Podcasts about Brilliant Corners

Today, on Notable Leaders' Radio, I speak with David Steele, Founder + CEO of One Wealth Advisors and co-founder and Executive Chairman of Flour + Water Hospitality Group He highlights how applying the principles of service, goal-setting, and valuing people has shaped his journey from financial planning to building successful restaurant groups and supporting arts organizations. In today's episode, we discuss: True business success is rooted in serving others, not just making profits, because when work benefits others, it leads to deeper happiness and long-lasting impact, meaning you can feel good about making a difference while growing your business. Skills and principles are transferable from one industry to another, as David demonstrates by applying the same collaborative and organizational strategies across finance, food, and the arts, so you're not stuck on one path and can reinvent yourself in new fields with confidence. Pivotal life changes often start with self-awareness and honesty about dissatisfaction, like David's shift from being a successful stockbroker to a more fulfilling (but initially less lucrative) fee-based financial planning career. The lesson? It's okay, and sometimes essential, to pivot, especially if your values aren't being met. Caring for your team's well-being, even at a short-term cost, pays off through loyalty, retention, and greater future success, as shown by David's choice to keep his executive team during tough times, so you can build a lasting, supportive company culture.   Guest Bio David Steele, Founder + CEO of One Wealth Advisors and co-founder and Executive Chairman of Flour + Water Hospitality Group My primary role is as the co-founder and CEO of One Wealth Advisors, where we help people simplify their lives and achieve financial goals through Financial Life Planning. I am also the co-founder and Executive Chairman of Flour + Water Hospitality Group and the co-founder and Managing Partner of Great Gold Hospitality Group. Additionally, I bring extensive expertise and a range of resources to small business consulting, primarily in, but not limited to, the hospitality space. Alongside my teams, we support clients in various aspects of business development and operations to help them achieve their goals and vision. The culinary, health, arts, and entertainment worlds are particularly important to me, as reflected in my advisory roles with Noise Pop, Brilliant Corners, Rad Restaurant Group and Folk Studios. While my background may suggest diverse interests, everything I do follows a consistent, disciplined approach: working collaboratively with partners and team members, setting clear goals, developing and executing strategic plans to achieve those goals, and continually monitoring results to ensure success.   Website/Social Links https://davidsteele.xyz/ https://www.linkedin.com/in/david-steele-76088a?   Belinda's Bio: Belinda Pruyne is a renowned Leadership Advisor, Executive Coach, Consultant, and Keynote Speaker recognized for her ability to transform executives, professionals, and small business owners into highly respected, influential leaders. As the Founder of BelindaPruyne.com, she partners with top-tier organizations, including IBM, Booz Allen Hamilton, BBDO, Hilton, Leidos, Yale School of Medicine, Landis, Discovery Channel, and the Portland Trail Blazers. Recently, she led the redesign of two global internal advertising agencies for Cella, a leader in creative staffing and consulting. She is also a founding C-suite and executive management coach for Chief, the fastest-growing executive women's network. A thought leader in leadership development, Belinda is the creator and host of the Notable Leaders Radio podcast, where she has conducted 95+ interviews with top executives and business leaders, revealing the untold stories behind their success. Previously, as Executive Vice President, Global Director of Creative Management at Grey Advertising, she oversaw a global team of 500 professionals, gaining deep expertise in client services and executive leadership. With 25+ years of experience, Belinda is a trusted advisor to startups, turnarounds, acquisitions, and Fortune 500 companies, delivering strategic, high-impact solutions in today's fast-evolving business landscape.   Website: Belindapruyne.com Email Address: hello@belindapruyne.com LinkedIn: https://www.linkedin.com/in/belindapruyne Facebook: https://www.facebook.com/NotableLeadersNetwork.BelindaPruyne/ Twitter: https://twitter.com/belindapruyne?lang=en Instagram: https://www.instagram.com/belindapruyne/                  

This CEO Manages $1B & Owns 9 Restaurants By Empowering PeopleDavid Steele, Founder & CEO Of One Wealth Advisors -Independent Advisory Firm over $1BAnd founder -Flour + Water restaurant company with 9 restaurants and a consumer packaging business. Website:https://davidsteele.xyz/About DavidMy primary role is as the co-founder and CEO of One Wealth Advisors, where we help people simplify their lives and achieve financial goals through Financial Life Planning.I am also the co-founder and Executive Chairman of Flour + Water Hospitality Group and the co-founder and Managing Partner of Great Gold Hospitality Group. Additionally, I bring extensive expertise and a range of resources to small business consulting, primarily in, but not limited to, the hospitality space. Alongside my teams, we support clients in various aspects of business development and operations to help them achieve their goals and vision.The culinary, health, arts, and entertainment worlds are particularly important to me, as reflected in my advisory roles with Noise Pop, Brilliant Corners, Rad Restaurant Group and Folk Studios. While my background may suggest diverse interests, everything I do follows a consistent, disciplined approach: working collaboratively with partners and team members, setting clear goals, developing and executing strategic plans to achieve those goals, and continually monitoring results to ensure success.Financial Life Planner • Restaurateur • Small Business Consultant • Playwright • Visual Artist

Follow me on Instagram Music from Permanent Vacation, CWPT, Partyfine, Universo Positivo... Next date: Jan 31: Brilliant Corners, London w/ Tigerbalm Turned On is supported by my Patreon followers. If you want to show your love for my podcast and what I do, you can subscribe to my Patreon for less than 50p per episode to support me and in return you can enjoy perks like guestlist benefits for my gigs, free downloads of my edits before anyone else, full tracklists for live recordings, exclusive previews of my tracks and feedback on your tracks if you're a producer. Or turn a friend on to Turned On by giving this podcast a 5-star review, reposting it on Mixcloud or SoundCloud or sending it to a friend. Follow me on Songkick to receive alerts when I'm playing near you  Bookings: info@bengomori.com Discover more new music + exclusive premieres on our SoundCloud  Follow the Turned On Spotify playlist, with 1000s of tracks played on this show and in my sets. Turned On is powered by Inflyte – the world's fastest growing music promo platform. Tracklist: Brian Davis - Everybody's Got To Learn Sometime (Lloyd's Eyes Wide Rework) [Mister T Edits] Jack Is Fallen - That's All Folks (Fundido Edit) [Mister T Edits] Cree - Altostratus (Joe Morris Mix) [Shades Of Summer] Luca dell'Orso - Love By Association [CWPT]  Yuksek feat. Fatnotronic - VAMO NESSA [Partyfine] Black Spuma - Giro D'Italia [Permanent Vacation] Soul Syndicate - Inside Of Me (Alternative Mix) [Strength Records] Genius Of Time ft. Matinda - Kinetic [Aniara Recordings] Damian Rausch - How We Do It [Rausch Recordings] Danny Snowden - Here To Let Go [DS Anthems] South Bay Jams - Ordinary Things [Universo Positivo] Future Classic: Hugo Massien - Gliding Squares [Hugh Style]

Follow me on Instagram Skylax Records, Rocksteady Disco, Lumberjacks In Hell, Shades Of Summer, Ubiquity Records, Razor-N-Tape... Next date: Jan 31: Brilliant Corners, London w/ Tigerbalm Turned On is supported by my Patreon followers. If you want to show your love for my podcast and what I do, you can subscribe to my Patreon for less than 50p per episode to support me and in return you can enjoy perks like guestlist benefits for my gigs, free downloads of my edits before anyone else, full tracklists for live recordings, exclusive previews of my tracks and feedback on your tracks if you're a producer. This month I'm donating all monies to the ALS Foundation. Or turn a friend on to Turned On by giving this podcast a 5-star review, reposting it on Mixcloud or SoundCloud or sending it to a friend. Follow me on Songkick to receive alerts when I'm playing near you  Bookings: info@bengomori.com Discover more new music + exclusive premieres on our SoundCloud  Follow the Turned On Spotify playlist, with 1000s of tracks played on this show and in my sets. Turned On is powered by Inflyte – the world's fastest growing music promo platform. Dennis Liber, Lex, & Rosa feat. Max Giovara  - Una Sera D'Estate [Rocksteady Disco]  Tigerbalm feat. Joy Tyson - Tokyo Business (Ben Gomori's 5.5 Minutes In A Shibuya Love Hotel) [Ubiquity Records] J-Kriv feat. Pahua - Paula's Dance [Razor-N-Tape] Cree - Altostratus [Shades Of Summer] Cree - Summertime [Shades Of Summer] DMX Krew vs DVDE feat. Robert Owens - Set Free [House Of Underground] Dave Beer, Robert Owens & The Blessed - For The Beloved [Jack Said What]  Groove Boys Project feat. Novaj - Into The Dream (Main Mix) [Skylax Records] Lyma - The Fool Ain't Me (Ray Mang Remix) [Lumberjacks In Hell] Passarani - Wake Up Shake It [Studiomaster]  Future Classic: Decius feat. Lias Saoudi  - Queen Of 14th St (12” Mix) [The Leaf Label]

Follow me on Instagram Razor-N-Tape, Sonar Kollektiv, Apparel Music, Star Creaure, 'The Very Best Of Clive From Accounts', Damian Rausch's new 'Because EP', more 'Balearic London Vol. 2'... Next date: Jan 31: Brilliant Corners, London w/ Tigerbalm Turned On is supported by my Patreon followers. If you want to show your love for my podcast and what I do, you can subscribe to my Patreon for less than 50p per episode to support me and in return you can enjoy perks like guestlist benefits for my gigs, free downloads of my edits before anyone else, full tracklists for live recordings, exclusive previews of my tracks and feedback on your tracks if you're a producer. This month I'm donating all monies to the ALS Foundation. Or turn a friend on to Turned On by giving this podcast a 5-star review, reposting it on Mixcloud or SoundCloud or sending it to a friend. Follow me on Songkick to receive alerts when I'm playing near you  Bookings: info@bengomori.com Discover more new music + exclusive premieres on our SoundCloud  Follow the Turned On Spotify playlist, with 1000s of tracks played on this show and in my sets. Turned On is powered by Inflyte – the world's fastest growing music promo platform. Lena d'Água - Tudo Bem (Nicolas Kotowicz Edit) [Mister T Edits] Knoe1 & Tim Tucker - Girl Ur Freaky [Star Creature]  RAH & The Ruffcats - Rodeo (Kid Fonque Refix) [Sonar Kollektiv] Ghosten - Pass Forever By [Apparel Music] Balearic London - Tiny Nancer [Balearic London] Balearic London - Ketkeys [Balearic London] Etta James - At Last (Pope Grääs Edit)  Damian Rausch - Groovebox [Rausch Recordings] Damian Rausch feat. Ernest Kalinin - Never Meant To Be [Rausch Recordings]  Frits Wentink - Lost In The Moment [WOLF Music]  Future Classic: Clive From Accounts - E-Magik [Razor-N-Tape]  Clive From Accounts - Did You See [Razor-N-Tape]

Follow me on Instagram New Balearic London edits, tastes of Melchior's new album, old gems from Faze Action, Don Carlos, Paradise's Deep Groove... Next date: Jan 31: Brilliant Corners, London w/ Tigerbalm Turned On is supported by my Patreon followers. If you want to show your love for my podcast and what I do, you can subscribe to my Patreon for less than 50p per episode to support me and in return you can enjoy perks like guestlist benefits for my gigs, free downloads of my edits before anyone else, full tracklists for live recordings, exclusive previews of my tracks and feedback on your tracks if you're a producer. This month I'm donating all monies to the ALS Foundation. Or turn a friend on to Turned On by giving this podcast a 5-star review, reposting it on Mixcloud or SoundCloud or sending it to a friend. Follow me on Songkick to receive alerts when I'm playing near you  Bookings: info@bengomori.com Discover more new music + exclusive premieres on our SoundCloud  Follow the Turned On Spotify playlist, with 1000s of tracks played on this show and in my sets. Turned On is powered by Inflyte – the world's fastest growing music promo platform.  

Follow me on Instagram Beachy disco, zouk and afro, flamenco bangers and some Dukwa epics - Shall Not Fade, Delusions Of Grandeur, Ibadan Records, Skylax Records, Faze Action Records.. Next date: Jan 31: Brilliant Corners, London w/ Tigerbalm Turned On is supported by my Patreon followers. If you want to show your love for my podcast and what I do, you can subscribe to my Patreon for less than 50p per episode to support me and in return you can enjoy perks like guestlist benefits for my gigs, free downloads of my edits before anyone else, full tracklists for live recordings, exclusive previews of my tracks and feedback on your tracks if you're a producer. This month I'm donating all monies to the ALS Foundation. Or turn a friend on to Turned On by giving this podcast a 5-star review, reposting it on Mixcloud or SoundCloud or sending it to a friend. Follow me on Songkick to receive alerts when I'm playing near you  Bookings: info@bengomori.com Discover more new music + exclusive premieres on our SoundCloud  Follow the Turned On Spotify playlist, with 1000s of tracks played on this show and in my sets. Turned On is powered by Inflyte – the world's fastest growing music promo platform.  

Born on Oct. 10, 1917, in Rocky Mount, North Carolina, Thelonious Sphere Monk became one of the most influential figures in jazz history. Monk moved to Manhattan in 1922, where he began playing piano at age six. By 13, he had won the Apollo Theater's amateur contest. His first recordings as a bandleader came in 1947, and he gained international fame with albums like “Brilliant Corners” and “Thelonious Monk with John Coltrane.” Monk became one of only five jazz musicians to appear on the cover of Time magazine in 1964. He passed away in 1982 at the age of 64, but his legacy endures through the Thelonious Monk Institute of Jazz, which continues to train new generations of musicians. Learn more about your ad choices. Visit megaphone.fm/adchoices

Brad Davis reads his poem, "Unanticipated," and Luke Usry reads his poem, "Leave Britney Alone." Brad Davis (MFA, Vermont College of Fine Arts) is a California-born Canadian living in northeastern Connecticut. Poems have appeared in Poetry magazine, The Paris Review, Vallum, JAMA, Puerto del Sol, Brilliant Corners, Image, and many other journals. His most recent book is On the Way to Putnam: New, Selected, & Early Poems. Luke Usry is a high school English teacher, husband, and father who lives and works in the Atlanta, Georgia area. His deeply ecumenical faith is rooted in Christian Mysticism and Franciscan theology. He believes that there is nothing we can do to escape the grace of God. --- Support this podcast: https://podcasters.spotify.com/pod/show/vita-poetica/support

"Brilliant Corners" by Thelonious Monk is a landmark jazz composition renowned for its intricate melodies, unconventional harmonies, and dynamic shifts in rhythm. Released in 1957 as the title track of Monk's album, the piece showcases his distinctive pianistic style characterized by angular melodies and dissonant chords. Its complex structure, featuring multiple sections with contrasting tempos and motifs, challenges traditional jazz conventions and highlights Monk's innovative approach to composition. With its bold experimentation and virtuosic performances, "Brilliant Corners" stands as a quintessential example of Monk's genius and remains a celebrated piece in the jazz canon.Listen to the album:⁠https://open.spotify.com/album/2lOll0xAGw8FPjwmwopAKThttps://music.apple.com/album/brilliant-corners/1440942347Website: ⁠https://www.polyphonicpress.com⁠Instagram: https://www.instagram.com/polyphonicpressmusic/Contact: ⁠polyphonicpressmusic@gmail.com⁠Support: https://www.⁠patreon.com/polyphonicpressDISCLAIMER: Due to copyright restrictions, we are unable to play pieces of the songs we cover in these episodes. Playing clips of songs are unfortunately prohibitively expensive to obtain the proper licensing. We strongly encourage you to listen to the album along with us on your preferred format to enhance the listening experience.

