Podcast appearances and mentions of Bob Dylan

GGACP celebrates the birthday (December 1st) of writer-director Larry Charles (“Borat,” “Seinfeld,” “Curb Your Enthusiasm”) with this ENCORE of an interview from 2019. In this episode, Larry joins the boys for an engrossing conversation about humor as a survival tactic, the hazards of guerrilla filmmaking, the persuasive powers of Sacha Baron Cohen and the Netflix show, “Larry Charles' Dangerous World of Comedy.” Also, Mel Brooks sends up Bill Cullen, Jerry Lewis inspires Bob Dylan, Gilbert guest stars on “Mad About You” and Larry remembers the late, great Bob Einstein. PLUS: “Lancelot Link, Secret Chimp”! The Zen of Jack Nicholson! The influence of Jackie Mason! Larry hangs with Huntz Hall! And the “Seinfeld” episode that never aired! Learn more about your ad choices. Visit megaphone.fm/adchoices

Podcast: Conversations with Tyler Episode: Cass Sunstein on Liberalism and Rights in the Age of AIRelease date: 2025-11-26Get Podcast Transcript →powered by Listen411 - fast audio-to-text and summarization Cass Sunstein is one of the most widely cited legal scholars of all time and among the most prolific writers working today. This year alone he has five books out, including Imperfect Oracle on the strengths and limits of AI and On Liberalism: In Defense of Freedom. In his second appearance on the show, he brings his characteristic intellectual range to exploring liberalism's present precariousness and AI's implications for law and speech. Tyler and Cass discuss whether liberalism is self-undermining or simply vulnerable to illiberal forces, the tensions in how a liberal immigration regime would work, whether new generations of liberal thinkers are emerging, if Derek Parfit counts as a liberal, Mill's liberal wokeism, the allure of Mises' "cranky enthusiasm for freedom," whether the central claim of The Road to Serfdom holds up, how to blend indigenous rights with liberal thought, whether AIs should have First Amendment protections, the argument for establishing a right not to be manipulated, better remedies for low-grade libel, whether we should have trials run by AI, how Bob Dylan embodies liberal freedom, Cass' next book about animal rights, and more. Read a full transcript enhanced with helpful links, or watch the full video on the new dedicated Conversations with Tyler channel. Recorded October 10th, 2025. This episode was made possible through the support of the John Templeton Foundation. Other ways to connect Follow us on X and Instagram Follow Tyler on X Follow Cass on X Sign up for our newsletter Join our Discord Email us: cowenconvos@mercatus.gmu.edu Learn more about Conversations with Tyler and other Mercatus Center podcasts here.

the playground is deserted/ no buses passthe street smells heavy of broken glass"Tombstone Blues Original Transcript" by Bob Dylan (1965)I was at the Bob Dylan Center in Tulsa yesterday. What a massive archive collection of so many "physical" holdings. Here are some deep thoughts on the value of physical and paper items as opposed to the current emphasis upon digital.

ohn McEuen is a Grammy-winning multi-instrumentalist, producer, author, and a founding member of the legendary Nitty Gritty Dirt Band, a group that helped bridge bluegrass, folk, and country-rock for mainstream audiences starting in the 1960s. Over a career spanning more than six decades, he has performed thousands of shows, contributed to dozens of albums, and become one of the most influential acoustic musicians in American roots music. His work on banjo, guitar, mandolin, and fiddle has shaped how generations hear traditional music reimagined for modern ears.In 1971, McEuen was the driving force behind the landmark triple album “Will the Circle Be Unbroken,” which brought the Nitty Gritty Dirt Band together with icons like Earl Scruggs, Doc Watson, Mother Maybelle Carter, Roy Acuff, and others for historic cross-generational sessions in Nashville. That project has been recognized as one of the most important country and bluegrass albums ever recorded, helping introduce younger audiences to the classic repertoire and artists who defined American roots music. The album's legacy later inspired his detailed book on the making of those sessions, further cementing his role as both participant and historian of that moment.Beyond the Dirt Band, John has built a rich solo career with multiple albums that showcase his “String Wizard” reputation, blending instrumental firepower with storytelling and cinematic arrangements. His discography includes acclaimed projects like “Made in Brooklyn,” which earned major Americana honors, as well as collaborations with artists ranging from Steve Martin to John Carter Cash and Martha Redbone. As a producer, he also earned a Grammy for Steve Martin's “The Crow,” highlighting his skill on both sides of the glass.McEuen is also an author and storyteller, with his memoir “The Life I've Picked” tracing his journey from Southern California kid to hall-of-fame banjo player working with legends like Linda Ronstadt, Willie Nelson, Johnny Cash, the Allman Brothers, and Bob Dylan. His more recent book and projects around “Will the Circle Be Unbroken” revisit those sessions with photos, stories, and reflections that bring fans right into the circle of players. Onstage and on the page, he brings the same mix of humor, detail, and lived history that makes him such a compelling guest for any music podcast.John's contributions have been recognized with inductions into the American Banjo Museum Hall of Fame and the Traditional Country Music Hall of Honor, along with multiple Grammy, CMA, and ACM honors across his career. He continues to tour, record, and create new projects, bringing stories and songs from more than fifty years on the road to audiences around the world. To learn more, check out his music, books, and tour dates at: https://johnmceuen.net

Giocare col fuoco: storie, canzoni, poesie di e con Fabrizio Coppola Letture: Giulio D'Antona, intervista a Eileen Myles, da La Stampa del 26/11; Eileen Myles, Chelsea Girls (trad. A. Ceccoli, Mattioli 1885); Eileen Myles, La faccia (trad. M. Renda, Interno Poesia). Musica: Heather Woods Broderick, Itoko Toma, Bob Dylan, Black Rebel Motorcycle Club

The Wolf & Action Jackson will admit they aren't the world's biggest Beatles fans. Though we appreciate their influence to help create the music we love through generations, we generally don't gravitate towards their albums. However, in researching Rubber Soul as it turns 60 on December 3, we gained new appreciation and respect for the Lads from Liverpool. They had grown up quite a bit in the last few years and found themselves writing more mature lyrics while experimenting with different sounds. The Beatles had met and befriended Bob Dylan and in their second trip to the US had met Elvis and formed mutual admiration societies with The Byrds, Motown and Stax. They experimented with LSD and the boys used to call Rubber Soul the pot album as they partook during the recording. So as they wove all those influencers into their own music, they also started to write more personal songs. Paul exchanged sweet nothings for standoffish goodbyes in songs like You Won't See Me and I'm Looking Through You. A contemplative John Lennon reminisces about growing up (In My Life) and the eternal search for that special someone (Girl). Young George Harrison was ready to step up to the plate with his own mature offerings like Think For Yourself and If I Needed Someone. The album was well received by peers and critics and is considered the point where the album became more than just a larger collection of songs but one statement from a moment in time. Norwegian Wood (This Bird Has Flown) was an international hit about an affair John had. Michelle seems like a sweet ode to a French girl when it was the boys making fun of Paul for trying to speak French at parties to meet girls. Even the big hit Drive My Car is very tongue in cheek about the silliness and pitfalls of fame. Though the oldest of them were 25, The Beatles proved they were more than just cute mop tops with guitars. They were artists pushing the envelope in the studio of what rock music could be. Rubber Soul was that next step in the evolution of the band and rock. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

I hear Jeff Lynne has recently been sidelined by a mysterious infection, and had to cancel some performances. We wish the revered music producer and founder of ELO good health and a quick recovery. Today, Bill and Rich, The Splendid Bohemians would like to celebrate this versatile Rock stylist by playing two cuts separated by decades, from two vastly different incarnations, but somehow identifiable as his, if only by the unique sensibility in which these cuts are marinated: Imposters of Life's Magazine by The Idle Race, and Tweeter and the Monkey Man by The Traveling Wilburys.There are certain tropes that signify this creator's hand: catchy musical themes, thick layers of horns and strings and witty Beatle-esque harmonies - (he even got to work with the resurrected voice of John Lennon when producing the Beatle's ghostly “reunion”tracks Free As a Bird, and Real Love. Like so many of his generation, Jeff came up under the spell of the mop tops, and even this early recording by the Idle Race has that 1967 Psychedelic flavor, pre-dating by a year, but somehow reminiscent of his future Willburys bandmate, George Harrison's song Savoy Truffle. IMPOSTERS OF LIFE'S MAGAZINEThe personnel changes of the several Birmingham beat groups in the mid-sixties are too numerous to recite here, but one group, The Nightriders are notable because they took on a teenaged Lynne as guitarist in '66 - and changed their name to The Idle Race (a more timely handle). Roy Wood of the Move, Jeff's friend and future partner in the formation of ELO, helped the IR get signed, and influential DJ John Peel was an early and strong promoter of the group. Jeff's tenure with IR was short lived however, and in 1970 he founded (with Wood) the legendary Electric Light Orchestra.This early composition has all the hallmarks that would later define Jeff's work: witty, yet Romantic lyrics; hard driving rhythms, but with plenty of surprisingly lush filigree. The ambition of the work, with its startlingly different movements, is impressive for such a young talent - but, at the core is Jeff's unmistakable ear for the “hook” - marking him as one of the most reliable masters of Pop.TWEETER AND THE MONKEY MANTweeter and the Monkey Man, from 22 years later - demonstrates how far the musician had come professionally.  Here Jeff is, arguably the lowest man on the totem pole of The Traveling Wilburys, a Super Group's Super Group (with a Beatle, George Harrison, future Nobel Laureate Bob Dylan, Tom Petty, and Roy - fucking - Orbison…., yet his mark is unmistakeable. This tune, supposedly written by Bob Dylan, who spittingly delivers it like a parody of Springsteen's New Jersey, drenched in a Sopranos sauce - and it's just plain fun. But, the chorus, penned by Jeff with George Harrison, lifts the track to the existential level of a rock opera, giving it “the hook,” the drama and the flair. The layers on this musical cake are delicious - there's George's sly slide work; the Lady Madonna horns, the timpani booms counterpointed by a tinkling piano riff; the building of the strings and horns and oohing and aaahing harmonies… they suck me in every time. Good stuff!

