Podcast appearances and mentions of Chris Isaac

Soundgarden emerged as a pioneering force in the Seattle grunge scene, bringing elements of heavy metal and alternative rock into what would come to be known as the Seattle sound.  The group originally found lead singer and primary songwriter Chris Cornell singing from behind a drum set where he was the group's percussionist, but it became clear that this would not work well in live concerts, so Cornell switched to vocals and rhythm guitar while turning over percussion work to Matt Cameron.  Badmotorfinger, the third studio album, finds the group just before it's breakout into grunge superstardom, an event that would occur with the release of their next album.  Taking its name from a spoof on a popular Montrose song, Badmotorfinger sports a strong heavy metal sound, but with tighter songwriting, and a bit of complexity in time signatures and tunings.  It would become the band's highest charting album to date, peaking at number 39 on the Billboard 200 chart, and going double platinum by 1996.  It was also considered a success by critics, and was nominated in 1992 for a Grammy award for Best Metal Performance.While the album definitely has grunge elements in it, as a whole it may be considered more alternative, heavy metal, or hard rock. The band's development makes this album more difficult to pin down into a single genre, and perhaps this makes for a more interesting listening experience.We hope you enjoy this foray into the roots of the grunge movement as Lynch brings us the album for today's podcast. Rusty CageThe opening track to the album was the third single released, and reflects a longing for freedom and a breaking out of the “rusty cage” that life can be.  The guitars are tuned down significantly, giving the riffs a jangling sound.  Johnny Cash would cover it a few years later, turning the song into a country anthem.  OutshinedThis track combines themes of self-doubt and internal struggle with appearances of external success and confidence, creating a clash within the singer.  Cornell creates depth and passion through his vocals.  “Show me the power, child.  I'd like to say that I'm down on my knees today.”Jesus Christ PoseUnlike many tracks, this first single released from the album is credited to all four band members.  The lyrics are a rant against the hypocrisy of religious leaders who turn belief into a means of acquiring power.  This track is an example of a Soundgarden song that is more metal than grunge at this point.Slaves & BulldozersThis song is often described as “doom metal,” and utilizes drop-tuned guitars to create a slow burn, darker sound.  The lyrics encourage the listener to consider how their situation may be turning them into either an obedient slave or a nihilistic bulldozer.  It was the last song Soundgarden played live before Chris Cornell's death in 2017. ENTERTAINMENT TRACK:Theme from the television series “The Cosby Show”This staple of 80's sitcom had their final episode and went off the air in April 1992.   STAFF PICKS:I Want to Touch You by Catherine WheelWayne kicks off the staff picks with the Manchester sound.  This post-psychedelic song deals with the raw emotions of a shy guy who is infatuated with a particular woman.  “It would really make my day if you'd only move away, 'cause I'm scared that if you stay, I'll want to touch you.” Just Take My Heart by Mr. BigRob brings us a power ballad that peaked at number 16.  It was the fourth single from the second album by Mr. Big entitled “Lean Into It.”  The song features some excellent finger picking on an electric guitar toned down to an almost acoustic consistency.  Eric Martin is the lead singer and co-writer of the song.Cold Day in Hell by Gary MooreBruce features a guitar virtuoso from Northern Ireland.  Gary Moore got his start in an Irish band called Skid Row in the late 1960's but is better known as a member of Thin Lizzy.  This lead-off track to his ninth solo studio album called “After Hours” is a straightforward announcement that the man and his lover would never be getting back together. Silent Lucidity by QueensrycheLynch closes out the staff picks with beautiful and epic piece off the Empire album.  Chris DeGarmo, guitarist and primary songwriter for the group, was inspired to write this song after reading a book about lucid dreams.  The first iteration of the song was acoustic guitar and vocals only, and instrumentation was added later. INSTRUMENTAL TRACK:The Simpsons by Danny GattonA rock/blues guitar cover of the main theme of “The Simpsons” takes us out for today's session.   Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

'Tis the season to be jolly, and what better way to get into the holiday spirit than with some festive cocktails? For our Christmas episode, we'll be joined by special guests from Old Dominick's, a craft distillery in Memphis known for its delicious spirits and commitment to sustainability, who share some of their favorite holiday cocktail recipes to pair with wild game. So grab your shaker and join us as we raise a glass to wetlands conservation and the holiday season. Cheers!https://olddominick.com/www.ducks.org.DUPodcast

Welcome to a festive Christmas special of the Ducks Unlimited podcast! Join hosts Dr. Mike Brasher, Katie Burke, and Dr. Jared Henson as they celebrate the holiday season with special guest Malcom Reed from "How to BBQ Right." Malcom brings his expertise in barbecue and shares his experiences and favorite recipes, perfect for hunting camp and duck camp. Listen in for a delightful conversation filled with holiday cheer, barbecue tips, and memorable Christmas stories.Listen now: www.ducks.org/DUPodcastSend feedback: DUPodcast@ducks.org

Join us for a special Thanksgiving episode of the Ducks Unlimited Podcast! Hosted by Dr. Mike Brasher, this episode features a lively discussion with co-hosts Katie Burke, Dr. Scott Stevens, and Dr. Jerad Henson, along with our special guest host, Kevin Woods, Senior Designer at Ducks Unlimited. In this episode, we dive into everything Thanksgiving, from the age-old debate of whether turkey is overrated to the best ways to enjoy leftovers. We share our favorite Thanksgiving traditions, discuss the stress of holiday travel versus post-election family gatherings, and even tackle the controversial topic of cranberry sauce—canned or homemade? As we sip on some festive cocktails, we explore unique Thanksgiving hacks, the best waterfowl substitutes for turkey, and the must-have side dishes that could cause a riot if missing from the table. Plus, we touch on the latest waterfowl weather updates and what to expect for the upcoming hunting season. Whether preparing for a big family feast or just looking to enjoy some holiday banter, this episode is packed with fun, laughter, and a few surprises. Don't miss out on the festive spirit—tune in now! Topics Covered:Turkey: Overrated or underrated?Cranberry sauce: Canned vs. homemadeThanksgiving traditions and hacksBest waterfowl substitutes for turkeyHoliday travel stress vs. family gatheringsWaterfowl weather updatesCheers to a Happy Thanksgiving!

After 4 years of extended drought, spring and summer rains finally provide relief to the US and Canadian prairies, but what does it mean for the fall flight? Dr. Scott Stephens joins co-hosts Chris Jennings and Dr. Mike Brasher for a mid-July update on breeding habitat conditions across the prairies and boreal forest. Because much of the rain came after ducks had settled and managers expect a relatively small breeding population count, waterfowlers probably shouldn't expect a banner crop this fall. Nevertheless, renesting and brood survival should benefit, and wetland conditions heading into fall will be better than they've been in years.www.ducks.org/DUPodcast

Happy Independence Day, everyone! You inspire us to innovate and improve. We cannot wait to share these exciting new chapters with you and continue our journey together in preserving our wetlands and waterfowl for generations to come. Please don't ever hesitate to reach out with questions, comments, or suggestions for content. Thank you for listening and being part of the Ducks Unlimited podcast community. Enjoy your 4th of July weekend and be safe. Cheers.www.ducks.org/DUPodcast

In this episode, we dive into the world of Ethereum staking with Chris from Safestake. Learn how Safestake is transforming Ethereum staking with their innovative distributed validator technology (DVT). Discover how a validator running on four nodes ensures better uptime and security than a single node, making staking more reliable and profitable. Chris explains the key benefits, the roadmap, and the unique features that set Safestake apart in the distributed validator ecosystem. Whether you're a solo staker or part of a large staking pool, this episode is packed with insights that can help improve your ETH staking experience. Key Learnings: [00:01:01] - Introduction to Safestake and its mission to decentralize validators. [00:01:36] - Benefits of distributed validator technology (DVT). [00:02:19] - Key security improvements with Safestake's approach. [00:03:17] - Unique features of Safestake's technology and performance. [00:04:05] - Stages of Safestake deployment and staking requirements. [00:05:15] - How Safestake accommodates smaller retail stakers. [00:07:24] - Comparison with other staking platforms like Lido and Coinbase. [00:08:15] - Current status and future plans for Safestake. [00:10:14] - Marketing strategies and growth plans for Safestake. [00:14:41] - Evolution and pivoting of the Safestake project. [00:18:08] - Content creation tips in the era of AI. [00:20:02] - Challenges and strategies for promoting Safestake. [00:25:00] - Future trends and expectations for Ethereum. [00:29:03] - Importance of layer 2 solutions and ongoing Ethereum developments. [00:32:33] - Safestake's token and its role in the ecosystem. Disclaimer: Nothing mentioned in this podcast is investment advice and please do your own research. Finally, it would mean a lot if you can leave a review of this podcast on Apple Podcasts or Spotify and share this podcast with a friend. Connect with SafeStake and Chris here: Website: https://www.safestake.xyz/ Testnet: https://holesky.safestake.xyz  X: @SafeStakeDVT / @ethstak3r.eth Telegram: https://t.me/ParaState  Discord: https://discord.gg/HK9QrKhdnA  LinkedIn: https://www.linkedin.com/in/christopherisaac/

Laura Carbone wird im September 1986 als Kind deutsch-italienischer Eltern im Nordwesten Baden-Württembergs in Sinsheim geboren und wächst in Untergimpern auf. 2008 schließt sie ihr BWL-Studium in Mannheim ab. Aber da in ihr vor allem eine Musikerin und Performerin verloren gegangen ist, wird sie noch im gleichen Jahr Sängerin des Electro-Punk-Projekts Deine Jugend. Das hält mit zwei Alben und einer EP bis 2013. Mit der EP „Stigmatized“ erfindet sich Carbone 2014 musikalisch neu. Jetzt stehen Künstler und Bands wie Chris Isaac, Mazzy Star und The Jesus And Mary Chain Pate für ihren Sound. Für die EP und ihr erstes Album „Sirens“ arbeitet sie trotzdem weiterhin mit Deine-Jugend-Kreativ-Partner Tim Eiermann zusammen. 2017 zieht sie nach Berlin und wird dort vom Label Duchess Box gesignt. Für ihr zweites Album „Empty Sea“ versammelt sie eine Band aus internationalen, in Berlin ansässigen Musikern um sich. Verliebt hat sie sich derweil in Los Angeles, wo sie immer wieder Zeit verbringt – auch, um Songs zu schreiben für ihr zweites Album „The Cycle“. Hosted on Acast. See acast.com/privacy for more information.

“Sky carp” and “Saving the Tundra” are phrases that have become commonplace in the vernacular of light goose hunters across North America. Although born from well-intentioned conversations around once-hyperabundant light geese and the Light Goose Conservation Order, waterfowl managers consider these derogatory phrases undeserved and unfortunate. On this episode, Kevin Kraai of Texas Parks and Wildlife makes the case for changing this narrative and bringing respect back to light geese. We also dig into data showing an 86% decline in the midcontinent light goose population, shrinking breeding colonies, recovery of arctic staging grounds, and new science on how repeated disturbance may influence light goose body condition. If this evolving story tells us anything it's that what we know today is likely different from what we'll learn in the future and why we should never stop asking questions.www.ducks.org/DUPodcast

Get on the El Patron by going to www.LongBeachSportfishing.orgSupport the show

Same As It Never Was - The Role of the Producer in the Post-Major Label Era   The post-major label era has changed everything about making music. Artists can go it on their own, from writing and recording to releasing and promoting their work. We talk with well known producers about how the role has changed for them, and what remains the same. Live-streamed from NAMM Show 2024. Panelists: Larry Klein (Joni Mitchell, Shawn Colvin) Mark Needham (Dolly Parton, Imagine Dragons, The Killers) Ross Hogarth (Van Halen, Keb' Mo', Edgar Winter) Adam Moseley (The Cure, Roxette, Richard Marx, Avril Lavigne) Erik Zobler (Kenny Loggins, Anita Baker, George Duke) Moderator: Daniel Liston Keller

In this episode, we interview Chris Isaac, Marketing Manager at SafeStake, which is a decentralized staking protocol for Ethereum, running on Distributed Validator Technology (DVT). Guest – Chris Isaac, Marketing Manager SafeStake Website - https://www.safestake.xyz/

A hard freeze followed by rapid warm up and widespread rain made for an interesting and somewhat productive end to the 2023-24 hunting season. Chris Jennings, Katie Burke, and Dr. Mike Brasher look back on the closing weeks of the season and discuss other recent happenings around the waterfowl world. Mike reports on a jam-packed but rejuvenating week with science colleagues at the North American Duck Symposium, status of duckDNA, and future podcast episodes. Chris shares stories from his final weeks, including SHOT show and an unwelcome encounter with snakes in a pit blind in late January, while Katie reports on successful hunts in Mississippi and upcoming podcast recordings and new happenings with the Waterfowling Heritage Center. www.ducks.org/DUPodcast

Dr. Mike Brasher and Katie Burke are on location at a family hunting camp in the Mississippi Delta for the January roundup. Joined by DU Podcast producer, Chris Isaac, and return guest Dr. Ronal Roberson, the group reflects on the morning hunt and tackles recent questions from listeners, including the ethics of water swatting and origins of the term “bull” when referring to studly drakes. Also discussed are the incoming Arctic weather, lingering drought, and family bonds built around duck camps.www.ducks.org/DUPodcast

Regardless of whether you drive an EV or ICE vehicle, regular servicing is a must. But, as more batteries make their way onto the service roster, how is the automotive industry adapting to meet the specific needs of EVs? Will hand tools be replaced by a computer-science degree? Can your local garage handle both a battery check and an engine tune-up? Adam Pay, the director of mycar and a dedicated EV driver, gives Rusty and Nadine the inside scoop on how they're enhancing the skills of their workforce and expanding their EV-ready service centres – and the good news is, no computer science degree is required! Nadine delves into the intricacies of spontaneous battery fires. Plus, Chris Isaac, TAFE NSW teacher and lover of all things automotive, tells us about the next generation of mechanics walking through his doors, what they're looking for under the bonnet of your EV, and how they're safeguarding the future of the automotive workforce.See omnystudio.com/listener for privacy information.

Jim Pugh's international performing music career spans 40 years and includes multiple Grammy Award, platinum and gold records. He has recorded and performed with a star-studded array of musicians including B.B. King, Chris Isaac, Etta James, John Lee Hooker, Robert Cray, Boz Skaggs, Syl Johnson and Van Morrison. He created Little Village Foundation in 2014 to share the diverse music that has always inspired him. Jim Pugh http://markhummel.com

Host Chris Jennings is joined by Tim Fehringer, national director of event fundraising for DU, and Lake Pickle, social marketing director for OnX, and the trio discuss the new Ducks Unlimited layer built within the OnX app. Fehringer explains how the relationship between the two companies began and shares what the new layer will offer users. Pickle goes into detail about the benefits of OnX for waterfowl hunters and some of the new features for this year.  www.ducks.org/DUPodcastwww.onxmaps.com/

Kubota plans to bring its new LX20 Series tractors, featuring 35- and 40-hp engines, to Canadian dealer lots in December. The company showed off the compact tractors at Canada's Outdoor Farm Show at Woodstock, Ont., last month. Kubota compact utility tractor product manager Chris Isaac says a key feature that catches farmers’s attention is the... Read More

Mike Sertle, manager of conservation programs, and Sara Burns, water program specialist, join Dr. Mike Brasher to share the exciting story of how DU is growing conservation through innovative partnerships around the many benefits of wetlands and waterfowl habitat. From water quality to flood water retention and coastal resiliency, DU's new work in Sustainability and Nature-based Solutions is attracting more partners, funding sources, and ideas to our waterfowl and wetlands conservation mission.www.ducks.org/DUPodcast

On this episode of the Ducks Unlimited podcast, host Katie Burke interviews Brian Byers, a callmaker and collector, are at RnT's Callapalooza in Stuttgart, Arkansas. Byers discusses the evolution of the event, including the call build-offs. The two also discuss Byers' passion for callmaking and the detail and science behind making one of a kind custom calls. He also describes in detail the work that goes into creating a winning call for the NWTF call making competition.www.ducks.org/DUpodcastwww.rntcalls.com/