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We're on Patreon now! Find us at https://www.patreon.com/AudioUnleashed Buy-now links for products mentioned herein (As Amazon Associates, we may earn a small cut from qualifying purchases):   Loudspeaker Design Cookbook 8th Edition: Volume 1 by Vance Dickason: https://amzn.to/42pdwk0   Sound Reproduction: The Acoustics and Psychoacoustics of Loudspeakers and Rooms by Floyd Toole: https://amzn.to/3ZlTLtE   This week, Brent and Dennis talk about Miami's best audiophile bar yet, discuss audio gear recycling with someone who knows what's what, and take a virtual walk through Capital AudioFest 2023 thanks to Stereophile's coverage of the show.   Further Reading:  “The Listening Bar at Kaori May Be Miami's Best Audiophile Bar Yet” by Douglas Markowitz: https://www.miaminewtimes.com/music/the-listening-bar-at-kaori-is-miamis-best-listening-bar-yet-18149917 “Classic Audio & Records: A Magical Musical Mecca in the Middle of Alabama” by Dennis Burger: https://www.soundstageaccess.com/index.php/feature-articles/1263-classic-audio-records-a-magical-musical-mecca-in-the-middle-of-alabama “Emerson, Lake & Palmer at the Grocery Store”: https://www.soundstage.life/e/emerson-lake-palmer-at-the-grocery-store-audio-science-review-misses-audiophilia-in-harper-s-hi-fi-and-skateboarding/ Brilliant Corners playlist: https://www.mixcloud.com/brilliantcorners/ @TheSpeakerseeker on YouTube: https://www.youtube.com/@TheSpeakerseeker Oliver Clark (@bass_vids) on TikTok: https://www.tiktok.com/@bass_vids?lang=en LES Ecology Center: https://www.lesecologycenter.org/ Petition: Save Community Composting Now! https://www.grownyc.org/petition “The True Cost of Saving a Few Bucks: A Q&A with Emotiva's Dan Laufman” by Dennis Burger: https://www.soundstageaccess.com/index.php/feature-articles/1144-the-true-cost-of-saving-a-few-bucks-a-q-a-with-emotivas-dan-laufman Stereophile's Capital AudioFest 2023 coverage: https://www.stereophile.com/category/capital-audiofest-2023 “Treehaus Audiolab Introduces Phantom of Luxury Updated Flagship Field-Coil Loudspeaker at Capital Audiofest 2023” by Michael Lavorgna: https://twitteringmachines.com/treehaus-audiolab-to-unveil-their-new-flagship-field-coil-loudspeakers-at-caf-2023/#:~:text=The%20Treehaus%20Audiolab%20%E2%80%9CPhantom%20of,real%2C%20rather%20than%20simply%20reproduced “Test Report: Lirpa Labs Liberty Freedom 1776 A-FY Tower Speakers” by Geoffrey Morrison: https://www.soundandvision.com/content/test-report-lirpa-labs-liberty-freedom-1776-fy-tower-speakers

 This is Part Two of a conversation with Leila Towry and Aimery Thomas of The Future Organization (TFO) about their recent year-long research study into Los Angeles County ARFs and RCFEs.  These are commonly referred to as “board and care” homes, but the researchers make a case that the community and regulators should intentionally move away from that labelling as we attempt to forge new policy in this space. The study was supported by an Initiative, involving the participation of Brilliant Corners, the LA County Department of Mental Health, the LA County Department of Health Services, and Genesis LA, funded by the California Community Foundation and Cedars Sinai.In this interview, we discuss TFO's findings relative to the connections between this segment of the housing market in LA County and our crisis of homelessness.  We will explore how licensed facilities are not seen as part of the continuum of housing options in the “homeless services” sector, and, in fact, the federal department of Housing and Urban Development does not recognize licensed facilities as housing according to federal regulations which require individual leases.  As the study authors will assert, not recognizing the market of ARFs and RCFEs and the vulnerable populations they serve represents a blind spot in public policy discourse on ending structural homelessness.We will also focus on just ten of the more than 50 recommendations offered in this report, across the domains of key players affecting outcomes for this Market – municipalities, Los Angeles County, the State's Community Care Licensing Division that licenses and regulates facilities, and the facilities operators themselves.  Los Angeles County owners and operators have been collectively advocating for change and improvement through a newly-formed organization, the Licensed Adult Residential Care Association, or LARCA. Resources associated with this episode:Here are some links to help you navigate this issue:Summary of study findings from Brilliant Corners website re/ this study.Full report, Serving our Vulnerable Populations:  Los Angeles County Adult Residential Facilities and Residential Care Facilities for the Elderly, August 2023.August 26, 2023 article in LA Times summarizing key finding of TFO report. July 12, 2022 article in LA Times about continuing closure of board & care homesBlog at Accoglienza.us

This is Part One of a two-part podcast interview.A long-awaited research study and report prepared by The Future Organization (TFO) helps to shine a light on an important, but fragile segment of our housing continuum for people with mental health conditions, many formerly homeless.  Colloquially referred to as “board & care homes,” they are officially referred to as Adult Residential Facilities (ARFs) and Residential Care Facilities for the Elderly (RCFEs).Sponsored by Brilliant Corners and funded by the California Community Foundation and Cedars Sinai, the study was part of an initiative involving the participation of the LA County Department of Mental Health, the LA County Department of Health Services, and Genesis LA, with intention to draw attention to the issues affecting licensed residential facilities that care for people with serious mental illness in our communities.  In this interview with the study's authors, Aimery Thomas and Leila Towry of The Future Organization, we will learn about the scope of their research, the intent of the study, and explore some of the findings and insights from their year of research:The “Market” in Los Angeles County, which consists of over 750 licensed facilities serving people with mental illness and elderly residents;  “Market Users,” or the range of agencies, service providers, government partners and others who are connected with, or place clients into, licensed facilities; The Market's residents: their demographics, perceptions, and unmet needs; and,The owners and operators and their challenges, needs and perceptions.This promises to be an eye-opening interview for anyone involved in the homeless housing sector as the importance of this housing resource in serving people with experience of homelessness is not often acknowledged or understood.  In fact, as the study reports, owners and operators of these facilities feel invisible and disconnected from the policy and agency connections who could provide vital aid to sustain them in the important work they do in caring for the most vulnerable in our communities across Los Angeles County.Part Two of this conversation will largely focus upon the recommendations of the study report.Here are some links to help you navigate this issue:Summary of study findings from Brilliant Corners website re/ this study.Full report, Serving our Vulnerable Populations:  Los Angeles County Adult Residential Facilities and Residential Care Facilities for the Elderly, August 2023.August 26, 2023 article in LA Times about the release of the TFO report. July 12, 2022 article in LA Times about continuing closure of board & care homesBlog at Accoglienza.us

This week on The Sound Kitchen you'll hear the answer to the question about the floating solar power plant in Ghana. There's “On This Day”, the “Listeners Corner” with Melissa Chemam, and of course, Erwan Rome's “Music from Erwan”. All that, and the new quiz question too, so click on the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.Erwan and I are busy cooking up special shows with your music requests, so get them in! Send your music requests to thesoundkitchen@rfi.fr  Tell us why you like the piece of music, too – it makes it more interesting for us all!Be sure you check out our wonderful podcasts!In addition to the breaking news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts that will leave you hungry for more.There's Paris Perspective, Spotlight on France, and of course, The Sound Kitchen. We have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. And there is the excellent International Report, too.As you see, sound is still quite present in the RFI English service. Keep checking our website for updates on the latest from our team of journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers, take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St. Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr. Martin Luther King, Jr., too. They are also a good way to help you improve your English – that's how I worked on my French, reading books which were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here. Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in all your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. NB: You do not need to send her your quiz answers! Email overload!And don't forget, there is a Facebook page just for you, the independent RFI English Clubs. Only members of RFI English Clubs can belong to this group page, so when you apply to join, be sure you include the name of your RFI Club and your membership number. Everyone can look at it, but only members of the group can post on it. If you haven't yet asked to join the group, and you are a member of an independent, officially recognised RFI English club, go to the Facebook link above, and fill out the questionnaire!!!!! If you do not answer the questions, I click “Decline”.There's a Facebook page for members of the general RFI Listeners Club, too. Just click on the link and fill out the questionnaire, and you can connect with your fellow Club members around the world. Be sure you include your RFI Listeners Club membership number (most of them begin with an A, followed by a number) in the questionnaire, or I will have to click “Decline”, which I don't like to do!This week's quiz: On 19 August, I asked you a question about Ghana. That week, RFI English correspondent Michael Sarpong Mfum sent us an article about the country's solar power projects.One of those projects is a 5-megawatt floating solar plant – the first of its kind in West Africa. I asked you to tell me where in Ghana it will be built, and what capacity, in megawatts, it is expected to provide in the years to come.The answer is: It will be built on the reservoir of the Bui hydroelectric dam in Ghana's Bono region. To quote Michael Sarpong Mfum's article: “There are plans to scale the capacity up to 65 megawatts in the coming years. Samuel Gyamfi, from the University of Energy and Natural Resources in Sunyani, said the country was on track to achieve its renewable targets. ‘We can achieve 10 percent renewable energy penetration by 2030 if the right policies are put in place by the government,' he said.”In addition to the quiz question, there was the bonus question, suggested by Radhakrishna Pillai: “What makes Paris so fascinating to you?”The winners are:  RFI Listeners Club member Solomon Fessahazion from Asmara, Eritrea. Solomon is also the winner of this week's bonus question – congratulations Solomon!Also on the list of lucky winners this week is Royeka Khatun, the chairperson of the RFI Surfer's Society in Rajshahi, Bangladesh; Riaz Ahmad Khan, the president of the RFI Listeners Club in Sheikhupura City, Pakistan; RFI Listeners Club member Ashik Eqbal Tokon from Rajshahi, Bangladesh, and RFI English listener Rafiqul Islam Liton from Bogura, Bangladesh.Congratulations winners!Here's the music you heard on this week's programme: “Sekitikiti", written and performed by Solly; “Catwalk” by Raimi; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer, and “Brilliant Corners” by Thelonius Monk, performed by the composer with his ensemble.Do you have a music request? Send it to thesoundkitchen@rfi.frThis week's question ... you must listen to the show to participate. After you've listened to the show, re-read Paul Myers' article “Anscombe's the man as clinical Wales crush Australia's hopes at the World Cup”, to help you with the answer. You have until 23 October to enter this week's quiz; the winners will be announced on the 28 October podcast. When you enter, be sure you send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceorBy text … You can also send your quiz answers to The Sound Kitchen mobile phone. Dial your country's international access code, or “ + ”, then  33 6 31 12 96 82. Don't forget to include your mailing address in your text – and if you have one, your RFI Listeners Club membership number.To find out how you can win a special Sound Kitchen prize, click here.To find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club, click here. 

Bside Incoming: Bena We're back with another episode of the Bside podcast (#163), this time with an exciting DJ, selector and broadcaster based in London: Bena While regularly featuring on Peckham's much loved radio station Balamii, and appearing behind the booth of some of London's most estimes venues (Corsica Studios, Brilliant Corners, The Cause, Venue MOT), Bena has also began his own event series called Shedding Histories at Grow Hackney. The project aims at creating the most musically open dance floors in the capital, which will come as little surprise after hearing the great diversity of Bena's record collection. Beginning with the dreamy sounds of Brazil, and moving through soul, funk, and jazz from across the globe, before settling into some hypnotically deep house with all the influences you'd expect from his earlier selections. From his first reggae 45 to some more recent purchases, we're treated to a Bside journey intertwined with exceptional knowledge and passion for each track. Check Bena's instagram - https://www.instagram.com/_benaaaa_/ And his soundcloud - https://soundcloud.com/benabenabenabena?ref=clipboard&p=i&c=1&si=BCC7BFBABB5C426088841F28718990D9&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing Thanks to Molly Hickey for the beautiful artwork as always. www.instagram.com/mollyth.art/ Follow the Bside Instagram for updates/news/vinyl and general music chat: www.instagram.com/bsidepodcasts/

Next dates: Apr 8 - Pleasurehood @ XOYO, London / Apr 14 - Dom Servini & friends @ Brilliant Corners, London / Apr 22 - Musical Medicine @ The Bullingdon, Oxford Turned On is supported by my Patreon followers. If you want to show your love for my podcast and what I do, you can subscribe to my Patreon for less than 50p per episode to support me and in return you can enjoy perks like guestlist benefits for my gigs, free downloads, exclusive mixes, exclusive previews of my tracks and extended versions of my club sets. If you want to support me in another way, please give this podcast a 5-star review, repost it on Mixcloud or SoundCloud or buy/stream my music. Follow me on Songkick to receive alerts when I'm playing near you  Bookings: info@bengomori.com Discover more new music + exclusive premieres on SoundCloud  Follow the Turned On Spotify playlist, with over 2300 tracks played on this show and in my sets. Subscribe to RecordReplay, my £10 budget second-hand vinyl mixtape series. Subscribe to Monologues, my podcast series where producers mix only their own productions. Turned On is powered by Inflyte – the world's fastest growing music promo platform. Tracklist: Flying Mojito Bros - Good Feeling [Too Slow To Disco] Tuccillo - Technoblue [Giuseppe Tuccillo]  Björk - Violently Happy (Masters At Work Dub) [One Little Indie] Björk - Big Time Sensuality (Dom T.'s Growly Dub Mix) [One Little Indie] Alex Virgo & Benjamin Groove - On Air [True Romance] Ben Gomori - Mars Joint [House Of Disco Records] Ben Gomori - 7AM At Wintergarten [House Of Disco Records] Modman - Modman's Song [Dixon Avenue Basement Jams]  Steve Mac & Alana Maria - The 313 [Jack Said What] Future Classic: Conrad - Firefly [Closer To Truth] Conrad - Framed [Closer To Truth]  Conrad - Reprise (Crackazat Remix) [Closer To Truth]

Next dates: Apr 8 - Pleasurehood @ XOYO, London / Apr 14 - Dom Servini & friends @ Brilliant Corners, London / Apr 22 - Musical Medicine @ The Bullingdon, Oxford Turned On is supported by my Patreon followers. If you want to show your love for my podcast and what I do, you can subscribe to my Patreon for less than 50p per episode to support me and in return you can enjoy perks like guestlist benefits for my gigs, free downloads, exclusive mixes, exclusive previews of my tracks and extended versions of my club sets. If you want to support me in another way, please give this podcast a 5-star review, repost it on Mixcloud or SoundCloud or buy/stream my music. Follow me on Songkick to receive alerts when I'm playing near you  Bookings: info@bengomori.com Discover more new music + exclusive premieres on SoundCloud  Follow the Turned On Spotify playlist, with over 2300 tracks played on this show and in my sets. Subscribe to RecordReplay, my £10 budget second-hand vinyl mixtape series. Subscribe to Monologues, my podcast series where producers mix only their own productions. Turned On is powered by Inflyte – the world's fastest growing music promo platform. Tracklist: Pegasvs - Drinking With My Eyes (Tee Mango Psychedelic Hip House Refix) [Superunknown] GIDEON - West Bank [Homo-Centric] Mr. Beatnick - When This Is Over [Mythstery Records] Mr. Beatnick - Joy In Variation [Mythstery Records]  Sound Support - But I Still Have (Fantasies) [Aus Music] Kerri Chandler - Dem Joy Ride [Kaoz Theory] Kerri Chandler - Who Are You (Deep Vox) [Kaoz Theory]  Iz & Diz - Down 4 U [Running Back] Wam Kidz - In Love Again [Running Back] Pletnev - Wandering Mind, Go F Yourself [Burnin Music] Future Classic: Spencer Parker - ddbb (Ian Pooley Remix) [Work Them Records] 

Next dates: Apr 8 - Pleasurehood @ XOYO, London / Apr 14 - Dom Servini & friends @ Brilliant Corners, London / Apr 22 - Musical Medicine @ The Bullingdon, Oxford Music from Kassian, Roísín Murphy & DJ Koze, Larry Levan, Dave Lee, Austin Ato, Blaze + an exclusive taste of my upcoming remix for Ghosten on Monologues... Turned On is supported by my Patreon followers. If you want to show your love for my podcast and what I do, you can subscribe to my Patreon for less than 50p per episode to support me and in return you can enjoy perks like guestlist benefits for my gigs, free downloads, exclusive mixes, exclusive previews of my tracks and extended versions of my club sets. If you want to support me in another way, please give this podcast a 5-star review, repost it on Mixcloud or SoundCloud or buy/stream my music. Follow me on Songkick to receive alerts when I'm playing near you  Bookings: info@bengomori.com Discover more new music + exclusive premieres on SoundCloud  Follow the Turned On Spotify playlist, with over 2300 tracks played on this show and in my sets. Subscribe to RecordReplay, my £10 budget second-hand vinyl mixtape series. Subscribe to Monologues, my podcast series where producers mix only their own productions. Turned On is powered by Inflyte – the world's fastest growing music promo platform. Tracklist: Sade - Give It Up (Kenny Larkin Remix) Doug Willis - Dougswana (Emmaculate Extended Mix)  Faze Action Featuring Zeke Manyika - Kariba Segun Adewale - Atewo-Lara Ka Tepa Mo'se (Ben Gomori's Jùish Edit)  ROSALÍA & Tokischa - Linda (Ben Gomori's SkiPapi Edit)  Raz & Alfa  - Kye Kye Kule  Negro Can - Cada Vez  Shriekback - My Spine Is The Bassline  Ruffneck feat. Yavahn - Move Your Body  St. David - I See U' Movin  Redance - Hot Wax Summer  Santos - Bang!  TPM - C Lime Woman  Marina Trench - L'Orage (Earl Jeffers Mix) 95 North presents Basement Culture - Odyssey (The Offbeat Track) (Dub) Future Earth - Pat Trac  St Germain  - Rouse Rouge (Blaze Remix)  ZAAR - Clock Strikes_Back Ying Yang Twins x A.Brucker & Sinden - Wait 'Til I Show You This (The Whisper Song)  The Thompson Project feat. Gary L - Messin' With My Mind (Jazz-N-Groove Dub)  Divide Intervention - Shelter Me (Tuff Jam Vox Mix) Dubplate Pressure - Massive Dem  Legend of Talking Dog - My Shadow Dances (Acappella)  De'Lacy - Hideaway (187 Lockdown Hidden Vocal Dub) Da Rebels - House Nation Under A Groove  Twenty 4 Seven - I Can't Stand It (Dub Mix)  Catch - Free (C'mon) (To The Point Mix)  Twenty 4 Seven - I Can't Stand It (Dub Mix)  Roísín Murphy & DJ Koze - Can't Replicate  Kassian  - Get Down  Kassian - Timewarp  Ben Gomori - Mars Joint TODD TERJE - Q Ben Gomori - Mars Joint (Jordan Nocturne Pressure Dub)  Yazoo - Don't Go (Re-Re-Remix Edit by Ben Gomori)  Austin Ato - Obsession  Kristin Baio - Don't Turn Your Back On Love (Kristin's House Party)  Ghosten - Abandoned Planet (Ben Gomori's Dancing Under The Stars Remix)  Colonel Abrams - Trapped (12" Version) Gwen Guthrie - Padlock (Larry Levan Mix)  Hi-Gloss - You'll Never Know  Celi Bee & The Buzzy Bunch - Alternating Currents 

Joshua Michael Stewart is the author of the 2022 collection of poems, “Love Something,” which he adds to his other full-length poetry collections including “Break Every String” and “The Bastard Children of Dharma Bums.” Joshua's work has been published and featured in Massachusetts Review, Brilliant Corners, and Rattle, just to name a few publications. Buy Love Something at: https://mainstreetragbookstore.com/product/love-something-joshua-michael-stewart/ You can connect with Joshua at: www.joshuamichaelstewart.com Facebook: https://www.facebook.com/joshua.m.stewart.526/ Instagram: @joshua_michael_stewart Twitter: @JoshuaMStewart If you like our show, there's a few things you can do to help us out: Check out our website at https://www.softservepodcast.com! Subscribe to our podcast in your favorite app, download our episodes! Leave a 5-star Review on Apple Podcasts: https://podcasts.apple.com/us/podcast/the-soft-serve-podcast/id1428770328 TELL A FRIEND about our show!

