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4 episodes with 'imagine'
3 episodes with 'imagine'
2 episodes with 'imagine'
3 episodes with 'imagine'
2 episodes with 'imagine'
3 episodes with 'imagine'
2 episodes with 'imagine'
Au programme du dernier bonus de la saison, un aller simple en Eurostar avec Island, les presque début des français de Bandit-Bandit, la coolerie kiwi de Unknown Mortal Orchestra, la folk de Lucy Dacus, le retour d'Imagine dragons et Emma Peters que l'on retrouve dans la compilation "Molitor II". Le week-end #LeDriveRTL2 continue. Dans le Bonus du #DriveRTL2 Caroline Chimot fait découvrir aux oreilles curieuses les sorties Pop-Rock du moment, énergiques, douces, sautillantes ou poétique il y en aura pour tous les goûts.
On this World Music Day episode, Cyrus is joined by the legendary Padma Shri awardee musician Usha Uthup. Usha and Cyrus have a wonderful time recounting tales of doing shows and hanging out together, Usha's early years as an artist, her biggest inspiration being Radio Salon, being from a family full of musicians, her teacher throwing her out of class in school because she thought her voice did not fit in the conventional patterns of voices, playing a lot of tambourine, her love for live performances and concerts, starting out singing in a nightclub, her appreciation for the talent in Hindi music today, and tons more. They also talk about Usha singing at the Vatican in front of the Pope, the many popular jingles she has sung over the years, and more. All this and lots more.Finally, Usha sings some amazing and fabulous songs. Look for 'Imagine' by John Lennon and 'Darling' from Saat Khoon Maaf.Follow Usha on Instagram and Twitter: https://instagram.com/singerushauthup and https://twitter.com/singerushauthupAlso, subscribe to Cyrus' YouTube channel: https://youtube.com/channel/UCHAb9jLYk0TwkWsCxom4q8AYou can follow Antariksh on Instagram @antariksht: https://instagram.com/antarikshtDo send in AMA questions for Cyrus by tweeting them to @cyrussaysin or e-mailing them at whatcyrussays@gmail.comDon't forget to follow Cyrus Broacha on Instagram @BoredBroacha (https://www.instagram.com/boredbroacha)In case you're late to the party and want to catch up on previous episodes of Cyrus Says you can do so at: www.ivmpodcasts.com/cyrussaysYou can listen to this show and other awesome shows on the new and improved IVM Podcasts App on Android: https://ivm.today/androidor iOS: https://ivm.today/ios
Has a year of lockdowns, shut cinemas and limited red carpet events changed celebrity culture forever? As attention has shifted to the pandemic and everyday heroes, some celebrities have used their platform for activism, be it supporting the NHS or Black Lives Matter, while others have seemingly forgotten their privilege and flouted Covid restrictions. In today's episode, Red Carpet veteran Minnie Stephenson delves into the past year and asks whether this is a turning point in celebrity culture? Will we ever return to the glitz and glamour of old, or is the pandemic a catalyst in the shift from the old school celeb to the modern influencer? Sources: BBC News, ITV, Eyewitness News, 'Imagine' / John Lennon/ Yoko Ono via @gal_gadot (Instagram)
Resources / Links: Coupon Code: CLONE https://www.aprilmeese.com/offers/CyMRty5P?coupon_code=CLONE How can you be more aligned with your conversations with your clients and prospects? Let's leverage the power of communication by using persuasive language. What you will learn from this episode: Discover the persuasive words to use for people to book your beauty services Learn some key things that align your conversations to attract the right clients to your business Find out how to 'future pace' so clients can visually experience your services' benefits which can also boost your sales Find a way to eliminate procrastination and get prospective clients to take action sooner rather than later "Imagine is such a powerful word because you actually help the client, it's called 'future pacing'." - April Meese Topics Covered: 01:06 - One of the most powerful words for sales 03:16 - Using this word will bring more legitimacy to your conversations 05:13 - Imagine what word helps the client sell themselves on the benefits of your beauty services 07:09 - The two most popular words used in advertising 08:37 - You should never leave this off of your CTA (call to action) 09:17 - Make the client the 'hero' in your business Key Takeaways: "It's been said that we are all tuned into the radio station WIIFM, and that stands for what's-in-it-for-me. We don't pay attention to things until we know what we can get out of them. And so they want to know that you are invested in them, and you have their best interests at heart. People start paying attention when you use the word 'You' or when you're using their name." - April Meese "You should look at your website and go through and maybe even print off some of the pages and take a red marker and circle all of the times you use the word 'I' in red versus all of the times you use the word 'You' and put that in green. And you can look for ways to change your website so that it speaks to your clients and creates desire and demand for your services because they know that you are interested in them. " - April Meese "I always say the 'proof' follows the 'because'. So, if you make a claim about how great your services are, or why they should have your services, follow it up with proof." - April Meese "When you use the word 'Imagine' and then talk about benefits after that, it helps the client see themselves in that having those benefits; it takes some of the risks away for them. Because we know we're doing beauty services on the face and body, there's some risk there. And people are risk-averse." - April Meese "And what's interesting about these words 'New' and 'Different' is that the brain likes things that are new and different. We've seen this in our beauty industry, there's always a new technique coming out. And the word 'New' implies that it's better and different, that they're going to have results that they maybe haven't had before. And that's exactly what they want." - April Meese "I think the word 'Now' is also very powerful because people will often procrastinate. You've heard that procrastination equals elimination, meaning that 'delay' is the death of the sale, meaning they never get back to it. So just by saying, click this button 'now' or call 'now' versus just click the button or just call, instead of just call us, if you have the word 'now', it actually inspires them to take action sooner rather than later." - April Meese "You don't want to be the hero in your business. You want the client to be the hero."- April Meese Connect with April Meese: aprilmeese.com support@aprilmeese.com LinkedIn Instagram Facebook
Grammys! Oscar noms! The anniversary of the 'Imagine' video! What a week — and we're only getting started. Today's new episode of Who? Weekly has OK! Mag EXCLUSIVE photos from the Pizza Girl sauce relaunch event, Jon Hamm's toned legs, the live action Powerpuff Girls casting ft. Lucy Hale (kind of, not really), a Chanel bag dropped down the stairs by a Love Island star, an influencer gets into British Vogue (in a way) — plus, Hailey Rhode Baldwin Bieber starts a YouTube channels, Monica interviews Fauci, and Rita got replaced by a mannequin on UK Drag Race? As always, call 619.WHO.THEM to leave questions comments and concerns and we may play your call on a future episode! And for a ton of bonus content, head to Patreon.com/WhoWeekly. Learn more about your ad choices. Visit podcastchoices.com/adchoices
On the days before Christmas, #EFTV brings to you, many thoughts, wanted and un, we've got them. Such as Nicola Sturgeon breaching her Lockdown rules, but not giving herself the same punishment she doled out to others. The Talawa Theatre Company pulled out of their 'Black Joy' season, which was to be held at the Birmingham Repertory Theatre in 2021. They say it is due to the theatre becoming a 'Nightingale Court' during the day. Gal Gadot is out trying to justify her upcoming role as Cleopatra And it all feels odd after she forced that 'Imagine' video on us All this and more!!! PLUS, season two of 'Home for Christmas' (Hjemtiljul just hit Netflix, so we checked that out, to see who knocked on the door! AND, our Audible of the week, is Lisa Bent debut called 'Symona's Still Single'. About a single girl, nearing her 40's and deciding to look at what's right and wrong about her dating life. As well as, what does it mean to be a Black woman trying to exist, date and find love? This week: - Sturgeon caught with mask off! - Bottomless PJs causing a stir - A Nightingale Court comes between a theatre and a company! - Gadot tries to justify her casting as Cleopatra! - France give immigrants citizenship for helping with COVID! - Chin check REVIEWS & RECOMMENDATIONS - TV: Home for Christmas (Hjem Til Jul) - S2 - thoughts AUDIBLE - Symona's Still Single by Lisa Bent *(Music) 'Speaking Real Words' (feat. Inspectah Deck) by 7L & Esoteric - 2001
There is not much that Shea Fisher-Durfey does not do! She is an Australian born Singer/Songwriter, Cowgirl, Fashion Model, Fashion Designer, Fitness expert, Jewelery Designer, and rodeo champion. She is also a wife and mom of two adorable girls. In 1998 her family moved to America, where Shea was first introduced to Country Music. She signed her first record deal at only sixteen! She has had four #1 songs in Australia and a CMT Top 20 song in the U.S. After her record company folded, Shea started her buckle company, her jewelry line, and later Shea Baby boots. She still competes in Barrel Racing, and recently released a brand new pop-country single called 'Imagine". Shea says this is the season for music. This inspirational lady wants to show her daughters that whether you're a mom or not, and regardless of age, you can be successful as a woman. We talk about how the road to her success wasn't always smooth for her. There are still lots of ups and downs along the way. Shea is one amazing woman we know you will be inspired by her journey!! Shea loves the quote, ‘Failure is one step closer to success’ She says, "I have never been afraid to fail, I would rather try something and it not work out then not try it and think, what if?”. Christmas is just around the corner so download the single and grab yourself a copy of her new album. Check out Shea’s websites for some fashion inspiration. www.sheamichellebuckles.com www.sheababy.com www.sheafisher.com
On Saturday, 21 November 2020, Amy Jones joined Carl Wastie on the Kfm Top 40 to chat about her new single, 'Imagine', which features the sound of iconic Cape Town saxophonist, Don Vino. Whilst in-studio on the award-winning chart show, Carl Wastie offered Amy Jones a challenge: to put her own spin on BTS' hit single (and former no.1 on the Kfm Top 40) - 'Dynamite'. Amy accepted the challenge and the results were magical. See omnystudio.com/listener for privacy information.
Welcome back! & if you're new, thank you for joining!! - Not for nothin' but this is a goood episode! Alex & Arlene talk about two great books, 'All About Love' and 'Imagine, How creativity works.' These books spark conversation on love and delusion that sometimes comes with that, parent child relationship, self respect + everything else. New NETFLIX documentary 'American Murderer: The Family Next Door,' - WOW!! This documentary was beyond- the story itself is so devastating yet captivating and made so well. We end with discussing creativity and what part of the brain is tapped into when trying to be creative and/or applying problem solving skills. They end it with talking about the benefits of cannabis to unleash your inner creative god! Enjoy the ride & thank you for supporting us. Don't forget to subscribe, rate, review and SPREAD THE WORD! xoFollow us: https://www.instagram.com/twopeachespod/Email: twopeachespod@gmail.comThank you for listening!! =)
Mintic busca voluntarios con conocimientos en las tic.Las mejores ciudades de Suramérica para crear y financiar startups.La Web Summit cancela su cita en Lisboa y se celebrará solo por internet.TikTok deberá redoblar seguridad de datos personales de usuarios colombianos.El cumpleaños de Bruno Mars.Los 49 años de la canción 'Imagine'
En Música de Contrabando, revista diaria de música en Onda Regional de Murcia (orm.es, 00,00h) Se cumplen 50 años del fallecimiento de Janis Joplin, que alcanzó la gloria pero también descendió a los infiernos. Ruto Neón se proclamaron ganadores de la 28ª edición del CreaMurcia Pop- Rock envueltos en neopsicodelia y hedonismo. El guitarrista Mario del Olmo, miembro fundador de la banda Asfalto en 1972, ha fallecido este domingo por causas que no han sido reveladas. Neil Young anuncia la publicación de un nuevo disco, “Return To Greendale”, el 6 de noviembre. El disco fue grabado completamente en directo durante su histórica gira del 2003, cuando presentó su vigesimoquinto álbum, “Greendale”. YES versionan 'Imagine' de John Lennon en su nuevo disco 'The Royal Affair Tour: Live in Las Vegas'. Primavera Sound y la Fundación Lucha contra el Sida y las Enfermedades Infecciosas presentan un proyecto conjunto con el objetivo de probar diferentes fórmulas que puedan garantizar la creación de un ambiente seguro para la realización de acontecimientos relacionados con el ocio en espacios cerrados en tiempos de COVID-19 (Breis). Se cumplen 20 años de "Kid A", el inmaculado y rupturista cuarto álbum de Radiohead. Su segundo álbum recibirá el nombre de ‘Parques nacionales españoles’, pero antes Alexanderplatz han sacadoun EP de cuatro canciones, ‘Murcia Delenda Est’."Lifemates" es el título del nuevo disco de Angel José Angelpop NavarroAngelpop, un mini álbum de seis canciones en Cd y Digital, grabado por Angelpop y mezclado y masterizado por Juan Sueiro (Spam) y Guille Mostaza (Ellos). Alejandro Cerón (Pichón ._.) trabaja en Eindhoven , y desde allí lanza su contribucion al centenario de Pérez Galdós. Sidoniepublica, "El regreso de Abba", su mejor álbum, donde recuperan la esencia psicodélica de sus inicios, mezclada con la sabiduría pop de los grandes estribillos. Llega la IV edición del IV SAYZA JAZZSayZa Jazz Festival y hablamos con Javier González Soler# de la programación de la temporada (Marula, Santiago Campillo de Juan y Miguel Bañón). Toni Peña nos presenta la XI edición del Cartagena Folk, que ha modificado las fechas a causa de la pandemia, y también su emplazamiento . Habrá dos escenarios y un 'silente concert'(La Banda Morisca, Young Forest).