On the eve of the second anniversary of the death of her husband, Shane McGowan, writer Victoria Mary Clarke talks about grief, ice baths and breath work. She also chose five songs that chart her life, from ‘Haunted' by Shane & Sinead O'Connor to Bob Dylan, Kneecap and Van Morrison.

#stayhuman oggi propone un'intervista ad Ornella Vanoni effettuata per una puntata di questa trasmissione del maggio 2021. Il diverso modo di rapportarsi con l'Africa da parte dei rapper afrodiscendenti statunitensi e dei loro colleghi francesi: le storie di Gaël Faye e di Youssoupha. Quando i Neville Brothers rifecero un brano di Bob Dylan, regalandoci una versione migliore dell'originale... A cura di Claudio Agostoni #ornellavanoni #gaelfaye #Youssoupha #nevillebrothers #bobdylan #afrodiscendenti #rapper #africa

Stephen and Becca discuss Thanksgiving plans and traditions before launching into a very special interview with Oscar-winning filmmaker and journalist Cameron Crowe, who saw Bob Dylan perform at a school gym in 1964 and interviewed the world's biggest bands as a teenager, and brings our host a personalized message from the one and only Joni Mitchell. Crowe's new memoir, "The Uncool," is available now. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

It is with heavy hearts that we present this week's episode as a tribute to Paul Daniel "Ace" Frehley. The rock 'n' roll icon, legendary guitar god, and former KISS guitarist, passed away on October 16, 2025, after suffering a fall in his home studio weeks earlier. Kevin has a profound connection to KISS and Ace as a lifelong fan and proud member of the KISS Army. While not an obscure artist by any means (the Rock & Roll Hall of Famer had 10 gold records, 5 multi-platinum records with KISS, and a platinum solo album), the duo tries to share some lesser-known songs, including a few crazy guest appearances. Excuse Kevin's extensive ramblings about the great Space Ace, but this loss was hard, and the tribute is necessary. Ace was a true character, who played a character, and played with character. A genuine original. A true rock star.New to InObscuria? Typically, what we do is exhume obscure Rock n' Punk n' Metal in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. In the case of this particular episode, we are leaning towards the FORGOTTEN. Although a member of a band that holds the RIAA distinction of having the most gold-certified albums overall by any American band is hardly forgotten… In any case, we are paying tribute to one of the greatest guitarists of all time! Rest In Peace, Ace. There will never be another like you!Songs this week include:Criss – “Bad Attitude (feat. Ace Frehley)” from Cat #1(1994)Anton Fig – “Know Where You Go (feat. Ace Frehley & Sebastian Bach)” from Figments (2002)Ace Frehley – “The Girl Can't Dance” from The Girl Can't Dance Demo (1983)Wendy O. Williams – “Bump And Grind” from W.O.W. (1984)Ace Frehley & Kris Randall – “Rise Up (Back From The Grave)” from Rise Up (Back From The Grave) - Single (2014)Chris Cassone – “Never Too Hot (with Ace Frehley)” from The BBQ All Stars (2013)ESP – “Foxy Lady” from Lost And Spaced (1998)Satin – “The Magic Kiss Medley” from Gods Of Thunder: A Norwegian Tribute To KISS (2005)Please subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://x.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it: InObscuria StoreIf you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/Check out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/

Ayurvedic practitioner and author Heather Grzych talks with novelist Sam Sussman, author of the bestselling novel Boy from the North Country, in a candid conversation about parents, family history, and the stories we inherit without choosing. Together they explore how personal loss becomes fiction, how caregiving rewires the body, and what it means to grow up in the long shadow of myth, especially when people can't help but wonder if you might be Bob Dylan's son. Sam reflects on transforming intimate family truths into narrative, while Heather brings her embodied lens to the ways lineage shapes identity, creativity, and the emotional patterns we carry. This is a conversation about grief, legacy, and the strange wisdom inside the histories we're born into. Heather Grzych, ADLC is an American author and expert in Ayurvedic medicine who was formerly the president of the National Ayurvedic Medical Association and the head of product development for a multi-billion-dollar health insurance company. She also serves part of the faculty at Mount Madonna Institute College of Ayurveda. Heather's first book, The Ayurvedic Guide to Fertility, has sold thousands of copies worldwide, and her writing has been featured in Sports Illustrated, Yoga Journal, and the Sunday Independent. Her podcast, Wisdom of the Body, holds an average rating of 5 stars on Apple Podcasts and is in the top 2.5% of podcasts globally.  Sam Sussman is the author of the USA Today Bestselling debut novel Boy From the North Country. The novel was named Oprah's most anticipated debut novel of the fall, hailed by Kirkus as "the most beautiful and moving mother-son story in recent memory," and Sam was recently profiled in the New York Times. Boy From the North Country is based on Sam's Harper's Magazine memoir The Silent Type on (possibly) being Bob Dylan's son. Sam graduated with a BA Swarthmore and M.Phil from Oxford and has lived in Jerusalem and Berlin. He lives in the Yorkville neighborhood of Manhattan and his native Hudson Valley. http://www.samevansussman.org/ Connect with Heather: Learn more at www.heathergrzych.com   Instagram.com/heathergrzych Facebook.com/grzychheather   Read the first six pages of The Ayurvedic Guide to Fertility for FREE: https://www.heathergrzych.com   Connect with Heather to balance your health with Ayurveda: https://www.heathergrzych.com/book-online

The Wolf & Action Jackson will admit they aren't the world's biggest Beatles fans. Though we appreciate their influence to help create the music we love through generations, we generally don't gravitate towards their albums. However, in researching Rubber Soul as it turns 60 on December 3, we gained new appreciation and respect for the Lads from Liverpool. They had grown up quite a bit in the last few years and found themselves writing more mature lyrics while experimenting with different sounds. The Beatles had met and befriended Bob Dylan and in their second trip to the US had met Elvis and formed mutual admiration societies with The Byrds, Motown and Stax. They experimented with LSD and the boys used to call Rubber Soul the pot album as they partook during the recording. So as they wove all those influencers into their own music, they also started to write more personal songs. Paul exchanged sweet nothings for standoffish goodbyes in songs like You Won't See Me and I'm Looking Through You. A contemplative John Lennon reminisces about growing up (In My Life) and the eternal search for that special someone (Girl). Young George Harrison was ready to step up to the plate with his own mature offerings like Think For Yourself and If I Needed Someone. The album was well received by peers and critics and is considered the point where the album became more than just a larger collection of songs but one statement from a moment in time. Norwegian Wood (This Bird Has Flown) was an international hit about an affair John had. Michelle seems like a sweet ode to a French girl when it was the boys making fun of Paul for trying to speak French at parties to meet girls. Even the big hit Drive My Car is very tongue in cheek about the silliness and pitfalls of fame. Though the oldest of them were 25, The Beatles proved they were more than just cute mop tops with guitars. They were artists pushing the envelope in the studio of what rock music could be. Rubber Soul was that next step in the evolution of the band and rock. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Cass Sunstein is one of the most widely cited legal scholars of all time and among the most prolific writers working today. This year alone he has five books out, including Imperfect Oracle on the strengths and limits of AI and On Liberalism: In Defense of Freedom. In his second appearance on the show, he brings his characteristic intellectual range to exploring liberalism's present precariousness and AI's implications for law and speech. Tyler and Cass discuss whether liberalism is self-undermining or simply vulnerable to illiberal forces, the tensions in how a liberal immigration regime would work, whether new generations of liberal thinkers are emerging, if Derek Parfit counts as a liberal, Mill's liberal wokeism, the allure of Mises' "cranky enthusiasm for freedom," whether the central claim of The Road to Serfdom holds up, how to blend indigenous rights with liberal thought, whether AIs should have First Amendment protections, the argument for establishing a right not to be manipulated, better remedies for low-grade libel, whether we should have trials run by AI, how Bob Dylan embodies liberal freedom, Cass' next book about animal rights, and more. Read a full transcript enhanced with helpful links, or watch the full video on the new dedicated Conversations with Tyler channel. Recorded October 10th, 2025. This episode was made possible through the support of the John Templeton Foundation. Other ways to connect Follow us on X and Instagram Follow Tyler on X Follow Cass on X Sign up for our newsletter Join our Discord Email us: cowenconvos@mercatus.gmu.edu Learn more about Conversations with Tyler and other Mercatus Center podcasts here.

