Podcasts about Between Us

There's nothing wrong with these songs, they just aren't always the right song for the moment. This week's picks “Between Us and Them” by Moving Units “Do You Ever Glow?” by Green Buzzard “So Hot You're Hurting My Feelings” by Caroline Polachek The Playlist No Repeat Playlist on Spotify No Repeat Playlist on Apple Music B-Sides Unofficial B-Sides Playlist Support the Show No Repeat on Patreon Join our Discord Email us: norepeatpod[at]gmail[dot]com Follow Us Follow Tyler on Instagram Follow Shaun on Instagram Follow Taylor on Instagram

Después de una gira intensiva, Momma se dieron cuenta de que sus antiguos trucos musicales ya no reflejaban sus emociones. Los riffs pesados y los coros contundentes ya no lograban transmitir la profundidad del giro que había dado su vida. Por eso, su nuevo disco, 'Welcome To My Blue Sky', abraza un pop sencillo y limpio, tan claro como un cielo azul de primavera, con melodías que dejan espacio a sus sentimientos y los proyectan al público, invitándolo a corearlos juntos. Playlist:HAIM - Everybody's trying to figure me outMomma - Ohio All The TimeYawners - Dolor en el pechoBlondshell - 23's A BabySharon Van Etten - AfterlifeBlack Country, New Road - Salem SistersWet - RosySaya Gray - ..THUS IS WHY (I DON'T SPRING 4 LOVE)Étienne de Crécy, Damon Albarn - Rising SoulΣtella, Las Palabras - Baby BrazilBb trickz - SuperMiso Extra - POPKaitlyn Aurelia Smith - What's Between UsFKA twigs - Girl Feels GoodEartheater, Shygirl - DolphinAMORE, LeChatelier - JuvenilEscuchar audio

We're back with Part 5 (or is it a million?!) of the It Ends with Us legal saga. This week, we're picking up right where we left off with Justin Baldoni's complaint against Blake Lively, and the drama just keeps escalating. We're breaking down more allegations from Lively's camp, along with Baldoni's legal team's not-so-subtle clap-backs and responses. Thanks for sticking it out with us through this ever-unfolding saga, Legal Team!  What's on the docket? Intimacy coordinator drama: the birth scene & bar scene  The birth video debacle and trailer visit allegations  The alleged Reynolds-Lively-Baldoni meeting/ambush  Lively's alleged takeover of the film's creative direction  Taylor Swift being used as leverage in negotiations  Lively replacing editors and composers of the film  Screen test showdown: Baldoni's cut vs. Lively's cut  Between Us press drama, BookCon and premiere snub  Details of the PR Game of Thrones  Access additional content and our Patreon here: https://zez.am/thebravodocket  The Bravo Docket podcast, the statements we make whether in our own media or elsewhere, and any content we post are for entertainment purposes only and do not provide legal advice. Any party consuming our information should consult a lawyer for legal advice. The podcast, our opinions, and our posts, are our own and are not associated with our employers, Bravo TV, or any other television network. Cesie is admitted to the State Bars of California and New York. Angela is admitted to the State Bars of Texas, Kansas, and Missouri.  Thank you to our incredible sponsors! Air Doctor: Head to AirDoctorPro.com and use promo code DOCKET to get UP TO $300 off today!   Rula: Connect with quality therapists and mental health experts who specialize in you at https://www.rula.com/bravodocket #rulapod   Oneskin: For a limited time, you can try OneSkin with 15% off using code BRAVODOCKET at oneskin.co.   Acorns: Head to acorns.com/bravodocket or download the Acorns app to get started.   Quince: Go to quince.com/docket for 365-day returns, plus free shipping on your order!   Pretty Litter: Go to prettylitter.com/bravodocket to save 20% on your FIRST order and get a free cat toy.   Mudwtr: Start your new morning ritual & get up to 43% off your @MUDWTR with code BRAVODOCKET at mudwtr.com/bravodocket! #mudwtrpod   Factor: Get started at factormeals.com/FACTORPODCAST and use code FACTORPODCAST to get 50% off your first box plus free shipping. Learn more about your ad choices. Visit megaphone.fm/adchoices

El baile es el vehículo de Marie Davidson para expresar inquietudes modernas. Su nuevo disco, 'City of Clowns', la lleva a un territorio más techno mientras reflexiona sobre el impacto de la tecnología en la sociedad actual. Inspirada por el libro 'La era del capitalismo de la vigilancia' de la socióloga Shoshana Zuboff, Davidson se apoya en su teoría en la que cuestiona a las grandes corporaciones tecnológicas, y sostiene que utilizan la privacidad de los usuarios para establecer un nuevo orden económico mundial que pone en peligro la democracia. Playlist:Black Country, New Road - Happy BirthdayPanda Bear - Just as WellDestroyer - Hydroplaning Off the Edge of the WorldSharon Van Etten - Southern Life (What It Must Be Like)Andy Bell, Dot Allison, Miuchel Rother - I'm in LoveAvalon Emerson - Don't Be Seen With MeConfidence Man, Eliza Rose - I HEART YOUMarie Davidson - Sexy ClownKaitlyn Aurelia Smith - What's Between UsWhatever The Weather - 12ºCClaudio Montana, Ultralágrima - El paseoTRISTÁN! - Life Is A MovieBaba Stiltz, Okay Kaya - I Believe In LoveHope Tala - I Can't Even CrySaya Gray - LIE DOWNEscuchar audio

La voz aniñada de Noah Lennox y la luminosidad pop que imprime en sus composiciones, escoden muchas veces el sabor amargo y angustiado de sus letras. El paso del tiempo y su reflejo en nuestros cuerpos (crecer hasta que es envejecer) tiñen 'Sinister Grift', el primer disco en solitario para Panda Bear desde 2019. Y, sin embargo, es la reivención del proyecto hacia la comunidad de una banda en la que están involucrados todos los miembros de Animal Collective, su pareja Rivka Ravede (de Spirit of The Behive) y hasta su hija. Playlist:Panda Bear - PraiseBrian D'Addario - Till the MorningHorsegirl - Well I Know You're ShyGrimes - idgafpiri & tommy - fruit machineShygirl, Club Shy, Yseult - F*MeKaitlyn Aurelia Smith - What's Between UsTwo Shell - OopsParis Texas - Twin GeekerGhouljaboy - NocallLittle Simz, Obongjayar, Moonchild Sanelly - FloodEzra Collective, M.anifest, Moonchild Sanelly - Streets is CallingEverything is Recorded, Roses Gabor, Kamashi Washington, Rickey Washington - The MeadowsFred again.., Angie McMahon - light dark lightGAZZI - me acuerdo de tiDJ Python, Isabella Lovestory - Besos RobadosJon Hopkins - RITUAL (nothing is lost)Escuchar audio

In light of the GWS Giants players being suspended and fined for Wacky Wednesday antics, it's timely for us on Between Us to revisit a conversation held earlier this year with CEO of Our Watch Patty Kinnersly about gendered violence and the harmful ways the behaviour shown last week can hurt so many. Every fortnight, star broadcasters Sarah Olle and Nat Edwards will be joined by a footy-loving guest to talk everything from their passion for the game to dealing with life, loss and love. Join Nat and Sarah every fortnight wherever you get your podcasts. See omnystudio.com/listener for privacy information.

Steyoyoke Podcast 111 features a deep and melodic selection by Canadian DJ and producer Monarke. The mix includes Monarke's tracks ‘Transumation', ‘Between Us', and ‘Blur', alongside releases from Andrewboy, Furkan Cinar, and Night Stories. This podcast highlights the ethereal and atmospheric sound that defines Steyoyoke. http://www.steyoyoke.com/

Musician Alex Lahey joins Between Us to share how the AFLW helped her fall back in love with footy, lists her top five favourite Saints players of all time and how music has shaped the way she lives. From favourite footy moments to greatest fears, nothing is off-limits in 'Between Us', an all-new podcast from AFL Digital. Every fortnight, star broadcasters Sarah Olle and Nat Edwards will be joined by a footy-loving guest to talk everything from their passion for the game to dealing with life, loss and love. Join Nat and Sarah every fortnight wherever you get your podcasts. See omnystudio.com/listener for privacy information.

In this episode, Alicia Coppola discusses her journey into the motivation behind her award-winning short films and her podcast Bootstrap Bitch Podcast. We discuss not only surviving, but thriving, choosing kindness, compassion, respect and acceptance.BIOAlicia Coppola is an actress, director, podcaster, producer and writer. Her entertainment career spans more than 30 years including starring roles on TV in Jericho, Blood & Treasure, Why Women Kill, and in the feature films National Treasure 2: Book of Secrets, and We Are Your Friends, among others. Her published book, Gracefully Gone, chronicles her father's battle with brain cancer and inspired the award-winning short film, Between Us, which Alicia wrote, directed and starred in. And You Are…? starring Jane Seymour is her second award winning short film that she wrote and directed. She supports various LGBTQ+ organizations and is a Global Ambassador for The Elizabeth Kübler Ross Foundation.IG @alicia_coppola#alittlelessfearpodcast #podcastshow #podcasthost #shortfilm #awardwinning #HRC #bootstrapbitchpodcast #compassion #respect #acceptance #kindness #cancer #spirit #LGBTQ #LGTBQ+ #LGBTQIA #trans #transgender #transman #alzheimers #alzheimersdementia #alzheimersdisease #fyp #foryoupage #foryourpage This is Dr. Lino Martinez the host for A Little Less Fear Podcast. For more information, please use the information below. Thanks so much for your support!Author | A Little Less FearA Little LESS FEAR Podcast (@alittlelessfearpodcast) • Instagram photos and videosLino Marinez (@alittlelessfear) TikTok | Watch Lino Marinez's Newest TikTok Videos(4) A Little Less Fear Podcast - YouTube

Filmmaker and author, Dan Mirvish's recent feature, 18½, starred Willa Fitzgerald, John Magaro and Bruce Campbell as the voice of Nixon. The award-winning film played in 25 festivals, had a 60-city theatrical release, played on 7 airlines and is now available on Starz. Prior to that, Dan directed Bernard and Huey, scripted by Oscar and Pulitzer Prize-winner Jules Feiffer.  It starred Oscar-winner Jim Rash and David Koechner. Dan's film Between Us, an adaptation of the hit Off-Broadway play, starred Julia Stiles, David Harbour, Taye Diggs and Melissa George. He was mentored by Robert Altman on his first film, Omaha (the movie), which led him to co-found the upstart Slamdance Film Festival.  And his film Open House prompted the Academy Awards to rewrite their rules on the Best Original Musical category. Dan co-wrote the critically acclaimed novel I Am Martin Eisenstadt. And he wrote two editions and recorded an audiobook of his non-fiction book, The Cheerful Subversive's Guide to Independent Filmmaking.Dan is a graduate of USC's renowned film school and is a member of the Director's Guild of America. Of note, he's also worked as a speechwriter for U.S. Senator Tom Harkin. 

Carlton vice-president and CEO of Our Watch Patty Kinnersly joins Between Us to talk about footy's role in driving social change, her love for the Blues, and her own football career This conversation may be triggering for some people, if you're feeling unsafe you can call 1800-RESPECT (1800 737 732), if it's an emergency 000 is the only number you should call.  From favourite footy moments to greatest fears, nothing is off-limits in 'Between Us', an all-new podcast from AFL Digital. Every fortnight, star broadcasters Sarah Olle and Nat Edwards will be joined by a footy-loving guest to talk everything from their passion for the game to dealing with life, loss and love. Join Nat and Sarah every fortnight wherever you get your podcasts. See omnystudio.com/listener for privacy information.

Join us on this episode of "Between Us" as we welcome Trey, the innovative mind behind Rare Roses, who shares his incredible journey of turning a passion for vintage fashion into a thriving business. Trey's story takes us from his early days of thrifting and flea markets to creating a unique brand known for its exclusive and nostalgic designs. Through candid discussions, Trey delves into his experiences of overcoming obstacles, building a community, and finding success in the world of fashion.In this episode, we explore the importance of persistence, the power of creativity, and the significance of staying true to one's vision. Trey provides valuable insights into how he navigated challenges, including a significant setback when his inventory was stolen, and how he continues to inspire others with his dedication to his craft and his community-focused approach.Timestamps:00:00 - Welcome Trey, the founder of Rare Roses.00:07 - Discussing the origin of the company name and its significance.00:48 - The allure of vintage fashion and Trey's journey from sneakers to rare vintage tees.02:11 - Strategies for finding and curating vintage pieces.03:09 - Trey's most cherished find and its personal connection.04:45 - The balance of sourcing and branding in Rare Roses.06:14 - The significance of hats in Trey's brand and their branding potential.08:11 - The story behind Christian Pulisic and the iconic Rare Roses hat.09:52 - The transition from vintage products to branded designs and their success.12:21 - The challenge of a cease and desist and Trey's response.14:51 - Balancing artistry and business in fashion design.17:14 - Trey's vision for the future of Rare Roses and expanding into stores.20:55 - Building a community and the importance of feeling seen and heard.22:53 - The story of overcoming a major robbery setback.26:12 - Highlighting the community support and loyalty at Rare Roses events.30:13 - Trey's advice for young entrepreneurs and creatives.Stay Connected with Trey:Instagram: instagram.com/rare.roses

Stand-up comedian and former accountant Dilruk Jayasinha joins Between Us to talk the Hawks, growing up in Sri Lanka, and why heartbreak hurt more than his heart attack From favourite footy moments to greatest fears, nothing is off-limits in 'Between Us', an all-new podcast from AFL Digital. Every fortnight, star broadcasters Sarah Olle and Nat Edwards will be joined by a footy-loving guest to talk everything from their passion for the game to dealing with life, loss and love. Join Nat and Sarah every fortnight wherever you get your podcasts. See omnystudio.com/listener for privacy information.

TV and radio host Ash London joins Between Us to talk family footy wars, the transition from fame to motherhood, and why everyone needs to go through an ego death.  From favourite footy moments to greatest fears, nothing is off-limits in 'Between Us', an all-new podcast from AFL Digital. Every fortnight, star broadcasters Sarah Olle and Nat Edwards will be joined by a footy-loving guest to talk everything from their passion for the game to dealing with life, loss and love. Join Nat and Sarah every fortnight wherever you get your podcasts. See omnystudio.com/listener for privacy information.

Au début du XXIème siècle, le sitariste de renommée internationale Ravi Shankar faisait une tournée « d'adieu » en présentant son héritière, sa fille Anoushka Shankar. Depuis, l'artiste britannique d'origine indienne s'évertue avec talent à défolkloriser son instrument. Entretien et #SessionLive. La longue liste des projets accomplis par Anoushka Shankar, semble raconter l'histoire de plusieurs vies condensées en une seule : sitariste virtuose, compositrice de musiques de films, militante passionnée ; elle est également la première et plus jeune femme à se voir remettre les armes du Parlement britannique, la première musicienne indienne à présenter et jouer lors de la cérémonie des Grammy Awards. Ayant fait ses premiers pas sur la scène internationale très jeune, elle s'est rapidement imposée comme une artiste singulière, animée par une soif d'explorer au-delà des frontières des genres, passant du classique au contemporain, de l'acoustique à l'électronique le long d'une carrière qui court depuis près de vingt-cinq ans.Tout en offrant un répit du monde où elle grandit sous le regard continu du public, la maison familiale des Shankar était rarement un lieu propice au recueillement silencieux. Les musiciens allaient et venaient en permanence, que ce soit pour apprendre, répéter, improviser ou simplement s'adonner à des jeux musicaux autour de la table à manger. Anoushka s'est mise à étudier le sitar, et la musique classique indienne dès l'âge de 9 ans sous le haut patronage de son père, Pandit Ravi Shankar, maître de l'instrument et figure sans laquelle la musique du XXème siècle n'aurait pas été la même. Après des débuts professionnels à l'âge de 13 ans, elle part en tournée autour du monde aux côtés de son père avant de poursuivre son propre chemin sur scène à l'âge de 18 ans.Découvrant la musique électronique à l'adolescence, elle s'immerge alors dans la scène psychédélique trance de Goa établissant des parallèles entre les propriétés méditatives et introspectives de la musique classique indienne et le relâchement extatique sur la piste de danse. Trois albums de musique classique plus tard (chez Angel Records EMI), elle n'a que 25 ans et est déjà une habituée des salles prestigieuses telles le Carnegie Hall de New York et Le Barbican de Londres. Elle s'oriente ensuite vers des ambiances plus telluriques, des textures plus profondes avec l'album Rise (2005), animée par le désir de « créer une musique qui puisse pleinement représenter qui je suis ». Composée et réalisée par ses soins, la musique de Rise est infusée de sons électroniques créés avec Gaurav Raina de MIDIval Punditz, un « moyen de raconter mon histoire avec mon père : grandir sur trois continents avec un pied dans le passé et un autre dans le présent ».L'album suivant Breathing Underwater, réalisé en collaboration avec le multi-instrumentiste Karsh Kale, entrevoit un univers sonore où les ragas, les paysages analogues lumineux, les nappes électro contemplatives et les incursions de Ravi Shankar, Sting et de sa demi-sœur Norah Jones, s'imbriquent harmonieusement sans jamais donner l'impression de ne pas être à leur place.La signature chez Deutsche Grammophon en 2011 est le point de départ d'une décennie marquée par une créativité débridée. Le temps de quatre albums, tous nommés aux Grammy Awards, des fils disparates sont tissés ensemble pour former une riche tapisserie où les thèmes se bousculent et les palettes sonores sont constamment élargies. Les intenses méditations sur l'amour et la perte de Traces Of You, réalisé par Nitin Sawhney, sont suivies de Home et le retour doucement triomphant des pures improvisations raga.La relation historique entre la musique classique indienne et le flamenco espagnol est au cœur de Traveller, réalisé par Javier Limón, alors que l'actuelle crise internationale touchant les réfugiés est à la source du cri de ralliement de Land Of Gold. Land Of Gold cristallise parfaitement le son d'Anoushka : le sitar dé-exotisée résonne autour de l'instrumentation imprévisible en défiant les frontières des genres.En 2022, Anoushka rejoint Leiter, le label fondé par Nils Frahm et son manager Felix Grimm, et sort l'album live, Between Us qui est nommé dans la catégorie Meilleur Album de Musiques du Monde aux Grammy Awards, et Anoushka reçoit une nomination dans la catégorie Meilleure Prestation de Musiques du Monde pour sa collaboration avec Arook Aftab, sur Udhero Na extrait de l'édition Deluxe de Vulture Prince du chanteur et compositeur pakistanais.Elle collabore avec des artistes aussi divers que Herbie Hancock, Patti Smith, Joshua Bell, Rodrigo y Gabriela, Jules Buckley Anoushka considère que son plus grand défi musical reste ses premiers pas dans la composition pour le cinéma: avec la réalisation d'une bande originale de Shiraz, l'un des premiers grands films muets indiens restauré par l'Institut du Film Britannique, et sa performance lors des projections. Plus récemment, elle compose la bande originale de A Suitable Boy (« Un Garçon Convenable ») de Mira Nair.Avec sa musique, Anoushka évoque aussi bien les instants intemporels du passé que l'urgence du futur, ce qui la pousse à nourrir son travail d'un engagement sans relâche. S'exprimant ouvertement à propos de ses expériences en tant que femme et ancienne victime de maltraitance dans son enfance, elle met sa notoriété au profit de campagnes telle que le One Billion Rising. Elle est fréquemment associée aux initiatives du Haut-Commissariat des Nations unies pour les Réfugiés (UNHCR) et de Help Refugees afin de récolter des fonds et sensibiliser les gens à la crise des réfugiés. En 2020, elle est investie première présidente de la F-List: une base de données britannique créée afin de combler l'écart entre les sexes dans l'industrie musicale. Elle est également ambassadrice de The Walk, un projet artistique international de soutien aux réfugiés. Tout cela ne fait que témoigner de la singularité d'une artiste qui parvient à mener plusieurs vies en une. Titres interprétés au grand studio- In The End Live RFI (issu de l'EP Chapter II) + RFI Vidéos- Extrait Raga Anandi Kalya avec son père  Ravi Shankar voir clip- Daydreaming Feat. Nils Frahm, Extrait Chapter 1- Pacifica, extrait de Zik Chapter 2- Extrait Sea Dreamer feat. Sting (Album A Perfect Rain, 2007)- Extrait Traces Of You duo avec Norah Jones- Extrait Casi Uno duo avec Buika (album Traveller, 2011)- Dancing In Madness Live RFI  (album Traveller de 2011) + RFI Vidéos.Line Up : Anoushka Shankar, sitar ; Danny Keane, piano, violoncelle ; Pirashanna Thevarajah, percussions (konokkol, mridangam, morsing) et Claire Simon à la traduction.Son:  Mathias Taylor & Benoît Letirant.► EP – CHAPTER I – Forever For Now (Leiter 2023)► EP – CHAPTER 2- How dark It Is Before Dawn (Leiter 2024).

