Podcasts about dogstar

Jim Hill and Drew Taylor return with another jam-packed episode of Fine Tooning, covering everything from Sirius the Dog Star to the latest in animated film and TV news. This week's stories span box office winners, Netflix premieres, and the challenges of recasting beloved characters. • The history of the “Dog Days of Summer” and why Sirius is more than just a bright spot in the sky • Genndy Tartakovsky's Fixed - the long road to Netflix for this R-rated animated comedy • Box office breakdown - how Weapons, Freakier Friday, and The Bad Guys 2 are performing worldwide • Why The Bad Guys franchise may or may not be headed for a third installment • The $2.2 billion success of Ne Zha 2 and what's ahead for Ne Zha 3 • King of the Hill revival on Hulu - navigating the absence of key characters • KPop Demon Hunters' Netflix success and upcoming sing-along screenings • New and upcoming animation releases - The Twits, Zootopia 2, Spider-Punk, and Dr. Seuss projects including Cat in the Hat From nostalgic callbacks to forward-looking animation news, Jim and Drew bring their trademark mix of history, humor, and industry insight. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jim Hill and Drew Taylor return with another jam-packed episode of Fine Tooning, covering everything from Sirius the Dog Star to the latest in animated film and TV news. This week's stories span box office winners, Netflix premieres, and the challenges of recasting beloved characters. • The history of the “Dog Days of Summer” and why Sirius is more than just a bright spot in the sky • Genndy Tartakovsky's Fixed - the long road to Netflix for this R-rated animated comedy • Box office breakdown - how Weapons, Freakier Friday, and The Bad Guys 2 are performing worldwide • Why The Bad Guys franchise may or may not be headed for a third installment • The $2.2 billion success of Ne Zha 2 and what's ahead for Ne Zha 3 • King of the Hill revival on Hulu - navigating the absence of key characters • KPop Demon Hunters' Netflix success and upcoming sing-along screenings • New and upcoming animation releases - The Twits, Zootopia 2, Spider-Punk, and Dr. Seuss projects including Cat in the Hat From nostalgic callbacks to forward-looking animation news, Jim and Drew bring their trademark mix of history, humor, and industry insight. Learn more about your ad choices. Visit megaphone.fm/adchoices