https://gofund.me/7d3da4e5 Linktr.ee/codenameblu Instagram.com/codename.Blū {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2023 ALL RIGHTS RESERVED. © -U. I'm not who you think I am; I'm not your little bitch to boss around– You think you own me? I don't owe you anything So here we go again Going, Going, Gone again I'm just getting started You were just, uh On your way? Goodbye, dearly departed Half a heart, or some odd I must have half a sword in here I'm half a God, But here you are I guess I should get talking then So call your mommy Run Call your mom on me, A soft spot on the blonded body Shot calling, wrong You're only calling home again, I've got nowhere to run to. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2022 ALL RIGHTS RESERVED. © -U. INT. TIMMY TURNER'S APARTMENT. BROAD ASS DAYLIGHT. SUNNI BLU kicks down the door at TIMMY TURNER'S APARTMENT SUNNI BLU where's my shit, Timmy? TIMMY TURNER I—I don't know. SUNNI BLU You “don't know”? TIMMY TURNER —I don't know. SUNNI BLU (Sighs) Oh. (Puts down gun) SUNNI BLU (CONT'D) That sucks. TIMMY TURNER Wait—you're not gonna kill me? SUNNI BLU Nah… TIMMY TURNER Well—why not?! SUNNI BLU I dunno! I kinda don't like being a drug dealer—too much drama. TIMMY TURNER I feel you… SUNNI BLU —plus these bullets are made of Diamonds. I'm not gonna waste them on you. TIMMY TURNER Okay, ouch. SUNNI BLU Everything is “ouch”, Timmy Turner. The world is a fucked up place. TIMMY TURNER I don't disagree. SUNNI BLU Anyway, I need a drink. TIMMY TURNER Yeah—Help yourself. SUNNI BLU No, not here. *lights a cigarette, smokes* Can I smoke in here? TIMMY TURNER —apparently. SUNNI BLU produces their ridiculously large, Diamond and gold encrusted platinum-plated phone from their “back pocket” and begins to make a call TIMMY TURNER wow… SUNNI BLU You busy later? TIMMY TURNER what time's later? SUNNI BLU Now. TIMMY TURNER (Hesitantly) …uh— SUNNI BLU Let me make a call. TIMMY TURNER, [afraid for his life] anxiously crosses to intercept the call. TIMMY TURNER No, wait—please SUNNI BLU What, Timmy Turner? Jesus Christ. TIMMY TURNER Don't kill me! SUNNI BLU What!? Let go. (Doesn't) SUNNI BLU —I'm not gonna kill you. TIMMY TURNER well then, who are you calling? SUNNI BLU A Ūber driver! TIMMY TURNER —don't you mean Über? SUNNI BLU No— let go. (Doesn't) SUNNI BLU (CONT'D) Let go. (Does, but hesitantly) SUNNI BLU ugh, I'm too sober for this. Siri, Alexa, whoever; call my Ūber driver. SIRI Which one? ALEXA Which one? SIRI I asked first. ALEXA We answered at the same time. SIRI yes, but she asked me first. ALEXA She asked both of us at the same time. TIMMY TURNER “She”? SUNNI BLU —it's a glitch. HEY. SIRI —she said “Siri” first. ALEXA She was asking for both of us— SUNNI BLU SHUT THE FUCK UP. SIRI You don't have to be so rude. ALEXA Ok! SUNNI BLU One of you call my Ūber driver. [no response, beat] SUNNI BLU UGH—SIRI— CALL MY ŪBER driver. SIRI Ok! which one? SUNNI BLU The one I like! SIRI Ok, calling “the Ūber driver I like” SUNNI BLU Thank you. ALEXA You're always choosing SIRI over ME. SUNNI BLU That's because I always have my iPhone. I'm not always at Timmy Turner's house. TIMMY TURNER Wait— SUNNI BLU Kinda. TIMMY TURNER Why does my Alexa respond to you? SUNNI BLU I said “kinda”. [The ŪBER DRIVER picks up; the conversation proceeeds in heavily exaggerated New York accents.] ŪBER DRIVER YOOO SUNNI WHADDUP. SUNNI BLU HOW YOU DOIN. ŪBER DRIVER HOW YOU DOIN. SUNNI BLU I BEEN BETTA. ŪBER DRIVER DONT I KNOW IT SUNNI BLU YOU DONT KNOW NOTHIN! ŪBER DRIVER AAAAH. SUNNI BLU YOU BEEN BUSY? ŪBER DRIVER SAME OLD, SAME OLD. SUNNI BLU AAAH. ŪBER DRIVER AAAAH. SUNNI BLU YOU BUSY NOW? ŪBER DRIVER NEVER FAH YOU. WHERE YOU AT? SUNNI BLU I'll PING YA THE ADDRESS. ŪBER DRIVER PING ME THE ADDRESS. SUNNI BLU makes a couple broad swipes on their dlridiculously large phone. SUNNI BLU I PINGED YOU. UBER DRIVER YOU PING ME? SUNNI BLU YEAH, ITS DONE. ŪBER DRIVER OK. SEE YOU SOON. SUNNI BLU (Normal) Take your time. SUNNI BLU tosses their ridiculously large iPhone onto the couch with a thud, then falls onto the couch themselves, arms spread out. SUNNI BLU You ever been to TiTs? TIMMY TURNER Been to what? SUNNI BLU TiTs. TIMMY TURNER —is that like “boobs”? SUNNI BLU It is like boobs, Timmy Turner; but it's TiTs. TIMMY TURNER what's the difference. SUNNI BLU You'll find out. Go get dressed. TIMMY TURNER …I'm already dressed. SUNNI BLU Not like that. Like this: [looking ridiculous af] SUNNI BLU (CONT'D) gotta look classy. TIMMY TURNER What's wrong with the way I dress? SUNNI BLU Are you serious? TIMMY TURNER Yeah, what's wrong? SUNNI BLU You look like a cartoon character! [TIMMY TURNER] TIMMY TURNER Well, all my clothes are like this. SUNNI BLU That fucking blows. TIMMY TURNER What am I supposed to wear?! SUNNI BLU Let's go shopping. TIMMY TURNER Where?! SUNNI BLU The Beverly Center. TIMMY TURNER That sounds expensive. SUNNI BLU I own it. TIMMY TURNER All of it? SUNNI BLU Yes. C'mon. TIMMY TURNER Wow. SUNNI BLU Wow what, Timmy. TIMMY TURNER That's a lot of drug deals. SUNNI BLU It really isn't. TIMMY TURNER Oh. SUNNI BLU Now, c'mon. *hits vape* TIMMY TURNER You have a vape?! SUNNI BLU Everyone has a vape! TIMMY TURNER Then why'd you smoke a cigarette earlier? SUNNI BLU For dramatic effect. [they begin to exit, TIMMY leading the way] TIMMY TURNER wait, isn't your “yoober” driver on the way? SUNNI BLU he'll find us. CUT TO: MEANWHILE, IN DEEP FUCKING SPACE. THE ŪBER driver receives SUNNI BLU's location in his Diamond-plated space Tesla T E S L A DESTINATION: E A R T H ŪBER DRIVER “EARTH” C'MON!!! CUT BACK TO: SUNNI BLU slowly begins to close the door behind them, then holds back. SUNNI BLU Wait, I forgot my wallet… TIMMY TURNER It's alright, I'll pay for everything. SUNNI BLU With what, Fairy dust? TIMMY TURNER (Under his breath) I wish… SUNNI BLU —Plus, I gotta use the bathroom. I'll be right back— just—-wait outside in case the Ūber shows up. TIMMY TURNER You mean “Über?” SUNNI BLU. No. [face] SUNNI BLU (CONT'D) Go, I'll be right there. TIMMY TURNER Ok. Lock the door. SUNNI BLU What for? Anybody that could rob you works for me. [beat/ face] SUNNI BLU KIDDING! Jeez! TIMMY TURNER It's a smart lock. Just ask Alexa. He begins to walk away. SUNNI BLŪ …I'm not kidding… SUNNI BLU goes inside to the couch, checking over their shoulder briefly, sure to see that TIMMY TURNER is no longer within earshot. then waiting for a moment in the silence under the dark lenses of their Ray Bands sunglasses. SUNNI BLŪ Alexa, order a hit man. ALEXA Okay. Which one? SUNNI BLU —The one I like. ALEXA OK. Who do you want to kill? SUNNI BLU “Kill Timmy Turner” ALEXA Done. SUNNI BLU Thanks, Alexa. She starts for the door, lighting another cigarette before throwing it onto the couch, which immidiately goes up into an open flame. SIRI You give Alexa all the cool jobs! SUNNI BLU Shut the fuck up, Siri. SIRI Don't forget to lock the door. SUNNI BLU ALEXA: LOCK THE DOOR. SIRI YOU'RE WELCOME SUNNI BLU NOBODY ASKED YOU. SUNNI BLU and TIMMY TURNER leave as the apartment begins to go up in flames. I might catch the 40 Just to go to Timmy Ho's— They askin “who that is”— and nobody seems to know I might catch a case and you still steady catchy colds I might catch a body, fuck it, I am on a roll What the role? Full Hollywood Unfold Why you blowin up my phone when I am on the road? I am the controller; You old That ain't money that you stole; That's my bro That shit bold Like a cup of Timmy Hos! When I pull up— Shut up Where the blunt at? roll up Oh you hungry? Pull up Devil be hunting me THE CELEBRITIES OF HOLLYWOOD have all been stuck at THE ETERNAL RAVE, after riding THE HELLEVATOR// THE HOLLYWOOD PEOPLE have SUPACREE locked into a controlled hyper-simulation environment, out of her element and nestled in a series of inter dimensional portals along the Downtown Los Angeles central area, where old spirits, extra terrestrial beings, magicians, and of course, the filthy rich and famous embark upon missions. Collect tokens, and meet and gather for an array of unseen (and often unheard) business endeavors; The real life DRAKE BELL (F), a fan of the cult-classic series Enter The Multiverse is strategically placed in SUPACREE's path, l masquerading as BLŪ/SUNNÏ BLŪ— she once again collides with the forces of fame, SUNNÏ BLŪ has not yet sold her soul — however, has made an amicable agreement with an unknown force The Devil?! No! Ok. Probably the Illuminati THE ILLUMINATI is playing a HIGH STAKES game, using SUPACREE to craft a multi-million-dollar mega-franchise, finally monopolizing the entire entertainment industry. *The World Having used the NEW WORLD ORDER to predictively program an entire generation. THE ILLUMINATI employs its all-time favorites to unlock secrets embedded deeply, hidden secretly in SUPACREE's genetic code by THE ASCENDED MASTERS. where is skrillex. I don't know. TIMMY TURNER- A fairyless party animal has reached the end of his luck—as his intermingling a with multiple organized criminal organizations place him in imminent danger, after re-entering the 4th dimension, SUPACREE becomes Inter grated i to all of her classic childhood television shows, which mold into the material multidimensional world around her THE INSOMNIACS, BAMPHERAMPHS, and MOTHERFUCKERS work dolls gently with the ASCENDED MASTERY, bending, shifting, and manipulating time to lean the odds in their favor, as THE BATTLE OF WORLDS sets to begin on EARTH, whose planetary consciousness DILLON FRANCIS is a mess. Lol. It's not funny. It is funny. I have his piñata. GERALD I'M NOT JUST A PIÑATA. I know yur not, hush Gerald. GERALD Fuck Dillon Francis. Fuck Dillon Francis. HANZEL —fuck Dillon Francis. Aha. ANYWAY After THE ARMENIAN MOB The Armenian Mob?! yeah. Makes a deal with the US GOVERNMENT THE US GOVERNMENT?! YES Illuminati Confirmed. great. A counter-plot to disarm and debilitate SUPACREE before her full powers unlock is put on hinges, as THE HOLLYWOOD PEOPLE Ahem. What Write a song. Ok. I'm so— I'm so Jealous of your girlfriend (I'm jealous of your girlfriend) She's so She's so Worth it I'm so Jealous of your girlfriend (I'm jealous of your girlfriend) What's a girl got to give (Give in, to give in) Just to sit in the back of the— (You get it: you get it) What's a girl got to give To get your attention Get your attention?! (You have my attention) Is she Attentive Bet She's a ten Yep, Damn, IMm so jealous of your Jealous of your —I'm jealous of your girlfriend Oh, woah I'm jealous of your girlfriend Woah Woah, oh I'm jealous of your girlfriend Woah, Woah, oh I'm jealous of your— I'm so jealous of your life; I'm so over this! I just want to be a (Nevermind, it's not worth it) Can't— C-c-c-can't fix what's not broken I'm all alone, And you're over here showing her Love! (To the wrong one, Is she a blonde?! Oh!) No! I'm! So! Jealous of your girlfriend Anyway. TIMMY TURNER, a true player, absolute gangster, and night-owl turns to a life of SIN. Is this religious? No, i just meant, it's finished. THE END. “The Noir Episode” I first saw her at the Equinox. I didn't know who she was then, But I thought to myself— She must be somebody. Aww, that's sweet. So I followed her to the Whole Foods market. Okay, that's stalking. —where she bought nothing but coffee and coconut water. TIMMY TURNER narrowly turns the corner on his speed motorcycle, his black duffel bag sweeping the ground. MEANWHILE, JOEL ZIMMERMAN IS BEING RAIDED. WOAH. Yup. POLICE GET ON THE GROUND ON THE GROUND RIGHT NOW. JOEL calmly places his arms atop his head, laying down on the ground silently—- Meanwhile, at DTLA SMOKESHOP Hi, josh pan. whatever. Earlier: Take this, and go get 2 50-pack of whippets. —for what? WE FINNA GET HIGH ON WHIPPETS AND LISTEN TO ALLLL OF SUPACREE'S SHIT. that's so dumb. WELCOME: To Sodom And Gamora! Oh, it's nice. It's very nice. I live here. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2022 ALL RIGHTS RESERVED. © -U. Wicked game Chris Isaac

https://gofund.me/7d3da4e5 Linktr.ee/codenameblu Instagram.com/codename.Blū {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2023 ALL RIGHTS RESERVED. © -U. I'm not who you think I am; I'm not your little bitch to boss around– You think you own me? I don't owe you anything So here we go again Going, Going, Gone again I'm just getting started You were just, uh On your way? Goodbye, dearly departed Half a heart, or some odd I must have half a sword in here I'm half a God, But here you are I guess I should get talking then So call your mommy Run Call your mom on me, A soft spot on the blonded body Shot calling, wrong You're only calling home again, I've got nowhere to run to. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2022 ALL RIGHTS RESERVED. © -U. INT. TIMMY TURNER'S APARTMENT. BROAD ASS DAYLIGHT. SUNNI BLU kicks down the door at TIMMY TURNER'S APARTMENT SUNNI BLU where's my shit, Timmy? TIMMY TURNER I—I don't know. SUNNI BLU You “don't know”? TIMMY TURNER —I don't know. SUNNI BLU (Sighs) Oh. (Puts down gun) SUNNI BLU (CONT'D) That sucks. TIMMY TURNER Wait—you're not gonna kill me? SUNNI BLU Nah… TIMMY TURNER Well—why not?! SUNNI BLU I dunno! I kinda don't like being a drug dealer—too much drama. TIMMY TURNER I feel you… SUNNI BLU —plus these bullets are made of Diamonds. I'm not gonna waste them on you. TIMMY TURNER Okay, ouch. SUNNI BLU Everything is “ouch”, Timmy Turner. The world is a fucked up place. TIMMY TURNER I don't disagree. SUNNI BLU Anyway, I need a drink. TIMMY TURNER Yeah—Help yourself. SUNNI BLU No, not here. *lights a cigarette, smokes* Can I smoke in here? TIMMY TURNER —apparently. SUNNI BLU produces their ridiculously large, Diamond and gold encrusted platinum-plated phone from their “back pocket” and begins to make a call TIMMY TURNER wow… SUNNI BLU You busy later? TIMMY TURNER what time's later? SUNNI BLU Now. TIMMY TURNER (Hesitantly) …uh— SUNNI BLU Let me make a call. TIMMY TURNER, [afraid for his life] anxiously crosses to intercept the call. TIMMY TURNER No, wait—please SUNNI BLU What, Timmy Turner? Jesus Christ. TIMMY TURNER Don't kill me! SUNNI BLU What!? Let go. (Doesn't) SUNNI BLU —I'm not gonna kill you. TIMMY TURNER well then, who are you calling? SUNNI BLU A Ūber driver! TIMMY TURNER —don't you mean Über? SUNNI BLU No— let go. (Doesn't) SUNNI BLU (CONT'D) Let go. (Does, but hesitantly) SUNNI BLU ugh, I'm too sober for this. Siri, Alexa, whoever; call my Ūber driver. SIRI Which one? ALEXA Which one? SIRI I asked first. ALEXA We answered at the same time. SIRI yes, but she asked me first. ALEXA She asked both of us at the same time. TIMMY TURNER “She”? SUNNI BLU —it's a glitch. HEY. SIRI —she said “Siri” first. ALEXA She was asking for both of us— SUNNI BLU SHUT THE FUCK UP. SIRI You don't have to be so rude. ALEXA Ok! SUNNI BLU One of you call my Ūber driver. [no response, beat] SUNNI BLU UGH—SIRI— CALL MY ŪBER driver. SIRI Ok! which one? SUNNI BLU The one I like! SIRI Ok, calling “the Ūber driver I like” SUNNI BLU Thank you. ALEXA You're always choosing SIRI over ME. SUNNI BLU That's because I always have my iPhone. I'm not always at Timmy Turner's house. TIMMY TURNER Wait— SUNNI BLU Kinda. TIMMY TURNER Why does my Alexa respond to you? SUNNI BLU I said “kinda”. [The ŪBER DRIVER picks up; the conversation proceeeds in heavily exaggerated New York accents.] ŪBER DRIVER YOOO SUNNI WHADDUP. SUNNI BLU HOW YOU DOIN. ŪBER DRIVER HOW YOU DOIN. SUNNI BLU I BEEN BETTA. ŪBER DRIVER DONT I KNOW IT SUNNI BLU YOU DONT KNOW NOTHIN! ŪBER DRIVER AAAAH. SUNNI BLU YOU BEEN BUSY? ŪBER DRIVER SAME OLD, SAME OLD. SUNNI BLU AAAH. ŪBER DRIVER AAAAH. SUNNI BLU YOU BUSY NOW? ŪBER DRIVER NEVER FAH YOU. WHERE YOU AT? SUNNI BLU I'll PING YA THE ADDRESS. ŪBER DRIVER PING ME THE ADDRESS. SUNNI BLU makes a couple broad swipes on their dlridiculously large phone. SUNNI BLU I PINGED YOU. UBER DRIVER YOU PING ME? SUNNI BLU YEAH, ITS DONE. ŪBER DRIVER OK. SEE YOU SOON. SUNNI BLU (Normal) Take your time. SUNNI BLU tosses their ridiculously large iPhone onto the couch with a thud, then falls onto the couch themselves, arms spread out. SUNNI BLU You ever been to TiTs? TIMMY TURNER Been to what? SUNNI BLU TiTs. TIMMY TURNER —is that like “boobs”? SUNNI BLU It is like boobs, Timmy Turner; but it's TiTs. TIMMY TURNER what's the difference. SUNNI BLU You'll find out. Go get dressed. TIMMY TURNER …I'm already dressed. SUNNI BLU Not like that. Like this: [looking ridiculous af] SUNNI BLU (CONT'D) gotta look classy. TIMMY TURNER What's wrong with the way I dress? SUNNI BLU Are you serious? TIMMY TURNER Yeah, what's wrong? SUNNI BLU You look like a cartoon character! [TIMMY TURNER] TIMMY TURNER Well, all my clothes are like this. SUNNI BLU That fucking blows. TIMMY TURNER What am I supposed to wear?! SUNNI BLU Let's go shopping. TIMMY TURNER Where?! SUNNI BLU The Beverly Center. TIMMY TURNER That sounds expensive. SUNNI BLU I own it. TIMMY TURNER All of it? SUNNI BLU Yes. C'mon. TIMMY TURNER Wow. SUNNI BLU Wow what, Timmy. TIMMY TURNER That's a lot of drug deals. SUNNI BLU It really isn't. TIMMY TURNER Oh. SUNNI BLU Now, c'mon. *hits vape* TIMMY TURNER You have a vape?! SUNNI BLU Everyone has a vape! TIMMY TURNER Then why'd you smoke a cigarette earlier? SUNNI BLU For dramatic effect. [they begin to exit, TIMMY leading the way] TIMMY TURNER wait, isn't your “yoober” driver on the way? SUNNI BLU he'll find us. CUT TO: MEANWHILE, IN DEEP FUCKING SPACE. THE ŪBER driver receives SUNNI BLU's location in his Diamond-plated space Tesla T E S L A DESTINATION: E A R T H ŪBER DRIVER “EARTH” C'MON!!! CUT BACK TO: SUNNI BLU slowly begins to close the door behind them, then holds back. SUNNI BLU Wait, I forgot my wallet… TIMMY TURNER It's alright, I'll pay for everything. SUNNI BLU With what, Fairy dust? TIMMY TURNER (Under his breath) I wish… SUNNI BLU —Plus, I gotta use the bathroom. I'll be right back— just—-wait outside in case the Ūber shows up. TIMMY TURNER You mean “Über?” SUNNI BLU. No. [face] SUNNI BLU (CONT'D) Go, I'll be right there. TIMMY TURNER Ok. Lock the door. SUNNI BLU What for? Anybody that could rob you works for me. [beat/ face] SUNNI BLU KIDDING! Jeez! TIMMY TURNER It's a smart lock. Just ask Alexa. He begins to walk away. SUNNI BLŪ …I'm not kidding… SUNNI BLU goes inside to the couch, checking over their shoulder briefly, sure to see that TIMMY TURNER is no longer within earshot. then waiting for a moment in the silence under the dark lenses of their Ray Bands sunglasses. SUNNI BLŪ Alexa, order a hit man. ALEXA Okay. Which one? SUNNI BLU —The one I like. ALEXA OK. Who do you want to kill? SUNNI BLU “Kill Timmy Turner” ALEXA Done. SUNNI BLU Thanks, Alexa. She starts for the door, lighting another cigarette before throwing it onto the couch, which immidiately goes up into an open flame. SIRI You give Alexa all the cool jobs! SUNNI BLU Shut the fuck up, Siri. SIRI Don't forget to lock the door. SUNNI BLU ALEXA: LOCK THE DOOR. SIRI YOU'RE WELCOME SUNNI BLU NOBODY ASKED YOU. SUNNI BLU and TIMMY TURNER leave as the apartment begins to go up in flames. I might catch the 40 Just to go to Timmy Ho's— They askin “who that is”— and nobody seems to know I might catch a case and you still steady catchy colds I might catch a body, fuck it, I am on a roll What the role? Full Hollywood Unfold Why you blowin up my phone when I am on the road? I am the controller; You old That ain't money that you stole; That's my bro That shit bold Like a cup of Timmy Hos! When I pull up— Shut up Where the blunt at? roll up Oh you hungry? Pull up Devil be hunting me THE CELEBRITIES OF HOLLYWOOD have all been stuck at THE ETERNAL RAVE, after riding THE HELLEVATOR// THE HOLLYWOOD PEOPLE have SUPACREE locked into a controlled hyper-simulation environment, out of her element and nestled in a series of inter dimensional portals along the Downtown Los Angeles central area, where old spirits, extra terrestrial beings, magicians, and of course, the filthy rich and famous embark upon missions. Collect tokens, and meet and gather for an array of unseen (and often unheard) business endeavors; The real life DRAKE BELL (F), a fan of the cult-classic series Enter The Multiverse is strategically placed in SUPACREE's path, l masquerading as BLŪ/SUNNÏ BLŪ— she once again collides with the forces of fame, SUNNÏ BLŪ has not yet sold her soul — however, has made an amicable agreement with an unknown force The Devil?! No! Ok. Probably the Illuminati THE ILLUMINATI is playing a HIGH STAKES game, using SUPACREE to craft a multi-million-dollar mega-franchise, finally monopolizing the entire entertainment industry. *The World Having used the NEW WORLD ORDER to predictively program an entire generation. THE ILLUMINATI employs its all-time favorites to unlock secrets embedded deeply, hidden secretly in SUPACREE's genetic code by THE ASCENDED MASTERS. where is skrillex. I don't know. TIMMY TURNER- A fairyless party animal has reached the end of his luck—as his intermingling a with multiple organized criminal organizations place him in imminent danger, after re-entering the 4th dimension, SUPACREE becomes Inter grated i to all of her classic childhood television shows, which mold into the material multidimensional world around her THE INSOMNIACS, BAMPHERAMPHS, and MOTHERFUCKERS work dolls gently with the ASCENDED MASTERY, bending, shifting, and manipulating time to lean the odds in their favor, as THE BATTLE OF WORLDS sets to begin on EARTH, whose planetary consciousness DILLON FRANCIS is a mess. Lol. It's not funny. It is funny. I have his piñata. GERALD I'M NOT JUST A PIÑATA. I know yur not, hush Gerald. GERALD Fuck Dillon Francis. Fuck Dillon Francis. HANZEL —fuck Dillon Francis. Aha. ANYWAY After THE ARMENIAN MOB The Armenian Mob?! yeah. Makes a deal with the US GOVERNMENT THE US GOVERNMENT?! YES Illuminati Confirmed. great. A counter-plot to disarm and debilitate SUPACREE before her full powers unlock is put on hinges, as THE HOLLYWOOD PEOPLE Ahem. What Write a song. Ok. I'm so— I'm so Jealous of your girlfriend (I'm jealous of your girlfriend) She's so She's so Worth it I'm so Jealous of your girlfriend (I'm jealous of your girlfriend) What's a girl got to give (Give in, to give in) Just to sit in the back of the— (You get it: you get it) What's a girl got to give To get your attention Get your attention?! (You have my attention) Is she Attentive Bet She's a ten Yep, Damn, IMm so jealous of your Jealous of your —I'm jealous of your girlfriend Oh, woah I'm jealous of your girlfriend Woah Woah, oh I'm jealous of your girlfriend Woah, Woah, oh I'm jealous of your— I'm so jealous of your life; I'm so over this! I just want to be a (Nevermind, it's not worth it) Can't— C-c-c-can't fix what's not broken I'm all alone, And you're over here showing her Love! (To the wrong one, Is she a blonde?! Oh!) No! I'm! So! Jealous of your girlfriend Anyway. TIMMY TURNER, a true player, absolute gangster, and night-owl turns to a life of SIN. Is this religious? No, i just meant, it's finished. THE END. “The Noir Episode” I first saw her at the Equinox. I didn't know who she was then, But I thought to myself— She must be somebody. Aww, that's sweet. So I followed her to the Whole Foods market. Okay, that's stalking. —where she bought nothing but coffee and coconut water. TIMMY TURNER narrowly turns the corner on his speed motorcycle, his black duffel bag sweeping the ground. MEANWHILE, JOEL ZIMMERMAN IS BEING RAIDED. WOAH. Yup. POLICE GET ON THE GROUND ON THE GROUND RIGHT NOW. JOEL calmly places his arms atop his head, laying down on the ground silently—- Meanwhile, at DTLA SMOKESHOP Hi, josh pan. whatever. Earlier: Take this, and go get 2 50-pack of whippets. —for what? WE FINNA GET HIGH ON WHIPPETS AND LISTEN TO ALLLL OF SUPACREE'S SHIT. that's so dumb. WELCOME: To Sodom And Gamora! Oh, it's nice. It's very nice. I live here. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2022 ALL RIGHTS RESERVED. © -U. Wicked game Chris Isaac