Au début du XXIème siècle, le sitariste de renommée internationale Ravi Shankar faisait une tournée « d'adieu » en présentant son héritière, sa fille Anoushka Shankar. Depuis, l'artiste britannique d'origine indienne s'évertue avec talent à défolkloriser son instrument. Entretien et #SessionLive. La longue liste des projets accomplis par Anoushka Shankar, semble raconter l'histoire de plusieurs vies condensées en une seule : sitariste virtuose, compositrice de musiques de films, militante passionnée ; elle est également la première et plus jeune femme à se voir remettre les armes du Parlement britannique, la première musicienne indienne à présenter et jouer lors de la cérémonie des Grammy Awards. Ayant fait ses premiers pas sur la scène internationale très jeune, elle s'est rapidement imposée comme une artiste singulière, animée par une soif d'explorer au-delà des frontières des genres, passant du classique au contemporain, de l'acoustique à l'électronique le long d'une carrière qui court depuis près de vingt-cinq ans.Tout en offrant un répit du monde où elle grandit sous le regard continu du public, la maison familiale des Shankar était rarement un lieu propice au recueillement silencieux. Les musiciens allaient et venaient en permanence, que ce soit pour apprendre, répéter, improviser ou simplement s'adonner à des jeux musicaux autour de la table à manger. Anoushka s'est mise à étudier le sitar, et la musique classique indienne dès l'âge de 9 ans sous le haut patronage de son père, Pandit Ravi Shankar, maître de l'instrument et figure sans laquelle la musique du XXème siècle n'aurait pas été la même. Après des débuts professionnels à l'âge de 13 ans, elle part en tournée autour du monde aux côtés de son père avant de poursuivre son propre chemin sur scène à l'âge de 18 ans.Découvrant la musique électronique à l'adolescence, elle s'immerge alors dans la scène psychédélique trance de Goa établissant des parallèles entre les propriétés méditatives et introspectives de la musique classique indienne et le relâchement extatique sur la piste de danse. Trois albums de musique classique plus tard (chez Angel Records EMI), elle n'a que 25 ans et est déjà une habituée des salles prestigieuses telles le Carnegie Hall de New York et Le Barbican de Londres. Elle s'oriente ensuite vers des ambiances plus telluriques, des textures plus profondes avec l'album Rise (2005), animée par le désir de « créer une musique qui puisse pleinement représenter qui je suis ». Composée et réalisée par ses soins, la musique de Rise est infusée de sons électroniques créés avec Gaurav Raina de MIDIval Punditz, un « moyen de raconter mon histoire avec mon père : grandir sur trois continents avec un pied dans le passé et un autre dans le présent ».L'album suivant Breathing Underwater, réalisé en collaboration avec le multi-instrumentiste Karsh Kale, entrevoit un univers sonore où les ragas, les paysages analogues lumineux, les nappes électro contemplatives et les incursions de Ravi Shankar, Sting et de sa demi-sœur Norah Jones, s'imbriquent harmonieusement sans jamais donner l'impression de ne pas être à leur place.La signature chez Deutsche Grammophon en 2011 est le point de départ d'une décennie marquée par une créativité débridée. Le temps de quatre albums, tous nommés aux Grammy Awards, des fils disparates sont tissés ensemble pour former une riche tapisserie où les thèmes se bousculent et les palettes sonores sont constamment élargies. Les intenses méditations sur l'amour et la perte de Traces Of You, réalisé par Nitin Sawhney, sont suivies de Home et le retour doucement triomphant des pures improvisations raga.La relation historique entre la musique classique indienne et le flamenco espagnol est au cœur de Traveller, réalisé par Javier Limón, alors que l'actuelle crise internationale touchant les réfugiés est à la source du cri de ralliement de Land Of Gold. Land Of Gold cristallise parfaitement le son d'Anoushka : le sitar dé-exotisée résonne autour de l'instrumentation imprévisible en défiant les frontières des genres.En 2022, Anoushka rejoint Leiter, le label fondé par Nils Frahm et son manager Felix Grimm, et sort l'album live, Between Us qui est nommé dans la catégorie Meilleur Album de Musiques du Monde aux Grammy Awards, et Anoushka reçoit une nomination dans la catégorie Meilleure Prestation de Musiques du Monde pour sa collaboration avec Arook Aftab, sur Udhero Na extrait de l'édition Deluxe de Vulture Prince du chanteur et compositeur pakistanais.Elle collabore avec des artistes aussi divers que Herbie Hancock, Patti Smith, Joshua Bell, Rodrigo y Gabriela, Jules Buckley Anoushka considère que son plus grand défi musical reste ses premiers pas dans la composition pour le cinéma: avec la réalisation d'une bande originale de Shiraz, l'un des premiers grands films muets indiens restauré par l'Institut du Film Britannique, et sa performance lors des projections. Plus récemment, elle compose la bande originale de A Suitable Boy (« Un Garçon Convenable ») de Mira Nair.Avec sa musique, Anoushka évoque aussi bien les instants intemporels du passé que l'urgence du futur, ce qui la pousse à nourrir son travail d'un engagement sans relâche. S'exprimant ouvertement à propos de ses expériences en tant que femme et ancienne victime de maltraitance dans son enfance, elle met sa notoriété au profit de campagnes telle que le One Billion Rising. Elle est fréquemment associée aux initiatives du Haut-Commissariat des Nations unies pour les Réfugiés (UNHCR) et de Help Refugees afin de récolter des fonds et sensibiliser les gens à la crise des réfugiés. En 2020, elle est investie première présidente de la F-List: une base de données britannique créée afin de combler l'écart entre les sexes dans l'industrie musicale. Elle est également ambassadrice de The Walk, un projet artistique international de soutien aux réfugiés. Tout cela ne fait que témoigner de la singularité d'une artiste qui parvient à mener plusieurs vies en une. Titres interprétés au grand studio- In The End Live RFI (issu de l'EP Chapter II) + RFI Vidéos- Extrait Raga Anandi Kalya avec son père  Ravi Shankar voir clip- Daydreaming Feat. Nils Frahm, Extrait Chapter 1- Pacifica, extrait de Zik Chapter 2- Extrait Sea Dreamer feat. Sting (Album A Perfect Rain, 2007)- Extrait Traces Of You duo avec Norah Jones- Extrait Casi Uno duo avec Buika (album Traveller, 2011)- Dancing In Madness Live RFI  (album Traveller de 2011) + RFI Vidéos.Line Up : Anoushka Shankar, sitar ; Danny Keane, piano, violoncelle ; Pirashanna Thevarajah, percussions (konokkol, mridangam, morsing) et Claire Simon à la traduction.Son:  Mathias Taylor & Benoît Letirant.► EP – CHAPTER I – Forever For Now (Leiter 2023)► EP – CHAPTER 2- How dark It Is Before Dawn (Leiter 2024).

Director, writer and actress Alicia Coppola visited The Locher Room to discuss her beautiful and powerful new short film, And You Are…?. The film stars Golden Globe Award-winner Jane Seymour and Zach Barack who will join Alicia for the interview. Zach is credited as the first openly transgender actor in a Marvel film. And You Are…? is Alicia's second short film. Her first, Between Us, is a raw and emotional slice of her personal life. Alicia's career began on Another World where she played Lorna Devon. She also played Dr. Meredith Gates on The Young and the Restless. In addition to her roles in daytime, Alicia has an extensive list of credits that include, Empire, Shameless, Jericho, Why Women Kill, 9-1-1, and NCIS: Los Angeles to name a small few.Spend an hour with Alicia Coppola and Zach Barrack to learn more about this incredible short film and why Alicia had to fight some resistance to get this film made.

In today's episode of Between Us moms, Hallie and Katie dive into the world of vasectomies -- revealing of their husbands will be getting snipped in the future.... Katie shares a story about a massive diaper blow out that required 30 wipes and a bath while Hallie reveals she found a new lady doctor -- but that she's feeling the pressure for a very specific reason. The ladies react to Lily Allen's recent quote about motherhood and her pop career, revealing if they think moms can have it all. Plus, is your partner keeping you up at night? You're not alone!! Between toots and scrolling... it's hard to get all the sleep we need!! See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Frontière Rock 22h minuit chaque mardi soir de 22h à minuit, plongez dans l'univers sombre et alternatif de la musique Dark, Alternative, Post Punk, Coldwave, Gothic Rock, Darkwave, Deathrock, New Wave, Dark Punk, Shoegaze... Ré écoutez l'émission Dark du mardi 12 Mars 2024 qui monte en cliquant sur le lien ci dessus. Animée par Dark Jérôme, cette émission vous fera découvrir des nouveautés récentes des meilleurs groupes et artistes de la scène underground, ainsi que les classiques du genre. Ce soir La Frontière reçoit en entretien cold le groupe CURTAIN (Post Punk Coldwave / France) pour nous parler de leur nouvel album Between Us date de sortie le 15 mars 2024 sur le Label Manic Depression Records. Ne manquez pas l'annonce des concerts de la semaine, concoctée par notre Dénicheur Jean-Marc, qui vous dévoilera les dates et les lieux où vous pourrez assister aux performances live des groupes que vous aimez. Et pour continuer en beauté, écoutez la chronique Ma Discothèque Vinyle indispensable, où Jean-Marc vous présentera un album culte ou rare qu'il a déniché dans sa collection personnelle de vinyles. Frontière Rock 10 p.m. midnight every Tuesday evening from 10 p.m. to midnight, immerse yourself in the dark and alternative world of Dark, Alternative, Post Punk, Coldwave, Gothic Rock, Darkwave, Deathrock, New Wave, Dark Punk, Shoegaze... listen to the Dark show from Tuesday March 12th, 2024 which is going up by clicking on the link above. Hosted by Dark Jérôme, this show will introduce you to recent new releases from the best groups and artists of the underground scene, as well as classics of the genre. This evening La Frontière receives a cold interview with the group CURTAIN (Post Punk Coldwave / France) to tell us about their new album Between Us, release date March 15, 2024 on the Manic Depression Records label. Don't miss the announcement of the week's concerts, put together by our Scouter Jean-Marc, who will reveal the dates and places where you can attend the live performances of the groups you like. And to continue in style, listen to the Ma Discotheque Vinyle indispensable column, where Jean-Marc will present to you a cult or rare album that he unearthed in his personal vinyl collection. Facebook : https://www.facebook.com/CURTAIN.the.band Instagram : https://www.instagram.com/curtain_band Label : https://manicdepressionrecords.bandcamp.com/album/md163-curtain-between-us-preorder Station: ATTITUDE Date: 12/03/2024 Slot: 22h Hour Performer Title Tuesday 22:00:00 Tuesday 22:03:09 AL/CE La terrasse Tuesday 22:06:04 Empty Eyes Dead Korrigans Tuesday 22:09:30 Echoscope Meaningless Tuesday 22:13:38 Chemical Waves Torn by ego (feat NLIGHT) Tuesday 22:18:38 Ductape Closer Tuesday 22:22:21 Eucaristia Intro Tuesday 22:24:03 Eucaristia Candles In My Room Revived Tuesday 22:26:00 Principe Valiente Something New Tuesday 22:28:49 Locust Revival LOCUST HAUS Tuesday 22:39:21 CURTAIN AGAINST_THE_WALL Tuesday 22:56:03 CURTAIN SPEED_OF_LIGHT Station: ATTITUDE Date: 12/03/2024 Slot: 23h Hour Performer Title Tuesday 23:00:00 Tuesday 23:04:42 Clan Of Xymox Michelle Tuesday 23:08:52 Protocell Radio Silence Tuesday 23:11:58 The City Gates Lapidation Tuesday 23:16:14 TWIN ION ENGINE Idée Fixe Tuesday 23:20:03 Wieże Fabryk Echo Tuesday 23:24:05 The Slashes Limo Tint Tuesday 23:28:12 Remember Minsk et Nick Hollow Protège-moi (Placebo) Tuesday 23:31:36 Claustraphobia Maybe You Will Live Forever Tuesday 23:35:06 closed mouth Erased Tuesday 23:40:32 Die Tödin Dissonanz des Lebens Tuesday 23:43:49 NIGHTSISTER Lost In A Past Life Tuesday 23:47:27 HOLOGRAMA OBLITERACIÓN Tuesday 23:51:14 Tuzla Değerli Tuesday 23:56:22 Wings of Desire Runnin' Frontière Rock 100% Underground

Ever wondered how the best leaders seem to have an uncanny ability to connect with their team? You're about to learn how they do it. Join us as we navigate the landscape of leadership through the lens of emotional capacity with insights from luminaries like Susan David and the pen behind "Between Us." We delve into the profound significance of emotional agility and vocabulary in shaping the dynamics and culture within a team. With real-world anecdotes and practical tools, such as the wheel of emotions, our conversation promises to arm you with strategies to enhance your leadership style and cultivate deeper team connections.Prepare to transform your approach to leadership as we discuss the necessity of recognizing emotions as fleeting yet impactful forces that can dictate the atmosphere of any group. Our guest shares her expertise on the long-term influence of emotional literacy, tracing its roots from the tender years of childhood to the demanding role of a leader. By understanding the subtleties of our own emotional landscapes and those of the people we lead, we can foster a more thoughtful and aligned team culture. This episode isn't just a lesson; it's a masterclass in compassionate leadership, inspired by the most forward-thinking minds in the field.Take a few minutes to give us feedback and help us create better content for you!Click here to take the survey. You are invited to join Leadership Vision Online, free to the next 150 members! This new community allows you to connect with like-valued individuals, network, and learn from others while elevating your leadership skills through exclusive resources, live events, Q&As, workshops, and member-led discussions.Support the show-Read the full blog post here!CONTACT US email: connect@leadershipvisionconsulting.com LinkedIn Facebook Leadership Vision Online ABOUTThe Leadership Vision Podcast is a weekly show sharing our expertise in discovering, practicing, and implementing a Strengths-based approach to people, teams, and culture. Contact us to talk to us about helping your team understand the power of Strengths.

NOTE: Due to the nature of the editing, this particular episode is best consumed in video format. Consider heading over to our YouTube channel to watch it there for the best experience.For our very first studio interview in Thailand, we sat down with Tae & Benz to look back on their time filming Between Us, talk about what type of projects they'd like to do in the future and learn about some of their firsts with a fun game!Follow Tae & Benz on socials:Tae: https://www.instagram.com/taee.w18Benz: https://www.instagram.com/benz.pnp~Find us on socialsX: https://twitter.com/lovecastpodcastInstagram: https://www.instagram.com/lovecastpodcastFacebook: https://www.facebook.com/lovecastpod/TikTok: https://www.tiktok.com/@lovecastpodcastDiscord: https://discord.gg/T3DUgSZeYBIf you like our content, we'd love your support!LoveCast Shop: https://bit.ly/LoveCastMerch Patreon: https://www.patreon.com/lovecastKo-Fi: https://ko-fi.com/lovecastEditor: Jordie Get bonus content on PatreonSupport this show http://supporter.acast.com/lovecast. Hosted on Acast. See acast.com/privacy for more information.

This interview with photographer, filmmaker Gao Yuan was originally part of episode 260 about coincidences connected with the Taiwanese American Arts Council's house, Building 7B on New York's Governors Island, which has affectionately come to be called the Taiwan house. The Taiwanese American Arts Council was selected to be an Organization in Residence on Governors Island this year from May to October and was also the only Asian organization on Governors Island this past year. In this episode I'll be talking with Gao Yuan about her short film Between Us which deals with the conflict between the indigenous and Hakka in southern Taiwan, and also how Gao Yuan uncovered a surprising connection to Taiwan that actually came knocking on the door of TAAC's house Building 7B.    Related Links: https://talkingtaiwan.com/gao-yuan-her-occidental-journey-to-becoming-a-photographer-and-filmmaker-ep-262/   Here's a little preview of what we talked about in this podcast episode:   ·       Gao Yuan's background ·       How Gao Yuan got into photography ·       Gao Yuan's short film, Between Us ·       The significance of the river in Gao Yuan's short film, Between Us ·       Gao Yuan's approach to photography and filmmaking ·       How Gao Yuan started photographing people with tattoos ·       How many of the tattooed people Gao Yuan photographed in Taiwan were part of the mafia or considered gangsters ·       Gao Yuan's short film, Ocean, tattoo, and bar ·       How Gao Yuan met Commander Douglas Stevenson who previously lived at the Taiwan house (Building 7B) with his family and his connection to Taiwan ·       The short documentary film the Gao Yuan made about the Douglas Stevenson Family   Related Links: https://talkingtaiwan.com/gao-yuan-her-occidental-journey-to-becoming-a-photographer-and-filmmaker-ep-262/

JAMES A. ROCCO is the visionary CEO of Thirty Saints Productions, creators of the Songbook Series and Broadway Songbook®. Thirty Saints Productions is a dynamic and innovative company that excels in creating original theatrical works for a diverse range of venues across the globe. In 2022, the company expanded its horizons, venturing into negotiating, consulting, and acquiring music licenses for popular jukebox musicals, solidifying its position as an industry leaders.    With Broadway Asia, Thirty Saints toured Joseph and the Amazing Technicolor Dreamcoat® to Tokyo and led the artistic team for the US Air Force's 9/11 tribute video, There Are No Words, seen by millions of viewers. Thirty Saints is an investor in the current Broadway, National Tour, and Toronto productions of Come from Away and Magic Mike in London.   From 2005-2017, Rocco was the VP of Programming and Producing Artistic Director of Ordway Center for the Performing Arts, where he presented and booked the best of touring Broadway (August, Osage County, An American In Paris, Kinky Boots, Les Misérables) and produced or co-produced award-winning theatricals (In The Heights, Love, Janis, Cabaret, West Side Story.) As the Ordway's representative and member of the Broadway League and the IPN (Independent Producer's Network), he was a producing partner and investor in Fun Home, Legally Blonde, The Color Purple, Monty Python's Spamalot, and others, as well as serving on the IPN's Governance Committee.    In 2019, he was recognized by The Broadway League and The Coalition of Broadway Unions and Guilds for "30 years of dedication, craft, and contribution to the theater" at their annual Broadway Salutes ceremony.   A longtime member of NAMT (National Alliance for Musical Theatre), he served on the Alliance's New Works committee.  Rocco commissioned the holiday musical A Country Christmas Carol and was part of the creative teams behind the off-Broadway cult hits Nite Club Confidential and Hooked on the 70s.  His re-versioned stage production of Singin' in the Rain has been seen worldwide.  Rocco was Producing Artistic Director of Lyric Theatre of Oklahoma and Interim Artistic Director of Stage One, a theatre dedicated to new musical development.    On Video, he was the Executive Producer and Co-Director of the Regional Emmy Nominated Documentary, The World We Create, and directed the television musical, Born of A Dream.  For Mitsubishi/ArtSphere, he created the stage and television spectacular Galaxy Express 999.   Rocco's theatrical career started at three years old, as the youngest member of the (Art) Linkletter Totten Tots! He appeared in Oliver! with Ray Walston and Jules Munschin; Carousel as Enoch Snow Jr, with John Raitt; and as Sheppard in Sidney Lumet & David Merrick's Paramount motion picture thriller, Child's Play.     James directed and produced his first show in New York at 16 (Henry, Sweet Henry, at the Mercer Arts Center and the Lamb Theatre).  As a performer, he appeared in the original Broadway production of Cats(as the Rum Tum Tugger), the International and TV Ashai Productions of Duke Ellington's Sophisticated Ladies; sang back up for Frank Sinatra and was featured singer for Herbie Hancock and the Super Sounds. He played Judas in Jesus Christ Superstar, The Witch in Into The Woods, appears on 10 Ben Bagley albums, and his CD, It's Between Us, produced the FMQB Top 40 hit, And The Night Stood Stillby Diane Warren. In 2021, Broadway World Minneapolis cited him as Vocalist of the Decade.  

