthday, Welles appeared on NBC Radio’s Biography In Sound for his old mentor Alexander Woollcott, who had passed away in 1943.

BW - EP141—008: Orson Welles In Europe—Tomorrow And Yesterday

It seems fitting that the way in which Orson Welles described Alexander Woollcott is the same way many who knew Welles would have described him.

That’s going to bring our look at Orson Welles’ radio career to a close. We’ve now covered Mr. Welles in long form three times — in episodes 79, 104, and now 141. We also covered his time as The Shadow in depth in episode 131. 

Is this the last time we focus on Orson Welles? That remains to be seen, but next month on Breaking Walls we’ll move to NBC where we’ll focus on one of the more underrated detective shows of the mid-1950s. 

That show? Barrie Craig, Confidential Investigator.

The reading material used in today’s episode was:
• A Book by Desi Arnaz
• Citizen Welles by Frank Brady
• This is Orson Welles by Welles and Peter Bogdanovich
• On the Air — By John Dunning
• Discovering Orson Welles by Jonathan Rosenbaum
• Orson Welles on the Air, at OrsonWelles.Indiana.edu
• Wellesnet.com. 

As well as articles from:
• Broadcasting Magazine
•Life Magazine


On the interview front:
•Orson Welles was with BBC’s Monitor, Peter Bogdonavich, Dick Cavett, Michael Parkinson, and Dinah Shore.
• Harry Alan Towers spoke with Sheridan Morley and the BBC.
• Joseph Cotton was with Chuck Schaden. Hear the full chat at SpeakingofRadio.com.
• Jeanette Nolan was with SPERDVAC, the Society to Preserve and Encourage Radio Drama, Variety, and Comedy. For more information, please go to SPERDVAC.com
•Lurene Tuttle spoke with Same Time, Same Station in 1972.

Selected music featured in today’s episode was:
• Wilderness Trail — By Walter Scharf for National Geographic
• Irish & Celtic Waltz — By The Irish & Celtic Folk Wanderers
• The Colorado Trail, Op. 28 Fantaisie for Harp — By Elizabeth Hainen
• Seance on a Wet Afternoon — By John Barry

Breaking Walls Episode 142 will spotlight William Gargan and Barrie Craig, Confidential Investigator. This episode will be available beginning August 1st, 2023 everywhere you get your podcasts, and at TheWallBreakers.com.

In the meantime, give Breaking Walls a quick rating on whatever platform you listen, especially itunes. 

You can also join The Breaking Walls Facebook group at Facebook.com/Groups/TheWallBreakers.

And support this show for as little as a buck a month at Patreon.com/TheWallBreakers.

BW - EP141—009: Orson Welles In Europe—Looking Ahead To Barrie Craig

In Breaking Walls episode 141, we finish a three part series on the radio career of Orson Welles by picking up as he left The United States for Europe in the late 1940s.

For full appreciation, tune into episodes 79 and 104 before hearing this.

——————————

Highlights:
• Macbeth, HUAC and Leaving the U.S
• Harry Alan Towers, and Harry Lime
• Othello and The Black Museum
• Song of Myself and Theatre Royal
• Moriarity
• The BBC Sketchbook and Moby Dick
• Mr Lincoln and Mr Arkadin
• Returning to the U.S.
• Tomorrow and Yesterday
• Looking Ahead to Barrie Craig

——————————

The WallBreakers:
http://thewallbreakers.com

Subscribe to Breaking Walls everywhere you get your podcasts.

To support the show:
http://patreon.com/TheWallBreakers

——————————

The reading material for today’s episode was:

• A Book by Desi Arnaz
• Citizen Welles by Frank Brady
• This is Orson Welles by Welles and Peter Bogdanovich
• On the Air — By John Dunning
• Discovering Orson Welles by Jonathan Rosenbaum
• Orson Welles on the Air, at OrsonWelles.Indiana.edu
• Wellesnet.com.

As well as articles from:

• Broadcasting Magazine
• Life Magazine

——————————

On the interview front:

• Orson Welles was with BBC’s Monitor, Peter Bogdonavich, Dick Cavett, Michael Parkinson, and Dinah Shore.
• Harry Alan Towers spoke with Sheridan Morley and the BBC.
• Joseph Cotton was with Chuck Schaden. Hear the full chat at SpeakingofRadio.com.
• Jeanette Nolan was with SPERDVAC, the Society to Preserve and Encourage Radio Drama, Variety, and Comedy. For more information, please go to SPERDVAC.com
• Lurene Tuttle spoke with Same Time, Same Station in 1972.