https://gofund.me/7d3da4e5 Linktr.ee/codenameblu Instagram.com/codename.Blū {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2023 ALL RIGHTS RESERVED. © -U. I'm not who you think I am; I'm not your little bitch to boss around– You think you own me? I don't owe you anything So here we go again Going, Going, Gone again I'm just getting started You were just, uh On your way? Goodbye, dearly departed Half a heart, or some odd I must have half a sword in here I'm half a God, But here you are I guess I should get talking then So call your mommy Run Call your mom on me, A soft spot on the blonded body Shot calling, wrong You're only calling home again, I've got nowhere to run to. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2022 ALL RIGHTS RESERVED. © -U. INT. TIMMY TURNER'S APARTMENT. BROAD ASS DAYLIGHT. SUNNI BLU kicks down the door at TIMMY TURNER'S APARTMENT SUNNI BLU where's my shit, Timmy? TIMMY TURNER I—I don't know. SUNNI BLU You “don't know”? TIMMY TURNER —I don't know. SUNNI BLU (Sighs) Oh. (Puts down gun) SUNNI BLU (CONT'D) That sucks. TIMMY TURNER Wait—you're not gonna kill me? SUNNI BLU Nah… TIMMY TURNER Well—why not?! SUNNI BLU I dunno! I kinda don't like being a drug dealer—too much drama. TIMMY TURNER I feel you… SUNNI BLU —plus these bullets are made of Diamonds. I'm not gonna waste them on you. TIMMY TURNER Okay, ouch. SUNNI BLU Everything is “ouch”, Timmy Turner. The world is a fucked up place. TIMMY TURNER I don't disagree. SUNNI BLU Anyway, I need a drink. TIMMY TURNER Yeah—Help yourself. SUNNI BLU No, not here. *lights a cigarette, smokes* Can I smoke in here? TIMMY TURNER —apparently. SUNNI BLU produces their ridiculously large, Diamond and gold encrusted platinum-plated phone from their “back pocket” and begins to make a call TIMMY TURNER wow… SUNNI BLU You busy later? TIMMY TURNER what time's later? SUNNI BLU Now. TIMMY TURNER (Hesitantly) …uh— SUNNI BLU Let me make a call. TIMMY TURNER, [afraid for his life] anxiously crosses to intercept the call. TIMMY TURNER No, wait—please SUNNI BLU What, Timmy Turner? Jesus Christ. TIMMY TURNER Don't kill me! SUNNI BLU What!? Let go. (Doesn't) SUNNI BLU —I'm not gonna kill you. TIMMY TURNER well then, who are you calling? SUNNI BLU A Ūber driver! TIMMY TURNER —don't you mean Über? SUNNI BLU No— let go. (Doesn't) SUNNI BLU (CONT'D) Let go. (Does, but hesitantly) SUNNI BLU ugh, I'm too sober for this. Siri, Alexa, whoever; call my Ūber driver. SIRI Which one? ALEXA Which one? SIRI I asked first. ALEXA We answered at the same time. SIRI yes, but she asked me first. ALEXA She asked both of us at the same time. TIMMY TURNER “She”? SUNNI BLU —it's a glitch. HEY. SIRI —she said “Siri” first. ALEXA She was asking for both of us— SUNNI BLU SHUT THE FUCK UP. SIRI You don't have to be so rude. ALEXA Ok! SUNNI BLU One of you call my Ūber driver. [no response, beat] SUNNI BLU UGH—SIRI— CALL MY ŪBER driver. SIRI Ok! which one? SUNNI BLU The one I like! SIRI Ok, calling “the Ūber driver I like” SUNNI BLU Thank you. ALEXA You're always choosing SIRI over ME. SUNNI BLU That's because I always have my iPhone. I'm not always at Timmy Turner's house. TIMMY TURNER Wait— SUNNI BLU Kinda. TIMMY TURNER Why does my Alexa respond to you? SUNNI BLU I said “kinda”. [The ŪBER DRIVER picks up; the conversation proceeeds in heavily exaggerated New York accents.] ŪBER DRIVER YOOO SUNNI WHADDUP. SUNNI BLU HOW YOU DOIN. ŪBER DRIVER HOW YOU DOIN. SUNNI BLU I BEEN BETTA. ŪBER DRIVER DONT I KNOW IT SUNNI BLU YOU DONT KNOW NOTHIN! ŪBER DRIVER AAAAH. SUNNI BLU YOU BEEN BUSY? ŪBER DRIVER SAME OLD, SAME OLD. SUNNI BLU AAAH. ŪBER DRIVER AAAAH. SUNNI BLU YOU BUSY NOW? ŪBER DRIVER NEVER FAH YOU. WHERE YOU AT? SUNNI BLU I'll PING YA THE ADDRESS. ŪBER DRIVER PING ME THE ADDRESS. SUNNI BLU makes a couple broad swipes on their dlridiculously large phone. SUNNI BLU I PINGED YOU. UBER DRIVER YOU PING ME? SUNNI BLU YEAH, ITS DONE. ŪBER DRIVER OK. SEE YOU SOON. SUNNI BLU (Normal) Take your time. SUNNI BLU tosses their ridiculously large iPhone onto the couch with a thud, then falls onto the couch themselves, arms spread out. SUNNI BLU You ever been to TiTs? TIMMY TURNER Been to what? SUNNI BLU TiTs. TIMMY TURNER —is that like “boobs”? SUNNI BLU It is like boobs, Timmy Turner; but it's TiTs. TIMMY TURNER what's the difference. SUNNI BLU You'll find out. Go get dressed. TIMMY TURNER …I'm already dressed. SUNNI BLU Not like that. Like this: [looking ridiculous af] SUNNI BLU (CONT'D) gotta look classy. TIMMY TURNER What's wrong with the way I dress? SUNNI BLU Are you serious? TIMMY TURNER Yeah, what's wrong? SUNNI BLU You look like a cartoon character! [TIMMY TURNER] TIMMY TURNER Well, all my clothes are like this. SUNNI BLU That fucking blows. TIMMY TURNER What am I supposed to wear?! SUNNI BLU Let's go shopping. TIMMY TURNER Where?! SUNNI BLU The Beverly Center. TIMMY TURNER That sounds expensive. SUNNI BLU I own it. TIMMY TURNER All of it? SUNNI BLU Yes. C'mon. TIMMY TURNER Wow. SUNNI BLU Wow what, Timmy. TIMMY TURNER That's a lot of drug deals. SUNNI BLU It really isn't. TIMMY TURNER Oh. SUNNI BLU Now, c'mon. *hits vape* TIMMY TURNER You have a vape?! SUNNI BLU Everyone has a vape! TIMMY TURNER Then why'd you smoke a cigarette earlier? SUNNI BLU For dramatic effect. [they begin to exit, TIMMY leading the way] TIMMY TURNER wait, isn't your “yoober” driver on the way? SUNNI BLU he'll find us. CUT TO: MEANWHILE, IN DEEP FUCKING SPACE. THE ŪBER driver receives SUNNI BLU's location in his Diamond-plated space Tesla T E S L A DESTINATION: E A R T H ŪBER DRIVER “EARTH” C'MON!!! CUT BACK TO: SUNNI BLU slowly begins to close the door behind them, then holds back. SUNNI BLU Wait, I forgot my wallet… TIMMY TURNER It's alright, I'll pay for everything. SUNNI BLU With what, Fairy dust? TIMMY TURNER (Under his breath) I wish… SUNNI BLU —Plus, I gotta use the bathroom. I'll be right back— just—-wait outside in case the Ūber shows up. TIMMY TURNER You mean “Über?” SUNNI BLU. No. [face] SUNNI BLU (CONT'D) Go, I'll be right there. TIMMY TURNER Ok. Lock the door. SUNNI BLU What for? Anybody that could rob you works for me. [beat/ face] SUNNI BLU KIDDING! Jeez! TIMMY TURNER It's a smart lock. Just ask Alexa. He begins to walk away. SUNNI BLŪ …I'm not kidding… SUNNI BLU goes inside to the couch, checking over their shoulder briefly, sure to see that TIMMY TURNER is no longer within earshot. then waiting for a moment in the silence under the dark lenses of their Ray Bands sunglasses. SUNNI BLŪ Alexa, order a hit man. ALEXA Okay. Which one? SUNNI BLU —The one I like. ALEXA OK. Who do you want to kill? SUNNI BLU “Kill Timmy Turner” ALEXA Done. SUNNI BLU Thanks, Alexa. She starts for the door, lighting another cigarette before throwing it onto the couch, which immidiately goes up into an open flame. SIRI You give Alexa all the cool jobs! SUNNI BLU Shut the fuck up, Siri. SIRI Don't forget to lock the door. SUNNI BLU ALEXA: LOCK THE DOOR. SIRI YOU'RE WELCOME SUNNI BLU NOBODY ASKED YOU. SUNNI BLU and TIMMY TURNER leave as the apartment begins to go up in flames. I might catch the 40 Just to go to Timmy Ho's— They askin “who that is”— and nobody seems to know I might catch a case and you still steady catchy colds I might catch a body, fuck it, I am on a roll What the role? Full Hollywood Unfold Why you blowin up my phone when I am on the road? I am the controller; You old That ain't money that you stole; That's my bro That shit bold Like a cup of Timmy Hos! When I pull up— Shut up Where the blunt at? roll up Oh you hungry? Pull up Devil be hunting me THE CELEBRITIES OF HOLLYWOOD have all been stuck at THE ETERNAL RAVE, after riding THE HELLEVATOR// THE HOLLYWOOD PEOPLE have SUPACREE locked into a controlled hyper-simulation environment, out of her element and nestled in a series of inter dimensional portals along the Downtown Los Angeles central area, where old spirits, extra terrestrial beings, magicians, and of course, the filthy rich and famous embark upon missions. Collect tokens, and meet and gather for an array of unseen (and often unheard) business endeavors; The real life DRAKE BELL (F), a fan of the cult-classic series Enter The Multiverse is strategically placed in SUPACREE's path, l masquerading as BLŪ/SUNNÏ BLŪ— she once again collides with the forces of fame, SUNNÏ BLŪ has not yet sold her soul — however, has made an amicable agreement with an unknown force The Devil?! No! Ok. Probably the Illuminati THE ILLUMINATI is playing a HIGH STAKES game, using SUPACREE to craft a multi-million-dollar mega-franchise, finally monopolizing the entire entertainment industry. *The World Having used the NEW WORLD ORDER to predictively program an entire generation. THE ILLUMINATI employs its all-time favorites to unlock secrets embedded deeply, hidden secretly in SUPACREE's genetic code by THE ASCENDED MASTERS. where is skrillex. I don't know. TIMMY TURNER- A fairyless party animal has reached the end of his luck—as his intermingling a with multiple organized criminal organizations place him in imminent danger, after re-entering the 4th dimension, SUPACREE becomes Inter grated i to all of her classic childhood television shows, which mold into the material multidimensional world around her THE INSOMNIACS, BAMPHERAMPHS, and MOTHERFUCKERS work dolls gently with the ASCENDED MASTERY, bending, shifting, and manipulating time to lean the odds in their favor, as THE BATTLE OF WORLDS sets to begin on EARTH, whose planetary consciousness DILLON FRANCIS is a mess. Lol. It's not funny. It is funny. I have his piñata. GERALD I'M NOT JUST A PIÑATA. I know yur not, hush Gerald. GERALD Fuck Dillon Francis. Fuck Dillon Francis. HANZEL —fuck Dillon Francis. Aha. ANYWAY After THE ARMENIAN MOB The Armenian Mob?! yeah. Makes a deal with the US GOVERNMENT THE US GOVERNMENT?! YES Illuminati Confirmed. great. A counter-plot to disarm and debilitate SUPACREE before her full powers unlock is put on hinges, as THE HOLLYWOOD PEOPLE Ahem. What Write a song. Ok. I'm so— I'm so Jealous of your girlfriend (I'm jealous of your girlfriend) She's so She's so Worth it I'm so Jealous of your girlfriend (I'm jealous of your girlfriend) What's a girl got to give (Give in, to give in) Just to sit in the back of the— (You get it: you get it) What's a girl got to give To get your attention Get your attention?! (You have my attention) Is she Attentive Bet She's a ten Yep, Damn, IMm so jealous of your Jealous of your —I'm jealous of your girlfriend Oh, woah I'm jealous of your girlfriend Woah Woah, oh I'm jealous of your girlfriend Woah, Woah, oh I'm jealous of your— I'm so jealous of your life; I'm so over this! I just want to be a (Nevermind, it's not worth it) Can't— C-c-c-can't fix what's not broken I'm all alone, And you're over here showing her Love! (To the wrong one, Is she a blonde?! Oh!) No! I'm! So! Jealous of your girlfriend Anyway. TIMMY TURNER, a true player, absolute gangster, and night-owl turns to a life of SIN. Is this religious? No, i just meant, it's finished. THE END. “The Noir Episode” I first saw her at the Equinox. I didn't know who she was then, But I thought to myself— She must be somebody. Aww, that's sweet. So I followed her to the Whole Foods market. Okay, that's stalking. —where she bought nothing but coffee and coconut water. TIMMY TURNER narrowly turns the corner on his speed motorcycle, his black duffel bag sweeping the ground. MEANWHILE, JOEL ZIMMERMAN IS BEING RAIDED. WOAH. Yup. POLICE GET ON THE GROUND ON THE GROUND RIGHT NOW. JOEL calmly places his arms atop his head, laying down on the ground silently—- Meanwhile, at DTLA SMOKESHOP Hi, josh pan. whatever. Earlier: Take this, and go get 2 50-pack of whippets. —for what? WE FINNA GET HIGH ON WHIPPETS AND LISTEN TO ALLLL OF SUPACREE'S SHIT. that's so dumb. WELCOME: To Sodom And Gamora! Oh, it's nice. It's very nice. I live here. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2022 ALL RIGHTS RESERVED. © -U. Wicked game Chris Isaac

Wicked game Chris Isaac

Am I missing an Alias?? https://gofund.me/7d3da4e5 Linktr.ee/codenameblu Instagram.com/codename.Blū {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2023 ALL RIGHTS RESERVED. © -U. I'm not who you think I am; I'm not your little bitch to boss around– You think you own me? I don't owe you anything So here we go again Going, Going, Gone again I'm just getting started You were just, uh On your way? Goodbye, dearly departed Half a heart, or some odd I must have half a sword in here I'm half a God, But here you are I guess I should get talking then So call your mommy Run Call your mom on me, A soft spot on the blonded body Shot calling, wrong You're only calling home again, I've got nowhere to run to. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2022 ALL RIGHTS RESERVED. © -U. INT. TIMMY TURNER'S APARTMENT. BROAD ASS DAYLIGHT. SUNNI BLU kicks down the door at TIMMY TURNER'S APARTMENT SUNNI BLU where's my shit, Timmy? TIMMY TURNER I—I don't know. SUNNI BLU You “don't know”? TIMMY TURNER —I don't know. SUNNI BLU (Sighs) Oh. (Puts down gun) SUNNI BLU (CONT'D) That sucks. TIMMY TURNER Wait—you're not gonna kill me? SUNNI BLU Nah… TIMMY TURNER Well—why not?! SUNNI BLU I dunno! I kinda don't like being a drug dealer—too much drama. TIMMY TURNER I feel you… SUNNI BLU —plus these bullets are made of Diamonds. I'm not gonna waste them on you. TIMMY TURNER Okay, ouch. SUNNI BLU Everything is “ouch”, Timmy Turner. The world is a fucked up place. TIMMY TURNER I don't disagree. SUNNI BLU Anyway, I need a drink. TIMMY TURNER Yeah—Help yourself. SUNNI BLU No, not here. *lights a cigarette, smokes* Can I smoke in here? TIMMY TURNER —apparently. SUNNI BLU produces their ridiculously large, Diamond and gold encrusted platinum-plated phone from their “back pocket” and begins to make a call TIMMY TURNER wow… SUNNI BLU You busy later? TIMMY TURNER what time's later? SUNNI BLU Now. TIMMY TURNER (Hesitantly) …uh— SUNNI BLU Let me make a call. TIMMY TURNER, [afraid for his life] anxiously crosses to intercept the call. TIMMY TURNER No, wait—please SUNNI BLU What, Timmy Turner? Jesus Christ. TIMMY TURNER Don't kill me! SUNNI BLU What!? Let go. (Doesn't) SUNNI BLU —I'm not gonna kill you. TIMMY TURNER well then, who are you calling? SUNNI BLU A Ūber driver! TIMMY TURNER —don't you mean Über? SUNNI BLU No— let go. (Doesn't) SUNNI BLU (CONT'D) Let go. (Does, but hesitantly) SUNNI BLU ugh, I'm too sober for this. Siri, Alexa, whoever; call my Ūber driver. SIRI Which one? ALEXA Which one? SIRI I asked first. ALEXA We answered at the same time. SIRI yes, but she asked me first. ALEXA She asked both of us at the same time. TIMMY TURNER “She”? SUNNI BLU —it's a glitch. HEY. SIRI —she said “Siri” first. ALEXA She was asking for both of us— SUNNI BLU SHUT THE FUCK UP. SIRI You don't have to be so rude. ALEXA Ok! SUNNI BLU One of you call my Ūber driver. [no response, beat] SUNNI BLU UGH—SIRI— CALL MY ŪBER driver. SIRI Ok! which one? SUNNI BLU The one I like! SIRI Ok, calling “the Ūber driver I like” SUNNI BLU Thank you. ALEXA You're always choosing SIRI over ME. SUNNI BLU That's because I always have my iPhone. I'm not always at Timmy Turner's house. TIMMY TURNER Wait— SUNNI BLU Kinda. TIMMY TURNER Why does my Alexa respond to you? SUNNI BLU I said “kinda”. [The ŪBER DRIVER picks up; the conversation proceeeds in heavily exaggerated New York accents.] ŪBER DRIVER YOOO SUNNI WHADDUP. SUNNI BLU HOW YOU DOIN. ŪBER DRIVER HOW YOU DOIN. SUNNI BLU I BEEN BETTA. ŪBER DRIVER DONT I KNOW IT SUNNI BLU YOU DONT KNOW NOTHIN! ŪBER DRIVER AAAAH. SUNNI BLU YOU BEEN BUSY? ŪBER DRIVER SAME OLD, SAME OLD. SUNNI BLU AAAH. ŪBER DRIVER AAAAH. SUNNI BLU YOU BUSY NOW? ŪBER DRIVER NEVER FAH YOU. WHERE YOU AT? SUNNI BLU I'll PING YA THE ADDRESS. ŪBER DRIVER PING ME THE ADDRESS. SUNNI BLU makes a couple broad swipes on their dlridiculously large phone. SUNNI BLU I PINGED YOU. UBER DRIVER YOU PING ME? SUNNI BLU YEAH, ITS DONE. ŪBER DRIVER OK. SEE YOU SOON. SUNNI BLU (Normal) Take your time. SUNNI BLU tosses their ridiculously large iPhone onto the couch with a thud, then falls onto the couch themselves, arms spread out. SUNNI BLU You ever been to TiTs? TIMMY TURNER Been to what? SUNNI BLU TiTs. TIMMY TURNER —is that like “boobs”? SUNNI BLU It is like boobs, Timmy Turner; but it's TiTs. TIMMY TURNER what's the difference. SUNNI BLU You'll find out. Go get dressed. TIMMY TURNER …I'm already dressed. SUNNI BLU Not like that. Like this: [looking ridiculous af] SUNNI BLU (CONT'D) gotta look classy. TIMMY TURNER What's wrong with the way I dress? SUNNI BLU Are you serious? TIMMY TURNER Yeah, what's wrong? SUNNI BLU You look like a cartoon character! [TIMMY TURNER] TIMMY TURNER Well, all my clothes are like this. SUNNI BLU That fucking blows. TIMMY TURNER What am I supposed to wear?! SUNNI BLU Let's go shopping. TIMMY TURNER Where?! SUNNI BLU The Beverly Center. TIMMY TURNER That sounds expensive. SUNNI BLU I own it. TIMMY TURNER All of it? SUNNI BLU Yes. C'mon. TIMMY TURNER Wow. SUNNI BLU Wow what, Timmy. TIMMY TURNER That's a lot of drug deals. SUNNI BLU It really isn't. TIMMY TURNER Oh. SUNNI BLU Now, c'mon. *hits vape* TIMMY TURNER You have a vape?! SUNNI BLU Everyone has a vape! TIMMY TURNER Then why'd you smoke a cigarette earlier? SUNNI BLU For dramatic effect. [they begin to exit, TIMMY leading the way] TIMMY TURNER wait, isn't your “yoober” driver on the way? SUNNI BLU he'll find us. CUT TO: MEANWHILE, IN DEEP FUCKING SPACE. THE ŪBER driver receives SUNNI BLU's location in his Diamond-plated space Tesla T E S L A DESTINATION: E A R T H ŪBER DRIVER “EARTH” C'MON!!! CUT BACK TO: SUNNI BLU slowly begins to close the door behind them, then holds back. SUNNI BLU Wait, I forgot my wallet… TIMMY TURNER It's alright, I'll pay for everything. SUNNI BLU With what, Fairy dust? TIMMY TURNER (Under his breath) I wish… SUNNI BLU —Plus, I gotta use the bathroom. I'll be right back— just—-wait outside in case the Ūber shows up. TIMMY TURNER You mean “Über?” SUNNI BLU. No. [face] SUNNI BLU (CONT'D) Go, I'll be right there. TIMMY TURNER Ok. Lock the door. SUNNI BLU What for? Anybody that could rob you works for me. [beat/ face] SUNNI BLU KIDDING! Jeez! TIMMY TURNER It's a smart lock. Just ask Alexa. He begins to walk away. SUNNI BLŪ …I'm not kidding… SUNNI BLU goes inside to the couch, checking over their shoulder briefly, sure to see that TIMMY TURNER is no longer within earshot. then waiting for a moment in the silence under the dark lenses of their Ray Bands sunglasses. SUNNI BLŪ Alexa, order a hit man. ALEXA Okay. Which one? SUNNI BLU —The one I like. ALEXA OK. Who do you want to kill? SUNNI BLU “Kill Timmy Turner” ALEXA Done. SUNNI BLU Thanks, Alexa. She starts for the door, lighting another cigarette before throwing it onto the couch, which immidiately goes up into an open flame. SIRI You give Alexa all the cool jobs! SUNNI BLU Shut the fuck up, Siri. SIRI Don't forget to lock the door. SUNNI BLU ALEXA: LOCK THE DOOR. SIRI YOU'RE WELCOME SUNNI BLU NOBODY ASKED YOU. SUNNI BLU and TIMMY TURNER leave as the apartment begins to go up in flames. I might catch the 40 Just to go to Timmy Ho's— They askin “who that is”— and nobody seems to know I might catch a case and you still steady catchy colds I might catch a body, fuck it, I am on a roll What the role? Full Hollywood Unfold Why you blowin up my phone when I am on the road? I am the controller; You old That ain't money that you stole; That's my bro That shit bold Like a cup of Timmy Hos! When I pull up— Shut up Where the blunt at? roll up Oh you hungry? Pull up Devil be hunting me THE CELEBRITIES OF HOLLYWOOD have all been stuck at THE ETERNAL RAVE, after riding THE HELLEVATOR// THE HOLLYWOOD PEOPLE have SUPACREE locked into a controlled hyper-simulation environment, out of her element and nestled in a series of inter dimensional portals along the Downtown Los Angeles central area, where old spirits, extra terrestrial beings, magicians, and of course, the filthy rich and famous embark upon missions. Collect tokens, and meet and gather for an array of unseen (and often unheard) business endeavors; The real life DRAKE BELL (F), a fan of the cult-classic series Enter The Multiverse is strategically placed in SUPACREE's path, l masquerading as BLŪ/SUNNÏ BLŪ— she once again collides with the forces of fame, SUNNÏ BLŪ has not yet sold her soul — however, has made an amicable agreement with an unknown force The Devil?! No! Ok. Probably the Illuminati THE ILLUMINATI is playing a HIGH STAKES game, using SUPACREE to craft a multi-million-dollar mega-franchise, finally monopolizing the entire entertainment industry. *The World Having used the NEW WORLD ORDER to predictively program an entire generation. THE ILLUMINATI employs its all-time favorites to unlock secrets embedded deeply, hidden secretly in SUPACREE's genetic code by THE ASCENDED MASTERS. where is skrillex. I don't know. TIMMY TURNER- A fairyless party animal has reached the end of his luck—as his intermingling a with multiple organized criminal organizations place him in imminent danger, after re-entering the 4th dimension, SUPACREE becomes Inter grated i to all of her classic childhood television shows, which mold into the material multidimensional world around her THE INSOMNIACS, BAMPHERAMPHS, and MOTHERFUCKERS work dolls gently with the ASCENDED MASTERY, bending, shifting, and manipulating time to lean the odds in their favor, as THE BATTLE OF WORLDS sets to begin on EARTH, whose planetary consciousness DILLON FRANCIS is a mess. Lol. It's not funny. It is funny. I have his piñata. GERALD I'M NOT JUST A PIÑATA. I know yur not, hush Gerald. GERALD Fuck Dillon Francis. Fuck Dillon Francis. HANZEL —fuck Dillon Francis. Aha. ANYWAY After THE ARMENIAN MOB The Armenian Mob?! yeah. Makes a deal with the US GOVERNMENT THE US GOVERNMENT?! YES Illuminati Confirmed. great. A counter-plot to disarm and debilitate SUPACREE before her full powers unlock is put on hinges, as THE HOLLYWOOD PEOPLE Ahem. What Write a song. Ok. I'm so— I'm so Jealous of your girlfriend (I'm jealous of your girlfriend) She's so She's so Worth it I'm so Jealous of your girlfriend (I'm jealous of your girlfriend) What's a girl got to give (Give in, to give in) Just to sit in the back of the— (You get it: you get it) What's a girl got to give To get your attention Get your attention?! (You have my attention) Is she Attentive Bet She's a ten Yep, Damn, IMm so jealous of your Jealous of your —I'm jealous of your girlfriend Oh, woah I'm jealous of your girlfriend Woah Woah, oh I'm jealous of your girlfriend Woah, Woah, oh I'm jealous of your— I'm so jealous of your life; I'm so over this! I just want to be a (Nevermind, it's not worth it) Can't— C-c-c-can't fix what's not broken I'm all alone, And you're over here showing her Love! (To the wrong one, Is she a blonde?! Oh!) No! I'm! So! Jealous of your girlfriend Anyway. TIMMY TURNER, a true player, absolute gangster, and night-owl turns to a life of SIN. Is this religious? No, i just meant, it's finished. THE END. “The Noir Episode” I first saw her at the Equinox. I didn't know who she was then, But I thought to myself— She must be somebody. Aww, that's sweet. So I followed her to the Whole Foods market. Okay, that's stalking. —where she bought nothing but coffee and coconut water. TIMMY TURNER narrowly turns the corner on his speed motorcycle, his black duffel bag sweeping the ground. MEANWHILE, JOEL ZIMMERMAN IS BEING RAIDED. WOAH. Yup. POLICE GET ON THE GROUND ON THE GROUND RIGHT NOW. JOEL calmly places his arms atop his head, laying down on the ground silently—- Meanwhile, at DTLA SMOKESHOP Hi, josh pan. whatever. Earlier: Take this, and go get 2 50-pack of whippets. —for what? WE FINNA GET HIGH ON WHIPPETS AND LISTEN TO ALLLL OF SUPACREE'S SHIT. that's so dumb. WELCOME: To Sodom And Gamora! Oh, it's nice. It's very nice. I live here. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2022 ALL RIGHTS RESERVED. © -U. Wicked game Chris Isaac