Music from DJ Gregory, Teddy Pendegrass, S-Express, Nick Holder, Martin Venetjoki, Club Asylum, All Saints, Ashley Beedle, The Crusaders, Diskjokke, Us3... Second-hand vinyl bargain bin selections from London's Vinyl Pimp & Flashback Records < £3 with M豆ME (recorded at our Brilliant Corners night last month) & @bengomori's selections from Killacutz in Amsterdam and Soul & Dance Exchange Notting Hill in Londoln. Follow us on YouTube for more bargain bin vinyl selections music.youtube.com/channel/UCXE65hPi1k4MJ91eBfMo62Q www.sohoradiolondon.com

Music from Larry Heard, Eartha Kitt, Groove Armada, Zoot Woman, Nancy Dee, George Duke, Playgroup, S-Express, 88 Keys and more Second-hand vinyl bargain bin selections from London's Soul & Dance Exchange (Notting Hill) < £3 with Ariane V (recorded at our Brilliant Corners night last month) & @bengomori  Follow us on YouTube for more bargain bin vinyl selections. www.sohoradiolondon.com

Thelonius Monk felt misunderstood for most of his career, but had a breakthrough on Brilliant Corners. The boys discuss notoriously difficult songs, an all-star backing band, and what it's like to be clenching your jaw through Take 24 in the recording studio. Listen to our episode companion playlist (compilation of the songs we referenced on this episode) here: https://open.spotify.com/playlist/0LJzOIDQFgrEbQzTLz0yfZ?si=5f7310213152423c (https://open.spotify.com/playlist/0LJzOIDQFgrEbQzTLz0yfZ?si=5f7310213152423c) Listen to Rob's Monk Primer playlist here: https://open.spotify.com/playlist/6IhTpSylyjWyxSWeGnYodW?si=bb54bcd2ca7c47c3 (https://open.spotify.com/playlist/6IhTpSylyjWyxSWeGnYodW?si=bb54bcd2ca7c47c3) Listen to Brilliant Corners here: https://open.spotify.com/album/5gWF47eGSbv4BOfxoFcQtd?si=Hq_87osdRN6xiCzKg69FRg (https://open.spotify.com/album/5gWF47eGSbv4BOfxoFcQtd?si=Hq_87osdRN6xiCzKg69FRg) Email us your complaints (or questions / comments) at 1001AlbumComplaints@gmail.com Intro music courtesy of https://open.spotify.com/artist/6iUot3X4FwzuZVHMQ4xh4P?si=TOpyXme9QU-Hf71jjj7_DQ&dl_branch=1 (The Beverly Crushers) Outro music courtesy of https://open.spotify.com/artist/4ehOaXsBSc6eMO2fnveJU2?si=UrpyPkbrQh2AB9wQBLVbOg&dl_branch=1 (MEGA) NEW: We have Merch! https://www.amazon.com/1001-Album-Complaints-Premium-T-Shirt/dp/B09J36918F/ref=sr_1_38?qid=1652737355&refinements=p_4%3AThe+Chop+Unlimited&s=apparel&sr=1-38 (T-Shirt #1) | T-Shirt #2 Next week's album: GangStarr - Step in the Arena

Music from The Jones Girls, Santana, Gladys Knight & The Pips, Q-Tip, The Style Council, Evelyn 'Champagne' King, James Mtume, Patrice Rushen and many more... Second-hand vinyl bargain bin selections < £3 with @bengomori from our first public outing ever at London's beautiful Brilliant Corners Follow us on YouTube for more bargain bin vinyl selections. www.sohoradiolondon.com

This week on the New Music Business, I spoke with the co-founder and partner at Brilliant Corners Artist Management, Jordan Kurland. Artists such as Death Cab for Cutie, Toro Y Moi, She & Him, Best Coast, Soccer Mommy, Real Estate, New Pornographers, and Pup are all amongst their diverse talent roster. We discussed what the role of an artist management entails, his history working with Death Cab, building career artists without relying on TikTok, as well as the best methods for artists who are seeking management. 3:18 Welcome5:00 Brilliant Corners Artists Management10:26 How artists communicate with management team17:00 Artists specializing in a certain niche21:29 What does it mean to manage talent?27:55 Building career artists without relying on TikTok35:12 Finding partnerships for newer artists37:31 Inside the Atlantic Records recording deal44:42 Death Cab's "I Will Follow You Into The Dark"49:17 Kurland's management approach53:58 Artist release strategy1:03:08 Major labels vs. indie labels1:05:19 Advice for artists seeking management1:11:53 Final questionSubscribe to The New Music Business: https://aristake.com/nmbAri's Take Academy (use code NMB for 10% off): https://aristakeacademy.comWatch more discussions like this: https://www.youtube.com/playlist?list=PLc1Fatf4celK3kYoJ6FUdN7qtYSCvAAMYConnect with Ari's Take:Website: https://aristake.comAcademy: https://aristakeacademy.comInstagram: https://www.instagram.com/aristake_/TikTok: https://www.tiktok.com/@aris.takeTwitter: https://twitter.com/ArisTakeYouTube: https://www.youtube.com/user/aristake1Connect with Ari Herstand:Website: https://ariherstand.comInstagram: https://instagram.com/ariherstandTwitter: https://twitter.com/ariherstandYouTube: https://youtube.com/ariherstandConnect with Jordan Kurland:Brilliant Corners: https://brilliantcorners.com/Website: https://www.jordankurland.net/LinkedIn: https://www.linkedin.com/in/jordan-kurland/Instagram: https://www.instagram.com/jordan.kurland/Twitter: https://twitter.com/zeitpopEdited and mixed by Maxton HunterMusic by Brassroots DistrictProduced by the team at Ari's Take See acast.com/privacy for privacy and opt-out information.

Full episodes info and Show Notes - www.wearelookingsideways.com Think of this conversation with Cornish surfer Sam Bleakley as a companion piece to the extremely popular Dylan Graves episode from a few weeks back. Why? Because here we have another amazing surfer using their talent and platform in Jan in an infinitely more interesting way than most other professional surfers. Sam's case is particularly interesting because he has managed to find a way to combine his two major passions - geography and surfing - into one singular life path, something that has led him into some very interesting territory indeed, both literally and metaphorically. Of course, there's the actual work itself. as well as a surfer, Sam is a journalist, author and academic. He also produces and presents his fantastic WSL show Brilliant Corners, and is a commentator for the WSL longboard tour. It's a busy slate alright, but what I found fascinating about our conversation is the way Sam has worked to create these opportunities for himself by being honest to his own unique interests, and how he uses them to stretch himself creatively with honesty and integrity. So yep, some classic LS themes in this one, explored in a conversation that took its own time and path in the best Looking Sideways tradition. Thanks to Matt Ward for the theme tune, to my editor Fina Charleson, and to Duncan Yeldham for production support.

Bside Ep. 34 Rebecca Vasmant It's always a pleasure to invite our favourite local musicians to the Bside turntables. Stepping up this time to record an episode live at Radio Buena Vida is the incredible DJ and jazz musician: Rebecca Vasmant. Watch the live recording here - https://www.youtube.com/watch?v=u_u8YVx_-Yk&t=147s In a dance music scene dominated by digital sounds and programming, Rebecca provides a refreshing dose of jazz infusion, acoustic instruments, and a diverse knowledge of music. With live events and record fairs, she has certainly made a name for herself in her hometown of Glasgow, but her musical pursuits go beyond spinning and collecting records, and her reputation exceeds Glasgow. As a musician and composer she has had a six month tour with eight-strong Ghanaian outfit Kakatsitsi, events at Worldwide Festival Sete, Glasgow Jazz Festival, EFG London Jazz Festival, Jazz Cafe London, Kasheme Zurich, Brilliant Corners, Casper Montenegro, the Baltic Soul Weekender, and an exciting new residency at Ronnie Scott's as part of the 'Panro' collective. We can't get enough of her latest release “With Love, From Glasgow” a soothing jazzy dreamscape: https://rebeccavasmantartist.bandcamp.com/track/jewels-of-thought But for now let's tuck into a masterclass of selections all under the wide spectrum of jazz, flowing from calming Brazilian vocals, hypnotic eastern horns & sitars, aggressively energetic trumpets, and everything inbetween. The truly incredible record collection of Rebecca Vasmant! Rebecca's soundcloud - https://soundcloud.com/rebecca_vasmant Her instagram - https://www.instagram.com/rebeccavasmant/ And her Bandcamp - https://rebeccasrecords.bandcamp.com/ Thanks to Molly Hickey for the beautiful artwork as always. www.instagram.com/mollyth.art/ Follow the Bside Instagram for updates/news/vinyl and general music chat: www.instagram.com/bsidepodcasts/

