Podcasts about Altamont

Talvez seja um clichê, e todos os anos caímos na tentação de dizer a mesma coisa, mas acredito convictamente que a música portuguesa está a viver uma era de ouro. Pelo menos, não tenho memória de uma outra época em que o saldo entre quantidade e qualidade fosse tão positivo. A cada ano que passa, aparecem mais e mais projectos novos - sejam bandas ou artistas a solo - vibrantes e criativos, que não se limitam a repetir modas e tendências e têm uma voz muito própria. Isto também acontece graças aos novos meios de produção e de difusão, com uma série de novas agências e editoras, que garantem maneira de fazer chegar toda a música a todos os ouvidos - e há muitos gostos distintos, muitos nichos e correntes e, em cada um deles, há artistas com quem o público se identifica. Isto, mais ainda em tempo de sobrecarga de informação e livre acesso, leva naturalmente a uma dispersão, sendo já poucos os artistas ou géneros avassaladores, que conquistem toda a gente. Mas a verdade é que há cada vez mais gente a ouvir música portuguesa e há uma busca crescente por música cantada em português. Prova disso, no nosso top 20 discos favoritos do ano, apenas 5 são assumidamente em inglês. Há uns anos, a proporção seria inversa. Para concluir, resta apenas refutar mais uma vez os relatos, claramente exagerados, da morte do rock. Na listagem que se segue, comprovamos que a música de guitarras continua a mexer com muita gente. Nesta lista, que reúne os votos de 25 membros da redacção Altamont, destacamos ainda cantautores, fadistas a dar novas cores à canção nacional, electro-shock sofisticado, canção de intervenção e uma colaboração inesperada.

Chega ao fim mais um ano musical e bem que gostamos de fazer contas e compilar listas. Tentamos identificar tendências e padrões, mas a verdade é que isso é cada vez mais dificil nos dias de hoje. Vivemos numa altura em que nunca houve tanta música nova, mas também nunca houve tanta música igual. Em pleno auge do streaming, estudos comprovam que a música que se faz está cada vez mais a seguir as mesmas regras, o mesmo formato, a mesma estrutura de intro-verso-refrão, dentro do mesmo espectro. Depois o algoritmo faz o resto, ajudando a disseminar música que soe mais familiar e, naturalmente, a penalizar quem ouse fazer diferente, sair da norma, dar primazia à criação em vez do bolso cheio. Será que ainda é possível arriscar? Veremos, mais à frente, na lista dos 20 discos preferidos para os membros da redacção Altamont, uma redacção composta por quase 30 pessoas de várias gerações e com uma palete de gostos bastante diversa. Cada um escolheu os seus 10 discos do ano e, ao todo, foram citados 150 discos diferentes. Nesta compilação dos 20 mais votados, encontramos saudáveis regressos de veteranos com mais de 30 anos de carreira, alguns nomes fortes do hip hop, guitarras no feminino, jovens a carregar a chama rock e algumas vozes imemoriais, que nos abalaram os sentidos. Em 2025 devíamos tirar mais fotos mas pronto, aqui fica o nosso retrato do ano!

Charlie Adlard has been a veteran of the comics industry for over 25 years. From 2003 to 2019 he spent the majority of his time drawing The Walking Dead through the conclusion of its run as a comic book series. He received many industry awards for his work on the series, culminating in winning the 2019 Sergio Aragonés International Award for Excellence in Comic Art.In his time as a cartoonist, Charlie has worked on many other projects as far-reaching as Mars Attacks, the X-Files, Judge Dredd, Savage, Batman, X-Men, and Superman.He's also drawn many creator-owned projects closer to his heart, like Astronauts In Trouble, Breath Of The Wendigo, Codeflesh, Rock Bottom, Vampire State Building, White Death, Damn Them All, Heretic, and Altamont. 

How the Altamont Free Concert became the symbolic end of the hippie era.