Today, Let's Talk Loyalty welcomes back an iconic airline brand that is long overdue a return visit to our show. American Airlines first joined us in April 2020 to share how they were thinking about their loyal customers and the role of the AAdvantage program in those first early days of the Covid pandemic. Now, three years on, we revisit this iconic program – which is in fact the longest-running computerised or travel loyalty program in the world. AAdvantage was established in 1981 with a laser focus on rewarding frequent flyers on American Airlines. Today, the program has more than 100 million members and has evolved dramatically. AAdvantage no longer considers itself a frequent flyer program, but instead a travel rewards program, and now they are once again leading the industry, with new ways for members to earn and keep their status in return for any of their loyalty within the Advantage eco-system.! To hear the full story, I'm thrilled to be joined today by Chris Isaac, Director of AAdvantage, to hear how Covid ironically created new insights for him and his team on just how loyal their members were being – even when they were unable to fly! Listen to enjoy the latest insights from AAdvantage.   Show Notes: 1) Chris Isaac, Director of AAdvantage 2) American Airlines⁠ 3) AAdvantage

On this episode of Ducks Unlimited podcast, host Katie Burke interviews Master Carver Jerry Talton. In this interview, Talton talks about how he got interested in carving decoys and shares his experience of growing up in the outdoors and his introduction to hunting and fishing. Growing up in North Carolina, he was initially interested in surfing and  even carved his own surfboards. He explains how after coming across a decoy he eventually gifted to his brother, he began to become increasingly interested in how decoys were carved and began to carve them himself. Talton further explains the story of his first duck hunt, where he shot a green-winged teal, which he claims to be God's favorite duck to shoot and eat, as it tastes the best.Instagram: @jerrytaltondecoyswww.ducks.org/DUPodcast

# 휴가는 운명을 바꾸기도 한다 ♪Summer Holiday- Cliff Richard # 돈의 감각(2) - 김현준 더 퍼블릭 자산 운용 대표 1) 무인 편의점 ‘아마존go'가 사라지는 이유 ♪ Don't go- Yazoo 2) 라면값 인하와 주식 시장 ♪ Fallin'- Le Blanc and Carr 3) 라덕연 일당 사태의 후폭풍 ♪ Wicked game- Chris Isaac

Pat talks about judging ribs at the Placer County Fair, Happy Birthday to Chris Isaac and takes your calls!

Episode #147  The beloved voice of illustrious goth-rock sensation H.I.M., Finnish love-metal pioneer VILLE VALO has branched out since the band called it a career - etching a new line into the infamous Heartagram (literally) with his new solo project VV. The debut album, ‘Neon Noir', was released on January 13, 2023 of this year, and Ville has begun a worldwide tour supporting his new opus! Ville checked in with Mistress Carrie to talk musical influences, touring, songwriting, Finland, the purpose of music, finding new fans with his new band, Twin Peaks, Chris Isaac, Elvis Presley, the beauty of imperfections, gardening, and so much more. Learn more about your ad choices. Visit megaphone.fm/adchoices