En Música de Contrabando, revista diaria de música en Onda Regional de Murcia (orm.es, 00,00h) Se cumplen 50 años del fallecimiento de Janis Joplin, que alcanzó la gloria pero también descendió a los infiernos. Ruto Neón se proclamaron ganadores de la 28ª edición del CreaMurcia Pop- Rock envueltos en neopsicodelia y hedonismo. El guitarrista Mario del Olmo, miembro fundador de la banda Asfalto en 1972, ha fallecido este domingo por causas que no han sido reveladas. Neil Young anuncia la publicación de un nuevo disco, “Return To Greendale”, el 6 de noviembre. El disco fue grabado completamente en directo durante su histórica gira del 2003, cuando presentó su vigesimoquinto álbum, “Greendale”. YES versionan 'Imagine' de John Lennon en su nuevo disco 'The Royal Affair Tour: Live in Las Vegas'. Primavera Sound y la Fundación Lucha contra el Sida y las Enfermedades Infecciosas presentan un proyecto conjunto con el objetivo de probar diferentes fórmulas que puedan garantizar la creación de un ambiente seguro para la realización de acontecimientos relacionados con el ocio en espacios cerrados en tiempos de COVID-19 (Breis). Se cumplen 20 años de "Kid A", el inmaculado y rupturista cuarto álbum de Radiohead. Su segundo álbum recibirá el nombre de ‘Parques nacionales españoles’, pero antes Alexanderplatz han sacadoun EP de cuatro canciones, ‘Murcia Delenda Est’."Lifemates" es el título del nuevo disco de Angel José Angelpop NavarroAngelpop, un mini álbum de seis canciones en Cd y Digital, grabado por Angelpop y mezclado y masterizado por Juan Sueiro (Spam) y Guille Mostaza (Ellos). Alejandro Cerón (Pichón ._.) trabaja en Eindhoven , y desde allí lanza su contribucion al centenario de Pérez Galdós. Sidoniepublica, "El regreso de Abba", su mejor álbum, donde recuperan la esencia psicodélica de sus inicios, mezclada con la sabiduría pop de los grandes estribillos. Llega la IV edición del IV SAYZA JAZZSayZa Jazz Festival y hablamos con Javier González Soler# de la programación de la temporada (Marula, Santiago Campillo de Juan y Miguel Bañón). Toni Peña nos presenta la XI edición del Cartagena Folk, que ha modificado las fechas a causa de la pandemia, y también su emplazamiento . Habrá dos escenarios y un 'silente concert'(La Banda Morisca, Young Forest).
En Música de Contrabando, revista diaria de música en Onda Regional de Murcia (orm.es, 00,00h) Se cumplen 50 años del fallecimiento de Janis Joplin, que alcanzó la gloria pero también descendió a los infiernos. Ruto Neón se proclamaron ganadores de la 28ª edición del CreaMurcia Pop- Rock envueltos en neopsicodelia y hedonismo. El guitarrista Mario del Olmo, miembro fundador de la banda Asfalto en 1972, ha fallecido este domingo por causas que no han sido reveladas. Neil Young anuncia la publicación de un nuevo disco, “Return To Greendale”, el 6 de noviembre. El disco fue grabado completamente en directo durante su histórica gira del 2003, cuando presentó su vigesimoquinto álbum, “Greendale”. YES versionan 'Imagine' de John Lennon en su nuevo disco 'The Royal Affair Tour: Live in Las Vegas'. Primavera Sound y la Fundación Lucha contra el Sida y las Enfermedades Infecciosas presentan un proyecto conjunto con el objetivo de probar diferentes fórmulas que puedan garantizar la creación de un ambiente seguro para la realización de acontecimientos relacionados con el ocio en espacios cerrados en tiempos de COVID-19 (Breis). Se cumplen 20 años de "Kid A", el inmaculado y rupturista cuarto álbum de Radiohead. Su segundo álbum recibirá el nombre de ‘Parques nacionales españoles’, pero antes Alexanderplatz han sacadoun EP de cuatro canciones, ‘Murcia Delenda Est’."Lifemates" es el título del nuevo disco de Angel José Angelpop NavarroAngelpop, un mini álbum de seis canciones en Cd y Digital, grabado por Angelpop y mezclado y masterizado por Juan Sueiro (Spam) y Guille Mostaza (Ellos). Alejandro Cerón (Pichón ._.) trabaja en Eindhoven , y desde allí lanza su contribucion al centenario de Pérez Galdós. Sidoniepublica, "El regreso de Abba", su mejor álbum, donde recuperan la esencia psicodélica de sus inicios, mezclada con la sabiduría pop de los grandes estribillos. Llega la IV edición del IV SAYZA JAZZSayZa Jazz Festival y hablamos con Javier González Soler# de la programación de la temporada (Marula, Santiago Campillo de Juan y Miguel Bañón). Toni Peña nos presenta la XI edición del Cartagena Folk, que ha modificado las fechas a causa de la pandemia, y también su emplazamiento . Habrá dos escenarios y un 'silente concert'(La Banda Morisca, Young Forest).
One of the founders of the Beatles, John Lennon has been regarded as one of the greatest musicians of all time. But, over the past few years there have been stories to come out that baby boomers can’t “imagine” are true. Was Lennon truly an important part of the peace movement or was it all an act? We’ll dive into that and much more on this episode of AHC Podcast. Dansby, A. (2018, June 25). Julian Lennon Issues Statement About Father. Retrieved September 12, 2020, from https://www.rollingstone.com/music/music-news/julian-lennon-issues-statement-about-father-251721/Eric Schaal More Articles April 02, 2. (2020, April 03). When George Harrison's Problems With John Lennon Led to a Fistfight. Retrieved September 12, 2020, from https://www.cheatsheet.com/entertainment/when-george-harrisons-problems-with-john-lennon-led-to-a-fistfight.html/Goldman, A. (2001). The lives of John Lennon. Chicago, IL: A Capella.Hey Jude. (2020, September 01). Retrieved September 12, 2020, from https://en.wikipedia.org/wiki/Hey_JudeJohn Lennon. (2020, June 29). Retrieved September 12, 2020, from https://www.biography.com/musician/john-lennonJohn Lennon. (2020, September 11). Retrieved September 12, 2020, from https://en.wikipedia.org/wiki/John_LennonKaye, E. (2018, June 25). Julian Lennon: Here Comes the Son. Retrieved September 12, 2020, from https://www.rollingstone.com/music/music-news/julian-lennon-here-comes-the-son-50763/Newspaper, D. (2008, September 22). Lennon's angry outburst 'damaged son's hearing'. Retrieved September 12, 2020, from https://www.express.co.uk/celebrity-news/62615/Lennon-s-angry-outburst-damaged-son-s-hearingOyler, L. (2015, September 10). You Don't Have to 'Imagine' John Lennon Beat Women and Children-It's Just a Fact. Retrieved September 12, 2020, from https://www.vice.com/en_us/article/ypa9b5/you-dont-have-to-imagine-john-lennon-beat-women-and-childrenits-just-a-fact
In the final talk of our series 'Immeasurably More', Paul asks us to 'Imagine'. Bible Reading: Ephesians 3:14-21. Recorded live on Sunday 26 July 2020.
Song Title: Everlasting (Love That's Never Over)Artist: ImpostorAlbum: The Love AboveThe song Everlasting ( Love that’s Never Over) is the first single from the album - The Love Above, on SoundCloud - https://soundcloud.com/user-378957493/4-everlasting-love-thats-never-overThe Love Above album is the fourth Album by Impostor. Like all the previous releases it has continued with the unconventional mode of recording. The Love Above Album was completed and self-released during the COVID-19 Lockdown and it is against this back drop that album serves a musical 'pick me up' . It is a celebration of love in all its forms.CHECK OUT WHO IS TALKING ABOUT IMPOSTERS MUSIC!See recent reviews - http://www.camdenmonthly.com/impostor-prepares-to-release-new-music/- https://choiceradio.co.uk/impostor-the-love-above/Impostor is a DIY / home studio cyber-funk artist who combines elements of electronic music with funk, disco, hip-hop and synth-pop influences. Impostor is an alter ego. The artist has chosen anonymity to keep the attention focused on the music. In December 2016, Impostor self-released the debut album 'Storytelling' on Way Past Cool Records. This album was a proof of concept project to see if an album could be released from end to end without using the conventional industry process (i.e. the album was recorded produced and mastered entirely on iPad/ Mac Air). This was swiftly followed by the EP release of 'Wake-Up America' in 2017 which was released in response to socio-political turmoil of recent times. Impostor has since self- released 2 more albums ('Imagine' - 2018, 'Road To Damascus' – 2019) continuing the unconventional mode of recording. These three albums form a musical trilogy charting the journey to spiritual enlightenment.During the Coronavirus lockdown Impostor has completed and self-released the 4th album, 'The Love Above' on Way Past Cool Records.For more information please email: impostor-music@hotmail.com , or waypastcool-music@hotmail.com
'Imagine all the people'... Dave was in flying form for Dave's World - Bad Joke Tuesday this week! [audio mp3="https://media.radiocms.net/uploads/2020/07/07130854/1110-DW-BJ-070.mp3"][/audio]
John Benson was a family man. The truck driver from Tacoma was a father of five. And, every once in a while, he liked to get away. He liked to go hunting.In October of 2000, John was braving the frigid and unpredictable weather just outside Mount Rainier National Park. It was prime hunting season for deer and elk.John had been hunting his whole life, and he knew how to do it right. That’s especially important in an area that can get down below freezing at night with gusting winds and sometimes even an early autumn snowfall.Although, he wasn’t exactly ‘roughing it.’His large, walled tent was outfitted with a cot, a pellet stove and even a kitchenette.John was just looking for some alone time. He had driven several miles along winding dirt and gravel roads at the base of the mountain, through dense forest, until he found a little clearing. It was the perfect spot for his cozy ‘home away from home.'Imagine his surprise when, early one evening, a stranger came knocking on his canvas door.A stranger who would offer John a little liquor and conversation. A stranger who would be the last person to see John alive….
Robert plays 'Imagine' for Wednesday by WRS
Join the after party on Discord! Link: https://discord.gg/ZzJSrGP Alien 'gun' on Mars: UFO hunter urges Elon Musk to retrieve it 'Imagine the leap forward' Link: https://www.express.co.uk/news/weird/1285403/alien-gun-technology-on-mars-elon-musk-aliens-ufo-conspiracy-theory ALIEN hunters believe they have spotted extraterrestrial technology on Mars - and have called on Elon Musk to retrieve it. UFO enthusiasts believe they have spotted an object on Mars which appears to be a gun. The object is among the dust and rubble on Mars, and has the characteristics of a classic black handgun. Prominent alien hunter Scott C Waring spotted the supposed gun, stating it is evidence of intelligent life on the Red Planet. Mr Waring has urged tech billionaire Elon Musk, who is South African by birth, to retrieve the object, as it would set America well ahead of its rivals. Writing on his blog ET Database, Mr Waring wrote: "Elon Musk loves a good challenge and he loves America and puts a lot of effort into technology to move America forward, so I wonder if Elon would be able to retrieve the alien hand gun on Mars? "I mean its small, about half a meter and would be possible to have such an item retrieved by a special SpaceX rover and brought back to earth. "I know Elon created the awesome flamethrower we all know and love, but this is the gun of his dreams. "Just imagine what kind of leap forward Elon Musk would take us if he managed to retrieve this hand gun from Mars. "He would probably learn a lot from the alien tech and maybe put some of that into his incredible inventions. "By retrieving the gun, Elon Musk would not take America years into the future, but millenniums." She Gets Calls And Texts Meant For Elon Musk. Some Are Pretty Weird Link: https://www.npr.org/2020/05/21/858155045/she-gets-calls-and-texts-meant-for-elon-musk-some-are-pretty-weird here are a lot of people trying to reach celebrity entrepreneur Elon Musk. Sometimes, though, they get Lyndsay Tucker, a 25-year-old skin care consultant. Tucker, who works at a Sephora beauty store in San Jose, Calif., had never heard of the Tesla and SpaceX founder and CEO until a couple years ago, when she began fielding a steady stream of calls and text messages intended for him. "I asked my mom, 'Hey, I keep getting these text messages' — and I was also now starting to get phone calls — 'for this guy Elon Musk. I don't know who this is,' " Tucker said. "And my mom's jaw just dropped." Turns out, Tucker's cellphone number used to be registered to Musk. On any given day, she receives at least three calls or texts intended for Musk, whom she has never met. If the maverick billionaire provokes a scandal, as he is wont to do, her phone blows up with a torrent of messages. (Full disclosure: I reached out to Musk during one of those controversies, when he threatened to sue the California county that is home to Tesla's manufacturing plant over its coronavirus-related restrictions. Instead, I got Tucker.) When told of the traffic to his former number, Elon Musk, founder of SpaceX, said: "That number is so old! I'm surprised it's still out there somewhere." She has accidentally intercepted far more interesting calls than mine, however. One woman volunteered to go to space with SpaceX. Another person sent a blueprint for a bionic limb. "Which is, No. 1, really cool," Tucker said. "But I have no idea how it's built." A South African businessman asked about buying 1,000 trucks. The Internal Revenue Service called about a complicated tax issue. Thursday Freak-out Open Lines Call (972) 290-1329 or call thought Skype @BOSSCRAWLER Show Stuff Join the fan chat on Discord! Link: https://discord.gg/ZzJSrGP The Dark Horde Podcast: https://www.spreaker.com/show/the-dark-horde The Dark Horde, LLC – http://www.thedarkhorde.com Twitter @DarkHorde or https://twitter.com/HordeDark Support the podcast and shop @ http://shopthedarkhorde.com UBR Truth Seekers Facebook Group: https://www.facebook.com/groups/216706068856746 UFO Buster Radio: https://www.facebook.com/UFOBusterRadio YouTube Channel: https://www.youtube.com/channel/UCggl8-aPBDo7wXJQ43TiluA To contact Manny: manny@ufobusterradio.com, or on Twitter @ufobusterradio Call the show anytime at (972) 290-1329 and leave us a message with your point of view, UFO sighting, and ghostly experiences or join the discussion on www.ufobusterradio.com For Skype Users: bosscrawler
Join the after party on Discord! Link: https://discord.gg/ZzJSrGP Alien 'gun' on Mars: UFO hunter urges Elon Musk to retrieve it 'Imagine the leap forward' Link: https://www.express.co.uk/news/weird/1285403/alien-gun-technology-on-mars-elon-musk-aliens-ufo-conspiracy-theory ALIEN hunters believe they have spotted extraterrestrial technology on Mars - and have called on Elon Musk to retrieve it. UFO enthusiasts believe they have spotted an object on Mars which appears to be a gun. The object is among the dust and rubble on Mars, and has the characteristics of a classic black handgun. Prominent alien hunter Scott C Waring spotted the supposed gun, stating it is evidence of intelligent life on the Red Planet. Mr Waring has urged tech billionaire Elon Musk, who is South African by birth, to retrieve the object, as it would set America well ahead of its rivals. Writing on his blog ET Database, Mr Waring wrote: "Elon Musk loves a good challenge and he loves America and puts a lot of effort into technology to move America forward, so I wonder if Elon would be able to retrieve the alien hand gun on Mars? "I mean its small, about half a meter and would be possible to have such an item retrieved by a special SpaceX rover and brought back to earth. "I know Elon created the awesome flamethrower we all know and love, but this is the gun of his dreams. "Just imagine what kind of leap forward Elon Musk would take us if he managed to retrieve this hand gun from Mars. "He would probably learn a lot from the alien tech and maybe put some of that into his incredible inventions. "By retrieving the gun, Elon Musk would not take America years into the future, but millenniums." She Gets Calls And Texts Meant For Elon Musk. Some Are Pretty Weird Link: https://www.npr.org/2020/05/21/858155045/she-gets-calls-and-texts-meant-for-elon-musk-some-are-pretty-weird here are a lot of people trying to reach celebrity entrepreneur Elon Musk. Sometimes, though, they get Lyndsay Tucker, a 25-year-old skin care consultant. Tucker, who works at a Sephora beauty store in San Jose, Calif., had never heard of the Tesla and SpaceX founder and CEO until a couple years ago, when she began fielding a steady stream of calls and text messages intended for him. "I asked my mom, 'Hey, I keep getting these text messages' — and I was also now starting to get phone calls — 'for this guy Elon Musk. I don't know who this is,' " Tucker said. "And my mom's jaw just dropped." Turns out, Tucker's cellphone number used to be registered to Musk. On any given day, she receives at least three calls or texts intended for Musk, whom she has never met. If the maverick billionaire provokes a scandal, as he is wont to do, her phone blows up with a torrent of messages. (Full disclosure: I reached out to Musk during one of those controversies, when he threatened to sue the California county that is home to Tesla's manufacturing plant over its coronavirus-related restrictions. Instead, I got Tucker.) When told of the traffic to his former number, Elon Musk, founder of SpaceX, said: "That number is so old! I'm surprised it's still out there somewhere." She has accidentally intercepted far more interesting calls than mine, however. One woman volunteered to go to space with SpaceX. Another person sent a blueprint for a bionic limb. "Which is, No. 1, really cool," Tucker said. "But I have no idea how it's built." A South African businessman asked about buying 1,000 trucks. The Internal Revenue Service called about a complicated tax issue. Thursday Freak-out Open Lines Call (972) 290-1329 or call thought Skype @BOSSCRAWLER Show Stuff Join the fan chat on Discord! Link: https://discord.gg/ZzJSrGP The Dark Horde Podcast: https://www.spreaker.com/show/the-dark-horde The Dark Horde, LLC – http://www.thedarkhorde.com Twitter @DarkHorde or https://twitter.com/HordeDark Support the podcast and shop @ http://shopthedarkhorde.com UBR Truth Seekers Facebook Group: https://www.facebook.com/groups/216706068856746 UFO Buster Radio: https://www.facebook.com/UFOBusterRadio YouTube Channel: https://www.youtube.com/channel/UCggl8-aPBDo7wXJQ43TiluA To contact Manny: manny@ufobusterradio.com, or on Twitter @ufobusterradio Call the show anytime at (972) 290-1329 and leave us a message with your point of view, UFO sighting, and ghostly experiences or join the discussion on www.ufobusterradio.com For Skype Users: bosscrawler
'Imagine if we had a different youth mindfulness teacher on our livestream every week.'