In this episode, Betsy and Phoenix Rising, also known as Nyee Moses, take a dive into the music industry and its destruction of the artist. We discuss creating a new wave of independent music and film, 432 HZ, the phenomenon of Oliver Anthony, how we don't need the powers that shouldn't be, and we quickly segue into miracles, powerful souls, the transition between this world and the next, the way we'll look back on this time in history as the twisted and barbaric time when parents and professionals surgically mutilated the children, and we end with a hopeful tidbit from the Lyran council. Phoenix is one of the most gentle and authentic souls I've had the pleasure of having on the show. If the music industry part doesn't interest you as much as the spiritual depth the interview gets into, skip to minute 20.Nyee's hit song in 2008 was "Between Us."Mentioned in the interview:Brian KellyBook - The Body Keeps ScorePhoenix Rising on Instagram: @theofficialphoenixrisingWebsite: www.ShamanicBeauty.comHow to support Freedom Junkie Radio- tip jar: Venmo @betsydewey or Buy my a coffee: Buymeacoffee.com/betsy- go to Kris's Coins in South Austin, TX to purchase your gold and silverwww.kriscoins.com - tell them Betsy Dewey from Freedom Junkie Radio sent you :)Follow FJR on Telegram:https://t.me/FreedomJunkieRadiohttps://t.me/FreedomJunkieRadiochatwww.freedomjunkieradio.com@freedomjunkieradio on IG and FB@bringtheluv and @junkie_freedom on TwitterMy mug and scarf were made by my friends, Zan and My-Cherie...I'm drinking from Zan Kavanah's art mug - https://www.etsy.com/listing/1582646985/artist-painted-giant-20oz-shine-bright?click_key=e2f22d9e730ba7638d8ea110b441121e6db5563e%3A1582646985&click_sum=ebc652bc&ga_order=most_relevant&ga_search_type=all&ga_view_type=gallery&ga_search_query=zan+kavanah&ref=sr_gallery-1-5&organic_search_click=1&edd=1And I'm wearing Viva La Silk's scarf - https://www.vivalasilk.comhttps://www.vivalasilk.com/products/crinkled-air-silk-scarf-gem-collection?variant=43378577342649 - champagne color

This is an episode about coincidences connected with the Taiwanese American Arts Council's house, building 7B on New York's Governors Island, which has affectionately come to be called the Taiwan house. The Taiwanese American Arts Council was selected to be an organization in residence on Governors Island this year from May to October and was also the only Asian organization on Governors Island this past year. In this episode I'll be speaking with Andrea Coronil and Gao Yuan two of the many artists in residence at the Taiwan house.   Related Links: https://talkingtaiwan.com/andrea-coronil-and-gao-yuan-on-riding-waves-tattoos-and-uncanny-connections-to-taiwan-house-7b-ep-260/   First, we'll hear from artist Andrea Coronil about the concept behind her exhibit “To Ride the Waves of Turtle Island” and how she didn't realize its connection to Taiwan.   Next, we'll hear from photographer, filmmaker Gao Yuan about her short film Between Us which deals with the conflict between the indigenous and Hakka in southern Taiwan, and also how Gao Yuan uncovered a surprising connection to Taiwan that actually came knocking on the door of TAAC house, building 7B.   Here's a little preview of what we talked about in this podcast episode: ·         How Andrea came up with the concept of her solo show at the Taiwan House, To Ride the Waves of Turtle Island ·         The Turtle Island aka La Tortuga of Venezuela ·         Turtle Island the name for North America used by some indigenous peoples and the creation story that the Lenape and Ojibwe have that involves a turtle ·         Taiwan's Turtle Island ·         Pears and oysters, and their connection to the Caribbean and Governors Island ·         Andrea's connection to Venezuela ·         What “riding the waves” means to Andrea ·         Andrea's artwork titled “We Wore Pearls First” ·         Andrea's painting titled “We Took Refuge in the Mountains” and Berta Cáceres ·         How Gao Yuan got into photography ·         The significance of the river in Gao Yuan's short film Between Us ·         Gao Yuan's approach to photography and filmmaking ·         How Gao Yuan started photographing people with tattoos ·         How many of the tattooed people Gao Yuan photographed in Taiwan were part of the mafia or considered gangsters ·          How Gao Yuan met Commander Douglas Stevenson who previously lived at the Taiwan house (Building 7B) with his family and his connection to Taiwan ·         The short documentary film the Gao Yuan made about the Douglas Stevenson Family   Related Links: https://talkingtaiwan.com/andrea-coronil-and-gao-yuan-on-riding-waves-tattoos-and-uncanny-connections-to-taiwan-house-7b-ep-260/

"Into Loving Hands" began as a tribute to the care Victoria Kereszi received from her midwife, Michelle Doyle, while giving birth. The film turned into so much more including themes of choice and disability. This film and "Between Us" will be screened this Friday, Oct 20, as part of the event "Exploring Motherhood: Navigating the Journey of Disability" at the Sanctuary. Sina Basila Hickey spoke with the director of “Into Loving Hands,” Victoria Kereszi, and the midwife at the center of this documentary, Michelle Doyle, for Hudson Mohawk Magazine. https://www.mediasanctuary.org/event/navigating-motherhood/

The second half of our July 4, 2023 interview with Steven Thomas, former Seattle poet, co-founder of the Seattle Poetry Festival and former teacher at University Prep. He discussed his life, struggles with addictions, move to Germany and his latest book of poetry What is Between Us.

I interviewed Ruth Ware about her latest book “Zero Days” and Sam Ripley “Rule of Three” plus I review 3 books: “Drowning” by T J Newman, “The Book Of Lost Names” by Kristin Carmel and “Between Us” by Mhairi McFarlane. Hosted on Acast. See acast.com/privacy for more information.

A fun chat with Mhairi McFarlane all about her new rom-com Between Us, writing about writers, David Simon, her notes & jokes file, fake clairvoyants, sealioning, and how she's always in harvesting mode. Plus- Dave goes running in Nashville and is most displeased, Laura is taken aback at Sylvia's new school uniform, and Andrew's kids … Continue reading Ep. 220 Notes & Jokes With Mhairi McFarlane