Episode one hundred and thirty-six of A History of Rock Music in Five Hundred Songs is a special long episode, running almost ninety minutes, looking at "My Generation" by the Who. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "The Name Game" by Shirley Ellis. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I mispronounce the Herman's Hermits track "Can't You Hear My Heartbeat" as "Can You Hear My Heartbeat". I say "Rebel Without a Cause" when I mean "The Wild One". Brando was not in "Rebel Without a Cause". Resources As usual, I've created a Mixcloud playlist of the music excerpted here. This mix does not include the Dixon of Dock Green theme, as I was unable to find a full version of that theme anywhere (though a version with Jack Warner singing, titled "An Ordinary Copper" is often labelled as it) and what you hear in this episode is the only fragment I could get a clean copy of. The best compilation of the Who's music is Maximum A's & B's, a three-disc set containing the A and B sides of every single they released. The super-deluxe five-CD version of the My Generation album appears to be out of print as a CD, but can be purchased digitally. I referred to a lot of books for this episode, including: Generations: The History of America's Future, 1584 to 2069 by William Strauss and Neil Howe, which I don't necessarily recommend reading, but which is certainly an influential book. Revolt Into Style: The Pop Arts by George Melly which I *do* recommend reading if you have any interest at all in British pop culture of the fifties and sixties. Jim Marshall: The Father of Loud by Rich Maloof gave me all the biographical details about Marshall. The Who Before the Who by Doug Sandom, a rather thin book of reminiscences by the group's first drummer. The Ox by Paul Rees, an authorised biography of John Entwistle based on notes for his never-completed autobiography. Who I Am, the autobiography of Pete Townshend, is one of the better rock autobiographies. A Band With Built-In Hate by Peter Stanfield is an examination of the group in the context of pop-art and Mod. And Anyway, Anyhow, Anywhere by Andy Neill and Matt Kent is a day-by-day listing of the group's activities up to 1978. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript In 1991, William Strauss and Neil Howe wrote a book called Generations: The History of America's Future, 1584 to 2069. That book was predicated on a simple idea -- that there are patterns in American history, and that those patterns can be predicted in their rough outline. Not in the fine details, but broadly -- those of you currently watching the TV series Foundation, or familiar with Isaac Asimov's original novels, will have the idea already, because Strauss and Howe claimed to have invented a formula which worked as well as Asimov's fictional Psychohistory. Their claim was that, broadly speaking, generations can be thought to have a dominant personality type, influenced by the events that took place while they were growing up, which in turn are influenced by the personality types of the older generations. Because of this, Strauss and Howe claimed, American society had settled into a semi-stable pattern, where events repeat on a roughly eighty-eight-year cycle, driven by the behaviours of different personality types at different stages of their lives. You have four types of generation, which cycle -- the Adaptive, Idealist, Reactive, and Civic types. At any given time, one of these will be the elder statespeople, one will be the middle-aged people in positions of power, one will be the young rising people doing most of the work, and one will be the kids still growing up. You can predict what will happen, in broad outline, by how each of those generation types will react to challenges, and what position they will be in when those challenges arise. The idea is that major events change your personality, and also how you react to future events, and that how, say, Pearl Harbor affected someone will have been different for a kid hearing about the attack on the radio, an adult at the age to be drafted, and an adult who was too old to fight. The thesis of this book has, rather oddly, entered mainstream thought so completely that its ideas are taken as basic assumptions now by much of the popular discourse, even though on reading it the authors are so vague that pretty much anything can be taken as confirmation of their hypotheses, in much the same way that newspaper horoscopes always seem like they could apply to almost everyone's life. And sometimes, of course, they're just way off. For example they make the prediction that in 2020 there would be a massive crisis that would last several years, which would lead to a massive sense of community, in which "America will be implacably resolved to do what needs doing and fix what needs fixing", and in which the main task of those aged forty to sixty at that point would be to restrain those in leadership positions in the sixty-to-eighty age group from making irrational, impetuous, decisions which might lead to apocalypse. The crisis would likely end in triumph, but there was also a chance it might end in "moral fatigue, vast human tragedy, and a weak and vengeful sense of victory". I'm sure that none of my listeners can think of any events in 2020 that match this particular pattern. Despite its lack of rigour, Strauss and Howe's basic idea is now part of most people's intellectual toolkit, even if we don't necessarily think of them as the source for it. Indeed, even though they only talk about America in their book, their generational concept gets applied willy-nilly to much of the Western world. And likewise, for the most part we tend to think of the generations, whether American or otherwise, using the names they used. For the generations who were alive at the time they were writing, they used five main names, three of which we still use. Those born between 1901 and 1924 they term the "GI Generation", though those are now usually termed the "Greatest Generation". Those born between 1924 and 1942 were the "Silent Generation", those born 1943 through 1960 were the Boomers, and those born between 1982 and 2003 they labelled Millennials. Those born between 1961 and 1981 they labelled "thirteeners", because they were the unlucky thirteenth generation to be born in America since the declaration of independence. But that name didn't catch on. Instead, the name that people use to describe that generation is "Generation X", named after a late-seventies punk band led by Billy Idol: [Excerpt: Generation X, "Your Generation"] That band were short-lived, but they were in constant dialogue with the pop culture of ten to fifteen years earlier, Idol's own childhood. As well as that song, "Your Generation", which is obviously referring to the song this week's episode is about, they also recorded versions of John Lennon's "Gimme Some Truth", of Johnny Kidd and the Pirates' "Shakin' All Over", and an original song called "Ready Steady Go", about being in love with Cathy McGowan, the presenter of that show. And even their name was a reference, because Generation X were named after a book published in 1964, about not the generation we call Generation X, but about the Baby Boomers, and specifically about a series of fights on beaches across the South Coast of England between what at that point amounted to two gangs. These were fights between the old guard, the Rockers -- people who represented the recent past who wouldn't go away, what Americans would call "greasers", people who modelled themselves on Marlon Brando in Rebel Without A Cause, and who thought music had peaked with Gene Vincent and Eddie Cochran -- and a newer, younger, hipper, group of people, who represented the new, the modern -- the Mods: [Excerpt: The Who, "My Generation"] Jim Marshall, if he'd been American, would have been considered one of the Greatest Generation, but his upbringing was not typical of that, or of any, generation. When he was five, he was diagnosed as having skeletal tuberculosis, which had made his bones weak and easily broken. To protect them, he spent the next seven years of his life, from age five until twelve, in hospital in a full-body cast. The only opportunity he got to move during those years was for a few minutes every three months, when the cast would be cut off and reapplied to account for his growth during that time. Unsurprisingly, once he was finally out of the cast, he discovered he loved moving -- a lot. He dropped out of school aged thirteen -- most people at the time left school at aged fourteen anyway, and since he'd missed all his schooling to that point it didn't seem worth his while carrying on -- and took on multiple jobs, working sixty hours a week or more. But the job he made most money at was as an entertainer. He started out as a tap-dancer, taking advantage of his new mobility, but then his song-and-dance man routine became steadily more song and less dance, as people started to notice his vocal resemblance to Bing Crosby. He was working six nights a week as a singer, but when World War II broke out, the drummer in the seven-piece band he was working with was drafted -- Marshall wouldn't ever be drafted because of his history of illness. The other members of the band knew that as a dancer he had a good sense of rhythm, and so they made a suggestion -- if Jim took over the drums, they could split the money six ways rather than seven. Marshall agreed, but he discovered there was a problem. The drum kit was always positioned at the back of the stage, behind the PA, and he couldn't hear the other musicians clearly. This is actually OK for a drummer -- you're keeping time, and the rest of the band are following you, so as long as you can *sort of* hear them everyone can stay together. But a singer needs to be able to hear everything clearly, in order to stay on key. And this was in the days before monitor speakers, so the only option available was to just have a louder PA system. And since one wasn't available, Marshall just had to build one himself. And that's how Jim Marshall started building amplifiers. Marshall eventually gave up playing the drums, and retired to run a music shop. There's a story about Marshall's last gig as a drummer, which isn't in the biography of Marshall I read for this episode, but is told in other places by the son of the bandleader at that gig. Apparently Marshall had a very fraught relationship with his father, who was among other things a semi-professional boxer, and at that gig Marshall senior turned up and started heckling his son from the audience. Eventually the younger Marshall jumped off the stage and started hitting his dad, winning the fight, but he decided he wasn't going to perform in public any more. The band leader for that show was Clifford Townshend, a clarinet player and saxophonist whose main gig was as part of the Squadronaires, a band that had originally been formed during World War II by RAF servicemen to entertain other troops. Townshend, who had been a member of Oswald Moseley's fascist Blackshirts in the thirties but later had a change of heart, was a second-generation woodwind player -- his father had been a semi-professional flute player. As well as working with the Squadronaires, Townshend also put out one record under his own name in 1956, a version of "Unchained Melody" credited to "Cliff Townsend and his singing saxophone": [Excerpt: Cliff Townshend and his Singing Saxophone, "Unchained Melody"] Cliff's wife often performed with him -- she was a professional singer who had  actually lied about her age in order to join up with the Air Force and sing with the group -- but they had a tempestuous marriage, and split up multiple times. As a result of this, and the travelling lifestyle of musicians, there were periods where their son Peter was sent to live with his grandmother, who was seriously abusive, traumatising the young boy in ways that would affect him for the rest of his life. When Pete Townshend was growing up, he wasn't particularly influenced by music, in part because it was his dad's job rather than a hobby, and his parents had very few records in the house. He did, though, take up the harmonica and learn to play the theme tune to Dixon of Dock Green: [Excerpt: Tommy Reilly, "Dixon of Dock Green Theme"] His first exposure to rock and roll wasn't through Elvis or Little Richard, but rather through Ray Ellington. Ellington was a British jazz singer and drummer, heavily influenced by Louis Jordan, who provided regular musical performances on the Goon Show throughout the fifties, and on one episode had performed "That Rock 'n' Rollin' Man": [Excerpt: Ray Ellington, "That Rock 'N' Rollin' Man"] Young Pete's assessment of that, as he remembered it later, was "I thought it some kind of hybrid jazz: swing music with stupid lyrics. But it felt youthful and rebellious, like The Goon Show itself." But he got hooked on rock and roll when his father took him and a friend to see a film: [Excerpt: Bill Haley and the Comets, "Rock Around the Clock"] According to Townshend's autobiography, "I asked Dad what he thought of the music. He said he thought it had some swing, and anything that had swing was OK. For me it was more than just OK. After seeing Rock Around the Clock with Bill Haley, nothing would ever be quite the same." Young Pete would soon go and see Bill Haley live – his first rock and roll gig. But the older Townshend would soon revise his opinion of rock and roll, because it soon marked the end of the kind of music that had allowed him to earn his living -- though he still managed to get regular work, playing a clarinet was suddenly far less lucrative than it had been. Pete decided that he wanted to play the saxophone, like his dad, but soon he switched first to guitar and then to banjo. His first guitar was bought for him by his abusive grandmother, and three of the strings snapped almost immediately, so he carried on playing with just three strings for a while. He got very little encouragement from his parents, and didn't really improve for a couple of years. But then the trad jazz boom happened, and Townshend teamed up with a friend of his who played the trumpet and French horn. He had initially bonded with John Entwistle over their shared sense of humour -- both kids loved Mad magazine and would make tape recordings together of themselves doing comedy routines inspired by the Goon show and Hancock's Half Hour -- but Entwistle was also a very accomplished musician, who could play multiple instruments. Entwistle had formed a trad band called the Confederates, and Townshend joined them on banjo and guitar, but they didn't stay together for long. Both boys, though, would join a variety of other bands, both together and separately. As the trad boom faded and rock and roll regained its dominance among British youth, there was little place for Entwistle's trumpet in the music that was popular among teenagers, and at first Entwistle decided to try making his trumpet sound more like a saxophone, using a helmet as a mute to try to get it to sound like the sax on "Ramrod" by Duane Eddy: [Excerpt: Duane Eddy, "Ramrod"] Eddy soon became Entwistle's hero. We've talked about him before a couple of times, briefly, but not in depth, but Duane Eddy had a style that was totally different from most guitar heroes. Instead of playing mostly on the treble strings of the guitar, playing high twiddly parts, Eddy played low notes on the bass strings of his guitar, giving him the style that he summed up in album titles like "The Twang's the Thang" and "Have Twangy Guitar Will Travel". After a couple of years of having hits with this sound, produced by Lee Hazelwood and Lester Sill, Eddy also started playing another instrument, the instrument variously known as the six-string bass, the baritone guitar, or the Danelectro bass (after the company that manufactured the most popular model).  The baritone guitar has six strings, like a normal guitar, but it's tuned lower than a standard guitar -- usually a fourth lower, though different players have different preferences. The Danelectro became very popular in recording studios in the early sixties, because it helped solve a big problem in recording bass tones. You can hear more about this in the episodes of Cocaine and Rhinestones I recommended last week, but basically double basses were very, very difficult to record in the 1950s, and you'd often end up just getting a thudding, muddy, sound from them, which is one reason why when you listen to a lot of early rockabilly the bass is doing nothing very interesting, just playing root notes -- you couldn't easily get much clarity on the instrument at all. Conversely, with electric basses, with the primitive amps of the time, you didn't get anything like the full sound that you'd get from a double bass, but you *did* get a clear sound that would cut through on a cheap radio in a way that the sound of a double bass wouldn't. So the solution was obvious -- you have an electric instrument *and* a double bass play the same part. Use the double bass for the big dull throbbing sound, but use the electric one to give the sound some shape and cut-through. If you're doing that, you mostly want the trebly part of the electric instrument's tone, so you play it with a pick rather than fingers, and it makes sense to use a Danelectro rather than a standard bass guitar, as the Danelectro is more trebly than a normal bass. This combination, of Danelectro and double bass, appears to have been invented by Owen Bradley, and you can hear it for example on this record by Patsy Cline, with Bob Moore on double bass and Harold Bradley on baritone guitar: [Excerpt: Patsy Cline, "Crazy"] This sound, known as "tic-tac bass", was soon picked up by a lot of producers, and it became the standard way of getting a bass sound in both Nashville and LA. It's all over the Beach Boys' best records, and many of Jack Nitzsche's arrangements, and many of the other records the Wrecking Crew played on, and it's on most of the stuff the Nashville A-Team played on from the late fifties through mid-sixties, records by people like Elvis, Roy Orbison, Arthur Alexander, and the Everly Brothers. Lee Hazelwood was one of the first producers to pick up on this sound -- indeed, Duane Eddy has said several times that Hazelwood invented the sound before Owen Bradley did, though I think Bradley did it first -- and many of Eddy's records featured that bass sound, and eventually Eddy started playing a baritone guitar himself, as a lead instrument, playing it on records like "Because They're Young": [Excerpt: Duane Eddy, "Because They're Young"] Duane Eddy was John Entwistle's idol, and Entwistle learned Eddy's whole repertoire on trumpet, playing the saxophone parts. But then, realising that the guitar was always louder than the trumpet in the bands he was in, he realised that if he wanted to be heard, he should probably switch to guitar himself. And it made sense that a bass would be easier to play than a regular guitar -- if you only have four strings, there's more space between them, so playing is easier. So he started playing the bass, trying to sound as much like Eddy as he could. He had no problem picking up the instrument -- he was already a multi-instrumentalist -- but he did have a problem actually getting hold of one, as all the electric bass guitars available in the UK at the time were prohibitively expensive. Eventually he made one himself, with the help of someone in a local music shop, and that served for a time, though he would soon trade up to more professional instruments, eventually amassing the biggest collection of basses in the world. One day, Entwistle was approached on the street by an acquaintance, Roger Daltrey, who said to him "I hear you play bass" -- Entwistle was, at the time, carrying his bass. Daltrey was at this time a guitarist -- like Entwistle, he'd built his own instrument -- and he was the leader of a band called Del Angelo and his Detours. Daltrey wasn't Del Angelo, the lead singer -- that was a man called Colin Dawson who by all accounts sounded a little like Cliff Richard -- but he was the bandleader, hired and fired the members, and was in charge of their setlists. Daltrey lured Entwistle away from the band he was in with Townshend by telling him that the Detours were getting proper paid gigs, though they weren't getting many at the time. Unfortunately, one of the group's other guitarists, the member who owned the best amp, died in an accident not long after Entwistle joined the band. However, the amp was left in the group's possession, and Entwistle used it to lure Pete Townshend into the group by telling him he could use it -- and not telling him that he'd be sharing the amp with Daltrey. Townshend would later talk about his audition for the Detours -- as he was walking up the street towards Daltrey's house, he saw a stunningly beautiful woman walking away from the house crying. She saw his guitar case and said "Are you going to Roger's?" "Yes." "Well you can tell him, it's that bloody guitar or me". Townshend relayed the message, and Daltrey responded "Sod her. Come in." The audition was a formality, with the main questions being whether Townshend could play two parts of the regular repertoire for a working band at that time -- "Hava Nagila", and the Shadows' "Man of Mystery": [Excerpt: The Shadows, "Man of Mystery"] Townshend could play both of those, and so he was in. The group would mostly play chart hits by groups like the Shadows, but as trad jazz hadn't completely died out yet they would also do breakout sessions playing trad jazz, with Townshend on banjo, Entwistle on trumpet and Daltrey on trombone. From the start, there was a temperamental mismatch between the group's two guitarists. Daltrey was thoroughly working-class, culturally conservative,  had dropped out of school to go to work at a sheet metal factory, and saw himself as a no-nonsense plain-speaking man. Townshend was from a relatively well-off upper-middle-class family, was for a brief time a member of the Communist Party, and was by this point studying at art school, where he was hugely impressed by a lecture from Gustav Metzger titled “Auto-Destructive Art, Auto-Creative Art: The Struggle For The Machine Arts Of The Future”, about Metzger's creation of artworks which destroyed themselves. Townshend was at art school during a period when the whole idea of what an art school was for was in flux, something that's typified by a story Townshend tells about two of his early lectures. At the first, the lecturer came in and told the class to all draw a straight line. They all did, and then the lecturer told off anyone who had drawn anything that was anything other than six inches long, perfectly straight, without a ruler, going north-south, with a 3B pencil, saying that anything else at all was self-indulgence of the kind that needed to be drummed out of them if they wanted to get work as commercial artists. Then in another lecture, a different lecturer came in and asked them all to draw a straight line. They all drew perfectly straight, six-inch, north-south lines in 3B pencil, as the first lecturer had taught them. The new lecturer started yelling at them, then brought in someone else to yell at them as well, and then cut his hand open with a knife and dragged it across a piece of paper, smearing a rough line with his own blood, and screamed "THAT'S a line!" Townshend's sympathies lay very much with the second lecturer. Another big influence on Townshend at this point was a jazz double-bass player, Malcolm Cecil. Cecil would later go on to become a pioneer in electronic music as half of TONTO's Expanding Head Band, and we'll be looking at his work in more detail in a future episode, but at this point he was a fixture on the UK jazz scene. He'd been a member of Blues Incorporated, and had also played with modern jazz players like Dick Morrissey: [Excerpt: Dick Morrissey, "Jellyroll"] But Townshend was particularly impressed with a performance in which Cecil demonstrated unorthodox ways to play the double-bass, including playing so hard he broke the strings, and using a saw as a bow, sawing through the strings and damaging the body of the instrument. But these influences, for the moment, didn't affect the Detours, who were still doing the Cliff and the Shadows routine. Eventually Colin Dawson quit the group, and Daltrey took over the lead vocal role for the Detours, who settled into a lineup of Daltrey, Townshend, Entwistle, and drummer Doug Sandom, who was much older than the rest of the group -- he was born in 1930, while Daltrey and Entwistle were born in 1944 and Townshend in 1945. For a while, Daltrey continued playing guitar as well as singing, but his hands were often damaged by his work at the sheet-metal factory, making guitar painful for him. Then the group got a support slot with Johnny Kidd and the Pirates, who at this point were a four-piece band, with Kidd singing backed by bass, drums, and Mick Green playing one guitar on which he played both rhythm and lead parts: [Excerpt: Johnny Kidd and the Pirates, "Doctor Feel Good"] Green was at the time considered possibly the best guitarist in Britain, and the sound the Pirates were able to get with only one guitar convinced the Detours that they would be OK if Daltrey switched to just singing, so the group changed to what is now known as a "power trio" format. Townshend was a huge admirer of Steve Cropper, another guitarist who played both rhythm and lead, and started trying to adopt parts of Cropper's style, playing mostly chords, while Entwistle went for a much more fluid bass style than most, essentially turning the bass into another lead instrument, patterning his playing after Duane Eddy's work. By this time, Townshend was starting to push against Daltrey's leadership a little, especially when it came to repertoire. Townshend had a couple of American friends at art school who had been deported after being caught smoking dope, and had left their records with Townshend for safe-keeping. As a result, Townshend had become a devotee of blues and R&B music, especially the jazzier stuff like Ray Charles, Mose Allison, and Booker T and the MGs. He also admired guitar-based blues records like those by Howlin' Wolf or Jimmy Reed. Townshend kept pushing for this music to be incorporated into the group's sets, but Daltrey would push back, insisting as the leader that they should play the chart hits that everyone else played, rather than what he saw as Townshend's art-school nonsense. Townshend insisted, and eventually won -- within a short while the group had become a pure R&B group, and Daltrey was soon a convert, and became the biggest advocate of that style in the band. But there was a problem with only having one guitar, and that was volume. In particular, Townshend didn't want to be able to hear hecklers. There were gangsters in some of the audiences who would shout requests for particular songs, and you had to play them or else, even if they were completely unsuitable for the rest of the audience's tastes. But if you were playing so loud you couldn't hear the shouting, you had an excuse. Both Entwistle and Townshend had started buying amplifiers from Jim Marshall, who had opened up a music shop after quitting drums -- Townshend actually bought his first one from a shop assistant in Marshall's shop, John McLaughlin, who would later himself become a well-known guitarist. Entwistle, wanting to be heard over Townshend, had bought a cabinet with four twelve-inch speakers in it. Townshend, wanting to be heard over Entwistle, had bought *two* of these cabinets, and stacked them, one on top of the other, against Marshall's protestations -- Marshall said that they would vibrate so much that the top one might fall over and injure someone. Townshend didn't listen, and the Marshall stack was born. This ultra-amplification also led Townshend to change his guitar style further. He was increasingly reliant on distortion and feedback, rather than on traditional instrumental skills. Now, there are basically two kinds of chords that are used in most Western music. There are major chords, which consist of the first, third, and fifth note of the scale, and these are the basic chords that everyone starts with. So you can strum between G major and F major: [demonstrates G and F chords] There's also minor chords, where you flatten the third note, which sound a little sadder than major chords, so playing G minor and F minor: [demonstrates Gm and Fm chords] There are of course other kinds of chord -- basically any collection of notes counts as a chord, and can work musically in some context. But major and minor chords are the basic harmonic building blocks of most pop music. But when you're using a lot of distortion and feedback, you create a lot of extra harmonics -- extra notes that your instrument makes along with the ones you're playing. And for mathematical reasons I won't go into here because this is already a very long episode, the harmonics generated by playing the first and fifth notes sound fine together, but the harmonics from a third or minor third don't go along with them at all. The solution to this problem is to play what are known as "power chords", which are just the root and fifth notes, with no third at all, and which sound ambiguous as to whether they're major or minor. Townshend started to build his technique around these chords, playing for the most part on the bottom three strings of his guitar, which sounds like this: [demonstrates G5 and F5 chords] Townshend wasn't the first person to use power chords -- they're used on a lot of the Howlin' Wolf records he liked, and before Townshend would become famous the Kinks had used them on "You Really Got Me" -- but he was one of the first British guitarists to make them a major part of his personal style. Around this time, the Detours were starting to become seriously popular, and Townshend was starting to get exhausted by the constant demands on his time from being in the band and going to art school. He talked about this with one of his lecturers, who asked how much Townshend was earning from the band. When Townshend told him he was making thirty pounds a week, the lecturer was shocked, and said that was more than *he* was earning. Townshend should probably just quit art school, because it wasn't like he was going to make more money from anything he could learn there. Around this time, two things changed the group's image. The first was that they played a support slot for the Rolling Stones in December 1963. Townshend saw Keith Richards swinging his arm over his head and then bringing it down on the guitar, to loosen up his muscles, and he thought that looked fantastic, and started copying it -- from very early on, Townshend wanted to have a physical presence on stage that would be all about his body, to distract from his face, as he was embarrassed about the size of his nose. They played a second support slot for the Stones a few weeks later, and not wanting to look like he was copying Richards, Townshend didn't do that move, but then he noticed that Richards didn't do it either. He asked about it after the gig, and Richards didn't know what he was talking about -- "Swing me what?" -- so Townshend took that as a green light to make that move, which became known as the windmill, his own. The second thing was when in February 1964 a group appeared on Thank Your Lucky Stars: [Excerpt: Johnny Devlin and the Detours, "Sometimes"] Johnny Devlin and the Detours had had national media exposure, which meant that Daltrey, Townshend, Entwistle, and Sandom had to change the name of their group. They eventually settled on "The Who", It was around this time that the group got their first serious management, a man named Helmut Gorden, who owned a doorknob factory. Gorden had no management experience, but he did offer the group a regular salary, and pay for new equipment for them. However, when he tried to sign the group to a proper contract, as most of them were still under twenty-one he needed their parents to countersign for them. Townshend's parents, being experienced in the music industry, refused to sign, and so the group continued under Gorden's management without a contract. Gorden, not