The deal is done. Netflix will purchase Warner Bros. Discovery for $82 billion. Yet another corporate monopoly drives a nail through Hollywood's coffin. It was bad enough when Disney bought Fox, Star Wars, and Marvel. Now, Netflix will be among the most powerful corporate monopolies, replacing what Hollywood used to be.America gave up on Hollywood because Hollywood gave up on America. The result is empty movie theaters all over the country—one bomb after another. Of course, Warner Bros. knew. You'd have to be an idiot not to know. Does anyone think Netflix is sweating the online memes accusing it of being too woke? No, they aren't. They are making too much money to care. With streaming, there is no free market pressure, no quality control. You don't have to motivate people to leave their homes. You don't need big stars to drive box office, and best of all, you can ignore the silent majority that has tuned you out long ago. Hate the trans agenda being shoved down everyone's throat? Too bad. Your boycotts are a drop in the bucket at Netflix. It's the perfect solution to Hollywood's problem. They can have everything they want — a virtue signaling paradise — and never have to worry about big budgets or low box office ever again. That's the easy way out. The truth is harder to swallow. They destroyed themselves. They wrecked their brand and alienated their audience. Hollywood built a ship of failure when it split into two divergent paths around 2003, after the Harry Potter and Lord of the Rings franchises brought in ungodly profits not just here but around the world. The branding was the key, the IPs. For years, they dominated the global box office and brought people to movie theaters across the country.Meanwhile, in the other Hollywood, in the “prestige” niche lane where the Oscars live, things began to get smaller, more isolated, more aligned with politics, especially under Barack Obama. His win influenced almost everything, as he loves to put out his top-ten lists every year and even has a deal with Netflix. These two Hollywoods existed side by side like the First Class section of the airplane vs. Coach, where they “let them eat Marvel.” You can see the rise and fall in one image, from Box Office Mojo:This year might mean that, for the first time since 2020, China will dominate the Worldwide box office rather than Hollywood, unless Jim Cameron can bring Avatar: Fire and Ash over the 2 billion mark.In 2019, Hollywood put out over 900 movies. Last year, just 624, and many of them bombed. So what happened? 2020 happened. The one-two punch of COVID and the Great Awokening brought Hollywood to its knees. The Oscar race this year is loaded with unwatchable movies that swirl around things almost no one outside the bubble of Hollywood cares about, identity mainly. Mothers' caterwauling their oppression, like Die, My Love, If I had Legs I'd Kick You, and even One Battle After Another feature women who seem to hate their children. The people who run Hollywood are still mostly rich white men, but they must always genuflect, with women or people of color as shields to protect them from accusations of sexism or racism by the mob online. The rise of female directors who get these jobs for no other reason except that they're female has transformed a once-great industry into a DEI film school. Every couple is interracial. Every movie must have significant actors of color. The GLAAD lobby demands representation everywhere. Why would anyone want to pay money to have them shove their ideology down our throats?Success doesn't even matter to them. That they project “goodness” is all they care about now, their status inside utopia. The EndAs I drive across this country, I sometimes see a multiplex in a mall. It looks as deserted to me as the old drive-ins once did, and I can't help but think this really is the end for movie theaters. They'll go the way of the record store, limited to enthusiasts in the big cities. Everyone else will numbly scroll through Netflix for whatever they can find, but it will never have the same cultural impact as a great movie when we're all under one roof, sharing a story.It's yet more separation, more isolation, more internet, more social media, less of what we all need as a society.“The Future is Coming, and You Aren't In It”After COVID ended for rational Americans, we all wondered whether people would return to the movies. The paranoid mask-wearing Liberals did not. Even Peggy Noonan noticed.In 2022, a miracle arrived in the form of Tom Cruise starring in Top Gun: Maverick. It made so much money that it wiped clean the argument that Hollywood was over and movie theaters were dying. Although it was nominated for Best Picture, it lost to the woke screed, Everything Everywhere All At Once. That was a sign that Hollywood was not ready for the iceberg right ahead.The following year showed promise, with “Barbenheimer,” “Oppenheimer,” and “Barbie” becoming cultural sensations on TikTok. The Oscars did the right thing and gave their awards to Oppenheimer. Though things seem to be moving in the right direction, it's too little, too late. Audiences don't trust Hollywood anymore, and I can't blame them. Of all the Warner Bros. movies that were successful this year, the Oscar will likely go to the anti-ICE, pro-ANTIFA, anti-Trump rallying cry, One Battle After Another. No film in recent memory has better captured the singular worldview of the progressive Left.As Curtis Yarvin wrote for The Spectator:Fundamentally, One Battle is a religious film. It is entirely set in the fantasy landscape of the great American religion, progressivism, the 20th-century evolution of our ancient Puritan tradition. If you are a true believer, imagine watching Battlefield Earth without being a Scientologist. For non-progressives, One Battle may be necessary viewing. It displays the interior landscape of the narcissistic narrative of our world's dominant cult of power. We seldom get to strap a GoPro to the inside of a lib's forehead. And he continues:So this film is out there – recruiting damaged people by presenting them as romantic heroes in a propaganda fantasy. Few will kill. But many will clap. When bad movies succeed, as One Battle will, they diagnose something bad in the audiences they entertain. Corrupt art is the pathognomonic mark of a corrupt society. Shitty people will watch this shitty film, and love it. Shitty journalists have already given it a standing ovation – the politics makes them hard, like Lockjaw. This evil is at the very heart of our culture.As Leonard Cohen noted: “I have seen the future, brother. It is murder.” Murder is as old as Cain. The anonymous internet is young. Nobody asked for the combination. But they'll get it.So, of course, the critics have gone nuts for it. It IS religious for them. It's already won many awards and is on track to win Best Picture. Trust me, Hollywood has no desire to save itself. One Battle After Another cost upwards of $140 million and only made $70 million in the US, with the bulk of its profits made overseas on Leonardo DiCaprio's name, which is why it's assumed he demanded his usual fee of $20 million. Old Hollywood understood that you don't reward failure with film awards. New Hollywood cares less about the money and more about the message. The public used to matter because the box office did. No wonder WB is selling out after watching one bomb after another this past year. Why wait for bankruptcy? Why not cash out now on a high note?This is the kind of thing Hollywood pumps out now:And therein lies the problem. They forgot it wasn't about them. They believed their own publicity. They fell in love with their own image, like Narcissus. They began to believe they were important. We loved movies and celebrities for what they gave us, not for who they are. We don't care. We don't need them to fix us. Or teach us. Or lecture us. Or scold us. We just need them to entertain us. Well, now the billionaires have arrived to prove to them how little they matter when it comes to the bottom line. And if you think that's bad, wait until the AI tsunami wipes out half the industry. The audience was always their best hope for survival. As long as we showed up, Hollywood and its stars had power. Now that audiences have vanished, well, the ship is made of iron, and it will sink.Who knows, maybe Congress or Trump can stop the merger. That still won't fix the fundamental problem of what Hollywood has become and why the public turned away. On the upside, the giant hole Hollywood leaves behind, like the asteroid that killed the dinosaurs, might open up movie theaters to a new breed of filmmaker. Maybe they can make movies Hollywood or Netflix never would - trashy comedies, cheap horror, romantic comedies, Dirty Harry movies. Who knows, maybe we can Make Hollywood Great Again. What better way to rebuild a counterculture?Altamont, Illinois, 8:42AM. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.sashastone.com/subscribe

Join Travis on a solo show today a recap of  local basketball  from last night including Cumberland winning over Altamont, 5A & 6A Football Championships, College Basketball & Illinois Fighting Illini game vs UCONN, Illinois Football & CFP!