An immigration operation in St. Paul escalated with the use of chemical irritants and projectiles Tuesdays. Hundreds of protesters responded. We'll go inside the rapid response organization that mobilizes when ICE is spotted.It's safe to say winter is here. Paul Huttner shared snow totals from across the state. With a large international population, the city of Rochester is working to to prepare residents for winter.Plus, a biologist broke down the relationship between the deer and wolf population in Minnesota. This weekend is the Hmong New Year. We heard about the long oral tradition of Hmong song poetry.The Minnesota Music Minute was “It's All Over Now, Baby Blue” by Bob Dylan. The Song of the Day was “All Are Welcome At Our Table” by Pat Egan.

November 2025's Spin Cycle edition of the Goldmine Podcast focuses on Record Store Day Black Friday. Editor Patrick Prince and Spin Cycle columnist Dave Thompson discuss the RSD records that they are excited to pick up (gems from Bob Dylan to The Rolling Stones). Also, the latest releases for the Ramones and Frank Zappa are discussed. Learn more about your ad choices. Visit megaphone.fm/adchoices

Detering, Heinrich www.deutschlandfunkkultur.de, Lesart

Detering, Heinrich www.deutschlandfunkkultur.de, Lesart

Martin Scorsese's death wish. Bob Dylan's theft. Robbie Robertson's cocaine purchase. Four thousand pounds of turkey. Two thousand pounds of candied yams. Eight hundred pounds of pies and ninety gallons of gravy. What's it all mean? It means that Disgraceland has a Thanksgiving episode about the making of The Last Waltz that you'll be grateful you listened to. This episode contains themes that may be disturbing to some listeners, including suicide. If you're thinking about suicide, help is available. Call or text the Suicide and Crisis Lifeline at 988. As we prepare for Turkey Day and reflect on The Band's farewell Thanksgiving concert, we want to know: What is the greatest concert film of all time? What are some of your favorites, and what makes them great? Let Jake know at 617-906-6638, ⁠disgracelandpod@gmail.com⁠, or on socials @disgracelandpod. This episode was originally published on November 26, 2024. To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at ⁠disgracelandpod.com/membership⁠. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - ⁠GET THE NEWSLETTER⁠ Follow Jake and DISGRACELAND: ⁠Instagram⁠ ⁠YouTube⁠ ⁠X⁠ (formerly Twitter)  ⁠Facebook Fan Group⁠ ⁠TikTok⁠ Check out Kikoff: ⁠https://getkikoff.com/DISGRACELAND To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Let's celebrate Thanksgiving 1970s-style, by watching Martin Scorsese's concert documentary of the last performance by The Band (or at least the Band with Robbie Robertson still part of it). It's not just a concert, of course--it's a meditation on the end of the 1960s counterculture, bookending Scorsese's earlier work in Woodstock. We also have an interview with Mary's mother about cinematography, editing, and keeping up with music when you age out of youth culture. Starring Rick Danko, Levon Helm, Garth Hudson, Richard Manuel, Robbie Robertson, Eric Clapton, Neil Diamond, Bob Dylan, Emmylou Harris, Joni Mitchell, Van Morrison, The Staples, Dr. John, Muddy Waters, Paul Butterfield, Ronnie Hawkins, Ringo Starr, Ron Wood. Directed by Martin Scorsese.

Episode 154: Supermoon Music And More November 25, 2025 Heres Another Tales Vinyl Tells, sharing the The vinyl albums from the 60s & 70s, those LPs carried the new wave of The British Invasion while America was already experiencing its own invasion from Joan Baez, Joni Mitchell, Beach Boys, Jan and Dean, Mamas and Papas, CSN&Y, Bob Dylan, The Doors, the folkies, Paul Revere and the Raiders, Freddie Boom Boom Cannon, The Turtles, The Buckinghams even. And in the next hour, my intention today is to share some of those great LPs that were breaking a type of sound barrier and blowing minds while we.well, we were having our own revolution, discovering free love, recreational experimental mind altering elements, all to a soundtrack that lives on and has NOT been repeated. This music of today may last, maybe not. 60s & 70s rock has everlasting life.   You can learn how to financially support this program by going to https://patron.podbean.com/talesvinyltellssupport. And thanks for listening today.  My email is talesvinyltells@gmail.com.  If you want to hear a Tales Vinyl Tells when it streams live on RadioFreeNashville.org, we do that at 5 PM central time Wednesdays. The program can also be played and downloaded anytime at podbean.com, iHeart podcasts, Player FM podcasts, Listen Notes podcasts and many other podcast places. And of course you can count on hearing the Tales on studiomillswellness.com/tales-vinyl-tells anytime.

Join host Buzz Knight and Harry Jacobs on a look at music history for the week of 11-24. They talk about events concerning Queen(the passing of Freddie Mercury), Cream, The Last Waltz(The Band's Farewell Concert which featured Van Morrison, Joni Mitchell, Bob Dylan, Eric Clapton and others), Cream, and the passing of the great Philadelphia DJ from WMMR Pierre Robert.Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Join host Buzz Knight and Harry Jacobs on a look at music history for the week of 11-24. They talk about events concerning Queen(the passing of Freddie Mercury), Cream, The Last Waltz(The Band's Farewell Concert which featured Van Morrison, Joni Mitchell, Bob Dylan, Eric Clapton and others), Cream, and the passing of the great Philadelphia DJ from WMMR Pierre Robert.Support the show: https://musicsavedme.net/See omnystudio.com/listener for privacy information.

Bhí an t-iriseoir i láthair san INEC i gCill Áirne aréir chun Bob Dylan a fheiscint - óiche den scoth a deir sé.

Willie O’Meara from Fethard, Co Tipperary didn’t have to think twice when he decided that he had to thank the staff at the Gleneagle Arena in the INEC. Willie was there with his friend Johnny O’Connor who is a huge Bob Dylan fan and had travelled to Killarney for the music great’s concert in the arena last night. Willie explains how amazing the staff were in assisting Johnny who is on crutches.

Das Bob-Dylan-Konzert in Köln brachte unseren Autor auf ungewöhnliche Gedanken.

 Former Colts Owner Jim Irsay's Memorabilia Collection is Up for AuctionHis guitar collection alone is valued at over One BILLION Dollars This collection is largely known for its vast selection of musical instruments -  often dubbed "The Greatest Guitar Collection on Earth” , which is estimated to be worth over $1 billion and includes instruments previously owned by -Bob Dylan, John Lennon, Miles Davis, Jimi Hendrix, and David Gilmour. Items also in the collection include:A 1963 Gretsch 6120 Country Gentleman, used by John Lennon on The Beatles' 1966 single "Paperback Writer"Lennon's 1964 Rickenbacker Rose Morris Model 1996, used during The Beatles' 1964 Christmas tour. Ringo Starr's first Ludwig drum kit used with The Beatles while touring Europe in 1963And Ringo's drum kit he played on the Ed Sullivan showMuhammad Ali's "Rumble in the Jungle" championship belt-rocking chair used by President John F. Kennedy at the white house- include Jackie Robinson's baseball bat from the 1953 season -Movie MemorabiliaA Wilson volleyball, used during the filming of Cast Away (2000)-a "golden ticket" from Willy Wonka & the Chocolate Factory (1971)-Al Pacino's shooting script used during production of Scarface (1983)-Sylvester Stallone's early working script notebook for the film Rocky (1976-Jack Kerouac's original manuscript of "On the Road -Hunter S Thompson's Chevrolet, -The saddle used for Secretariat's Triple Crown run -documents handwritten by George Washington, Abraham Lincoln and Thomas Jefferson, -The original manuscript of the Alcoholics Anonymous 'Big Book'.-And a more-than-200-year-old copy of the Declaration of Independence   To subscribe to The Pete McMurray Show Podcast just click here