Geek Girl in the News looks at the awesome or not so awesome news that will make you go either: "YAY" or "OMG I can't believe that." The latest and greatest geek girl news from March 2020 covers the world's obsession with Animal Crossing, films getting their released dates pushed back, Brie Larson being a true gem, Thor: Love and Thunder's new villain (you might be surprised!), and all these famous people being pretty awesome during this pandemic, especially Elton John and John Krasinski! Unless you've been hiding under a rock, you know that Nintendo released the latest Animal Crossing for the Switch. Are you O.B.S.E.S.S.E.D!? Because we are. Yes - WE - Amanda predicted she'd have Animal Crossing by the time this episode releases, and what do you know - she does! This is the perfect CUTE game to obsess over with your friends. So good for all this social distancing we need to do right now, right!? Some pop culture news that's a bit of a bummer, but so many movie release dates are getting pushed back. Like Wonder Woman, which was due to be released in June has been rescheduled for August! There's also talk about doing some big streaming releases instead of red carpet premiers - wouldn't that be wild!? We think doing streaming releases is an awesome way for the film to still make money while keeping to the launch schedule and giving people something amazing and fun to look forward to! Hopefully Black Widow, which is releasing in early May (as of recording) will do this!! So, really - is there any celeb out there cuter and more perf than Brie Larson? DIDN'T THINK SO. She's being vocal about the awesome women in her circle of support and encouraging other women to raise each other up. HEAR FREAKING HERE, Brie! Our new motto is officially "BE MORE BRIE". Ya dig? And lastly, we're talking about how all these famous people are being brilliant in this time of crisis. Because isn't that what they're there for? To provide the masses laughs and love and entertainment? THANK YOU so much to people like Elton John, who's orchestrating incredible living room concerts, all those artists on Insta hopping on for impromptu live concerts, and - get ready to sob - John Krasinski and his new "Some Good News" series which talks about, well, good news - ONLY! Never been more appreciative of the celebs than we are right now. Except Gal Gadot encouraging others to sing 'Imagine' by John Lennon. You can keep that to yourself, kthanks. (https://youtu.be/cLPmMHX6eEU?t=63) What’s your take on these news articles? In this episode of Geek Girl in the News, we covered these news stories: Animal Crossing: New Horizons – the video game where we can still be together (https://www.theguardian.com/games/2020/mar/20/animal-crossing-new-horizons-video-games-nintendo) ‘Wonder Woman 84’ Release Date Pushed 7 Months to 2020 (https://www.thewrap.com/wonder-woman-84-release-date-2020/) Gal Gadot on Twitter (https://twitter.com/GalGadot/status/1242525424384499713) ‘Captain Marvel’ Star Brie Larson Turns to an ‘Incredible Army of Brilliant Women’ for Support (https://www.cheatsheet.com/entertainment/captain-marvel-star-brie-larson-turns-to-an-incredible-army-of-brilliant-women-for-support.html/) Thor: Love and Thunder casts Christian Bale as main villain (https://www.gamesradar.com/thor-4-christian-bale-love-and-thunder/) Elton John’s 'Living Room Concert' - Full Celebrity Lineup Revealed! (http://www.justjared.com/2020/03/29/see-the-full-celebrity-lineup-for-elton-john-living-room-concert-tonight/) Watch These Livestreamed Concerts During Your Social Distancing (https://www.vulture.com/2020/04/all-musicians-streaming-live-concerts.html) - getting updated for APRIL! Some Good News with John Krasinski (https://www.youtube.com/channel/UCOe_y6KKvS3PdIfb9q9pGug) Follow John Krasinski on Twitter (https://twitter.com/johnkrasinski) Love Geek Herring, please hop over to Apple Podcasts (https://itunes.apple.com/gb/podcast/geek-herring/id1438271357?mt=2) and leave us a review! Support Geek Herring on Patreon (https://www.patreon.com/geekherring)! If you’ve enjoyed this episode, please check out some of our others! Geeking Out in Times of Crisis: Rise of the Geek (https://geekherring.com/geeking-out-geeks-crisis/) Geeking Out About Marvel’s Phase 4 (https://geekherring.com/geeking-out-marvel-phase-4/) Geeking Out About Captain Marvel: Higher, Further, Faster, Feminist (https://geekherring.com/geeking-out-captain-marvel/) If you want to start your own podcast, check out The Podcast Course by Thankful Cow Solutions (https://thankfulcow.com/podcast-course)! Love Geek Herring, please hop over to Apple Podcasts (https://itunes.apple.com/gb/podcast/geek-herring/id1438271357?mt=2) and leave us a review! Join us on Discord (https://geekherring.com/dsicord)!! You can find us Online (https://www.geekherring.com) / Facebook (https://www.facebook.com/geekherring) / Instagram (https://www.instagram.com/geekherring) / Twitter (https://www.twitter.com/geekherring) / Patreon (https://www.patreon.com/geekherring)! Geekily yours, Amanda & Monika
1993's Film "Demolition Man" had a lot to say about the then near and not so distant future. Having taken place in both 1996 and 2032 we currently sit at the midway point between these dates. This week we break down this action classic and see which tech, business, social, political and financial issues they figured right and wrong. Then OCOTW: Celebrity quarantine fail DHOTW: David Geffen's "Rising Sun" sets on Social Media.With No Due Respect S02E18 (Demolition Man vs Reality)SHOW NOTES:"Demolition Man"Autonomous Electric Cars of "Demolition Man""Cannoli" Airbag"Be Well" hand shake of the future...or present futureMorality Code - 1st Amendment - Credits"Magnetic Accelerator" Rifle - Particle Beam Gun - molded from the H&K G11 prototypeTaco BellClass Structure and DivideVideo ConferencingNo CGI neededGovernor Schwarzenegger of California#OCOTW#DHOTWDavid Geffen's yacht - "Rising Sun" $590 million dollar yacht - 82 rooms - 86,000 sq ft of living area. 36,000 sq ft of teak decks.
What better way to begin The Tartan Noir Show than with The Queen of Crime, Val McDermid? Theresa Talbot talks to Val about her new book, which is not about crime and death, but about hope! 'Imagine a Country' is a collection of essays by prominent Scots, edited by Val and geographer, Jo Sharp. But, not straying from crime fiction for too long, Val and Theresa discuss the Godfather of Tartan Noir - the influential William McIlvanney, and his Laidlaw trilogy. We also hear William’s son, author, Liam McIlvanney, in conversation with broadcaster, Janice Forsyth, after he’d won the 2018 McIlvanney Prize for Scottish Crime Book of the Year for The Quaker, at the Bloody Scotland International Crime Writing Festival.Join The Tartan Noir Show Club: www.patreon.com/ttnsTTNS Facebook page: https://www.facebook.com/TheTartanNoirShowVal McDermid: https://www.valmcdermid.com (Twitter: @valmcdermid)'Imagine a Country': https://www.waterstones.com/book/imagine-a-country/val-mcdermid/jo-sharp/9781838851699Liam McIlvanney: http://liammcilvanney.com (Twitter: @LiamMcIlvanney)Bloody Scotland International Crime Festival: https://bloodyscotland.comCanongate: https://canongate.co.ukFor more information about The Tartan Noir Show, visit: www.thebiglight.com See acast.com/privacy for privacy and opt-out information.
After over 100 episodes, scores of News Briefs, and almost three years of content production, Citations Needed has finally done it: reduced itself to a listicle. On this News Brief, we examine the top ten worst COVID-19 takes to date (not including the celebrity 'Imagine' video). Proceed with caution.
In this episode, the new Gallup poll taken between March 13-22 shows Trump earning an even stronger approval rating. It's interesting to see how different citizens are handling the coronavirus. Celebrities are singing 'Imagine' and average folks are struggling with school and job closures.
On today's episode, we discuss Quarantine Day 10..or whatever..the different parodies to the cringe-worthy 'Imagine' video by Gal Gadot and celebrities, Anna's professional hotdog bowling stint, and how COVID-19 is affecting us. Netflix Party Link: https://www.netflixparty.com If you are feeling hopeless don't hesitate to call the Lifeline. Crisis counselors are here for you any time day or night, every day of the year at 1-800-273-TALK (8255) BONUS CONTENT AND SPECIAL PERKS! Make sure to subscribe to the channel and look us up on iTunes, Spotify, Google Play, and Soundcloud!All Social Media links are located in the YouTube page banner.