No último episódio do Rádio Clube Altamont de 2025 temos para degustação uma das boas surpresas nacionais do ano, o disco "Alegria Terminal", de Vaiapraia; o devaneio de "The Age of the Understatement", dos Last Shadow Puppets e por fim (no pun intended) "It's Never Over, Jeff Buckley" filme sobre um dos ícones da música, que teima em não nos largar. Sejam bem-vindos a esta parceria Altamont.pt e Futura - Rádio de Autor.

Jimmy speaks with Alex Gill, Cider-maker at Indian Ladder Farms in Altamont, NY (Albany County). Alex shares how he got his start at Indian Ladder, falling in love with cider/cider-making, the history of the farm, and the latest batches he's hyped on. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Deadcast's overstuffed season finale unpacks Blues For Allah's oft-misunderstood title track, the unlikely story of its album art, & the remarkable coalition that manifested the Dead's September 1975 Golden Gate Park show, officially the New Age Bio-Centennial Unity Fair.Guests: David Lemieux, Ron Rakow, Al Teller, Ned Lagin, Steve Brown, Bill McCarthy, Larry Weissman, Gary Lambert, Ed Perlstein, Joan Miller, Geoff Gould, Dan Hanklein, Raymond Foye, Nicholas Meriwether, Shaugn O'Donnell, Chadwick Jenkins, Keith EatonSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

1. Inspiration Beyond the BrainThe book challenges the materialist view that creativity is a left-brain, analytical function. Instead, it presents music as a right-brain, paranormal process. Many iconic songs are received through instantaneous “downloads” or vivid dreams. Keith Richards famously dreamt the riff for “(I Can't Get No) Satisfaction,” even recording his snoring afterward. These dream-sourced compositions often arrive fully formed, with clarity unlike typical dream content.2. Musicians as ChannelsMany legendary artists describe themselves as vessels rather than creators. John Lennon said he was “just the channel” for the “music of the spheres.” Michael Jackson believed his best songs were “works of God” that dropped into his lap. Notably, Elvis Presley, The Beatles, and Jimi Hendrix couldn't read or write music—suggesting that genius may bypass formal training and arise from external sources.3. A Historical PatternThis phenomenon isn't limited to rock and pop. Classical composers also reported receiving music from beyond. Mozart described his compositions as arriving “almost complete” in dreams. Brahms spoke of entering a trance-like state where ideas flowed “directly from God.” Such accounts suggest a long-standing tradition of non-local inspiration.4. UFOs and MusiciansThe book documents a striking number of UFO encounters among musicians. If cataloged, the list would include hundreds of high-profile names. John Lennon had a daylight sighting in 1974; Mick Jagger saw a UFO over the crowd at the 1969 Altamont concert. 5. Alien OriginsSome musicians believe they are extraterrestrial in origin. John Denver referenced the constellation Lyra as his home. Elvis Presley claimed he came from Orion, saying, “I am not of this world.” Lee Scratch Perry declared, “I am an alien from outer space… from Krypton.” Kurt Cobain expressed a lifelong feeling of being “homesick,” imagining himself as an alien baby found in a spaceship.6. Messages of Oneness and LoveThe themes expressed in music often mirror those reported by UFO experiencers. The central message is Oneness—the idea that all existence is interconnected. Lennon's lyric “I am he as you are he as you are me…” reflects this unity. His slogan “Love is the Answer. What was the Question?” and the anthem “All You Need is Love” serve as spiritual propaganda for this shift from fear to love.7. Environmental and Nuclear WarningsA recurring theme is planetary survival. Musicians often channel messages warning of ecological collapse and nuclear danger. Neil Young's “After the Gold Rush” describes “silver spaceships” rescuing the chosen ones.8. Targeting YouthMusicians are seen as strategic messengers to reach younger generations—the “ultimate swing voters.” Youth are more open to ideas that transcend traditional structures like religion and politics. Carlos Santana reported that the entity Metatron told him he'd be tuned into a “radio airwave frequency” to deliver a “new menu” of existence, helping students realize they are “multi-dimensional spirits.”9. Dreams and Altered StatesSongs often arrive during altered states—dreams, meditation, or automatic writing. Sting received “Every Breath You Take” in 15 minutes through automatic writing. Billy Joel dreamt many of his songs fully formed. Music heard during near-death experiences is described as “floating,” ethereal, and profoundly beautiful—often called the “music of the spheres.”10. Music and Quantum ConsciousnessThe book concludes by challenging the materialist worldview. It suggests that the universe operates through a quantum reality where consciousness is primary. Musicians report accessing a non-local field of awareness, consistent with quantum experiments showing that consciousness precedes matter. In this view, the brain doesn't create consciousness—consciousness creates the brain. Music becomes a delivery system for awakening, love, and planetary stewardship.