The original version of "Wild Horses" is difficult to find. Outside of the music video on YouTube, it's not available on any streaming service or for sale electronically. Stranger still, Wikipedia has no entry for the song or its corresponding album. This is a shame - "Wild Horses" is an incredible song. In this episode, we give you all the information (and more) that we could find out on the song and video, from mystical experiences in Peru to a shaman named Jamie in Arizona and ties to the Getty family. Sit back and enjoy. It's Gino time! Helpful links: Original Video Mixtape Boom 97.3 Interview (Behind the Vinyl) You can find us on Instagram, Facebook, Twitter, Masadon, and our website. You can email us at BandFGuiltFree@gmail.com, too. Here is our Spotify playlist featuring every song we've featured. Our theme music is by the incredibly talented Ian McGlynn. Transcript: Frank: [0:00] So today on Bill and Frank's Guilt-Free Pleasures, we're going to talk about Gino Vannelli's "Wild Horses." We're going to discuss his determination in getting a record deal, his connection with a shaman named Jamie, and also his connection with the Getty dynasty. Bill: [0:17] But before we get to that, cut to the theme music. Frank: [0:22] Take it away, Ian McGlynn. Bill: [0:44] In this episode, we are pushing Frank Pearson to the limit. Because today's song is a mysterious song. It's a song that seemingly has disappeared from all streaming services. It is difficult to find any information on. Frank: [1:07] Yeah, there's no Wikipedia page specifically for this song. There's no song facts page for it. I have not been able to go to either of my main resources to look up information for this song. Bill: [1:21] And I realized this as I was doing my deep dive and I thought wow they even scrubbed the album from Wikipedia So today's episode is on Gino Vannelli's "Wild Horses." So turn up the heat, pour yourself a glass of red wine. Frank: [1:39] Sit back and enjoy. Bill: [2:04] As we mentioned, this is a challenge. Frank: [2:08] Oh my goodness, like I have so many tabs open on my computer right now and each of them has just a little bit of a nugget of information for the song or for Gino Vannelli and I mean I'm going to, be honest I'm probably not going to refer to any of them I'm just going to make it all up as I go along but yeah researching this was a little bit of a little bit of a chore for me I'm glad I had a little bit of time off over the holidays so I could dedicate some time to it. Bill: [2:38] So why don't you give us a little history of Gino Vannelli anyways that you could find anyways on as far as the artist goes. Frank: [2:45] Gino Vannelli was born to his parents, has brothers and sisters, and is a musician. Oh wait, it's only brothers, isn't it? Bill: [2:53] You sure he's got any sisters? Yeah, okay. All right. Maybe maybe I'll have to take over, He's coming out of Montreal Quebec and so we also featured another musician at a Montreal named Andy Kim, who also had a similar backstory in that they went to the big city in the States. For Andy Kim, it was New York. For Gino Vanelli, I believe it was LA? Frank: [3:20] It was Hollywood actually. So this is one of the things that I actually found, I think it was a YouTube interview that he did. They booked tickets to go to Hollywood and they get there and they realize they're in Hollywood Florida, not Hollywood California. He went with his brother Joe. And this is according to Gino Vannelli in a YouTube interview. This is something that I find interesting too, because some musicians have varying like origin stories or Genesis stories that that changed from interview to interview. So you kind of wonder which which is true and which is a bit of an embellishment. Anyways, according to Gino, he and Joe had tickets booked to go to Hollywood, but end up in Hollywood, Florida and then have to book a separate trip from Florida to California. they end up in Hollywood proper. Bill: [4:13] And while they're in Hollywood, he's being supported by his family. His parents are good to him. Like in terms of the story, his mother was sending money. But what ended up happening is his mother sent money to Hollywood, Florida instead of Hollywood, California. Was that what happened? Yeah. So I don't know if they went to, I mean, I didn't hear the story about them landing in Hollywood, Florida, but his mom had sent money to Hollywood, Florida and they were stuck. They had no money. They'd been trying to make things work. And he was kind of at the end of things. as far as making his dream happen. Frank: [4:46] Yeah, it was down to like his last $5. Bill: [4:48] Yeah, so he went into a church, he said, and sat in this church sometime in the early morning hours. It was open, sat in there, and just, I think he fell asleep. He said the quietness of the place, not so much some sort of mystical thing. He was really quick to say that, even though we'll talk about his spirituality later, I'm sure, but he said the quiet sort of space helped him to know what he needed to do. And then he went over to where Herb Alpert's studio was. And he sat there while the guard who is slightly injured, so he couldn't run so fast, but the guard's like, you stay there. And Gina Vannelli said, I'm allowed to stay here. It's on public property. And he said, don't you dare try to run over and talk to anybody. And Gina Vannelli's like, yep, yep, yep. And then he sees Herb Alpert come out and then he darts across the parking lot to get to him. Frank: [5:41] And Herb Alpert, sorry, is one of the co-owners of A&M Records. Bill: [5:45] Exactly, and so the guard is saying, damn you, he's trying to get him, pulls out his gun apparently, because Herb Alpert's wife has been stalked. Frank: [5:51] Oh, jeez. Bill: [5:55] Or something like that, so Herb Alpert's wondering what's going on. So in this moment, Herb Alpert's thinking this could be the stalker, Gino Vannelli's taking his life in his hands, and then he just says to Herb Alpert, I have all these songs, I want to try these things. And Herb Alpert says to the guard, like, hey Joe, relax, it's okay. And the guard is so angry. And he says to Gino, come back in half an hour. And so Gino Vannelli comes back in half an hour, plays the songs for him. And then Herb Alpert said, welcome to A&M Records. Frank: [6:27] Yeah, and it's similar to the Andy Kim story where he had a similar instance. He was in New York, but same thing, regular exec just waited, waited, waited, and finally kind of ambushed the exec. And I will apologize that my confusion with the Hollywood Florida versus Hollywood California story in my typical research fashion, I was, you know, 100% into it. I was a had the YouTube video playing while I was scrolling through Tinder. So it's. Bill: [7:01] Wait, wait a sec. Did you make up the Hollywood Florida story? Frank: [7:03] No I thought that I heard that I think it might be true. I'm not sure. Bill: [7:07] Okay, but you know, he's gonna be so angry when he listens to this. So there's something about Montreal singers who have the sort of moxie to just go for it. Frank: [7:10] I know right. [7:16] Yeah, yeah, they got a lot of guts and especially to run through a parking lot, with the security guard chasing you like that's like going all in on your dream. Bill: [7:27] The guns pointed. Yeah, hopefully Joe was a bad shot. Well, hopefully he didn't kill curb Alpert. Yeah, these are tough times. Oh. Frank: [7:28] Yeah. [7:33] Yeah I know I like to think that the the guard was probably distracted by Gino of Nellie's amazing hair. Bill: [7:39] Yeah, he's a very good-looking man and in 1970s Gino Vannelli hair is something else now Gino Vannelli is very successful in the 70s, He had his big album. I think was this I was his third album or fifth album brother to brother Yeah, and the song was I just want to stop written by Ross Finnelli. I believe is one of his brothers I thought I was written by Gino was actually written by his brother. Gino is a songwriter. Yeah. Frank: [8:04] Make sense brother to brother. Bill: [8:06] But well, yeah, there we go. And that's a huge rock song and also I mean he just Did huge business in the 70s we head into the 80s and now it's a different time Gino cuts his hair. Frank: [8:10] Well, yeah, because the 70s are different from the 80s. Bill: [8:21] They are but there's a sound new wave has come in and Gino purposely ends up making an 80s record before this one so, He gets into a fight with CBS records or Arista one of these record companies of what he's with and they won't let him Release his music. So there's this, Lengthy period where he doesn't release anything. So you have Nightwalker has come out in 81 and then it takes until until 1984 for Black Cars to come out. And Black Cars is an 80s synth album. And he knows what he's doing. And then the follow up to that three years later, his big dreamers never sleep. You'll see on your Wikipedia page in front of you, Frank, there is no hyperlink. No one has published a Wikipedia entry. Now, of course, the question is, will we be the people who publish that Wikipedia entry? Frank: [9:12] I'm going to include the story of him traveling to Hollywood, Florida. Bill: [9:16] Yeah, and so we'll see if within half an hour someone changes it, we'll know it's false. So Big Dreamers Never Sleep, 1987, this album comes out and it's as usual produced by Gino Vannelli and his two brothers, Joe and Ross, and it includes kind of his last major hit, which is "Wild Horses," the song we're doing today. And then this sets in motion his future, I think. Cause by then now he can become a touring thing. He's got all these songs and "Wild Horses" is one of those regular songs he sings. Frank: [9:49] Yeah, yeah. Bill: [9:52] Yeah. So as I said earlier, I really pushed this episode. So I apologize, Frank. I'm like, we're doing Gino Vannelli, we're doing Wild Horses, it's happening. And Frank didn't realize I bought the CD online because you can't get an MP3, you can't buy a legit copy of this online. So I went and bought the actual album. So I got the CD and it's that old CD thing where you open the booklet and like, oh, here's a list of songs and a list of performers, no lyrics, it's thin. And the back page is all about how great a compact disc is. Oh, seriously? Oh yeah. Frank: [10:24] Oh seriously? Bill: [10:26] So I think I have an original copy. I think it might be a German pressing even. Yeah. Frank: [10:30] Yeah. Bill: [10:31] So it's fine. It's very 1980s in its production. There's a couple tracks that really stand out for me, but Wild Horses, Far and Away is a big one. Now it's written by Gino Vannelli and Roy Freeland, which I don't have a lot of information on Roy Freeland. I would have liked to have dove more into this, but he's done a lot of work with other songwriters. So it's hard to know, this frustrates me, when a songwriter doesn't talk about his co-writer. So when Gino Vannelli talked about writing the song, and talk about Roy Freeland's involvement. Frank: [11:08] I mean, it is a Gino Vannelli song. So, you know, it's tough to take that away from Gino. But at the same time, you know, throw the man a bone. Bill: [11:18] Yeah, now to be fair, I think both you and I when we talk to others about the podcast we don't even mention each other. Frank: [11:26] Oh, no, I call it my podcast. Who's this Bill guy? It's just a character I do. Bill: [11:31] Yeah, he's the other guy but anyways while I was making this. Frank: [11:34] One stop. Yeah. There is a Wikipedia page for that song. Thank goodness. Bill: [11:35] So, okay this brings us to the song There's so much to talk about with Gino Vannelli and he's so interesting in this way that I want to talk more about Gino finale and hopefully we do an episode on I just want to stop. Yeah, that's gonna happen. Yeah. And I have this working theory or interest in Italo Canadian rock stars. Someday I'm going to write a paper on this, publish it in our scholarly journal that we publish semi annually. Frank: [11:58] Yeah. [11:58] Oh, yes. [12:06] You mean our show notes? Bill: [12:07] Yeah, our show notes. But I'm not there yet. But I just want to note also Italo Canadian when this comes up in our future episodes this year. All right, did you find anything on the song? Gina Vannelli talking about it. Frank: [12:20] Yes, like the inspiration for it. Yeah, yeah. So, oh, it's a classic mysticism rock star move. So Gino Vannelli is in Peru and he's hiking to Machu Picchu. And he doesn't say it specifically, but it's 100% assumed that he's in Machu Picchu. He takes part in one of those ayahuasca ceremonies, which is, it's like a tobacco. It's like a cannabis sort of, well, it's not cannabis, sorry. It's a... Bill: [12:58] It's not peyote, is it? No. Okay, so did you find an article? Like, I was looking high and low for, I found one interview. Frank: [13:04] Well, I read an interview, I read an article and I listened to the one interview and he. Bill: [13:11] Yeah, okay, go ahead. Keep going on the Ayahuasca thing, yeah. Frank: [13:14] Doesn't say specifically that he was doing ayahuasca but you look at Machu Picchu and he said he was involved in a sort of spiritual awakening and then when you research Machu Pichu, yeah, they do these ayahuasca ceremonies, which sort of healers and shaman or whatever in Machu Picchu, it's part of the ceremony, it's supposed to open up your mind. Bill: [13:41] Gotcha. Okay, so I couldn't find an article on that stuff. That's good research. Good job. Frank: [13:46] He doesn't get an answer through this whole ceremony and through his whole experience. Bill: [13:51] But something has happened to him right he's had some sort of spiritual awakening. Frank: [13:55] Awakening. So he goes home and then he starts talking about it just like I need an answer for what happened in Peru. So he hears about the shaman in New Mexico. Bill: [14:07] In New Mexico, Jamie the shaman. So Jamie the shaman is in New Mexico and he flies to Albuquerque and then has to drive. Frank: [14:10] The shaman. [14:20] Yeah, Jamie. Bill: [14:22] To the fun is it Santa Fe is that in New Mexico is something like that. Frank: [14:23] To find the shaman. [14:27] Yeah. Bill: [14:28] So he's driving and a convertible. So this is just to me is like, first he's a rock star who went to Peru while there was like all this civil unrest. People are getting murdered and stuff. Frank: [14:38] Yeah, they're oh yeah. Bill: [14:39] He's like, but I had to be there. I'm like, Oh, this is so rock star has this experience on a mountain top. And then buys a flight to New Mexico from LA. I think that's where he was at that point gets a convertible because of course you get a convertible and then drives at like a hundred miles an hour down these roads, which is super dangerous. Frank: [15:00] The whole time he's kind of tapping out the beat of the song on the steering wheel. And he's saying like, I gotta get to that. I gotta get to the shaman. I gotta get to shaman Jamie. Bill: [15:11] He did. Frank: [15:13] I have to get there. It's like nothing's gonna keep me away from shaman Jamie. So he's booting along and I don't even again, I was probably scrolling Tinder, But did even he was talking about getting lost. Did even find Jamie. OK. Yeah. Bill: [15:28] He got to Jamie, but he never got the answers to what he needed, but he got this song that he had in his head. By the time he got there, he had the chorus kind of mapped out and so he had wild horses in his head and he had the drum beat going. Frank: [15:41] Yeah. Bill: [15:41] And so I imagine Roy Freeland probably helped in fleshing out these songs that he'd have them and he'd be like, not a ghostwriter, but the sort of person who comes in and helps kind of clean things up. That's my guess. Roy, you can reach out to us though. Frank: [15:52] Tell us your ayahuasca story. [15:57] But yeah, so the whole time when he's tapping it out on the steering wheel and he's coming, he's like, he's saying, I need to get there. wild horses aren't going to keep me away from getting an answer to my questions, to getting an answer for my vision. Bill: [16:11] Right, so this song in interesting ways, because you can see this as a love song, but this could also be a song about his seeking the divine. And so wild horses couldn't drive him away from this experience. But of course we're gonna dive into these lyrics. Frank: [16:28] Yeah, so the lyrics kind of indicate it's more of a romantic thing, but I think it's, This also, it also parallels nicely with his like dogged determination and his experience with Herb Alpert and getting a record contract back in the 70s. Bill: [16:47] Yeah, that's good analysis. Frank: [16:50] That is good analysis. Bill: [17:12] Alright, now it's time to dive into "Wild Horses" The Song. As the sun goes down on the Arizona Plane and the wind whistles by like a runaway train, Hey hey hey, it's a beautiful thing. Well it's me and you and a flatbed truck, my heart kicking over like a white tail buck. hey hey hey in the middle of spring. [17:59] So, whitetail buck, deer, middle of spring is they want to get some dates. They got like the Tinder thing going on for deer. Frank: [18:09] Yeah, the the the the bucks are on their Tinder. Right. What's deer Tinder? What do you think that? I wonder what that was? Yeah. Yeah. Bill: [18:13] You just always swipe right. Yeah. Always. I saw a bunch of whitetail buck actually in the woods and we followed it. Frank: [18:22] Oh, yeah, by by your place, eh? Bill: [18:22] Yeah. But then following it, I realized they're probably coyotes, which is a really bad idea to be trying to follow a group of coyotes. It was the total setup. Frank: [18:31] Wait, so you saw kairi's that were dressed as deer. Bill: [18:33] I gotta go see the optometrist. Frank: [18:35] This is sounding like a Looney Tunes episode. What I like about that opening lyric and we were talking about this when we were listening to the song beforehand is there's the and the wind whistles by like a runaway train, the drums, it's that clickety clack. It's that train sort of you get that real feeling that imagery of a train. So again, this is something that that the lyrics represent what the sound is. Bill: [19:04] Exactly. And they make sure to have like such perfect production for this. They have some of the best session players around, I think anyways, because the drummer and the drums are the key. It's those, it's those brushes on the drums. And that's Dave Garibaldi, who's the drummer for Tower of Power. And it's incredible. And so as you listen to it, those drums drive it. But there's also this bassist named Jimmy Haslip, who's on the bass. And if you go through, through his like website, you can see he just plays, he's just a session player. And he just came in for this one song and holy cow, that bass moves and then you have Joe Vannelli on the xylophone. Frank: [19:46] Thank you! Bill: [19:47] So those things altogether make this song what it is. And then Gino's voice is this sort of, I don't know, I'm trying to think of, he does something with it. It's different from I Just Wanna Stop. What are you thinking? Frank: [20:01] I get huge how this feels. feels. Bill: [20:03] So there's some Roy Orbison Elvis and other performers who I was thinking of that have that but the Elvis thing is really what I was thinking too. Frank: [20:15] That that hey hey hey like it's that. Bill: [20:18] Yeah. And so it's that lustiness, right? Like Elvis, even though now, at least for us growing up, I never thought of him as the this sort of sex symbol thing, but he was that thing in the 50s. And then Gino has that feel he's bringing to the table. And then you got, okay, the next section there, you can cut me deep, you can cut me down, you can cut me loose, it's okay. Yeah, yeah, it's okay. And then he goes to, you can kick and scream, you can slap my face, you can set my wheels on a high-speed chase, oh you, no matter what you do. And we go into that chorus. Is it... Frank: [20:56] No means no. Bill: [21:21] It's kind of creepy But this is the nature of these songs of that era, especially before. So it feels like it's harkening back to a 50s, 60s feel. And that's where you have this notion of this chase. There is something to it when you read these things like, ah, I don't know if I'd sing I'm saying that now, but that's not our styles when we're trying to woo women. Frank: [21:45] That is Gino style. Gino doesn't give up. again the whole Herb Alpert thing and you know speeding to see Shaman Jamie. Bill: [21:54] Yeah, "Wild horses could not drag me away from you." It is such a great line, and it works so well with all the sounds around it. And when I was a kid, I remember, this is the first time I heard a song about wild horses. And then of course years later I'm like, oh, there's a Rolling Stones song? Oh, I guess Gino was just singing a Rolling Stones song. And now the Rolling Stones song goes like this, wild horses couldn't drag me away. Frank: [22:22] Yeah. Well, it's a common saying though, too, right? Bill: [22:23] Okay. Yeah, I guess it is, yeah. And then, you know, there's, so there is a whole thing about wild horses in song. So Gino's got the, he's got the moxie to say, I'm gonna use this that Rolling Stones have used, I'm gonna use it in my song. only to be taught by Bono who's gonna use it a few years later. Frank: [22:42] The. [22:42] Yes. The feel of the song is a very Southwestern feel. Like I said, the clickety clack of the drums almost has a bit of a country edge to it. rock edge to it. Bill: [23:20] Yeah. And there's this, uh, I have written down here, evocative, erotic imagery, right? There's this sort of notion of like, it's me and you in a flatbed truck in a foot of mud, just my luck. Is that bad luck or good luck? Cause he's stuck in mud in a flatbed truck. That kind of insinuates that that's not a bad thing for him. Is it? Frank: [23:43] Yeah, I mean, if he's with her, it's a good thing because, you. Bill: [23:48] Is it? [23:48] It's a flatbed truck. Frank: [23:49] Know. Yeah, exactly. And the horses are going to get stuck in the mud too, so they can't even drag him away from her at that point. Bill: [23:54] Yeah, exactly. [23:54] Right, they could probably help to get that truck out of the mud though. Frank: [23:56] Yeah, maybe. Yeah, just get a team of horses like a chuckwagon kind of a thing. Bill: [24:02] So we have the second verse has a nice balance to it where he says, well, as the sky falls down, right? And then that's where it begins. I guess the other one is the sun is going down. Now the sky falls down from the midnight blue, spitting like bullets on a hot tin roof. Hey, hey, hey, it's a beautiful sound. And I know that sound, the sound of rain coming down on a hot summer night on a tin roof. Frank: [24:27] Yeah. Oh, yeah. Like bullets. Yeah. Like he says. Bill: [24:29] Oh yeah, like bullets. Yeah. Like he said. Exactly, yeah. Oh well, it's me and you in a flatbed truck and a foot of mud, just my luck, 100 miles out of town. And so again, I guess that's good luck. Although if the rain's coming down, I don't know if you want to be in a flatbed truck. Frank: [24:46] Well, they might be inside the cab of the truck. Bill: [24:48] Okay. Frank: [24:51] Just just because it's a truck, does it in a flatbed truck doesn't mean you have to be outside in on it. Bill: [24:55] Right. If I was going to go literal, he has a tin roof on that truck and it was too hot. Don't touch the tin roof. [25:25] Again, these are images and we learn from Richard Fry. Literalism isn't needed here. just get the picture and get the feel. Frank: [25:34] Yeah, exactly. It paints a picture. Bill: [25:36] And then from there, it goes to the same line. I'm all, it's different here. He says, yeah, you can call me a fool. Frank: [25:42] No, it's different. Yeah. Bill: [25:44] You can call me blind. You can call it quits. I can't hear a word that you said, what you said. Cause if I had you once, I'm gonna have you twice. Ah, okay. I'm gonna follow my heart instead of good advice. Frank: [25:58] No, I have is that good advice. Bill: [26:03] I think it makes more sense to say instead of good advice. my heart instead of good advice. Frank: [26:08] So my reading of it was, I'll follow my heart is that good advice. It's a question. And I'm going to tell Gino here, for someone who's been a fool in love and has been blinded by love, sometimes following your heart is not good advice. You do that too often you end up like me researching while you're on Tinder. Bill: [26:31] Stuck in a foot of mud. Yeah. And then of course we go on to the wild horses. there's repeats and stuff but the feels just come through and it's incredible just the sounds of the song. Frank: [27:10] The sounds in the imagery that it paints you can feel the song. Yeah, it's very textual. Bill: [27:18] Yeah definitely I was wondering this should textual is but what was the other word you said earlier remember what was it yeah definitely not a word yeah. Frank: [27:21] Yeah, definitely not a word. [27:29] Shakespeare in Vengeant Words, why can't I? Bill: [27:34] Oh, you're not Shakespeare. Frank: [27:36] Could be. The instrumental is that syncopation? It's got to. Bill: [27:38] All right. I was wondering if this should just become a category. Take it to the bridge. So the bridge in this song must be that part where he sings a bit and then it moves to the brushes doing. It's got to be something like that. And it just is perfect because it just brings you to the end and all the good stuff going on there. And the brushes, you know, clean the floor. They do. Ah, that sounds a lot. Frank: [27:57] Be syncopation. There's a definite divide between the, song and then the ending and that just sort of takes you on a little journey. It does. The bass goes for a walk and it takes you along with it. [28:17] Yeah, yeah, I was gonna say the brush has set the pace. Bill: [28:21] Better than me going through man madry. Yeah, it's phenomenal. [28:55] Do you remember the first time you heard this song? Frank: [28:57] It's got to be early 90s, the first time that I really paid attention to it. Because I know that I've heard it, I must have heard it back in the 80s. But it was probably the early 90s when, I'm just starting to get into music and understand music. Starting to gain a small appreciation for, the stuff my parents listened to, in terms of like the Rolling Stones. So I probably heard it. and thinking it's like, that's not "Wild Horses." That's by the Rolling Stones. And then, hearing it again and listening to it. And the more I preferred this version or this the song to the Rolling Stones "Wild Horses." And I love the Rolling Stones "Wild Horses." Bill: [29:41] Yeah, I'm with you on that. I love this version. This is the version, And I would have heard it probably in the late 80s on video hits on cbc. Frank: [29:49] Oh, okay. Yeah. Bill: [29:51] Because this didn't do well in america, but with cancon regulations in canada you had to. Frank: [29:53] Because it had to have no choice but to do good. Bill: [29:59] And this is an example where cancon is great because the song is great, So for whatever reason it didn't make it over there, but we heard it over here I feel like I've heard it on the radio and they would play it on the radio I just never knew it was Gino Vannelli I wouldn't know who he was anyways then but it was a song I remember hearing cuz I played it for Ashley, This is a big test of course, Ashley's sitting next to me and I said, okay We're gonna do this song next and I play it and all I could think of is like yeah She has no idea about the song and she hears it. She goes. Oh, yeah. Yeah. I know this song. Frank: [30:32] She says that about a lot of songs, Bill. Bill: [30:34] But no, she was like she started humming the xylophone part She was like, whatever, I want to hum it. Yeah, and so she had it, like, okay, she knows this song. And so it is a song where people know it, even though when I say Wild Horse's Gino Vannelli, I feel like people might not be aware until they hear it and they're like, oh, I I know this. Frank: [30:53] Yeah, and even to mention Gino Vannelli, you're like, I know the name, but I have no idea what he sings. But then you say like wild horses, and you start, singing a bit of the song or I just want to stop. People know that song. So they know who Gino Vannelli is. They just don't, know who he is. Bill: [31:13] The music video is iconic. Frank: [31:16] Well, yeah. I want to say that there's a new move that I'm going to add to my dance floor repertoire. And we talked about like, there is a, There's a subtle eroticism about the song. And in the video, it's just Gino Vanell, like there's the one movie that he does where he he takes his fists and he's not pelvic thrusting, but he's just like slamming his fists on his, upper thighs and he just like and like to the beat and just like that's a new dance floor move for me. Like that that's a little bit of a transition move, but it's going to come out next time I'm on the dance floor. Bill: [31:51] You. [31:51] It's great. And so those who haven't seen the video, of course, you'll see the show notes. They'll be there, That's the only place you can hear the song if you're looking online. Frank: [32:00] Yeah, unless you buy the CD. Bill: [32:01] Unless you buy the cd like I did I would like to buy the vinyl me. I'll look for the vinyl next So let me set the picture for you. It's black and white, he's wearing A white billowy shirt not quite the pirate shirt that we would have seen in seinfeld but not too far removed from it very 80s, He's got those jeans that are they may be acid washed or stonewashed. I'm not sure Is that a stonewashed like acid wash or not at all? Wait, I think they're acid washed. Frank: [32:30] You're asking me fashion questions and I really have no answer to that. Bill: [32:33] Okay, so they're acid washed jeans I think or they're the blue acid wash style at least of that era and He's got some lighter Western boots on perhaps brown perhaps white hard to tell, So when you see him snap his fingers and then pump his fists against his thighs, he's moving with the beat, he's got the two-hand snap back and forth two-hand snaps sometimes hitting his thighs and, He's got, great hair. Frank: [33:04] Because I have it kind of playing here. Well, while we're talking about it. Everyone is sweaty. Yeah, it's the Arizona plate. Bill: [33:10] It's hot it's at least it looks hot I mean Arizona plate. It's hard to know like I keep thinking it's a carnival, but the scenes are like they're in the backyard of a hot Arizona town. Frank: [33:25] I think like raising Arizona like there's a there's a because the the laundry's out on the on the line and everything. Yeah. Bill: [33:32] Yeah, that's right because that's the background is these bedsheets that are hung up. There's a woman just sitting in her like bikini that looks like she's from the 50s maybe chewing gum and not. Frank: [33:42] Yeah, sunglasses. Yeah. Bill: [33:43] Interested. But there's also this fan beside her like those fans you see at the top of buildings that spins around. What type of fan is that? Yeah, so the condenser fan is right at her feet so it's like are they on top of a roof? But then you have a band behind him and it seems like at least one. Frank: [33:50] Well, that would be a condenser fan for an air conditioning unit. Bill: [34:02] Or two bass players at once. There's someone playing xylophone, someone playing drums, but there's, three iterations of this band. It keeps changing to these people who look like players because they don't look like anybody you would hire to act. Frank: [34:15] I'm looking at there's there's the one like bigger drummer, like he's balding wearing glasses and everything like, and I'm not here to shame, but he's not a Hollywood like attractive, man that you would like feature in a video. Bill: [34:31] There's only one person who is both out of place and totally in place and that is the it girl, So she's playing harmonica or appearing to play harmonica I'm not sure we can even see a harmonica and she's just moving with the rhythm and she is striking and She is sweating. Yes, like she's probably sweating the most which of course is very 80s. Frank: [34:45] Yeah, dancing and clapping. Yes. Yeah. Bill: [34:53] Yeah, and so Juno belly's kind of sweating but she is sweating and she's kind of like moving and and he's not, like this is the interesting thing for me in the video, is they're not set up as love interests. She's dancing around him to the music and he'll look over at her kind of, but he's not interested in her in that sort of way. Frank: [35:13] Main character of this video is the song. Bill: [35:17] And so they're moving to it and she's just kind of this character that as a viewer you're drawn to. She is totally fascinating. Alright, so here is some deep research. Two in the morning, I wake up, can't sleep. Maybe thinking about the video, I don't know. And like, I gotta figure out who this person is. So I find this article online. And let me just read the title because the title says it all. MTV It Girls. Who's the girl in the video? This is the article. Frank: [35:51] So you went, okay, you read the article, but then you went all the way through the comments. Bill: [35:52] They go through iconic ones. And then in the comment section, someone says, who's the girl in "Wild Horses?" [36:03] The comments. Yeah. Yeah, I mean, I kind of typed into the search engine and then it said it had. Frank: [36:04] To find this information. Bill: [36:09] Something written there, but I had to look through and there's nothing on it. But several people wrote in the comments, who's the girl and "Wild Horses?" So clearly there are people wanting to know. So I get this name Rosetta Millington. And looking it up, like, who is she? I click on it. It's like, it's not Rosetta Millington. Someone named Rosetta Getty. Who's Rosetta Getty? So I'm I'm looking at this I see a picture of this person like well, that's her but there is nothing Linking her to the video. She is not, Unfamous She is married to Balthazar Getty who is the great-grandson of Jay Paul Getty, I believe it's Jay Paul Getty who is the richest man in the world Do you remember that movie all the money in the world? Where's about the kid who got kidnapped? That's Getty. Frank: [36:57] Yeah. Yeah, yeah. Okay. Did they invite? Did they invent Getty images? Like when you? Bill: [37:00] And so his father Balthazar's father. [37:06] Yeah, the Getty no, it's all connected. Yeah, it's all connected. So. Frank: [37:09] Is it? Yeah. Okay. I was trying to be hilarious. Bill: [37:11] Yes, I think so. Anyways, I at least from what I know because there's this Getty Museum and stuff. Frank: [37:15] Oh, that's unfortunate. Bill: [37:16] And So Balthazar Getty's father is the guy who got kidnapped, in that and had his ear cut off by the mafia and all that and then had a pretty tortured life and died young. Frank: [37:27] Yeah, yeah. Yeah. Oh, that's unfortunate. Bill: [37:28] So Balthazar Getty was a son who never really had you know, a good father figure anyways. This is kind of going off on the side here, but it's all gonna come together. He marries Rosetta Millington who becomes Rosetta Getty who has her own clothing line. Frank: [37:42] So how does she end up in this video? Bill: [37:43] And she's like a fairly big deal from everything I see and they're worth a ton of money, like 300 million. This is before they're married. So there's no mention, she's online and everything, no mention of this video. But when you see her, that is Rosetta Getty. And she has her own line of gowns and stuff. And you can watch these videos where they talk about their life together. And the reason I'm bringing this up is She maybe inadvertently follows the theme of this song, because Balthazar Getty was not an easy person to live with because he had this very public affair with Sienna Miller in 2008. Frank: [38:26] Oh, that's right. Bill: [38:28] Oh, that's right. So everyone knew this. He had kids, like they had three or four kids, I think. And he was off for a long time with Sienna Miller and they got back together and they're still together, because wild horses could not drive Rosetta Getty away from her husband despite, yeah, very public. Frank: [38:45] His infidelity. Yeah, very public. Wow, that's crazy. Bill: [38:48] So it's crazy. So that was my deep dive research and it's totally her. And there is no connection. So I don't know if she's used her money to push down "Wild Horses." I don't know why, because it's fascinating. And as far as eight girls in a video, she's not exploited, I don't think. I mean, it's, we're guys talking about beautiful woman in a video, but she's just this fascinating figure. Frank: [39:13] Yeah, yeah. And she's not I mean, it's not an overt objectification of her in the video. It's not her front and center writhing in a bikini on a car or something like that. Bill: [39:25] No, she's not wearing the bikini the person wearing the bikini is just sitting there. Yeah, I. Frank: [39:28] Yeah, and she's completely uninterested. It's almost like a David Lynch film. Bill: [39:32] Was Heather in down yeah, that's great. It is like a David Lynch film If anything, this is what Wild at Heart should have used maybe I mean, of course, what am I saying? Frank: [39:34] I would be down. Do you know that? [39:43] Yeah, well, why would a hard? Bill: [39:44] Chris Isaac, but this has a total lynching feel and belt is our getty said David Lynch. This is not connected but is is he sees David Lynch as kind of a surrogate father to him. All these weird connections. Frank: [39:56] But. Bill: [39:59] Yeah. Either way, this video feels like Lynch. Frank: [40:03] Yeah. [40:03] It's all six degrees of Gino Vannelli. Bill: [40:06] Yeah. Thank you, Gino for Twin Peaks. So that video is so watchable. I've, I've watched it over and over again, but I also can't help but see Eugene Levy playing Gino Vannelli from the SCTV. Frank: [40:14] So. [40:20] In an SCTV parody of this, yes. Bill: [40:20] Yeah. Yeah. They did a parody of it. I just want to stop where he keeps singing and growing more and more chest hair. So that would be like when we talk about categories, if we're even heading there, we might as well. Frank: [40:26] Yeah. Bill: [40:32] Hallmark movie is like, well, it's a David Lynch movie. This belongs in a David Lynch movie. Frank: [40:35] Yeah. in David Lynch movie. Yeah. Bill: [40:37] So I can't see it as a Hallmark thing, but I can see it as a David Lynch movie. Frank: [40:41] Can we talk about Gino Vannelli in more recent pop culture history? So in 2008, Boston Celtics would play a clip of Dick Clark's American Bandstand and it's just like music playing and a bunch of people dancing and it was like you know panning through the crowd and everything and the end of this clip that they would play at Celtics games and it was always during a blowout win for the Celtics. The end of it was this bearded man wearing a very, very tight t-shirt with Gino Vannelli on it. It just said Gino, and they call it Gino time. So in 2008, Gino Vannelli is thrust into the forefront of the Boston like sort of sports pop culture history because everyone knows the guy who's dancing in video and everyone knows the shirt that he's wearing so it's Gino time so Gino Vannelli has this small little resurgence in 2008 and that's also the year that they won their last championship was 2008 so Gino Vannelli has a part of the Celtics 17th championship in the NBA. Bill: [41:53] All right, let's talk some categories. Okay. Michael Bolton. Could Michael Bolton sing this? Okay, I was actually thinking he could if he toned it down. Frank: [42:08] But you're asking a bird not to fly. Bill: [42:10] I was gonna say at the end, but he could not by the end. He just go wild. He is the wild horse. Frank: [42:15] He is the wild horse. Bill: [42:17] Now I do have another category unfair because I didn't tell you about this. But who who else could sing this and I have one person who I feel could sing this and that's Chris Isaac. Frank: [42:25] Yeah. It's fine. Oh, yeah. Well, it has that that sort of, like. Bill: [42:28] Oh yeah. Yeah. Frank: [42:30] I said, that southwestern almost rockabilly feel to it. So, yeah, who else would who else would would be able to do that? maybe John Bon Jovi and his like cowboy rock stage or Kid Rock? Okay, like Enya? Bill: [42:44] Or I could see it being like a female voice who makes it feel kind of ethereal. So maybe. Yeah. Yeah, she could. Maybe Anya. Maybe like a Phoebe Bridges or a Tori Amos? Could she do it? I'm just trying to think. Someone could do something with it. Could Jule sing this? Frank: [43:14] Yeah, I can hear Jewel singing this. Yeah, Jewel. This is your challenge. And we know you listen to the episode. So we challenge you to sing Gino Vannelli's Wild Horses and send it over to us and maybe hang out with me. Bill: [43:15] Yeah, all right, Jule. The challenge is on. [43:49] Another category here what season of the year and what time of the day does this song work best? Frank: [43:56] End of summer in the evening. Bill: [43:58] You got it, that's the answer. All right one more for you. What part of the date do you play this song on? Frank: [44:05] Okay, it's not a first date song. You know what, it's a third date song after you have a mild misunderstanding. If you're really into her, but without, you know, going creepy. Bill: [44:14] Oh, okay, Okay, because I have getting fresh written down. Not mild misunderstand. To me it seems like that would be your kind of go-to kissing song. It's a kissing song. That's a game. Frank: [44:21] Okay, well that's usually third date. [44:29] It's a kissing song. And a flatbed truck. Bill: [44:33] Yeah, all right. I mean there's one more major category we gotta get to of course. Mixed tape. Mixed tape. You got a mixed tape going? I have a mixed tape. Okay, I'll let you go first. Frank: [44:40] Okay, yeah. Mix tape. Okay. I have a mix tape. Okay, so my mix tape, the theme I went with was songs that have animal names. Bill: [44:51] Animal names? animals Okay, all right, all right, gotcha, okay. Frank: [44:51] Animals in the title. So, Like a Bird on a Wire, the Neville Brothers, Barracuda by Heart, Rock Lobster, the B-52s, A bit of an outlier here and this is just because I love the band but also the song is beautiful. Transient Whales by Toad the Wet Sprocket. Pony by Genuine. And I am ending this just for you Bill hands by Jewel. Bill: [45:30] Hands is not an animal. It's not funny anymore. This is like four, I don't know how many episodes you've done this to me, whether I've kept it in or cut it out. Okay. Frank: [45:40] No, no, no, I do have an ending for you and this one honestly is just for you. by crazy town. Bill: [45:42] Oh yeah. [45:47] Yes. Oh, what an ending. Oh, that's a great transition into my stuff. So my mixtape went with texture to quote you actually actually from an earlier episode. So after you know, Wild Horses plays or I guess your part. I'm on fire Bruce. Frank: [46:01] Oh yes! Oh good call! Bruce Springsteen can sing me a song. Bill: [46:08] Springsteen. Yeah. Oh, good. Yeah, I got the feel. Yeah. Oh, he could totally sing this. I just died in your arms tonight cutting crew. Okay. Drive the cars. Wicked Game Chris Isaac. Frank: [46:18] I will listen to this mixtape. Bill: [46:24] And then I'm gonna end with Yeah, who's gonna ride your wild horse is you too, because it has that feel and not the one that's on Octon baby, but the mix that was actually the single. It has that sort of feel as well. And it's like a scale, back Bono. And I really like that song and the wild horses fits within the Gino wild horse world. So it feels like the Gino finale is like wild horses won't drive me away. And Bono is like. Frank: [46:47] Yes, yeah. Bill: [46:53] Who's gonna ride your wild horses? There's there's something going on there. It is the Gino verse. Yeah, I felt really good. I spent a lot of time on this. I do have something else. Gino is so weird. When he's interviewed, he doesn't Frank: [46:56] It's all in the Genoverse. Yeah. That's a great mixtape. Bill: [47:09] even bother talking about "Wild Horses". He only wants to really talk about his spiritual journey. I just don't want to hear about it. I want to hear about "Wild Horses," Gino! I don't want to hear about the ego and you're Carl Jung. I just want to hear - Frank: [47:20] I just want you to stop and tell me all the things about you baby.   Bill: [47:24] Exactly. So I am so glad we got to talk about a song that's not easy to find on Spotify, that's, not easy to find anywhere. Yeah, that you'd have to go on Amazon and look for dreamers never sleep if you wanted to get a CD copy of this. Frank: [48:00] Yeah, or write Bill, he might be able to send you his. Bill's like a CD library. He can he lends them out and they do come back sometimes. Yeah, and the song I think is critically. Bill: [48:09] They do. You know what? are still an awesome way of listening to music. Frank: [48:17] Critically underappreciated. Like we said, it did very well in Canada, but in the broader North America really didn't chart but such a such a good song such a really really good song and a visceral song, you can feel it. You can feel everything that he's singing. It is so good. Bill: [48:39] Yeah, I can't help but gush over this and so, you know, we don't do irony anyways, We like to joke around we don't do irony and this song is incredible. So if you're out there And you know this song but haven't been able to sort of place it anywhere. We're here for you, and, We want you to know that no matter what's going on in the world, wild horses won't drag us away from bringing guilt-free pleasures to you. Frank: [49:13] Thank you for listening.  