03.24.20 My thoughts on growing my public hairs, the Netflix show Itaewon class, Dalgona coffee, the 'Imagine' cover by multiple celebs, a leaked blowjob video, lessening social media negativity and stupid spring breakers
Manchild talks about his wedding, a person in which he facilitated their arrest and of course COVID-19. Oh Duh! Award ISIS advises terrorists on coronavirus to avoid Europe for jihad | Fox News https://www.foxnews.com/world/isis-tells-its-terrorists-not-to-travel-to-europe Ohio single mom's 1991 cold case murder solved using DNA uploaded to public genealogy site | Fox News https://www.foxnews.com/us/ohio-single-mother-1991-cold-case-murder-solved-using-dna-genetic-genealogy COVID-19 French mayor defends Smurf rally after outcry over virus https://news.yahoo.com/french-mayor-defends-smurf-rally-outcry-over-virus-001955753.html Dr. Drew: Media-driven panic over coronavirus is a bigger problem than the virus | Fox News https://www.foxnews.com/media/dr-drew-media-panic-about-coronavirus-is-more-problematic-than-the-contagion Politics Byron York: Biden's 36-year Senate career is why he won't win the White House | Fox News https://www.foxnews.com/media/byron-york-why-biden-wont-win-white-house Chris Matthews resigns from 'Hardball,' apologies for past comments https://www.usatoday.com/story/entertainment/celebrities/2020/03/02/chris-matthews-resigns-hardball-msnbc-following-allegations/4907195002/ Florida! Florida man killed sleeping couple, enlisted stepdaughter, her boyfriend to bury bodies in swamp, sheriff says | Fox News https://www.foxnews.com/us/florida-man-killed-sleeping-couple-buried-bodies-swamp Millennials! Generation H(elpless)? Many Millennials Can't Change A Light Bulb By Themselves, Survey Finds https://www.studyfinds.org/generation-helpless-many-millennials-cant-change-a-light-bulb-by-themselves-survey-finds/ Culture Larry the Cable Guy blasts 'clueless' celebs for singing 'Imagine' as LA's homeless suffer amid coronavirus | Fox News https://www.foxnews.com/entertainment/larry-the-cable-guy-coronavirus-blasts-celebs-imagine-song-los-angeles-homeless Drones! US Navy robot submarine would be able to kill without human control | New Scientist https://www.newscientist.com/article/2236638-us-navy-robot-submarine-would-be-able-to-kill-without-human-control/ Go to www.bloodpumpmedia.com or our Facebook Page to see the rest of the show Notes.... --- Support this podcast: https://anchor.fm/mctog/support
Another solo ep. I talk about voluntary self-isolation in this podcast. About half an hour after recording, the government announced they were shutting down the country. I also talk about celebrities singing 'Imagine', working from home, and #KanyeWestIsOverParty. It's a weird time. Follow the podcast everywhere here: https://linktr.ee/deathbyinternet
'Imagine' the cringiest thing you've ever seen. These actors and actresses are happy to provide something even worse. This celebrity cover of Imagine is basically a cringe compilation for the ages. I can't express the level of cringe. Gal Gadot, Will Ferrel - what were you thinking?#cringecompilation #celebritycringehttps://slate.com/culture/2020/03/celebrities-singing-imagine-video-explained.htmlWebsite : www.radiobaloney.com Youtube : https://www.youtube.com/channel/UCzk18m2eP8NiT-rp_7Hu_PA/aboutBitchute : https://www.bitchute.com/channel/t3bYMIC3ygoL/Minds : https://www.minds.com/radio_baloney/?referrer=radio_baloney?referrer=radio_baloneyDaily Motion : https://www.dailymotion.com/dm_e6b6b940dce04dec7af03b7ecb11a53aD.Tube : https://d.tube/#!/c/radiobaloney01Spreaker podcast : https://www.spreaker.com/show/the-richie-baloney-showSpotify : spotify:show:7dzAquhzWqc06eHEXEyUyEApple podcasts : https://podcasts.apple.com/us/podcast/the-richie-baloney-show/id1479355356?uo=4Google Podcasts : https://www.google.com/podcasts?feed=aHR0cHM6Ly93d3cuc3ByZWFrZXIuY29tL3Nob3cvNDAzNjc4MS9lcGlzb2Rlcy9mZWVkPodcast addict : http://podplayer.net/?podId=2452790Castbox : https://castbox.fm/channel/id2360272PODCHASER : https://www.podchaser.com/podcasts/the-richie-baloney-show-995436
'IT'S ERIK NAGEL' Cold Open / Intro SEGMENT 01 [03:02] Still with the Coronavirus: Celebrities sing 'Imagine'. Celebrities really need to shut up. Supermarkets. Colleges & schools done for the year. How does this all end? Food hoarding. SEGMENT 02 [1:22:33] Final Box Office update? New releases moving to digital release. 'Cats' Butt Hole Edition controversy. The "Running Butthole" challenge. Streaming services updates. Marvel's 'New Warriors' SJW characters. Twitch user threatens to spread Coronavirus. BONUS TIME [2:02:19] HEAR 'IT'S ERIK NAGEL' ON: IHEARTRADIO | SPOTIFY | APPLE PODCASTS | GOOGLE PODCAST | STITCHER | PANDORA | YOUTUBE FOLLOW 'IT'S ERIK NAGEL': TWITTER | INSTAGRAM | FACEBOOK | WEBSITE
John y Yoko y Paul: Analizamos el documental de los Lennon en Netflix con la mención obligada de Paul McCartney durante las grabaciones de 'Imagine'. Más información: www.calicoskiesradio.com.ar
John y Yoko y Paul: Analizamos el documental de los Lennon en Netflix con la mención obligada de Paul McCartney durante las grabaciones de 'Imagine'. Más información: www.calicoskiesradio.com.ar
Could this really be the end of Marsh Haven as we know it? Two kids and their dog hope not and they'll do everything in their power to save the day. Warning - There are a couple of moments of graphic violence at 1:00.10 and 1:14.30 To connect with the gang and have an opportunity to help us build the world of Marsh Haven join us on Brits on Bikes Twitter, @Brits_Bikes or you can connect with (most) of our team on the handles below: Eve/Dee: @copperharpy Jimmy/Messages for Kat/Sally/everybody else: @jimmysprinkless For exclusive access to further information about the world and its goings-on, you can join us at Patreon where we will be offering lots of insight into the world and a chance for you to leave your mark on our world. https://www.patreon.com/BritsonBikes To chat to the cast and other listeners, come join us on our discord server https://discord.gg/ecs3Ba The show title is taken from 'Imagine a man' by The Who - The Who by Numbers (1975) Music from https://filmmusic.io "Myst on the Moor" "Fanfare for Space" "The Dread" "Eternal Hope" "Unnatural Situation" and "Clear Waters" by Kevin MacLeod (https://incompetech.com) License: CC BY (http://creativecommons.org/licenses/by/4.0/) SFX courtesy of Klankbeeld InspectorJ and the other amazing folks over at freesoundhttp://www.freesound.org/people/klankbeeld/ http://www.freesound.org/people/InspectorJ Be sure to check out the promo from our friends 'How it Ends' podcast. You can follow them @howitendesstudio on twitter.
NOCA's (Nosara Community for the Arts) initial program is starting October 14th. A 6-day program is hosting 26 students from the local Colegio Bocas de Nosara and Del Mar Academy to collaborate in making Nosara a sustainable community. The program is delivered in partnership with No. 9 of Toronto and will get the students to co-create a 3D model of what a future Nosara Sustainability Center means for this community. Rich Burnam from the Nosara Times speaks with NOCA founder Michel Viau to learn more about the vision and program details. Listen in to their full conversation here below. Michel has realized in his 8 years of coming to Nosara the significant divide between the local Costa Rican community and the expat community. With NOCA he is trying to bridge this gap to bring the community at large closer together. With a background as a designer, Michel structured the organization around three pillars: community engagement, creative thinking through multidisciplinary arts and the environment. The first initiative coming forward out of NOCA is a 6-day program in collaboration with 'No 9', a Toronto based charitable organization focused on eco-literacy programming for elementary, high school, and post-secondary students. In collaboration with NOCA and the local schools Colegio Bocas de Nosara and Del Mar Academy, No 9. will be running the 'Imagine my sustainable community' program here in Nosara. 'They (No 9. red.) have given the program to over 3000 students and it has been extremely successful. We thought that this could be an amazing opportunity to bring something like this to Nosara. Michel invites the community at large to come out and visit the final day of the program. On Saturday, October 19th the students have their presentations. Accompanied with a DJ and drinks he is turning this into a community-wide event hosted at the old Banana, next to il Basilico and across the street from Bodhi Tree that will run from 1-4 pm. To learn more about NOCA and the details of the program listen to the full conversation at the top of this post or check out the NOCA Facebook page and No. 9 website.
Behind the closed doors in Liverpool the Taoiseach and the UK PM brought Brexit talks from 'Help!' to 'Imagine', with observers wondering who the Revolver is. Let RTÉ's Europe Editor Tony Connelly, London Correspondent Seán Whelan and Deputy Foreign Editor take you down, because they're going to...
Uma piadinha que ainda circula pelas redes sociais diz: 'Imagine se durante o voo, o piloto do avião liga o alto-falante e envia uma mensagem para os passageiros: 'desculpem, galera, eu não nasci pra ser piloto'. Quem lembra de um pronunciamento do nosso presidente, feito em abril, vai entender a referência. Entretanto, a questão é: alguém nasceu para ser presidente? Ou alguém nasceu para ser qualquer coisa? Bolívar e Alê tentam chegar a uma conclusão. Edição: Felipe Ayres Arte da vitrine: Bolívar Escobar Links - Assine o feed do Não Obstante: feed.naoobstante.com/. - Seja patrão do AntiCast (que patrocina o Não Obstante): anticast.com.br/sejapatrao/. - Site Não Obstante: www.naoobstante.com/.
Today on 'Imagine if You Will...', Dan goes over two episodes from CBS all Access' Brand New Twilight Zone, "Six Degrees of Freedom" and "Not all Men". Cooper, our host's 12 year old son, gives his thoughts on "Not all Men" The thirteenth episode of season 2 of the Twilight Zone Original series, "Back There" is also touched on. Thank you for joining me in the Fifth Dimension for another podcast!
On this episode of 'Imagine if You Will...' Dan talks briefly about the twelfth episode from season 2 of The Twilight Zone Original series, "Dust". Starring Thomas Gomez and John Larch. Written by Rod Serling. For the second half of the podcast Dan talks to his son Cooper about The CBS All Access Twilight Zone episode, " A Traveler" Thank You for listening and hanging out with me in the Fifth Dimension for the past TWO YEARS!-Dan
Using John Lennon's famous song as a starting point, I take the opportunity to dive into a variety of aspects of that elusive thing we call 'truth'. Along the way, I reference the Brexit debacle, human nature, media manipulation and how to combat it and alternative views including 9/11 and the alternative media, before looking at the lyrics of the 1971 song and related documentaries. There are a few sound clips included among the talk. The show is available as a direct download mp3 file Enjoy! Feedback to antony@glassonionjlpod.com you tube version- https://www.youtube.com/watch?v=fvFQE8kv0OE Facebook page- www.facebook.com/glassonionjlpod Please like, follow, share etc... Episode links: https://www.youtube.com/watch?v=cHou3oDFP84 (Marlon Brando 1989 interview- starts at 1.53) https://www.youtube.com/watch?v=5HbYScltf1c (Louis CK on Conan) https://www.youtube.com/watch?v=tTBWfkE7BXU (Excerpt from 'Manufacturing Consent' with Noam Chomsky) https://www.youtube.com/watch?v=cqxnmKTmjkQ ('Orwell Rolls In His Grave' - media documentary) https://www.youtube.com/watch?v=vKKMX4V_BR0 ('A Noble Lie' - Oklahoma City Bombing documentary) https://www.youtube.com/watch?v=5zC2zIpG7w8 (David Ray Griffin- 'The Truth Behind 9/11') https://www.youtube.com/watch?v=6XBEH5oB0GE ('7/7 Seeds of Deconstruction' documentary) https://www.themindrenewed.com/ ('The Mind Renewed' - recommended website/podcast) https://www.youtube.com/watch?v=XV5z_btMbuQ ('Gimme Some Truth' documentary about the making of the 'Imagine' album)
On this episode of 'Imagine if You Will...' Dan takes a dive into the silly end of the pool while having fun talking about third episode of the Twilight Zone original series, " NERVOUS MAN IN A FOUR DOLLAR ROOM". This is more of a part 1 analysis of the episode, Next week I'm joined by an old college buddy to further discuss what a fantastic trip to the Fifth Dimension this is.
In today's episode I touch on John Lennon's beautiful song 'Imagine'. I talk about the emotional struggles of taking care of my niece for 1 day and explain in depth about my mental health and getting better. I hope you enjoy. I'd appreciate if anyone can comment any constructive criticism on how I produce my message in today's podcast. Thank you.
Cuando Chapman vació su revolver sobre John Lennon en la puerta del Dakota, no solo acabó con los sueños de uno de mejores compositores del planeta... aquellos disparos dieron la vuelta al mundo y se clavaron en cada uno de nuestros corazones. Ahora, 47 años después de que 'Imagine' saliera a la venta nos llega una tremenda re-edición que hoy explicamos en el programa.
Cuando Chapman vació su revolver sobre John Lennon en la puerta del Dakota, no solo acabó con los sueños de uno de mejores compositores del planeta... aquellos disparos dieron la vuelta al mundo y se clavaron en cada uno de nuestros corazones. Ahora, 47 años después de que 'Imagine' saliera a la venta nos llega una tremenda re-edición que hoy explicamos en el programa.
THE GAMES ARE HERE! It's time to get excited as the PyeongChang 2018 Winter Olympics have started and your favourite Olympics podcast is here to give you it's take on the opening ceremony! Just how bad were Channel 7 in covering the event? What was with all the outfits? Did the cauldron look like a giant space penis? How good was the traditional Korean song of 'Imagine' performed by out of tune buskers? Why was everything pre-recorded? Why did we have to add another Canadian to the episode to balance it out? Have we found our winter Ryan Lochte already? Why do Canadian skiers poo themselves? And can any of our fan messages actually get published on the AOC website? It's all here and more in our epic recap of the opening ceremony of the PyeongChang 2018 Winter Olympics!
'Imagine the things we'll do with a perfect perspective of who God is and who we are in him.' Minister Joy teaches the importance of lining our perspective up with God, which will then produce only good in our lives.