——————————

Selected music featured in today’s episode was:
• Wilderness Trail — By Walter Scharf for National Geographic
• Irish & Celtic Waltz — By The Irish & Celtic Folk Wanderers
• The Colorado Trail, Op. 28 Fantaisie for Harp — By Elizabeth Hainen
• Seance on a Wet Afternoon — By John Barry

——————————

A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene.

For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com.

——————————

Thank you to:
Tony Adams
Steven Allmon
Orson Orsen Chandler
Phil Erickson
Jessica Hanna
Perri Harper
Thomas M. Joyce
Ryan Kramer
Earl Millard
Gary Mollica
Barry Nadler
Christian Neuhaus
Ray Shaw
Filipe A Silva
John Williams

——————————

WallBreakers Links:
Patreon - patreon.com/thewallbreakers
Social Media - @TheWallBreakers

BW - EP141: Orson Welles In Europe (1948 - 1956)

Butterfly unofficial mix of Guarna OrsonWelles

Guarna OrsonWelles Cambridge-mt ButterflyMix

116 - The Dream Lady (1918) / Macbeth (1948)

This week we’re spinning the wheel of fortune as we tempt fate with Orson Welles and pitch a soothsaying tent with Elsie Jane Wilson

#116 - Mad Fate

GROUCHO REVIEWS film critic PETER CANAVESE reviews the CRITERION COLLECTION 4K release of ORSON WELLES' THE TRIAL (1962) on CELLULOID DREAMS THE MOVIE SHOW (9-21-23) SCREEN SCENE with program host TIM SIKA. Produced by LARRY JAKUBECZ for #KSJS (90.5 FM) and #RadioSausalito (1610 AM).

THE TRIAL (1962) 4K (PETER CANAVESE) CELLULOID DREAMS THE MOVIE SHOW (SCREEN SCENE) 9-21-23

On this special episode of Storyweavers, we speak with John Pomponio, a filmmaker with a special affinity for Orson Welles and his stunning filmography and career. Not only do we talk about historical moments at the hands of Welles and insights into the business of filmmaking, but we’ll also see how this influential figure shaped Josh’s own creative mind.
Notable Titles Mentioned: “Citizen Kane,” “The Magnificent Ambersons,” “Touch of Evil,” “Chimes at Midnight,” as well as referencing other filmmakers such as Martin Scorsese, Robert Wise, and Francis Ford Coppola.

Josh Pomponio’s “Analogic”: https://vimeo.com/762280978

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Logo Design - Dean Studios
Video Editing and Production - Dean Studios
Audio Production - Dean Studios

Dean Bradley - https://www.dean-studios.com 
John William Worth - https://www.johnwilliamworth.com 
Josh Pomponio - https://www.youtube.com/@screenwriter85

Episode 5: Orson Welles feat. Josh Pomponio

Find me in the circle of good companies
https://youtu.be/MsUYT-ymrpE

Waking Life at Rosebud

It’s Dee’s birthday and the only gift he wants is to finally see Jerry Lewis’ legendary never released Holocaust film “The Day the Clown Cried” about a circus clown who entertains Jewish children in a concentration camp before they head to their final shower of doom. Atheist Preacher calls in with the grossest story ever told on air. Sign up for the Sick and Wrong Patreon to hear Second Show, SW archives, and the bonus minisode Serial Killer Star Signs.

S&W Episode 929: The Day the Clown Cried

Album de clarke

War of the worlds [ part. 1 : meteors ]

We’re nearing the end of our Classic Noir themed month we’re calling THE LEFT HAND ENDEAVOR and it’s just banger after banger each week and our last week is no different. Today’s classic noir is one that might show up on several “Best Movie” top 20 lists. One of the few classic noir that seem to shine beyond it’s genre. Chock full of stunning, shadowy, shots seared into the annals of film history and appreciation. A western writer by the name of “Holly” strolls into Vienna not long past the end of WWII to meet an old friend who he discovers is dead. The case seems to be officially closed but Holly finds conflicting information outside of the official narrative of Harry Lime’s death. Meanwhile, Lime’s girlfriend is fraught with her own issues but is bonding with Holly over their mutual connection with Harry. The interaction has Holly smitten with his dead friend’s gal but is she down? Of course, we’re talking about Carol Reed’s 1949 classic “THE THIRD MAN” starring Joseph Cotton, Valli, Trevor Howard and Orson Welles as the ultimate irredeemable charmer that appears in the movie for, maybe, 7 minutes. Half of that because he didn’t want to do the sewer scenes. You better believe we got a link for it. Hope it still works: https://archive.org/details/the-third-man-1949