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. On tonight's edition of Obbligato on APEX Express, which focuses on AAPI artists, musicians, and composers in the classical music world, host Isabel Li is joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. Featured Music: Sonatrinas: https://richardan.bandcamp.com/album/sonatrinas i got the electroshock blues: https://rasprecords.bandcamp.com/album/i-got-the-electroshock-blues   RICHARD AN (b.1995) is a performer and composer, born and raised in Los Angeles. Richard plays new music – usually with House on Fire – co-founded the tiny backpack new music series, and has performed with Monday Evening Concerts' Echoi Ensemble, Piano Spheres, The Industry and on Bang on a Can's LOUD Weekend. Richard plays piano and percussion, and has been known to sing, conduct, and teach. Richard's music has been performed by the Los Angeles Philharmonic Orchestra, Calder Quartet, HOCKET, C3LA, and more. His music has been released on CMNTX Records. Richard has a BM in Composition from USC and an MFA from CalArts. He is on faculty at the Pasadena Waldorf School, Glendale Community College and Harvard-Westlake. He plays taiko and tabla, and makes YouTube videos. Learn more about Richard's work on his website: https://richardanmusic.com/ Richard's social media: https://www.instagram.com/richardanmusic/ If you are in LA and want hear Richard's work, he's playing with House on Fire at the Sierra Madre Playhouse on August 17! https://www.sierramadreplayhouse.org/event/richardan2025   Transcript Opening: [00:00:00] APEX Express. Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express. 00:00:46 Isabel Li Good evening and welcome back to a new episode of Apex Express on KPFA, 94.1 FM. We are bringing you an Asian and Asian American view from the Bay and around the world. I'm your host, Isabel Li, and tonight is a new edition of Obbligato, which explores AAPI identities and classical music. Tonight I'm joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. 00:01:41 Isabel Li Welcome to the show. Welcome to APEX Express, Richard. My first question for you is how do you identify and what communities would you say that you're a part of? 00:01:50 Richard An My name is Richard An I use he/him pronouns and I'm a second generation Korean American. My parents are both Korean. My dad came from Busan, which is a large city in South Korea, and my mom was born in Seoul and then moved to South America and then made her way up to Los Angeles where they met. And as for identity, like, I think Korean American would be the most accurate one. This is and I think an ever evolving part of first of all my identity and the way that it intersects with my practice and also I think that's the case with many Asian American artists, I mean artists from immigrant families, you know, the the matter of your identity, especially if you feel more distanced from it for one reason or another, is like an unsolved question for everyone like there is no one answer. That works for people and that's a thing that me people like myself I think will be exploring for our entire lives. When I introduce myself to people, I say that I'm a classical musician. And at the very core of it, that is true. That's not a lie. And I am, you know, a part of the classical music community in Los Angeles. But as time goes on, I have noticed and realized. That I tend to align myself more with like the avant-garde and experimental contemporary music communities of Los Angeles, which has certainly an overlap with the classical community, both in practice and historically, but yeah, I I would say those are the sort of two biggest ones, classical musicians and experimental avant-garde, contemporary musicians, whatever label you want to use for that. 00:03:47 Isabel Li Yeah. Some of our listeners might not know what avant-garde music entails. Can you — how would you describe avant-garde music to someone who might not be as familiar with this particular movement? 00:03:57 Richard An Yeah. So avant-garde music, a sort of flippant and joking way to to talk about it is ugly music or music. You know, my dad, for example, wouldn't like, but I think. It's music that either interfaces with elements or confronts facets or issues in music that aren't typical of other kinds of music. The music that you might hear that is labeled of on guard might be noisy or dissonant or uncomfortable, or any kind of, you know, adjectives that are synonyms for noisy or ugly, but I have come to love that kind of music, you know 1. Because of the the kind of questions that they might ask about our perceptions of music and two, because I guess one way to put it is that to be a classical musician, you need to be in a practice room for many hours a day for many years and go to what is unfortunately a college, which is usually very expensive and I guess for lack of a better term, paywalled for like you need to have the kind of resources that allow you to attend a four year undergrad and then a two year masters and then a three-year doctorate. But avant-garde music, contemporary music, experimental music doesn't necessitate that kind of thing. Often those musicians do have a background that gives them some amount of, you know, virtuosity or facility in an instrument. But like some of the best experimental musicians. Alive and some of the best ones that I know have no, like extensive training in a particular instrument and some may not have a degree in music at all. And that's one thing that I in like that separates it from classical music is that. 00:05:44 Richard An Classical music can be, unfortunately a little bit exclusionary. I don't think by any one specific design, but the fact that you need so many hours and very specific instructions from a mentor that necessitate that kind of relationship. But experimental music, I think does a little bit better job of diversifying or making it feel more equitable. 00:06:12 Isabel Li That's a great point, actually. One of my questions following up with that was what do you think is possible with this genre, which you kind of mentioned earlier with perhaps how this genre makes classical music a little bit more equitable for those who are interested in this field. In your experience, composing, what do you think makes the genre special, and how do you go about it? 00:06:35 Richard An One thing that I've noticed about being involved in the sort of contemporary experimental avant-garde music sphere is that it makes me a better listener, and I think other people who attend these concerts will agree. Like for example a large part of this kind of music is drone or repetition or, you know, like long spans of unchanging sound. And if the the sound that is being produced at face value is not changing, well then what do you notice about it? What do you grab on to and one of the most, I think, gratifying experiences is listening deeper and realizing that, ohh, even though you know for example this piano playing two notes for 30 minutes might not like the instructions will say to do the same thing for 30 minutes, but your experience as a human being will certainly change over those 30 minutes, even if the the notes are not like you will notice the slight fluctuations in the way that someone is playing, you will notice the beating patterns in the pitches on an instrument that may not be perfectly in tune, you will note other ambient sounds, you will note like you will notice so much more about the world when you are confronted with the kind of music that you know. You can say it forces you to listen to these sounds but also invites you to listen to these things. And I think that's really, really special. That's not to say that that can't happen with other kinds of music. Or even with classical music. Surely you know there are many, many ways to listen to everything. But I've noticed this within myself. When I listen to long, repetitive drone based music that it really opens my ears and makes me a more active participant as a listener. 00:08:30 Isabel Li It's a great point actually. Part of my work– because I studied music, history and theory in college– was how music can engage various listeners to participate. Have you composed anything that perhaps engages the listener in this more of a participatory setting? 00:08:47 Richard An Yeah. So I guess in order the some of the stuff that I've done to engage the audience, I guess both literally, and maybe more figuratively is, I wrote a piece last year for the Dog Star festival, which is a a contemporary and experimental music festival that is actually happening right now, at the time of this recording. It's a multi week long festival that focuses on music of this type that was founded by people in the sort of CalArts music world. But I wrote a piece for that last year for three melodicas, which are these basically toy instruments that look like keyboards, but you blow into them and you blowing air through these makes the sound happen. It's basically like if you cross a harmonica and a piano together. But I I wrote a piece for three of these, playing essentially the same notes. And because these instruments are pretty cheap, and they're often considered toys or, you know, instruments for children, they're not tuned to the exact way that, like a piano or a vibraphone or an expensive instrument might be. But I wanted to use that for my advantage. For example, if I play an F# on one melodica the same F# on another melodica will not be exactly the same and playing those two pitches together will produce what's known as a a beat or beat frequency. Which is, you know, a complicated, you know, mathematic physics thing, but basically 2 notes that are really, really close, but not quite together will create a kind of third rhythm because the the pitches are so close. Like, for example, if if I play an A at 4:40 and another A at 441, you will notice that difference of 1 Hertz inside of your ears. And that's a really cool phenomenon that happens explicitly because you were there listening to the piece. They don't happen necessarily, you know, like in, in recorded formats like, it's a very difficult thing to capture unless you are in the room with these instruments. And the fact that we had this audience of, let's say, 40 people meant that all forty of these people were experiencing these beat frequencies and another really cool factor of this is depending on where you are located in the room. With the way that the beats will sound in your ears are different and purely by the fact of acoustics like a wave bouncing off of the wall over on your left, will feel really different if you are closer or further from that wall. So not only do the audiences ears themselves, you know, invite these this this participation, but the pure physicality of each listener means that they will have a very slightly different experience of what the piece is, and again like this will happen in any concert. If you're at a classical show, if you're at a rock show if, if you're further from the stage, if you're further to the left or right, you will get a slightly different position in the stereo field that the musicians are playing in, but pieces like what I wrote and many others that exist emphasize this kind of like acoustic phenomena. That is really, really fascinating to listen to. 00:12:23 Isabel Li That's fascinating. And to get a sense of Richard's work, we'll be hearing coming up next. The short excerpt from his album Sonatrinas. This is the duo excerpt performed by Wells Leng, Katie Aikam, Kevin Good and composer Richard An himself. [COMP MUSIC: Sonatrinas (Excerpt: Duo)] 00:17:38 Richard An And so the back story for this piece is this was written for one of my recitals at CalArts. I was planning on playing this piece by Michael Gordon called Sonatra, which is a really, really beautiful and difficult piece for solo piano that I gave myself as an assignment, which I was not able to do with the amount of time. And, you know, like I just didn't give myself enough time to do this thing, so I still had this program of several pieces written with the idea of having this Michael Gordon Sonatra in the middle, but now that that sort of middle part was gone, there was a bunch of pieces about a piece that didn't exist. So in order to fill that hole, I wrote this piece called Sonatrinas which is a cheeky nod to the Michael Gordon Sonatra, but also to the fact that each part of this is kind of a diminutive Sonata form. Everything has a sort of ABA– here's some idea. Here's a different idea, and now we go back to that first idea. Every single part of this has a little bit of that in it. 00:18:51 Isabel Li Yeah, that's fascinating. Even the name itself reminds me of Sonata form in classical music, where it's kind of like an ABA section. As you sort of talked about earlier. And it's really cool that you're adapting this in a more avant-garde context. This is a reminder you're listening to Apex Express. Today we are interviewing composer and musician Richard An. 00:19:12 Isabel Li I think the general question that I have next is can you tell me a bit about what drew you to music and how you got your start in music, how you got introduced to it and what things have inspired you over the years? 00:19:24 Richard An Yeah. So a real quick sort of, I guess, history of my involvement with music is that I started piano lessons when I was pretty young, either three or four years old. I continued that until I was 12 or 13. I decided I really wanted to become a musician. I started taking composition lessons with this composer, AJ McCaffrey, who is really responsible for a lot of what I know and my successes, if you can call it that. He got me into a lot of the music that I am into now and set the foundation for what I would study and what I would write he was one of the instructors for this program called the LA Phil Composer Fellowship program, which back when I was a participant from 2011 to 2013, was a program hosted by the Los Angeles Philharmonic that took 4 high school age students every two years. And you know, they they taught us, you know, everything. How a young composer needs to know how instruments work, how to write a score, how to talk to musicians, how to do everything that a that a composer needs to learn how to do and at the end of this program, after the two years the young composers write a piece for the at the LA Philharmonic. So I was extremely lucky that by the age of 17 I was able to write a piece for orchestra and get that played and not just any orchestra, with the Los Angeles Philharmonic, you know, undisputedly one of the best orchestras in the world. Right. And then after that I I went to USC for my undergrad and then went to CalArts for my masters. And then here we are now. And that those are sort of the like, you know if someone writes a biography about me, that's what we'll be, you know, involved in the thing. But I really started to develop my love for music in my freshman and sophomore year. In high school I I started to get into more and more modern composers. I started to get into more and more noisy things and a lot of this coincided actually with the passing of my mother. She died when I was 14 and you know that in any human the death of a parent will cause you to reevaluate and rethink aspects of your life. Things that you thought were certainties will not be there anymore. So for me, I stopped taking piano lessons and I sort of went headfirst into composition and which is why my degrees are specifically in composition and not piano. Had my mother's passing not happened, you know, who knows what I would be doing now? Maybe I'm not a composer at all. Maybe I'm not into avant-garde music at all, but because things happen the way that they did, I suddenly took a quick turn into avant-garde music and my involvement there only grew more and more and more. Until you know where I am today, I'm almost 30 years old, so I've been listening to and a participant of this music for maybe 15 years or so and I'm quite happy. 00:22:43 Isabel Li That's awesome to hear. 00:22:45 Isabel Li And perhaps a testament to Richard one's very versatile compositional style and avant-garde music coming up next are three pieces from his album i got the electroshock blues. There are five pieces in the album in total, but we will be hearing three of them. The first one called “feeling, scared today,” the second one, “pink pill,” and the fifth one, “la la.” [COMP MUSIC: i got the electroshock blues: 1. “feeling, scared today”, 2. “pink pill”, 3. “la la”.] 