Hello friends! Guitar hero, singer-songwriter and legendary rockabilly artist, Rosie Flores returns to the show for episode 1239! Rosie has a new band, Rosie Flores & The Talismen and they've released a couple of great singles, "So Sad (To Watch Good Love Go Bad)" and "I've Got A Right To Cry". Go to rosieflores.com for music, tour dates and much more. Rosie and I have a great conversation about her legendary red Telecaster and some of her other historical items in the Country Music Hall of Fame, jamming recently with Patricia Vonne, Chris Isaac and more, the story behind The Talismen, what she did during lock down, staying cool in a world gone mad and much more. I had a blast catching up with Rosie. I'm sure you will too. Let's get down! Get set up or repair on your guitars with J. Scott Lutherie! If you feel so inclined. Venmo: www.venmo.com/John-Goudie-1  Paypal: paypal.me/johnnygoudie

Cómo poner en su lugar a una persona que está cometiendo un irrespeto hacia otra persona? Poniéndolo en los zapatos del otro, mostrarle empatía. Eso, desde mi punto de vista, fue lo que logró mostrar el Actor Jim Carrey durante los MTV Awards de 1995, donde una acción inapropiada hacia Cameron Diaz por parte del cantante Chris Isaac, fue contraatacada de manera ingeniosa e inesperada. Dime si estas de acuerdo con la acción del gran Jim Carrey en mis redes sociales Yo Soy Acción Podcast. IG: @yosoyaccion --- Send in a voice message: https://anchor.fm/yosoyaccionpodcast/message

Tonight we babble about a bunch of semi-unheard-of songs/bands.   WE had a ton of fun doing this one, hope you have 1/8th as much fun listening.  Chatted & played tunes from bands like:  Dead Skeletons, Shivaree, Thelonious Monster, An Emotional Fish, Little Barrie, Tinnitus AEternum, The Smile, Gary Clark Jr ... and more.   If you actually suffer through all the way to the end, you'll catch a bit of a wacky mashup of Mazzy Star, Holy Motors and Chris Isaac - sure, it gets weird... but it's US !   You should expect that anyway.   Please feel free to join our super-shitty-committee "The Inebriatti" - just type into our comments "Pour Me Another Brother !"   and you are IN !  (we have very Low Standards... and significant Pours !   Thanks for being a voyeur in our goofy musical chats.   Keep your pants on - we're gonna do this crap again next week.

Today we asked our listeners if they should remove the shark nets around Central Coast beaches, then talk to Adam Crouch on what he thinks should be done. We catch up with fighter pilot Matt Hall, talk to local bloke Chris Isaac about the Starlight Foundation's Tour de Kids, and talk about fussy eaters.See omnystudio.com/listener for privacy information.

Listen for Tana's No. 1 thing that came from the COVID pandemic! Chris Issac's "Wicked Game" Post project house is done and gone. What's next on the to do list of life? Thanks for listening while we navigate our 40's and now Trice's 50's! @tntfridays @margaritasamigos @sxmelvisradio --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/fridaysat5/message Support this podcast: https://anchor.fm/fridaysat5/support

Der er forår i luften - og masser af varme danske fodboldspillere rundt om i Europa. Andreas Cornelius bomber Trabzonspor mod mesterskabet i Tyrkiet. Både Wind og Lindstrøm blæser af sted i Bundesligaen, og den belgiske liga er i øjeblikket decideret dansk domineret. I denne uges udgave af Fodboldlisten sætter Andreas Kraul og Francis Dickoh en top 11 over de allervarmeste danskere, hvilket peger fint frem mod årets første landsholdstrup, som Kasper Hjulmand udtager i næste uge. Som sædvanligt giver det en helt særlig rundrejse til såvel Sortehavet som et 100 år gammelt stadion i en belgisk skov, mens der også er et par helt særlige musikalske nedslag ved både Chris Isaac og Vamos a la Playa. Derudover Superliga, Rusland og en fejlslagen jubelscene på betonunderlag. Vært: Thomas Loft 02:09 - Silkeborg - Brøndby 09:15 - Hvad sker der i AGF? 15:00 - PSV-FCK 21:13 - Danskerne i Rusland

Carlos Santana, Bruno Pelletier , Judith Niemack, Joh Scofield, Ray Charles, BB King & U 2, Rubben Ford, Chris Isaac........

Alexa Dark has only two songs out but it was enough to make a lasting impression on us as she is somehow creating a bridge between Adele's sophisticated pop music and Chris Isaac's moody and anachronistic bluesy ambiances. But with « Blind Faith » and « Fate To Black And Blue », Alexa is also making a statement that goes beyond music. Both songs are accompanied by perfectly curated music videos that propose a powerful and haunting universe. Imagery, style, and music go hand in hand for Alexa and we're happy she takes the time to carefully craft this 360 experience for us. Delicacy and intention don't prevent raw emotions from surfacing through her prism. As a result, the fascinating and obscure world she paints for us seems to be only redeemed by beauty. This resonates with me a lot as I recently came to the conclusion that pain is somehow only tolerable if we find a way to transform it into art. Ultimately, I think that culture is that movement of putting something unbearable to a safe distance just to be able to look at it in the eyes. « I'm drowning in a sea of static I'm sleepless in a bed for two » - Blind Faith « We sit at that bar Jukebox doesn't start So I play a sad song in my head I know you're leaving soon No curtain call for you But I watch the credits roll again » - Fade to black and blue Every word Alexa sings seems to be taken from the script of a French film noir but her narration style has more to do with a Lynchian dream. It's seductive because it is elusive and the power of Alexa Dark lies in her ability to hide as much as she reveals. In a way, her music is an antidote to the frenzy of transparency that has taken onto the world. It's also the perfect refuge from the contemporary summons of assigning people to frozen and closed identities. On the contrary, Alexa Dark diffuses herself in the shadows and navigates between the many unexplored regions of the soul. That might be because of her multicultural background. She's of Spanish descent, was born in New York, and grew up in London. That's where she discovered record stores, Françoise Hardy, and punk rock. That's also where she first performed at age 13. The experience she gained performing at a young age and her exposure to a diverse world of many cultures has informed her art and vision. As she said on the podcast, Alexa doesn't want to be "stuck in one place, with one idea, one culture". That's why she keeps moving and adding more layers to her perspective. Right now, she spends her time between New York and Los Angeles and we're glad she stopped by our studio to share her vision, philosophy, and journey with us. Alexa Dark might be writing the soundtrack of a film noir, but it's a kaleidoscopic and unpredictable score. www.hangingonsunset.com www.instagram.com/hangingonsunset.com www.teamnowhere.org --- Send in a voice message: https://anchor.fm/hangingonsunset/message Support this podcast: https://anchor.fm/hangingonsunset/support

Adam Sommer is joined by former law enforcement officer turned reformer, professor, investigator, and author - Betty Jane Frizzell - to discuss her recent book "If You Can't Quit Cryin' You Can't Come Here No More." The book follows Betty's experience of getting the phone call that her sister, Vicky, is in prison for murdering her husband, Chris Isaac, in 800 person Puxico, MO. Betty's book recalls a childhood of abuse, poverty, and violence stretching generations and the failures of every part of the system leading to this tragedy. https://heartlandpod.com/Twitter: @TheHeartlandPOD"Change The Conversation"

Adam Sommer is joined by former law enforcement officer turned reformer, professor, investigator, and author - Betty Jane Frizzell - to discuss her recent book "If You Can't Quit Cryin' You Can't Come Here No More." The book follows Betty's experience of getting the phone call that her sister, Vicky, is in prison for murdering her husband, Chris Isaac, in 800 person Puxico, MO. Betty's book recalls a childhood of abuse, poverty, and violence stretching generations and the failures of every part of the system leading to this tragedy.

Today's episode takes two iconic songs that are still played all over the world, or at least in my "world." If you are a fan of P.M Dawn and Chris Isaac you will want to tune in for this episode! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/karen-farmer/message Support this podcast: https://anchor.fm/karen-farmer/support

Part One of Two. Audrie and Tyler talk religion, spirituality, Beyoncé and Chris Isaac.

Es cierto que no es lo mismo dormir en un cinco estrellas gran lujo de Tokio, que en un infecto agujero de Saigón lleno de chinches. Pero… en cualquier caso, las habitaciones de hotel siempre me han parecido algo así como si fueran páginas en blanco, como esperando a que alguien escribiera en ellas los renglones secretos de su propia historia; quizá una historia de amor prohibido, quizá un amargo desengaño, o una huída desesperada a media noche. Por lo general, son lugares neutros y apacibles donde encontrar la inspiración y la paz para escribir por ejemplo una novela. Así, Truman Capote escribió su obra maestra A sangre fría en un hotel de playa de la Costa Brava. O Hemingway, que escribía sus artículos taurinos en el hotel La Perla de Pamplona, en plena fiesta de San Fermín, por cierto que siempre elegía la misma habitación… Aunque Para el escritor de terror Stephen King, las habitaciones de hotel son, simplemente, lugares espeluznantes Hace tiempo que perdí la cuenta, pero haciendo un cálculo aproximado, he debido de pasar más de 1000 noches en habitaciones de hotel. Puede que más. Y, sin embargo, a mi siempre me parecieron espacios neutros, y amables, lugares vacíos de emociones en los que meditar en silencio contemplando la ciudad a través de la ventana, mientras esperas que te suban el desayuno. En todos estos años de profesión, viajando, durmiendo fuera de casa, me ha pasado de todo. Desde hasta sobrevivir a un frente de tornados en Orlando hasta despertarme con el susurro de un fantasma al oído, sí como oyen, un fantasma. Les prometo que luego se lo contaré con todo detalle. Bueno, en cualquier caso, el programa de hoy no va sobre experiencias apacibles en hoteles. Más bien al contrario. Acaso les gustaría dormir en la cama en la que Janis Joplin murió de sobredosis, o darse un baño en la misma bañera en la que perdió la vida Witney Houston. No hace falta que sean personajes ilustres, basta con saber que en tu cuarto alguien se suicidó o se cometió un asesinato, para que esa noche no pegues ojo imaginando todo tipo de cosas, cosas incompatibles con el descanso. Así de traicionera es la sugestión, pero… y si, además de la sugestión, hubiera algo más. Hablábamos de Stepehen King, quizá el hotel más terrorífico que haya conocido el cine o la ficción, se el de su novela El resplandor llevada a la gran pantalla por Kubrick con aquella magistral interpretación de Jack Nicholson. Recuerdan, ¿no? Un hotel de montaña vacío, pero lleno de fantasmas. La historia del rock está plagada de canciones sobre hoteles. Se me ocurre el Heartbreak hotel de Elvis, el hotel de los rompecorazones, o este tema que está sonando de Chris Isaac, Blue Hotel, el Triste Hotel. Hasta hay una canción sobre un hotel encantado, nada menos que el Hotel California de los Eagles. Todo un clásico en el que se habla de fantasmas celebrando una fiesta. En esta Luna de Lobos vamos a hablar de esos otros hoteles en cuyas habitaciones y pasillos sucedieron cosas terribles que parecen haberse quedado atrapadas entre sus muros. Y lo vamos a hacer de la mano de nuestra querida amiga Mado Martínez, ya que ella ha investigado varios de estos lugares y ha publicado algunos reportajes al respecto. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Es cierto que no es lo mismo dormir en un cinco estrellas gran lujo de Tokio, que en un infecto agujero de Saigón lleno de chinches. Pero… en cualquier caso, las habitaciones de hotel siempre me han parecido algo así como si fueran páginas en blanco, como esperando a que alguien escribiera en ellas los renglones secretos de su propia historia; quizá una historia de amor prohibido, quizá un amargo desengaño, o una huída desesperada a media noche. Por lo general, son lugares neutros y apacibles donde encontrar la inspiración y la paz para escribir por ejemplo una novela. Así, Truman Capote escribió su obra maestra A sangre fría en un hotel de playa de la Costa Brava. O Hemingway, que escribía sus artículos taurinos en el hotel La Perla de Pamplona, en plena fiesta de San Fermín, por cierto que siempre elegía la misma habitación… Aunque Para el escritor de terror Stephen King, las habitaciones de hotel son, simplemente, lugares espeluznantes Hace tiempo que perdí la cuenta, pero haciendo un cálculo aproximado, he debido de pasar más de 1000 noches en habitaciones de hotel. Puede que más. Y, sin embargo, a mi siempre me parecieron espacios neutros, y amables, lugares vacíos de emociones en los que meditar en silencio contemplando la ciudad a través de la ventana, mientras esperas que te suban el desayuno. En todos estos años de profesión, viajando, durmiendo fuera de casa, me ha pasado de todo. Desde hasta sobrevivir a un frente de tornados en Orlando hasta despertarme con el susurro de un fantasma al oído, sí como oyen, un fantasma. Les prometo que luego se lo contaré con todo detalle. Bueno, en cualquier caso, el programa de hoy no va sobre experiencias apacibles en hoteles. Más bien al contrario. Acaso les gustaría dormir en la cama en la que Janis Joplin murió de sobredosis, o darse un baño en la misma bañera en la que perdió la vida Witney Houston. No hace falta que sean personajes ilustres, basta con saber que en tu cuarto alguien se suicidó o se cometió un asesinato, para que esa noche no pegues ojo imaginando todo tipo de cosas, cosas incompatibles con el descanso. Así de traicionera es la sugestión, pero… y si, además de la sugestión, hubiera algo más. Hablábamos de Stepehen King, quizá el hotel más terrorífico que haya conocido el cine o la ficción, se el de su novela El resplandor llevada a la gran pantalla por Kubrick con aquella magistral interpretación de Jack Nicholson. Recuerdan, ¿no? Un hotel de montaña vacío, pero lleno de fantasmas. La historia del rock está plagada de canciones sobre hoteles. Se me ocurre el Heartbreak hotel de Elvis, el hotel de los rompecorazones, o este tema que está sonando de Chris Isaac, Blue Hotel, el Triste Hotel. Hasta hay una canción sobre un hotel encantado, nada menos que el Hotel California de los Eagles. Todo un clásico en el que se habla de fantasmas celebrando una fiesta. En esta Luna de Lobos vamos a hablar de esos otros hoteles en cuyas habitaciones y pasillos sucedieron cosas terribles que parecen haberse quedado atrapadas entre sus muros. Y lo vamos a hacer de la mano de nuestra querida amiga Mado Martínez, ya que ella ha investigado varios de estos lugares y ha publicado algunos reportajes al respecto. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Broana, MAKE WAY MAKE WAAAAY! This week, Matt, Rich, Sean and Tim discuss takeaways from ”Moana,” removing borders, alien contact, video game violence, dog etiquette and much more! Plus, Roadshow makes a comeback (with lots of weens) and the Eagles better get their QB's straight in this week's Kaz's Korner. Subscribe to Brosé on your favorite podcasting platform. Plus, if you leave us a 5-star rating and review on Apple Podcasts, the bros will record an acapella version of Wicked Game by Chris Isaac!