The Deadcast explores Bobby Weir's guitar étude, “Sage and Spirit,” speaking with one of the song's namesakes, Sage Scully, before taking an extended trip to legendary Dead show at the Great American Music Hall in August 1975, where the song received its only full live performance.Guests: David Lemieux, Donna Jean Godchaux MacKay, Sage Scully, Ron Rakow, Al Teller, Steve Brown, Roger Lewis, Lee Brenkman, Steve Schuster, Gary Lambert, Deb Trist, Ed Perlstein, Danno Henklein, Joan Miller, Steve Silberman, Michael Parrish, Keith Eaton, Shaugn O'Donnell, Benny LanderSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Um caldeirão rock, uma tarde de verão inglesa e o regresso do patrão, eis o Rádio Clube Altamont deste mês. Debruçamo-nos sobre o recente disco dos Geese, "Getting Killed", uma saudosa Viriginia Astley e o seu clássico de culto "From Gardens Where We Feel Secure" e por fim o filme "Deliver me From Nowhere", biopic de um determinado momento da carreira de Bruce Springsteen. Bem-vindos a mais episódio desta parceria Altamont.pt e Futura - Rádio de Autor.

We explore how the dreamy delicacy of Crazy Fingers came about at a time of great tumult in Grateful Dead history, with visits from new record company boss Al Teller of United Artists and Seastones composer Ned Lagin, plus a stop at Winterland for the Bob Fried Memorial Boogie.Guests: David Lemieux, Al Teller, Ron Rakow, Ned Lagin, Gary Lambert, Michael Parrish, Danno Henklein, Ed Perlstein, Geoff Gould, Jay Kerley, Blair Jackson, Shaugn O'Donnell, Chadwick Jenkins, Christopher Coffman, Nicholas MeriwetherSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode, we speak with Randall Eason and Keoni Schwartz, Co-Founders and Managing Directors at Altamont Capital Partners, a private equity firm focused on transforming and scaling lower-middle market companies through deep operational expertise and value-creation capabilities. Since its founding, Altamont has invested in over 45 companies across the industrials, business services, financial services, and franchising & multi-unit sectors, with more than $4 billion in capital under management. Randall leads investments in the industrials and franchising & multi-unit sectors. Previously, he was a Principal at Golden Gate Capital, and held roles at Bain & Company and Williams-Sonoma. He holds an MA in sociology and a BA in economics, Phi Beta Kappa, from Stanford. Keoni leads investments in the financial and business services sectors. He was formerly a Principal at Golden Gate Capital and began his career as a consultant at Bain & Company and The Bridgespan Group. He holds a BA in history with honors from Princeton. Altamont was recently recognized by GrowthCap as a Top Private Equity Firm of 2025. I am your host, RJ Lumba. We hope you enjoy the show. If you like the episode click to follow.

Send us a textJoin the Back in Time Brothers, DJ Paulie and Lou, for an episode that delivers a wild, high-contrast ride through music history, true crime, and dark rock lore!Rewind to 2004: This week, the hosts dive deep into the Pop Punk Movement of 2004, featuring a top ten countdown curated by DJ Brit that was inspired by the iconic Warped Tour. Relive your youth with the "emoish, poppish, punk stuff" that became the "anthems" of the generation. Hear defining tracks from Blink-182 (the pop-punk royalty), My Chemical Romance, Simple Plan, Good Charlotte and others.A Chaotic Contrast: In between the music, this episode features segments that run from the ridiculous to the devastating:Stupid Criminals: Laugh at the world's worst lawbreakers, including a thief who attempted grand theft auto but couldn't operate a push-button start car, a bank robber who used a clear plastic bag as a disguise, and a burglar who paused his break-in to check Facebook on the homeowner's computer.Random Facts: Discover bizarre trivia, such as why cat urine glows under a black light, that sloths can hold their breath longer than dolphins, and the scientific concept known as the "law of urination."Rock Talk with Todd Snyder: Prepare for a dark and somber turn. Todd explores Deadly Concert Tragedies, counting down 15 of the darkest nights in music history. This segment covers disasters from the Rolling Stones' Altamont show, The Who's Cincinnati tragedy, the chaos of Woodstock '99, the Station nightclub fire, and the recent Astroworld Festival.Bad Dates: Lighten the mood with cringe-worthy dating stories, including someone whose date suggested dropping acid, a picnic set up directly on top of an actual grave, and the passionate political debate over ordering pancakes instead of eggs benedict for brunch.Tune in for a truly memorable episode packed with nostalgia, bizarre facts, hilarious crime fails, and intense rock history!Support the showThanks for listening. Join us each Monday at 1pm Central at www.urlradio.net and follow us on Facebook!