00:36:41 Richard An Earlier last year, I released a collection of live recordings under the title of I got the Electroshock Blues. Electroshock Blues is a song by the band Eels I encountered at a pivotal moment in my life. This was right around the time that my mother passed and this record and this song is heavily centered in grief. The main musician in the Eels, Mark Oliver Everett, was dealing with the passing of multiple family members and people who were close to him so it hit me in just the right way at just the right time. And because of that, this song specifically has stayed with me for many, many years. I found myself coming back to the contents of this song as I was composing and all the pieces on this album, of which there are 5 heavily take material from this song, whether that's words, chords, the melody. I really, you know, take it apart, dissect it and use those as ingredients in the pieces that I have written here and all of these are live recordings except for the first piece which was recorded in my studio. I just sort of overdubbed the parts myself, and there are credits in the liner notes for this album, but I just want to say that. The first piece which is called “feeling, scared today,” was originally written for the Hockett piano duo, which is a duo comprised of Thomas Kotcheff and Sarah Gibson. Sarah Gibson was a really close friend of mine who passed away last year and now this piece which in some way came out of a feeling of grief now has renewed meaning and another facet or aspect of this piece is centered in grief now. Because this was dedicated to Thomas and Sarah. Yeah. So these pieces are all derived from this one song. 00:38:57 Isabel Li That's a beautiful response. Thank you so much. Kind of following along your background and how you got to where you are. How do you think your identity has informed your work as a composer and musician? And this could be– you can interpret this in any way that you wish. 00:39:11 Richard An Yeah, this is a really interesting question. The question of how my identity interfaces with my music. In my art, particularly because no person's answer is quite the same, and I don't necessarily have this figured out either. So for a little bit of I guess for a little bit of context on me, I'm second generation Korean American, but I've never been to Korea and I never went to Korean school. My parents never really emphasize that part of my education. You could call it assimilation. You can call it whatever, but I think they valued other aspects of my growth than my explicit tie to Koreanness or, you know my specific identity as a Korean or Korean American, and because of that, I've always felt a little bit awkwardly distanced from that part of my identity, which is something that I will never be completely rid of. So in in a world and the field where whiteness is sort of the default part you know, particularly because you know, classical music does come from Europe, you know, for hundreds of years, like all of the development in this particular kind of music did happen in a place where everyone was white. So because of that background of where I come from and where my musical activity comes from, whiteness has been the default and still feels like it is. So me looking the way that I do as, an obvious not white person, as a person of color will always have a little bit of an outsider status to the thing. And with that comes the question of what are you bringing to classical music? What do you bring to the kind of music that you're creating? Like for example, the most I think the most well known East Asian composers are people like Toru Takemitsu or Tan Dun, people who will interface with their Asianness, in many different ways, but that often involves bringing, for example, a Japanese scale into your classical composition, or bringing a Japanese instrument into your classical composition. Those are, you know, examples of of of pieces by Toru Takemitsu, and other, you know, very successful. Asian American composers now may do similarly. Texu Kim is maybe someone who can also give insight into this, but nothing about me feels explicitly Korean, maybe besides the way that I look. And besides, the way that I grew up a little bit like I've never been to Korea. What right does that give me as a Korean, to for example, use a Korean instrument or use a Korean scale? I've never studied that music. I've never studied that culture. I in in some arguments I would be guilty of cultural appropriation, because I, you know, have not done the work to study and to properly represent. And for example, like Pansori, if I were to use that in any of my music. 00:42:46 Richard An But then the the the difficult question is well, then who does have the right? Does being Korean give me all the license that I need to incorporate aspects of my identity? And if I am not Korean, does that, does that bar my access to that kind of music forever? Another way of looking at this is, I've studied North Indian Classical Hindustani music for a while. I've played tabla and and studied that music at CalArts and I really, really love playing tabla. It's it doesn't make its way into my composition so much, but it is certainly a big part of my musicianship and who I am and, like, but am I barred from using ideas or aspects of that music and culture and my music because simply for the fact that I am not Indian? Many musicians would say no. Of course you've done your homework, you've done your research. You're doing due diligence. You're you're representing it properly. And many people who study this music will say music cannot go forward if it's not like the innervated and continued and studied by people like me who are not explicitly South Asian or Indian. That's an example of the flip side of this of me using or representing the music from a culture that I am not a part of, but again, am I really Korean? I've never been there. I wasn't born there. I speak the language conversationally. But this is an extremely long winded way of saying that I feel a tenuous connection to my Korean this my Korean American identity that hasn't been solved, that isn't solved and probably will never be completely solved. But I think that's exciting. I think that's an evolving aspect of my music and will continue to be that way as long as I continue to be involved in music and as as long as I continue to write. 00:45:05 Isabel Li Yeah, absolutely. That's a wonderful response. Actually. I was, as I was studying different types of world music and learning how people kind of borrow from different cultures. There is this always, this kind of question like ohh, like which types of musical elements from which cultures can I incorporate and obviously the aspects of personal identity definitely play into that a little bit. And part of my senior thesis in college was studying AAPI artists in classical music, and specifically that there are a lot of Asian-identifying musicians in the classical music world. But as you kind of mentioned earlier, I think classical music is very much still like grounded in whiteness and has this kind of air of elitism to it just because of its roots. How do you think this kind of identity intersects with the classical music world? And forgive me if you've already kind of talked about it before, but it's an interesting juxtaposition between like, for example, musicians who identify as AAPI or Asian in this kind of genre that is very– it's very associated with whiteness. Could you kind of talk about the dynamics of how these two aspects of like culture kind of interplay with one another? 00:46:26 Richard An Yeah, absolutely. So, you know, there are ways that I personally feel like I intersect with classical music with reference to my identity, and that also plays with the sort of cultural expectations, like there are stereotypes of Asian musicians, of Asian classical musicians. But there are not necessarily the same the same kind of stereotypes with white classical musicians. A very dominant like stereotype that you'll run into is the young Asian prodigy who practices 10 hours a day and may therefore be labeled as mechanical or unfeeling or, you know, are involved in in this a lot. So much so to the fact to the to the point where to excel an Asian American classical musician or as an Asian classical musician, in general, seems to always carry that stereotype. Like you know, Seong-Jin Cho's success as a pianist may not necessarily be attributed to his musicianship or his skill as a pianist. Because he is an Asian person, an Asian guy. Like how much of his success is because of the perceived tiger mom-ness that he might have existed under? How much of it is attributed to the same type of stereotypes that are labeled like that that label the five year old pianist on YouTube that that is clearly better than I am? Like some of these stereotypes help and some of these don't, but the I think it's undeniable that they exist in a way that doesn't in a way that doesn't carry for white people in the classical music sphere. And I think part of that is that classical music is still rooted in its Eurological identity. I think I'm using that correctly. That's an idea from George Lewis. Eurological versus Afrological. The context that I'm using Eurological right now is specifically in reference to George Lewis, who is a composer, trombonist, and musicologist who, I think coined the two terms to differentiate the roots of different styles of music, and you know, I haven't read enough to confidently say, but classical music is Eurological by example and like jazz would be Afrological by an example and the contexts in which they develop and exist and grew up are fundamentally different, which is what makes them different from each other. And again like this needs a little bit more research on my part. 00:49:23 Richard An Yeah, and because the classical music is so rooted in this thing, I don't believe that the stereotypes that exist for Asian classical musicians exist for white people. And I think that is something that will naturally dissipate with time, like after another 100 years of Asians, and, you know, people of color in, you know, every country in the world, with their continued involvement and innova otypes will disappear like this. You know, it may require certain concerted efforts from certain people, but I do believe that after a while these things will not exist. They'll sort of equalize right in the same way. That the divisions that we make between a Russian pianist and a French pianist and a German pianist, though you know people still do study those things like those aren't really dividing lines quite as strong as an Asian composer or an Indian composer might be. 00:50:27 Isabel Li Thank you for that perspective. I think it's, I think these are conversations that people don't kind of bring up as much in the classical music world and it's great that, you know, we're kind of thinking about these and probably possibly like opening some conversations up to our listeners hopefully. And so my next kind of pivot here is as you know with our current administration, Trump has canceled millions of dollars in National Endowment of the Arts grants, and it's been affecting arts organizations all over the nation. And I was kind of wondering, have you been affected by these cuts to arts programs and what kinds of advice would give upcoming musicians or composers in this era? 00:51:07 Richard An Yeah, that's a yeah, that's a big thing. And like, you know, changing day by day, right. So the Trump administration's effects on my life as a musician is simultaneously huge and also not really that much. So in one way these grant cuts have not affected my personal musical life because I haven't ever received a government grant for any of my arts making. So in one way like my life is the same, but in many, many, many other ways it has changed. Like I am involved with and I work with concert series and organizations and nonprofits that do rely on NEA funding and other government arts based funding. And if they have less money to fund their next season, that means certain projects have to be cut. That means certain musicians have to be paid less. That means certain programs have to change, especially if these funding cuts are aimed towards DEI or quote and quote, woke programming like that is, you know this that will by design disproportionately affect people of color in this field, which already you know, like is in a Eurocentric urological tradition like this is already something that people of color don't have a head start in if the funding cuts are aimed at certain types of programming that will disadvantage already disadvantaged groups of people, well then I don't know, that's even–we're starting even later than other people might be, and you know, like, if a musicians, if a person's reaction to this is despair, I think that's reasonable. I think that is an absolutely, like that's an appropriate reaction to what is fundamentally an attack on your voice as an artist. But I I have for as long as I can, you know, I have always worked under the impression that I will have to do the thing myself, and that's in the piece of advice that I give for a lot of people. You shouldn't necessarily wait for this ensemble to come pick you to play or or to to, you know, commission you to write a piece if you want to write the piece, you should do it and figure out how to put it on yourself. If you want to perform you know music by a certain composer, you should do it and then figure out how to do it yourself. That certainly comes from a place of privilege, like I can do this because I have enough work as a musician to be able to pay for the the passion projects it comes from a place of privilege, because I live in Los Angeles and the resources and musicians and other people who I would like to collaborate with live here, so you know, completely acknowledging and understanding that I I do believe that it's better to ask for forgiveness than to ask for permission. I think if you're a young musician and are feeling some despair about these funding cuts and you know the many, many, many other transgressions against humanity by this current administration. 00:54:38 Richard An I recommend you just go out and do it yourself. You find your people, you find your community, you pull favors, you work long nights and you do it and the reward will firstly be the good you're putting out into the world and then the the art you're making. But also this will be paid in kind by the community you're building, the musicians you're working with. And the the connections you make like you know I I have, I am currently conducting this interview from a studio space that I am renting out in Pasadena that I have built over the last two years that I do all of my rehearsals and my performances in, and that I, you know, host rehearsals and performances for other people, and this cannot happen and could not have happened without the goodwill and help and contribution from other people. When I say go out and do it yourself, I'm not saying that you as a human being are alone. I'm saying you don't need to wait for institutional approval or permission to go out and do these things. Get your friends and do them themselves. And my optimistic belief is that the support and the work will follow. 00:55:53 Isabel Li Richard, thank you so much for sharing your perspectives and your voice on this show today. And thank you to our many listeners of KPFA on tonight's episode of Obbligato on Apex Express. Which focuses on the AAPI community of the classical music world. There were some inspirational words on arts and arts making by Richard An musician and composer based in Los Angeles. 00:56:18 Isabel Li Please check our website kpfa.org to find out more about Richard An and his work as well as the state of the arts during this period of funding cuts. 00:56:29 Isabel Li We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world, your voices and your art are important. 00:56:41 Isabel Li APEX Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Jalena Keane-Lee, Miko Lee, Preeti Mangala Shekar and Swati Rayasam. Tonight's show was produced by Isabel Li. Have a great evening. The post APEX Express – 8.7.25 – Obbligato with Richard An appeared first on KPFA.