having management experience, didn't have any contacts in the music industry. But his barber did. Gorden enthused about his group to Jack Marks, the barber, and Marks in turn told some of his other clients about this group he'd been hearing about. Tony Hatch wasn't interested, as he already had a guitar group with the Searchers, but Chris Parmenter at Fontana Records was, and an audition was arranged. At the audition, among other numbers, they played Bo Diddley's "Here 'Tis": [Excerpt: Bo Diddley, "Here 'Tis"] Unfortunately for Doug, he didn't play well on that song, and Townshend started berating him. Doug also knew that Parmenter had reservations about him, because he was so much older than the rest of the band -- he was thirty-four at the time, while the rest of the group were only just turning twenty -- and he was also the least keen of the group on the R&B material they were playing. He'd been warned by Entwistle, his closest friend in the group, that Daltrey and Townshend were thinking of dropping him, and so he decided to jump before he was pushed, walking out of the audition. He agreed to come back for a handful more gigs that were already booked in, but that was the end of his time in the band, and of his time in the music industry -- though oddly not of his friendship with the group. Unlike other famous examples of an early member not fitting in and being forced out before a band becomes big, Sandom remained friends with the other members, and Townshend wrote the foreword to his autobiography, calling him a mentor figure, while Daltrey apparently insisted that Sandom phone him for a chat every Sunday, at the same time every week, until Sandom's death in 2019 at the age of eighty-nine. The group tried a few other drummers, including someone who Jim Marshall had been giving drum lessons to, Mitch Mitchell, before settling on the drummer for another group that played the same circuit, the Beachcombers, who played mostly Shadows material, plus the Beach Boys and Jan and Dean songs that their drummer, Keith Moon, loved. Moon and Entwistle soon became a formidable rhythm section, and despite having been turned down by Fontana, they were clearly going places. But they needed an image -- and one was provided for them by Pete Meaden. Meaden was another person who got his hair cut by Jack Marks, and he had had  little bit of music business experience, having worked for Andrew Oldham, the Rolling Stones' manager, for a while before going on to manage a group called the Moments, whose career highlight was recording a soundalike cover version of "You Really Got Me" for an American budget label: [Excerpt: The Moments, "You Really Got Me"] The Moments never had any big success, but Meaden's nose for talent was not wrong, as their teenage lead singer, Steve Marriott, later went on to much better things. Pete Meaden was taken on as Helmut Gorden's assistant, but from this point on the group decided to regard him as their de facto manager, and as more than just a manager. To Townshend in particular he was a guru figure, and he shaped the group to appeal to the Mods. Now, we've not talked much about the Mods previously, and what little has been said has been a bit contradictory. That's because the Mods were a tiny subculture at this point -- or to be more precise, they were three subcultures. The original mods had come along in the late 1950s, at a time when there was a division among jazz fans between fans of traditional New Orleans jazz -- "trad" -- and modern jazz. The mods were modernists, hence the name, but for the most part they weren't as interested in music as in clothes. They were a small group of young working-class men, almost all gay, who dressed flamboyantly and dandyishly, and who saw themselves, their clothing, and their bodies as works of art. In the late fifties, Britain was going through something of an economic boom, and this was the first time that working-class men *could* buy nice clothes. These working-class dandies would have to visit tailors to get specially modified clothes made, but they could just about afford to do so. The mod image was at first something that belonged to a very, very, small clique of people. But then John Stephens opened his first shop. This was the first era when short runs of factory-produced clothing became possible, and Stephens, a stylish young man, opened a shop on Carnaby Street, then a relatively cheap place to open a shop. He painted the outside yellow, played loud pop music, and attracted a young crowd. Stephens was selling factory-made clothes that still looked unique -- short runs of odd-coloured jeans, three-button jackets, and other men's fashion. Soon Carnaby Street became the hub for men's fashion in London, thanks largely to Stephens. At one point Stephens owned fifteen different shops, nine of them on Carnaby Street itself, and Stephens' shops appealed to the kind of people that the Kinks would satirise in their early 1966 hit single "Dedicated Follower of Fashion": [Excerpt: The Kinks, "Dedicated Follower of Fashion"] Many of those who visited Stephens' shops were the larger, second, generation of mods. I'm going to quote here from George Melly's Revolt Into Style, the first book to properly analyse British pop culture of the fifties and sixties, by someone who was there: "As the ‘mod' thing spread it lost its purity. For the next generation of Mods, those who picked up the ‘mod' thing around 1963, clothes, while still their central preoccupation, weren't enough. They needed music (Rhythm and Blues), transport (scooters) and drugs (pep pills). What's more they needed fashion ready-made. They hadn't the time or the fanaticism to invent their own styles, and this is where Carnaby Street came in." Melly goes on to talk about how these new Mods were viewed with distaste by the older Mods, who left the scene. The choice of music for these new Mods was as much due to geographic proximity as anything else. Carnaby Street is just round the corner from Wardour Street, and Wardour Street is where the two clubs that between them were the twin poles of the London R&B scenes, the Marquee and the Flamingo, were both located. So it made sense that the young people frequenting John Stephens' boutiques on Carnaby Street were the same people who made up the audiences -- and the bands -- at those clubs. But by 1964, even these second-generation Mods were in a minority compared to a new, third generation, and here I'm going to quote Melly again: "But the Carnaby Street Mods were not the final stage in the history of this particular movement. The word was taken over finally by a new and more violent sector, the urban working class at the gang-forming age, and this became quite sinister. The gang stage rejected the wilder flights of Carnaby Street in favour of extreme sartorial neatness. Everything about them was neat, pretty and creepy: dark glasses, Nero hair-cuts, Chelsea boots, polo-necked sweaters worn under skinny V-necked pullovers, gleaming scooters and transistors. Even their offensive weapons were pretty—tiny hammers and screwdrivers. En masse they looked like a pack of weasels." I would urge anyone who's interested in British social history to read Melly's book in full -- it's well worth it. These third-stage Mods soon made up the bulk of the movement, and they were the ones who, in summer 1964, got into the gang fights that were breathlessly reported in all the tabloid newspapers. Pete Meaden was a Mod, and as far as I can tell he was a leading-edge second-stage Mod, though as with all these things who was in what generation of Mods is a bit blurry. Meaden had a whole idea of Mod-as-lifestyle and Mod-as-philosophy, which worked well with the group's R&B leanings, and with Townshend's art-school-inspired fascination with the aesthetics of Pop Art. Meaden got the group a residency at the Railway Hotel, a favourite Mod hangout, and he also changed their name -- The Who didn't sound Mod enough. In Mod circles at the time there was a hierarchy, with the coolest people, the Faces, at the top, below them a slightly larger group of people known as Numbers, and below them the mass of generic people known as Tickets. Meaden saw himself as the band's Svengali, so he was obviously the Face, so the group had to be Numbers -- so they became The High Numbers. Meaden got the group a one-off single deal, to record two songs he had allegedly written, both of which had lyrics geared specifically for the Mods. The A-side was "Zoot Suit": [Excerpt: The High Numbers, "Zoot Suit"] This had a melody that was stolen wholesale from "Misery" by the Dynamics: [Excerpt: The Dynamics, "Misery"] The B-side, meanwhile, was titled "I'm the Face": [Excerpt: The High Numbers, "I'm the Face"] Which anyone with any interest at all in blues music will recognise immediately as being "Got Love if You Want It" by Slim Harpo: [Excerpt: Slim Harpo, "Got Love if You Want it"] Unfortunately for the High Numbers, that single didn't have much success. Mod was a local phenomenon, which never took off outside London and its suburbs, and so the songs didn't have much appeal in the rest of the country -- while within London, Mod fashions were moving so quickly that by the time the record came out, all its up-to-the-minute references were desperately outdated. But while the record didn't have much success, the group were getting a big live following among the Mods, and their awareness of rapidly shifting trends in that subculture paid off for them in terms of stagecraft. To quote Townshend: "What the Mods taught us was how to lead by following. I mean, you'd look at the dance floor and see some bloke stop during the dance of the week and for some reason feel like doing some silly sort of step. And you'd notice some of the blokes around him looking out of the corners of their eyes and thinking 'is this the latest?' And on their own, without acknowledging the first fellow, a few of 'em would start dancing that way. And we'd be watching. By the time they looked up on the stage again, we'd be doing that dance and they'd think the original guy had been imitating us. And next week they'd come back and look to us for dances". And then Kit Lambert and Chris Stamp came into the Railway Hotel. Kit Lambert was the son of Constant Lambert, the founding music director of the Royal Ballet, who the economist John Maynard Keynes described as the most brilliant man he'd ever met. Constant Lambert was possibly Britain's foremost composer of the pre-war era, and one of the first people from the serious music establishment to recognise the potential of jazz and blues music. His most famous composition, "The Rio Grande", written in 1927 about a fictitious South American river, is often compared with Gershwin's Rhapsody in Blue: [Excerpt: Constant Lambert, "The Rio Grande"] Kit Lambert was thus brought up in an atmosphere of great privilege, both financially and intellectually, with his godfather being the composer Sir William Walton while his godmother was the prima ballerina Dame Margot Fonteyn, with whom his father was having an affair. As a result of the problems between his parents, Lambert spent much of his childhood living with his grandmother. After studying history at Oxford and doing his national service, Lambert had spent a few months studying film at the Institut des hautes études cinématographiques in Paris, where he went because Jean-Luc Godard and Alain Renais taught there -- or at least so he would later say, though there's no evidence I can find that Godard actually taught there, so either he went there under a mistaken impression or he lied about it later to make himself sound more interesting. However, he'd got bored with his studies after only a few months, and decided that he knew enough to just make a film himself, and he planned his first documentary. In early 1961, despite having little film experience, he joined two friends from university, Richard Mason and John Hemming, in an attempt to make a documentary film tracing the source of the Iriri, a river in South America that was at that point the longest unnavigated river in the world. Unfortunately, the expedition was as disastrous as it's possible for such an expedition to be. In May 1961 they landed in the Amazon basin and headed off on their expedition to find the source of the Iriri, with the help of five local porters and three people sent along by the Brazillian government to map the new areas they were to discover. Unfortunately, by September, not only had they not found the source of the Iriri, they'd actually not managed to find the Iriri itself, four and a half months apparently not being a long enough time to find an eight-hundred-and-ten-mile-long river. And then Mason made his way into history in the worst possible way, by becoming the last, to date, British person to be murdered by an uncontacted indigenous tribe, the Panará, who shot him with eight poison arrows and then bludgeoned his skull. A little over a decade later the Panará made contact with the wider world after nearly being wiped out by disease. They remembered killing Mason and said that they'd been scared by the swishing noise his jeans had made, as they'd never encountered anyone who wore clothes before. Before they made contact, the Panará were also known as the Kreen-Akrore, a name given them by the Kayapó people, meaning "round-cut head", a reference to the way they styled their hair, brushed forward and trimmed over the forehead in a way that was remarkably similar to some of the Mod styles. Before they made contact, Paul McCartney would in 1970 record an instrumental, "Kreen Akrore", after being inspired by a documentary called The Tribe That Hides From Man. McCartney's instrumental includes sound effects, including McCartney firing a bow and arrow, though apparently the bow-string snapped during the recording: [Excerpt: Paul McCartney, "Kreen Akrore"] For a while, Lambert was under suspicion for the murder, though the Daily Express, which had sponsored the expedition, persuaded Brazillian police to drop the charges. While he was in Rio waiting for the legal case to be sorted, Lambert developed what one book on the Who describes as "a serious anal infection". Astonishingly, this experience did not put Lambert off from the film industry, though he wouldn't try to make another film of his own for a couple of years. Instead, he went to work at Shepperton Studios, where he was an uncredited second AD on many films, including From Russia With Love and The L-Shaped Room. Another second AD working on many of the same films was Chris Stamp, the brother of the actor Terence Stamp, who was just starting out in his own career. Stamp and Lambert became close friends, despite -- or because of -- their differences. Lambert was bisexual, and preferred men to women, Stamp was straight. Lambert was the godson of a knight and a dame, Stamp was a working-class East End Cockney. Lambert was a film-school dropout full of ideas and grand ambitions, but unsure how best to put those ideas into practice, Stamp was a practical, hands-on, man. The two complemented each other perfectly, and became flatmates and collaborators. After seeing A Hard Day's Night, they decided that they were going to make their own pop film -- a documentary, inspired by the French nouvelle vague school of cinema, which would chart a pop band from playing lowly clubs to being massive pop stars. Now all they needed was to find a band that were playing lowly clubs but could become massive stars. And they found that band at the Railway Hotel, when they saw the High Numbers. Stamp and Lambert started making their film, and completed part of it, which can be found on YouTube: [Excerpt: The High Numbers, "Oo Poo Pa Doo"] The surviving part of the film is actually very, very, well done for people who'd never directed a film before, and I have no doubt that if they'd completed the film, to be titled High Numbers, it would be regarded as one of the classic depictions of early-sixties London club life, to be classed along with The Small World of Sammy Lee and Expresso Bongo. What's even more astonishing, though, is how *modern* the group look. Most footage of guitar bands of this period looks very dated, not just in the fashions, but in everything -- the attitude of the performers, their body language, the way they hold their instruments. The best performances are still thrilling, but you can tell when they were filmed. On the other hand, the High Numbers look ungainly and awkward, like the lads of no more than twenty that they are -- but in a way that was actually shocking to me when I first saw this footage. Because they look *exactly* like every guitar band I played on the same bill as during my own attempts at being in bands between 2000 and about 2005. If it weren't for the fact that they have such recognisable faces, if you'd told me this was footage of some band I played on the same bill with at the Star and Garter or Night and Day Cafe in 2003, I'd believe it unquestioningly. But while Lambert and Stamp started out making a film, they soon pivoted and decided that they could go into management. Of course, the High Numbers did already have management -- Pete Meaden and Helmut Gorden -- but after consulting with the Beatles' lawyer, David Jacobs, Lambert and Stamp found out that Gorden's contract with the band was invalid, and so when Gorden got back from a holiday, he found himself usurped. Meaden was a bit more difficult to get rid of, even though he had less claim on the group than Gorden -- he was officially their publicist, not their manager, and his only deal was with Gorden, even though the group considered him their manager. While Meaden didn't have a contractual claim though, he did have one argument in his favour, which is that he had a large friend named Phil the Greek, who had a big knife. When this claim was put to Lambert and Stamp, they agreed that this was a very good point indeed, one that they hadn't considered, and agreed to pay Meaden off with two hundred and fifty pounds. This would not be the last big expense that Stamp and Lambert would have as the managers of the Who, as the group were now renamed. Their agreement with the group had the two managers taking forty percent of the group's earnings, while the four band members would split the other sixty percent between themselves -- an arrangement which should theoretically have had the managers coming out ahead. But they also agreed to pay the group's expenses. And that was to prove very costly indeed. Shortly after they started managing the group, at a gig at the Railway Hotel, which had low ceilings, Townshend lifted his guitar up a bit higher than he'd intended, and broke the headstock. Townshend had a spare guitar with him, so this was OK, and he also remembered Gustav Metzger and his ideas of auto-destructive art, and Malcolm Cecil sawing through his bass strings and damaging his bass, and decided that it was better for him to look like he'd meant to do that than to look like an idiot who'd accidentally broken his guitar, so he repeated the motion, smashing his guitar to bits, before carrying on the show with his spare. The next week, the crowd were excited, expecting the same thing again, but Townshend hadn't brought a spare guitar with him. So as not to disappoint them, Keith Moon destroyed his drum kit instead. This destruction was annoying to Entwistle, who saw musical instruments as something close to sacred, and it also annoyed the group's managers at first, because musical instruments are expensive. But they soon saw the value this brought to the band's shows, and reluctantly agreed to keep buying them new instruments. So for the first couple of years, Lambert and Stamp lost money on the group. They funded this partly through Lambert's savings, partly through Stamp continuing to do film work, and partly from investors in their company, one of whom was Russ Conway, the easy-listening piano player who'd had hits like "Side Saddle": [Excerpt: Russ Conway, "Side Saddle"] Conway's connections actually got the group another audition for a record label, Decca (although Conway himself recorded for EMI), but the group were turned down. The managers were told that they would have been signed, but they didn't have any original material. So Pete Townshend was given the task of writing some original material. By this time Townshend's musical world was expanding far beyond the R&B that the group were performing on stage, and he talks in his autobiography about the music he was listening to while he was trying to write his early songs. There was "Green Onions", which he'd been listening to for years in his attempt to emulate Steve Cropper's guitar style, but there was also The Freewheelin' Bob Dylan, and two tracks he names in particular, "Devil's Jump" by John Lee Hooker: [Excerpt: John Lee Hooker, "Devil's Jump"] And "Better Get Hit in Your Soul" by Charles Mingus: [Excerpt: Charles Mingus, "Better Get Hit In Your Soul"] He was also listening to what he described as "a record that changed my life as a composer", a recording of baroque music that included sections of Purcell's Gordian Knot Untied: [Excerpt: Purcell, Chaconne from Gordian Knot Untied] Townshend had a notebook in which he listed the records he wanted to obtain, and he reproduces that list in his autobiography -- "‘Marvin Gaye, 1-2-3, Mingus Revisited, Stevie Wonder, Jimmy Smith Organ Grinder's Swing, In Crowd, Nina in Concert [Nina Simone], Charlie Christian, Billie Holiday, Ella, Ray Charles, Thelonious Monk Around Midnight and Brilliant Corners.'" He was also listening to a lot of Stockhausen and Charlie Parker, and to the Everly Brothers -- who by this point were almost the only artist that all four members of the Who agreed were any good, because Daltrey was now fully committed to the R&B music he'd originally dismissed, and disliked what he thought was the pretentiousness of the music Townshend was listening to, while Keith Moon was primarily a fan of the Beach Boys. But everyone could agree that the Everlys, with their sensitive interpretations, exquisite harmonies, and Bo Diddley-inflected guitars, were great, and so the group added several songs from the Everlys' 1965 albums Rock N Soul and Beat N Soul to their set, like "Man With Money": [Excerpt: The Everly Brothers, "Man With Money"] Despite Daltrey's objections to diluting the purity of the group's R&B sound, Townshend brought all these influences into his songwriting. The first song he wrote to see release was not actually recorded by the Who, but a song he co-wrote for a minor beat group called the Naturals, who released it as a B-side: [Excerpt: The Naturals, "It Was You"] But shortly after this, the group got their first big break, thanks to Lambert's personal assistant, Anya Butler. Butler was friends with Shel Talmy's wife, and got Talmy to listen to the group. Townshend in particular was eager to work with Talmy, as he was a big fan of the Kinks, who were just becoming big, and who Talmy produced. Talmy signed the group to a production deal, and then signed a deal to license their records to Decca in America -- which Lambert and Stamp didn't realise wasn't the same label as British Decca. Decca in turn sublicensed the group's recordings to their British subsidiary Brunswick, which meant that the group got a minuscule royalty for sales in Britain, as their recordings were being sold through three corporate layers all taking their cut. This didn't matter to them at first, though, and they went into the studio excited to cut their first record as The Who. As was typical at the time, Talmy brought in a few session players to help out. Clem Cattini turned out not to be needed, and left quickly, but Jimmy Page stuck around -- not to play on the A-side, which Townshend said was "so simple even I could play it", but the B-side, a version of the old blues standard "Bald-Headed Woman", which Talmy had copyrighted in his own name and had already had the Kinks record: [Excerpt: The Who, "Bald-Headed Woman"] Apparently the only reason that Page played on that is that Page wouldn't let Townshend use his fuzzbox. As well as Page and Cattini, Talmy also brought in some backing vocalists. These were the Ivy League, a writing and production collective consisting at this point of John Carter and Ken Lewis, both of whom had previously been in a band with Page, and Perry Ford. The Ivy League were huge hit-makers in the mid-sixties, though most people don't recognise their name. Carter and Lewis had just written "Can You Hear My Heartbeat" for Herman's Hermits: [Excerpt: Herman's Hermits, "Can You Hear My Heartbeat?"] And, along with a couple of other singers who joined the group, the Ivy League would go on to sing backing vocals on hits by Sandie Shaw, Tom Jones and others. Together and separately the members of the Ivy League were also responsible for writing, producing, and singing on "Let's Go to San Francisco" by the Flowerpot Men, "Winchester Cathedral" by the New Vaudeville Band, "Beach Baby" by First Class, and more, as well as their big hit under their own name, "Tossing and Turning": [Excerpt: The Ivy League, "Tossing and Turning"] Though my favourite of their tracks is their baroque pop masterpiece "My World Fell Down": [Excerpt: The Ivy League, "My World Fell Down"] As you can tell, the Ivy League were masters of the Beach Boys sound that Moon, and to a lesser extent Townshend, loved. That backing vocal sound was combined with a hard-driving riff inspired by the Kinks' early hits like "You Really Got Me" and "All Day and All of the Night", and with lyrics that explored inarticulacy, a major theme of Townshend's lyrics: [Excerpt: The Who, "I Can't Explain"] "I Can't Explain" made the top ten, thanks in part to a publicity stunt that Lambert came up with. The group had been booked on to Ready, Steady, Go!, and the floor manager of the show mentioned to Lambert that they were having difficulty getting an audience for that week's show -- they were short about a hundred and fifty people, and they needed young, energetic, dancers. Lambert suggested that the best place to find young, energetic, dancers, was at the Marquee on a Tuesday night -- which just happened to be the night of the Who's regular residency at the club. Come the day of filming, the Ready, Steady, Go! audience was full of the Who's most hardcore fans, all of whom had been told by Lambert to throw scarves at the band when they started playing. It was one of the most memorable performances on the show. But even though the record was a big hit, Daltrey was unhappy. The man who'd started out as guitarist in a Shadows cover band and who'd strenuously objected to the group's inclusion of R&B material now had the zeal of a convert. He didn't want to be doing this "soft commercial pop", or Townshend's art-school nonsense. He wanted to be an R&B singer, playing hard music for working-class men like him. Two decisions were taken to mollify the lead singer. The first was that when they went into the studio to record their first album, it was all soul and R&B apart from one original. The album was going to consist of three James Brown covers, three Motown covers, Bo Diddley's "I'm a Man", and a cover of Paul Revere and the Raiders' "Louie Louie" sequel "Louie Come Home", retitled "Lubie". All of this was material that Daltrey was very comfortable with. Also, Daltrey was given some input into the second single, which would be the only song credited to Daltrey and Townshend, and Daltrey's only songwriting contribution to a Who A-side. Townshend had come up with the title "Anyway, Anyhow, Anywhere" while listening to Charlie Parker, and had written the song based on that title, but Daltrey was allowed to rewrite the lyrics and make suggestions as to the arrangement. That record also made the top ten: [Excerpt: The Who, "Anyway, Anyhow, Anywhere"] But Daltrey would soon become even more disillusioned. The album they'd recorded was shelved, though some tracks were later used for what became the My Generation album, and Kit Lambert told the Melody Maker “The Who are having serious doubts about the state of R&B. Now the LP material will consist of hard pop. They've finished with ‘Smokestack Lightning'!” That wasn't the only thing they were finished with -- Townshend and Moon were tired of their band's leader, and also just didn't think he was a particularly good singer -- and weren't shy about saying so, even to the press. Entwistle, a natural peacemaker, didn't feel as strongly, but there was a definite split forming in the band. Things came to a head on a European tour. Daltrey was sick of this pop nonsense, he was sick of the arty ideas of Townshend, and he was also sick of the other members' drug use. Daltrey didn't indulge himself, but the other band members had been using drugs long before they became successful, and they were all using uppers, which offended Daltrey greatly. He flushed Keith Moon's pill stash down the toilet, and screamed at his band mates that they were a bunch of junkies, then physically attacked Moon. All three of the other band members agreed -- Daltrey was out of the band. They were going to continue as a trio. But after a couple of days, Daltrey was back in the group. This was mostly because Daltrey had come crawling back to them, apologising -- he was in a very bad place at the time, having left his wife and kid, and was actually living in the back of the group's tour van. But it was also because Lambert and Stamp persuaded the group they needed Daltrey, at least for the moment, because he'd sung lead on their latest single, and that single was starting to rise up the charts. "My Generation" had had a long and torturous journey from conception to realisation. Musically it originally had been inspired by Mose Allison's "Young Man's Blues": [Excerpt: Mose Allison, "Young Man's Blues"] Townshend had taken that musical mood and tied it to a lyric that was inspired by a trilogy of TV plays, The Generations, by the socialist playwright David Mercer, whose plays were mostly about family disagreements that involved politics and class, as in the case of the first of those plays, where two upwardly-mobile young brothers of very different political views go back to visit their working-class family when their mother is on her deathbed, and are confronted by the differences they have with each other, and with the uneducated father who sacrificed to give them a better life than he had: [Excerpt: Where the Difference Begins] Townshend's original demo for the song was very much in the style of Mose Allison, as the excerpt of it that's been made available on various deluxe reissues of the album shows: [Excerpt: Pete Townshend, "My Generation (demo)"] But Lambert had not been hugely impressed by that demo. Stamp had suggested that Townshend try a heavier guitar riff, which he did, and then Lambert had added the further suggestion that the music would be improved by a few key changes -- Townshend was at first unsure about this, because he already thought he was a bit too influenced by the Kinks, and he regarded Ray Davies as, in his words, "the master of modulation", but eventually he agreed, and decided that the key changes did improve the song. Stamp made one final suggestion after hearing the next demo version of the song. A while earlier, the Who had been one of the many British groups, like the Yardbirds and the Animals, who had backed Sonny Boy Williamson II on his UK tour. Williamson had occasionally done a little bit of a stutter in some of his performances, and Daltrey had picked up on that and started doing it. Townshend had in turn imitated Daltrey's mannerism a couple of times on the demo, and Stamp thought that was something that could be accentuated. Townshend agreed, and reworked the song, inspired by John Lee Hooker's "Stuttering Blues": [Excerpt: John Lee Hooker, "Stuttering Blues"] The stuttering made all the difference, and it worked on three levels. It reinforced the themes of inarticulacy that run throughout the Who's early work -- their first single, after all, had been called "I Can't Explain", and Townshend talks movingly in his autobiography about talking to teenage fans who felt that "I Can't Explain" had said for them the things they couldn't say th