Bobby Weir & John Perry Barlow's classic “The Music Never Stopped” came into being when the music was briefly in danger of stopping, the song transforming from live jam to final form as the Dead struggled to solve the financial difficulties that came with a retirement from the road.Guests: David Lemieux, Ron Rakow, Steven Schuster, Steve Silberman, Sean Howe, Shaugn O'Donnell, Chadwick Jenkins, Christopher Coffman, Graeme Boone, Eric Lindquist, Benny LanderSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Sejam bem-vindos a mais um Rádio Clube Altamont. No programa deste mês iremos ter doses de melancolia e ação, produtos do meio urbano e do meio rural, um infinito e um para sempre. "Double Infinity", novo disco dos Big Thief, "For Emma, forever ago" de Bon Iver e o filme de Darren Aronofsky são os produtos do dia, juntem-se a nós neste episódio 45, da parceria Altamont.pt com Futura - Rádio de Autor

How is colloquizing to become a rostered Lutheran educator a benefit to both the educator and the school? Robi Flach (Administrator of Altamont Lutheran Interparish School in Altamont, IL) and Annie O'Donoghue (Manager with Standing Partnership and the Set Apart to Serve team) join Andy and Sarah for our Set Apart to Serve series to talk about Robi's background and how she decided to become a Lutheran teacher, why the decision to colloquize to be a rostered teacher was important to her, how colloquy has benefited her and her school, and details on the upcoming webinar to learn more about the colloquy process. You can learn more and register for the webinar on October 15th at 7pm CDT at  LCMS.org/colloquywebinar. Christ's church will continue until He returns, and that church will continue to need church workers. Set Apart to Serve (SAS) is an initiative of the LCMS to recruit church workers. Together, we pray for workers for the Kingdom of God and encourage children to consider church work vocations. Here are three easy ways you can participate in SAS: 1. Pray with your children for God to provide church workers. 2. Talk to your children about becoming church workers. 3. Thank God for the people who work in your congregation. To learn more about Set Apart to Serve, visit lcms.org/set-apart-to-serve. Have a topic you'd like to hear about on The Coffee Hour? Contact us at: listener@kfuo.org.

The Deadcast unpacks the two-part extra-heady “King Solomon's Marbles”/'Stronger Than Dirt or Milkin' the Turkey,” using the instrumental to get into the Dead's 1975 dalliances with holography, as well as Phil Lesh's other unfinished pieces from Blues For Allah.Guests: David Lemieux, Ned Lagin, Ron Rakow, Eugene Dolgoff, Michael Parrish, Ed Perlstein, Keith Eaton, Nicholas G. Meriwether, Shaugn O'Donnell, Chadwick JenkinsSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Deadcast examines how Franklin's Tower bucked every trend on Blues For Allah to become one of the Dead's all-time classics, including a tape of its studio creation, a look into the multi-tracks, & a rare line-by-line breakdown by lyricist Robert Hunter himself.Guests: David Lemieux, Geoff Gould, Jürgen Fauth, Shaugn O'Donnell, Chadwick Jenkins, Will Backstrom, Max Ritchie, Hannah GrabbensteinSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Kristin Johnson Managing Director, Business Development Kristin Johnson is a Managing Director of ACP, where she leads the firm's Business Development efforts. Prior to ACP, Kristin was a Principal in the fundraising group at TPG Capital, where she helped raise capital for the firm and manage investor relations. Previously, Kristin was a Managing Director in Morgan Stanley's corporate finance department, focused on working with private equity clients, for 10 years. Kristin began her career as a Consultant at Booz Allen & Hamilton, focused on marketing-intensive clients. Kristin received an M.B.A. from Stanford Graduate School of Business and a B.A. in Math and Economics from Pomona College.      

Dimitri and Khalid embark on a wide-ranging quest to uncover the true nature and function of the STAR WARS ritual complex in the Late American Empire, including: The murky influence of sus Joseph Campbell and the 1974 Stanford Research Institute report “Changing Images of Man”, “THX-1138” and Bay Area mind control programs, whether Star Wars was George Lucas's sublimated Vietnam War film, Star Wars as the dominant mythopoetic cult of the post-1960s American Empire, the Esalen roots of the Jedi pseudo-religion, Disney's domestic gladio utilization of Star Wars with a Thousand Faces, whether “Andor” is a heckin' leftist masterpiece, George Lucas' curious early work as an Altamont cameraman (and likely stint at Lookout Mountain AFB making internal government films), and much more… For access to premium SJ episodes, upcoming installments of DEMON FORCES, and the Grotto of Truth Discord, become a subscriber at https://patreon.com/subliminaljihad.