We're taking you on a journey through the Tragically Hip's live album, 'Live Between Us', which was released back in 1997. Our excitement leading up to its release was off the charts, and we're here to share that with you! We'll be dissecting some of the tracks on the album, such as 'Grace, too', 'Ahead By A Century', and 'Nautical Disaster'. Prepare to be immersed in the intimate connection between the band and their fans that this record so beautifully captures.In this episode, we dive deep into the recording process of 'Live Between Us', exploring the incredible energy of the show, and the role the audience played in the final product. Also, get ready for an insight into the potential impact a sax player could've had on the band's sound, as well as a fascinating anecdote about Dave Matthews' tour bus incident in Chicago. Plus, we'll delve into the tough decision faced by sax player David Manning – stay with the Hip or leave with his girlfriend?Finally, let's talk about the Tragically Hip's songwriting process and live performance dynamics. We'll discuss how the energy of the show and the crowd's reactions influenced their performances, and examine the live version of 'Fully Completely', which unlocked the song in a completely different way from the original recording. We'll also touch on the band's influences and listening habits, and how they incorporated lyrics from other bands into their set. So, join us as we unearth the magic of 'Springtime in Vienna' and the excitement its introduction caused among the crowd. You don't want to miss this!Transcript0:00:00 - Speaker 1So, guys, this is Pete here. I'm coming to you with a very important message. Okay, this is serious stuff. I know we joke around a lot on the on the pod, but in all honesty, i'm asking for a favor. I need you to do yourselves a favor. I need you to do your family and friends a favor. I need you to do society as a whole favor. Go to getting hip to the hipcom, click on the bonus feed and join the bonus feed, because there's some pretty next level content or covering everything from geopolitics to UFOs and the tragically hit most importantly, but you're really not gonna want to miss it. So, again, do yourself a favor, do the next generation a favor. Okay, before you, before you focus on recycling and nobody cares about climate change, the more important thing is to join the bonus feed. Getting hip to the hipcom click bonus feed. 0:01:14 - Speaker 2You. 0:01:41 - Speaker 3A live hip record on May 2 for a weekend. What more could I have asked for? It was 1997 and I was getting ready to do my annual sojourn from Toronto back home to Waterford. The hip was still number one for me and this record was something I had been craving since having first seen them live. For some reason, though, it didn't scratch my itch the way I wanted it to. No matter how many times I spun the CD on my discman, i just couldn't get as excited about it as I did for a studio record. Were the hips so good live that it was impossible to capture the greatness in ones and zeros? I don't know, but what I can tell you is the album has aged extremely well and it's often something I go back to when I need a jolt that, for whatever reason, it didn't offer me back in 97. Now, in this episode recorded before his untimely passing, we get into the late Davis Manning. So allow me to acknowledge that now. Rest in peace, davis. If you've been following along, you know how hungry Tim and Pete are for a live performance from the band. Although they'll never get to see them in person, the time is right to unleash live between us onto them? Will they eat it up the way I think they will? We'll find out today. on Getting Hip to the Hip. Long Sliced Brewery presents Getting Hip to the Hip. If you've ever wondered what it would be like to hear the tragically hips music for the first time again, here's your chance. Join music fans Pete and Tim from Portland, who have never heard the band before, on a journey through the hips discography, accompanied by me, their guide, jd. Welcome to Getting Hip to the Hip. How's it going, guys? 0:03:56 - Speaker 5Going great, it's going good. 0:03:59 - Speaker 1Fantastic Couldn't be better. 0:04:01 - Speaker 5Glad to be back. 0:04:03 - Speaker 3Yeah, it is, it is. It's good to be back at it. Okay, before we get into things here, we are talking about the live record that everybody was really waiting for. You know, around the time it came out It was 1997. Everybody had heard that this was a really great band to see live and to experience live, and so we were all longing for, you know, a live record, and when it was announced we were really quite excited And I'm curious how you guys felt. But before we get into your feelings, let's take a look under the hood of this record. This one was recorded live at Kobo Arena in Detroit, michigan, november 23rd 1996. It was released May 24th 1997 for the long weekend. Produced by the tragically hip and Mark Freakin. It clocks in at 70 minutes and 31 seconds and it was released on MCA. All Music gave this a 2.5 out of 5. And here's what they had to say about this. The tragically hip, one of Canada's musical merry makers, are also praised for their raw, sweaty live performances. Frontman Gordon Downey is a real dynamo, lyrically and physically, and his bandmates only support the beautiful live chaos. With that aside, the hip treated fans with their first ever live album, live Between Us, recorded well. On tour in support of 1996's Trouble at the Henhouse, live Between Us documents one of the band's more ambitious evenings. Without any technical tweaking, a very loyal Detroit audience is captured at the sold out Kobo Arena and a very tight knit and fiery, tragically hip is in command. The unity between the hip and their fans depicts something heavy. Downey's random improvising and loose poetic ramblings spark the intro of Grace 2. It creeps along with Johnny Faye's electric percussion and already Live Between Us is a steady, creatively stripped and vibrant. The emotional rage fully, completely sets up the rest of the record, particularly the relaxed ballad ahead by a century Layered backing vocals and plucking acoustics depict the hip's signature sincerity and the sneaky rock snippets of David Bowie's China Girl And the Beach Boys Don't Worry Baby midway through New Orleans' sink and flow without hesitance. Most stunningly is his lyrical rant of Jane Sivarys' The Temple Near the End of the Taunting Nautical Disaster, which also includes a verse from the reaesthetics Bad Time to Be Poor. As a whole, the band is abrasive in a simplistic sense, making Live Between Us an intimate jam between the band members themselves and a shared moment with the fans. The tragically bad men have maintained their beloved status because of such grateful informality. What in the living fuck is a 2.5 out of 5? The only negative word in there is abrasive, and abrasive comes right to the end. It's such a pussy review, wow. 0:07:15 - Speaker 1It's a bitch review. It's like going out on the best date of your life or something and then just saying like, yeah, maybe I'll call you next week or whatever, or maybe I won't. I can't even think of something stupid and shitty to compare it to, because it's so fucking bullshit. Sorry, what a shit. the bed review that is Sorry. 0:07:42 - Speaker 5Well, i have a maybe, maybe, why So kind of the elephant in the room on this recording is the actual show is longer than what they put out for the album And we're missing all these. We're missing, yeah, we're missing all these songs. So if you, let's say, the writer, went to this show in Detroit and was so psyched about it And then a year or whatever, whatever it was, later bought the album and brought it home and realized it was three quarters of the songs and they don't even get the actual ending of the show on the record, and so you're kind of you're like you're playing if you got this on vinyl or CD, you're playing like the highlights of the show And as a very amateur taper and someone who absolutely loves live shows and kind of you know, on some of the bad weeks lives for them, you know, when I listened through this I was like okay, is this just the hits? Like what is this album Like? I really questioned what was going on with it. I absolutely loved it And I loved. You know I have all these comments about everything that I dig from it But at the same time I'm like God damn. So that's when I pursued the search of the whole recording, start to finish, because I mean I have socked away whole recordings of shows And this is not a whole recording. 0:09:11 - Speaker 3Yeah, it's interesting. It's interesting, I wonder. I was just going to say it's interesting. I wonder why they did it that way. What do you think, pete? That's what I was going to say. 0:09:21 - Speaker 1No, it's totally yeah, because here's a couple things Like I see what you're saying, but I'm also looking at this from 1996, number one, number two it's on MCA, which at the time MCA was a really large record company. Okay, so you know, you've got, you've got the record company's influence of. oh, i don't think this track should be on there, whatever They take it off. You know they wanted this to be a sellable record that they were going to put out number one. I'm not defending it, i'm just saying I'm just trying to get in the mind of the methodology of what, why these decisions were made. And on top of it, i think nowadays bands will put out a live record and it'll be like you know, because, for example, new Orleans is sinking. You know, nowadays that would be New Orleans is sinking. Parenthetical China girl slash, don't worry, they met me or something. You know they'll throw that shit in, whereas back in the day, when you had a packaged live record, that shit was a no. No, you know, i didn't see it a lot that I remember Either way. Dude, this fuck all music, dude. I think that's the narrative we need to stick with, because they don't know what the fuck is going on. 0:10:38 - Speaker 5It. Just this record blew me away. Yeah, I would say. I would just add that my my only thought behind their low review score is because they didn't get all the show, Maybe they went to it and they saw it and they wanted to hear it all again. Yeah, exactly, or maybe they didn't, i don't know, but it's just the review is written It was a bad way. 0:11:01 - Speaker 3Kindly like it's. so it's such a nice review, really, until the word abrasive comes out and then which is weird And then it ends with like a nice, like they're redeemed, blah, blah, blah, blah, blah, and then it's like 2.5. It's like this person is a hard grader man. That's all I'm going to say. 0:11:20 - Speaker 1But I don't, i don't buy that. Oh, i mean, i see what you're saying, tim, again about the record. You know. But look at, you know, a lot of live records aren't even a whole concert, let alone you're going to put a whole concert. So if a band plays for you know, three hours or plays a three hour set, like the Stones, and they put out a live record, they're not going to do that. Led Zeppelin's How the West is One great live record. It's probably. You know, if you look at the back and the liner notes, it's recorded in Madison Square Garden, it's recorded at the Long Beach Arena. It's recorded different places. It's not one concert. They kind of just took the best takes. 0:11:57 - Speaker 3I do like they used just the Kobo Hall performance because a lot of bands do that for live. They do like two or three nights and they record and they pick the best stuff. 0:12:08 - Speaker 5The actual album is about 83% of the show, so you you miss the whole. Encore There is some. There is some missing there The entire encore you missed. 0:12:17 - Speaker 3So what you do get the end of the record is the Weirothal, which is the last song they played. But whatever we missing, it goes Grace to fully completely springtime in Vienna. Trust my arm gift shop ahead by a century. The luxury 700 foot ceiling is not on there. 0:12:33 - Speaker 2Courage. 0:12:34 - Speaker 3That sucks, is courage on there. 0:12:36 - Speaker 5Daredevil is not. Daredevil is not Daredevil is not. 0:12:40 - Speaker 3Flamenco is not Scape is at hand for the traveling man is not, which is crazy because that's on the next record. So they were showcasing Wow, yeah, yeah, if anyone's got this. 0:12:52 - Speaker 5No, i'm thinking, don't wake, daddy. 0:12:55 - Speaker 3Yeah, please send an email to Tim at getting hip to the hipcom. He's a completist. I need it. Oh little bones man That would have been fucking rad. 0:13:06 - Speaker 5Yeah, ender with me locked in the trunk of a car would have been the ominous Ender. But then you got little bones, so new, the very end. I mean we got you another recording. You get 82, like I said, 83% of the whole entire show, which is killer. And you know, honestly, a positive there is it gives people access to the hip live who may own like one album, and then they pick up a CD with a bunch of live shit and they're like, oh man, why haven't we seen this band play yet? You know, so that could be part of it. It's a little bit of a teaser without an encore or a second encore. I mean I don't know, though That's all the same time. I've, i've recorded shows and I've sent friends just the encore, just kind of piss them off, but sometimes like from a recording. Sometimes for me, listening to the encore, like the last three, four songs, you're like fuck, yeah, that probably was an amazing show. I get it And you know this recording without hearing the, on course I pretty much get it too, but just specifically, i talk about the show. 0:14:10 - Speaker 3Yeah, well, this is what I want to. I want to sort of level off with the audience. You know how we're going to approach this Yeah. And you know, you came up with the idea of approaching it like it's a real concert, like let's give, give it a concert review. My curiosity starts to go from there. What do you look for in a live concert without referencing this record? What, what are? or, if you want to reference this record, what do you look for when you go to a show like that makes it a great show. 0:14:40 - Speaker 5Yeah, well, oftentimes it's the crowd. Man, if it's a rock and roll band, if it's a band with energy, you know there's. There's a electronic duo that we love, that we've seen play a handful of times. That really gets their crowd going like it. Just, oftentimes it's the crowd. You know, at the beginning of this album, as I listened to it, i thought, okay, probably not, because I didn't research it much. You know, i was excited to hear a live album But I thought, you know, it's probably not. The stadium sounds big, though definitely arena feeling and crowd sounds pretty hyped. They weren't. They weren't screaming like a bunch of fucking going crazy, drunk ass Canadians. They were hyped But it wasn't. To me it didn't feel like a home show. Well Tim, the ABV in the back blue is not that high Just well, sure, sure, sure, sure, Sure, sure, but you know, but when I did research it I was like, oh, i was like, oh, detroit, okay, detroit shows must have been really fun Because you know, you're in the US, you're in the USA. Whether or not is highly regarded in Detroit is like there is their home away from home. So the crowd for me was either way like hitting the mark that the crowd was pumped in the just right off the bat I had wondered about you know, because I'm nerdy that way like how it was recorded And I thought about the time and the era and what people were using to record stuff. So I did a little bit of research on that note, just to see, like what the heck or see if there are any notes about how they recorded this thing, because back then it was like dat recorders or radar recorders. I mean it was like the kind of the evolution beginning evolution of digital audio recording which people could then just pump out on the scene or mini discs around. 0:16:28 - Speaker 3At that point I forget when I had, i had a. 0:16:30 - Speaker 5Yeah that was, that was the yeah, those things were cool. Yeah, that was around the same time. You could yeah, you could plug those straight into a sound board and get like CD quality. So I was curious about that as a taper person, you know, just to hear how it went down, because it overall you know whether it was on my home sonosystem or my basement PSS premium sound system or on my my home headphones, my Bose headphones, like it sounds fucking good Like whoever. Whoever posted this did a great job. 0:17:06 - Speaker 3What did you think, pete, in terms of your rubric for measuring a live show? 0:17:13 - Speaker 1It's a it's a weird question because you know, and Tim comes from a place of recording a million shows in his history On me. I look, i gotta kind of look at it back. We gotta kind of look at this backwards because, number one, we worn out the show. You know, if we judge it by the crowd, i think, but by anybody's standards, you know, the show that Peter Frampton played at the Fillmore West for Frampton Comes Alive was was a banger on the show. But if you know anything about that record they dubbed in the audience of the crowd. Do you know? do you know that, right, tim? 0:17:47 - Speaker 5Boo. 0:17:47 - Speaker 1I say that Boo, i mean it's, it's, it's. the American Idol effect is of of making things seem like they're popular when they're not. 0:17:57 - Speaker 5Now I have a. It's the fucking laugh track, you know it's a laugh track. 0:18:02 - Speaker 1So I have a weird take on this. This record made me, gave me a weird take on this band as a whole that I'm really looking forward to show you guys. But just to your question, jd, before I get ahead of myself. I think the the show you can. You can hear how good the show was from the band and what the energy that the bands convey, what Gord Downey's saying and how he's interacting with the crowd, cause you never know with the crowd again. The Frampton record but based on what you're hearing from the band, it was a fucking rager. Yeah, whoever was at this show you know, kiss my ass, i wish I, i wish I was there, i mean, you weren't there. 0:18:49 - Speaker 3She was an email. JD at getting hip to the hipcom. 0:18:52 - Speaker 5Hey, jd, question for you. 0:18:53 - Speaker 3Call her Go ahead Yeah. 0:18:55 - Speaker 5Yeah, jd, you know. So after I did research this show a bit, i came upon the reason why it's named what it's named. Do you want to share that? And yeah, so it sounded like in the early days the hip had a sax player. 0:19:15 - Speaker 3David's. 0:19:15 - Speaker 5Manning, that's right, am I right? 0:19:17 - Speaker 3Yeah, talked about him in the first episode. 0:19:20 - Speaker 5So that that kind of rocks, yeah, yeah, I forgot all about that. I forgot all about that, obviously, and and I thought, oh my God, and I just I just kind of sat there and wondered about everything I've listened to and how there has been no sax player. And there could have been a sax player, you know, and there's, and it recalled to mind some bands that I love that have horn players that you know really feels like part of the soul of that band with this horn player. So can you imagine, like recordings up to this date, having this sax player? that's like you know, i don't know, would he have been the equivalent of I don't know the guy's name, the guy that plays um Phil or violin for Dave Matthews, you know, wouldn't have been this overwhelming presence, so that that first of all. 0:20:08 - Speaker 3First of all, dave Matthews, barf Barf. 0:20:12 - Speaker 5Oh, i know right, the best, the best story about Dave Matthews Segway is the story about his tour bus in Chicago. Do you guys know this story? 0:20:22 - Speaker 1Oh yeah, the the, yeah, the shit. 0:20:24 - Speaker 5Yeah, So he's he's. 0:20:25 - Speaker 1I thought you were going to say Clarence Clemens of uh, yeah, that's where I thought it was No, Yeah, Dave Matthews tour bus. 0:20:32 - Speaker 5You know they're whoever's on the bus, but they're driving in Chicago across an abridge and they're uh, they're black water tank, which is all the poo, poo and wee wee supposedly broke open and burst onto a bunch of tourists on a on a boat platform, boat going down the river on a scene. 0:20:50 - Speaker 3Oh my God. 0:20:51 - Speaker 5So Dave Matthews has actually shit on fans, so that's, that was pretty fun. Anyway, back to this. 0:21:00 - Speaker 3Hey, today's all about live music. 0:21:02 - Speaker 1Metaphorically and and sonically. 0:21:05 - Speaker 5I I last week I turned down the opportunity to co-host that Dave Matthews podcast. Um, so so this fellow uh, uh, uh, dave, dave is manning It was at a crossroads with staying in the band or not and was given to ultimate him by his girlfriend, who I wonder if he's even still with her doubt it. And, um, she, she noted that that the hip lives between us, to him, to Davis. So she was like you know, the band lives in between us in bed, the band is in between us. You got to pick, you got to pick one of us, pick the band or pick me And he's supposedly chose her, and this was spray painted on the wall of I don't remember some building I don't know in in whatever Queens Yeah, in Kingston, and, uh, you know when, it was lived between us. So I think the actual record is lived between us, but everybody calls it live between us because it's live. 0:22:06 - Speaker 3That's why I've all got it live between us. But yeah, i knew that, but I knew that story. But I still call it live between us. I don't yeah What man. if you've got to take on that Pete, do you? 0:22:15 - Speaker 1But isn't that a? isn't that a dick move, dude, like I mean? it's a I got to. How do you for the band in their current form to name it? 0:22:24 - Speaker 5that is like I think it's awesome. 0:22:28 - Speaker 1I think it's awesome too, but God. 0:22:29 - Speaker 5Here's the code It says. There, in an alley that now stands beside a tattoo parlor, he painted a huge mural featuring a weeping eye and a shooting star, which is hard to decipher. In the art He painted the hip live between us in large letters across the wall and an apparent reference to he and his lover. In the end, davis chose his girl, left the band and continues to be an active musician to this day. The mural stood until the summer of 2005, when it was painted over by local business owners. His artwork was used as the CD art, which is fucking hilarious and perfect for the hips 97 live release. The disc, in clever turn of phrase, was called live between us. 0:23:12 - Speaker 3That's very cool. 0:23:13 - Speaker 5Perfect. It's just perfect. I love it. That right there just made me love the whole thing. It was like great story, Great story. 0:23:21 - Speaker 3So let's start at the start. With the opener is Grace to a good opener. Hello. 0:23:55 - Speaker 2This is for the real statics. We're all richer for having seen them tonight. All right, i got a son, came up shocked with the lines. Today was the day that I was already behind Steal the drink. Our brothers and sisters, our young all-ter체 Note Uhl are here at the site. Come on, blir gladzis. I can hear a singing. I'm turned off from No, they don't know no more. That's why I'm here, for I kept them downtown, but I'm ready for you. I went well into Dona Nace and Brace to leave. I'm a little bit alone. I was, so I'm a little bit. I can't hear you. Can't you fucking hear that man? Can't you fucking hear that? Can't you hear what I heard? Look out, jesus Christ, big fuckin' bear. The secret rules of engagement Are hard to endorse When the appearance of comfort Meets the appearance of force, when I can guarantee They've been a knock on the door, i can't hear you. I'm turned off from here. I'm turned off from the door. That's why I'm here, for I kept them downtown, but I'm ready for you. I went to scale and it's my strength. Yes to you. I didn't give a fuck. Where the hell did you get an inch? I never fought for a thing. I never fought for anything. I got a palace wage gone to do. I'm like so many of you. I see around me Nothing to live or die for, no limits in tune. Help, help, no, no. I was growing up in town. I was growing up in town And I was gonna pick up my friends And I know you'll come to some kind of dead end. Oh, but I can swear there's a bear. I can swear there's a place where all is A bit to be manned And you can never be a piece of cake. And then there's everyone Around you smiling and everyone Around you styling. You got nothing to worry about. And then you got nothing to worry about. You got nothing to worry about. You got nothing to worry about. 0:29:31 - Speaker 1So fucking Lulie, absolutely, i mean. 0:29:34 - Speaker 5Perfect. 0:29:35 - Speaker 1It's just the way they come into it. I pictured like I don't know if they had played arenas this big before I know they toured. They sounded so tight, they couldn't fuck up if they tried, you know. And this band just sounded so good. Yeah, what was this? How far was this show off of their SNL release? SNL appearance. 0:30:12 - Speaker 3Oh well, snl was March of 95 and this was November of 96. 0:30:22 - Speaker 1Yeah, i mean, they knew then that this was a banger of a tune. But just What a way to ease in, to get everybody to get the water warm in the bathtub. Man. 0:30:36 - Speaker 3Did you dip your toes in the bath there, timmy? 0:30:40 - Speaker 5I did, i did, and it's good. The jets came on right away, so in the tub. So, yeah, i loved his phrase. Sun came up and shot through the blinds. Today was a day And I was already behind. You know, like I First of all, great line, great, just random thing. And it was also like I don't know. I love that phrase Cause to me it was like Sun came up and shot through the blinds. Today was a day And I was already behind. You know, and this is this to me, is a line that says it's kind of okay, you know, it's okay to be behind. You know, i don't know, i just you could read this line in so many ways. You can read it as like You're fucked, or you can read it as fuck it, and I love that about it. So, you know, there's there's just the grace to as a starter. You know, the first time I heard it as a starter live was that 99, woodstock, woodstock, yeah, yeah, yeah. And the first time I heard that was like okay, this is what gets the crowd going, this is, this is the shot in the arm energizer, and you know this, this is it for for this show as well. And to try, i love he has. Gord has one of his now iconic Woo. Yes, this is like, yes, the crowd is psyched, we're psyched. You know, that's to me going back to the crowd, kind of making the show. There you go, he screams. He's got like he does this droll, this guttural scream. You know, come from downtown. You know it's just, i just love it. I love it yeah, i love it when singers kind of stray and do something a little bit different Than the recordings and just get fucking into it, and that's that's how this started, for sure. 0:32:35 - Speaker 3And it carries on into a song that I don't recall how you felt about it on the fully, completely record, but to me this live version is so like, almost like psychedelic-y and like maybe it's because I've been listening to it high, i don't know but there's something really awesome about the live version It just unlocks live. I'm curious if you agree about certain songs, in this case, fully, completely Getting unlocked in a live version. 0:33:17 - Speaker 1The perfect word you use is unlocked. I couldn't think of a better word to use, because I don't know if they make them anymore. They used to be these 12-cylinder Mercedes-Benz two-door coupes. Do you remember those, Timmy run around. 0:33:35 - Speaker 5Yeah, yeah, they came with like an extra, extra gas tax on the They're ridiculous. 0:33:40 - Speaker 1Who needs this 12-cylinder? 0:33:46 - Speaker 5It was like a luxury gas tax in California that was added. 0:33:49 - Speaker 1That's how I feel about this song. 0:33:52 - Speaker 5And. 0:33:52 - Speaker 1I actually remember, because I remember thinking about it too. Jd, this was a song that I didn't say. I didn't like it but it wasn't my favorite on the record. I remember specifically because it was the title track And this was like again, a nice Mercedes, i would say a Ferrari, but whatever, whatever, your nice car is that you like sitting in your driveway and being like that's really cool, that's really pretty to look at. Okay, then you get in your fucking Honda, your fucking shitty beater, and you drive to work, but the live record gives you the keys to open it up and to fucking take it for a spin And it was, oh my God, yeah, exactly Like I really enjoyed this tune. It made me like and respect this tune for what it is And yeah, i mean think of all the reasons why. But again, you know I'll say that for a couple of other tunes. But I loved it, kim. What? 0:34:52 - Speaker 5do you think, man, i related to it quite a bit. You know I loved his singing, ranting poetry, whatever. At the beginning He's talking about being in love with the old rule being raised by TV. I mean, that's me, you know, that's my childhood. But I will add the end of this, which I couldn't find any reference on. Maybe someone else can find it. But towards the end of this I think is the first time he starts singing lyrics from other bands at the show And I didn't find this noted. So he, towards the end, he starts singing. Please take me there. He sings there's a light that never goes out. These are lyrics from the fucking Smiths from the 80s And I have a feeling, you know, i'd really just wish I could know what the band was listening to from early through later, like what they were really jiving with. You know what they listened to on the bus and what their influences were. If they were carrying around CD player, fucking Walkman, whatever. You know what they were jamming to cause. There's more see early, more see lyrics here. I might be wrong, It might just be a coincidence, but when I heard that the first time I was like fuck. 0:36:12 - Speaker 1Well, we know what Tim was listening to, please. 0:36:16 - Speaker 5One of my first. Honestly, that's one of my. My second tape was the Smiths Queen is Dead. 0:36:22 - Speaker 1Same here. 0:36:24 - Speaker 5That was it. So, yeah, i felt like this took it bigger. I hear the song in this order at this show. It took it a level bigger and louder and took it a level more aggressive. It was like Pete, you know the V12, you drive your shitty Honda, but you get in a car. it's a V12. It's like a jet boat, you know. and this I felt, i felt fully, completely, really dug in and kept us accelerating. I love your old ways, i love your old world ways is what he sings towards the end And I just that's so romantic to me. That's like pulling on my heartstrings because, you know, I'm a Gen Xer. There's so many times in my life where I want to throw my iPhone across a room. Yeah. 0:37:11 - Speaker 1Yeah, the torque it gave us, i thought one of the. I thought the crazy part about springtime in Vienna was and if I remember correctly, he introduces it And I don't know if the crowd goes nuts for it. But I'm just thinking to myself like the minute this song starts. I'd fucking lose all my shit if I'm in the car. 0:37:35 - Speaker 5Yeah, yeah, losing my shit. 0:37:37 - Speaker 1And the fact that he introduces it is almost like, kind of like, is he doing it because it's a light record? And there's maybe people that are gonna buy this record and not be looking at the back of the CD when they when it's on, i mean I don't know because, whatever, but this song, i mean just when it goes on the fucking chorus, it's just it's madness too. 0:38:02 - Speaker 5It's Yeah, you love this song. 0:38:04 - Speaker 1You hate to be loved, right? Yeah, i love this song and I just feel like if I I can hear the band having so much fun playing this song, you can hear it. 0:38:17 - Speaker 5Yeah, you can, you can. You can hear it a lot of times throughout this whole performance. Yeah, you can hear the amount of fun, i think, through the bass that's happening. You know there's some really the bass guitar so many times to me is like fuck, these guys were into it, you know. And springtime in Vienna, just like that. I felt like that was the point in the show, where you're like either chugging down your second beer or you're lighting up another spliff or whatever. Like this is like serious momentum. twist my arm, which was next, you know That to me felt I don't know that's that to me for this position of this show. This is like where you were dancing, Like this is super fun, like it felt danceable. You know, it's like I'm not standing still at this show. That was my comment for that one. 0:39:14 - Speaker 1I got some weird takes, i mean and these aren't necessarily related to this particular songs And the first thing I want to say is that I feel like like when I was young, jd, my dad used to tell me when I was playing in a band, you need to play with dynamics, right. And when you're young and you're just fucking want to turn your amp up louder than the guy next to you, you don't know what the fuck dynamics are. And it's ironically. You know, i don't have to give away my age, but I'm up there And I still I'm trying to play with people who don't know what the fuck dynamics are. Some people get it, some people never get it. It's just the ability to listen to one another, to play to the band, not to just play your instrument right, and this you can just tell. This band is weathered by the road. They have amazing dynamics to start songs like well, springtime in Vienna gift shop, especially a head by a century which builds. So just do this, do what is. Isn't it the most streamed song of the band period? Yeah, yeah. 0:40:31 - Speaker 5Head by a century. 0:40:32 - Speaker 1Yeah, head by a century, which is funny because race two on this record has more streams on this live record than head by a century. 0:40:45 - Speaker 3Oh really. 0:40:46 - Speaker 1Yeah. 0:40:48 - Speaker 3Oh wow, well, maybe it's not that, i'm not sure What. We should look that up, you know. 0:40:55 - Speaker 1You know me, though, but yeah, I think they know what they're doing on stage clearly. 0:41:03 - Speaker 5Yeah, you don't want a drummer or a guitarist or a fucking keyboardist. I'll talk a little, reference the doors there for two seconds. You don't want another musician in your band getting in the way. You know, like I actually, who is it, i'll recall. But anyways, i heard someone once say yeah, i just can't have a drummer who gets in the way. You know, you don't want somebody just cranking themselves too often And I think that's kind of what you're saying. Pete, this show, you know it. just it gets this momentum going to where you might all of a sudden realize oh shit, we're already in song five or this is already the sixth song. Like, i feel like their shows have this build up. I would assume now, after hearing this one, that their shows kind of have this build up and then they start carrying people. you know, before you, yeah, before you realize it, you're like, oh, my God, you know, it's probably halfway over or something, i don't know. It's like a century when it, yeah by century, when it started on this recording, that kind of felt like a mile marker with Gordon, his goofy start, when he's doing his one liners and making sense and not making sense at all, like that. that was kind of like the check in to to like yeah, catharsis one Yeah. That all about right, right. That to me was like let's see how into it the crowd is. You know, maybe we'll make somebody fall over with these statements, i don't know. But that, but there's a moment in a head by a century on this recording that I've kind of been waiting for to hear these guys live, do And that's like a right around the three minute marker. So they just start riffing a little bit more. They dig, they dig a little bit deeper. They reached that, you know, five fifth speed of the V12 Mercedes and they're finally on the stretch of freeway where they can let it go a little bit. And that's that's what happens with with this song. I've been waiting, waiting to hear that. So that was, that was good, that was good for me. 0:43:10 - Speaker 3Gift shop I wanted to ask you guys about, because gift shop to me feels like grace two, in the sense that it's like an opener Like. It feels like an opener to me. So I'm just curious about where it gets put. Like you've you've talked about this car metaphor you know you get grace two to open the show, then fully, completely, which sort of like you know, gets you, gets you sort of high, and then springtime in Vienna to get you jumping up and down And then twist my arm is like an old classic at this point. So you're like wow, like, like Tim said, you're dancing, And then gift shop sort of resets everything. 0:43:52 - Speaker 2You know what I mean. The rest of the world becomes a gift shop. So you're like wow, like Tim said, you're dancing. You're like wow, like Tim said you're dancing. You're like wow, like Tim said, you're dancing. You're like wow, like Tim said you're dancing. You're like wow, like Tim said, you're dancing. I don't know what to believe. Sometimes I even forget. And if it's a lie, a terrorist may be saying A beautiful love, a dangerous time, we get to feel a smile. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I don't know what to believe. 0:47:43 - Speaker 5I wish I knew what to believe. I knew what to believe. Close the window. You'll hear the sound of death. Run, run, run, run run. 0:48:38 - Speaker 1I feel like gift shops an opener too. Absolutely. If you want to use the car analogy, that's cool, but if we're powering a big amplifier with a car battery, it's like it's got some juice, it's got some sound. It's really pushing. You're waking up the neighbors and you hook up a second car battery. Now all the tubes are really lit up. Gift shops. It's just like Grace II and that it's another opener. It's the nitrous oxide on the engine. It just puts the show forward even faster and harder. 0:49:28 - Speaker 5I agree with that. I think it's not my favorite song simply because it's. I feel like it's. I don't know we're up to bat against a pitcher. You know you're going to get it on. It's an easy one, the chorus is easy, it's sing-alongable. I think gift shop could be an opener of the show, but I feel like it fits here well, because it's like dude, we've had the basses loaded twice. We're going to have the basses loaded twice. Let's just fucking keep bringing them in. And that's gift shop for me for sure. 0:50:02 - Speaker 3A lot of the baseball. 0:50:04 - Speaker 5Yeah, that was for you, buddy. 0:50:06 - Speaker 3Basses loaded twice. So the basses were loaded with Grace II, fully completed in springtime in Canada, and then gift shop ahead by a century and the luxury which is. This is a cool thing. If you're exploring Hiptim, you to Hiptim and you want to explore, there's a website called HIPBASE H-I-P-B-A-S-Ecom And it's got like every lot. It's like setlistfm, except for it. It's got super detailed statistics Like so, for example, the luxury this was only the 19th time that it played the luxury live. That's interesting. Yeah, it's like it's an older song at this point, but they've only played it 19 times. They only ended up playing it 65 times in total in their career. 0:51:01 - Speaker 1I feel like it's a good. It brings it down a little bit. It it, it. It mellows it out. You know, i mean being as that ahead by a century was such a popular song, like the crowd was going I mean they were going to eat shit right. When that song started, as it was This kind of like you know, take some away from the edge for a little bit. It's a really cool song, super cool bass groove. I love that. Yeah, one thing that really showcases Tim Is that on your guys' end, That's on my end. 0:51:38 - Speaker 3I think, yeah, that's JD, i come from downtown. 0:51:42 - Speaker 1One thing that Tim mentioned about drummer not getting in your way. It's crazy Again because, like my thoughts on this record are more broad and as opposed to individual songs, but I felt like like Gord Downey for the longest time and listening to the records and listening to it at this point has been the draw, and not in a bad way, but I'm saying it in the context of what Tim said the guy who's in everybody's way And I don't mean that in a bad way because he's such a fucking talent, absolutely And this was the first time where I was actually and I feel kind of like a fucking douchebag, because when it comes to the whole entire band I mean the entire band you really hear like whoa, these motherfuckers are good musicians, these guys are Yeah. And that's really hard to come through on a record because you don't know when what's recorded, how it's cut together. 0:52:42 - Speaker 5Yep. 0:52:42 - Speaker 1All that. When you hear it live you're like, okay, this is the way it sounded there And everybody sounds so good. So it's, you don't hear and I don't mean that again at this respect of Gord Downey getting in anybody's way, but like he's so good It's sort of hard to not Have that guy overshadowed. Yeah, yeah, the band, but live you don't get that vibe at all. On the records I sort of do. The records are really smooth, this far sort of, but on the fucking live performance holy shit. 0:53:16 - Speaker 3Yeah, and that's. It's funny because that was one of the questions I literally just wrote down. I was going to ask you guys if the band, if you feel differently about the band now that you've heard them play live, and you just answered that exact question, do you get what I'm saying now about being sort of an improv troupe? 0:53:35 - Speaker 5Yes. 0:53:36 - Speaker 3Because Gord will sort of carry on and do his own thing and they still have to end a song And they don't know if he's like how far he's going. Or sometimes they'll just end a song and go into, go right into something else And he's still sort of like finishing a thought or explaining an idea or whatever. 0:53:59 - Speaker 1The musicians clearly all listen to each other enough to know when to where things are going, You know. 0:54:07 - Speaker 3Yeah, And they're just as in charge as he is in a sense. 0:54:12 - Speaker 5I have to wonder what that would have been like if Davis was playing sax and all this, you know might not have been. It would have been different. Could you imagine just having a horn blowing in here and there? Yeah, like I said, having horns and bands and having a fit. but oh it may have been, I don't know I think like in excess. 0:54:34 - Speaker 3You know, they were good with the sax, yeah, but yeah, it would have been different for sure. 0:54:38 - Speaker 5Last night we were listening to this band that I loved, loved, from Boston, called Morphine. If anyone hasn't listened to Morphine, you got to check them out. They're no longer, but they were a three piece and saxophone, bass player and drummer, and that was it. It's one of the perfect examples of a unique rock and roll band where saxophone fits in and leads and doesn't take over, because it was such a unique trifecta of you know of a band. But you know, i just I think where was I going to go with this? I think, yeah, i think it would have been so different. I just circled back to the luxury. I commented on this before. It's noted on the internet, of course, but I would love, jd, for you to to play the end, maybe, of the luxury of this one and then blend in, come as you are from Nirvana, cause dude, it's the same. I mean they, they, the band was listening to Nirvana. It's just the same guitar, the same bass. It's pretty fucking cool, and I've noticed that the first time I listened to the luxury, and it's completely evident in here as well. 0:55:57 - Speaker 3But the luxury came out in 91. How much art came out in 92? 0:56:03 - Speaker 5Well, they heard it, i swear. I mean it's timing or not? 0:56:09 - Speaker 3Or Nirvana heard it. 0:56:11 - Speaker 5Yeah, nirvana heard it, who knows? 0:56:12 - Speaker 1Yeah. 0:56:13 - Speaker 5But anyways, courage, So courage. I love courage. It couldn't come at a worse time. 0:56:47 - Speaker 2Where something more familiar, quickly something familiar. Can't change my words, it doesn't matter. Sleep, watch so fast, asleep in a motel that has a lay of hope And piss on out of your background And piss on three eyes around your face. Can't change my words, it doesn't matter. Can't change your words, it doesn't matter. Can't remember, it doesn't matter. Can't change my words. Time. It's pretty snowy in here. Snow is so merciless for old country. There's no sample explanation for anything important Any of us do and yet a human tragedies, obsession or necessity of living with the consequences of depression and depression. Can't change my words, it doesn't matter. Can't change your words, it doesn't matter. Can't change my words, it doesn't matter. Can't change my words. Can't change my words. Can't change my words. I'm a child of the church, god. Snow is so merciless for old country. There's a spite of everything that's happening. It's a spite of love. Can't change my words, don't you worry, i'm a child of the church, god. I'm a child of the church, god. Snow is so merciless for old country. 1:00:57 - Speaker 5Can't change my words. Can't change my words. I don't know. There's something about this song that it's positive. It's. You know, it's something I can't turn off when I hear it, Like I got to go through the whole song. I got to sing the chorus One of the coolest parts. The bridge, Yeah, yeah, it's good. One of the coolest parts of this live recording for me, of this song, Courage, is you can hear the crowd singing a little bit Like Gord stops. When Gord stops singing, the crowd carries the lyrics for him. There's a brief moment of that, which I just adore when bands do that, when the crowd is so into it that they just stop singing. But I have the question. I don't know, This is a question. Towards the end of this he starts to talk about Montreal and the snow and poor old Montreal, You know, and I guess that's a reveal on a song in the future about Montreal or something. 1:02:15 - Speaker 3Is that true? Actually, a song from the past. 1:02:18 - Speaker 5Oh, oh, oh oh. 1:02:20 - Speaker 3It was a song that was written for Road Apples. Oh, that's right. It never came to light until much later on, but they always played it. They always sort of kept it in the back pocket and would pull it out and play it occasionally, and there's a live recording of it that just came out in a box set. That is a really good live recording. I also have the demo. I have the demo from Road Apples Ooh, okay, cool, cool, cool, cool. So, yeah, it's a great song and it's fucking ooh, it's a tough one. It's about the young man who shot and murdered 14 young women at a school in Montreal, and it happened in late 80s and it's recognized annually as a result. 1:03:10 - Speaker 5Oh, yeah, So I just pulled that up. It's the massacre at Montreal's Polytechnic School, which was fueled by misogyny, horrifying memory of a bygone era. Damn Fuck. 1:03:27 - Speaker 3Yeah, so the song Montreal is about that. 1:03:33 - Speaker 5Got it. There's our heavy sort of segue in there to get us to New Orleans and Sinking. So New Orleans and Sinking for me. I don't know about you, pete, but man, this was fun. On this recording This is like crowd goes berserk. The guitar has this big start, the drums are big. It feels like we've reached top speed perhaps of the show. It oddly slows down about. There's a I don't know if you caught this, pete there's this tempo, little chug, slug, like it slowed down for just a little bit there. Like it really caught my attention that the band kind of went a tiny bit out of sync and I think that was with the drums. But man, this one I think the crowd was just, for lack of a better term banging their heads and just going along and, you know, felt so awesome The fucking David Bowie references at the end talking about where's my little China girl, all that you know that was China girl was like forever stethled to my brain because of MTV as a youngster. You know that was just such a memorable video for me Made me an instant David Bowie fan. It's just I just. New Orleans and Sinking. It might have been, might have been one of my. We're gonna get into it one of my top songs here. 1:05:25 - Speaker 2Silly way down this sidewalk in jail. My memory is muddy. What's this riff that I'm in? You gonna need to sink it, man. And I don't wanna say that I'm a child, i'm a throne. I'm going home, can't do this now. I'm a party, he said. You know yourself. Shut your big mouth. Gotta do what you feel is real. Got no pictures false gods. Got no shivers in these. My fingers she won't open when I'm thinking about those. Yeah, i'm a child, i'm a throne. I'm going home, can't do this now. I'm a party, he said. You know yourself. Shut your big mouth. Gotta do what you feel is real. I'm a child, i'm a throne. I'm going home, can't do this now. I'm a party, he said. You know yourself. Shut your big mouth. Gotta do what you feel is real With my ginocent girl. Wake up in the morning. Where's my ginocent girl? She's too tired, she's too small. Baby, just shut your mouth, she says. She says, yeah, don't worry, baby, everything will turn out alright. There's a light bulb hanging on a wire, sucking up the sun doesn't stoop to fire. Taking out the highlights of the scenery, saw some little clouds and looked a little like this In the river, my feet back up on the banks looked up to the Lord above, said hey, hey, hey, banks. Sometimes I feel so good I've got to scream. He says Georgie, baby, i know exactly what's the change He says. He says I swear to God. He says hey, hey, hey, hey, hey, hey. My memory is funny. What's his clever man of man? he won't need to sink in that, i don't want to sell Trout. 1:10:36 - Speaker 3Trout, trout, trout. 1:11:31 - Speaker 1Trout, trout, trout. 1:12:21 - Speaker 3Trout, trout, trout. 1:12:46 - Speaker 1Trout Trout. 1:13:00 - Speaker 5Trout, trout, trout, trout, trout, trout, trout, trout. 1:14:13 - Speaker 3Trout, trout, trout, trout, trout, trout, trout, trout. 1:15:25 - Speaker 5Trout Trout, trout Trout. 1:16:12 - Speaker 3Trout Trout. 1:16:21 - Speaker 1Trout Trout, trout Trout. 1:16:56 - Speaker 3Trout Trout. 1:17:13 - Speaker 4Trout Trout. Questions or concerns, email us at JD at GettingHipToTheHipcom. We'd love to hear from you. 1:18:16 - Speaker 3Hey, it's JD here. 1:18:18 - Speaker 5Hey, it's Tim. 1:18:19 - Speaker 3And Pete Fellows, i'm really excited that you're flying to Toronto on Friday, september 1st for our big party GettingHipToTheHip an evening for the Downey Wain Jack fund. We just need to sell some tickets. How are we going to do that? 1:18:33 - Speaker 5Go to our website GettingHipToTheHipcom and you'll find a link to get tickets to our event at the rec room in Toronto. 1:18:40 - Speaker 1Early burn tickets are 35 bucks. If you go to GettingHipToTheHipcom and click on the bonus fee, you get 10% off, which means tickets are 31.50 right now. If you were to join the bonus fee and buy tickets, you'd literally have to be stupid not to do that. Definitely join us on September 1st. I'll be at the bar putting out the vibe JD. where are you going to be at? 1:19:00 - Speaker 3I'm going to be watching 50 Mission perform some tragically hip songs and I'm really excited for you guys to see them. 1:19:06 - Speaker 5Yeah, and we have a silent auction which we've garnered some great prizes so far. It's amazing what people are donating. Some hip fans are really coming forward with some great donations And again, all proceeds are going to the Downey Wain Jack fund. 1:19:18 - Speaker 3And the Long Slice beer will be flowing because Long Slice is stepped up and they are our title sponsor for the event. How cool is that. 1:19:27 - Speaker 1I cannot wait to drink some delicious beer and also watch the comedy of Pete and I too, because that guy is a side splitter, that's for sure. September 1st, live Toronto, Be there, B-square, gettinghiptothehipcom, Click on the bonus feed at 10% off the tickets and we'll see you there. Support this podcast at — https://redcircle.com/fully-and-completely/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