CH101 Reprise: Larry Charles won an Emmy writing for Seinfeld, directed Borat, Brüno, and Curb Your Enthusiasm, and has collaborated with Larry David, Sacha Baron Cohen, and Bob Dylan . Larry joins CH101 for some serious comedy inside baseball: How he helped shape the voice of Seinfeld with Larry David and Jerry Seinfeld The chaos behind Borat's infamous poop-bag dinner scene What it was really like making subversive comedy with Sacha Baron Cohen Get the inside scoop on one of comedy's most fearless minds and check out Larry's new book: Comedy Samurai. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We take a deep dive into the world of AI and music with artists Dylan Heidt and Jeff Dayton.Jeff Dayton is an American musician, singer, producer and songwriter best known as being the bandleader for Glen Campbell and the Jeff Dayton Band for 15 years, plus touring with Kenny Chesney and Lee Greenwood.Dayton performed with club bands in the upper Midwest, including a year with the KO Band, which was fronted by Bob Dylan studio musician Kevin Odegard. Their producer was David Z and their drummer a young Bobby "Z" Rivkin.Dayton moved to Fountain Hills, Arizona and formed the Dayton-Privett Band with Mark Prentice, Tom Sawyer and Ron Privett. After 2 years, Privett left the band, and was replaced with Dave Watson; the band was renamed High Noon Band and continued until the band went their separate ways. Dayton then formed the Jeff Dayton Band, and over time about 100 different musicians performed under that name with Dayton, notably steel guitarist Ed Black, guitarist Bob "Willard" Henke, Grammy award winner producer Michael B (aka Mike Broening), drummer Mickey McGee, banjo player Bruce Leland, drummer Merel Bregante, bassist Doug Haywood, etc.[1][15]High Noon won the Wrangler Country Showdown and the Jeff Dayton Band won the Marlboro Talent Roundup. The JDB was named New Times' Best of the Decade's Best Award.[4] In addition, Dayton wrote and recorded That Lady Can Love which became his first #1 record at KNIX-FM and another song earned a platinum songwriting award for George Strait with "Any Old Time." The song was also released as the "B" side of Strait's single "The Cowboy Rides Away."Dayton and band opened for Merle Haggard, The Judds and Alabama in 1987. After a chance meeting with Glen Campbell that evening and an impromptu jam session at the grand opening of Jack Nicklaus' Desert Mountain golf course, Dayton and his group were hired to tour with Campbell.[5][6]For the next 15 years the Jeff Dayton band performed on worldwide tours, TV and record dates, celebrity events and many concerts.[7][8] While Glen Campbell's' musical director, he conducted many symphony orchestras and even Les Brown and His Band of Renown. Highlights included shows at the White House, NBC's The Today Show and the Grand Ole Opry stage. Campbell and the Jeff Dayton Band also played with Gene Autry, Willie Nelson, Bob Hope, Vince Gill and dozens more."See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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

A third-party candidate has entered Minnesota's race for governor. We learned about Mike Newcome and the Forward Independence Party platform. We heard from a former independent candidate for governor, Tom Horner, about what it takes to campaign as a third-party. Minnesota-based Essentia Health serves primarily rural areas, which includes several tribal nations. And now Essentia has a tribal liaison who is building trust and bringing Native perspectives to the forefront. We talked to him.Plus, your Thanksgiving turkey could be more expensive this year. Tariffs are a big culprit. Our agriculture reporter joined us from Moorhead to share more.Our Minnesota Music Minute was “West Memphis” by Bob Dylan.

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Kirk recently read Cameron Crowe's memoir The Uncool, about his experience writing about music, notably for Rolling Stone. Doug and Kirk reflect on rock music journalism. Help support The Next Track by making regular donations via Patreon (https://www.patreon.com/thenexttrack). We're ad-free and self-sustaining so your support is what keeps us going. Thanks! ‌Show notes Cameron Crowe: The Uncool, a Memoir (https://amzn.to/4oOzPf3) Almost Famous (https://amzn.to/485TQ9O) Fast Times at Ridgemont High (https://amzn.to/3XD38oG) Jerry Maguire (https://amzn.to/485Ct8O) Aloha (https://amzn.to/3XI2LJr) Can AI tell us anything meaningful about Bob Dylan's songs? - Aeon Essays (https://aeon.co/essays/can-ai-tell-us-anything-meaningful-about-bob-dylans-songs) Write Now with Scrivener (https://podcast.scrivenerapp.com/) The Bongos - Wikipedia (https://en.wikipedia.org/wiki/The_Bongos) Richard Hambleton, ‘Shadowman' of the '80s Art Scene, Dies at 65 - The New York Times (https://www.nytimes.com/2017/11/03/obituaries/richard-hambleton-dead-shadowman-of-the-80s-art-scene.html) Shadowman (https://amzn.to/48mUuAP) (documentary about Richard Hambleton) Our next tracks: Patti Smith: Horses (https://amzn.to/47RAE0E) Superchunk: Misfits & Mistakes: Singles, B-sides & Strays 2007–2023 (https://amzn.to/4idX0gm) If you like the show, please subscribe in Apple Podcasts (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast.

Ryan Bingham never knew until he was an adult that his path would take him into music full time, much less that he would become an international star, nor did he dream of eventually reaching millions more people in film and television. He did not play guitar with much skill until his early twenties. However, he wrote one of his most enduring hits while woodshedding on guitar and harmonica, “Southside of Heaven”. His musical foundation goes back to early exposure to a great record collection and the influence of his father and uncle, especially: as a boy, he was gifted a trove of LPs from the likes of Townes Van Zandt, Guy Clark, Joey Lee, Terry Allen, and The Flatlanders, and you can hear bits and pieces of all those artists' sensibilities and approaches in his music from the jump. As Bingham said in our interview, “I still got vinyl. My family had a bar back in the 60s and 70s in New Mexico called the Halfway Bar. And my uncle saved all the vinyl records out of there from those days. And he ended up giving them to me. And that was really the music I grew up on. I remember living with him at a time and, you know, him showing me how to clean the records with the brush and on the turntable. And I was really, you know, 10, 11 years old and just fascinated with the artwork on that. I remember he had like, Commander Cody and the Lost Planet Airman was live at the Armadillo World Headquarters and all that Jim Franklin art, you know, and all those albums. It was just, I loved all that stuff. So I still got those records and play them all the time.” Ryan Bingham Currently working on a new album scheduled for release in 2026, Ryan Bingham is testing out a number of his new songs on the road, which is where he spoke with my friend Jeff Williams and myself when he played Charlotte recently, in October. In our conversation, we talked about everything from those early days where he was striving to simply have a better job than manual labor, key figures in his career like Marc Ford and Charlie Sexton, pivotal moments like joining My Morning Jacket, Wilco and Bob Dylan on stage, to playing with his current band The Texas Gentlemen, and a whole lot more, including his new song “The Lucky Ones” and excerpts from his latest live album, Ryan Bingham and The Texas Gentlemen Live at Red Rocks as well. Songs heard in this episode:“Southside Of Heaven” by Ryan Bingham and The Texas Gentlemen, from Live at Red Rocks“Jingle and Go” by Ryan Bingham and The Texas Gentlemen, from Live at Red Rocks“The Lucky Ones” by Ryan Bingham and The Texas Gentlemen, excerpt, excerpt“Bread & Water” by Ryan Bingham and The Texas Gentlemen, from Live at Red RocksThanks to my friend Jeff Williams for inspiring me to pursue interviewing Ryan Bingham, and for joining us in our conversation. Thanks also to the team at Sacks & Co. in Nashville for helping to coordinate with Ryan Bingham's team and pave the way for this episode. Thanks to Jaclyn Anthony for producing the radio adaptations of this series on public radio WNCW, where we worked with Joshua Meng who wrote and performed our theme songs. Please take a moment and give us a top rating and where you can, a review. It makes a big impact on the ranking and therefore the visibility of this series to all the other music fans who also follow podcasts. This is Southern Songs and Stories: the music of the South and the artists who make it. - Joe Kendrick

This episode of A Productive Conversation features Chris Dalla Riva, a musician, data analyst, and Senior Product Manager at Audiomack who bridges the gap between creativity and analytics. Chris joins me to discuss his book Uncharted Territory: What Numbers Tell Us About the Biggest Hit Songs and Ourselves.As part of his research, Chris listened to every Billboard Hot 100 number-one song—nearly 1,200 of them—tracking trends, rating songs, and discovering how randomness, technology, and taste shape what becomes a hit. We explore the intersection of numbers and nuance, how data can deepen our understanding of art, and what the patterns of pop music reveal about us.Six Discussion PointsThe origin of Chris's experiment to listen to every Billboard number-one hitWhy Bob Dylan never topped the Hot 100—and what that says about luck and timingHow data, subjectivity, and quality intertwine when rating songsThe cyclical nature of musical trends, from movies to TikTokThe uneasy relationship between music and technology—from Auto-Tune to AIWhy the album format—and vinyl—still matter in a streaming worldThree Connection PointsCheck out Chris's newsletterBuy Chris's bookRead Mike's essay, The Sound of TimeChris and I cover a lot of ground in this conversation—from Bob Dylan's surprising chart record to the influence of AI on modern music. If you've ever wondered what hit songs say about culture, creativity, and ourselves, this episode hits all the right notes.