Matt Tilley is a former comedian and radio presenter and now the CEO of FightMND. He was one of Australia's most respected radio personalities, with more than 20 years on air on major stations like FOX FM and Triple M. Many remember from his famous Gotcha Calls which were a national hit across Australia. Matt's Melbourne breakfast shows have consistently reached number one for over 14 of his 20 years in breakfast radio. The Matt and Jo Show on Fox FM was a long running breakfast show that was known for holding the highest ratings over many years between 2003 and 2013. In 2014 Matt moved to Triple M to take on National Drive time for the Triple M network alongside Joe Hildebrand in a ground-breaking news and entertainment show The One Percenters. Matt has also brought his comedy appeal to screen through his television appearances. He has been featured in Comedy Inc, Fast Forward and The Late Report. He has also co-hosted Channel 9's show “Surprise, Surprise Gotcha!” and Channel 10's “Thank God You're Here”. Matt's voice has also featured as Zeke on the award-winning kids cartoon and movie feature Dogstar. His many character voices and impersonations have also featured on various platforms – from Neighbours to beer ads to inflight entertainment. Matt's engaging manner, versatility and quick wit have also made him a much sought-after MC and host. Matt transitioned to non for profit. He previously served as Chief Communications Officer at Foodbank Victoria and was the Founder and CEO of the Aussie Dollar Drop which supported homeless Australians. Matt has also held several Board positions across the NFP sector. Check out his great work at FightMND (links below). We chat about being at the top of the game, life changing moments in urinals, chopping wood (surprisingly funny), riding, public scrutiny, charity work and FightMND, his famous gotcha calls, his drive plus plenty more.   Check Matt out on: Instagram: https://www.instagram.com/vegetative.state/ About FightMND: https://fightmnd.org.au/about/what-is-mnd/ Donate to FightMND: https://support.fightmnd.org.au/donate FightMND: https://fightmnd.org.au/ ------------------------------------------- Follow @Funny in Failure on Instagram and Facebook https://www.instagram.com/funnyinfailure/ https://www.facebook.com/funnyinfailure/ and @Michael_Kahan on Insta & Twitter to keep up to date with the latest info. https://www.instagram.com/michael_kahan/ https://twitter.com/Michael_Kahan