Welcome to Roadcase, a podcast exploring the live music experience!!  Hop on board for today's interview with the intriguing and uber-successful Jordan Kurland.  Jordan is the co-founder of Brilliant Corners Artist Management and has been helping guide musical careers for decades -- he works with such artists as Death Cab for Cutie, Real Estate, Toro Y Moi, Soccer Mommy and Pup, among others.  But his expertise does not stop there; Jordan is also a partner in Noise Pop Industries which promotes local boutique music festivals.  He's also a writer, an agent for change, and has worked with famed author Dave Eggers on several political initiatives including some mega-fundraising with the Biden campaign in 2020.  But Jordan's work with artists he loves is his most stunning accomplishment; he is a beacon for independent artists and an SF Bay Area industry icon.  His story is one of perseverance, hard work, and a bit of luck mixed in here and there.  Come join us for this informative and intelligent conversation with Jordan Kurland -- it's a great ride!!For more information: https://linktr.ee/roadcasepod and https://www.roadcasepod.comContact: info@roadcasepod.comTheme music:  "Eugene" (Instrumental)" by Waltzer

Justin Little In this episode, we connect the dots with our last episode, where I spoke with Jordan Kurland of Brilliant Corners by chatting with Justin Little of Bailey Blues. Justin worked with Jordan at the start of his career.  After another stint with Ben Dickey at Constant Artists, he settled in at Bailey Blues, managing The Midnight and working with K Flay, Donna Missal, Your Smith and Jake Etheridge. We discuss the importance of making connections early in your career, and how that philosophy can also play out for artists as well, as is the case with The Midnight, who have fostered a unique relationship with their fans over the years.

Jordan Kurland is a founding partner in Brilliant Corners Artist Management. With offices in San Francisco, New York, and Seattle Brilliant Corners represents a diverse array of artists including Death Cab for Cutie, The Postal Service, Toro Y Moi, Best Coast, Soccer Mommy, Real Estate, New Pornographers, and Pup. Kurland is also a partner in Noise Pop Industries. Based in San Francisco, Noise Pop curates, produces, and promotes various events throughout the greater Bay Area including the Noise Pop Festival. He was one of the founding partners of the groundbreaking boutique outdoor music festivals, Treasure Island, which ran from 2007-2018. Kurland currently sits on the board of three San Francisco based non-profits: McSweeney's, Stern Grove Festival, and experimental art and performance space, The Lab. Previously he served on the boards of 826 National, Marin Headlands Center for the Arts, the Bay Area chapter of NARAS, and Revolutions Per Minute, an organization dedicated to connecting artists with social causes. Additionally, he spent five years on the board of directors for the Independent On-Line Distribution Alliance (IODA) which ended in a partial acquisition by Sony in 2009. Kurland is politically active. He was on the entertainment advisory committee for Barack Obama in 2012 and Hillary Clinton in 2016. Starting in 2004, he launched various election-based projects with the author, Dave Eggers. The most recent was a pair of digital compilations called Good Music to Avert the Collapse of American Democracy, Volumes 1 and 2. The two albums raised over $550,000 in 48 hours for voter's rights organizations, Fair Fight, Color of Change, and Voting Rights Lab. Other initiatives include the Future Dictionary of America (2004), the website 90 Days, 90 Reasons (2012), and 30 Days, 30 Songs (2016). Lastly, Kurland is an investor in San Francisco restaurants Central Kitchen, Salumeria, and Wise Son's Deli as well as the celebrated bar, Trick Dog. Join the Academy: https://www.patreon.com/makingitacademy Where do you hang out on Social Media? Find us here... Website: http://www.makingitwithchrisg.com/ Instagram: http://bit.ly/2pzCKvX Twitter: http://bit.ly/2QahgBl  

In this episode, we chat with Jordan Kurland, co-founder of Brilliant Corners Artist Management, home of Death Cab for Cutie, Soccer Mommy, She & Him, and many others.  I’ve had the pleasure of meeting Jordan a few times in the past, and I was thrilled when he reached out to chat.With this past year as a backdrop, we discussed how the pandemic has created both challenges, and opportunities, for artists and artist managers.  Several of the Brilliant Corners artists were able to adapt to the changes in creative ways, and Jordan himself found time to reignite his passion for supporting Biden in his bid for the White House last year as well.  We also touch on our joint love of jazz, and in particular, Thelonious Monk.  