Iva Davies is one of Australia's most accomplished musicians and composers with a career spanning over 30 years with his band Icehouse, and as a composer for film and theatre. I produced this feature music show with him in 2014.The number one song on the Australian pop music charts in 1980 was The Buggles 'Video Killed The Radio Star', accompanied through the year by such gems as Michael Jackson 'Don't Stop Til You Get Enough', The Village People 'You Can't Stop The Music', Split Enz 'I Got You', The Vapours 'Turning Japanese' and Queen 'Crazy Little Thing Called Love'.In May 1980, Australian radio stations started playing a song by Sydney band, Flowers. 'Can't Help Myself' made it into the Australian Top 10 and was the first song from their debut album, 'Icehouse'. I think I was first in line at my local record store to by the single and was enormously envious of my older brothers who would regularly see Flowers playing at the local pub. IVA DAVIES: We came from quite a distinct stream of music which generated by the punk movement out of Britain, but then it morphed into a strange hybrid because of technology. There was an explosion of technology, especially synthesiser technology, at that period, so we were a kind of punk band with synthesisers which was a bit odd. But clearly, these other people were not, including Michael Jackson! There were all sorts of strange things going on, strange fashions; it was a very interesting time."The first song we put out was called 'Can't Help Myself' and we'd been playing all these classic punk venues for about three years before we put out that first record. I remember being told it had become a disco hit in Melbourne and I was semi-horrified. I was very pleased it was a hit, of course, but a disco hit - we weren't a disco band!By the time we got to 1980 we'd been playing quite a few of our own songs but still had lacings of the odd cover version of things not even particularly fashionable at the time, things like T-Rex songs, but by then we'd really turned into an original band and signed with a small independent label in Sydney called Regular Records and we'd recorded our first album, and although they constitute really the first 10 songs I ever wrote, they did have a certain flavour about them that I guess was, again, a hybrid of punk with synthesizers.CAROL DUNCAN: Iva, you mustn't have been very long out of the Conservatorium by this stage?IVA DAVIES: I dropped out of the (Sydney) Conservatorium when I was about 21, so I was about 23 or 24 by this point.CAROL DUNCAN: So how did you decide to steer your songwriting and music releases in that environment at that time?IVA DAVIES: It's a terrible admission to make considering that 'Can't Help Myself' made it into the Top 10, that I was probably fairly unaware of radio except for 2JJ. That's a terrible admission for somebody who's trying to break into getting airplay on radio!CAROL DUNCAN: Something like The Vapors 'Turning Japanese' would have been all over 2SM (in Sydney) at the time. 2SM would have been the number one commercial pop music station in the late 1970s.IVA DAVIES: Indeed, and I missed a great deal of that. I think we were pretty well buried in our own world and our own world had been dominated by what I'd listened to as I grew up, quite a lot of classics, psychedelic and heavy rock bands including Pink Floyd and so on. And then when Johnny Rotten (the Sex Pistols) arrived, the world was turned upside-down quite literally.He put all of those big bands out of business overnight and London was the place to be. I remember very clearly when Keith (Welsh) and I, our bass player and co-founder of Flowers, we'd been playing almost every night of the week, sometimes nine shows a week. There were clubs all over Sydney, there were clubs all over Melbourne, there were really great bands everywhere and on any given night down the road there'd be Midnight Oil and INXS and any number of bands.When we arrived in London for our very first international tour, we looked at each other and said, 'Let's get a copy of New Musical Express (NME) and go and see a band 'cause this is where it's all coming from!' And there was nothing on!I was absolutely gobsmacked that Sydney was a hundred times more active than London on a club scene. It absolutely mystified me. All the pubs shut early, there was nowhere to go!CAROL DUNCAN: Who did you admire at the time?IVA DAVIES: I didn't buy albums of anybody, I didn't consume music. I was very curious about music but most of what I listened to was via 2JJ. 2JJ was a very progressive station; I think it's been forgotten to some degree. 2JJ were playing things that had been bought on import - they hadn't even been released in Australia yet - and so it was fascinating.We were hearing things we thought before anybody else in the world had heard them, things like Elvis Costello, XTC, mainly British bands but the odd thing coming out of America. There was a real movement of punk and new wave.CAROL DUNCAN: So you and Keith have taken off to London, you're going to see all the bands, but there's no-one home?IVA DAVIES: There's no-one home! I remember thinking at the time, 'Well where did The Cure come from and where did The Clash and The Damned and The Jam come from? Where are they all'?I had imagined that London was heaving with little clubs with all those names playing in them every night but it was really something created through the tyranny of distance, I guess. We had amplified that whole thing that had started with Carnaby Street, The Beatles, and Rolling Stones; and in my mind, and I'm sure in the minds of many other Australians, this was the mecca that we were going to visit. But it turned out it was really as much a product of BBC1 and radio and record companies than it was of an active pub music scene which was exactly what we had in Australia.CAROL DUNCAN: So, what did you do, turn around and come home?IVA DAVIES: We went off touring. We went off touring with Simple Minds who were just starting to break through in Europe. They'd a quite successful album, and we did a reciprocal deal with them where we said, 'OK, if we are your support band in Europe, that will help us, and you come to Australia and be our support band there because nobody knows you. In fact, to this day, and I'm sure Jim Kerr from Simple Minds would take credit in saying that tour we did with them really broke Simple Minds in Australia - it was off the back of that tour that they started achieving success here. Of course, many many albums and many many successes later I still catch up with Jim Kerr quite frequently.CAROL DUNCAN: I remember seeing the two bands at the Manly Vale Hotel.IVA DAVIES: Very possible! That was one of many hotels in that northern beaches area, and I ended up living on the northern beaches by accident. It was quite tribal. There was a very big pub at Narrabeen called the Royal Antler and it was our first proper gig, I guess, and almost residency. At one point we and Midnight Oil were alternating weekends. We never met them, but there was this kind of unspoken rivalry for the same audience of mad, drunken surfies.CAROL DUNCAN: It was one of Sydney's great beer barns.IVA DAVIES: It was and they were mad, of course, mad drunken surfies and probably a few other substances, as well. But they were great nights. It was a big place; I think it held something like 1500 people. And you're right, we probably did attract slightly different audiences, and certainly we also had the other side of us which was playing the inner city hotels which, of course, were very driven by the punk movement, so we'd look out on a place like the Civic Hotel and there'd been a sea of black and safety pins.CAROL DUNCAN: Why did the name change come about? Was it as simple as swapping the band name and album title?IVA DAVIES: It was, but we actually had no choice. What we hadn't realised was that while we were happily going along as Flowers in Australia and New Zealand, as soon as we signed to an international record company and they said, 'We're going to release this around the rest of the world, we need to do a little check on the name. It hadn't even occurred to me that a band name is like a company trading name and, unfortunately, there were at least three other acts around the world trading on the name 'Flowers'. One of them being the very, very famous session bass player, Herbie Flowers, who you probably know best for being the creator of that wonderful bass line that introduces Lou Reed's 'Walk On The Wild Side'.So there were objections and we simply had no choice, we had to come up with another name. This has happened to a number of Australian bands. It happened to Sherbet who became Highway, and The Angels who became Angel City. Our logic was fairly simple - people here in Australia and New Zealand only know us by two things, that is the name of the band 'Flowers' or the name of the album 'Icehouse'. So, we became Icehouse.A band name becomes its identity in a far bigger way that just a set of letters. I've had this discussion with my 17-year old son who has got a collection of friends in a band and they haven't been able to think of anything. I keep asking what the band is called and they're called something different every day. I said 'you better get it right because it will end up owning you'.CAROL DUNCAN: Your son has actually played with you?IVA DAVIES: Yes, oh you know about this! I had a fairly mad idea last year, although the idea had been around since 1983. I remember we were touring in Europe and we had a number one song in Europe so there was a lot of pressure on me. I was doing millions of interviews and we were playing very big festivals of 30,000 people.We were playing on one and I was standing on the side of the stage next to my band and Peter Tosh's band was playing - Peter Tosh was the co-founder of Bob Marley's Wailers - and it was a big band, 9 or 10 people on stage, backing singers and whatnot, and I said to my bass player, "See the guy at the back going chukka, chukka, chukka on the guitar, the laziest job in the world? I want his job. I had a conversation last year with somebody about this moment and they said, 'Why don't you do it?'Our manager thought I was mad, a number of promoters thought I was mad, too, but what we did was completely re-invent Icehouse as an eight-piece reggae band. We added some extra guys from Melbourne to give us a brass section and we re-arranged every one of the hits that we'd been playing in the classic repertoire as reggae songs.We put two shows on - one in Melbourne, one in Sydney - as a kind of Christmas party because my feeling was that the reason we were doing it is because reggae makes you want to dance and smile and laugh, and we had the best possible time, it was just fantastic. We've just released the recording of the Sydney show and re-named the band DubHOUSE - the album is DubHOUSE Live.I wanted to get my children to come. My daughter is OK because she's 20 but my son was under age, under the drinking age, and the only way I could get him in was to put him in the band. So I said to him, 'Look Evan ...' he's17 and a very good guitarist, 'I'm sorry, you're not going to get a rehearsal, you're not going to get a sound check. Here's a recording of a rehearsal of Street Cafe done in this style, you've got the guitar solo, go home and learn it and I'll see you on stage."And so the poor guy was thrown on stage with absolutely no preparation whatsoever, but fortunately, he had done his homework and had a great night.CAROL DUNCAN: How do the kids see your career, Iva?IVA DAVIES: Well the strange truth is that they didn't. I finished the last tour that we did back in the day, as it were, when my daughter was six weeks old. Effectively, we didn't play again and my children grew up.In 2009, our long-time tour manager, Larry, who works for a very big audio production company - he'd been working for with us since 1984 - came up with the idea for Sound Relief (concerts held in Sydney & Melbourne for 2009 bushfire relief) and actually volunteered us, so we were the first band on the bill for Sound Relief.By that time in 2009, my daughter would have been 14 or 13, and my son 12 or 13, and that was the first concert they ever saw me play. So they'd grown up all those years not knowing anything about it, or relatively little.CAROL DUNCAN: Did they think Icehouse was cool or were you 'just Dad' and therefore couldn't possibly be cool?IVA DAVIES: Strangely enough, I seem to have breached the cool barrier into the cool area. A very strange thing happened, before that Sound Relief show and before my daughter really got to appreciate my association with it. She came home from school one afternoon, waltzed in the door and announced, 'I LOVE THE EIGHTIES! I love EVERYTHING about the eighties!'Strangely enough, the eighties are going through a whole new generation of cool at the moment. Except for the hair, and a lot of the clothes.CAROL DUNCAN: When you look at that part of your career, the pop/rock part of your career, what do you see, Iva?IVA DAVIES: I'm proud that we worked very hard, I believe, to maintain a kind of class and a quality. That went through everything, even the recordings themselves. I went through the graduation from vinyl to CD, which was a massive turnaround, and it happened incredibly quickly.I remember having a talk to a record company about it and they said, 'Last year we manufactured 80% out of vinyl and 20% out of CD, this year we're manufacturing 80% out of CD and 20% out of vinyl, and the following year we're not making any vinyl at all. That's how fast it turned around. But 'Measure for Measure', our fourth album is one of the first three fully digital recordings ever made in the world, which was a real milestone, so it's the first completely noiseless recording that was made for the new format of CD. It's moments like that that I reflect on and think, well, that's because we really put a lot of care and attention into these things.CAROL DUNCAN: Iva, you're also seen as one of the pioneers in Australia of bringing in synthesizers, computers, the Fairlight and so on. You mentioned an interesting word there, 'noiseless', and that's perhaps where the feud happens between the vinyl purists and people who are very happy to purchase their music in a digital form whether on CD or via digital download. How do you see the vinyl vs CD war when it comes to audio quality?IVA DAVIES: I noted with some amusement touched with horror a program that Linda Mottram did on 702 in Sydney where there was this discussion about vinyl, and she spoke with a so-called expert who was out of a university, and with due respect to that professor I desperately wanted to call in and say, "Can I just tell you about what actually happens when you're making pieces of vinyl and why they sound the way they do, and how it is absolutely possible to make CDs sound exactly like vinyl IF that were the endgame that you wanted to have in mind.I won't go into it now but the fact of the matter is it's all about a process called mastering. The way that tapes, mixes, were mastered for vinyl had to be very particular because of the intolerance of vinyl - vinyl can't carry very much big bass. I found that out with the Flowers album when I insisted to the co-producer that we put lots of bottom end into it and then realised a bit later on when the mastering engineer said to me, "I can't cut this to vinyl, it's got too much bass in it." They're the sorts of mistakes that you make when you're young.I'm a firm believer in anything that doesn't have moving parts and that is digital. I'm afraid I've moved on from anything old-school quite happily.CAROL DUNCAN: Did you call in?IVA DAVIES: No, I didn't, I just thought it's probably too difficult a conversation to have in detail over the radio but it does infuriate me because I'm sure if you got any mastering engineer on to the radio they'd say to you it's mainly because people don't understand how these things are made.CAROL DUNCAN: What gave you the confidence to leap into these new technologies?IVA DAVIES: Perhaps it was more out of ignorance than anything, I certainly didn't see any risk involved, but the main driver for me was that these were new toys. Every time something new was invented, my eyes would light up and I'd think, 'Imagine the possibilities!'I remember expressly that conversation I had with our management where, out of sheer co-incidence they'd moved offices from where they were in Bondi Junction to the top storey of a two-storey building in Rushcutters Bay and the ground storey was where they made Fairlights, believe it or not. Management were oblivious to this, they had no idea what was going on down there. But I did and I came to the managers one day and said, 'I desperately want to get one of these machines, they are amazing.'Of course, I was proven correct because they revolutionised music forever. I think apart from the technology of recording, the sampler - which is what a Fairlight was - was the single most influential piece of technology ever created. I said this to my management, that I was desperate, that I'd really like one, but the catch was they were $32,000. That was in 1981 or 1982 so you can imagine how much money that was then - it was half a small house.But I got one, and interestingly enough my management were quite philosophical about it. They said, 'Well, it's a lot of money, but according to our calculations you'll pay for this with the first two projects you use it on.' And they were right. The first project I used it on was my very first film score for Russell Mulcahy's 'Razorback', which is about 95% Fairlight.The great irony of that was that I kept producing bits of music, because Russell Mulcahy was out in the desert filming scenes and he kept dragging up Peter Gabriel's fourth album, the one with Shock The Monkey on it, and they were out in the desert with this blasting away on a ghetto blaster and I got it into my head that this was what Russell likes. So I kept producing Gabriel-esque soundscapes and so on, and the producers of the movie kept coming back to me and saying, 'No, no no - that's not what we want, we don't want this.' In the end I was getting various clues from them but didn't really know, but I had another go along the lines of Stravinsky's 'Rite of Spring' - a fairly mad piece of classical music. I constructed all this with the Fairlight, it was a quasi-orchestral thing. I took it back to them and they said, 'Yes! That's exactly it!' and I said, 'Well, if you wanted that sort of thing why didn't you go and get a classical composer.'In its day, 'Rite of Spring' was a controversial piece of music, and Iva Davies shares a birthday with Stravinsky.Considering that it was 1913 when that piece first hit the stage for Diaghilev's ballet company. It wasn't just the music; it was actually the subject matter of the ballet that I think was fairly upsetting to a lot of people. It's all about primal sexualism, basically, so you can imagine that to an audience of 1913 that sort of idea was