We're taking you on a journey through the Tragically Hip's live album, 'Live Between Us', which was released back in 1997. Our excitement leading up to its release was off the charts, and we're here to share that with you! We'll be dissecting some of the tracks on the album, such as 'Grace, too', 'Ahead By A Century', and 'Nautical Disaster'. Prepare to be immersed in the intimate connection between the band and their fans that this record so beautifully captures.In this episode, we dive deep into the recording process of 'Live Between Us', exploring the incredible energy of the show, and the role the audience played in the final product. Also, get ready for an insight into the potential impact a sax player could've had on the band's sound, as well as a fascinating anecdote about Dave Matthews' tour bus incident in Chicago. Plus, we'll delve into the tough decision faced by sax player David Manning – stay with the Hip or leave with his girlfriend?Finally, let's talk about the Tragically Hip's songwriting process and live performance dynamics. We'll discuss how the energy of the show and the crowd's reactions influenced their performances, and examine the live version of 'Fully Completely', which unlocked the song in a completely different way from the original recording. We'll also touch on the band's influences and listening habits, and how they incorporated lyrics from other bands into their set. So, join us as we unearth the magic of 'Springtime in Vienna' and the excitement its introduction caused among the crowd. You don't want to miss this!Transcrip0:00:00 - Speaker 1So, guys, this is Pete here. I'm coming to you with a very important message. Okay, this is serious stuff. I know we joke around a lot on the on the pod, but in all honesty, i'm asking for a favor. I need you to do yourselves a favor. I need you to do your family and friends a favor. I need you to do society as a whole favor. Go to getting hip to the hipcom, click on the bonus feed and join the bonus feed, because there's some pretty next level content or covering everything from geopolitics to UFOs and the tragically hit most importantly, but you're really not gonna want to miss it. So, again, do yourself a favor, do the next generation a favor. Okay, before you, before you focus on recycling and nobody cares about climate change, the more important thing is to join the bonus feed. Getting hip to the hipcom click bonus feed. 0:01:14 - Speaker 2You. 0:01:41 - Speaker 3A live hip record on May 2 for a weekend. What more could I have asked for? It was 1997 and I was getting ready to do my annual sojourn from Toronto back home to Waterford. The hip was still number one for me and this record was something I had been craving since having first seen them live. For some reason, though, it didn't scratch my itch the way I wanted it to. No matter how many times I spun the CD on my discman, i just couldn't get as excited about it as I did for a studio record. Were the hips so good live that it was impossible to capture the greatness in ones and zeros? I don't know, but what I can tell you is the album has aged extremely well and it's often something I go back to when I need a jolt that, for whatever reason, it didn't offer me back in 97. Now, in this episode recorded before his untimely passing, we get into the late Davis Manning. So allow me to acknowledge that now. Rest in peace, davis. If you've been following along, you know how hungry Tim and Pete are for a live performance from the band. Although they'll never get to see them in person, the time is right to unleash live between us onto them? Will they eat it up the way I think they will? We'll find out today. on Getting Hip to the Hip. Long Sliced Brewery presents Getting Hip to the Hip. If you've ever wondered what it would be like to hear the tragically hips music for the first time again, here's your chance. Join music fans Pete and Tim from Portland, who have never heard the band before, on a journey through the hips discography, accompanied by me, their guide, jd. Welcome to Getting Hip to the Hip. How's it going, guys? 0:03:56 - Speaker 5Going great, it's going good. 0:03:59 - Speaker 1Fantastic Couldn't be better. 0:04:01 - Speaker 5Glad to be back. 0:04:03 - Speaker 3Yeah, it is, it is. It's good to be back at it. Okay, before we get into things here, we are talking about the live record that everybody was really waiting for. You know, around the time it came out It was 1997. Everybody had heard that this was a really great band to see live and to experience live, and so we were all longing for, you know, a live record, and when it was announced we were really quite excited And I'm curious how you guys felt. But before we get into your feelings, let's take a look under the hood of this record. This one was recorded live at Kobo Arena in Detroit, michigan, november 23rd 1996. It was released May 24th 1997 for the long weekend. Produced by the tragically hip and Mark Freakin. It clocks in at 70 minutes and 31 seconds and it was released on MCA. All Music gave this a 2.5 out of 5. And here's what they had to say about this. The tragically hip, one of Canada's musical merry makers, are also praised for their raw, sweaty live performances. Frontman Gordon Downey is a real dynamo, lyrically and physically, and his bandmates only support the beautiful live chaos. With that aside, the hip treated fans with their first ever live album, live Between Us, recorded well. On tour in support of 1996's Trouble at the Henhouse, live Between Us documents one of the band's more ambitious evenings. Without any technical tweaking, a very loyal Detroit audience is captured at the sold out Kobo Arena and a very tight knit and fiery, tragically hip is in command. The unity between the hip and their fans depicts something heavy. Downey's random improvising and loose poetic ramblings spark the intro of Grace 2. It creeps along with Johnny Faye's electric percussion and already Live Between Us is a steady, creatively stripped and vibrant. The emotional rage fully, completely sets up the rest of the record, particularly the relaxed ballad ahead by a century Layered backing vocals and plucking acoustics depict the hip's signature sincerity and the sneaky rock snippets of David Bowie's China Girl And the Beach Boys Don't Worry Baby midway through New Orleans' sink and flow without hesitance. Most stunningly is his lyrical rant of Jane Sivarys' The Temple Near the End of the Taunting Nautical Disaster, which also includes a verse from the reaesthetics Bad Time to Be Poor. As a whole, the band is abrasive in a simplistic sense, making Live Between Us an intimate jam between the band members themselves and a shared moment with the fans. The tragically bad men have maintained their beloved status because of such grateful informality. What in the living fuck is a 2.5 out of 5? The only negative word in there is abrasive, and abrasive comes right to the end. It's such a pussy review, wow. 0:07:15 - Speaker 1It's a bitch review. It's like going out on the best date of your life or something and then just saying like, yeah, maybe I'll call you next week or whatever, or maybe I won't. I can't even think of something stupid and shitty to compare it to, because it's so fucking bullshit. Sorry, what a shit. the bed review that is Sorry. 0:07:42 - Speaker 5Well, i have a maybe, maybe, why So kind of the elephant in the room on this recording is the actual show is longer than what they put out for the album And we're missing all these. We're missing, yeah, we're missing all these songs. So if you, let's say, the writer, went to this show in Detroit and was so psyched about it And then a year or whatever, whatever it was, later bought the album and brought it home and realized it was three quarters of the songs and they don't even get the actual ending of the show on the record, and so you're kind of you're like you're playing if you got this on vinyl or CD, you're playing like the highlights of the show And as a very amateur taper and someone who absolutely loves live shows and kind of you know, on some of the bad weeks lives for them, you know, when I listened through this I was like okay, is this just the hits? Like what is this album Like? I really questioned what was going on with it. I absolutely loved it And I loved. You know I have all these comments about everything that I dig from it But at the same time I'm like God damn. So that's when I pursued the search of the whole recording, start to finish, because I mean I have socked away whole recordings of shows And this is not a whole recording. 0:09:11 - Speaker 3Yeah, it's interesting. It's interesting, I wonder. I was just going to say it's interesting. I wonder why they did it that way. What do you think, pete? That's what I was going to say. 0:09:21 - Speaker 1No, it's totally yeah, because here's a couple things Like I see what you're saying, but I'm also looking at this from 1996, number one, number two it's on MCA, which at the time MCA was a really large record company. Okay, so you know, you've got, you've got the record company's influence of. oh, i don't think this track should be on there, whatever They take it off. You know they wanted this to be a sellable record that they were going to put out number one. I'm not defending it, i'm just saying I'm just trying to get in the mind of the methodology of what, why these decisions were made. And on top of it, i think nowadays bands will put out a live record and it'll be like you know, because, for example, new Orleans is sinking. You know, nowadays that would be New Orleans is sinking. Parenthetical China girl slash, don't worry, they met me or something. You know they'll throw that shit in, whereas back in the day, when you had a packaged live record, that shit was a no. No, you know, i didn't see it a lot that I remember Either way. Dude, this fuck all music, dude. I think that's the narrative we need to stick with, because they don't know what the fuck is going on. 0:10:38 - Speaker 5It. Just this record blew me away. Yeah, I would say. I would just add that my my only thought behind their low review score is because they didn't get all the show, Maybe they went to it and they saw it and they wanted to hear it all again. Yeah, exactly, or maybe they didn't, i don't know, but it's just the review is written It was a bad way. 0:11:01 - Speaker 3Kindly like it's. so it's such a nice review, really, until the word abrasive comes out and then which is weird And then it ends with like a nice, like they're redeemed, blah, blah, blah, blah, blah, and then it's like 2.5. It's like this person is a hard grader man. That's all I'm going to say. 0:11:20 - Speaker 1But I don't, i don't buy that. Oh, i mean, i see what you're saying, tim, again about the record. You know. But look at, you know, a lot of live records aren't even a whole concert, let alone you're going to put a whole concert. So if a band plays for you know, three hours or plays a three hour set, like the Stones, and they put out a live record, they're not going to do that. Led Zeppelin's How the West is One great live record. It's probably. You know, if you look at the back and the liner notes, it's recorded in Madison Square Garden, it's recorded at the Long Beach Arena. It's recorded different places. It's not one concert. They kind of just took the best takes. 0:11:57 - Speaker 3I do like they used just the Kobo Hall performance because a lot of bands do that for live. They do like two or three nights and they record and they pick the best stuff. 0:12:08 - Speaker 5The actual album is about 83% of the show, so you you miss the whole. Encore There is some. There is some missing there The entire encore you missed. 0:12:17 - Speaker 3So what you do get the end of the record is the Weirothal, which is the last song they played. But whatever we missing, it goes Grace to fully completely springtime in Vienna. Trust my arm gift shop ahead by a century. The luxury 700 foot ceiling is not on there. 0:12:33 - Speaker 2Courage. 0:12:34 - Speaker 3That sucks, is courage on there. 0:12:36 - Speaker 5Daredevil is not. Daredevil is not Daredevil is not. 0:12:40 - Speaker 3Flamenco is not Scape is at hand for the traveling man is not, which is crazy because that's on the next record. So they were showcasing Wow, yeah, yeah, if anyone's got this. 0:12:52 - Speaker 5No, i'm thinking, don't wake, daddy. 0:12:55 - Speaker 3Yeah, please send an email to Tim at getting hip to the hipcom. He's a completist. I need it. Oh little bones man That would have been fucking rad. 0:13:06 - Speaker 5Yeah, ender with me locked in the trunk of a car would have been the ominous Ender. But then you got little bones, so new, the very end. I mean we got you another recording. You get 82, like I said, 83% of the whole entire show, which is killer. And you know, honestly, a positive there is it gives people access to the hip live who may own like one album, and then they pick up a CD with a bunch of live shit and they're like, oh man, why haven't we seen this band play yet? You know, so that could be part of it. It's a little bit of a teaser without an encore or a second encore. I mean I don't know, though That's all the same time. I've, i've recorded shows and I've sent friends just the encore, just kind of piss them off, but sometimes like from a recording. Sometimes for me, listening to the encore, like the last three, four songs, you're like fuck, yeah, that probably was an amazing show. I get it And you know this recording without hearing the, on course I pretty much get it too, but just specifically, i talk about the show. 0:14:10 - Speaker 3Yeah, well, this is what I want to. I want to sort of level off with the audience. You know how we're going to approach this Yeah. And you know, you came up with the idea of approaching it like it's a real concert, like let's give, give it a concert review. My curiosity starts to go from there. What do you look for in a live concert without referencing this record? What, what are? or, if you want to reference this record, what do you look for when you go to a show like that makes it a great show. 0:14:40 - Speaker 5Yeah, well, oftentimes it's the crowd. Man, if it's a rock and roll band, if it's a band with energy, you know there's. There's a electronic duo that we love, that we've seen play a handful of times. That really gets their crowd going like it. Just, oftentimes it's the crowd. You know, at the beginning of this album, as I listened to it, i thought, okay, probably not, because I didn't research it much. You know, i was excited to hear a live album But I thought, you know, it's probably not. The stadium sounds big, though definitely arena feeling and crowd sounds pretty hyped. They weren't. They weren't screaming like a bunch of fucking going crazy, drunk ass Canadians. They were hyped But it wasn't. To me it didn't feel like a home show. Well Tim, the ABV in the back blue is not that high Just well, sure, sure, sure, sure, Sure, sure, but you know, but when I did research it I was like, oh, i was like, oh, detroit, okay, detroit shows must have been really fun Because you know, you're in the US, you're in the USA. Whether or not is highly regarded in Detroit is like there is their home away from home. So the crowd for me was either way like hitting the mark that the crowd was pumped in the just right off the bat I had wondered about you know, because I'm nerdy that way like how it was recorded And I thought about the time and the era and what people were using to record stuff. So I did a little bit of research on that note, just to see, like what the heck or see if there are any notes about how they recorded this thing, because back then it was like dat recorders or radar recorders. I mean it was like the kind of the evolution beginning evolution of digital audio recording which people could then just pump out on the scene or mini discs around. 0:16:28 - Speaker 3At that point I forget when I had, i had a. 0:16:30 - Speaker 5Yeah that was, that was the yeah, those things were cool. Yeah, that was around the same time. You could yeah, you could plug those straight into a sound board and get like CD quality. So I was curious about that as a taper person, you know, just to hear how it went down, because it overall you know whether it was on my home sonosystem or my basement PSS premium sound system or on my my home headphones, my Bose headphones, like it sounds fucking good Like whoever. Whoever posted this did a great job. 0:17:06 - Speaker 3What did you think, pete, in terms of your rubric for measuring a live show? 0:17:13 - Speaker 1It's a it's a weird question because you know, and Tim comes from a place of recording a million shows in his history On me. I look, i gotta kind of look at it back. We gotta kind of look at this backwards because, number one, we worn out the show. You know, if we judge it by the crowd, i think, but by anybody's standards, you know, the show that Peter Frampton played at the Fillmore West for Frampton Comes Alive was was a banger on the show. But if you know anything about that record they dubbed in the audience of the crowd. Do you know? do you know that, right, tim? 0:17:47 - Speaker 5Boo. 0:17:47 - Speaker 1I say that Boo, i mean it's, it's, it's. the American Idol effect is of of making things seem like they're popular when they're not. 0:17:57 - Speaker 5Now I have a. It's the fucking laugh track, you know it's a laugh track. 0:18:02 - Speaker 1So I have a weird take on this. This record made me, gave me a weird take on this band as a whole that I'm really looking forward to show you guys. But just to your question, jd, before I get ahead of myself. I think the the show you can. You can hear how good the show was from the band and what the energy that the bands convey, what Gord Downey's saying and how he's interacting with the crowd, cause you never know with the crowd again. The Frampton record but based on what you're hearing from the band, it was a fucking rager. Yeah, whoever was at this show you know, kiss my ass, i wish I, i wish I was there, i mean, you weren't there. 0:18:49 - Speaker 3She was an email. JD at getting hip to the hipcom. 0:18:52 - Speaker 5Hey, jd, question for you. 0:18:53 - Speaker 3Call her Go ahead Yeah. 0:18:55 - Speaker 5Yeah, jd, you know. So after I did research this show a bit, i came upon the reason why it's named what it's named. Do you want to share that? And yeah, so it sounded like in the early days the hip had a sax player. 0:19:15 - Speaker 3David's. 0:19:15 - Speaker 5Manning, that's right, am I right? 0:19:17 - Speaker 3Yeah, talked about him in the first episode. 0:19:20 - Speaker 5So that that kind of rocks, yeah, yeah, I forgot all about that. I forgot all about that, obviously, and and I thought, oh my God, and I just I just kind of sat there and wondered about everything I've listened to and how there has been no sax player. And there could have been a sax player, you know, and there's, and it recalled to mind some bands that I love that have horn players that you know really feels like part of the soul of that band with this horn player. So can you imagine, like recordings up to this date, having this sax player? that's like you know, i don't know, would he have been the equivalent of I don't know the guy's name, the guy that plays um Phil or violin for Dave Matthews, you know, wouldn't have been this overwhelming presence, so that that first of all. 0:20:08 - Speaker 3First of all, dave Matthews, barf Barf. 0:20:12 - Speaker 5Oh, i know right, the best, the best story about Dave Matthews Segway is the story about his tour bus in Chicago. Do you guys know this story? 0:20:22 - Speaker 1Oh yeah, the the, yeah, the shit. 0:20:24 - Speaker 5Yeah, So he's he's. 0:20:25 - Speaker 1I thought you were going to say Clarence Clemens of uh, yeah, that's where I thought it was No, Yeah, Dave Matthews tour bus. 0:20:32 - Speaker 5You know they're whoever's on the bus, but they're driving in Chicago across an abridge and they're uh, they're black water tank, which is all the poo, poo and wee wee supposedly broke open and burst onto a bunch of tourists on a on a boat platform, boat going down the river on a scene. 0:20:50 - Speaker 3Oh my God. 0:20:51 - Speaker 5So Dave Matthews has actually shit on fans, so that's, that was pretty fun. Anyway, back to this. 0:21:00 - Speaker 3Hey, today's all about live music. 0:21:02 - Speaker 1Metaphorically and and sonically. 0:21:05 - Speaker 5I I last week I turned down the opportunity to co-host that Dave Matthews podcast. Um, so so this fellow uh, uh, uh, dave, dave is manning It was at a crossroads with staying in the band or not and was given to ultimate him by his girlfriend, who I wonder if he's even still with her doubt it. And, um, she, she noted that that the hip lives between us, to him, to Davis. So she was like you know, the band lives in between us in bed, the band is in between us. You got to pick, you got to pick one of us, pick the band or pick me And he's supposedly chose her, and this was spray painted on the wall of I don't remember some building I don't know in in whatever Queens Yeah, in Kingston, and, uh, you know when, it was lived between us. So I think the actual record is lived between us, but everybody calls it live between us because it's live. 0:22:06 - Speaker 3That's why I've all got it live between us. But yeah, i knew that, but I knew that story. But I still call it live between us. I don't yeah What man. if you've got to take on that Pete, do you? 0:22:15 - Speaker 1But isn't that a? isn't that a dick move, dude, like I mean? it's a I got to. How do you for the band in their current form to name it? 0:22:24 - Speaker 5that is like I think it's awesome. 0:22:28 - Speaker 1I think it's awesome too, but God. 0:22:29 - Speaker 5Here's the code It says. There, in an alley that now stands beside a tattoo parlor, he painted a huge mural featuring a weeping eye and a shooting star, which is hard to decipher. In the art He painted the hip live between us in large letters across the wall and an apparent reference to he and his lover. In the end, davis chose his girl, left the band and continues to be an active musician to this day. The mural stood until the summer of 2005, when it was painted over by local business owners. His artwork was used as the CD art, which is fucking hilarious and perfect for the hips 97 live release. The disc, in clever turn of phrase, was called live between us. 0:23:12 - Speaker 3That's very cool. 0:23:13 - Speaker 5Perfect. It's just perfect. I love it. That right there just made me love the whole thing. It was like great story, Great story. 0:23:21 - Speaker 3So let's start at the start. With the opener is Grace to a good opener. Hello. 0:23:55 - Speaker 2This is for the real statics. We're all richer for having seen them tonight. All right, i got a son, came up shocked with the lines. Today was the day that I was already behind Steal the drink. Our brothers and sisters, our young all-ter체 Note Uhl are here at the site. Come on, blir gladzis. I can hear a singing. I'm turned off from No, they don't know no more. That's why I'm here, for I kept them downtown, but I'm ready for you. I went well into Dona Nace and Brace to leave. I'm a little bit alone. I was, so I'm a little bit. I can't hear you. Can't you fucking hear that man? Can't you fucking hear that? Can't you hear what I heard? Look out, jesus Christ, big fuckin' bear. The secret rules of engagement Are hard to endorse When the appearance of comfort Meets the appearance of force, when I can guarantee They've been a knock on the door, i can't hear you. I'm turned off from here. I'm turned off from the door. That's why I'm here, for I kept them downtown, but I'm ready for you. I went to scale and it's my strength. Yes to you. I didn't give a fuck. Where the hell did you get an inch? I never fought for a thing. I never fought for anything. I got a palace wage gone to do. I'm like so many of you. I see around me Nothing to live or die for, no limits in tune. Help, help, no, no. I was growing up in town. I was growing up in town And I was gonna pick up my friends And I know you'll come to some kind of dead end. Oh, but I can swear there's a bear. I can swear there's a place where all is A bit to be manned And you can never be a piece of cake. And then there's everyone Around you smiling and everyone Around you styling. You got nothing to worry about. And then you got nothing to worry about. You got nothing to worry about. You got nothing to worry about. 0:29:31 - Speaker 1So fucking Lulie, absolutely, i mean. 0:29:34 - Speaker 5Perfect. 0:29:35 - Speaker 1It's just the way they come into it. I pictured like I don't know if they had played arenas this big before I know they toured. They sounded so tight, they couldn't fuck up if they tried, you know. And this band just sounded so good. Yeah, what was this? How far was this show off of their SNL release? SNL appearance. 0:30:12 - Speaker 3Oh well, snl was March of 95 and this was November of 96. 0:30:22 - Speaker 1Yeah, i mean, they knew then that this was a banger of a tune. But just What a way to ease in, to get everybody to get the water warm in the bathtub. Man. 0:30:36 - Speaker 3Did you dip your toes in the bath there, timmy? 0:30:40 - Speaker 5I did, i did, and it's good. The jets came on right away, so in the tub. So, yeah, i loved his phrase. Sun came up and shot through the blinds. Today was a day And I was already behind. You know, like I First of all, great line, great, just random thing. And it was also like I don't know. I love that phrase Cause to me it was like Sun came up and shot through the blinds. Today was a day And I was already behind. You know, and this is this to me, is a line that says it's kind of okay, you know, it's okay to be behind. You know, i don't know, i just you could read this line in so many ways. You can read it as like You're fucked, or you can read it as fuck it, and I love that about it. So, you know, there's there's just the grace to as a starter. You know, the first time I heard it as a starter live was that 99, woodstock, woodstock, yeah, yeah, yeah. And the first time I heard that was like okay, this is what gets the crowd going, this is, this is the shot in the arm energizer, and you know this, this is it for for this show as well. And to try, i love he has. Gord has one of his now iconic Woo. Yes, this is like, yes, the crowd is psyched, we're psyched. You know, that's to me going back to the crowd, kind of making the show. There you go, he screams. He's got like he does this droll, this guttural scream. You know, come from downtown. You know it's just, i just love it. I love it yeah, i love it when singers kind of stray and do something a little bit different Than the recordings and just get fucking into it, and that's that's how this started, for sure. 0:32:35 - Speaker 3And it carries on into a song that I don't recall how you felt about it on the fully, completely record, but to me this live version is so like, almost like psychedelic-y and like maybe it's because I've been listening to it high, i don't know but there's something really awesome about the live version It just unlocks live. I'm curious if you agree about certain songs, in this case, fully, completely Getting unlocked in a live version. 0:33:17 - Speaker 1The perfect word you use is unlocked. I couldn't think of a better word to use, because I don't know if they make them anymore. They used to be these 12-cylinder Mercedes-Benz two-door coupes. Do you remember those, Timmy run around. 0:33:35 - Speaker 5Yeah, yeah, they came with like an extra, extra gas tax on the They're ridiculous. 0:33:40 - Speaker 1Who needs this 12-cylinder? 0:33:46 - Speaker 5It was like a luxury gas tax in California that was added. 0:33:49 - Speaker 1That's how I feel about this song. 0:33:52 - Speaker 5And. 0:33:52 - Speaker 1I actually remember, because I remember thinking about it too. Jd, this was a song that I didn't say. I didn't like it but it wasn't my favorite on the record. I remember specifically because it was the title track And this was like again, a nice Mercedes, i would say a Ferrari, but whatever, whatever, your nice car is that you like sitting in your driveway and being like that's really cool, that's really pretty to look at. Okay, then you get in your fucking Honda, your fucking shitty beater, and you drive to work, but the live record gives you the keys to open it up and to fucking take it for a spin And it was, oh my God, yeah, exactly Like I really enjoyed this tune. It made me like and respect this tune for what it is And yeah, i mean think of all the reasons why. But again, you know I'll say that for a couple of other tunes. But I loved it, kim. What? 0:34:52 - Speaker 5do you think, man, i related to it quite a bit. You know I loved his singing, ranting poetry, whatever. At the beginning He's talking about being in love with the old rule being raised by TV. I mean, that's me, you know, that's my childhood. But I will add the end of this, which I couldn't find any reference on. Maybe someone else can find it. But towards the end of this I think is the first time he starts singing lyrics from other bands at the show And I didn't find this noted. So he, towards the end, he starts singing. Please take me there. He sings there's a light that never goes out. These are lyrics from the fucking Smiths from the 80s And I have a feeling, you know, i'd really just wish I could know what the band was listening to from early through later, like what they were really jiving with. You know what they listened to on the bus and what their influences were. If they were carrying around CD player, fucking Walkman, whatever. You know what they were jamming to cause. There's more see early, more see lyrics here. I might be wrong, It might just be a coincidence, but when I heard that the first time I was like fuck. 0:36:12 - Speaker 1Well, we know what Tim was listening to, please. 0:36:16 - Speaker 5One of my first. Honestly, that's one of my. My second tape was the Smiths Queen is Dead. 0:36:22 - Speaker 1Same here. 0:36:24 - Speaker 5That was it. So, yeah, i felt like this took it bigger. I hear the song in this order at this show. It took it a level bigger and louder and took it a level more aggressive. It was like Pete, you know the V12, you drive your shitty Honda, but you get in a car. it's a V12. It's like a jet boat, you know. and this I felt, i felt fully, completely, really dug in and kept us accelerating. I love your old ways, i love your old world ways is what he sings towards the end And I just that's so romantic to me. That's like pulling on my heartstrings because, you know, I'm a Gen Xer. There's so many times in my life where I want to throw my iPhone across a room. Yeah. 0:37:11 - Speaker 1Yeah, the torque it gave us, i thought one of the. I thought the crazy part about springtime in Vienna was and if I remember correctly, he introduces it And I don't know if the crowd goes nuts for it. But I'm just thinking to myself like the minute this song starts. I'd fucking lose all my shit if I'm in the car. 0:37:35 - Speaker 5Yeah, yeah, losing my shit. 0:37:37 - Speaker 1And the fact that he introduces it is almost like, kind of like, is he doing it because it's a light record? And there's maybe people that are gonna buy this record and not be looking at the back of the CD when they when it's on, i mean I don't know because, whatever, but this song, i mean just when it goes on the fucking chorus, it's just it's madness too. 0:38:02 - Speaker 5It's Yeah, you love this song. 0:38:04 - Speaker 1You hate to be loved, right? Yeah, i love this song and I just feel like if I I can hear the band having so much fun playing this song, you can hear it. 0:38:17 - Speaker 5Yeah, you can, you can. You can hear it a lot of times throughout this whole performance. Yeah, you can hear the amount of fun, i think, through the bass that's happening. You know there's some really the bass guitar so many times to me is like fuck, these guys were into it, you know. And springtime in Vienna, just like that. I felt like that was the point in the show, where you're like either chugging down your second beer or you're lighting up another spliff or whatever. Like this is like serious momentum. twist my arm, which was next, you know That to me felt I don't know that's that to me for this position of this show. This is like where you were dancing, Like this is super fun, like it felt danceable. You know, it's like I'm not standing still at this show. That was my comment for that one. 0:39:14 - Speaker 1I got some weird takes, i mean and these aren't necessarily related to this particular songs And the first thing I want to say is that I feel like like when I was young, jd, my dad used to tell me when I was playing in a band, you need to play with dynamics, right. And when you're young and you're just fucking want to turn your amp up louder than the guy next to you, you don't know what the fuck dynamics are. And it's ironically. You know, i don't have to give away my age, but I'm up there And I still I'm trying to play with people who don't know what the fuck dynamics are. Some people get it, some people never get it. It's just the ability to listen to one another, to play to the band, not to just play your instrument right, and this you can just tell. This band is weathered by the road. They have amazing dynamics to start songs like well, springtime in Vienna gift shop, especially a head by a century which builds. So just do this, do what is. Isn't it the most streamed song of the band period? Yeah, yeah. 0:40:31 - Speaker 5Head by a century. 0:40:32 - Speaker 1Yeah, head by a century, which is funny because race two on this record has more streams on this live record than head by a century. 0:40:45 - Speaker 3Oh really. 0:40:46 - Speaker 1Yeah. 0:40:48 - Speaker 3Oh wow, well, maybe it's not that, i'm not sure What. We should look that up, you know. 0:40:55 - Speaker 1You know me, though, but yeah, I think they know what they're doing on stage clearly. 0:41:03 - Speaker 5Yeah, you don't want a drummer or a guitarist or a fucking keyboardist. I'll talk a little, reference the doors there for two seconds. You don't want another musician in your band getting in the way. You know, like I actually, who is it, i'll recall. But anyways, i heard someone once say yeah, i just can't have a drummer who gets in the way. You know, you don't want somebody just cranking themselves too often And I think that's kind of what you're saying. Pete, this show, you know it. just it gets this momentum going to where you might all of a sudden realize oh shit, we're already in song five or this is already the sixth song. Like, i feel like their shows have this build up. I would assume now, after hearing this one, that their shows kind of have this build up and then they start carrying people. you know, before you, yeah, before you realize it, you're like, oh, my God, you know, it's probably halfway over or something, i don't know. It's like a century when it, yeah by century, when it started on this recording, that kind of felt like a mile marker with Gordon, his goofy start, when he's doing his one liners and making sense and not making sense at all, like that. that was kind of like the check in to to like yeah, catharsis one Yeah. That all about right, right. That to me was like let's see how into it the crowd is. You know, maybe we'll make somebody fall over with these statements, i don't know. But that, but there's a moment in a head by a century on this recording that I've kind of been waiting for to hear these guys live, do And that's like a right around the three minute marker. So they just start riffing a little bit more. They dig, they dig a little bit deeper. They reached that, you know, five fifth speed of the V12 Mercedes and they're finally on the stretch of freeway where they can let it go a little bit. And that's that's what happens with with this song. I've been waiting, waiting to hear that. So that was, that was good, that was good for me. 0:43:10 - Speaker 3Gift shop I wanted to ask you guys about, because gift shop to me feels like grace two, in the sense that it's like an opener Like. It feels like an opener to me. So I'm just curious about where it gets put. Like you've you've talked about this car metaphor you know you get grace two to open the show, then fully, completely, which sort of like you know, gets you, gets you sort of high, and then springtime in Vienna to get you jumping up and down And then twist my arm is like an old classic at this point. So you're like wow, like, like Tim said, you're dancing, And then gift shop sort of resets everything. 0:43:52 - Speaker 2You know what I mean. The rest of the world becomes a gift shop. So you're like wow, like Tim said, you're dancing. You're like wow, like Tim said you're dancing. You're like wow, like Tim said, you're dancing. You're like wow, like Tim said you're dancing. You're like wow, like Tim said, you're dancing. I don't know what to believe. Sometimes I even forget. And if it's a lie, a terrorist may be saying A beautiful love, a dangerous time, we get to feel a smile. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I'm high up above. I don't know what to believe. 0:47:43 - Speaker 5I wish I knew what to believe. I knew what to believe. Close the window. You'll hear the sound of death. Run, run, run, run run. 0:48:38 - Speaker 1I feel like gift shops an opener too. Absolutely. If you want to use the car analogy, that's cool, but if we're powering a big amplifier with a car battery, it's like it's got some juice, it's got some sound. It's really pushing. You're waking up the neighbors and you hook up a second car battery. Now all the tubes are really lit up. Gift shops. It's just like Grace II and that it's another opener. It's the nitrous oxide on the engine. It just puts the show forward even faster and harder. 0:49:28 - Speaker 5I agree with that. I think it's not my favorite song simply because it's. I feel like it's. I don't know we're up to bat against a pitcher. You know you're going to get it on. It's an easy one, the chorus is easy, it's sing-alongable. I think gift shop could be an opener of the show, but I feel like it fits here well, because it's like dude, we've had the basses loaded twice. We're going to have the basses loaded twice. Let's just fucking keep bringing them in. And that's gift shop for me for sure. 0:50:02 - Speaker 3A lot of the baseball. 0:50:04 - Speaker 5Yeah, that was for you, buddy. 0:50:06 - Speaker 3Basses loaded twice. So the basses were loaded with Grace II, fully completed in springtime in Canada, and then gift shop ahead by a century and the luxury which is. This is a cool thing. If you're exploring Hiptim, you to Hiptim and you want to explore, there's a website called HIPBASE H-I-P-B-A-S-Ecom And it's got like every lot. It's like setlistfm, except for it. It's got super detailed statistics Like so, for example, the luxury this was only the 19th time that it played the luxury live. That's interesting. Yeah, it's like it's an older song at this point, but they've only played it 19 times. They only ended up playing it 65 times in total in their career. 0:51:01 - Speaker 1I feel like it's a good. It brings it down a little bit. It it, it. It mellows it out. You know, i mean being as that ahead by a century was such a popular song, like the crowd was going I mean they were going to eat shit right. When that song started, as it was This kind of like you know, take some away from the edge for a little bit. It's a really cool song, super cool bass groove. I love that. Yeah, one thing that really showcases Tim Is that on your guys' end, That's on my end. 0:51:38 - Speaker 3I think, yeah, that's JD, i come from downtown. 0:51:42 - Speaker 1One thing that Tim mentioned about drummer not getting in your way. It's crazy Again because, like my thoughts on this record are more broad and as opposed to individual songs, but I felt like like Gord Downey for the longest time and listening to the records and listening to it at this point has been the draw, and not in a bad way, but I'm saying it in the context of what Tim said the guy who's in everybody's way And I don't mean that in a bad way because he's such a fucking talent, absolutely And this was the first time where I was actually and I feel kind of like a fucking douchebag, because when it comes to the whole entire band I mean the entire band you really hear like whoa, these motherfuckers are good musicians, these guys are Yeah. And that's really hard to come through on a record because you don't know when what's recorded, how it's cut together. 0:52:42 - Speaker 5Yep. 0:52:42 - Speaker 1All that. When you hear it live you're like, okay, this is the way it sounded there And everybody sounds so good. So it's, you don't hear and I don't mean that again at this respect of Gord Downey getting in anybody's way, but like he's so good It's sort of hard to not Have that guy overshadowed. Yeah, yeah, the band, but live you don't get that vibe at all. On the records I sort of do. The records are really smooth, this far sort of, but on the fucking live performance holy shit. 0:53:16 - Speaker 3Yeah, and that's. It's funny because that was one of the questions I literally just wrote down. I was going to ask you guys if the band, if you feel differently about the band now that you've heard them play live, and you just answered that exact question, do you get what I'm saying now about being sort of an improv troupe? 0:53:35 - Speaker 5Yes. 0:53:36 - Speaker 3Because Gord will sort of carry on and do his own thing and they still have to end a song And they don't know if he's like how far he's going. Or sometimes they'll just end a song and go into, go right into something else And he's still sort of like finishing a thought or explaining an idea or whatever. 0:53:59 - Speaker 1The musicians clearly all listen to each other enough to know when to where things are going, You know. 0:54:07 - Speaker 3Yeah, And they're just as in charge as he is in a sense. 0:54:12 - Speaker 5I have to wonder what that would have been like if Davis was playing sax and all this, you know might not have been. It would have been different. Could you imagine just having a horn blowing in here and there? Yeah, like I said, having horns and bands and having a fit. but oh it may have been, I don't know I think like in excess. 0:54:34 - Speaker 3You know, they were good with the sax, yeah, but yeah, it would have been different for sure. 0:54:38 - Speaker 5Last night we were listening to this band that I loved, loved, from Boston, called Morphine. If anyone hasn't listened to Morphine, you got to check them out. They're no longer, but they were a three piece and saxophone, bass player and drummer, and that was it. It's one of the perfect examples of a unique rock and roll band where saxophone fits in and leads and doesn't take over, because it was such a unique trifecta of you know of a band. But you know, i just I think where was I going to go with this? I think, yeah, i think it would have been so different. I just circled back to the luxury. I commented on this before. It's noted on the internet, of course, but I would love, jd, for you to to play the end, maybe, of the luxury of this one and then blend in, come as you are from Nirvana, cause dude, it's the same. I mean they, they, the band was listening to Nirvana. It's just the same guitar, the same bass. It's pretty fucking cool, and I've noticed that the first time I listened to the luxury, and it's completely evident in here as well. 0:55:57 - Speaker 3But the luxury came out in 91. How much art came out in 92? 0:56:03 - Speaker 5Well, they heard it, i swear. I mean it's timing or not? 0:56:09 - Speaker 3Or Nirvana heard it. 0:56:11 - Speaker 5Yeah, nirvana heard it, who knows? 0:56:12 - Speaker 1Yeah. 0:56:13 - Speaker 5But anyways, courage, So courage. I love courage. It couldn't come at a worse time. 0:56:47 - Speaker 2Where something more familiar, quickly something familiar. Can't change my words, it doesn't matter. Sleep, watch so fast, asleep in a motel that has a lay of hope And piss on out of your background And piss on three eyes around your face. Can't change my words, it doesn't matter. Can't change your words, it doesn't matter. Can't remember, it doesn't matter. Can't change my words. Time. It's pretty snowy in here. Snow is so merciless for old country. There's no sample explanation for anything important Any of us do and yet a human tragedies, obsession or necessity of living with the consequences of depression and depression. Can't change my words, it doesn't matter. Can't change your words, it doesn't matter. Can't change my words, it doesn't matter. Can't change my words. Can't change my words. Can't change my words. I'm a child of the church, god. Snow is so merciless for old country. There's a spite of everything that's happening. It's a spite of love. Can't change my words, don't you worry, i'm a child of the church, god. I'm a child of the church, god. Snow is so merciless for old country. 1:00:57 - Speaker 5Can't change my words. Can't change my words. I don't know. There's something about this song that it's positive. It's. You know, it's something I can't turn off when I hear it, Like I got to go through the whole song. I got to sing the chorus One of the coolest parts. The bridge, Yeah, yeah, it's good. One of the coolest parts of this live recording for me, of this song, Courage, is you can hear the crowd singing a little bit Like Gord stops. When Gord stops singing, the crowd carries the lyrics for him. There's a brief moment of that, which I just adore when bands do that, when the crowd is so into it that they just stop singing. But I have the question. I don't know, This is a question. Towards the end of this he starts to talk about Montreal and the snow and poor old Montreal, You know, and I guess that's a reveal on a song in the future about Montreal or something. 1:02:15 - Speaker 3Is that true? Actually, a song from the past. 1:02:18 - Speaker 5Oh, oh, oh oh. 1:02:20 - Speaker 3It was a song that was written for Road Apples. Oh, that's right. It never came to light until much later on, but they always played it. They always sort of kept it in the back pocket and would pull it out and play it occasionally, and there's a live recording of it that just came out in a box set. That is a really good live recording. I also have the demo. I have the demo from Road Apples Ooh, okay, cool, cool, cool, cool. So, yeah, it's a great song and it's fucking ooh, it's a tough one. It's about the young man who shot and murdered 14 young women at a school in Montreal, and it happened in late 80s and it's recognized annually as a result. 1:03:10 - Speaker 5Oh, yeah, So I just pulled that up. It's the massacre at Montreal's Polytechnic School, which was fueled by misogyny, horrifying memory of a bygone era. Damn Fuck. 1:03:27 - Speaker 3Yeah, so the song Montreal is about that. 1:03:33 - Speaker 5Got it. There's our heavy sort of segue in there to get us to New Orleans and Sinking. So New Orleans and Sinking for me. I don't know about you, pete, but man, this was fun. On this recording This is like crowd goes berserk. The guitar has this big start, the drums are big. It feels like we've reached top speed perhaps of the show. It oddly slows down about. There's a I don't know if you caught this, pete there's this tempo, little chug, slug, like it slowed down for just a little bit there. Like it really caught my attention that the band kind of went a tiny bit out of sync and I think that was with the drums. But man, this one I think the crowd was just, for lack of a better term banging their heads and just going along and, you know, felt so awesome The fucking David Bowie references at the end talking about where's my little China girl, all that you know that was China girl was like forever stethled to my brain because of MTV as a youngster. You know that was just such a memorable video for me Made me an instant David Bowie fan. It's just I just. New Orleans and Sinking. It might have been, might have been one of my. We're gonna get into it one of my top songs here. 1:05:25 - Speaker 2Silly way down this sidewalk in jail. My memory is muddy. What's this riff that I'm in? You gonna need to sink it, man. And I don't wanna say that I'm a child, i'm a throne. I'm going home, can't do this now. I'm a party, he said. You know yourself. Shut your big mouth. Gotta do what you feel is real. Got no pictures false gods. Got no shivers in these. My fingers she won't open when I'm thinking about those. Yeah, i'm a child, i'm a throne. I'm going home, can't do this now. I'm a party, he said. You know yourself. Shut your big mouth. Gotta do what you feel is real. I'm a child, i'm a throne. I'm going home, can't do this now. I'm a party, he said. You know yourself. Shut your big mouth. Gotta do what you feel is real With my ginocent girl. Wake up in the morning. Where's my ginocent girl? She's too tired, she's too small. Baby, just shut your mouth, she says. She says, yeah, don't worry, baby, everything will turn out alright. There's a light bulb hanging on a wire, sucking up the sun doesn't stoop to fire. Taking out the highlights of the scenery, saw some little clouds and looked a little like this In the river, my feet back up on the banks looked up to the Lord above, said hey, hey, hey, banks. Sometimes I feel so good I've got to scream. He says Georgie, baby, i know exactly what's the change He says. He says I swear to God. He says hey, hey, hey, hey, hey, hey. My memory is funny. What's his clever man of man? he won't need to sink in that, i don't want to sell Trout. 1:10:36 - Speaker 3Trout, trout, trout. 1:11:31 - Speaker 1Trout, trout, trout. 1:12:21 - Speaker 3Trout, trout, trout. 1:12:46 - Speaker 1Trout Trout. 1:13:00 - Speaker 5Trout, trout, trout, trout, trout, trout, trout, trout. 1:14:13 - Speaker 3Trout, trout, trout, trout, trout, trout, trout, trout. 1:15:25 - Speaker 5Trout Trout, trout Trout. 1:16:12 - Speaker 3Trout Trout. 1:16:21 - Speaker 1Trout Trout, trout Trout. 1:16:56 - Speaker 3Trout Trout. 1:17:13 - Speaker 4Trout Trout. Questions or concerns, email us at JD at GettingHipToTheHipcom. We'd love to hear from you. 1:18:16 - Speaker 3Hey, it's JD here. 1:18:18 - Speaker 5Hey, it's Tim. 1:18:19 - Speaker 3And Pete Fellows, i'm really excited that you're flying to Toronto on Friday, september 1st for our big party GettingHipToTheHip an evening for the Downey Wain Jack fund. We just need to sell some tickets. How are we going to do that? 1:18:33 - Speaker 5Go to our website GettingHipToTheHipcom and you'll find a link to get tickets to our event at the rec room in Toronto. 1:18:40 - Speaker 1Early burn tickets are 35 bucks. If you go to GettingHipToTheHipcom and click on the bonus fee, you get 10% off, which means tickets are 31.50 right now. If you were to join the bonus fee and buy tickets, you'd literally have to be stupid not to do that. Definitely join us on September 1st. I'll be at the bar putting out the vibe JD. where are you going to be at? 1:19:00 - Speaker 3I'm going to be watching 50 Mission perform some tragically hip songs and I'm really excited for you guys to see them. 1:19:06 - Speaker 5Yeah, and we have a silent auction which we've garnered some great prizes so far. It's amazing what people are donating. Some hip fans are really coming forward with some great donations And again, all proceeds are going to the Downey Wain Jack fund. 1:19:18 - Speaker 3And the Long Slice beer will be flowing because Long Slice is stepped up and they are our title sponsor for the event. How cool is that. 1:19:27 - Speaker 1I cannot wait to drink some delicious beer and also watch the comedy of Pete and I too, because that guy is a side splitter, that's for sure. September 1st, live Toronto, Be there, B-square, gettinghiptothehipcom, Click on the bonus feed at 10% off the tickets and we'll see you there. Support this podcast at — https://redcircle.com/gettinghiptothehip/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Teddy Taptiklis is a researcher, facilitator, member of Enspiral, and founder of Between Us. Through his project Entangled Bodies, he has been researching the use of sound recordings to create a sense of relational awareness amongst groups. In 2019, he published the blog series Microattunement on Medium, building upon Richard Bartlett's Microsolidarity framework, a community-building practice with the objectives of creating structures for belonging and meaningful work. Though Richard wasn't able to join us for this recording, it is his voice you heard in Part 1 of this series. This episode is Part 3 of 3 of our conversation, where we explore the importance of the role of host and ritual, as well as the design of the physical space, for creating conditions for belonging, membership, and responsiveness to the needs of the group. Topics covered during the episode include:-Reimagining the role of hosting to share responsibilities with the group-Teddy's experiences at the Marae and what these practices can teach us about designing gatherings, meetings, and teams to be self-organizing-Jim Burklo's Musings: The Meaning of Membership-Designing spaces and rituals for inviting strangers to settle into an experience of belonging and membership where every role matters and where responsiveness to the needs of the room is possible-Richard Bartlett's tweets (@RichDecibels)-The crew as the appropriate size for minimizing panic, achieving enough comfort to maximize stretch-Exploring how Zoom can be used for ritual and for developing presence without the need for identity labels-Mikhail Bakhtin's theory of the utterance-Moving from appreciation and recognition to empathy with feedback-Inner Development GoalsTeddy shares his website (betweenus.net) for listeners to connect with him. You can also find his Microattunement blog series on Medium. Two books coming this year. Listen on Apple Podcasts or Spotify and let us know your thoughts on Twitter!