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The Third Man (1949)

This is a short story... first an introduction to the situation that was the cause of the story... and then the audio file will play.
Orson Welles...if you are or are not an old time radio fan... have most likely at least heard of him.  He was a brilliant actor, director, and producer in the field of radio starting when he was 23 with the 1938 "War of the Worlds."  He is remembered and considered to be among the greatest and most influential filmakers of all time -" Citizen Kane", "The Stranger", "A Man for All Seasons", "Jane Eyre"... and many more.  His voice was almost unbelievable... rich, deep, baratone voice... perfect for Mercury Theatre on the Air.  When he got into his late 50's he started to do a lot of television and radio commercials...mostly  for wines... but in 1970 he was hired by a British TV Company to star in a few commercials... one for Frozen Peas and another for some fish company.  He was a perfectionist and demanded that of the people he worked with.  There was a time when he lost it... the Frozen Pea commercial.  This track is a recording of the recording session for that commercial.  Welles knew so much more about directing, writing, producing... that he literally walks out on this crew...  If you think he was in the wrong... just keep in mind that he had so many years of perfecting his skills and talent... what he tells the directors is true... the way it should have been done... part of recording radio/tv history.  The loud "Smack" that you hear is the slap of wood hitting the Clapper that they use to start recordings of film.

Soundcloud 1939 Frozen Peas Commercial Orson Welles 1970

"The Shadow" is probably the best known radio program... when polls were taken among college students who had never listened to OTR,"Can you name an old time radio show"... about 95% said, "The Shadow!"  Series started in 1937 with Orson Welles initially playing the first year of the series. Later Bret Morrison, Bill Johnstone, John Archer, and Steve Courtleigh took on the role of tThe Shadow.  Margo Lane was first played by Agnes Moorehead and later Marjorie Anderson, Marion Sharkley, Laura Mae Carpenter, Lesley Woods, Grace Matthews and Gertrude Warner.
The series ended in 1954 and thankfully many episodes were recorded and have been preserved. Incidently the phrase, "The Shadow Knows" became part of our vernacular  This episode will be stored in "The Shadow" Playlist.

The Shadow - The Hypnotized Audience - March 27, 1938 - Orson Wells - Suspense

As contradições da criação, nós e os outros, nós nos outros

Não para assinalar a efeméride e o seu quinquagésimo aniversário, já que procuramos cumpri-la, apesar de todas as dificuldades sociais e culturais, ao longo dos anos, temos dois debates no Popol Bug. 

No primeiro voltamos a ter connosco o anarquista coroado, Elagabal Aurelius Keiser, daqui a umas semanas o jornalista-crítico Vítor Belanciano.

    A partir de um trecho fílmico do documentário Around the World With Orson Welles, do lettrisme e da poesia sonora, escolha da mulher escrevente deste podcast, lançamo-nos a um conjunto de assuntos que tem aumentado o volume e a tensão de nossas sensibilidades estéticas e pensantes. 

O movimento preconizado pelo romeno Isidore Isou, ajuda-nos a traçar e estraçoar avenidas de compreensão marcadas pela criação de intervalos rítmicos e sónicos, por rimas, aliterações e paralelismos, por assincronias e anfibologias nas relações das imagens e dos sons. Mas não só.

Por via dos desvios de vanguardas que nos precederam, voltamos ao debate das ideias, como o da suposta morte da arte, enunciado de alguns autores, a vontade de poder, os direitos de autor, as estruturas culturais e o que é isso de ser uma entidade independente sendo estruturalmente semelhante a estruturas dominantes na sua exploração. Se o autor está  ao serviço da estrutura, no sentido em que não aufere nenhuma recompensa pelo seu trabalho se não tiver como mediador esses papões (um contrato editorial, uma mediação da SPA com mapas de vendas que permitem aferir quanto cabe ao autor e assim recompensá-lo ao longo da vida) trata-se de abuso e de mais um braço do capitalismo, por mais pequeno que seja. Neste episódio há quem desenhe, com gozo perverso, a cultura kinky e BDSM, e talvez isso fosse suficiente para entender que há várias maneiras de contradizer as contradições discursivas dos que gozam de visibilização mediática, no fundo no livro de desenhos Mistérios da Castração de Urano houve quem quisesse mandar para o c*r*lh* as estruturas e as mega-estruturas, as suas promiscuidades e o seu ego-trip, que é como dizer escrevendo: todos aqueles que alimentam estas trapaças, onde pretensos artistas se tornam coleccionadores das suas obras para assim terem valor no Imenso Comércio do Nada, título do ensaio em andamento da moça: as press releases, as galerias, as técnicas publicitárias que querem persuadir permanentemente como se as nossas caixas de e-mail fossem receptáculos da REMAX pós-cultural mesmo que à entrada tenhamos ‘esta caixa não aceita publicidade’, ainda menos quando vier embrulhada como se de uma recensão empenhada em mudar o estado de sítio se trate. A caminho da meia-idade a força da dita juventude não esmoreceu, apenas se tornou mais selectiva e impaciente.