Patti Smith, “the Godmother of Punk,” has lived a wild life and accumulated so much wisdom in the process. In the 1960s and '70s, Smith was a fixture of the New York City creative scene — hanging out with the likes of Bob Dylan, Janis Joplin, Allen Ginsberg and Robert Mapplethorpe. Merging her own poetry with an ace backing band, she became a global rock star. Then she gave it up, moved to Michigan, raised a family, and remade herself into a best-selling author. Her stunning memoir “Just Kids” won the National Book Award and is one of the books that I've kept returning to, again and again.There is clearly something unusual about Smith. People who know her have described her as “shamanistic.” But even for those of us who will never become rock stars, there's something inspiring — and oddly relatable — in how she thinks about life. So I was excited to have the opportunity to sit down with her and learn more.Smith is out with a new memoir, “Bread of Angels,” and is on tour for the 50th anniversary of her breakthrough album, “Horses.” We talk about that book and that album and so much more: the boundless curiosity that drives her; the books that shaped her; her childhood communion with a snapping turtle; what Andy Warhol was like; what color she thinks the soul is; and a lot more that's hard even to describe.This episode contains strong language.Mentioned:“Pan's Labyrinth” by Guillermo del ToroGrimm's Complete Fairy Tales by Jacob Grimm and Wilhelm GrimmBread of Angels by Patti SmithJust Kids by Patti Smith“The Dark Blot” by Gérard de Nerval“Genie” by Arthur Rimbaud“Guernica” by Pablo Picasso“The Last Supper” by Andy WarholBook Recommendations:The Adventures of Pinocchio by Carlo CollodiFrankenstein by Mary ShelleyThe Poetry of Sylvia Plath Edited by Claire Brennan2666 by Roberto BolañoThoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com.You can find transcripts (posted midday) and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast, and you can find Ezra on Twitter @ezraklein. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.This episode of “The Ezra Klein Show” was produced by Annie Galvin. Fact-checking by Annika Robbins. Our senior engineer is Jeff Geld, with additional mixing by Isaac Jones. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Rollin Hu, Kristin Lin, Emma Kehlbeck, Jack McCordick, Michelle Harris, Marina King and Jan Kobal. Original music by Pat McCusker. Audience strategy by Kristina Samulewski and Shannon Busta. The director of New York Times Opinion Audio is Annie-Rose Strasser. Special thanks to Caryn Rose and Annika Robbins. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.

Chuck and Roxy are back and open the show with explaining how Chuck "tries" and does a "decent job" treating Roxy as a princess. They also have an epic bowling segment and a not so epic Fantasy Football segment. Next it's time to "Meet the Littles" as our host's welcome Bob Davidson to the show! (19:30) As he is the cousin to DG we get to hear all about them growing up and maybe even some of the trouble they would get in.Then our hosts close out the show with a quick movie review of "Springsteen: Deliver Me From Nowhere" and your emails and notes. (49:30) SONG: "Expensive Hobby" by Norwegian Soft Kitten BAND CAMP / SOUND CLOUD: Search Norwegian Soft Kitten TWITTER: @ns_kitten INSTAGRAM: @norwegiansoftkitten FACEBOOK: Search Norwegian Soft KittenJINGLE: "TK Show Football Bettin Blues" (Subterranean Homesick Blues) A parody of a song by Bob Dylan.Recorded by Patrick Moffett in Sacramento, CARecorded: 11/03/2018  Released: 11/03/2018  First aired: 11/14/2018Podcast Website - www.loyallittlespod.com  Patreon: www.patreon.com/c/loyallittlespod/membershipPodcast Email - WTFCPODNET@GMAIL.COMTwitter:@loyallittlespod Instagram: @theloyallittlespodcastPODCAST LOGO DESIGN by Eric Londergan www.redbubble.com Search: ericlondergan or copy and paste this link! https://www.redbubble.com/people/ericlondergan/shop

Peter Jesperson, Jason Jones, and Elizabeth Nelson are here to discuss their work on Let It Be (Deluxe Edition) by the Replacements, Peter's fondness for Elizabeth's writing and her excellent liner notes for this edition, Bob Mehr's decision to step away from the Replacements reissue campaign for now and its impact on this project, the ‘Mats' penchant for cover songs, what this might signify, and their love of NRBQ, the energetic live records included here and tracking down a fan who taped one of the shows, news about Elizabeth's band the Paranoid Style, what's next in Replacements reissues, other future plans, and much more.EVERY OTHER COMPLETE KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO PATREON SUPPORTERS STARTING AT $6/MONTH. Enjoy this excerpt and please subscribe now via this link to hear this full episode. Thanks!Thanks to Blackbyrd Myoozik!Support Y.E.S.S., Pride Centre of Edmonton, and Letters Charity. Follow vish online.Related episodes/links:Ep. #1034: Sean Wilentz on Bob Dylan's ‘Through The Open Window'Ep. #954: Peter Ames Carlin on R.E.M.Ep. #803: The Replacements' ‘Tim: Let it Bleed Edition' with Bob Mehr, Jason Jones & Ed StasiumEp. #646: They Might Be GiantsEp. #644: The Replacements' ‘Sorry Ma, Forgot to Take Out the Trash' with Peter Jesperson, Jason Jones, & Bob MehrEp. #569: The Replacements' ‘Pleased to Meet Me' with Bob Mehr & Jason JonesEp. #252: Bob Mehr on The ReplacementsSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers.......Okay, answers coming. Don't peek if you haven't made your guesses yet!......Intro song: Lily, Rosemary and the Jack of Hearts by Bob Dylan (1975)Song 1: Queen of Hearts by Juice Newton (1981)Song 2: I'm Your Girl by S.E.S. (1997)Song 3: This is England by The Clash (1985)Song 4: Little Queen of Spades by Robert Johnson (1937)Song 5: Dynamite by BTS (2020)Song 6: (If You're Wondering If I Want You To) I Want You To by Weezer (2009)Song 7: Queen of Diamonds by Tom Odell (2018)Song 8: BANG BANG BANG by BIGBANG (2015)Song 9: Go Let It Out by Oasis (2000)Song 10: Queen of Clubs by KC and the Sunshine Band (1974)

What's money? A man is a success if he gets up in the morning and goes to bed at night and in between does what he wants to do. –Bob Dylan Check out John Lee Dumas' award winning Podcast Entrepreneurs on Fire on your favorite podcast directory. For world class free courses and resources to help you on your Entrepreneurial journey visit EOFire.com

Air Tight #152 | Hosted by The Alex from Green Coast Radio, this episode is a rallying cry for the curious, the counter-culture, and the music-hungry.  We're back with another sonic journey through the best in independent music, college radio energy, and underground beats you won't hear on mainstream stations. Whether you're here to discover new music, rediscover forgotten legends, or stay sharp on the fight for freedom of expression, this one's for you. This week, The Alex drops a genre-defying mix featuring the raw truth of Immortal Technique, the poetic rebellion of Bob Dylan, the smooth stylings of Nouvelle Vague, and the edgy pulse of Sex Mask — plus many more deep cuts and new finds from across the underground.  Expect everything from dance tracks to political anthems — it's a soundtrack for the disenfranchised, the dreamers, and anyone craving real culture. We're not just spinning music — we're turning up the volume on the issues that matter. This episode dives into the U.S. government's escalating crackdown on hemp and cannabis, a silent war that threatens both personal freedom and the booming independent cannabis economy.  Then we shift the lens to COP30, where indigenous activists are leading the charge for climate justice and demanding visibility on a global stage.  And finally, we float through the trippy brilliance of the Amsterdam Light Festival, where tech, art, and urban rebellion converge in dazzling displays — a celebration of altered states of mind and creative resistance. Remember to check out Unknown Airwaves on our YouTube channel, where we spotlight independent artists, exclusive performances, and visuals that speak louder than algorithms.  For the best in underground hits, independent radio, and counter-culture music, stay locked to Green Coast Radio — your home for eclectic sounds, freedom of speech, and that signature college radio rebellion. Looking for the perfect gift for the underground head in your life? Visit our Station Gear page at GreenCoastRadio.com to grab exclusive art, custom tees, and the kind of merch you can't get at the mall — because your t-shirt should say something. Something real. Air Tight is more than a show — it's a movement.  Tune in, turn it up, and tap into the global frequency of resistance, rhythm, and underground culture.  This is where freedom of expression, futurism, and street culture collide . Join us in the ongoing fight to be heard — and to hear what's real. Spotify link: https://open.spotify.com/playlist/6N9gow2Sz53UFwPLk41mWp?si=dfd36a4795ba4e87    Playlist ISTA - Megawatt Count Five - Pretty Big Mouth Kim Fowly - The Trip Glen Glenn - Everybody's Moving Bob Dylan - Boots of Spanish Leather English Teacher - The World Biggest Paving Slab Immortal Technique - Point of No Return Lipka - Loud Misun - Battlefield Love & Rockets - No New Tale to Tell Lucille Dupin - Ilusion Paquita La Del Barrio - Rata De Dos Patas Nouvelle Vague - I Melt with YOu NoName - Hundred Acres Nasantara Beats - Tamat Pixies - Gigantic Rikki Ililonga - Sheebeen Queen Pretenders - Middle of the Road Scarlett Reid - Black Heart Blues Sex Mask - How to be Cool at Parties The Dead Weather - Hustle & Cuss Waldeck - So Strong