Here's just a few of the many things that Graham discusses with Discograffiti in this podcast:Woodstock, Altamont, and the death of Crosby's girlfriend Christine Hinton happening one after the other after their debut record was released;The other candidates who were pitched to join CSN before Neil Young;What Jimi Hendrix called CSN's music;A mind-blowing recollection of Jerry's Garcia's pedal steel-playing prowess;Graham's honest assessment of Neil Young's “Country Girl”;And an in-depth deep dive on every song that comprises Crosby, Stills, Nash, & Young's Deja Vu LP!Listen: linktr.ee/discograffitiWild Tales: The Graham Nash Interview Series tackles every last release the great Graham Nash ever had a hand in creating, including CSN, CSNY, C&N, and his solo career, detailing a history almost too crazy to be believed. His honesty is profoundly refreshing, and overall this series is a Mt. Olympus climb which explores the Aquarian age in all its majesty and chaos. It's already overtaken my life in so my ways…and it's my hope that it does the same to yours.I support a wife and a six-year-old son with Discograffiti as my sole source of income. If you're a Graham Nash superfan like me, The Director's Cut of this episode is ad-free and features a plethora of additional essential material. Subscribe to Discograffiti's Patreon at the Major Tier and receive a ceaseless barrage (4 shows a week) of must-hear binge listening: ⁠Patreon.com/Discograffiti⁠Or just grab The Director's Cut as a one-off at the same link.CONNECTJoin our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153Patreon: www.Patreon.com/DiscograffitiPodfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhwInstagram: https://www.instagram.com/discograffitipod/Facebook: https://www.facebook.com/Discograffiti/Twitter: https://twitter.com/DiscograffitiOrder the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): www.patreon.com/discograffiti/shop/197404Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzakOrder the METAL MACHINE MUZAK Double Vinyl + Digital package: www.patreon.com/discograffiti/shop/169954Merch Shop: https://discograffitipod.myspreadshop.com/allVenmo Dave A Tip: @David-GebroeWeb site: http://discograffiti.com/CONTACT DAVEEmail: dave@discograffiti.comFacebook: https://www.facebook.com/hooligandaveInstagram:  https://www.instagram.com/davidgebroe/Twitter: https://twitter.com/DaveGebroeThere is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.  If you're already a member, please comment below about your experience.  www.Patreon.com/discograffiti#grahamnash #davidcrosby #stephenstills #neilyoung #thehollies #classicrock #allanclarke #tonyhicks #bobbyelliott #berniecalvert #erichaydock #crosbystillsnashandyoung #csny #crosbystillsandnash #csn #henrydiltz #folkrock #jonimitchell #rockmusic #vinyl #britishinvasion #jamestaylor #ritacoolidge #woodstock #altamont #hippie #discograffiti #metalmachinemuzak #soldiersofsound #andyourdreamscometrue 

No episódio deste mês do nosso podcast, apresentamos três temas muito díspares entre si, com poucas ou nenhumas ligações entre eles. Ainda assim, fazemos da falta de coesão uma força, força essa representada na luta de Charif Megarbane por continuar a fazer música, na voz de Frank Sinatra, que ainda ecoa passados 70 anos do lançamento de "In the Wee Small Hours", na insistência do Musicbox em continuar a fazer serviço público em Lisboa, com cara nova. Bem-vindos a mais um Rádio Clube Altamont, parceria Altamont.pt e Futura - Rádio de Autor.

The Deadcast uses Blues For Allah's complicated instrumental Slipknot! to explore the musical and creative ambiguity the Grateful Dead pursued in early 1975, when there both was and wasn't a Grateful Dead, & their public reemergence at Bill Graham's S.N.A.C.K. benefit that March.Guests: David Lemieux, Ned Lagin, Ron Rakow, Steve Brown, Gary Lambert, Joan Miller, Jay Kerley, Chadwick Jenkins, Shaugn O'Donnell, Melvin BackstromSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Send me a text and please visit www.livefrommydrumroom.com Celebrating the 56th anniversary of the iconic Woodstock Festival, Aug 15-18, 1969, with legendary drummers Michael Shrieve who performed with Santana, and Greg Errico with Sly & The Family Stone. Both Michael and Greg were 20 years old when they performed at Woodstock. Michael had just turned 20 in July of 1969, and Greg was two weeks shy of his 21st birthday on Sept 1st 1969. So come along for the ride as we look back at Woodstock, 56 years ago this weekend. Thanks for watching, thanks for listening, and I'll see you on the other side. Send me a comment and write a review!  https://youtu.be/GM7AT4VYoE0?si=YPIjH3LJKYnrhqX_https://youtu.be/qFrmJdgUWgc?si=RSg2Lj5hS7PvDo2iLive From My Drum Room Merch available! Visit: https://livefrommydrumroom.com/ Live From My Drum Room With John DeChristopher! is a series of conversations with legendary drummers and Music Industry icons, hosted by drummer and music industry veteran, John DeChristopher, drawing from his five decades in the Music Industry. Created in 2020, and ranked BEST Drum Podcast, "Live From My Drum Room With John DeChristopher!" gives the audience an insider's view that only John can offer. And no drummers are harmed on any shows! Please subscribe!https://livefrommydrumroom.comwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

Ronnie Schneider : "Out of Our Heads" From Sam Cooke, the Beatles, Rolling Stones US Tours, AltamontRolling Stones Insider Shares Memories and Rare Artifacts in New BookBack in the mid 1960s, overnight, a street-smart east coast kid went from being a college student to tour manager/moneyman and confidante to the Rolling Stones. The band didn't eat, drink, or even play unless Ronnie Schneider did his job, and this trusting relationship led to a wild adventure that would soon include the Beatles, Swinging London, and producing the mythical '69 Stones tour that culminated in the infamous show at Altamont. In his new book, Schneider gives readers an all access pass into the most intimate spaces, from hotels and boardrooms to private planes and backstage debauchery, crunching deals, babysitting the band, tasting wine, woman and dope – this is a front row seat to rock's last great era; jam-packed with rare artifacts and all the paperwork to back it up.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

The Grateful Deadcast points itself towards 1975 to begin a song-by-song celebration of Blues For Allah's 50th anniversary, loaded with raw session tapes, early lyric drafts, & the story of how the Dead built a new studio, musical language, batch of songs, & LP from the ground up. Guests: David Lemieux, Donna Jean Godchaux-MacKay, Ron Rakow, Stephen Barncard, Ned Lagin, Steve Brown, Gary Lambert, Keith Eaton, Shaugn O'Donnell, Chadwick Jenkins, Matt CampbellSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Grateful Deadcast visits the set for the Grateful Dead Movie, aka the Dead's five “retirement” shows at Winterland in 1974, with heads who attended. This bonus episode is a re-run of the 2nd half of Deadcast Season 9, episode 8.Guests: Donna Jean Godchaux-MacKay, Ron Rakow, Ned Lagin, David Grisman, , Steve Brown, Richie Pechner, Jerry Pompili, Jim Sullivan, Gary Lambert, Geoff Gould, Joan Brown, Michael Parrish, Corry Arnold, Strider Brown, Jay Kerley, Rita Fiedler, Rene Tinner, Lee Ranaldo, Gregory Barette, Ron Long, Brian AndersonSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