Thom Francis welcomes local poet and artist Melissa Anderson, who was the featured reader at the Third Thursday Poetry Night at the Social Justice Center in Albany on Thursday, April 17, 2025. ——— Melissa Anderson is a multidisciplinary artist whose work is deeply influenced by a search for connection with the physical world, changing seasons, and our relationships with the places we call home. She co-runs the slam poetry team Slam Euphoria, as well as their bi-monthly poetry open mic at Cafe Euphoria in Troy. That night she read from her book "Dogstar Poems" (Main St. Rag Publishing, 2024), starting off with a poem from her day job making furniture for Chipotle, “Work Song,” and then a pandemic piece, “Bedroom Window Lockdown.” Melissa explained that “Dogstar” was another name for what is commonly known as “Polaris” or the North Star, & that many of the poems in the book are about looking for direction, as in the poem “Reflexivity.”

Jennifer's Support Group & Keanu Reeves - DogstarSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this podcast extra we speak with actor and playwright Matthew Zajac about his stage adaptation of James Robertson's novel, "The Testament of Gideon Mack".We also venture into the trials and travails of running Dogstar, a European touring theatre company based around Inverness and how it's grown ​from its early Highland tours.To find out where you can see its production of "The Testament of Gideon Mack" click the link belowhttp://www.dogstartheatre.co.uk/ ★ Support this podcast ★

In this podcast extra we speak with actor and playwright Matthew Zajac about his stage adaptation of James Robertson's novel, "The Testament of Gideon Mack".We also venture into the trials and travails of running Dogstar, a European touring theatre company based around Inverness and how it's grown ​from its early Highland tours.To find out where you can see its production of "The Testament of Gideon Mack" click the link belowhttp://www.dogstartheatre.co.uk/ ★ Support this podcast ★

A young star cluster trots along with the Dog Star, Sirius – the brightest star in the night sky. They’re in the south-southeast at nightfall, and due south by about 9 p.m. The cluster stands directly below Sirius at that hour. Under dark skies, it’s just visible to the eye alone as a small, hazy patch of light. Messier 41 is about 2300 light-years away. And it’s about 25 light-years across. That volume is packed with hundreds of stars – as many as eight hundred, according to some estimates. By comparison, the same volume of space around the Sun contains only a few dozen stars. That means the skies of any planets in the cluster would be packed with bright stars – especially in the middle of the cluster, where the stars are jammed together. Some of the stars there are bigger and brighter than the Sun. Some of them are still in the prime of life, but a few are already near the end. They’ve puffed up to giant proportions, so they shine hundreds of times brighter than the Sun. The Sun probably was born in a similar type of cluster. But the Sun and its sibling stars have all gone their own ways – pulled away from each other by the gravity of the galaxy’s other stars and gas clouds. The Sun has been around for four and a half billion years. But the stars of M41 are only about 200 million years old. So there hasn’t been enough time for the galaxy to rip apart this family of young stars. Script by Damond Benningfield

Send us a textJoin Allen Smith of Park Hills Underground Radio in conjunction with the Midwest Mixtape Podcast as chats with Adam Kury (Candlebox) and Kevin Haaland (Skillet) of Sons of Silver to discuss their meteoric rise, creative process, and what's next for the band.Fresh off their successful run on Dogstar's Summer Vacation Tour, Sons of Silver is gearing up for their highly anticipated Art of Letting Go Tour with Myles Kennedy and Tim Montana in January and February 2025. The band's debut full-length album, Runaway Emotions, drops January 10, 2025, and is packed with classic rock energy, post-punk intensity, and thought-provoking lyrics.

Gavin kicks off 2025 with a new round of Cure Covers, including tracks by Masquer, Ez Band, Michael Timmons, New Dad, Pedal Steel Noah, NonVivants, Dogstar and MORE!

Not only is Rob an accomplished actor (credits include shows such as Seinfeld, NCIS, Bones, Easy to Assemble, Without a Trace, CSI: NY, Becker, and Judging Amy) but along with Keanu Reeves and Bret Domrose they comprise of the band Dogstar. They have released three albums and just recently finished a US and world tour.

Our annual Christmas special sponsored by Mount Wheeler Power in Ely.  Suspense, originally broadcast December 22, 1957, 67 years ago, Dog Star starring 8 year old Evelyn Rudie. All that a little girl wants for Christmas is a little puppy. She finally gets one...from outer space! Little Chipka falls to Earth from a Russian satellite. Then Grand Central Station, originally broadcast December 22, 1945, 79 years ago, Miracle for Christmas starring Mason Adams. The shows traditional program about a doctor and his ambulance driver…and the unusual Christmas Eve they spend together.

Christmastime is here, and to celebrate I've got five Suspense seasonal stories that - in a departure from the usual fare on this podcast - all have happy endings! Eddie Cantor stars in a tale of clerical crime at Christmastime in "Double Entry" (originally aired on CBS on December 22, 1949), and Greer Garson joins a little girl in her long wait in "'Twas the Night Before Christmas" (originally aired on CBS on December 21, 1953). Jack Kruschen plans to rub out a rival gangster with an explosive Christmas gift in "A Present for Benny" (originally aired on CBS on December 13, 1955). A little girl wants a dog for Christmas and gets one in the strangest way possible in "Dog Star" (originally aired on CBS on December 22, 1957), and a soldier gives a buddy a ride to remember in "A Korean Christmas Carol" (originally aired on CBS on December 20, 1959).