    Diálogo a três, ou mais, por estarem à mesa os nossos fantasmas predilectos. Ora em consonância ora em dissonância, ressuscitamos o Gil Wolman, o Maurice Lemaitre, o Gabriel Pomerand, o Guy Debord que enveredaram pelos recitais letristas e pela publicação de revistas como a Dictature Letriste e a Ur; o Nietzsche e o Hegel, o Antonin Artaud, o dadaísmo e a anarte, as causas e os propósitos daquilo que andamos por aqui a fazer pejados de contradições que urge enfrentarmos todos os dias e cada vez mais.

    Terminamos com sexo e soul-music, dizem que é assim que muitas discussões acabam bem, na cama, se for consistente e não do IKEA, de outra maneira podemos acabar, impotentes e no chão.

Episódio 5

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CITIZEN KANE (1941) Retrospective: Failed Award Contenders 3x04

Retired Biology Teacher - hobby of old radio restoration - Concerned about Civil Rights and Climate Change. Definitely not supporting Trump. Volunteered for public radio and tv stations as Producer and A/V editor for 20 yrs.

Com Bruno Peixe Dias (Bruxelas) e Soraia Simões de Andrade (Lisboa)

Conversas anartísticas sem guião pontuadas por história das ideias e músicas entre dois autores melómanos (um tradutor, uma escritora e investigadora); às quais se juntam, algumas vezes, outros autores melómanos indiferentemente da disciplina artística em que laboram.

POPOL BUG

Não existe diferença sem mimese, nem nada que não o seja: diferente.
É de letras e poemas musicados, de músicas sem os vocábulos do léxico, de sonidos ou vocalizações, das mais veladas às mais guturais, de editoras e de streaming, de canções, em locais emparedados e sem paredes, dialogistas em experiências distintas, ora como participantes delas ora como ouvintes remotos de matrizes sonoras maternais, e, por isso, não menos indisputáveis nos nossos percursos, que falamos; tentaremos pouco que estamos cansados de nos ouvir. A premissa é voltar a escutar esses fonogramas, recuperar histórias tentando reproduzir o entusiasmo daquela primeira vez que fomos tocados pelos primeiros acordes de um disco ou os que não nos entraram nos tímpanos nem à lei da bala apesar de anos mais tarde não os conseguirmos largar.
Nenhuma banda nasceu de geração espontânea, nenhuma filosofia, sequer deidade simbólica, é indestrutível. 
Todas as alturas em que matamos os tempos rebeldes aos discos e aos livros; para neles enrijecer e reconstruir a memória, pessoal ou colectiva, e os muitos chãos pisados entre concertos, danças, projectos edificados, aqui convergem. Alturas, em que podemos mudar as lentes, renovar a graduação, reajustar as agulhas do prato e as tonalidades discursivas, juntando as votadas ao desprezo e deixando umas tantas naquele outro lugar da estante improvisada num barracão granítico ao qual não desejamos regressar.
-------
2024 AH!, associação Mural Sonoro
montagem sonora: Paulo Lourenço 
pequenos textos, sinopses, dos episódios: Soraia Simões de Andrade

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Death to all traitors

THE WORLD’S SOURCE FOR ANTI-SOCIAL COMMENTARY

Sick and Wrong is your hearing aid into the dark, depraved, and dripping abscess that is contemporary existence. An enchanting mélange of social criticism, pointed observation, and well-deserved derision; Sick and Wrong is the pepto-bismol for society’s indigestion. In their critically acclaimed weekly podcast, award-winning broadcasters Dee Simon and Lance Wackerle discuss the most vile, disquieting, and oddly amusing news items for your listening pleasure.

“The most foul thing I have ever heard. I can’t believe people listen to this shit.” — Katy Perry

“Sick and Wrong is my new favorite podcast.” — Drew Barrymore

“My mom told me about this podcast.” — Neil Patrick Harris

“These guys have seen Brokeback Mountain one too many times.” — Bruce Campbell

Breaking Walls: The Podcast on the History of American Network Radio Broadcasting.

New tracks tagged #Orson Welles