Teddy Taptiklis is a researcher, facilitator, member of Enspiral, and founder of Between Us. Through his project Entangled Bodies, he has been researching the use of sound recordings to create a sense of relational awareness amongst groups. In 2019, he published the blog series Microattunement on Medium, building upon Richard Bartlett's Microsolidarity framework, a community-building practice with the objectives of creating structures for belonging and meaningful work. Though Richard wasn't able to join us for this recording, it is his voice you heard in Part 1 of this series. This episode is Part 2 of 3 of our conversation, where we explore the scales of microsolidarity and why group sizes matter for power dynamics and learning. We discuss how Microattunement uses sound recordings to enable leaders to create conditions for unleashing unique genius, and how for the first time in history, we have AI as a tool to enable us to best contribute our talents in group settings. We dive into Teddy's Entangled Bodies project and end with a reflection about the magic of humanity. Topics covered during the episode include:The scales of MicrosolidarityHow power and learning shows up within dyads and crewsBoundary setting as a means to mitigate power differences in dyadsMicroattunement as a structure to actualize the self through the appreciation of othersThe promise of sound recordings and AI to enable members of a group to unleash their unique genius at the exact moment that it's most usefulRemaking the concept of leadership as a response to an event/moment, not a capacity within a personAn overview of the Entangled Bodies workshopsThe magic of humanityFind Teddy's Microattunement blog series on Medium and learn more about his work at betweenus.net. Listen on Apple Podcasts or Spotify and let us know your thoughts on Twitter!