Christmas Drama on a SundayFirst a look at this day in History.Then Yours Truly Johnny Dollar starring Bob Bailey, originally broadcast December 22, 1957, 67 years ago, The Carmen Kringle Matter.  An old prospector is dying in the desert, and his faithful mule "Carmen" is set to inherit his insurance. Followed by the news from 67 years ago, followed by Suspense, originally broadcast December 22, 1957, 67 years ago, Dog Star starring Evelyn Rudie.  All that a little girl wants for Christmas is a little puppy. She finally gets one...from outer space! Little Chipka falls to Earth from a Russian satellite. Then Lights Out, originally broadcast December 22, 1937, 87 years ago, Christmas Story. A Christmas story, set during the war in 1918. A French soldier, an Australian and an American Negro soldier find themselves aboard a railroad train. Have they met before? Next, This Is Your FBI, originally broadcast December 22, 1950, 74 years ago, The Return of St. Nick. Santa Claus has disappeared from a big city settlement house. The FBI takes the case and reunites an elderly brother and sister as well.Followed by Jonathan Thomas and His Christmas On The Moon, originally broadcast December 22, 1938, 86 years ago, A Reward For The Capture Of Jonathan. Eluding the dragon, Rumplestich (the witch) alerts King Squeebeeble of Jonathan's arrival. The king posts a reward for Jonathan's capture...dead or alive!Finally Superman, originally broadcast December 22, 1941, 83 years ago, The Mechanical Man.  The Yellow Mask turns off the electricity in the Daily Planet building. Along with a Nazi friend, The Mask plans to take over a robot and use it to create havoc!Thanks to Sean for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.htmlAnd more about the Survive-all Fallout Sheltershttps://conelrad.blogspot.com/2010/09/mad-men-meet-mad-survive-all-shelter.html

Call it “The Revenge of the Scrawny.” The Procyon star system was born with two stars. One was bigger and heavier than the other, so it shined much more brightly. Because of that showiness, though, it burned out much more quickly. Today, all that’s left of the star is its tiny, dead core – while the scrawny companion shines on. Procyon climbs into good view, due east, by about 9 p.m. That’s just before Sirius, the Dog Star, which rises to the lower right of Procyon. In fact, the name “Procyon” means “before the dog” – an indication that it leads the Dog Star into the sky. What we see of Procyon is the scrawny survivor, Procyon A. But “scrawny” is relative – the star is bigger and heavier than the Sun. But when the system was born, the other star, Procyon B, was much more impressive. Because of its greater mass, it “burned” the nuclear fuel in its core much more quickly. That made it much brighter than Procyon A. It used up its fuel in a hurry, though. It cast its outer layers into space, leaving only its hot but dead core – a white dwarf. It’s more than half the mass of the Sun, but only about as big as Earth. It’ll shine faintly for billions of years. Procyon A is about to follow the same path. It’s nearing the end of its “prime” phase of life. Soon, it’ll puff up to giant proportions. Then it, too, will cast off its outer layers. That will leave Procyon with two “dead” stars – glowing embers in the cosmic night. Script by Damond Benningfield

Join us this week on Vintage Classic Radio for a special holiday edition of "Friday Night Noir." We kick off with "Escape," featuring the chilling tale "Back for Christmas," originally aired on December 24, 1947. This suspenseful episode follows Professor Herbert Carpenter as he meticulously plans to murder his overbearing wife before a holiday trip, intending to return home alone, but fate has other plans. The stellar cast includes Paul Frees as Herbert Carpenter, Eleanor Audley as his unsuspecting wife Hermione, and William Conrad lending his voice to the role of a curious contractor. Continuing the holiday suspense, we delve into "Suspense" and its episode "Dog Star," which first enthralled listeners on December 22, 1957. A heartwarming yet thrilling story unfolds around James Congreve, a scientist whose life is saved by his loyal dog, Rex, during a laboratory accident. However, when a potential disaster looms, Rex's uncanny abilities are put to the test in an unexpected twist. The episode features George Walsh as James Congreve, Jeanette Nolan as his supportive wife Ellen, and Joseph Kearns portraying Dr. Mason, Congreve's skeptical colleague. Tune in to Vintage Classic Radio this Friday night to experience these captivating stories from the golden age of radio, brought to life by a talented cast that continues to thrill and engage audiences even today.

Darkness Syndicate members get the ad-free version plus all artwork created and considered for use as YouTube and podcast thumbnails: https://weirddarkness.tiny.us/y36jb77fIN THIS EPISODE: You probably saw the title of this episode and immediately thought, “Whaaa?” Well, I'm going to tell you one of the most ridiculous stories I've ever heard that is 100% true. The Axis powers of World War II tried to kill the Loch Ness Monster. (The Assassination of the Loch Ness Monster) *** As far back as time is recorded, mankind has had a fascination with Sirius, the Dogstar. But what is so special about it aside from the fact that it's one of the brightest stars in our sky? Might there be an extraterrestrial connection as well? (Why So Serious About Sirius?) *** UFO reports come in constantly to police stations and online sites dedicated to the subject of Ufology – practically on a daily basis. And many sightings are by people you would consider above reproach such as law enforcement, scientists, military, numerous sightings by pilots… but when you head out into space and see a UFO, as is what happens with astronauts' reports, that's something you take a much closer look at. (Code Word: Santa Claus) *** Jimmy Logue left his wife after only two years of marriage. Without first getting divorced, he married another woman – whom he badly mistreated, so she left him. But he had already started an affair with her sister, so he married her next – now on his third wife. He abused her as well. He was also a career criminal – spending half his life living off the spoils of his thievery, the other half behind bars when caught. So it probably comes as no surprise that he was suspect number one when his third wife was found murdered. (A Romance In Crime) CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Disclaimer and Show Open00:03:40.150 = The Assassination of the Loch Ness Monster00:07:31.062 = A Romance In Crime00:16:39.564 = Why So Serious About Sirius?00:40:52.501 = Code Word: Santa Claus00:48:19.633 = Show Close00:50:38.777 = BloopersSOURCES AND REFERENCES FROM THE EPISODE…BOOK: “The Sirius Mystery: New Scientific Evidence of Alien Contact 5,000 Years Ago” by Robert Temple: https://amzn.to/2JDnD27BOOK: “The Secret Teachings of All Ages” by Manly P. Hall: https://amzn.to/3mNlkbo“Why So Serious About Sirius?” by Gregg Prescott, M.S. for Message To Eagle: https://tinyurl.com/y2v4gqsd“The Assassination of the Loch Ness Monster” by Blake Stilwell for Military.com: https://tinyurl.com/y2kpzrn5“A Romance in Crime” by Robert Wilhelm for Murder by Gaslight: https://tinyurl.com/y584we6w“Code Word: Santa Claus” by Tim Swartz, for Mysteries Magazine (no longer online or in print)Weird Darkness theme by Alibi Music Library.= = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2024, Weird Darkness.= = = = =Originally aired: December 05, 2020CUSTOM LANDING PAGE: https://weirddarkness.com/AssassinationLochNessMonster

This week, Lisa and Bernie sit down with actor, author and musician, Keanu Reeves. Keanu shares the story of Dogstar's reunion after 22 years, the inspiration behind their latest album, “Somewhere Between the Power Lines and Palm Trees”, and the passion he has for the gear he's using on their current tour. He discusses “The Book of Elsewhere”, a book he co-wrote with China Mieville, and gives us a sneak peek into his upcoming Broadway project, “Waiting for Godot” with Alex Winter. Join us for an insightful and candid conversation with one of the most genuine and passionate artists in the industry. ⁠DOGSTAROFFICIAL.com⁠ ⁠linktr.ee/dogstarband⁠ ⁠dogstar.lnk.to/PowerLinesAndPalmTrees⁠ ⁠thebookofelsewhere.com⁠ ****************************************** Hungry for more? Check us out at isbreakfast.com ******************************************

Join me as I chat with Dakota Shakedown about their history as well as their brand new album "We All Spin Together". We talk about run ins with Keanu Reeves, getting played during the Super Bowl and the night that Night Ranger sent them down a dark path.