fairly horrifying.CAROL DUNCAN: In 1984, you've got Razorback, also 'Sidewalk' - the third album from Icehouse, at this point did you consider that you didn't actually have to be a pop star?IVA DAVIES: No, I had a very strange life prior to that because I had a completely Jekyll and Hyde existence. I took up the guitar when I was 13, and taught myself, and it was probably also the year that I started taking oboe lessons. I had these two parallel lives and completely separate lives. I had a set of classical people - when I was in high school I played in a wind quintet and we used to rehearse every Saturday morning. We all had our first cars at that point. They were my friends and we went off and won the City of Sydney Eisteddfod and so on. They never, ever met the guys that I was in the acoustic band with. Ever! Because I just had these two lives. So my course was fairly accidental all the way through, it was probably always going to be accidental.To this day, I keep remembering things that I did. I remembered that I was in the orchestra that was primarily made up of members of the Sydney Symphony and the senior Conservatorium orchestra, of which I was a member, for the staging of the two first Australian ballets in the Opera House. I would have been about 19 and, of course, that's a fairly big moment for the Opera House to have a night featuring Australian opera in that building, and I'd completely forgotten about it. There are things from both lives that I've forgotten about.CAROL DUNCAN: 1985, your double life really starts to change as you start working with the Sydney Dance Company.IVA DAVIES: I have to give credit to our managers to some degree who recognised - Ray Hearn was managing us from the beginning. I think he considered himself to be a very erudite individual, he was very widely read, he'd seen every movie possible, and he had a huge record collection. He wasn't a musician but I think he spotted in me the potential that if I kept on that very two-dimension wheel of 'write an album, record an album, tour an album, write an album, record an album, tour an album ...', that I would burn out, that I needed something else to do. So it was he who went and pursued the soundtrack idea with Russell Mulcahy, and it was he who introduced me to the Sydney Dance Company who were a very dangerous company at that point. People forget that they did ballets entirely naked and this was quite revolutionary stuff in its day. They had a very young, hip audience. So it was a very smart move. But it was also a move that was good for the dance company. I had also forgotten until reminded about a month ago that in the Opera House's entire history this has never been repeated, but they did a very dangerous thing. They put two shows on a Friday and a Saturday night, one at a conventional hour and then a whole other audience would turn up at 10.30 at night and we'd do it all again. The staff at the Opera House thought this was going to be an absolute disaster, 'Nobody's going to go to the Opera House at 10.30pm to see a show', but they did and they were all my audience and they were coming to see what all the fuss was about. It was the most successful season the dance company has ever had.CAROL DUNCAN: Were you worried about your pop/rock audience coming over to see what you were doing and being disappointed?IVA DAVIES: I've always utterly failed to understand what the problem is between the various tribes of music. I started of as a bagpipe player when I was six, and although I went through that very, very particular stream of classical musicians, and they are, and they are a very exclusive lot - a lot of them, and they are a very intolerant lot - a lot of them, I think things have improved. But at that time they very much looked down their nose at 'popular music' and rock and roll, but by the same token it was equally prejudiced the other way around. I've never understood why. I don't get that you have to be one or the other but not all of them. In my head, there was absolutely no problem with my audience turning up to the ballet.CAROL DUNCAN: What gave you the confidence to follow both streams?IVA DAVIES: Only because I can kind of speak both languages. I had a discussion with somebody the other night about music and it is another language. It's certainly a language when you read and write it and I learned how to do that. But my dialogue with rock and roll musicians has to be completely different because most of the people I played with all these years don't read and write music. But rock and roll musicians communicate in a different kind of way. So because I'm comfortable in both of those languages, I can happily flick between the two of them, at whim almost.CAROL DUNCAN: Which is why I don't' let my kids drop out of their violin lessons - I want them to have that other language.IVA DAVIES: From my point of view, by miles, the single biggest advantage I've had in my work and succeeding in the broad framework of popular music is the fact that I was highly trained. That is the most sure, certain way to cut every corner you can - to actually know what you're doing.CAROL DUNCAN: December 31, 1999, and Icehouse is performing at the Millennium New Years Eve concert outside the Sydney Opera House and there is a moment on your face where it's just occurred to you how very special that moment is.IVA DAVIES: The penny really didn't drop, I mean, there was such a lot of pressure involved in that. The transmission, the TV director, Greg Beness, had synchronised a whole lot of footage to be running in parallel with shooting the performance. We had backups of backups because, of course, everybody thought that every computer in the world was going to blow up at midnight being the Y2K bug and so on. It was going out to about four billion people. It's not as if you can get to the end of it and go, 'Oh, we mucked that up, can we have another go?', 'Oh, they've already counted down; we're in a new millennium'. So I was incredibly aware of all of that and actually I've watched back some of the footage and it takes me a fair old while to settle down, it's (The Ghost Of Time) a 25-minute piece and it took me a number of minutes before I was, 'OK, we're up and running, everything seems to be working, everybody knows where they are, I can hear everything ....'I got to the end of it and stepped off the stage, Frank Sartor the Lord Mayor of Sydney gave me a glass of champagne, Richard Wilkins counted down from 10 and the fireworks went off directly over my head and I went, 'Wow!'CAROL DUNCAN: From this point, your other career really takes off and you head off to work on Master and Commander.IVA DAVIES: Yes, I've said to other young bands over the years, 'Just be aware - you never know who will be listening,' and so it was with thus that one person who was listening to The Ghost of Time on the millennium eve as it was going out, one of those four billion people, was one Peter Weir - an iconic Australian film director.This is how bizarre the next few years ended up being for me in terms of things just popping out of seemingly nowhere. I was sitting in my studio one day up on the northern beaches and the phone rang. A voice said, "Iva, this is Peter Weir. I'm filming Master and Commander on location in Baja, Mexico. I've fallen in love with The Ghost of Time. I want you to reassemble your team and give me a score like that."The whole experience was incredible, to go to Hollywood. I remember I had a colleague of mine, my music editor, had worked quite a bit in Hollywood on 'Moulin Rouge' and other things. He took me to the Fox lot and was very well recognised, but the thing that became immediately apparent was how incredibly well-respected Peter Weir is in Hollywood. Even though you don't necessarily associate him with massive blockbuster success time and time again, he's respected by directors and quality people in Hollywood and that's the difference.CAROL DUNCAN: Is it difficult to do this sort of work, to create something to someone else's demands?IVA DAVIES: I was very fortunate because Peter Weir has immense respect for music. He said to me not once, but twice, 'Music is the fountainhead of the arts,' that's how important it is to him. But having said that, he uses it very sparingly and in a very subtle way. So I had the great luxury to have three months to work on what equated to, in the end, not much more than 35 minutes worth of music. If you go and see a movie like 'Lord of the Rings', the composers had to write music from end to end of the film, so we're talking two and a half hours of music. Three months to produce that amount of music meant that it could be done with care but at a fairly unstressed pace, as it were. And that was fantastic. I have no doubt that Peter Weir quite deliberately planned the whole thing that way, so that it would be NOT a stressful operation. He's a consummate film-maker and he knows exactly what he's doing, so he schedules and plans things very well.Having said that, I always knew that the brief of a score writer is to write what the director wants to hear, not what the score writer wants to hear, so that was very apparent and so be it. Very often these films are the vision of a director and music is just one component of that. It should feed into their vision.CAROL DUNCAN: What are the professional moments that you hold dearest to your heart?IVA DAVIES: In terms of recording, I had a quite surreal moment. I was very influenced by one Brian Eno who was an absolute pioneer of synthesizers and electronic music, and in fact probably invented the term 'ambient music'. Of course, he was a founding member of Roxy Music but went on later to become incredibly successful in his own right and especially as a producer, he produced almost all of the U2 albums - massive albums. But I'd been following him since he was an early member of Roxy Music and especially been guided by his approach to synthesizers, which was very esoteric and completely at odds with a lot of the nasty noises that were being produced in the 1980s, for example. And I thank him for that because it probably stopped me from making a lot of bad sonic mistakes.The producer I was using at the time was a friend of his and I found myself having a conversation with the producer about the song we were working on at the time - a song called Cross the Border - I had in mind Brian Eno's backing vocal style. I knew that the producer, Rhett Davies, had worked with Brian Eno. I turned up to Air Studios, another very famous studio in London, to do the vocal session and in came Brian Eno. So there was a moment where I was standing in the studio, standing next to Brian Eno who was singing my lyrics and my backing vocal line. That was a real moment for me because he was a real hero of mine.CAROL DUNCAN: At what point did you realise that you had been successful enough to truly pursue anything that you wanted to do?IVA DAVIES: I spent most of my career not quite believing that things would work. In fact, I remember very clearly - we'd been working for years and years, working around these pubs, the first album came out, and I remember the first royalty cheque turned up. The accountant for the management company asked me into the office and said, 'Well, here's the cheque for the Flowers album for you,' and I looked at it and I'd been broke for years. My parents had to keep paying the odd rent payment for me and so on. We weren't earning any money at all, the album had only just come out, and I saw this cheque and it was for $15,000.I looked at Gino, who I had lunch with today - same accountant, and I said, 'Gino. This is amazing. This is incredible. I know I'm just going to fritter this away. I know I'll never get any more money out of this business. What's the deposit on the cheapest, cheapest, cheapest house in Sydney? Well, I bought the cheapest house in Sydney with that deposit, but of course, it wasn't the last cent that I made out of the music business.But for many years, for a long time, I really didn't consider that it was going to last, that I was going to make any money out of it. It's that classic thing where, luckily my parents didn't call me on the phone and say, 'When are you going to get a proper job?' they were very supportive. I think I was the one secretly calling myself and saying, 'When are you going to get a proper job?'CAROL DUNCAN: What are you still learning?IVA DAVIES: I'm still learning technology because unfortunately, it won't sit still! The industry standard for recording is a system called Pro-Tools, you very possibly use it in the studio there and it's certainly in every recording studio in the world. I've been working with Pro-Tools for a very long time but, of course, like any other software, there's a new release of it every five minutes. So I'm actually getting to the stage when I really am going to have to run to catch up! So unfortunately at my age, I'm still having to learn technology because it's the basic tool of my trade and that's never going to stop.CAROL DUNCAN: Are you still as excited by it as you were in the mid-1970s when you and Keith Welsh started 'Flowers' and when you went and harassed your management to allow you to buy that first Fairlight for $32,000?IVA DAVIES: I think I take it a bit more for granted these days because things have exploded in the way that they have. You can imagine the climate in which a piece of technology like the Fairlight came out; it was just mind-numbing. It was unlike anything anybody could ever imagine, whereas I suppose every time there's a new release of Pro-Tools, it's got a couple of lovely new features but it is a development of something which has been around for much more than a decade now.However, having said that, there seems to be a whole new generation of software writers who are incredibly interested in music and incredibly interested in playing with sound, and these are the people who are coming up with all the new noise generating bits - soft synthesisers and all that sort of stuff. That's kind of where the interesting new area is.CAROL DUNCAN: And Keith Welsh has been on this whole journey with you?IVA DAVIES: Indeed. In the music industry the whole time. He and I have been working closely over the past three years and we've started playing again and we re-released the entire catalogue. We put out a compilation called 'White Heat' which is about to go platinum.CAROL DUNCAN: What would you want the young Iva Davies to know?IVA DAVIES: That's a good question! I think I probably did seize most opportunities that came my way so I wouldn't necessarily say, 'just go as fast as you can with every opportunity that you can', I probably would have said, 'Put more attention to the money and where the money is going and who's getting it!' As a forensic accountant, I'm a kind of 'overview guy' as opposed to a 'detail guy'.
Iva Davies is one of Australia's most accomplished musicians and composers with a career spanning over 30 years with his band Icehouse, and as a composer for film and theatre. I produced this feature music show with him in 2014.The number one song on the Australian pop music charts in 1980 was The Buggles 'Video Killed The Radio Star', accompanied through the year by such gems as Michael Jackson 'Don't Stop Til You Get Enough', The Village People 'You Can't Stop The Music', Split Enz 'I Got You', The Vapours 'Turning Japanese' and Queen 'Crazy Little Thing Called Love'.In May 1980, Australian radio stations started playing a song by Sydney band, Flowers. 'Can't Help Myself' made it into the Australian Top 10 and was the first song from their debut album, 'Icehouse'. I think I was first in line at my local record store to by the single and was enormously envious of my older brothers who would regularly see Flowers playing at the local pub. IVA DAVIES: We came from quite a distinct stream of music which generated by the punk movement out of Britain, but then it morphed into a strange hybrid because of technology. There was an explosion of technology, especially synthesiser technology, at that period, so we were a kind of punk band with synthesisers which was a bit odd. But clearly, these other people were not, including Michael Jackson! There were all sorts of strange things going on, strange fashions; it was a very interesting time."The first song we put out was called 'Can't Help Myself' and we'd been playing all these classic punk venues for about three years before we put out that first record. I remember being told it had become a disco hit in Melbourne and I was semi-horrified. I was very pleased it was a hit, of course, but a disco hit - we weren't a disco band!By the time we got to 1980 we'd been playing quite a few of our own songs but still had lacings of the odd cover version of things not even particularly fashionable at the time, things like T-Rex songs, but by then we'd really turned into an original band and signed with a small independent label in Sydney called Regular Records and we'd recorded our first album, and although they constitute really the first 10 songs I ever wrote, they did have a certain flavour about them that I guess was, again, a hybrid of punk with synthesizers.CAROL DUNCAN: Iva, you mustn't have been very long out of the Conservatorium by this stage?IVA DAVIES: I dropped out of the (Sydney) Conservatorium when I was about 21, so I was about 23 or 24 by this point.CAROL DUNCAN: So how did you decide to steer your songwriting and music releases in that environment at that time?IVA DAVIES: It's a terrible admission to make considering that 'Can't Help Myself' made it into the Top 10, that I was probably fairly unaware of radio except for 2JJ. That's a terrible admission for somebody who's trying to break into getting airplay on radio!CAROL DUNCAN: Something like The Vapors 'Turning Japanese' would have been all over 2SM (in Sydney) at the time. 2SM would have been the number one commercial pop music station in the late 1970s.IVA DAVIES: Indeed, and I missed a great deal of that. I think we were pretty well buried in our own world and our own world had been dominated by what I'd listened to as I grew up, quite a lot of classics, psychedelic and heavy rock bands including Pink Floyd and so on. And then when Johnny Rotten (the Sex Pistols) arrived, the world was turned upside-down quite literally.He put all of those big bands out of business overnight and London was the place to be. I remember very clearly when Keith (Welsh) and I, our bass player and co-founder of Flowers, we'd been playing almost every night of the week, sometimes nine shows a week. There were clubs all over Sydney, there were clubs all over Melbourne, there were really great bands everywhere and on any given night down the road there'd be Midnight Oil and INXS and any number of bands.When we arrived in London for our very first international tour, we looked at each other and said, 'Let's get a copy of New Musical Express (NME) and go and see a band 'cause this is where it's all coming from!' And there was nothing on!I was absolutely gobsmacked that Sydney was a hundred times more active than London on a club scene. It absolutely mystified me. All the pubs shut early, there was nowhere to go!CAROL DUNCAN: Who did you admire at the time?IVA DAVIES: I didn't buy albums of anybody, I didn't consume music. I was very curious about music but most of what I listened to was via 2JJ. 2JJ was a very progressive station; I think it's been forgotten to some degree. 