O que têm em comum John Glacier, Kate Bush e Ney Matogrosso? Provavelmente muito pouco, mas ainda assim decidimos juntá-los à mesa, para este novo episódio de Rádio Clube Altamont. O propósito foi, respectivamente, "Like a Ribbon", deste ano, "The Kick Inside", de 1978, e "Homem com H", acabadinho de chegar a um streaming próximo de si. Como sempre, esperamos que desfrutem desta parceria Altamont.pt e Futura - Rádio de Autor.

The Good Ol' Grateful Deadcast is thrilled beyond all audible frequencies to begin its 12th season by welcoming Dan Healy, the Grateful Dead's in-house sound wizard for most of their career, for tales from three decades in pursuit of high and higher fidelity.Guest: Dan HealySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Darryl Miller from Dehlinger Winery is back on California Wine Country today with Steve Jaxon and Dan Berger. He has been on the show before, the last time was this episode, last summer. This is the 50th anniversary of Dehlinger Winery. Darryl has known the family for forty years. Tom Dehlinger was a biochemist and got the wine bug. He studied wine at Davis and worked with some local wineries. Then, bought a property on the corner of Vine Hill Road and Guerneville Road in 1972. He and his brother built an octagonal house in the middle of the property which is iconic. They crushed their first grapes in 1975. Dan Berger started writing about wine at that time and tasted his first Dehlinger wines in 1979. They were among the first to plant grapes in the area which would later become Pinot Noir and Chardoheaven. The other local pioneers were the Rocchioli and Martinelli vineyards, not far from there. The vineyard is a rolling hill property with two types of soil, Altamont, a red iron based clay, and Goldridge, a gray sandy loam. The sections of the vineyard with different soils produce different results in the wine. This is why they produce some wines from each section and soil type. Bahl Fratty Riesling The 40th Winesong Weekend Celebration is Sept. 5-6, 2025. Click the Winesong 40th logo for details. Dan Berger has brought a bottle of his Bahl Fratty Riesling It is a 2023 that just got a Gold Medal at the American Fine Wine Competition in Miami. The grapes are from Cole Ranch in Mendocino County, near Booneville. Bahl Fratty means Good Drink in Boontling, the local lingo. Dan's goal was to make the wine as dry as possible. The 2022 was also a gold medal winner. Darryl went to college in Humbolt State then moved to Seattle and worked as a waiter. He met someone who suggested he could sell wine and he did end up selling a lot of wine. The business took him to San Francisco, Hawaii and Tahoe. Eventually he ended up in Sonoma County, the same year as Dan, in 1981. He started his own company as a broker and sold some very famous wines like Taft Street, Davis Bynum and Iron Horse. Then in 1995 he sold his company to the Henry Wine Group and continued to work with them. Darryl is one of the judges at Dan Berger's annual wine competition. There are different ways to know good wine but what's really important is what you like. -Darryl Miller California Wine Country is brought to you by Rodney Strong Vineyards and Davis Bynum Wines. Dehlinger makes about 8,000 cases of wine per year, but they grow enough grapes for 40,000. Many famous wineries get grapes from them, whose names are not to be made public. The rest of the show is the tasting of the wines Darryl has brought. First  is the 2021 Goldridge Pinot Noir. Round, rich and juicy, Dan says silky with a crisp finish. The next one is also a Pinot Noir, from the Altamont soil section, that has more structure because it also gets some whole cluster fermentation. Darryl calls the Altamont tighter, stronger with more minerality. Visit the website for details.

The Rolling Stones, the most dangerous band on the planet, envisioned their free concert at the Altamont speedway outside San Francisco as the triumphant capstone to their 1969 tour: a west coast Woodstock, and a celebration of free love and hippiedom. But the festival, thrown together in under seventy two hours and with security managed by Hell's Angels paid in beer, was fated for a tragic and violent end... just like the ‘60s themselves. For a full list of contributors, see the show notes at ⁠disgracelandpod.com.⁠ This episode was originally published on December 3, 2019. To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at ⁠⁠⁠⁠⁠⁠disgracelandpod.com/membership⁠⁠⁠⁠⁠⁠. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - ⁠⁠⁠⁠⁠⁠GET THE NEWSLETTER⁠⁠⁠⁠⁠⁠ Follow Jake and DISGRACELAND: ⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠ (formerly Twitter)  ⁠⁠⁠⁠⁠⁠Facebook Fan Group⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Enjoying the Ride: On TourThe Deadcast season finale hits shows at 3 legendary venues, exploring Dick Latvala's transformative experience at Red Rocks ‘79, Hollie Rose's tour journal, the wonders of the Alpine Valley parking lot, & when Shakedown Street got its name.Guests: David Lemieux, Jay Kerley, Hollie Rose, Rebecca Adams, Bill Lemke, Phil Garfinkel, Jim Jonze, Tom Ryan, Art Moss, Lisa Hitchcock, David Van Divier, Scott Bauer, Julie Dock, Mobile SteeleSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Deadcast cruises down the eastern seaboard, including stops in Hartford, Hampton, Philadelphia, and Landover, featuring touring tips, another police chase, & a visit to the White House.Guests: David Lemieux, Sam Cutler, Dennis Alpert, Tyler Roy-Hart, David Leopold, John Leopold, Rebecca Adams, Brian Schiff, Gary Lambert, Chris Goodspace, Winslow Colwell, Scott Jones, Chad EylerSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Nu ska vi gå på festival! Skojigt och roligt med löfte om upplevelser och gemenskap. Men den här festivalen är i Altamont 1969 och kommer spåra ur på alla tänkbara sätt med en final i form av skottlossning framför scenen med Mick Jagger på den. Avsnitt 281 är inspelad 2019. Hosted on Acast. See acast.com/privacy for more information.