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Chris Dalla Riva, author of the new book Uncharted Territory: What Numbers Tell Us about the Biggest Hit Songs and Ourselves. Chris is a fixture here at Numlock, we're big fans of his newsletter Can't Get Much Higher and have been eagerly waiting for this book, which tracks the history of music by coasting along the top of the Billboard Hot 100. The book can be found at Amazon and wherever books are sold, grab a copy!This interview has been condensed and edited. Chris Dalla Riva, it is great to have you back on. Especially great this week, because you are finally out with a book that I know you've been working on for a very long time, Uncharted Territory. Thanks for coming back on.Yeah, thrilled to be back, but also thrilled to have the book come out. The book publishing world is one of the only worlds left in the world that moves slow enough where you're waiting for so long for something to happen.You have guest-written for Numlock before; you have been a staple of the Sunday editions in the past. You are definitely familiar to the audience at this point because you are doing some of the best music data journalism out there. You've been working on this thing for, I feel like, as long as I've known you, and it is just great to have it come out finally, man.Yeah, actually, I met you because I was working on this project. I was trying to track down some data that you'd used at FiveThirtyEight, and you responded to my email with your phone number. You were like, “This is easier to explain over the phone.”Yeah, I remember I had scraped the radio for months at FiveThirtyEight just to see where it went, and you hit me up with that. I think that you focused some of your energies on the newsletter, and that's been so fun to follow, but this is truly what you've been working at. It is great to get you on finally to talk all about it.What would you describe this book as? How would you describe it, either to folks who might be familiar with your newsletter or unfamiliar with your newsletter, about what you're setting out to do with this particular project?The subtitle, I think, is helpful. It's What Numbers Tell Us About the Biggest Hit Songs and Ourselves. My typical pitch is that it's a data-driven history of popular music that I wrote as I spent years listening to every number one hit song in history. You get a balance of music history, data analysis, just random music chart shenanigans. I wrote it over such a very long period of time that you get a little bit of how my life was intersecting with this book over the years as I tried to get it published.I love the angle on the No.1s being a place to go with, because it gives you a pulse on what's popular at the time and not necessarily what's the most influential at the time. You can see there's a lot of stuff that hit number one at one point or another that have no musical legacy whatsoever, but nevertheless are still interesting. It's dipping your toe in the stream, right? You can see that a lot of things that we assume about how the music industry works weren't always the case.You wrote a little bit about the early transition from big bands to singers as the front-facing people in their operation. That was informed in no small part by what was performing on the charts, but also, I think, labor action, right?An under-discussed part of music history in the last 100 years is that when thinking of any band now or any musical artist, you almost certainly think of the front person being the singer. But if you go look back at big bands of the 1930s and 1940s, anyone whose name was attached to the band was often not a singer. Some that come to mind are Glenn Miller, the Glenn Miller band. Glenn Miller was a trombone player. Artie Shaw was a clarinet player. If none of these names are familiar to you, that's okay. But you can ask your grandparents.Why does this transition happen: suddenly, the lead singer is always getting top billing in a band? There are a bunch of things that contributed to this. One thing I talk about pretty extensively is just the advent of better microphones. If a voice cannot be heard over the roar of an orchestra or a big band, you need a choir of people to sing. It makes the singer less identifiable. As we get better amplification, better microphones, you can get a wider range of vocal styles. Those vocalists can now compete with the sound of a ton of instruments.At the same time, something you mentioned that I think is a fun bit of history is how music used to be much better organized. They had better labor organization, the same way that Hollywood has much better labor organization than music these days. There still exists a group called the American Federation of Musicians. For two years, they had a strike for a work stoppage, when no new music was being recorded. This was during World War II. You weren't allowed to strike during World War II.They were frowned upon very much, it seems, yes.Yes, even if you were a musician. People were like, “Come on, why are the musicians striking?” There's a lot of interesting history there. One of the weird loopholes was that singers could not join the American Federation of Musicians. Because of that, some labels would get around the strike by just recording acapella songs or songs with instruments that were not eligible to be membership because they weren't “serious” enough, like the harmonica. There were weird harmonica songs that were popular at this time. By the time the strike ended, by the time World War II ended, suddenly, singers had a much more prominent role because they were the only ones allowed to perform.There is tons of weird stuff about this strike. Like, labels backlogged tons of recordings because they knew the strike was coming. “White Christmas,” maybe the best-selling record of all time, was one of those backlogged recordings — recorded in July of 1942 and put out however many months later.That's fun. That's basically why Tom Cruise is in a union but Bad Bunny isn't?I guess so. Music and labor have a history that I'm not an expert on. For some reason, musicians have had a much more difficult time organizing. It seemed to be a little bit easier back when there were these big bands that needed to be rolled out to perform in movie theaters or local clubs. You needed a tuba player and a trombone player and a sax player. I guess it was easier for those musicians to organize. Whereas now, things are so scattered and productions can be super small, and you could record something in your bedroom. They never got that level of organization. I think it's actually hurt artists to some degree because they don't have the protections that the film industry does.Because you're able to just coast along at the top of the charts throughout basically the century, you're able to get lots of different interweaving stories of labor and also legal disputes/legal outcomes, as well as this technological evolution. What are some of the ways that technology has informed how the music that we listen to changes or evolves over time? Or even some of the litigation that we have seen over the course of the century of musical creation. It just seems like it's a really fun way to track some of these bigger trends that we don't even know are really trends.Yeah, totally. I think one of the key themes of the book is that musical evolution is often downstream from technological innovation, which has a nice little ring to it. But in general, there's this idea that creativity is being struck by the muse, and you create something. Whereas in reality, there are usually physical constraints or technological constraints that shape the art that we make. One of the most basic examples is the length of songs. From the '40s up till the early, mid-60s, the pop song sits around 2.5 to three minutes. The reason for this is that vinyl singles could literally not hold more sound without degrading, which is completely backwards from the idea that there was an artist who chose to write a 2.5-minute song.I was like, “Well, you had to work within the constraint.” Then technology gets better, singles start to get longer. During the disco era, they actually made bigger discs to put out these long dance mixes. The single sat around like 3.5 to 4.5 minutes for decades until about 10 years ago, when it started to shorten again. People typically point to music streaming for this reason, because artists are paid if a song is listened to for more than 30 seconds, so it's really just a volume game. If you have a 14 minute song that someone listens to one time, they get paid once. But if I listen to a two-minute song seven times (which is again, the same amount of time spent listening), I will be paid out seven times. There is this financial incentive to shorten songs.I don't think artists are sitting in the studio thinking about this constantly. But what I see, what I saw again and again, is that artists were rational beings to some degree and would work within the constraints that they were given. They would usually push against those constraints. That's where a lot of great art comes out of.Even new mediums are offering new opportunities. You wrote a little bit about MTV and how that really changed a lot of what was able to be successful at the time. You had new types of acts that were able to really start competing there, and other acts that just weren't. Do you wanna speak a little bit about like what video did?Yeah, video certainly changed the game. There were artists who had visual presences earlier. The Beatles had a very visual presence. I think part of their success is tied to the fact that television was becoming a thing, and mass media was really becoming a thing. However, we associate musicians with visuals so much these days. That really emerged in the 1980s, where you needed your visual concepts to be as strong, if not stronger than, your musical concepts. I think because of that, you start seeing some artists break through who I don't think are considered great musicians.I always sadly point to the song, “Hey Mickey” by Tony Basil. If it's your favorite song, sorry. I don't think it's a masterful musical creation, but it had this fun music video where she's dressed up as a cheerleader. A lot of that song's success was just the fact that MTV was willing to put that in heavy rotation because it was a fun video to watch. We live in the shadow of that era where visuals matter just as much as anything else.When you think about the most popular artists, outside of maybe a handful, you think of their visual concepts. You think of what Beyoncé looks like, what her videos are like, same with Taylor Swift, as much as you think about their music. That really reshaped our relationship with popular music. We expect to know what artists look like. It's odd to think about that; it really wasn't a thing decades before. You could be a fan of an artist and not really know what they look like. How would you know? Maybe you saw them in a magazine. Maybe you caught them on one television show. The idea that we have access to what everyone looks like is a pretty new phenomenon.That's fun. It's just so interesting to see how a simple change, whether it's today an algorithm or then a medium of distribution, can just have material impacts on the popularity of British synth music in America.Yeah, that's the perfect example. There's a great book called I Want My MTV, and it's an oral history of MTV. They talked to one of the founders. Early MTV would play, as you're saying, all these British new wave acts. Think A Flock of Seagulls, Duran Duran or even someone like U2. They asked the founder, “Why were you playing so many British artists on early MTV?” He was like, “For some reason, British artists happened to make music videos. And there were about 200 music videos in existence. We had to fill 24 hours of programming.” A Flock of Seagulls was gonna get played a bunch of times just because they happened to make music videos.It is a weird thing. Why would anyone make a music video if there was nowhere to really play them? I don't know why specifically the British had more videos, but there were occasional times where television shows might show a video.They do love that over there, like Top of the Pops. I can see why.Music and television have always been connected. You even think Saturday Night Live still has musical acts. Back then, say your label didn't wanna send you out to Britain to go on Top of the Pops. Maybe they would send a video of you instead. There were videos that would float around on these variety shows, and some early videos were just concert footage. It was like, it was a chicken or the egg thing. Once some people had success on MTV, everyone started producing videos. MTV somehow pulled off the miracle of convincing labels that they needed to make videos and that they needed to front the cost for that. Then they had to give MTV the video for free. I don't know how MTV managed to do that.Well, all of Gen X can't be wrong. If you do wanna get it out there, you do have to get it out there. One really fun recurring thing in the book — which again, like I really enjoyed. I think it's a phenomenal work. I think it's a great history. I'm telling stories that I learned in your book to everybody. It is a really fun read in that regard, I wanna say.I do love how you occasionally clock a genre that really only exists briefly. There's one that always goes around for like the strangest things to hit number one, like the Ballad of the Green Berets. I think like there's a Star Wars disco track that I definitely have on vinyl at home about that. You wrote a lot about like teen tragedy songs. What are some of the fascinating like brief trends that only made a small splash and that all of us have forgotten ever existed, but nevertheless achieve some measure of immortality?Yeah, the teen tragedy song is a good one. That actually inspired the writing of this whole book because I got 50 No. 1s, and I was like, “Why are there so many number ones about teenagers dying? That's a little weird.” And then I did a little digging and tried to piece together why that was. The teenage tragedy song, late '50s, early '60s, there are all of these songs about two teenagers in love, usually high schoolers. One tragically dies often in a car crash, and the other is very sad and maybe says that they'll reunite again one day in the afterlife. Some of the big ones are “Leader of the Pack” by the Shangri-Las and “Teen Angel” by Mark Dinning.It's a very weird blip in popular music history. I won't say it has cast a long shadow, but there are some occasional people who pull from that tradition. The craziest teen tragedy song ever was “Bat Outta Hell” by Meatloaf, in which Jim Steinman tried to write a nine-minute motorcycle crash song. I think that's a really interesting one.Disco: bizarre in the amount of people that made disco songs. I really came to like disco and the best disco music, I'm like, “These are the greatest sounds that have ever been recorded.” But it got so big and so popular that everyone felt the need to record disco songs.Not everything is “I Feel Love,” right?No, most things are not. It strikes me that this happened with disco, but has not happened with other genres. Frank Sinatra recorded disco songs. Basically, every television theme song got a disco remix. I Love Lucy had a disco remix. The Rocky theme song had a disco remix.What? I'm sorry, Frank Sinatra did a disco song? Is it good?It's not good. It's “Night and Day” over a disco beat. And it's not clear to me if they just remixed it or if he actually recut the vocal because I just cannot imagine him doing that. In the mid-60s, there was a nun who topped the charts, The Singing Nun with a song called “Dominique.” Of course, during the disco era, it was remixed as a disco song. There are examples of this where people went sort of disco. The Rolling Stones record “Miss You” and it has the disco beat, or Pink Floyd does “Another Brick in the Wall” or Queen does “Another One Bites the Dust.”Everyone was gonna give it a try. There was so much money being made in the disco world at the time. You can always find some artists you would never think would do a disco song probably tried. They probably gave it their best.That's great. It's just fun because the things that hit number one for a week don't necessarily have to be good. They just have to be popular for like a week. Even the construction of the Top 40 chart, which you get into in the book, isn't exactly science. A lot of times, it's a little bit of intuition. It's a lot of what's selling and what's selling where specifically. It is a little bit woo woo, right?Yeah, definitely. The goal of this chart is “What's the most popular song in America in a given week?” Back in the day, that meant what were people buying? What were people listening to on the radio? What were people spinning in jukeboxes? Today, most music is done on streaming. It's consumption-based, rather than sales-based. So the chart's the same in name only, but it's really measuring very different things. The equivalent would be if we knew after you purchased your copy of “I Feel Love,” how many times did you actually play it at home? You could have purchased it, went home and never played it again. Something like that would not register on the charts these days.I respect the people at Billboard because they have an impossible task. It's like “We're gonna take all the information and we're going to boil it down into choosing or measuring what the most popular song is.” It's an impossible task to some degree.I have watched the evolution of the chart, and I go back and forth on whether they have given up on actually trying to rank stuff or if they are just ranking things in a different way. I think that the apples-to-apples between the era stuff is just so hard to do.One thing I really enjoyed about your book, in particular, is that it's not a story of why these songs are the best. It's a story of why these songs were popular at the time, just dipping the toe into the river of human sound. One thing that I'll ask as you wrap: as you were going through these eras, who did you hear a lot more of than you thought? Who did you hear a lot less than you expected?I joked with some people that if you just looked at the top of the charts, the greatest rock band of the 1970s is either Grand Funk Railroad or Three Dog Night because they both had three number one hits, and many other bands in the classic rock canon have none. Led Zeppelin does not really exist on the pop chart, the singles chart. Led Zeppelin really only put out albums. The Eagles were also big during the '70s on the music charts. But Three Dog Night, they're the legends.There are tons of people that I didn't realize how much I would see of them. Someone like Lionel Richie and Phil Collins, of course, they're tremendously popular, but they were so popular. Phil Collins was popular at the height of the bald pop star era, which I think is a thing of the past. You had multiple bald men who were regularly topping the charts in the mid-80s. You see a ton of Phil Collins, more than I was expecting, even though I know he's very popular.Who don't you see a ton of? Sometimes you don't see people until a bit later in their careers. This is actually an interesting phenomenon. Artists do not score a number one hit during their most critically acclaimed period, and then a decade later, they do. For example, Cheap Trick. They have a number one hit, but it's at the end of the '80s song called “The Flame.” Whereas if you hear Cheap Trick on the radio, it's probably their live album from the 1970s. This is a phenomenon you see again and again. Some old timer will get their number one much later in their career. Tina Turner gets her number one when she's probably in her 40s. It's always interesting to see that.There are also some artists where I feel like there's a divergence between what their most popular songs are these days and what was topping the charts. Elton John is a good example there. “Benny and the Jets” was a number one hit, still a tremendously popular song. But he's got a lot of weird No. 1s that I don't think have as much street cred these days. He has a song called “Island Girl.” Did not age like fine wine. I don't even think he plays it live anymore because it's considered somewhat racially insensitive. But it was a No. 1 hit at the time. “Philadelphia Freedom” is another one by Elton John. I feel like when people think of the Elton John catalog, it's probably not the first song that comes to mind. But it was a No. 1 hit, huge smash. His cover of “Lucy in the Sky with Diamonds” was a No. 1. Elton John has been very popular throughout the decades, but I feel like the reasons he's been popular have changed.People have just gravitated towards different songs as time has gone on. You get distortions at the top of the charts. But I think, as you mentioned, it provides a good sample of what was actually popular. You have the good, the bad, and the ugly. Whereas if you look at some other sources, people are just gonna be like, “Oh, listen to these records. These are the best records.” In reality, the bad records are important, too.Yeah, bad records are great. They're at least interesting. I imagine also some of this process must have been missing out on a lot of interesting music because one song was just dominating the charts. Were there any songs in particular that come to mind that wooled the roost for potentially a little bit too long?Yeah, the quintessential example is the “Macarena” in the ‘90s.Oh, no!I think it was No. 1 for 13 weeks.Christ!There's a great clip of people at the Democratic National Convention and '96 dancing the “Macarena.” It's so bad. Yeah, so a very popular song. There are tons of stuff that gets stuck behind it. There's a great No.1 hit in the '90s called “I Love You Always Forever.” It's a very nice song by Donna Lewis. It's stuck at No. 2 because it just happened to be popular during the “Macarena's” very long run. YYour life's work, your greatest accomplishment, being stymied by the “Macarena” feels like a level of creative hell that I have never envisioned before.Yeah, there are other artists who got unlucky. Bruce Springsteen never performed a No. 1 hit. He wrote a No.1 hit for another artist. His closest was “Dancing in the Dark” got to No. 2, but that was also when Prince released “When Doves Cry,” so it's a tough, tough week. Bob Dylan, similar thing. He wrote a No. 1 hit, but he only ever got to No. 2. I think he got to No. 2 twice. Once, he got stuck behind “Help” by the Beatles, and another time he got stuck behind “Monday Monday” by the Mamas and the Papas.This is another thing when I talk about the charts. There could be many fewer units sold in a given week, or there could be many more units sold. There's a lot of luck involved if you're gonna go all the way to No. 1. You could be Bruce Springsteen: you release the biggest record of your life, and Prince also releases the biggest record of his life at the exact same time.Incredible. So again, I have read the book. I really, really like it. People are doubtlessly familiar with the newsletter at this point, but I am also a big fan and booster of that. But I guess I'll just throw it to you. Where can folks find the book, and where can folks find you?Yeah, you can find me, Chris Dalla Riva, basically on every social media platform under cdallarivamusic. I'm most active on TikTok and Instagram. The book, Uncharted Territory: What Numbers Tell Us About the Biggest Hit Songs and Ourselves, should be available from every major retailer online. Amazon, Barnes & Noble, Walmart, Booklist, all that good stuff. Not available physically in stores, so definitely order it online.Like I said, I spent years listening to every No. 1 hit in history, built a giant data set about all those songs and used that to write a data-driven history of popular music from 1958 to basically 2025. So go pick up a copy, buy one for your mother for Christmas. Or your father, I don't discriminate. Yeah, check it out. I'm hoping people enjoy it, and I'm really excited to finally get it out in the world. It's been a long, circuitous journey to get it published.It's a really fun read, and I wish it nothing but the best. And yeah, congrats, thanks for coming on.Yeah, thanks for having me.Edited by Crystal WangIf you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