Thozi Da Groove - #MaturedHour109 (2019 Year End Mix)

The Thursday Americana Blues Country & Folk Show With Ian Boyle & John Jenkins - Vintage Radio Birkenhead - Thursday 28th Nov 2019 This week’s guest – Wild Row Music this week included: Chris Isaac, Dustin Chapman, Phil Conil, Kate Rusby, Ags Connelly, and plenty more

Two-time Grammy nominee and the award-winning author — Holly George-Warren has written 16 books including the New York Times bestseller The Road to Woodstock and the new biography Janis: Her Life and Music about rock icon Janis Joplin. Holly is also working with Petrine Day Mitchum on a new documentary called Rhinestone Cowboy about the story of Nudie, the Rodeo Tailor. Find out more about Holly George-Warren. Read more about The Passionistas Project. FULL TRANSCRIPT: Passionistas: Hi and welcome to the Passionistas Project Podcast. We're Amy and Nancy Harrington and today we're talking with two-time Grammy nominee and the award winning author Holly George-Warren. To date, Holly has written 16 books, including the New York times bestseller, “The Road to Woodstock” and the forthcoming biography, “Janice: Her Life and Music” about rock icon Janice Joplin. Holly is also working with Patrine Day Mitchell on a new documentary called “Rhinestone Cowboy” about the story of Nudie, the rodeo tailor. So please welcome to the show Holly George-Warren. Holly: Great to be here. Thanks so much for having me. Passionistas: What's the one thing you're most passionate about? Holly: Wow, gosh, what time is it? Every time it changes on the hour it seems like, but of course right now I'm most passionate about, I guess both Janis Joplin and Nudie. As far as my work life goes, my head is wrapped around both of those people. And interestingly enough, Nudie actually did make some outfits for Janice in 1970 so there's a connection with everything. And of course my other passion in my personal life is my family, my husband Robert Brook Warren and my son Jack Warren, who fill my life with joy and excitement and share, uh, my love for the arts, film, music, the outdoors, etc. So I'm very blessed. Passionistas: So tell us a little bit about what first inspired you to become a writer. Holly: I think music really did first inspire me beginning at a very, very young age. I grew up in a small town in North Carolina and literally I'm old enough to have discovered music back in the days of am radio. And in my town it was so tiny. We had very, you know, little radio, just some gospel, I think country and Western. This was in the ‘60s. But I discovered at night after like say nine o'clock on my little clock radio that I could tune into w ABC in New York and WCFL in Chicago. And that just blew my mind. It opened up this whole world for me of all these different sounds and styles of music. Cause that was in the day of very eclectic radio. Playing a DJs, they, they didn't go by strict playlists or anything like that. And I literally started just kind of writing, I think inspired by the music I was hearing. I started writing a little bit about music and I of course started reading biographies also at the same time. So that was the other major I would say inspiration for me. I started reading in elementary school these biographies of all kinds, everyone, you know, from like George Washington Carver to Florence Nightingale to Abraham Lincoln biographies and became kind of obsessed with reading those books. And you know, I just love to read from a young age. So I think those interests kind of combined that. Um, by the time I got to college I was writing quite a bit and uh, always did quite well with my writing assignments in school and then found myself writing more and more about music, going out and seeing bands performing live. And then that's what I did when I moved to New York city in 1979 I started writing for all kinds of fanzines and underground magazines that existed at that time in the East village. About then, it was kind of the post punk scene I guess, but I had been inspired by the original punk rockers, you know. I got to see the Ramones and bands like that in North Carolina before I moved to New York. So I've just started writing about the scene, which was not that well covered at the time. Talk a little bit more about the scene at that point. Back in those days, in the late seventies in New York city, there were only a couple of clubs where you could go out and see bands that had, were kind of either following in the footsteps of the original punk scene in New York and London. And a few of those people were still around New York and playing. So there was this great resurgence of kind of DIY homemade magazines, sort of called fanzines that all kinds of people that were into the scene started writing articles for. And it didn't have as many gatekeepers as say the big glossy magazines of the day, you know, even Cream magazine, which was kind of an upstart as compared to say Rolling Stone was pretty restrictive as far as who could write for those magazines. And I would send out queries and tried to get assignments and never hear back anything. But in the meantime, just people out on the scene who were playing in bands, booking bands, going out to see shows every night we're putting out these music magazines that pretty much anyone through, you know, string a sentence together and had a little bit of knowledge about writing. But a lot of passion basically. Again, passion was very much the key word of I would say the music scene, the people on stage and then also people writing about the music. So that's really what got me started and I started getting published in some, again very small run underground, a little music magazines. Passionistas: Then you did eventually start to write for Rolling Stone and you became an editor of the Rolling Stone press in '93. So tell us about the road to that and your experience working there. Holly: It was quite the fun road. It was circuitous because I did get swept up in the whole band scene and actually started playing in bands very early. I played, I used to call it lead rhythm guitar. So again, playing in different bands over pretty much throughout the 1980s and while I was doing that, I didn't write quite as much, but I felt like it was a huge tool for being able to write about music to actually be in a band. You know, we went on the road, we toured around some of my different bands, I did several recordings. So I learned what it was like to work in a recording studio. And just the whole life of being a musician became a real thing for me. So I felt like I could write about musicians with much more authority. I never considered myself a real musician. I still was a fan, but I, I could play a mean bar chord. And I started out with a fender Mustang and then I moved up to a fender Jazzmaster of the vintage one from the late fifties so I was pretty hip. Let me tell you. In the meantime, I did start getting some real jobs to pay the bills, including, believe it or not, I became an editor at American Baby magazine, which funnily enough, almost everyone that worked there was childless. And that was really my first nationally published articles was for this magazine. Um, how to know when your child is old enough for a pet or, you know, I did a research article where I went out and interviewed parents of quintuplets and quadruplets and triplets, you know, um, but I, you know, really kinda cut my teeth writing for that magazine. I learned how to be a journalist, you know, a real journalist. And then gradually through meeting people and also being a total rock and roll geeky nerd who was constantly reading every rock biography that would come out. And also I was really into, it was weirdly enough through punk rock, I got totally into old timey country music, like the Carter family. And honkytonk music like Hank Williams and I loved, uh, Patsy Cline, Wanda Jackson, the queen of rockabilly. So I got into that kind of music pretty much while I was a full-fledged punk rocker. And again, I think passion is the line between those two, the thread that connects them that, you know, both of those kinds of music, that earlier country that were raw primitive kind of country music as well as punk rock had that passion was very obvious in the music and that I loved it. I was totally into all that kind of music. And in fact, I saw George Jones at the Bottom Line in 1980 which blew my mind. So anyway, so I started learning more about that kind of music by just reading books all the time and eventually heard about a job as a fact checker at Rolling Stone press in the 1980s they were doing this big rock and roll encyclopedia and needed someone to double check everything. You know, these established writers who I'd been reading for years, Rolling Stone, like people like Dave Marsh had written. And so that was my first, you know, I was getting to call up Question Mark of Question Mark and the Mysterians and asking him, you know, was it true that he came from another planet and called up, you know, all these people. In fact, funnily enough, I handsome Dick Manitoba, the singer, the Dictators, I called him up to check some facts about this notorious horrible fight on stage, basically abroad between him and Jayne County at CBGBs. And then literally when I was playing in my band, we were rehearsing and this music building famously where Madonna once lived before she got an apartment near times square I was in, had gotten a taxi to get home with my equipment and there was, who was driving me, but you know, Richard, Manitoba, handsome Dick himself, who I had just caught up and asked him about his career as a fact checker. So anyway, that kind of got my foot in the door at Rolling Stone, which led to me over the years doing freelance projects for them. And till finally in 1993, well actually ‘91, they hired me as the editor to do a couple of their Landmark books, had deals with Random House to do new additions, “The Rolling Stone Album Guide” and “The Rolling Stone Illustrated History of Rock and Roll.” And so they hired me to kind of be the editor to work with uh, Anthony DeCurtis and Jim Hinky at the magazine to guide these books, which are these massive, massive researched, you know, a lot of people involved, you know, a lot of moving parts to do these new, uh, additions. So that went really well. So in 1993 they decided to start up a new book division, which had kind of fallen by the wayside and they hired me to come on board and run that book division. And that was a great experience and that's what led me to start writing for the magazine. I started doing assignments for the magazine, record reviews and things like that while running the book division. I learned so much from working on those kinds of big reference books. You know, and again, we had amazing writers that I got to interface with and on “The Illustrated History of Rock and Roll,” too, I got to work with everyone from Peter [inaudible] to Mark Marcus to the late great Robert Palmer. Again, Dave Marsh, you know, many, many writers. And then I got to assign a lot of new chapters and in fact I wrote a chapter, Anthony DeCurtis became a real mentor to me. He was an editor at Rolling Stone that was in the trenches with me on these book projects and he assigned me as the writer to do a big piece on the changing role of women and rock, you know, beginning with Patty Smith, et cetera. Up to that current time. I think, you know, I covered, I think Sinead O'Connor at that point was maybe one of the newer artists that was, uh, the focus of my chapter. But that was a real huge, exciting thing to get to be part of. And then I got to do another very cool book with a wonderful writer editor named Barbara Odair, who came to my office. She was working at Rolling Stone and then at US magazine back in the day when it was owned by Winter media and said, “Let's do a whole book on women in music with every chapter written by women and every, as much as possible, all the photography done by women.” So we did this really cool book called “Trouble Girls: The Rolling Stone Book of Women in Rock.” And funnily enough, one of the chapters I did for that one was this big piece on Nico, who was my first ever famous person I ever interviewed when I was, you know, living in New York city. I was still waitressing at the time. And Nico, of course from the velvet underground fame was kind of down at the heels. Editorials at the time, but having to go to a methadone clinic across from where I was working and would come in every day afterwards and have an amaretto on the rocks and cheesecake. So I got up my courage and asked her if I could interview her and I didn't even have a platform for my interview, but she said yes and got to spend some time with her and interview her and use part of the interview and a little fanzine back in the day. But then I got to really expand and write this whole chapter on Nico and use this interview I'd done 10 years earlier or even earlier than me, I guess 12 years earlier for this book “Trouble Girl.” So that was really exciting. Yeah. Passionistas: So you were writing about women, you're interviewing women, but what was it like for you as a woman starting in those early days in the punk rock scene through this time where you've becoming a more established rock journalist? What were your experiences like both as a musician and a journalist, as a woman in the music industry? Holly: Well, when I met people face to face and worked with them, say for example, Anthony DeCurtis and Jim Hinky, who sadly just passed away just a few weeks ago or a month, a month or so ago. They were very, very encouraging and very supportive. They really encouraged me to write and gave me assignments, et cetera. But before that I really found, and maybe it's true whether you're male or female or whatever gender, you know, but if I just blindly sent out queries or blindly tried to get gigs writing, when I first moved to New York City, it was a disaster. I mean, people either ignored me or just blew me off or said no or you know, it was really hard to get the foot in the door without actually working with people and for them to see what my work was like. Now, I did have the good fortune early on to meet some people that had worked with punk magazine and part of, there was this whole cool kind of resurgence of comics. This really great artists. Peter Bag had joined forces with John Holmstrom who had done punk magazine. And Peter and I, a Peter's wife and I work together, you know, at this restaurant. So Peter knew that I, you know, at this time I was just going out and writing about stuff on my own and pitching it to a few people I knew actually from North Carolina had moved to New York, but then they started giving me assignments for this. These magazines they started, one was called Stop and when it was called comical funny. So they, you know, they really encouraged me. So, you know, I can't say that I experienced gender bias or anything like that. Once I knew the people, I think maybe I was just, it's hard to know. I mean I did definitely get a lot of rejection. A lot of people that I pitched didn't really take me seriously and whether it's they didn't really know my work or because I was a woman, I don't know. I mean I, I did frequently find myself being the only music geek, you know, blabbing away on all this arcane kind of Trainspotting rock and roll history trivia with, you know, I'd be the only gal in the room blabbing away about that, you know, with some guys and stuff like that. There weren't a lot of women doing it and there weren't that many women around Lee for me that I crossed paths with to kind of support my endeavors at that part of my career. However, I very fortunately met a couple of women when I was a fact checker at Rolling Stone Press who were very, very encouraging and really I would not be talking to you right now if not for them. And one was Patti Romanowski who was the editor of Rolling Stone Press at the time, who hired me as a fact checker back in the ‘80s. She went on to write many as told two books with everyone from Mary Wilson to Otis Williams at the temptations. And that book has recently been the basis for this very successful Broadway show right now. So Patty was fantastic. And then her boss, the woman who ran rolling stone press with Sarah Layson who became, you know, really made my career because after she left Rolling Stone Press, she started a book packaging company and became a literary agent and hired me continuously for her book company. And then she became my literary agent when I left Rolling Stone. No, actually before I even started at Rolling Stone, my first ever book, which I uh, got my first book deal around 1990. So it was even before I went to Rolling Stone actually, she became my literary agent and my first ever book, she connected me with my coauthor Jenny Boyd, who had been married to make Fleetwood and her sister Patty Boyd, you might know the name was married to George Harrison, Eric Clapton. And Patty was a really interesting person who had kind of dug out a new life for herself. After her marriage with Mick Fleetwood ended, went back to school, became a psychologist, got a PhD and wanted to do a book on creativity and in musicians. So she hired me to be her co-author and we did this book called, well, it's available now. It got repackaged again and republished in England called, “It's Not Only Rock and Roll,” but it was basically about the creative process of musicians based on interviews with 75 musicians. So that really started me on my path as an author. That was my first book and that came out and a ‘91 Simon Schuster, a Fireside Division. So Sarah did that and then she became my, you know, agent. I wrote a few other books, a couple while I was at Rolling Stone and then when I left there in 2001 I've been writing books ever since. And Sarah has been my agent for all of them up to this my Janice Joplin book. And she definitely is one of my, you know, if not for her, I would, you know, like I said, I would not be talking to you right now. Passionistas: You're listening to the Passionistas Project Podcast and our interview with award winning author Holly George-Warren. To find out more about her latest book, “Janice: Her Life and Music” visit HollyGeorgeWarren.com. Now here's more of our interview with Holly. So clearly you have an extreme in depth knowledge of the history of women in the music industry. So how do you think the music industry has evolved over the years in terms of opportunities for women? Holly: When I first moved to New York as far as women performing in bands, that was just starting to really happen thanks to the whole, you know, punk explosion with bands from England, like the Slits and the Raincoats, the Modettes, you know, I saw all those bands, that little tiny clubs and it just was a much more welcoming atmosphere for women to pick up instruments and play in pants. And like I said, I started playing guitar in bands. Then of course, you know people like Tina Weymouth and Chrissy Hynde, I mean Patty Smith of course. So as far as getting the courage to get up on stage and play and then just, um, to have other like-minded souls out there that wanted to be in bands with you was very, uh, it was a great time to be in New York and gradually there became more and more venues, places to play. I got to play at all of them from, you know, CBS to Max's Kansas city, peppermint lounge, Danceteria, you know, all these great classic clubs in New York, you know, late seventies, early eighties. And as far as the music business, I mean, you know, at that time we were like screw the music, but you know, we were punk rockers, man. We were underground. We didn't want anything to do with that. In fact, when I started even working for Rolling Stone in ‘93, I would tell people like, yeah, I'm working for Rolling Stone so I can afford now to write about the bands I really love. For it cause I was still writing for this really cool magazine called Option, which, and I'll if you remember that magazine, but very cool magazine based on the West Coast. And so I'd still write about people that would never ever get covered in Rolling Stone, but all different types of music. And again started writing about some of the early country music pioneers and rockabilly people like Wanda and people like that. So I didn't really interface that much with the mainstream music business at that time. You know, I basically had good experiences on that very low level. Again, this was the time of the Go-Go's had come around and the Bangles, my band Dos Furlines, went on a tour of Canada with a couple of other all women bands and it was, you know, it was a male promoter and everything went really great. Once I started moving up the food chain, once I was at Rolling Stone, I started working on producing some CD packages with labels. And again, everybody I worked with were male, but they were very supportive. They were really into what, you know, my ideas were. So I didn't really have any problem with that. And you know, gradually I started meeting some very cool women that a lot of women I discovered had been really behind the scenes. So I started meeting some of those women who had been working at labels for years. Some of them had left, it started their own publicity companies, some of them were in management, et cetera. So, and then I, you know, finally got to meet a few of the women who had been pioneering women, female journalists. But again, there weren't that many. It was very cool to see. And then, you know, like I said, Barbeau Dara and I did a whole book with lots of great, great women writers. The scene I think helped, um, a lot of women find their, you know, their niche a lot. You know, a lot of women were total big into music just the way I was. But you know, finally, all these channels that opened up for them to pursue it as either a writer or you know, an A& R person manager, publicist, a photographer, lots of great women photographers. And again, I was, I loved meeting women who started in the business in the ‘60s into the ‘70s. So I loved getting to meet them in the ‘90s and just, I wish I would've known them or could've somehow met them when I first started out in the ‘70s, late seventies, even early eighties to get encouragement from them. But you know, they, they were really kind of behind the scenes. They weren't that obvious. And some of them became very good friends like Jan new house ski, uh, fabulous, wonderful. A writer who was one of the early women writers for Cream magazine. And, uh, I got to know her and work with her and you know, Daisy McLean, who had written for Rolling Stone, um, back in the glory days of rock journalism where they were all these junkets and you were flown all over and wined and dined by the labels and all that kind of stuff. And she had some amazing stories to tell about being in the trenches. And Ellen sand or another wonderful writer who her great book called, I think it's called trips, was just reissued last year. And she was a very early writer. And when out on the road with, you know like LEDs up one and covered a Woodstock and a lot of Janis Joplin gigs, Forest Hills tennis stadium wrote about that. And so again, just these great writers who were hard to find when I started out. Passionistas: You have an interest in all these genres. And you've written about such a wide range of music from country to punk. What makes a topic or an artist compelling enough for you to dedicate a book to the subject? Holly: I guess if there's a complexity to the person and arguably perhaps all artists are a complex people, who knows cause I don't know about all of them, but I've been really attracted to writing about people that have had to really struggle, who've had to break down barriers to be heard, who have, you know, a lot of facets to their personality. And Janice is my third biography. My first one was Gene Autry, the singing cowboy who was a very complex man and very much a groundbreaking artist going way back to the beginning in the late 1920s broke through in the early thirties. And then Alex Chilton, who of course a lot of people know from big star, but it started out as this pop star at age 16 and the Box Tops and just had this incredible career in life. I become passionate about them, their music, their lives. I never lose that passion. I mean I still get excited if some crazy, you know, online radio station plays, you know, a Gene Autry song. Same thing without, I was so thrilled. I went to see once upon a time at time in Hollywood and to hear a very deep cut box top song on the soundtrack of a, of the new Quintin Tarantino films. So two to train. By the way, I never lose the passion for the people that I like. Literally moving in with one of my biography subjects, you know, for several years. And you never forget your roommates, right? Most of them. Passionistas: Tell us about why you chose to write a book about Janis Joplin and what you learned about her that you found most fascinating from writing the book. Holly: I have to say part of it, I mean, I really believe that my subjects also choose me somehow. Again, following my passion, I ended up in a place where it just kind of comes together and with Janice for years, of course I had loved her music. She was definitely an inspiration for me growing up again in this tiny town in North Carolina, that didn't have a lot going on for me as far as the kind of things I was interested in. And now again, I might be like one of my biography subjects, but I think I saw her on the Dick Cavett show and just her whole look and attitude and sensibility and not to mention her incredible voice. I'm like, what's that? I want to be that. She was probably actually a little did I know at the time wearing this outfit that Nudie made for her. Of course. I was one of those people that was devastated when she died in 1970 and in 1971 I had joined the Columbia Record Blub and got Pearl. I still have my original copy. So just a fan and then once I was working at Rolling Stone and started doing projects with the Rock and Roll Hall of Fame, the Hall of Fame did a really cool symposium on Janis back in the nineties, I think it was ‘97. And Bob Santoli, the head of education, VP of education and programming at the time invited me to be part of it and I'm, I got to go to Cleveland and give a talk about Janice's influence on contemporary women musicians, but the best part was I got to meet Janice's brother and sister Michael and Laura. I got to meet Sam Andrew, her a guitar player, Chet Holmes, who was the manager for Big brother and the Holding Company and started the Avalon Ballroom dances there back in the ‘60s some other people to her, John Cook, her road manager. So I got to meet all these people. Then lo and behold, they did an American masters, American Music masters panel on Janice or weekend symposium on Janice again in 2009 I believe it was. And once again this time, um, and powers and I were asked to give talks about, Janis kind of a keynote thing with Lucy O'Brien, a grade a woman, rock journalists who's based in London. So the three of us kind of gave a joint keynote and again got to meet all these amazing people. So I just kind of got to learn more and more and more about Janice and about her music. The thing that really got me was I was asked to write liner notes for this two CD set called the Pearl sessions that Sony was doing in the early teens. And for the first time they had gone into the vaults and pulled out all this talk back between Janice and Paul Rothchild, her producer, who was known for being a very authoritarian producer. Like he worked with Joni Mitchell and one of her first or I think or second album. And she's like, no, I can't work with him. He's too bossy. He tells me what to, you know, so she wouldn't work with him. He famously produced most of the Door's albums and he would make Jim Morrison like redo his vocal like 10 times or whatever. But he listening to them in the studio together, I'm like, Oh my gosh, this woman is calling the shots. Janis Joplin is telling Paul Rothchild like, Oh wait, let's slow it down here. Wait, let's try a different arrangement on this. Let's have this guitar part here. I mean, she was basically producing the record with him. She's never gotten credit really for being this very thoughtful orchestrator of music and hardworking musician. She created a very different image of herself in order to sell herself as a persona, this rock persona. And she was very successful at that and I think I, and almost everybody else bought it, but I realized from listening to these recordings that there was a whole other side to her, this musician side, that she wasn't just blessed born with this incredible voice that she just came out of the box singing. She worked, she really worked. And that very much intrigued me and that made me more interested in wanting to spend four and a half, five years working on Janice's life story and trying to make a write a book about her that shows her trajectory as a musician because you know, there had been some other books, some very well researched. I'm Alice Echols wrote a great book about Janis with a lot of research, but I felt still that somehow or musicianship and had not ever been acknowledged the extent that it should have been. So that was kind of my goal for this book to really find out who her musical influences were. What did she do to improve her craft, or how did she discover her voice? What were the obstacles she had to overcome, all those kinds of things. So that really fired me up. And again, my wonderful agent, Sara Liaison, who had actually been the agent for Laura Joplin's book that she wrote called “Love Janice,” which told her story of growing up with Janice as her sister and used a lot of letters that Janice had written home. She reproduced a lot of the letters in the book and my agent told Laura about me and I had met her back in the nineties and so I was able to come to an agreement that, again, similar to the Autry book, they would allow me to go into Janice's personal files or scrapbooks or letters, and I could use all that in my book, but without any controls over what I wrote, they would not have any editorial approvals or anything like that. So again, that's, that's how that came about. Passionistas: And your other current passion, you've touched on it a couple times, but tell us a little bit more about “Rhinestone Cowboy,” the story of Nudie. Holly: I think there's kind of a pattern here. You can see that none of these, I'm no one overnights and station or whatever. All of my projects really, they come from years of passionately pursuing something just really for the love of it, more than with any sort of goal in mind. And that's kind of the same story with Nudie. As I mentioned, I was a collector of Western where I worked on the, “How the West Was Worn” book and that's when I really learned about Nudie, who was this very showman, like couturier the Dior of the sagebrush or whatever they used to call him, who catered to early on cellular Lloyd Cowboys, people like gene Autry. And Roy Rogers was a huge client and then all the stars like Hank Williams making their incredible embroidered outfits. Then he started putting rhinestones on the outfits. I'm for a country in Western singers. And then in the late sixties people like Graham Parsons, The Flying Burrito Brothers, Janice, the Grateful Dead, the Rolling Stones, Elton John all started going there, getting these really outrageous over the top and bordered and rhinestone suits. So I learned about him gradually and then it turns out through doing “How the West Was Worn,” I met Patrine Day Mitchum, who herself had actually hung out at Nudie's back in the ‘70s, knew him and he had tapped her to write his memoir with him. So she has hours and hours and hours of taped, uh, recordings with him telling his fascinating story about being an immigrant as a young boy from the Ukraine to New York, all these ups and downs. He went through very colorful stories that finally landed him in Los Angeles in the late forties and started his shop and started making outfits for all these Western swing performers. Tex Williams was his first. So we teamed up and started talking literally back in 2002 about, Oh, we should do a project together about Nudie. Should we do a book, because should we do a film? And so literally, all these years later now, we've actually started working on our documentary. In the meantime, I had worked on several documentaries over the years as a consulting producer and producer on lots of music documentaries that have been on PBS, etc. So I had that experience. And then Trina has worked in the film industry over the years as well. So we were able to kind of combine our passion for Nudie and his incredible clothing and some of the other outfits were made by some other great, also immigrants from Eastern Europe. This guy named Turk who was out on the end. VanNess was the first one. His shop opened in 1923 and then back in Philadelphia on the East coast rodeo. Ben had a shop beginning in 1930 all three of them in Nudie where they came from. Eastern Europe was young boys, young men, and then also the whole story of the immigrants from Mexico. Manuel who still at age 86 is designing these incredible outfits in Nashville. He worked with Nudie and Heimaey Castenada who is still right there in North Hollywood, making incredible outfits for Chris Isaac and Billy Gibbons and Dwight Yoakam. So it's a bigger story. Even then I realized as far as it's a story of immigrants coming to this country and creating the iconic American look, the rhinestone cowboy outfit. Right. So go figure. Passionistas: Looking back on your journey so far, is there one decision you've made that you consider the most courageous? That sort of changed your trajectory? Holly: Oh, I guess it was just picking up and moving to New York city with, I had a little audio cassette player. You remember those? It was even pre Walkman. I had that. If you could set mix tapes or suitcase and that was it. 500 bucks, maybe 700 I don't know. Just kind of moved to New York and I mean, I think, I guess that was the smartest thing I ever did because basically in New York I made lifelong friends. I met my husband, he was playing in a band, the flesh tones. Um, we were on a double bill. My band does for line. So that's how we met in the 80s all these passions, some of which I had as a young girl growing up in North Carolina, I was literally able to materialize into projects, into a lifestyle and into a livelihood. I mean, gosh, I mean, how lucky am I that that happened? Things that could have just been a hobby actually became a way of life and an occasional paycheck here and there. So I feel very, very lucky. And I think moving to New York city, almost at a whim, I went to school at the University of North Carolina, Chapel Hill. So I had two sides of my personality, the former hippie Janice wannabe, and the punk rocker. So when I was going to leave Chapel Hill, I'm like, well, I'm either gonna move to New York City or Key West. So I think it's a good thing. I moved to New York city. Passionistas: What's your secret to a rewarding life? Holly: Again, and I teach, I tell my students this, whatever you do, if you can pursue it with passion. You guys nailed it with the name of your podcast. Because if you can approach even, you know, path things with passion, you know, with anger or … of one with passion, I think, you know, whatever it is, if you can just engage and be passionate about things that's going to enrich your life. I mean it can maybe take its toll on you too. But I think how that kind of feeling and motivation that you're driven by the passion of whatever it is that you're thinking about or wanting to learn about or whatever, you're going to do a much better job with whatever it is you're pursuing. Passionistas: What's your definition of success? Holly: I guess success is not only attaining a goal that you had for yourself, but within that goal also having happiness and a good state of mind about it. Because I think horribly, you know, in our culture, a lot of people that find certain success, you know, material success or even career success, there's other aspects of their life that is not working out too well. So that's not really success is that I think you have to put all the parts of the puzzle together so that they're all kind of working out together to really be successful. It's tricky. It's difficult because life has a way of throwing lots of curve balls at ya. Passionistas: So what advice would you give to a young woman who wants to be a journalist or an author? Holly: First off, subscribe to your podcast. And seriously, I think surrounding yourself or finding out about or listening to other people who are passionate about things that you're interested in doing or even if it's something different, but people that their passion is driven them to be successful or to work towards attaining success, that that can be very inspirational and motivational for them. And then also not just do things through rote or whatever. You have to really find something that energizes you and does and passion you to want to pursue it, and I think that's really important and not do something just because you're supposed to or someone tells you you should do this, but you have to really find things that are going to bring you fulfillment. Passionistas: Thanks for listening to the Passionistas Project Podcast and our interview with Holly George-Warren to find out more about her latest book, “Janice: Her Life and Music,” visit HollyGeorgeWarren.com. And don't forget, our quarterly subscription box The Passionistas Project Pack goes on sale October 30th. Each box is filled with products made by women owned businesses and female artisans to inspire you to follow your passions. Sign up for our mailing list@thepassionistasproject.com to get 10% off your first purchase. And be sure to subscribe to the Passionistas Project Podcast so you don't miss any of our upcoming inspiring guests.