M: 7. E: 7.5.

It's 8/8 today! And you know what that means, Lion's Gate! The time when the Dog Star meets the Sun in Leo. This is an amazing time for reflecting on and creating all the wonderful things life has to offer. And as the Dog meets the Lion, it's also an invitation for deep self-inquiry to explore how we can learn from our dogs and live a much more heart-led, self-compassionate life. I share with you 5 questions and practices I will be using for myself today to take advantage of this auspicious time in order to create a more soulful life for myself and Lucky, and I invite you to try them out if you feel called! Wishing you a happy and bountiful Lion's Gate! Let me know if you find this helpful! You can DM me on Instagram @mysticdogmama

WTOP's Jason Fraley interviews drummer Rob Mailhouse of Keanu Reeves' band Dogstar, which rock the Hollywood Casino at Charles Town Races in West Virginia this Friday night. Mailhouse discuses his early days in D.C. at American and Catholic Universities before meeting Keanu Reeves at an L.A. grocery store in 1991 to form Dogstar, which recently reunited after a two-decade hiatus. (Theme Music: Scott Buckley's "Clarion") Learn more about your ad choices. Visit podcastchoices.com/adchoices

WTOP's Jason Fraley interviews drummer Rob Mailhouse of Keanu Reeves' band Dogstar, which rock the Hollywood Casino at Charles Town Races in West Virginia this Friday night. Mailhouse discuses his early days in D.C. at American and Catholic Universities before meeting Keanu Reeves at an L.A. grocery store in 1991 to form Dogstar, which recently reunited after a two-decade hiatus. (Theme Music: Scott Buckley's "Clarion") Learn more about your ad choices. Visit megaphone.fm/adchoices

Sometime between starring in action movies and touring with his band Dogstar, Keanu Reeves created a comic book series called “BRZRKR.” But he wanted to take the story further, so he called up China Miéville, one of the most prolific speculative fiction authors in the world, and convinced him to collaborate. Now, they've released their new novel, “The Book of Elsewhere,” which is based on the series. In this Canadian broadcast exclusive interview, Tom chats with Keanu and China about the book and how they felt about stepping outside of their creative comfort zones.

In order to understand In Search Of… The Dark Star, Jeb and Blake will first need to get Sirius; Sirius-B, that is!   Links from this episode:   Siris (A part of the Canis Major constellation)    Jeb discussed a couple of evocative artworks:  Appeal to the Great Spirit (Dallin) End of the Trail (Fraser)    North African musket (Moukahla) Colonial Williamsburg Hoop Rolling Jacquard Loom Punched Cards technology The Hans Guggenheim art project Isaac Koi UFO archives The Tribal Eye BBC documentary series (YouTube)   Regarding Temple, Puhairich, Young, and The Nine The Sirius Mystery by Robert Temple Editorial letter about Temple from The Observatory Dogon Shame by Phillip Coppens Griaule's Legacy: Rethinking "la parole claire" in Dogon Studies Pop Culture References (affiliate links): Conjure Wife - aka Burn Witch Burn Bewitched Bell, Book and Candle ===== Images: The "orbit" of the Dogon dark star. Nimoy posing with a tribal mask - our initial NFA image. Later we get to see his legs in this seated NFA supplementary: Hans Guggenheim initially appears in just a vest and pants. Later, he too is in more of a Safari look, and has a professorial pipe as well.   Dr Gary Chapman, Astronomer The man who first photographed Sirius B - Dr Lindenblad A little of the FORTRAN code that powers the orbit animation in the episode:   We don't have enough information to know who made Nimoy's safari clothing, but if you want to try and track down a very close approximation, this example from J. Peterman's (est 1987) is as close a match as I've seen. You would still need to find it in a vintage shop because at present they don't sell these.    

LA Alt. Rock Band Dogstar (Keanu Reeves, Robert Mailhouse, and Bret Domrose) join Tony and Jason to discuss CDs and Tapes, Sad songs, How Dogstar met, Dogstar influences, playing frat shows, naming bands, music for Tony Hawk games, Tony in CSI, 50 year old olympic qualifier, Touring in Japan, the road, bus drivers, playing live, bpm, Vert vs Street, stem cells, Grand Prix, Ribs in Tokyo, Racing, Opening for Bowie, Singing for Goldfinger, Life happens, Bill & Ted, and John Wick. Learn How To Skate, No Matter What Age You Are. Out Now https://fathergrind.com/ Stop wasting money on things you don't use. Cancel your unwanted subscriptions Go to rocketmoney.com/WOLF  Go to Outerknown.com today and enter the code “Wolf” at checkout to get 25% off your full price order Sponsor Hawk Vs Wolf: https://public.liveread.io/media-kit/hawkvswolf Learn more about your ad choices. Visit megaphone.fm/adchoices