Hang onto your slipcases because Blake Howard (One Heat Minute Productions) teams up with host of INCREMENT VICE, Travis Woods, to unbox, unpack and unveil the IMPRINT FILMS physical media release of CARRIE.In this episode, we discuss:Carrie (1976) – 4K UHD + Blu-ray Limited Edition Lenticular Hardcase – Imprint Collection #494Support: JOIN THE ONE HEAT MINUTE PATREON FOR AS LITTLE AS $1 A MONTHFollow the hosts:Blake Howard - Twitter & One Heat Minute Website Travis Woods is a Contributing Editor at Bright Wall/Dark Room, as well as a writer for The New Beverly Cinema and Cinephilia & Beyond.He lives and writes in Los Angeles. He has a dog and a tattoo of Elliott Gould smoking. Bob Dylan once clapped him on the back and whispered something incomprehensible. These are the only interesting things about him.FOLLOW TRAVIS ON TWITTER HERE.Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Welcome to Songs of Experience: A Bob Dylan Podcast, where we explore the man and the music one song at a time In this episode Henry welcomes his friend and mentor Rob Kelly for a homecoming and return to Bob Dylan podcasting! Rob and Henry discuss 1990's Under The Red Sky track, God Knows.https://music.apple.com/us/album/god-knows/717157868?i=717157887God KnowsWritten by: Bob DylanGod knows you ain't prettyGod knows it's trueGod knows there ain't anybodyEver gonna take the place of youGod knows it's a struggleGod knows it's a crimeGod knows there's gonna be no more waterBut fire next timeGod don't call it treasonGod don't call it wrongIt was supposed to last a seasonBut it's been so strong for so longGod knows it's fragileGod knows everythingGod knows it could snap apart right nowJust like putting scissors to a stringGod knows it's terrifyingGod sees it all unfoldThere's a million reasons for you to be cryingYou been so bold and so coldGod knows that when you see itGod knows you've got to weepGod knows the secrets of your heartHe'll tell them to you when you're asleepGod knows there's a riverGod knows how to make it flowGod knows you ain't gonna be takingNothing with you when you goGod knows there's a purposeGod knows there's a chanceGod knows you can rise above the darkest hourOf any circumstanceGod knows there's a heavenGod knows it's out of sightGod knows we can get all the way from here to thereEven if we've got to walk a million miles by candlelight  Follow @songsofbob, @henrybernstein.bsky.socialIf you would like to support hosting my podcasts, please check out my Patreon where for $5 I will give you a shout out on the podcast of your choice. Thank you to, Rob Kelly, Roberta Rakove, Matt Simonson, and Christopher Vanni. For $10, in addition to the shout-out I'll send you a surprise piece of Bob Dylan merch! Thank you to Kaitie Cerovec who is already enjoying her merch! I have a merch shop! Check out all sorts of fun Bob Dylan (and more) items! Thank you to Mark Godfrey, Linda Maultsby and Peter White over on Substack.Email us at songsofbobdylan@gmail.comSubscribe: YouTube, Apple Podcasts, Spotify, Substack.