2JJ were playing things that had been bought on import - they hadn't even been released in Australia yet - and so it was fascinating.We were hearing things we thought before anybody else in the world had heard them, things like Elvis Costello, XTC, mainly British bands but the odd thing coming out of America. There was a real movement of punk and new wave.CAROL DUNCAN: So you and Keith have taken off to London, you're going to see all the bands, but there's no-one home?IVA DAVIES: There's no-one home! I remember thinking at the time, 'Well where did The Cure come from and where did The Clash and The Damned and The Jam come from? Where are they all'?I had imagined that London was heaving with little clubs with all those names playing in them every night but it was really something created through the tyranny of distance, I guess. We had amplified that whole thing that had started with Carnaby Street, The Beatles, and Rolling Stones; and in my mind, and I'm sure in the minds of many other Australians, this was the mecca that we were going to visit. But it turned out it was really as much a product of BBC1 and radio and record companies than it was of an active pub music scene which was exactly what we had in Australia.CAROL DUNCAN: So, what did you do, turn around and come home?IVA DAVIES: We went off touring. We went off touring with Simple Minds who were just starting to break through in Europe. They'd a quite successful album, and we did a reciprocal deal with them where we said, 'OK, if we are your support band in Europe, that will help us, and you come to Australia and be our support band there because nobody knows you. In fact, to this day, and I'm sure Jim Kerr from Simple Minds would take credit in saying that tour we did with them really broke Simple Minds in Australia - it was off the back of that tour that they started achieving success here. Of course, many many albums and many many successes later I still catch up with Jim Kerr quite frequently.CAROL DUNCAN: I remember seeing the two bands at the Manly Vale Hotel.IVA DAVIES: Very possible! That was one of many hotels in that northern beaches area, and I ended up living on the northern beaches by accident. It was quite tribal. There was a very big pub at Narrabeen called the Royal Antler and it was our first proper gig, I guess, and almost residency. At one point we and Midnight Oil were alternating weekends. We never met them, but there was this kind of unspoken rivalry for the same audience of mad, drunken surfies.CAROL DUNCAN: It was one of Sydney's great beer barns.IVA DAVIES: It was and they were mad, of course, mad drunken surfies and probably a few other substances, as well. But they were great nights. It was a big place; I think it held something like 1500 people. And you're right, we probably did attract slightly different audiences, and certainly we also had the other side of us which was playing the inner city hotels which, of course, were very driven by the punk movement, so we'd look out on a place like the Civic Hotel and there'd been a sea of black and safety pins.CAROL DUNCAN: Why did the name change come about? Was it as simple as swapping the band name and album title?IVA DAVIES: It was, but we actually had no choice. What we hadn't realised was that while we were happily going along as Flowers in Australia and New Zealand, as soon as we signed to an international record company and they said, 'We're going to release this around the rest of the world, we need to do a little check on the name. It hadn't even occurred to me that a band name is like a company trading name and, unfortunately, there were at least three other acts around the world trading on the name 'Flowers'. One of them being the very, very famous session bass player, Herbie Flowers, who you probably know best for being the creator of that wonderful bass line that introduces Lou Reed's 'Walk On The Wild Side'.So there were objections and we simply had no choice, we had to come up with another name. This has happened to a number of Australian bands. It happened to Sherbet who became Highway, and The Angels who became Angel City. Our logic was fairly simple - people here in Australia and New Zealand only know us by two things, that is the name of the band 'Flowers' or the name of the album 'Icehouse'. So, we became Icehouse.A band name becomes its identity in a far bigger way that just a set of letters. I've had this discussion with my 17-year old son who has got a collection of friends in a band and they haven't been able to think of anything. I keep asking what the band is called and they're called something different every day. I said 'you better get it right because it will end up owning you'.CAROL DUNCAN: Your son has actually played with you?IVA DAVIES: Yes, oh you know about this! I had a fairly mad idea last year, although the idea had been around since 1983. I remember we were touring in Europe and we had a number one song in Europe so there was a lot of pressure on me. I was doing millions of interviews and we were playing very big festivals of 30,000 people.We were playing on one and I was standing on the side of the stage next to my band and Peter Tosh's band was playing - Peter Tosh was the co-founder of Bob Marley's Wailers - and it was a big band, 9 or 10 people on stage, backing singers and whatnot, and I said to my bass player, "See the guy at the back going chukka, chukka, chukka on the guitar, the laziest job in the world? I want his job. I had a conversation last year with somebody about this moment and they said, 'Why don't you do it?'Our manager thought I was mad, a number of promoters thought I was mad, too, but what we did was completely re-invent Icehouse as an eight-piece reggae band. We added some extra guys from Melbourne to give us a brass section and we re-arranged every one of the hits that we'd been playing in the classic repertoire as reggae songs.We put two shows on - one in Melbourne, one in Sydney - as a kind of Christmas party because my feeling was that the reason we were doing it is because reggae makes you want to dance and smile and laugh, and we had the best possible time, it was just fantastic. We've just released the recording of the Sydney show and re-named the band DubHOUSE - the album is DubHOUSE Live.I wanted to get my children to come. My daughter is OK because she's 20 but my son was under age, under the drinking age, and the only way I could get him in was to put him in the band. So I said to him, 'Look Evan ...' he's17 and a very good guitarist, 'I'm sorry, you're not going to get a rehearsal, you're not going to get a sound check. Here's a recording of a rehearsal of Street Cafe done in this style, you've got the guitar solo, go home and learn it and I'll see you on stage."And so the poor guy was thrown on stage with absolutely no preparation whatsoever, but fortunately, he had done his homework and had a great night.CAROL DUNCAN: How do the kids see your career, Iva?IVA DAVIES: Well the strange truth is that they didn't. I finished the last tour that we did back in the day, as it were, when my daughter was six weeks old. Effectively, we didn't play again and my children grew up.In 2009, our long-time tour manager, Larry, who works for a very big audio production company - he'd been working for with us since 1984 - came up with the idea for Sound Relief (concerts held in Sydney & Melbourne for 2009 bushfire relief) and actually volunteered us, so we were the first band on the bill for Sound Relief.By that time in 2009, my daughter would have been 14 or 13, and my son 12 or 13, and that was the first concert they ever saw me play. So they'd grown up all those years not knowing anything about it, or relatively little.CAROL DUNCAN: Did they think Icehouse was cool or were you 'just Dad' and therefore couldn't possibly be cool?IVA DAVIES: Strangely enough, I seem to have breached the cool barrier into the cool area. A very strange thing happened, before that Sound Relief show and before my daughter really got to appreciate my association with it. She came home from school one afternoon, waltzed in the door and announced, 'I LOVE THE EIGHTIES! I love EVERYTHING about the eighties!'Strangely enough, the eighties are going through a whole new generation of cool at the moment. Except for the hair, and a lot of the clothes.CAROL DUNCAN: When you look at that part of your career, the pop/rock part of your career, what do you see, Iva?IVA DAVIES: I'm proud that we worked very hard, I believe, to maintain a kind of class and a quality. That went through everything, even the recordings themselves. I went through the graduation from vinyl to CD, which was a massive turnaround, and it happened incredibly quickly.I remember having a talk to a record company about it and they said, 'Last year we manufactured 80% out of vinyl and 20% out of CD, this year we're manufacturing 80% out of CD and 20% out of vinyl, and the following year we're not making any vinyl at all. That's how fast it turned around. But 'Measure for Measure', our fourth album is one of the first three fully digital recordings ever made in the world, which was a real milestone, so it's the first completely noiseless recording that was made for the new format of CD. It's moments like that that I reflect on and think, well, that's because we really put a lot of care and attention into these things.CAROL DUNCAN: Iva, you're also seen as one of the pioneers in Australia of bringing in synthesizers, computers, the Fairlight and so on. You mentioned an interesting word there, 'noiseless', and that's perhaps where the feud happens between the vinyl purists and people who are very happy to purchase their music in a digital form whether on CD or via digital download. How do you see the vinyl vs CD war when it comes to audio quality?IVA DAVIES: I noted with some amusement touched with horror a program that Linda Mottram did on 702 in Sydney where there was this discussion about vinyl, and she spoke with a so-called expert who was out of a university, and with due respect to that professor I desperately wanted to call in and say, "Can I just tell you about what actually happens when you're making pieces of vinyl and why they sound the way they do, and how it is absolutely possible to make CDs sound exactly like vinyl IF that were the endgame that you wanted to have in mind.I won't go into it now but the fact of the matter is it's all about a process called mastering. The way that tapes, mixes, were mastered for vinyl had to be very particular because of the intolerance of vinyl - vinyl can't carry very much big bass. I found that out with the Flowers album when I insisted to the co-producer that we put lots of bottom end into it and then realised a bit later on when the mastering engineer said to me, "I can't cut this to vinyl, it's got too much bass in it." They're the sorts of mistakes that you make when you're young.I'm a firm believer in anything that doesn't have moving parts and that is digital. I'm afraid I've moved on from anything old-school quite happily.CAROL DUNCAN: Did you call in?IVA DAVIES: No, I didn't, I just thought it's probably too difficult a conversation to have in detail over the radio but it does infuriate me because I'm sure if you got any mastering engineer on to the radio they'd say to you it's mainly because people don't understand how these things are made.CAROL DUNCAN: What gave you the confidence to leap into these new technologies?IVA DAVIES: Perhaps it was more out of ignorance than anything, I certainly didn't see any risk involved, but the main driver for me was that these were new toys. Every time something new was invented, my eyes would light up and I'd think, 'Imagine the possibilities!'I remember expressly that conversation I had with our management where, out of sheer co-incidence they'd moved offices from where they were in Bondi Junction to the top storey of a two-storey building in Rushcutters Bay and the ground storey was where they made Fairlights, believe it or not. Management were oblivious to this, they had no idea what was going on down there. But I did and I came to the managers one day and said, 'I desperately want to get one of these machines, they are amazing.'Of course, I was proven correct because they revolutionised music forever. I think apart from the technology of recording, the sampler - which is what a Fairlight was - was the single most influential piece of technology ever created. I said this to my management, that I was desperate, that I'd really like one, but the catch was they were $32,000. That was in 1981 or 1982 so you can imagine how much money that was then - it was half a small house.But I got one, and interestingly enough my management were quite philosophical about it. They said, 'Well, it's a lot of money, but according to our calculations you'll pay for this with the first two projects you use it on.' And they were right. The first project I used it on was my very first film score for Russell Mulcahy's 'Razorback', which is about 95% Fairlight.The great irony of that was that I kept producing bits of music, because Russell Mulcahy was out in the desert filming scenes and he kept dragging up Peter Gabriel's fourth album, the one with Shock The Monkey on it, and they were out in the desert with this blasting away on a ghetto blaster and I got it into my head that this was what Russell likes. So I kept producing Gabriel-esque soundscapes and so on, and the producers of the movie kept coming back to me and saying, 'No, no no - that's not what we want, we don't want this.' In the end I was getting various clues from them but didn't really know, but I had another go along the lines of Stravinsky's 'Rite of Spring' - a fairly mad piece of classical music. I constructed all this with the Fairlight, it was a quasi-orchestral thing. I took it back to them and they said, 'Yes! That's exactly it!' and I said, 'Well, if you wanted that sort of thing why didn't you go and get a classical composer.'In its day, 'Rite of Spring' was a controversial piece of music, and Iva Davies shares a birthday with Stravinsky.Considering that it was 1913 when that piece first hit the stage for Diaghilev's ballet company. It wasn't just the music; it was actually the subject matter of the ballet that I think was fairly upsetting to a lot of people. It's all about primal sexualism, basically, so you can imagine that to an audience of 1913 that sort of idea was fairly horrifying.CAROL DUNCAN: In 1984, you've got Razorback, also 'Sidewalk' - the third album from Icehouse, at this point did you consider that you didn't actually have to be a pop star?IVA DAVIES: No, I had a very strange life prior to that because I had a completely Jekyll and Hyde existence. I took up the guitar when I was 13, and taught myself, and it was probably also the year that I started taking oboe lessons. I had these two parallel lives and completely separate lives. I had a set of classical people - when I was in high school I played in a wind quintet and we used to rehearse every Saturday morning. We all had our first cars at that point. They were my friends and we went off and won the City of Sydney Eisteddfod and so on. They never, ever met the guys that I was in the acoustic band with. Ever! Because I just had these two lives. So my course was fairly accidental all the way through, it was probably always going to be accidental.To this day, I keep remembering things that I did. I remembered that I was in the orchestra that was primarily made up of members of the Sydney Symphony and the senior Conservatorium orchestra, of which I was a member, for the staging of the two first Australian ballets in the Opera House. I would have been about 19 and, of course, that's a fairly big moment for the Opera House to have a night featuring Australian opera in that building, and I'd completely forgotten about it. There are things from both lives that I've forgotten about.CAROL DUNCAN: 1985, your double life really starts to change as you start working with the Sydney Dance Company.IVA DAVIES: I have to give credit to our managers to some degree who recognised - Ray Hearn was managing us from the beginning. I think he considered himself to be a very erudite individual, he was very widely read, he'd seen every movie possible, and he had a huge record collection. He wasn't a musician but I think he spotted in me the potential that if I kept on that very two-dimension wheel of 'write an album, record an album, tour an album, write an album, record an album, tour an album ...', that I would burn out, that I needed something else to do. So it was he who went and pursued the soundtrack idea with Russell Mulcahy, and it was he who introduced me to the Sydney Dance Company who were a very dangerous company at that point. People forget that they did ballets entirely naked and this was quite revolutionary stuff in its day. They had a very young, hip audience. So it was a very smart move. But it was also a move that was good for the dance company. I had also forgotten until reminded about a month ago that in the Opera House's entire history this has never been repeated, but they did a very dangerous thing. They put two shows on a Friday and a Saturday night, one at a conventional hour and then a whole other audience would turn up at 10.30 at night and we'd do it all again. The staff at the Opera House thought this was going to be an absolute disaster, 'Nobody's going to go to the Opera House at 10.30pm to see a show', but they did and they were all my audience and they were coming to see what all the fuss was about. It was the most successful season the dance company has ever had.CAROL DUNCAN: Were you worried about your pop/rock audience coming over to see what you were doing and being disappointed?IVA DAVIES: I've always utterly failed to understand what the problem is between the various tribes of music. I started of as a bagpipe player when I was six, and although I went through that very, very particular stream of classical musicians, and they are, and they are a very exclusive lot - a lot of them, and they are a very intolerant lot - a lot of them, I think things have improved. But at that time they very much looked down their nose at 'popular music' and rock and roll, but by the same token it was equally prejudiced the other way around. I've never understood why. I don't get that you have to be one or the other but not all of them. In my head, there was absolutely no problem with my audience turning up to the ballet.CAROL DUNCAN: What gave you the confidence to follow both streams?IVA DAVIES: Only because I can kind of speak both languages. I