Ladies and Gentlemen, The Rolling Stones!! For our 200th episode we're hunting for treasure with their 1971 record Sticky Fingers! From rock classics like Brown Sugar to ballads like Sway to improvised jams like Can't You Hear Me Knocking, this album has a little bit of everything. We'll talk about Mick Jagger & Keith Richards' childhood friendship, the band's rise to international superstardom with the (literal) sleeper hit Satisfaction, and their weird record-setting performance at Altamont. Meanwhile the Mixtaper is talking football, driving test cheats, and a sharp-dressed slugger before a massive surprise round of Fast Fired Facts! Wild Horses couldn't drag us away from this episode, and it'd be pretty couth if you sent us Dead Flowers every mornin'.Keep Spinning at www.SpinItPod.com!Thanks for listening!0:00 Intro: Memories From 2006:45 About The Rolling Stones19:07 The Stones At Altamont21:41 About Sticky Fingers27:49 Awards & Accolades30:17 Fact Or Spin33:17 Mick Jagger Founded A Soccer Team38:27 Bill Wyman: Treasure Hunter43:20 Keith Richards Failed His Driving Test(s)47:40 Charlie Watts Is A Sharp-Dressed Slugger51:01 Someone Lost Their Seat On A Plane To Mick Jagger's Hat57:13 Fast Fired Facts - Official Stones Merch1:04:03 Album Art1:07:21 The Tongue And Lips Logo1:08:22 Brown Sugar1:12:54 Sway1:14:31 Wild Horses1:17:55 Can't You Hear Me Knocking1:20:50 You Gotta Move1:22:19 B*tch1:24:47 I Got The Blues1:26:37 Sister Morphine1:28:37 Dead Flowers1:30:57 Moonlight Mile1:32:40 Final Spin Hosted on Acast. See acast.com/privacy for more information.

The Deadcast makes a beeline for the northeast, focusing on shows from legendary venues in the Manhattan and Boston areas included on the new Enjoying the Ride box, including ESP experiments, weed smuggling, free jazz titans, multiple police chases, and more.Guests: David Lemieux, Ron Rakow, Sam Cutler, Richie Pechner, Allan Arkush, Ned Lagin, Gary Lambert, Blair Jackson, Stanley Krippner, Rebecca Adams, Johnny Dwork, John Scher, Michael Simmons, Tyler Roy-Hart, Henry K, Howie Levine, Kenny Schiff, Debbie RondeauSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When did the 60s symbolically end? Altamont? Kent State? No - when the organ stops playing towards the end of "Gimme Gimme Good Lovin'" by Crazy Elephant. It's bubblegum, but also super rockin'. Who'da thunk it? The first cover of the version was by ... Giorgio Moroder? It doesn't sound like his 70s stuff but it is wild. Third is a 80s Moroder-esque version from Roxy Perry, a blueswoman who didn't expect a Hi-NRG remix of her vocal. The fourth suitor is Canada's legendary hair metallers, Helix. For Canucks Erik and Weldon, this is manna from heavy metal heaven. Finally, a recent rendition from GospelbeacH, which is faithful - too faithful? Listen to this with some girls from Texarcan!!

Downtown Greenville is already considered one of the best Downtowns in the Southeast, and it's about to get a lot better, as there are many planned redevelopment projects (some already in the works!) for adding great new places to hangout, shop, and eat to some of Greenville's most neglected areas. So let's talk about them! In this episode we discuss: 1. The Greenville Gateway Project 2. The County Square redevelopment 3. The potential Poe Mill revitalization And we also get into the much maligned Inn at Altamont - a proposed resort hotel on Paris Mountain that is unlikely to ever see the light of day. This episode is best viewed on youtube, where you can see a bunch of renderings!   As always, if you have any questions or comments (or, of course, need a realtor), feel free to reach out to Stan McCune directly by phone/text at (973) 479-1267 or by email at smccune@cdanjoyner.com

The Deadcast's tour of Enjoying the Ride trucks all the way to the East Bay, exploring beloved venues including the Greek Theater & Kaiser Auditorium, with tales of the Hog Farm's Skeleton Crew & vintage field recordings from Oakland Coliseum Arena's parking lot. Guests: David Lemieux, Ron Rakow, Kevin Schmevin, Mark Pinkus, Blair Jackson, Steve Silberman, Rebecca Adams, David Gans, Johnny Dwork, Tyler Roy-Hart, Steven Bernstein, Robert Nyberg, Chad KroegerSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.