In an age increasingly dominated by machine-created sounds, DJ-Producer, Rebecca Vasmant, is bringing a fresh new twist to dance music with her irrepressible love of jazz. She's already made a name in Glasgow with her residency at Sub Club, bringing one of the first nights for decades booking and promoting live Jazz at the venue, whilst also running a popular record fair with the venerable venue and a spot on BBC Radio Scotland. A huge jazz fan, she airs her musical passion at key events like Worldwide Festival Sete, Glasgow Jazz Festival, EFG London Jazz Festival, Jazz Cafe London, Kasheme Zurich, Brilliant Corners, Casper Montenegro and the Baltic Soul Weekender, with a new residency at Ronnie Scott's as part of the 'Panro' collective. "This mix is a journey through a lot of records that have formed lifelong memories for me, helped form lifelong friendships that I am so grateful for every day. It is as much a trip through styles and vibes as it is emotionally, I hope you all enjoy it as much as I enjoyed recording it. Huge thanks to the guys at the wonderful Slothboogie for having me ❤️ " Artist: @rebecca_vasmant

JAMES SPAULDING – BRILLIANT CORNERS – Englewood Cliffs, N.J., November 25, 1988 Brilliant corners, Let’s cool one (1), Little Willie leaps (2) James Spaulding (as,fl-1) Wallace Roney (tp-2) Mulgrew Miller (p) Ron Carter (b) Kenny Washington (d) DAVID RUIZ – WHERE WE COME FROM – Madrid 2020 (prob ) Alsafi, Daneb, García Lorca David Ruiz […]

In today's episode Jordy Coutin speaks with Danielle Wildkress and Chris Contreras, the Chief Program Officer and the Program Director of the Flexible Housing Subsidy Pool at Brilliant Corners. They talk about Permanent Supportive Housing—one of the policy tools being used in Los Angeles to provide long-term housing to people experiencing homeless. They also talk about how the crisis got where it is, and what is needed to end homelessness in Los Angeles. The interview in today's episode was originally conducted in early July 2020. Follow us on Twitter, Instagram, and Facebook @thepriceofpolicy Podcast art by Alexander Sarno Contributors include Jordy Coutin, Holly Milburn-Smith, Karla Fernandez, and Colin Harmony. Music by Jonah Chang and Jordy Coutin

Recorded live at Brilliant Corners, London, UK, 14/10/2020.

Davey Woodward - Brilliant Corners, Experimental Pop Band & now Davey Woodward & The Winter Orphans in conversation with David Eastaugh   Bristol indie music legend Davey Woodward has released his 'Love and Optimism' LP, together with his congenial band The Winter Orphans. Best known for his bands The Brilliant Corners, The Experimental Pop Band and Karen, this output was recorded "live" in the studio. This album is very personal and perhaps Woodward's most emotional performance, putting Davey solidly amongst the best songwriters of his generation. 

Music Biz 101 & More is the only radio show in America that focuses on the business side of the music & entertainment worlds. Hosted by William Paterson University's Dr. Stephen Marcone & Professor David Kirk Philp, the show airs live each Wednesday at 8pm on WPSC-FM, Brave New Radio. In this episode, we talk all about the 2020 election with Run DMC's Darryl McDaniels, Headcount's Andy Bernstein, and Brilliant Corners Artist Management's Jordan Kurland. We discuss voter registration, the artist side of getting out the vote, some Hip Hop history when it comes to voting, and much more. This is really great and timely (unless you're listening in 2022, then it's historical). Listen and love it. Intro song: "All The Wrong Places" by Zach Matari Exit song: "Yalla" by Zach Matari Enjoy the talk, listener tweets, and see what you can get out of this. Like what you hear? Tweet us anytime: twitter.com/MusicBiz101WP Engage and Adore us on The Facebook, The Twitter & Instagram: www.facebook.com/MusicBiz101wp twitter.com/MusicBiz101WP instagram.com/musicbiz101wp/

Amelia Fletcher and Rob Pursey in conversation with David Eastaugh Amelia Fletcher has been the frontwoman of an evolving series of pop groups from the 1980s to the present. Her bands included Talulah Gosh, Heavenly, Marine Research, Tender Trap, and, since 2014, The Catenary Wires. She also sang backing vocals for The Wedding Present early in their career and on the Hefner album We Love the City. She toured with, and was guest vocalist for The Pooh Sticks on their albums Orgasm, Million Seller and The Great White Wonder, and in 1988 released a single under her own name, "Can You Keep a Secret?" She has also appeared as a guest vocalist for The 6ths on the song "Looking For Love (In the Hall Of Mirrors)", on both Bugbear recordings, a single by The Hit Parade, "Why Do You Have to Go Out With Him When You Could Go Out With Me?" single by The Brilliant Corners, and the 2000 album Trend by Oxford band The Relationships. Since 2002 she has been keyboardist for Sportique. Amelia Fletcher was also an early promoter of Scottish act Biswho Heavenly performed alongside and whose lead singer, Manda Rin, repeatedly cited Amelia as one of her inspirations/influences.

Cornell Belcher is the President of Brilliant Corners Research and Strategies. He joins Doug Thornell to discuss several topics ranging from the 2020 election to race and politics. They touch on the messaging around defunding the police and how that will translate at the polls.Cornell Belcher is President of Brilliant Corners Research & Strategies, a published author (A Black Man in the White House), political contributor to NBC/MSNBC, and one of the premier strategists in national progressive politics as well as in the rebranding of corporate America. Cornell served as Pollster for the DNC under Chairman Howard Dean making him the first minority to lead in that role for either national Party. He also served on the polling team for both groundbreaking Obama presidential campaigns. Over the years, Cornell has worked with both Senate and House Democrats as Senior Political Advisor to the DSCC in the 2002 cycle and Special Projects Director for the DCCC in the 2000 cycle. Cornell also served as Women VOTE! Coordinator for EMILY's List in the 1998 cycle, helping to put together communication and GOTV operations targeting women voters all over the country.Cornell is an experienced hand at campaign politics and has years of expertise in quantitative and qualitative research, message development, and product and behavioral insight. Founding brilliant corners in 2002, he is considered the vanguard for demographic trends among the emerging younger and browner America. In 2008 and 2012, youth and minority voters over-indexed and changed the face of the electorate helping not only President Obama, but progressive candidates and issues up and down the ballot; indeed in 2012 African American voter turnout surpassed that of whites for the first time in history.  Both historic watershed moments that greatly depended on Cornell's nonconformist contributing work. As the pollster for the Democratic National Committee, he was able to ignore beltway criticisms and take the national Party's research into previously unchartered directions, exploring how best to challenge Republicans' strengths among voters in supposedly untouchable "red states," particularly "faith" or "values first" voters. Under Governor Dean's leadership, Cornell helped to construct a savvy framework for the visionary 50 State Strategy that expanded the Democratic footprint on the electoral map and ultimately produced a Democratic realignment. Asked about Cornell's role, Governor Dean was quoted in the Washington Post as saying that the research conducted by brilliant corners for the DNC was "the best poll [he'd] seen in ten years."  

Watch the video of Thom spinning those musical discs on the Bside FB - www.facebook.com/BsidePodcasts/ Follow the instagram for updates/news/vinyl and general music chat - www.instagram.com/bsidepodcasts/ Ep. 30 Thom Parris As a regular name on the UK circuit, a resident at Brilliant Corners and Noods Radio, and now the curator of his very own record label International Extraterrestrial Music, this man's pedigree needs no overstatement. This year saw his label's first release from Herb LF which shows great promise for its future, while the website itself is devoted to the promotion of music from across our world … and beyond … check out the goods yourself at www.internationalextraterrestrial.com. From the most expensive record he ever purchased, to a $2 jazz house bargain to Pelé themed Brazilian bangers; this mix uncovers some of the jewels buried in the bowels of Thom's collection. His taste varies from the deep and dubby all the way through to the floaty euphoric areas of dance music, all the while maintaining a profound interest in the percussive aspects music. We're here again to bring you all of your quarantine needs. Thom Parris soundcloud - https://soundcloud.com/thom-parris Thom Parris instagram - https://www.instagram.com/thomparris/?hl=en International Extraterrestrial Music facebook group - https://www.facebook.com/groups/1872493076158113/ International Extraterrestrial Music website - https://www.internationalextraterrestrial.com/ Thanks to Molly Hickey for the beautiful artwork as always. www.instagram.com/mollyth.art/

Sara and Hugh talk to Mick Bonner and Rose Baker of Moving on Music about the film programme in their forthcoming jazz and new music festival beginning on the 27th February 2020. We talked about jazz on film, how to track down rare films, and how audiences find excitement in being challenged. Featuring Shirley Clarke's 1961 classic, The Connection, and a documentary on the South African Queen of Jazz, Miriam Makeba, and the King of Free Jazz Cecil Taylor, the programme is screening the finest finds from screen jazz. Sara's famous NI indie film round up finishes things off nicely. Let's show films, you jazz mavericks! Support the show (https://www.filmhubni.org/contact/)

A shortage of affordable housing is causing displacement of residents and driving some into homelessness. While policymakers are trying to find ways to preserve affordable units and to encourage the development of new ones, some nonprofit organizations have figured out how to make more affordable housing available faster and cheaper. On this Changemakers LA episode, we discuss a couple of innovative housing solutions. We are proud to have Brilliant Corners and Genesis LA join us to discuss what they’re doing to make housing development faster and less expensive. Our guests joining us for this episode are: William F. Pickel, Chief Executive Officer of Brilliant Corners Tom De Simone, President and CEO of Genesis LA In this episode, you will learn: How Genesis LA is helping developers buy property quickly and Brilliant Corners is turning storage facilities, office buildings and churches into housing What infill development is and the opportunity it can provide for more housing Why rental subsidies are important to get more housing units online quickly If you would like to learn more about how we provide capital support for innovative housing at LISC LA, please visit us online at https://www.lisc.org/los-angeles and follow us on twitter @LISC_LA

Decisive Podcast Munich Exclusive episode #56, Its my pleasure to introduce to you a young gentleman I met nearly 4 years ago, while shopping for studio gear in Munich. We introduced ourselves then quickly got into a conversation about his dj analog dj mixer (Urei) that needed repair or modified. He goes by the name Constantin Wittgenstein, born in 1994 in Munich, Germany and is currently studying Creative Music Technology at the Metropolitan in London, Uk. He started playing piano and the drums at the age of 5 and discovered the love for jazz, electronic and minimalistic music later on in school. From 12 on, he started with his own productions being influenced by jazz, funk, disco, soul, techno and house. He also works as a DJ since nine years continuously digging and exploring “music for the mind, body and soul”. Over the last couple of years he played at various clubs including the late Bob Beaman, Munich and Brilliant Corners, London. Thanks to Wittgenstein for this spiritual vibe and welcome to the Decisive Family. Tracklist: 1. Black Jazz Consortium Resonate feat. Christina Wheeler (Evolution of Light) PS003, November 8, 2019 2. Black Jazz Consortium Be and Not Know feat. Christina Wheeler (Codes and Metaphors 2) SPMCM002, December 6, 2012 3. Strictly Jazz Unit Passing You By (The Tempest) SJU Muzic US, July 5 2019 4. Unknown Artist IIAPEKOG (Russian) Handstamp in Blue (Limited Edition) 2019 5. IO Mulen Denote (MULENLP1.2) April 26, 2019 6. Black Jazz Consortium ? Focus feat. Christina Wheeler (Evolution of Light) PS003, November 8, 2019 7. Jay Daniel No love Lost (Scorpio Rising EP) Sound Signature- SS0151, September 2013 8. Freddy Fresh ? Take Your Time (Child Eight) October 25, 2019 9. Ge-Ology Escape On The Lodge Freeway (Moon Circuitry EP) Sound Signature SS058, October 30, 2015 This Mix is dedicated to all the wonderful people I had the possibility of meeting and sharing many musical memories. (Viktor, Laura, Leonille, Mark, David, Alex and many more). Many thanks to Roberto for giving me the opportunity to share the music and be part of the Decisive Network.This mix has various musical textures with something old and new. Exploring the music from Chicago, New York and Detroit from 1980 til present. I like the music to be conscious and to make the listener aware of all different kind of frequencies. -Music for your Mind, Body and Soul- Links: https://soundcloud.com/constantinwittgenstein https://www.mixcloud.com/BrilliantCorners/wittgenstein-270318/ https://www.facebook.com/simplyjefferson/ Facebook Group Members - http://tinyurl.com/yb9zl5q5 Facebook Artist Page - http://tinyurl.com/yb9vf8z3 Twitter - twitter.com/#!/robertoIngram contact@inspiration-network.com roberto@inspiration-network.com

Decisive Podcast Munich Exclusive episode #56, Its my pleasure to introduce to you a young gentleman I met nearly 4 years ago, while shopping for studio gear in Munich. We introduced ourselves then quickly got into a conversation about his dj analog dj mixer (Urei) that needed repair or modified. He goes by the name Constantin Wittgenstein, born in 1994 in Munich, Germany and is currently studying Creative Music Technology at the Metropolitan in London, Uk. He started playing piano and the drums at the age of 5 and discovered the love for jazz, electronic and minimalistic music later on in school. From 12 on, he started with his own productions being influenced by jazz, funk, disco, soul, techno and house. He also works as a DJ since nine years continuously digging and exploring “music for the mind, body and soul”. Over the last couple of years he played at various clubs including the late Bob Beaman, Munich and Brilliant Corners, London. Thanks to Wittgenstein for this spiritual vibe and welcome to the Decisive Family. Tracklist: 1. Black Jazz Consortium Resonate feat. Christina Wheeler (Evolution of Light) PS003, November 8, 2019 2. Black Jazz Consortium Be and Not Know feat. Christina Wheeler (Codes and Metaphors 2) SPMCM002, December 6, 2012 3. Strictly Jazz Unit Passing You By (The Tempest) SJU Muzic US, July 5 2019 4. Unknown Artist IIAPEKOG (Russian) Handstamp in Blue (Limited Edition) 2019 5. IO Mulen Denote (MULENLP1.2) April 26, 2019 6. Black Jazz Consortium ? Focus feat. Christina Wheeler (Evolution of Light) PS003, November 8, 2019 7. Jay Daniel No love Lost (Scorpio Rising EP) Sound Signature- SS0151, September 2013 8. Freddy Fresh ? Take Your Time (Child Eight) October 25, 2019 9. Ge-Ology Escape On The Lodge Freeway (Moon Circuitry EP) Sound Signature SS058, October 30, 2015 This Mix is dedicated to all the wonderful people I had the possibility of meeting and sharing many musical memories. (Viktor, Laura, Leonille, Mark, David, Alex and many more). Many thanks to Roberto for giving me the opportunity to share the music and be part of the Decisive Network.This mix has various musical textures with something old and new. Exploring the music from Chicago, New York and Detroit from 1980 til present. I like the music to be conscious and to make the listener aware of all different kind of frequencies. -Music for your Mind, Body and Soul- Links: https://soundcloud.com/constantinwittgenstein https://www.mixcloud.com/BrilliantCorners/wittgenstein-270318/ https://www.facebook.com/simplyjefferson/ Facebook Group Members - http://tinyurl.com/yb9zl5q5 Facebook Artist Page - http://tinyurl.com/yb9vf8z3 Twitter - twitter.com/#!/robertoIngram contact@inspiration-network.com roberto@inspiration-network.com

Mixed by Phil Mison (Cantoma) at Curtis Audiophile Cafe on 30/05/2019. Llegué a Phil Mison escuchando sus sesiones en Brilliant Corners, contaban una historia tan bonita que en algún punto decidí escribirle y me comentó que visitaría Barcelona para grabar su próximo disco. Guille aceptó mi propuesta para hacer el Legacy en el Curtis Audiophile Cafe y aquí está el registro de aquella noche memorable. Con este episodio cerramos la primera temporada, recuerden follow, play & share

John Parish in conversation with David Eastaugh Parish is best known for his work with singer-songwriter PJ Harvey. He has also worked with many other bands including Eels, Tracy Chapman, Giant Sand, and Sparklehorse.  His first record release was a single "Mind Made" by the British new wave band, Thieves Like Us (1980). In 1982, he formed the band Automatic Dlamini, with Rob Ellis. The changing line-up of Automatic Dlamini included Polly Harvey from 1988 until 1991. Automatic Dlamini recorded three albums: The D is For Drum (1987),Here Catch Shouted his Father (1990 – unreleased but available as a bootleg), and From A Diva to a Diver(1992). By the time From A Diva to a Diver was released, Harvey had left to form the PJ Harvey trio with ex-Dlamini members Rob Ellis and Ian Olliver, and Parish was playing guitar with Marc Moreland's band The Ensenada Joyride. In 1986 Parish had begun a parallel career as a record producer working with UK bands including The Chesterfields, The Brilliant Corners, The Caretaker Race and The Becketts. In 1995 he co-produced PJ Harvey's "To Bring You My Love", on which he also played guitar, drums, percussion and organ. He co-wrote and produced The Eels album Souljacker (2001), and played guitar on the world tour that accompanied its release. He has produced and/or played on a number of Howe Gelb / Giant Sand albums and frequently appears onstage with them. Parish produced the Giant Sandalbum Chore of Enchantment (2000), and a photograph of his wedding in Tucson in 1998 was used as the cover for the 2011 re-release of the record. He also began working as a film composer in 1998, writing the score for Belgian director Patrice Toye's debut film, Rosie. Parish's score won the Jury Special Appreciation prize at the 1999 Bonn Film & TV Music Biennale. He has since scored other films and a Dutch seven-part TV drama Waltz(2006). Parish has now worked on seven albums with Harvey, including two co-written albums: Dance Hall at Louse Point (1996) and A Woman A Man Walked By (2009). He played in the PJ Harvey touring band (guitar/drums/keyboards) from 1994 – 1999, from 2009 – 2012 and from 2015 - 2017. He co-produced and played on To Bring You My Love (1995),White Chalk (2007), the Mercury Prize winning Let England Shake (2011) and The Hope Six Demolition Project (2016).