had a discussion with somebody the other night about music and it is another language. It's certainly a language when you read and write it and I learned how to do that. But my dialogue with rock and roll musicians has to be completely different because most of the people I played with all these years don't read and write music. But rock and roll musicians communicate in a different kind of way. So because I'm comfortable in both of those languages, I can happily flick between the two of them, at whim almost.CAROL DUNCAN: Which is why I don't' let my kids drop out of their violin lessons - I want them to have that other language.IVA DAVIES: From my point of view, by miles, the single biggest advantage I've had in my work and succeeding in the broad framework of popular music is the fact that I was highly trained. That is the most sure, certain way to cut every corner you can - to actually know what you're doing.CAROL DUNCAN: December 31, 1999, and Icehouse is performing at the Millennium New Years Eve concert outside the Sydney Opera House and there is a moment on your face where it's just occurred to you how very special that moment is.IVA DAVIES: The penny really didn't drop, I mean, there was such a lot of pressure involved in that. The transmission, the TV director, Greg Beness, had synchronised a whole lot of footage to be running in parallel with shooting the performance. We had backups of backups because, of course, everybody thought that every computer in the world was going to blow up at midnight being the Y2K bug and so on. It was going out to about four billion people. It's not as if you can get to the end of it and go, 'Oh, we mucked that up, can we have another go?', 'Oh, they've already counted down; we're in a new millennium'. So I was incredibly aware of all of that and actually I've watched back some of the footage and it takes me a fair old while to settle down, it's (The Ghost Of Time) a 25-minute piece and it took me a number of minutes before I was, 'OK, we're up and running, everything seems to be working, everybody knows where they are, I can hear everything ....'I got to the end of it and stepped off the stage, Frank Sartor the Lord Mayor of Sydney gave me a glass of champagne, Richard Wilkins counted down from 10 and the fireworks went off directly over my head and I went, 'Wow!'CAROL DUNCAN: From this point, your other career really takes off and you head off to work on Master and Commander.IVA DAVIES: Yes, I've said to other young bands over the years, 'Just be aware - you never know who will be listening,' and so it was with thus that one person who was listening to The Ghost of Time on the millennium eve as it was going out, one of those four billion people, was one Peter Weir - an iconic Australian film director.This is how bizarre the next few years ended up being for me in terms of things just popping out of seemingly nowhere. I was sitting in my studio one day up on the northern beaches and the phone rang. A voice said, "Iva, this is Peter Weir. I'm filming Master and Commander on location in Baja, Mexico. I've fallen in love with The Ghost of Time. I want you to reassemble your team and give me a score like that."The whole experience was incredible, to go to Hollywood. I remember I had a colleague of mine, my music editor, had worked quite a bit in Hollywood on 'Moulin Rouge' and other things. He took me to the Fox lot and was very well recognised, but the thing that became immediately apparent was how incredibly well-respected Peter Weir is in Hollywood. Even though you don't necessarily associate him with massive blockbuster success time and time again, he's respected by directors and quality people in Hollywood and that's the difference.CAROL DUNCAN: Is it difficult to do this sort of work, to create something to someone else's demands?IVA DAVIES: I was very fortunate because Peter Weir has immense respect for music. He said to me not once, but twice, 'Music is the fountainhead of the arts,' that's how important it is to him. But having said that, he uses it very sparingly and in a very subtle way. So I had the great luxury to have three months to work on what equated to, in the end, not much more than 35 minutes worth of music. If you go and see a movie like 'Lord of the Rings', the composers had to write music from end to end of the film, so we're talking two and a half hours of music. Three months to produce that amount of music meant that it could be done with care but at a fairly unstressed pace, as it were. And that was fantastic. I have no doubt that Peter Weir quite deliberately planned the whole thing that way, so that it would be NOT a stressful operation. He's a consummate film-maker and he knows exactly what he's doing, so he schedules and plans things very well.Having said that, I always knew that the brief of a score writer is to write what the director wants to hear, not what the score writer wants to hear, so that was very apparent and so be it. Very often these films are the vision of a director and music is just one component of that. It should feed into their vision.CAROL DUNCAN: What are the professional moments that you hold dearest to your heart?IVA DAVIES: In terms of recording, I had a quite surreal moment. I was very influenced by one Brian Eno who was an absolute pioneer of synthesizers and electronic music, and in fact probably invented the term 'ambient music'. Of course, he was a founding member of Roxy Music but went on later to become incredibly successful in his own right and especially as a producer, he produced almost all of the U2 albums - massive albums. But I'd been following him since he was an early member of Roxy Music and especially been guided by his approach to synthesizers, which was very esoteric and completely at odds with a lot of the nasty noises that were being produced in the 1980s, for example. And I thank him for that because it probably stopped me from making a lot of bad sonic mistakes.The producer I was using at the time was a friend of his and I found myself having a conversation with the producer about the song we were working on at the time - a song called Cross the Border - I had in mind Brian Eno's backing vocal style. I knew that the producer, Rhett Davies, had worked with Brian Eno. I turned up to Air Studios, another very famous studio in London, to do the vocal session and in came Brian Eno. So there was a moment where I was standing in the studio, standing next to Brian Eno who was singing my lyrics and my backing vocal line. That was a real moment for me because he was a real hero of mine.CAROL DUNCAN: At what point did you realise that you had been successful enough to truly pursue anything that you wanted to do?IVA DAVIES: I spent most of my career not quite believing that things would work. In fact, I remember very clearly - we'd been working for years and years, working around these pubs, the first album came out, and I remember the first royalty cheque turned up. The accountant for the management company asked me into the office and said, 'Well, here's the cheque for the Flowers album for you,' and I looked at it and I'd been broke for years. My parents had to keep paying the odd rent payment for me and so on. We weren't earning any money at all, the album had only just come out, and I saw this cheque and it was for $15,000.I looked at Gino, who I had lunch with today - same accountant, and I said, 'Gino. This is amazing. This is incredible. I know I'm just going to fritter this away. I know I'll never get any more money out of this business. What's the deposit on the cheapest, cheapest, cheapest house in Sydney? Well, I bought the cheapest house in Sydney with that deposit, but of course, it wasn't the last cent that I made out of the music business.But for many years, for a long time, I really didn't consider that it was going to last, that I was going to make any money out of it. It's that classic thing where, luckily my parents didn't call me on the phone and say, 'When are you going to get a proper job?' they were very supportive. I think I was the one secretly calling myself and saying, 'When are you going to get a proper job?'CAROL DUNCAN: What are you still learning?IVA DAVIES: I'm still learning technology because unfortunately, it won't sit still! The industry standard for recording is a system called Pro-Tools, you very possibly use it in the studio there and it's certainly in every recording studio in the world. I've been working with Pro-Tools for a very long time but, of course, like any other software, there's a new release of it every five minutes. So I'm actually getting to the stage when I really am going to have to run to catch up! So unfortunately at my age, I'm still having to learn technology because it's the basic tool of my trade and that's never going to stop.CAROL DUNCAN: Are you still as excited by it as you were in the mid-1970s when you and Keith Welsh started 'Flowers' and when you went and harassed your management to allow you to buy that first Fairlight for $32,000?IVA DAVIES: I think I take it a bit more for granted these days because things have exploded in the way that they have. You can imagine the climate in which a piece of technology like the Fairlight came out; it was just mind-numbing. It was unlike anything anybody could ever imagine, whereas I suppose every time there's a new release of Pro-Tools, it's got a couple of lovely new features but it is a development of something which has been around for much more than a decade now.However, having said that, there seems to be a whole new generation of software writers who are incredibly interested in music and incredibly interested in playing with sound, and these are the people who are coming up with all the new noise generating bits - soft synthesisers and all that sort of stuff. That's kind of where the interesting new area is.CAROL DUNCAN: And Keith Welsh has been on this whole journey with you?IVA DAVIES: Indeed. In the music industry the whole time. He and I have been working closely over the past three years and we've started playing again and we re-released the entire catalogue. We put out a compilation called 'White Heat' which is about to go platinum.CAROL DUNCAN: What would you want the young Iva Davies to know?IVA DAVIES: That's a good question! I think I probably did seize most opportunities that came my way so I wouldn't necessarily say, 'just go as fast as you can with every opportunity that you can', I probably would have said, 'Put more attention to the money and where the money is going and who's getting it!' As a forensic accountant, I'm a kind of 'overview guy' as opposed to a 'detail guy'.
In this installment of 'Imagine if you will...' Dan returns with Anth to the fifth dimension. They examine the fan favorite ' The Hitch-hiker, from season 1, episode 16. This podcast episode strays a little more than usual from our subject matter, but ..hold on,for the ride. Quite possibly, the worst epsiode to date. ...ENJOY!
Hour 1: 'Shall not be infringed' ...The left is losing their minds over guns...AGAIN ...You want people to die??? ...Changing society the Hillary Clinton way ...'Imagine' ...The left is mounting a full on assault at the Constitution now ...Time for term limits is now? ...Motivation of the Las Vegas killer? ...When the government comes for the lawn darts... ...A new country in less than a week. Hour 2: Bible verses on a train cause panic ...NFL ratings continue slide ...Michael Bennett of the Seattle Seahawks and his story against the police ...2 shooters in Vegas? One caller's theory ...Educating the left through Twitter ...Mexico lectures America? On guns??? ...Geography time with President Trump ...Chewing the Fat with Jeffy: Robots and fast food fun ...People prefer to go to the store?? ...Change in the CSI cast coming ...The snow is here, did it ever leave? Hour 3: What do we know about the Las Vegas killer's girlfriend? ...Las Vegas massacre getting weirder by the moment ...Hurricane setting sites on Florida? ...How North Korea deals with coup attempts ...Bruce Springsteen speaks common sense ...What is the purpose of the 2nd amendment? ...Catalonia leaving Spain for real?? ...Slim pickings on what to celebrate under the GOP President/Congress ...Pat's Ar-15 & a knock at the door ...Blame the fork!! ...Common sense utensil control!! Learn more about your ad choices. Visit megaphone.fm/adchoices
Dave Crenshaw is the master of building productive leaders and has transformed hundreds of thousands of business leaders worldwide. He has appeared in TIME magazine, USA Today, FastCompany, and the BBC News. His courses on LinkedIn Learning have received millions of views. He has written three books and counting, including The Myth of Multitasking which was published in six languages and is a time-management bestseller. His fourth book, The Power of Having Fun, releases September 19th, 2017. Contact Info Book on Amazon: The Power of Having Fun: How Meaningful Breaks Help You Get More Done by Dave Crenshaw Website: DaveCrenshaw.com Book: PowerOfHavingFun.com Blog: Pick Dave's Brain Most Influential Person Steven Covey (Author of Seven Habits of Highly Effective People) Effect on Emotions Mindfulness has given me a lot more stability from someone who does not naturally have that kind of stability. The focus of mindfulness creates the stability of emotion. Thoughts on Breathing Breathing is not as much of my mindfulness as it should be, but I am aware of it and when I do it, it is helpful. I use counting more than breathing. And the power of the logic of the numbers to steady my thoughts back down. Suggested Resources Book: The Myth of Multitasking: How Doing It All Gets Nothing Done by Dave Crenshaw Book: The Power of Focus by Jack Canfield and Les Hewitt App: My Calendar People are addicted to apps and they believe that having the next new phone or new app is going to make them productive. In fact, it is not the app, but how you use it; what the underlying principals are. Bullying Story I've got two stories and they're both related. I grew up as somebody who, at least I feel, was bullied quite a bit. Part of that is the personality. Part of that is that I grew up in an environment at home where I was subject to a lot of emotional and verbal abuse, constantly, and so I did a lot of things at school which were ways to get attention and ways to get people to like me that were just not normal. And so it put a target on my back and it was really hard for me to deal with. What I gained from that personally was empathy for others. I really strongly dislike when I see others getting judged or diminished because they are different. Bring that to just last week. My son is twelve and is just starting Junior High. All of us who have been through that experience know how difficult that can be. He's a really good kid and he's also really sensitive. I said to him, Straton, I want to tell you something that I wish someone had told me going into Junior High. I said, 'You are going to see kids doing things that are rude, they're going to say things to you that are not nice. What I want you to understand is, they are all just trying to figure it out. They don't know what's right and what's wrong. They don't even know what kind of a person they want to be yet. So when you see that, don't take it personally. It's so easy to think, oh, they're picking on me. But instead, just say, that's somebody just trying to figure it out, and just go, there it is. Just be nice to them and move on, because my experience is, those same people who acted like that, the majority of them, ten to twenty years from now, they regret the way that they acted, or they completely forget about it and they become people who are well-adjusted, nice, kind adults. And so, my perspective is, we need not take that personally when those kinds of things happen. That's just part of other people going through the process of learning and growing. I had it happen to me this week. I had somebody send me a nasty message about my book. The initial reaction is to personalize it and say, I'm going to be offended by this. But what I did was, I flipped it around. I thought, what if I said that to him in the workplace. Usually I don't respond to this, but for some reason I decided to respond. And so I said to him, 'Imagine if I came into your workplace and I said that to you, over your shoulder. Can you feel how ugly that moment would be? And If I saw someone say that to you, I would tell them to stop. Because I believe in you. As a human being, you should not be treated like that. So if people are treating you like that, I'm sorry that that's happening. I think a lot of times, if people lash out like that, they're doing that because other people are treating them that way or because they feel insecure about their life. So the approach I tried to take as an adult, is to turn it around and say, I support you; I care about you.
Week 3 in our teaching series 'Imagine' by Heath Davis.
Week 3 in our teaching series 'Imagine' by Heath Davis.
Week 2 in our teaching series 'Imagine' by Heath Davis.
Week 2 in our teaching series 'Imagine' by Heath Davis.
Week 1 in our teaching series 'Imagine' by Heath Davis.
Week 1 in our teaching series 'Imagine' by Heath Davis.
The Rising Generation Leadership Podcast | Conversations with Influential Christian Leaders
Amongst other things Andy has spent the last 20 years with the IM Group in the role of group Managing Director. The IM Group is responsible for Subaru, Isuzu and Great Wall Motor brands across many European markets and has a portfolio of properties across the world managed by IM Properties. Andy has helped steer the company through economic difficulties, while at the same time preparing for the next phase of its growth. Outside of this with his wife Alison, he has established a charity called 'Imagine the Day' and helped to pioneer the Mosaic Church in Coventry. They have five children together.
Read by Barry J. NorthernClick to play or download the MP3.Show NotesFor Neil Gaiman and Mike CarlosEdward Morris is a 2005 British Science Fiction Association Award nominee, also nominated for the 2009 Rhysling Award. To date, he has sold 74 short stories worldwide, including sales to Interzone(#200, 'Imagine'), Pseudopod (#106, 'Jihad Over Innsmouth') , and most recently Ellen Datlow's Best Horror of the Year #2 ("Lotophagi.")He's a three-year veteran panelist at the H.P. Lovecraft Film Festival and the Oregon Science Fiction Convention. "Sinners In The Hands of An Angry God" is a story-poem after the style of many of the poems in Neil Gaiman's SMOKE & MIRRORS. John Shirley gave him the idea when he mentioned British Petroleum and a certain Elder God in the same Facebook post. He called this one "a good idea" when he read it. I hope you agree.Music provided by Mevio at Music AlleyIdunn - 14 - Crystal Sea - Lull by Ambient Light Sea of Blood by A Dying EmberSound effects from bashing my microphone against my hand and applying effects in Audacity.
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