Teddy Taptiklis is a researcher, facilitator, member of Enspiral, and founder of Between Us. Through his project Entangled Bodies, he has been researching the use of sound recordings to create a sense of relational awareness amongst groups. In 2019, he published the blog series Microattunement on Medium, building upon Richard Bartlett's Microsolidarity framework, a community-building practice with the objectives of creating structures for belonging and meaningful work. Though Richard wasn't able to join us for this recording, it is his voice you heard at the beginning of this episode.This episode is Part 1 of 3 of our conversation, where we explore communication that goes past our heads and why the feeling tone of a host and the primary senses that we use to engage with a group matter. We wonder about today's text-based performative identity and if our shift from oral tradition to writing has created a cult responsible for this white dominant culture we now find ourselves struggling to replace with something different and better.Topics covered during the episode include:Teddy's journey from the corporate world to Enspiral and Entangled Bodies research Universal sense of detachmentNonverbal communication and magical thinkingThe power of listening and relisteningHuman history for use of the senses (otherness of sight vs. participatory, social, relational nature of hearing & speaking)“Communal presentism” of the past has been replaced by solitary acts of reading and writingText-based performative identityWriting as a cultWhite dominant culture and something differentCultural assumptions of the written wordFind Teddy's Microattunement blog series on Medium and learn more about his work at betweenus.net. Listen on Apple Podcasts or Spotify and let us know your thoughts on Twitter!