A note from Danielle: Hello, my loves. For the month of November 2025, we are going to focus on business-related topics, and I'm bringing out the best of my business hits. Today, we're talking about authentic intelligence—rather than, as opposed to, instead of, a better option than—artificial intelligence. As I'm recording this intro right now, I'm sitting in a hotel room in London, England, shortly after I've come off stage giving a talk to a room full of mostly female business entrepreneurs. I asked them at the beginning of the day if they wanted to talk about AI, and they groaned. And I said, "Well, we've got to do it."  I'm always willing to be the contrarian if it's all in service to truth. This podcast conversation is in service to the truth of what I believe the fact to be: that AI is where your intuition goes to die. On that note, welcome to today's episode of With Love, Danielle. *This episode originally aired as Episode 138 on October 16, 2024.  Leonard Cohen, Johnny Cash, Bob Dylan, and Zeppelin… what's your creative archetype? And what's the Divine Feminine principle got to do with your creative edge? A lot. In this episode, we're defining creative integrity in wacky times—no matter how tempting tech might be. Want to read the Slack memo I sent to my team about ChapGPT? Ya! (Spoiler: it's a tool, not a replacement for your brilliance).  Presence cannot be outsourced. It is not going to fool the heart. Let's do the human, real-time, real energy, joyful work of thinking, caring, and creating.  With Love, Danielle MENTIONED IN THIS EPISODE: Inner Circle Business Accelerator—limited to 20 spots this round (and they go fast!) GetHeartCentered.com—Download the FREE Astro + Events calendar and sync your plans with the planets Follow + Subscribe to With Love, Danielle on Substack for weekly essays + more Join the CENTERED Collective  

Jano Rix is best known as one third of The Wood Brothers. His dad Luther's drumming career spans half a century and ranges from Bob Dylan's "Rolling Thunder" tour to Rent and Tommy on Broadway. Their new album, Legacy Vol. 1 is an exploration of their shared history and musical connection. In this episode, Luther and Jano talk about: Luther's start at Indiana University and on the Indianapolis scene, and quickly moving to New York How playing with the Wood Brothers inspired Jano to record him and his dad playing together  How the record gave them their first real opportunity to sing together Including a live track on the record The ways they trusted and relied on each other's strengths in the recording and mixing process Getting out of the weeds of mixing and zooming out to focus on the “big gestures” of a song The moment you start to “hear yourself think” ⁠⁠Here's our Patreon⁠⁠ ⁠⁠Here's our Youtube⁠⁠ ⁠⁠Here's our Homepage

This week Jeremi and Zachary are joined by Professor Renata Keller from the University of Nevada Reno, whose work focuses on the Cuban Missile Crisis and its enduring impact in Latin America. They explore public reactions in Latin America during the crisis, analyze the diverging opinions within the region, and discuss the long-term consequences. Jeremi sets the scene by reading the opening lyrics to Bob Dylan's 'Masters of War,' which was written in the wake of the Cuban Missile Crisis. Dr. Renata Keller is an associate professor of history at the University of Nevada, Reno. She is the author of two books:  Mexico's Cold War: Cuba, the United States, and the Legacy of the Mexican Revolution and, most recently, The Fate of the Americas: The Cuban Missile Crisis and the Hemispheric Cold War. Dr. Keller received her Ph.D. from the University of Texas at Austin.

I had Steve Weil on the podcast today. It was a really a fun, interesting interview because it wasn't done in the studio. It was actually done at Rockmount Ranch Wear Headquarters in Denver.  I highly encourage you go to this store (and bring your wallet) because there's some really great things inside. I definitely walked away with a few Western and Hawaiian shirts.You see, Steve is the third generation owner of this company. That's a really, really rare thing these days. His brand has been a staple in the realm of Western fashion for 80 years. His grandfather started it 1946 and he was the first guy to do a "snap" western shirt. Not to mention that everyone has worn this brand. Elvis, Eric Clapton, Bob Dylan, Bruce Springsteen, Robert Plant, and more. I found it all absolutely fascinating. I knew the store was there, and I had been in it before, but to actually get to hear the man himself speak about how it all came to be was awesome. We get a behind the scene tour of the building, the museum area showing the history of these shirts and his family, and even a look at the garage where he keeps his vintage automobile collection.It a very interesting podcast and I hope you can take the time to watch it. If you find yourself in Denver do yourself a favor and visit Steve's store. I think you'll find it just as cool as I did.

Episode Description: This Week in Music History - November 10-16 | Pink Floyd, Beatles, Fleetwood Mac & More Join host Buzz Knight and master of music mayhem and music historian Harry Jacobs for another captivating episode of This Week in Music History, covering November 10-16. Dive deep into legendary moments that shaped rock, pop, and cultural history. Featured Music History Highlights: Pink Floyd’s “Wish You Were Here” (Nov 10, 1975) - Discover the untold story behind this iconic album’s #1 UK chart debut and its heartbreaking connection to Syd Barrett, who unexpectedly appeared during recording sessions. Led Zeppelin IV (Nov 12, 1971) - Explore the album featuring “Stairway to Heaven,” “Black Dog,” and “Rock and Roll” that sold 37 million copies worldwide and earned 24x Platinum certification. Beatles’ “Rubber Soul” (Nov 13, 1965) - Harry reveals why this Abbey Road recording remains one of his favorite Beatles albums, featuring classics like “In My Life,” “Norwegian Wood,” and “Michelle.” Fleetwood Mac’s Self-Titled Album (Nov 15, 1975) - Learn about Stevie Nicks’ emotional dedication of “Landslide” to her father and the latest rumors about Lindsay Buckingham’s potential reunion with the band. Additional Topics Covered: • Elton John’s “Goodbye Yellow Brick Road” and the incredible story of “Candle in the Wind” selling 660,000 copies in one day after Princess Diana’s funeral • Freddie Mercury’s final public appearance (Nov 14, 1991) and his AIDS diagnosis announcement • Donna Summer’s disco classic “MacArthur Park” hitting #1 • Jimi Hendrix’s “Electric Ladyland” chart success • John Lennon’s only #1 solo single during his lifetime (you’ll be surprised which song it was!) • Sesame Street’s PBS debut and its cultural impact • Bob Dylan’s “New Morning” album evolution Perfect for: Classic rock enthusiasts, music history buffs, Beatles fans, Pink Floyd devotees, and anyone fascinated by the stories behind legendary albums. Subscribe to Taking a Walk podcast for weekly deep dives into music history with Buzz Knight and Harry Jacobs, your guides through rock and roll’s most memorable moments. #MusicHistory #ClassicRock #PinkFloyd #Beatles #LedZeppelin #FleetwoodMac #PodcastEpisode #TakingAWalk #RockHistory​​​​​​​​​​​​​​​​Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

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