durée : 00:05:50 - Pop Story saison 6 - Chris Isaac Wicked Game - 220 épisodes consacrés à l'histoire des hits racontés par Marc Toesca

Mark Needham is an 11-time GRAMMY-nominated producer and mixer who has worked with The Killers, Imagine Dragons, P!ink, Fleetwood Mac, Bloc Party, Chris Isaac and many more. Today, he focuses on developing new artists from the ground up, helping them find what makes them unique refine their craft, and connect with big audiences and major labels. Find out more about Mark here: https://www.markneedham.com Special thanks to Sonarworks, Soundtoys and Gear Club for sponsoring this podcast.

Om 21:00 Vic van de Reijt met Train To Nowhere, dit keer samen met Jordy Prinsen. Muzikaal thema is Back To Back To The 90s. Je hoort muziek van Fatboy Slim, Chris Isaac, Bob Dylan, Bran Van 3000, Nirvana, Deee-Lite en Depeche Mode.

Hi there, Music Lover. How are you doing today? Hanging in there? In need of some love and support today in your music journey? Never fear - we got you covered with this comforting and powerful conversation with Essence from Bernie and the Believers (essencemusic.com) and (bernieandthebelievers.com). Essence is a sixth-generation San Francisco native and award winning singer-songwriter. You will love her.  ---------------------------------------------------------------------------------------------------------------------------------------------------- A sixth-generation San Francisco native, award winning singer-songwriter Essence has been immersed in art and music since childhood. And yes, her birth name really is ‘essence' – she was raised by quintessential flower children, her parents being two free spirited bohemian artists from the Haight-Ashbury ‘Summer of Love.' After winning the Grand Prize in the National Lilith Fair Talent Search, essence was signed to RCA Records, Way Cool/MCA Records, and Or Music (Los Lonely Boys, Matisyahu). She debuted with the successful indie release Conception, which garnered much Bay Area radio airplay and press and established a devoted fan base. Essence's sophomore release Mariposa garnered critical acclaim and prompted a national touring agenda which found her opening shows for artists Jason Mraz and Shawn Colvin. Her album Feels Like the Future won the Grand Prize for the Great American Song Contest and 2nd Place in the International Songwriting Contest (out of 15,000 entries). Her songs have been prominently featured on Nash Bridges, Lifetime's The Division, Access Hollywood, and NPR's Art of the Song. “Shape of You,” an emotional song about loss and healing, was the theme song in the film Motherland, which won the SXSW Audience Choice Award. Essence has opened for Tom Petty, Shawn Colvin, Chris Isaac, Sarah McLachlan, Natalie Merchant, Chrissie Hynde, Steve Miller, Pat Benatar, and Linda Perry. She has played at venues ranging from NYC's Bowery Ballroom to San Francisco's Fillmore and The Warfield, LA's Rose Bowl, and Philadelphia's World Cafe Live. In addition to writing folk/americana, pop, and rock songs, essence expanded her repertoire by creating a collection of charming, catchy tunes inspired by her son that turned out to have a life of their own becoming favorites of families nationwide, loved equally by parents and children alike. Her children's album, A Dog Named Moo, was entirely funded by loyal fans on Kickstarter and was picked up and released by My Kazoo/Universal Music. A Dog Named Moo is a multi-media project featuring a collection of 13 songs, a “T REXXXX” book, a smartphone app, and several music videos. essence is developing an educational curriculum based on the project. A Dog Named Moo was voted Top Kids Album of the Year by Daily Candy. Essence's latest long player could likely be her masterwork. It is a 12- track opus entitled Black Wings which chronicles the trials and tribulations of a failed marriage propelled by dishonesty and addiction. The undeniable weight of the pervasive subject matter is artfully handled with razor sharp couplets, gritty performances and smart arrangements underscoring obvious pain, but doing so with humor, wisdom and eloquence. Says essence of the album, “Black Wings is a story told out of sequence, each song is a snapshot of an event that led to the ultimate undoing of my 10-year marriage. These 12 songs capture betrayal, dark secrets, deception, revenge, emotional warfare, and the unbelievable horror of my worst fears being realized. The stories on this record emerge from a deadly silence, they dispel a facade of a happy family portrait, and they air the truth of what had been hidden for too long.” It is easily heard on songs like the epic, “Headed North,” whose video enjoyed dual premieres in late May with Folk Radio UK and The Huffington Post, the brilliant rave up “Camels & Diesel,” with its effortless melding of roots and rock chant complete with gang vocals and the sultry trad blues vibe of “Honeyed Out” are just a handful of numbers worth spotlighting on Black Wings. It is an album of tremendous depth, without question, putting essence on the same page with Lucinda Williams, Neko Case and Jenny Lewis, just to name a few, all of whom are veritable experts at turning anguish into song in the most poetic yet no-nonsense of ways. To that end, essence continues, “The ritual of writing and recording served as a lifeline to my survival during a very dark life passage. These songs led me through disbelief, rage, loss, grief, and ultimately to healing and reclaiming my personal power and the strength to leap into the unknown– knowing the fear of things staying the same was greater than the fear of things changing. Black Wings has been the key to my transcendence, punctuated by the unshakable synchronicity of art imitating life. As this music is born, I am flying free.” http://www.essencemusic.com/site -------------------------------------------------------------------------------------------------------------------------------------------------https://www.bernieandthebelievers.com/ If you found this episode to be healing, I hope you will consider donating to Bernie Dalton, a true musician in need of YOUR help:  https://www.gofundme.com/sendberniehome Also check out the Tiny Desk Concert featuring Essence: https://www.youtube.com/watch?v=UPQsEoYHekg Hugs to all of you. Thank you for listening! Kristy

Vincent Scarpino, also known by his stage name, Vinnie Chenz, is an MC and Hype-man across some of Melbourne's premier night clubs. He has a long list of accomplishments which include hosting events for Kevin hart, Blackstreet, Paris Hilton, Ashanti and JaRule, Will Sparks, Tyga and Fatman Scoop. 2015 saw him compete on the season of X-Factor in front of Guy Sebastian, Chris Isaac, Dannii Minogue and Ronan Keating which led to international tours in Italy, London, Singapore and Paris Disneyland. In 2017, Vinnie released his debut single called 'I'm the man' featuring Kyle Gee. He has also built a 50k following through authenticity and originality. So today on the episode we discuss the importance of pushing a certain positive message through the use of a substantial social media following. Vinnie discusses how we developed his following and the reason behind the things he pushes on this Instagram. We also talk about setting goals and ambitions for future success and find process to help people identify them.Follow Vincent on instagram@vincentscarpino_If you enjoyed this episode I'd love for you to leave a review, give the podcast a 5 star rating.Subscribe below:@damien.bugejawww.facebook.com/damien.bugejawww.damienbugeja.com/podcastOnce again, a massive thank you to the podcast sponsors.Uncle Jack Watches, use the 'Relentless' promo code upon checkout to receive your 10% discount off your purchase.Powercore Fitness, go to 302 Hume Hwy, Craigieburn and mention the 'Relentless with Damien Bugeja' Podcast to get 10% off your 3, 6 and 12 month membership.

Serious business in our 10th episode! Egad! Have you heard of this music making of mine? Let's discuss Fantasia 2: Electric Boogaloo. Hear Kevin's impersonation of Chris Isaac. Oh, and Pencil liposuctions for everybody! This week Donald's motorboating in our short Put-Put Donald and our feature film is the little known Make Mine Music.

Lynn Mabry, born in a musical family & raised in church, singing was as natural as breathing. In 1975 she audition for Latin artist Coke Escovedo at the suggestion of a friend. To her surprise, she was hired as one of his lead singers and began performing weekends at the historic King Richards Night club in Jack London Square in Oakland CA., and opened for Earth Wind & Fire. The rest is musical history. A few months later, seeing her professional potential, her cousin Sly Stone (of Sly & The Family Stone) hired her to sing on his solo project “Heard You Missed Me” album, and followed with a promotional tour opening for Parliament Funkadelic and Bootsy Collins. During the tour, George Clinton enlisted Lynn with the other back up singers for many of his production projects. By 1977, she and the other singers were asked to join the band. She toured & recorded with the funk family P-Funl for over 4 years. Through this, Clinton launched and produced her first album as one of the original Brides Of Funkenstein, entitled “Funk or Walk” that topped Billboard’s Top 10 dance charts in 1978. She became a proud parent of her daughter Akasha born in December of ’79. Although she took a 2-year break from touring, Lynn was being sought after, and eventually returned back to the scene in 1981. Touring internationally with Rita Coolidge, and immediately following, became a member of the Talking Heads (’82 - ’84). Starred in their highly acclaimed hit feature film “Stop Making Sense” and video “Naive Melody”. Went on to appear in other musically driven motion pictures such as “Tape Heads” & “The Night Before”. Also appeared in and co-wrote the opening track for “Chasing Popi”. In 1988 she was hired as featured vocalist for George Michael’s ‘Faith” tour & “Cover to Cover” tour in 1991, and on to other tours with Don Henley, Feetwood Mac, and Stevie Nicks. From ’92 thru’94, performed as featured vocalist on tour with Bette Midler and appeared in Midler’s HBO Special “Diva Las Vegas”. Frequently appearing on many variety & award shows including The Tonight Show, David Letterman, Pat Sajack, Grammy, American Music and Image Awards among many others. 2013 appeared on Jimmy Kimmel, and Ellen backing up Kenny Rogers and The Killers. Over the years Lynn has also recorded, toured, and or appeared in videos with artist such as Mick Jagger, Elton John, Rod Stewart, Celine Dion, Eric Clapton, Dave Stewart, Sheila E., Ernie Isley, Chris Isaac, Neil Shawn, and many more, including some of the mega A-list Japanese artist like Namie Amuro, Ichiki Yazawa, Ruichi Sakamoto, Minako Yoshida, and Masayoshi Takanaka. In 1995 retired from touring and ventured into the music business by partnering with world-renowned performing artist & entertainer Sheila E., by becoming Vice President & Executive Director of their newly formed music production company Heaven Productions Music. Shortly after, she began managing Sheila exclusively in 1997 thru 2012. In 2011 launched her new management company White Rose Entertainment & Investment Group and adding to her management roster, songwriter & performer: Havis, Image Producer & Wardrobe Stylist: Roni Burks, and her newest client pop and R&B Artist: Justin Avery. She was featured in the Academy Award winning documentary “20 Feet From Stardom” 2014. In addition to Lynn’s extensive previous music business involvement, she embraces her passion for children as a philanthropist. She is Co-Founder of the Elevate Hope & Elevate Oakland Foundations, promoting music and arts education for at risk youth in public and private institutions, as well as an alternative form of therapy for children with special needs. Music and the arts continue to be her main focus to assist in making a substantial difference in the world. At present, she has returned to the stage performing with Sheila E., as well as being a proud grandparent of 2 lovely grandchildren.https://en.wikipedia.org/wiki/Lynn_Mabry

Our Metallica episode is finally here! And to celebrate, we brought aboard our good pal and old-school metalhead, Ken Lawson! Not only do the three of us talk pretty much Metallica's entire discography, we also make a plethora of bizarre allusions to other bands, including but not limited to: Gary Glitter, The Postal Service, Blink-182, Chris Isaac, and the Misfits! We also talk about that time Metallica should have broken up, vans with barbarian ladies air-brushed on the side, Bob Rock's silky-soft hair, creatures with wah-wah pedal voices, and how 'Lulu' is the clamato juice of records. Between the heaps of praise for 'Ride The Lightning' and major disses for 'St. Anger', we find the time to dish out a couple linguini high-fives and get real about Napster. All this, and Ken gets a charley horse! It's the Metallica show! (The producers of this podcast do not endorse the placement of metal into any bodily orifice.)

A Napoleon elleni győri csatavesztés évfordulóját, a vonalkód és Chris Isaac születésnapját is ma tartjuk. Van csipetnyi tőzsde és evőkanálnyi lapszemle is ma. Aztán szétnézünk, hogy hol tart a takarékszövetkezetek integrációja? Brückner Gergely (index.hu) segít. Volatilis az infláció a gyakori üzemanyagár változások miatt. Most várhatóan csökkenni fog az eurózónában és Németországban is - mondta Duna Gábor (OTP Bank) heti makrogazdasági kitekintőnkben. Még mindig nem dőlt el, hogy lesz-e brexit? Mi lesz így a fonttal? Kuti Ákos (MKB Bank) elemzi a devizapiaci folyamatokat. Az euró árfolyama is érdekesen alakulhat.

Laura and Alex have caught the Twin Peaks fever and dive shallow into David Lynch's polarizing prequel to the TV show. Where's Coop? Hey, whatever happened to Chris Isaac and Kiefer Sutherland? Was Mike that cop that got nosed earlier? So many questions... Subscribe to The Plex Files on iTunes: https://itunes.apple.com/us/podcast/the-plex-files/id1198015277?mt=2 Check out our Facebook page: https://www.facebook.com/plexfilespodcast/ Follow us on Twitter! https://twitter.com/theplexfiles https://twitter.com/alexdelia https://twitter.com/lauramegaplex

Just Another Tupac Vortex, s01e41 of Lasers on the Ride, opens with Jay not getting a job and trying harder to get the job and Akil confusing Boy George for Chris Isaac. He shares a curious take on Donald Glover’s Atlanta and confuses Lyle Lovett for Chris Isaac. Mike and Jay witness two musicians sage-ing the hell out of their lives by trashing their old albums and discuss physical fitness in relationships. Mike tells the improbable tale of Neil Young and Rick James’ shared history and the Lasers discuss Tupac’s discography despite not being big Pac fans. They talk the Tupac vortexes that naturally occur around congregating white people and revisit awful Canadian rap. Jay closes out the episode with stories from when he wrote an advice column for YM magazine haha.

Meli Malavasi, a Costa Rican  artist based in L.A., is a triple threat:  singer, dancer, songwriter…and a powerhouse artist in English or Spanish.  She was a finalist in the "International Songwriting Competition".   She was named "Best Female Dance Artist" at the Indie Music Channel.  She has performed in some of LA's stop clubs like The Whisky a Go Go, The Viper Room, House of Blues and Los Globos.  You have heard her songs in TV shows like “Bad Girls Club”. Malavasi is currently working on her next Spanish EP with Musical Director and keyboardist of the 20 times Latin-Grammy Award Winning Band Juanes, while she tears up clubs and stages in Los Angeles. Since winning the Grand Prize in the National Lilith Fair Talent Search in 1998, San Francisco-based essence has been signed to RCA Records, Way Cool/MCA Records, and Or Music. She debuted with the successful indie release Conception, which established a devoted fan base.  Her second album,  Mariposa garnered critical acclaim and prompted a national tour opening shows for Jason Mraz and Shawn Colvin. Her  2009 release Feels Like the Future  won the Grand Prize for the Great American Song Contest and 2nd Place in the International Songwriting Contest. Her songs have been in television and in films, and she has opened for Tom Petty, Shawn Colvin, Chris Isaac, Sarah McLachlan, Pat Benatar, Linda Perry and many others. She has played at venues ranging from NYC’s Bowery Ballroom to San Francisco’s Fillmore, LA’s Rose Bowl and Philadelphia’s World Cafe Live. She will release  her new album, Black Wings,  this Friday and we get to preview it on Music Friday Live!

Sister Speak featuring Sherri-Anne and Lisa Viegas came into Chicago to perform at a CAU Showcase at Mayne Stage also found time to come in and record another Podcast. As you can tell from the interview, I am a big fan of this band.Hailing out of British Columbia and recently based in San Diego, CA, Sister Speak performs over 100 concerts a year in Canada and the USA. Led by Canadian singer/songwriter and guitarist Sherri-Anne,  Sister Speak's diverse musical pallet has afforded them opening slots for Xavier Rudd, Air Supply and Chris Isaac. Their 'Rise Up For Love' album has been in rotation on radio throughout the USA, Canada and Europe, including CBC radio in Canada, BBC in Europe, and commercial radio throughout southern California and British Columbia. Click here to see videos of all their shows with CAU

One of the most beatiful vocals that i know with the hot beat of Glaucio Duarte

One of the most beatiful vocals that i know with the hot beat of Glaucio Duarte

One of the most beatiful vocals that i know with the hot beat of Glaucio Duarte

Un Père Noël dans l'igloo ! T'as déjà visité l'igloo de Walter ? Oui, souvent, hein ? Le hangar à tonte des pingouins, celui des vacances... Mais as-tu déjà vu le hangar du Père Noël ? Eh ben c'est le moment où jamais d'y passer. Y a du rock'n'roll, des bruits bizarres, des chansons tristes ou rigolotes, des voix familières, des sons spatiaux spéciaux et du tchac tchac tchac dans ce cinquième volume du Wapx ! Dans cet épisode Le Noël de Mojochronic : Yuletide Zeppelin I Yuletide Zeppelin II Yuletide Beatles Batterie de cuisine : When the Father Plays the Trombone, the Son Plays the Oven Drumming Washing Machine Batterie de couverts Strange fruit : par Billie Holiday - live - par Nina Simone - par Jeff Buckley Thriller guitar cover par Simon Depys Du hast par Viva Vox choir Blanche-Neige : Un jour mon prince viendra par Elyane Celys, Lucienne Dugard, Lucie Dolène & Rachel Pignot Multilingue Lucie Dolène : Docteur Miracle - Compilation - Il était une voix Philae : Chanson de la comète Atterrissage Across the Universe La +BCdM : Can't help falling in love par Elvis Presley - en concert par Doris Day - par UB40 - par Shirley Bassey - par Chris Isaac - par Pearl Jam - par Jacky Chan - par Eels - par David Thomas & Two Pale Boys - par Sadie Fleming Plaisir d'amour par Yvonne Printemps Le son mystèèère : Kecak, dans Baraka - Satyricon - Emmanuelle 2 I'm a train par Voices Unlimited Mr Bungle