So nice you gotta do it twice? These three shows went back to the well for a second outing, with mixed results. Ben and NiNi talk Cutie Pie 2 You, Utsukushii Kare 2 and Between Us.

In this episode Billy and Emma celebrate finishing Between Us and talk about Until We Meet Again aswell. They share their character tier lists, answer questions from listeners, take quizzes and play ship it or rip it. Tierlist: https://tiermaker.com/create/until-we-meet-again-and-between-us-character-ranking-15293803 Quizzes: https://uquiz.com/quiz/LAOZCR/what-until-we-meet-again-character-are-you https://uquiz.com/quiz/ju4UMH/i-kin-assign-you-an-until-we-meet-again-character --- Send in a voice message: https://podcasters.spotify.com/pod/show/be-podcast6/message

Given the concept of emotions being OURS (OUtside of us, Relational, and Situational), work culture, home culture, national culture, gender culture...all of these cultural settings are relevant to how we individually do emotions. We can be more resonant with each other, and Dr. Batja Mesquita explains what this means and how we can do it.  Dr. Batja Mesquita is the author of Between Us: How Cultures Create Emotions. A social psychologist, an affective scientist, and a pioneer of cultural psychology, she spent much of her life in the Netherlands before moving to the United States for her postdoctoral years at the University of Michigan, where she was part of the “culture and cognition group” that played a key role in the start of cultural psychology. She subsequently worked in North Carolina at Wake Forest University. Currently, she is a Distinguished Professor of Psychology at the University of Leuven, Belgium, where she studies the role of culture in emotions, and of emotions in culture and society. She directs the Center for Social and Cultural Psychology in Leuven. She has numerous honors and awards; most recently receiving the Outstanding Contribution to Advances in Cultural Psychology Award by the Society for Personality and Social Psychology in 2022. You can find more information at www.batjamesquita.com.

Emotions are OURS (OUtside of us, Relational, and Situational), rather than MINE (Mental, INside of us, and Essential; essential meaning always the same) (as in the movie Inside Out). The concept of emotions as OURS has revolutionized my thinking about emotions and how I do my emotions! Dr. Batja Mesquita is the author of Between Us: How Cultures Create Emotions. A social psychologist, an affective scientist, and a pioneer of cultural psychology, she spent much of her life in the Netherlands before moving to the United States for her postdoctoral years at the University of Michigan, where she was part of the “culture and cognition group” that played a key role in the start of cultural psychology. She subsequently worked in North Carolina at Wake Forest University. Currently, she is a Distinguished Professor of Psychology at the University of Leuven, Belgium, where she studies the role of culture in emotions, and of emotions in culture and society. She directs the Center for Social and Cultural Psychology in Leuven. She has numerous honors and awards; most recently receiving the Outstanding Contribution to Advances in Cultural Psychology Award by the Society for Personality and Social Psychology in 2022. You can find more information at www.batjamesquita.com.

We're finally talking one of the most anticipated series in our short BL history. The follow up to Until We Meet Again, Between Us promised to unbag (see what I did there?) the relationship between Win & Team, and boy...did it ever. In addition to getting way more WinTeam, we were introduced to Bee and Prince, the greenest flags of them all. What's your must watch list? Join the discord we're members of: https://discord.gg/geargarden COME HANG WITH US AT HOUSTON'S FIRST EVER BL CUPSLEEVE EVENT! January 18 & 19 The Bunny Tea Houston http://www.bit.ly/beminehtx Comment, like & subscribe on YouTube FOLLOW US FOR SWEET BOY APPRECIATION POSTS: IG: @letstalkBL Twitter: @letstalkBL TikTok: @letstalkBL

A pioneer of cultural psychology argues that emotions are not innate, but made as we live our lives together. We may think of emotions as universal responses, felt inside, but in Between Us: How Cultures Create Emotions (Norton, 2022), acclaimed psychologist Dr. Batja Mesquita asks us to reconsider them through the lens of what they do in our relationships, both one-on-one and within larger social networks. From an outside-in perspective, readers will understand why pride in a Dutch context does not translate well to the same emotion in North Carolina, or why one's anger at a boss does not mean the same as your anger at a partner in a close relationship. By looking outward at relationships at work, school, and home, we can better judge how our emotions will be understood, how they might change a situation, and how they change us. Brilliantly synthesizing original psychological studies and stories from peoples across time and geography, Between Us skillfully argues that acknowledging differences in emotions allows us to find common ground, humanizing and humbling us all for the better. This interview was conducted by Jolie Ho, a PhD candidate in clinical psychology whose own research focuses on social connection and reward in the context of social anxiety. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A pioneer of cultural psychology argues that emotions are not innate, but made as we live our lives together. We may think of emotions as universal responses, felt inside, but in Between Us: How Cultures Create Emotions (Norton, 2022), acclaimed psychologist Dr. Batja Mesquita asks us to reconsider them through the lens of what they do in our relationships, both one-on-one and within larger social networks. From an outside-in perspective, readers will understand why pride in a Dutch context does not translate well to the same emotion in North Carolina, or why one's anger at a boss does not mean the same as your anger at a partner in a close relationship. By looking outward at relationships at work, school, and home, we can better judge how our emotions will be understood, how they might change a situation, and how they change us. Brilliantly synthesizing original psychological studies and stories from peoples across time and geography, Between Us skillfully argues that acknowledging differences in emotions allows us to find common ground, humanizing and humbling us all for the better. This interview was conducted by Jolie Ho, a PhD candidate in clinical psychology whose own research focuses on social connection and reward in the context of social anxiety. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

A pioneer of cultural psychology argues that emotions are not innate, but made as we live our lives together. We may think of emotions as universal responses, felt inside, but in Between Us: How Cultures Create Emotions (Norton, 2022), acclaimed psychologist Dr. Batja Mesquita asks us to reconsider them through the lens of what they do in our relationships, both one-on-one and within larger social networks. From an outside-in perspective, readers will understand why pride in a Dutch context does not translate well to the same emotion in North Carolina, or why one's anger at a boss does not mean the same as your anger at a partner in a close relationship. By looking outward at relationships at work, school, and home, we can better judge how our emotions will be understood, how they might change a situation, and how they change us. Brilliantly synthesizing original psychological studies and stories from peoples across time and geography, Between Us skillfully argues that acknowledging differences in emotions allows us to find common ground, humanizing and humbling us all for the better. This interview was conducted by Jolie Ho, a PhD candidate in clinical psychology whose own research focuses on social connection and reward in the context of social anxiety. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Anoushka Shankar is a respected sitarist and composer who has just received two Grammy nominations for her new live album Between Us. She joins Anita to talk about the her new song, In Her Name, in memory of the young girl from Delhi, referred to as Nirbhaya, who 10 years ago was gang raped on a bus and was subjected to an attack so badly that she died from her injuries. The incident sent shockwaves across the world and led to the introduction of new anti-rape laws in India. An estimated half of all women will suffer from a urinary tract infection (UTI) in their lifetime – so why has testing been such an inexact science until now? Some patients have their infections missed entirely, or, on the flipside, they receive unnecessary or incorrect antibiotics which may leave them host to an antibiotic resistant strain. But a new test could be about to change that. Dr Emma Hayhurst is part of a team of scientists developing a new test for UTIs that could provide a diagnosis in just 40 minutes. She joins Anita, along with Dr Agnes Arnold-Forster, from the London School of Hygiene and Tropical Medicine, who last year executive produced a documentary film on the experience of living with a chronic UTI. Why is social media obsessed with nurseries and toys in neutral, muted colours? Anita speaks to the writer and librarian Hayley DeRoche, who coined the term ‘sad beige clothes for sad beige children'. She tells us about her viral videos which skewer the beige aesthetic. And journalist Martha Alexander explains why she has resigned herself to a life of multicolour with her daughter. Presented by Anita Rani Producer: Louise Corley

------------------Support the channel------------ Patreon: https://www.patreon.com/thedissenter PayPal: paypal.me/thedissenter PayPal Subscription 1 Dollar: https://tinyurl.com/yb3acuuy PayPal Subscription 3 Dollars: https://tinyurl.com/ybn6bg9l PayPal Subscription 5 Dollars: https://tinyurl.com/ycmr9gpz PayPal Subscription 10 Dollars: https://tinyurl.com/y9r3fc9m PayPal Subscription 20 Dollars: https://tinyurl.com/y95uvkao This show is sponsored by Enlites, Learning & Development done differently. Check the website here: http://enlites.com/ Dr. Batja Mesquita is Distinguished Professor of Psychology at the University of Leuven, Belgium, where she studies the role of culture in emotions, and of emotions in culture and society. She is director of the Center for Social and Cultural Psychology in Leuven. She is the author of Between Us: How Cultures Create Emotions. In this episode, we focus on Between Us. We start by talking about what emotions are, and their functions. We discuss how people think about and categorize emotions, and the MINE (Mental, Inside, Essentialist) and OURS (Outside, Relational, Situational) models of emotions, and their relationship with wellbeing. We talk about raising children cross-culturally. We go through a few emotions, like anger and shame, and love and happiness, how they manifest across cultures, and ask if love is at the basis of all intimate relationships, and if everyone cares about happiness. We talk about how language relates to emotion, and the developmental aspects associated with emotion acquisition. We discuss the applications of research on emotion. Finally, we talk about the work of Paul Ekman, evolutionary approaches to emotion, and “basic emotions”. -- A HUGE THANK YOU TO MY PATRONS/SUPPORTERS: KARIN LIETZCKE, ANN BLANCHETTE, PER HELGE LARSEN, LAU GUERREIRO, JERRY MULLER, HANS FREDRIK SUNDE, BERNARDO SEIXAS, HERBERT GINTIS, RUTGER VOS, RICARDO VLADIMIRO, CRAIG HEALY, OLAF ALEX, PHILIP KURIAN, JONATHAN VISSER, JAKOB KLINKBY, ADAM KESSEL, MATTHEW WHITINGBIRD, ARNAUD WOLFF, TIM HOLLOSY, HENRIK AHLENIUS, JOHN CONNORS, PAULINA BARREN, FILIP FORS CONNOLLY, DAN DEMETRIOU, ROBERT WINDHAGER, RUI INACIO, ARTHUR KOH, ZOOP, MARCO NEVES, COLIN HOLBROOK, SUSAN PINKER, PABLO SANTURBANO, SIMON COLUMBUS, PHIL KAVANAGH, JORGE ESPINHA, CORY CLARK, MARK BLYTH, ROBERTO INGUANZO, MIKKEL STORMYR, ERIC NEURMANN, SAMUEL ANDREEFF, FRANCIS FORDE, TIAGO NUNES, BERNARD HUGUENEY, ALEXANDER DANNBAUER, FERGAL CUSSEN, YEVHEN BODRENKO, HAL HERZOG, NUNO MACHADO, DON ROSS, JONATHAN LEIBRANT, JOÃO LINHARES, OZLEM BULUT, NATHAN NGUYEN, STANTON T, SAMUEL CORREA, ERIK HAINES, MARK SMITH, J.W., JOÃO EIRA, TOM HUMMEL, SARDUS FRANCE, DAVID SLOAN WILSON, YACILA DEZA-ARAUJO, IDAN SOLON, ROMAIN ROCH, DMITRY GRIGORYEV, TOM ROTH, DIEGO LONDOÑO CORREA, YANICK PUNTER, ADANER USMANI, CHARLOTTE BLEASE, NICOLE BARBARO, ADAM HUNT, PAWEL OSTASZEWSKI, AL ORTIZ, NELLEKE BAK, KATHRINE AND PATRICK TOBIN, GUY MADISON, GARY G HELLMANN, SAIMA AFZAL, ADRIAN JAEGGI, NICK GOLDEN, PAULO TOLENTINO, JOÃO BARBOSA, JULIAN PRICE, EDWARD HALL, HEDIN BRØNNER, DOUGLAS P. FRY, FRANCA BORTOLOTTI, GABRIEL PONS CORTÈS, URSULA LITZCKE, DENISE COOK, SCOTT, ZACHARY FISH, TIM DUFFY, TRADERINNYC, SUNNY SMITH, AND JON WISMAN! A SPECIAL THANKS TO MY PRODUCERS, YZAR WEHBE, JIM FRANK, ŁUKASZ STAFINIAK, IAN GILLIGAN, LUIS CAYETANO, TOM VANEGDOM, CURTIS DIXON, BENEDIKT MUELLER, VEGA GIDEY, THOMAS TRUMBLE, AND NUNO ELDER! AND TO MY EXECUTIVE PRODUCERS, MICHAL RUSIECKI, JAMES PRATT, MATTHEW LAVENDER, SERGIU CODREANU, AND BOGDAN KANIVETS!

September the 16th meets talented duo Λ I R T H Q U Λ K E to deliver their new release “Between Us' on Saturate.

September 14, 2022 Discussion on the book "Between Us," My Ketamine Experience, calls from listeners by Dr. Farid Holakouee

Today, we welcome writer-director-producer Dan Mirvish to the show! Dan is a true indie filmmaker for whom nothing seems impossible. Some of his work includes Open House (2004), Between Us (2012), Bernard & Huey (2017), and of course his latest feature film, 18½ (2021). Dan chatted with our hosts, Giles Alderson, Tori Butler-Hart & Matthew Butler-Hart, about his long filmmaking career: He talks about his writing process, writing with a partner, shares tons of tips and tricks on how to raise a budget, on directing actors and how to get your film into film festivals. He discusses casting, rehearsals, the importance of good food on set, how his films came about and how he almost created a new category at the Oscars. This is an absolute masterclass in indie filmmaking. Dan's stories are not only hilarious to listen to, but also very insightful. So, sit, back, relax and listen to this week's episode with Dan Mirvish.   18½ is out! In 1974, a White House transcriber is thrust into the Watergate scandal when she obtains the only copy of the infamous 18½ minute gap in Nixon's tapes.   EPISODE LINKS Watch the 18½ TRAILER   Check out Dan's WEBSITE or TWITTER Check out Dan's BOOK Check out the The Stranger in our Bed TRAILER   SPONSOR Check out Q SCRIPTS   PATREON Big thank you to: Lee Hutchings Marli J Monroe Want your name in the show notes or some great bonus material on filmmaking? Join our Patreon for bonus episodes, industry survival guides and feedback on your film projects! Our new 4 tier structure is in place. Come join the community! https://www.patreon.com/thefilmmakerspodcast   MERCH Spread the Word with Our Merch T-Shirts, Hoodies, Mugs, Masks and Water Bottles all now available in some very cool designs.   SUPPORT THE PODCAST Read & Sign Up for The Wrap Up – Our weekly Newsletter with news and information from the world of film Subscribe on iTunes, Spotify, Podbean, or wherever you get your podcasts. Help us out and write us a review (a good one!), tell your friends and CHOOSE FILM. Get in touch? Email us thefilmmakerspodcast@gmail.com Follow us on Twitter Facebook and Instagram Check out our full episode archive at TheFilmmakersPodcast.com   CREDITS The Filmmakers Podcast is hosted, produced and written by Giles Alderson @gilesalderson Edited by @tobiasvees Social Media by Kalli Pasqualucci @kallieep Marketing Huw Siddle Logo and Banner Art by Lois Creative  Theme Music by John J. Harvey Part of the www.podfixnetwork.squarespace.com   WATCH OUR FILMS The Dare UK | Trailer The Dare Canada and USA A Serial Killers Guide to Life | Trailer Arthur & Merlin: Knights of Camelot Winter Ridge UK The Isle Fanged Up The Marker Star Wars: Origins   MORE FROM OUR FRIENDS Follow our Regular Hosts @LucindaRhodes @DirDomLenoir @35mmdop @philmblog @IanSharp1 @Cjamesdirect @dan710ths Follow Make Your Film for Live Events @makeyourfilm20  Follow our Movies @thedaremovie @Food4ThoughtDoc @FangedUpFilm Raindance events www.raindance.org The Filmmakers Podcast recommends Performance Insurance Music from musicbed.com Giles Alderson's website

On this week's show Chicane plays music from Warung, Between Us, Modera, Bound to Divide and many more 1. JODA - Dark Strings2. Warung - Return To A Place Called Heaven (Cinematic Mix)3. BetweenUs - I Know (Extended Mix)4. Soundtrack Selection: Chosen by Sim in LancashireTeen Daze - Hold (Taken from the soundtrack to the 2015 film Equals)5. Modera - Nirvana (Extended Mix)6. The Who - Baba O'Riley (Chicane rework)7. Hagen Feetly - En Route (Extended Mix)8. Bound to Divide - Holding On (Extended Mix)9. Modera - Inferno (Extended Mix)10. Bound to Divide & Lauren L'aimant - When The Sun Goes Down (Extended Mix)11. Soundprank - The Far Side12. Chicane - 8 Circle (Ciaran McAuley Mix)

Prior to that, Dan directed the award-winning, critically-acclaimed feature Bernard and Huey, scripted by Oscar/Pulitzer-winner Jules Feiffer, and starring Oscar-winner Jim Rash and David Koechner which screened in over 30 film festivals on 5 continents, had a nationwide US theatrical release, and sold to over 49 countries. Dan is the author of the bestselling non-fiction book The Cheerful Subversive's Guide to Independent Filmmaking: From Preproduction to Festivals and Distribution from Focal Press/Routledge.The fully updated, post-pandemic 2nd Edition starting selling on July 6, 2021 and hit #1 on Amazon's New Releases chart. His film Between Us, an award-winning feature starring Julia Stiles and Taye Diggs, played in 23 festivals in 7 countries, and got a 50+ city theatrical release in the US, and sold to 144 countries, plus screening on Netflix, Showtime, Starz and all digital outlets.Dan was mentored by Robert Altman on his first film, Omaha (the movie), which led him to co-found the upstart Slamdance Film Festival. His film Open House prompted the Academy Awards to controversially rewrite their rules on the Best Original Musical category. Mirvish also co-wrote his bestselling, critically-acclaimed novel I Am Martin Eisenstadt based on the fake McCain advisor who took credit for Sarah Palin not knowing Africa was a continent.A former speechwriter for U.S. Sen. Tom Harkin, Dan has a master's degree from USC film school, is a member of the Directors Guild of America, has guest lectured at more than 45 film schools and universities and was named as one of Variety's Top 50 Creatives to Watch.