Istanbul born Debora Ipekel has been slowly but surely bubbling up on the London scene for a few years. She is an NTS and Worldwide FM host who digs deep during sets at cultured spots like Brilliant Corners, and also runs her Zel Zele Records. Mixing up anything from trippy fusion, Turkish folk and psych, jazz-funk or kraut, she plots worldly wonders and cosmic trips that are richly rewarding. The label is just as adventurous and far out, and reaches as far back into the past as it looks to the future. Ahead of her playing for us at Dekmantel Selectors, Debora invites us into her world with a 100 minute mix that deals in exotic, tropical grooves and traditional instrumentation. It’s funk, jazz and soul music that comes from a different, more psychedelic perspective than the norm, but is still drenched in so much sun and warmth it makes you feel like you’ve arrived on our little Croatian beach a few weeks early.

Would you please help us improve the show by voting for your favourite track from this episode?Walk On ByGod Bless the Ottoman EmpireBodyFilm SoundtrackHey LucianiDub Be Good To MeSailVote now! Welcome to the show with ex-Peel Session stars The Suncharms. Luckily for us the band has reformed following their split up in the '90s and are currently recording new material. There is an LP in the wings from The Suncharms. The band has been in touch and we are certainly looking forward to their upcoming release. Read on to discover more about the band and what to expect from them in the future. Also in the show we have Richard's father drop in on the studio and he stays for the entire show! Such is Old Man's musical taste that he offers a few nuggets of wisdom on the tracks in today's show. However, it's not all beer and skittles. After playing the Eastern European classic from A Hawk and A Hacksaw, he cites it obvious middle Eastern influences and then rambles on about Kashmir for a bit. Did you listen in Geography lessons all those years ago? And you always said my geography knowledge is appalling! We are always on the lookout for suggestions from you, our listeners. So, if you've got a track you'd like to hear on the show please do get in touch. Track Listing Walk On By NoosaGod Bless the Ottoman Empire played from the vinyl A Hawk and A HacksawBody SydFilm Soundtrack The SuncharmsHey Luciani played from the vinyl The FallDub Be Good To Me Beats InternationalSail Noosa [wpcd_coupon id=6553] Old Man Ian recommends... The Suncharms - straight out of Sheffield FTBOTRB's impression of The Suncharms Thanks to Marcus of the band for getting in touch with us here at Record Box HQ. We loved The Suncharms here, their musical innocence and melodies hark back to an era when flares were back in fashion. And people wore elephant leg jeans - remember those? A time when we all had floppy bangs of hair and wore long sleeve tee's printed all over with flowers. We all shopped at Affleck's Palace and spent embarrassing amounts of time in Vinyl Exchange. Janglie indie pop at its best describes The Suncharms brilliantly. It's an authentic sound and one we are hoping they are going to be able to replicate on their upcoming debut album release. As told by Slumberland Records Sheffield's The Suncharms formed in 1989, inspired by the flourishing indiepop scene. Also by the sonic experimentation welling-up around them that would soon come to be known as shoegaze. Following initial garage rehearsals the band soon found themselves supporting indiepop legends such as The Brilliant Corners, St Christopher, The Orchids and The Television Personalities. By 1990 the first Suncharms demo tape had secured support slots with emerging Shoegaze bands such as Cranes, Catherine Wheel and Curve which brought the attention of Wilde Club records and by June 1991 the first EP was released to favorable reviews, reaching a fairly respectable No.23 in the UK indie charts.  https://www.youtube.com/watch?v=GZXXSksKG8A&feature=youtu.be In November 1991 the excellent second EP Tranquil Day was released, which led to a Peel session in April 1992. The Slumberland Records crew LOVED those two EPs. They had all the guitar overload we craved, but wrapped around some unusually crafty pop tunes. Less ethereal or abstract than a lot of shoegaze, accurate reference points might include early Ride or The Boo Radleys. We first approached the band about the possibility of releasing something way back in 1992. Sadly the familiar scenario of band members lives going in different directions began to hamper progress so a release never materialised. In April 1993 The Suncharms played the last gig of their initial phase.  Life after the split Over the intervening years The Suncharms name was kept alive by a small group of indie enthusiasts, websites, online radio stations and bloggers. In 2014 Richard met Roque Ruiz of Cloudberry Rec...

Adriana is our guest for the episode no. 11 of the Think LOUD Podcast series.

 This time we fly across the Indian Ocean, direction Melbourne, Australia, where Adriana is based and is known for delivering the goods to world music’s fans.
 Melbourne has been on the radar for some years now as a hub for music & art, and surely the 40 years old PBS radio station has played a big role to nurture talents in the vibey city.
 Adriana has been a regular on the radio for the past 3 years with her show Opalakia. In the last years, Adriana played at the iconic online radios NTS, Red Light Radio, Noods, as well as respected venues such as Brilliant Corners in London. 

Very excited to share with you our first guest from Australia!

 We’re loving the eclecticism of the mix, sailing at ease between genres and continents, while keeping a warm atmosphere. Guaranteed to put a smile on your face! Featuring tracks from 

Best enjoyed with Melbs style brewed coffee.
 Enjoy the ride !
 >> Adriana Fb : http://tiny.cc/71113y 
 >> Adriana SC : http://tiny.cc/n3113y 
>> Opalakia : http://tiny.cc/v2ww5y (Opalakia radio every Tuesday evening)

The Brilliant Corners were a British indie pop band from Bristol who recorded throughout the 1980s and into the early 1990s. The group was formed in 1983, taking the name from the Thelonious Monk jazz album, Brilliant Corners. The line-up included David Woodward (b. Avonmouth, Bristol, England; vocals, guitar), Chris Galvin (1959 – 22 December 1998; bass guitar), Winston Forbes (lead guitar, percussion, backing vocals), Bob Morris (drums) and Dan (occasional trumpet and keyboards). A later addition was Phil Elvins on guitar. The band's first releases were early examples of indie pop, with three singles being released in 1984 on their own SS20 label. Their first (mini-)album, Growing Up Absurd, appeared the following year. With an explosion of indie pop groups in 1986, their May release Fruit Machine EP gained them both attention and radio airplay, followed by a second mini-album, What's In A Word. "Brian Rix", a re-recorded version of a track from the LP, with added trumpet, and a tribute to Rix, the "king of farce", was issued as a single, the proceeds going to Mencap, the charity of which Rix was chairman. The video, featuring Woodward running Rix-like around a couch with his trousers around his ankles, was shown on The Tube, further raising the band's profile. In March 1988, the band set up another label, McQueen, and released third album, Somebody Up There Likes Me, followed by a collection of their sought-after early singles, Everything I Ever Wanted. Two more albums followed in 1989 (Joy Ride) and 1990 (Hooked), followed by a second compilation, Creamy Stuff, in 1991. They released A History Of White Trash in 1993 before splitting up. Woodward and Galvin formed the Experimental Pop Band in 1995. Galvin died from cancer in 1998.

London’s eclectic party collective Good Block craft our latest podcast. Recorded in the early hours at an undisclosed office space in South East London, Good Block’s Richard Foe and A.Watson deliver a B2B mix of balearic, chug, street soul, synth pop and a couple of original productions and edits. A couple of notable London dates coming up are Sat 24th Nov with DJ Haus, Skatebard and more at The Cause and Fri 14th Dec at Brilliant Corners with Bonnefooi (Rush Hour / Red Light Radio) www.soundcloud.com/good-block https://www.facebook.com/goodblocklondon/ https://www.dropbox.com/sh/rsyz7nk4zjb9skv/AAAEsfGiJdgafHyKZUhS820Aa?dl=0

Formed in 1990 the band supported indie pop legends such as The Brilliant Corners, St Christopher, The Orchids and The Television Personalities plus gigs with emerging Shoegaze bands such as Cranes, Catherine Wheel and Curve which brought the attention of Wilde Club records.By June 1991 the first EP ''Sparkle'' was released.In November 1991 the second EP "Tranquil Day" was released which then led to a Peel session in April 1992.Slumberland Records first approached the band about the possibility of releasing something way back in 1992 but sadly a release never materialised.In April 1993 The Suncharms played the last gig of their initial phase.In 2014 Cloudberry Records contacted and made plans to release a retrospective compilation CD of the two EPs plus assorted demos and previously unreleased songs.In 2015 the band reunited to start collecting old recordings and assorted memorabilia to make the CD and booklet.

Lagalisti: Flyin' Hawk-Walter Thomas-Coleman Hawkins 1945 Fly me to the Moon-Bart Howard-Oscar Peterson, Tristeza on piano 1970 Suma daga-Moses Hightower-Fjallaloft 2017 Senn er vor-Tómas R Einarsson/Steinn Steinarr-Bongó 2016 Mononoke-Baldvin Snær Hlynsson-Renewal 2017 Springtime-Donald Fagen-Kamakiriad 1993 Change ya life-Lalah Hathaway 2018 Deep in me-Blues for Memo-David Murray 2018 Ba-lue bolivar ba-lues-Thelonius Monk, Brilliant Corners 1956

Lagalisti: Flyin' Hawk-Walter Thomas-Coleman Hawkins 1945 Fly me to the Moon-Bart Howard-Oscar Peterson, Tristeza on piano 1970 Suma daga-Moses Hightower-Fjallaloft 2017 Senn er vor-Tómas R Einarsson/Steinn Steinarr-Bongó 2016 Mononoke-Baldvin Snær Hlynsson-Renewal 2017 Springtime-Donald Fagen-Kamakiriad 1993 Change ya life-Lalah Hathaway 2018 Deep in me-Blues for Memo-David Murray 2018 Ba-lue bolivar ba-lues-Thelonius Monk, Brilliant Corners 1956

Cornell Belcher, the political pollster and president of brilliant corners Research and Strategies, joins The Great Battlefield to discuss his experiences working for the DNC under chairman Howard Dean, as well as both of Obama's presidential campaigns. He also touches upon the state of race relations in the United States, and why sincerity is a crucial character trait for a candidate to possess. | Episode 123

We discuss one of the most difficult compositions that mentally broke the Monk's band, our favorite Bops and Pannonica de Koenigswarter.

Catch me playing at Sterns Music x Sterns Edits at Brilliant Corners, London on Wed 17 Jan https://www.facebook.com/events/1864093027146551/?ref=br_rs https://www.residentadvisor.net/events/1037993 Originally broadcast on Worldwide FM on 30/09/2017. The sounds of my first two Sterns Edits releases plus my favourite afro house … Continue reading → The post Turned On Live 055: Worldwide FM x Sterns Edits appeared first on Turned On.

Nesta edição: The Fools, Nikki Sudden, Trashcan Sinatras, The Daintees, Diesel Park West, Win, Dolly Mixture, The Sandkings, Brilliant Corners, Floy Joy, The Sound, C-47 TracklistThe Fools - What I Tell Myself Nikki Sudden - Road of Broken Dreams Trashcan Sinatras - Obscurity Knocks The Daintees - Crocodile Cryer Diesel Park West - When the Hoodoo comes Win - Shampoo Tears Dolly Mixture - Miss Candy Twist The Sandkings - Rain Brilliant Corners - Why Do You Have To Go Out With Him Floy Joy - Weak In The Presence Of Beauty The Sound - Hot House C-47 - Vazio de amor Também disponível via iTunes e TuneIn RadioFeed RSS: clique aquiWebsite: 80 WATTSEmail: programa80watts@gmail.comMúsica de fundo:80"s Interlude, by Fanas Agradecimentos aos nossos produtores virtuais pelo apoio:Fabiano F. M. Cordeiro José Paulo NetoApoie o 80 WATTS também via Patreon ou Apoia.se!    Muito obrigado aos nossos patrocinadores: Fabiano Martins Cordeiro e José Paulo Neto

Next up in our Monday series is an edition which sits close to our hearts, in fact, it sits so damn that it might as well be inside them. Ally is behind the Tropical party series which take place in both Glasgow and London and has seen the likes of Telephones, Marcellus Pittman, Tolouse Low Trax, Samo DJ, Wolf Muller and many more all play. Now based in London the past twelve months have seen him make appearances at Brilliant Corners, Dance Tunnel, and Oval Space alongside international excursions where he appeared as part of the Off Sonar party programme and in Greece. This mix sees a rejection of dancefloor orientated music and allows Ally to dig deeper into the depths of obscurity featuring music from the likes of Blackest Ever Black, Robbie Basho, Udacha, Vangelis Katsoulis and more. There is also forthcoming music on Optimo and Antinote buried deep within the mix. From our editor here at Ransom Note to your headphones...

To be able to call Giles Peterson a fan is not a privilege shared by many. Howerver Indonesia's DJ Dea or Dea Barandana as he is known is one such artist who can add his name to the list. His unique blend of island disco, percussive dancefloor music, house and electronics makes him a particularly pleasant listen amidst the summer months. His sets are charismatic, energetic and engaging. In the coming months he is set to appear at Brilliant Corners, Love International, Ibiza and Worldwide Festival.

I wish I had the time to write!! With one of my 8 month old twin boys perched on my knee, and the other screaming in his chair it's a tad tricky. However my weekly music refuge on a Sunday night is a little sanctuary from all the joys and strains of parenthood. The Cosmic Jam is a twenty one mile round trip by bike and an hour and three quarter journey to the far reaches of my musical mind... or something like that... still. I also am enjoying getting out there again to play for the people and this Saturday it's a welcome return to the lovely Brilliant Corners for a strictly vinyl session on their audiophile system along side the Feeling Good don Harv Nagi and Southern Soul Festival supremo Marko Pavlovic. Two of London's most dedicated purveyors of jazzual radio sounds teaming up for a proper session. Check us if you can! https://www.facebook.com/events/1661667644100263/ Until next time... Peace! 1. Terrace Martin - Think Of You 2. Lars Bartkuhn - Nomad 3. Inga - Mamae Oxum 4. Jeb Loy Nichols - To Be Rich Should Be A Crime 5. Quintaessencia - Cravo E Canela 6. Jazzwheel - Broadway No.7 7. Sonar - Parati 8. Namaz - Mystic Latin 9. Burnier & Cartier - Mirandolina 10. Stan Getz - Wives And Lovers 11. Flavia Coelho ft. Tony Allen - People Dansa 12. Brandee Younger - Soul Vibration 13. Astrud Gilberto - Beginnings 14. Lars Bartkuhn - Nomad (reprise) 15. Chantae Cann - I Change 16. Woody Shaw - Love Dance 17. Howdy Moon - And You Never Knew 18. Pete Josef - Many Signs 19. Terrace Martin - Valdez Off Crenshaw 20. Midnight Star - Follow The Path 21. Carlos Dafé - Escorpiao 22. Andrae Crouch - Lookin' For You 23. Ozone - You, On My Mind 24. Harvey Mason - Say It Again

Romayne Rubinas Dorsey lives in Bloomington, Indiana. Her work has appeared in Brilliant Corners, Sou'Wester and the Louisville Review, and she teaches in IU's creative writing program.

Romayne Rubinas Dorsey lives in Bloomington, Indiana. Her work has appeared in Brilliant Corners, Sou'Wester and the Louisville Review, and she teaches in IU's creative writing program.

Romayne Rubinas Dorsey lives in Bloomington, Indiana. Her work has appeared in Brilliant Corners, Sou'Wester and the Louisville Review, and she teaches in IU's creative writing program.

This is one of Monk's most important recordings and set the stage for his return to the forefront of Jazz. In the early 50's Monk, although his recordings for Blue Note and Prestige are now classics, was brushed aside by the forces in Jazz and didn't work very much. He was generally dismissed as a mildly interesting eccentric...nothing more. He did, however have a small following among musicians and fans. It wasn't until Orrin Keepnews, one of the owners of Riverside Records, bought out Monk's contract from Prestige and established a trusting relationship with Thelonious. Keepnews recorded two fine trio albums, the first being all Duke Ellington tunes and the second an album of Monk selected standards. They sold reasonably well and people began to take notice of this neglected genius. The third album is tonight's Feature....and it's the 'real deal'. Monk's music played by a band of his favourite players including Sonny Rollins,Max Roach, Oscar Pettiford and the great unheralded alto saxophonist Ernie Henry. One tune features Clark Terry, Monk's good friend and one of his favourite trumpet players. One tune is a piano solo on a standard (I Surrender Dear) done in one take. This album called "Brilliant Corners" brought Monk back from obscurity and was the beginning of his ascent to greatness....his work permit was granted to play in New York clubs and his quartet with John Coltrane was right around the corner.....the rest as they say is history.

THERE IS ALWAYS METHOD TO MADNESS, MADERA... Madera welcomes guest dj, producer, record label owner, venue partner, sushi chef & radio host KAY SUZUKI (Afrobuddha, Round In Motion, Brilliant Corners & NTS) picking tunes and discussing the considerable philosophy behind all that he does. A table!