LA Alt. Rock Band Dogstar (Keanu Reeves, Robert Mailhouse, and Bret Domrose) join Tony and Jason to discuss CDs and Tapes, Sad songs, How Dogstar met, Dogstar influences, playing frat shows, naming bands, music for Tony Hawk games, Tony in CSI, 50 year old olympic qualifier, Touring in Japan, the road, bus drivers, playing live, bpm, Vert vs Street, stem cells, Grand Prix, Ribs in Tokyo, Racing, Opening for Bowie, Singing for Goldfinger, Life happens, Bill & Ted, and John Wick. Learn How To Skate, No Matter What Age You Are. Out Now https://fathergrind.com/ Stop wasting money on things you don't use. Cancel your unwanted subscriptions Go to rocketmoney.com/WOLF  Go to Outerknown.com today and enter the code “Wolf” at checkout to get 25% off your full price order Sponsor Hawk Vs Wolf: https://public.liveread.io/media-kit/hawkvswolf Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's Sponsor: Middle Manager Manifestohttps://www.amazon.com/Middle-Manager-Manifesto-Survive-Thrive/dp/B0D5HMQ7HG/ref=sr_1_1?crid=1K9FRXTMWE08U&dib=eyJ2IjoiMSJ9.tuSFsJ4gfKV9w2OH3g6Wc6P-bFF8UKtFfgoKK5-43N_3v0zsZqGJTxJ_AANVdlH-s-jnS2BvdcYKiNj8kAw2vTm9JSfu6l8nX3Ws9itlpXw.Uix4wnkQtJutlccrawOd50xw_r4whuCRwwLsBDFnxuE&dib_tag=se&keywords=middle+manager+manifesto&qid=1717408814&sprefix=middle+manager+manefesto%2Caps%2C224&sr=8-1     Today's Rundown: WNBA rescinds technical foul given to Angel Reese that resulted in her ejectionhttps://www.usatoday.com/story/sports/wnba/2024/06/05/angel-reese-technical-fouls-ejection-wnba-rescinds/73986484007/?tbref=hp After delays, crewed Boeing Starliner finally launches from Florida, bound for the ISShttps://www.usatoday.com/story/news/nation/2024/06/05/boeing-starliner-launches-astronauts-international-space-station/73557551007/#:~:text=Launching%20Wednesday%20from%20Florida%2C%20the,to%20orbit%20on%20NASA's%20behalf.  Plus-size travel influencer who wants free seats for fat fliers now says Uber and Lyft drivers should be forced to carry seatbelt extenders for 'passengers of size'https://www.dailymail.co.uk/news/article-13494079/plus-size-travel-influencer-jaelynn-chaney-uber-lyft.html X allows consensual adult nudity, pornographic content under updated policyhttps://www.usatoday.com/story/tech/news/2024/06/04/porn-on-twitter-allowed-on-x/73977035007/?tbref=hp  The Colts' Lucas Oil Stadium is now a giant pool thanks to Olympic trialshttps://www.msn.com/en-us/sports/golf/the-colts-lucas-oil-stadium-is-now-a-giant-pool-thanks-to-olympic-trials/ar-BB1nGvBC   McDonald's loses Big Mac trademark for EU in battle with Irish rivalhttps://apnews.com/article/mcdonalds-big-mac-eu-trademark-ireland-14922a383563c60592bd3ee152a73d87  Keanu Reeves' band Dogstar announces summer 2024 tour for their first album in 20 yearshttps://www.usatoday.com/story/entertainment/music/2024/06/04/keanu-reeves-band-dogstar-2024-north-america-tour/73979587007/?tbref=hp  Madonna Hits Back at Class Action Lawsuit Over Late 'Celebration Tour' Concert Start Timeshttps://www.dailymail.co.uk/tvshowbiz/article-13491037/Madonna-responds-class-action-lawsuit-regarding-late-concert-start-times-claiming-real-fans-know-shes-typically-tardy.html      Website: http://thisistheconversationproject.com  Facebook: http://facebook.com/thisistheconversationproject  Twitter: http://twitter.com/th_conversation  TikTok: http://tiktok.com/@theconversationproject  YouTube: http://thisistheconversationproject.com/youtube  Podcast: http://thisistheconversationproject.com/podcasts   ONE DAY OLDER ON JUNE 6:Colin Quinn (65)Max Casella (57)Paul Giamatti (57)   WHAT HAPPENED TODAY:1844: The Young Men's Christian Association (YMCA) was founded in London.1933: The first drive-in theater opened in Camden, New Jersey.1990: U.S. District court judge Jose Gonzales ruled that the rap album As Nasty As They Wanna Be by 2 Live Crew violated Florida's obscenity law. He declared that the predominant subject matter of the record was “directed to the ‘dirty' thoughts and the loins, not to the intellect and the mind.”  WORD OF THE DAY: Neufchâtel [ noo-shuh-tel ]https://thebigwordsproject.morebettermediacompany.com/neufchatel-6-6-2024/a soft, white cheese similar to cream cheese, made from whole or partly skimmed milk in Neufchâtel, a town in N FranceShe spread a generous layer of Neufchâtel on her bagel, savoring its creamy texture and mild flavor.  DAILY AFFIRMATION: Every Day I Discover Interesting And Exciting New Paths To Pursue.Boosts Creativity and Openness: Embracing this affirmation encourages a mindset that is always on the lookout for new opportunities and ideas, thereby enhancing creativity and openness to novel experiences.https://www.amazon.com/100-Daily-Affirmations-Positivity-Confidence/dp/B0D2D6SS2D/ref=sr_1_1?crid=3IFJQT937CKKN&dib=eyJ2IjoiMSJ9.GfRO6urYEuEwqsTvS7BKS-pq7BPDUsE962mzC8Tvne8._x0WlWanM5yNPS9_hkHrvqTHzZakFxXZCtS-rEJ9RHQ&dib_tag=se&keywords=100+affirmations+payne&qid=1717404771&sprefix=100+affi%2Caps%2C200&sr=8-1   PLUS, TODAY WE CELEBRATE: D-Dayhttps://www.eisenhowerlibrary.gov/research/online-documents/world-war-ii-d-day-invasion-normandyThe D-Day operation of June 6, 1944, brought together the land, air, and sea forces of the allied armies in what became known as the largest amphibious invasion in military history. The operation, given the codename OVERLORD, delivered five naval assault divisions to the beaches of Normandy, France. The beaches were given the code names UTAH, OMAHA, GOLD, JUNO, and SWORD. The invasion force included 7,000 ships and landing craft manned by over 195,000 naval personnel from eight allied countries. Almost 133,000 troops from the United States, the British Commonwealth, and their allies, landed on D-Day. Casualties from these countries during the landing numbered 10,300. By June 30, over 850,000 men, 148,000 vehicles, and 570,000 tons of supplies had landed on the Normandy shores. Fighting by the brave soldiers, sailors, and airmen of the allied forces western front, and Russian forces on the eastern front, led to the defeat of German Nazi forces. On May 7, 1945, German General Alfred Jodl signed an unconditional surrender at Reims, France.             

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Center Township deputy constable charged with rape, strangulation. New report finds economic impact of $23M-plus for Carmel Christkindlmarkt – Indianapolis Business Journal This is the Indy Star. How Lucas Oil Stadium turned into a swimming pool for the U.S. Olympic Trials. Dogstar and Keanu come to the Indiana State Fair.See omnystudio.com/listener for privacy information.

Biden has new executive order on the border. Shots Fired at United States Embassy in Beirut, Lebanese Military Reports. Republicans hammer defiant AG Garland to hand over Biden-Hur audio. Do you like feet? Elderly Pro-Lifer is sentenced to jail. Ethics panel probes Rep. Spartz over staff abuse claims. Libertarian Candidate Rainwater Wants Answers on TV Debates. Behind Closed Doors, Biden Shows Signs of Slipping. Rubio's closes 48 location in California because, well, California. Joe Biden Executive Order to "seal" the border. Center Township deputy constable charged with rape, strangulation. New report finds economic impact of $23M-plus for Carmel Christkindlmarkt – Indianapolis Business Journal This is the Indy Star. How Lucas Oil Stadium turned into a swimming pool for the U.S. Olympic Trials. Dogstar and Keanu come to the Indiana State Fair.See omnystudio.com/listener for privacy information.

Episode 186 of "TMNT - The Talk" in English. I am talking about "TMNT: The Untold Destiny of the Foot Clan#2" and "TMNT: The Untold Destiny of the Foot Clan#3" by IDW Comics. Check out my blog at http://tmnttalk.blogspot.com or send me an e-mail at tmnttalk1984@gmail.com.

Who knew the bass player from Dogstar was also an actor? This time the boys go back to the Y2K era to relook at this innovative sci-fi epic.  Bullets are flying and the techno is thumping, but that's not enough for one of our grumpy hosts, who seems to have some legitimate, yet petty issues with this one.  What a jerk!Stick around for the conclusion of "Loser Talk" where the boys review the top half of the "50 Worst Movies of the 90s List" to see how many of them they've seen. Or maybe take the blue pill instead.

Devin Faraci joins jD today on the podcast. Beyond listening in on Devin's Pavement origin story, you'll hear him wax nostalgic about song 30.Transcript:Track 2:[1:00] Previously on the Pavement Top 50.Track 1:[1:02] At 31, give it a day. What do you think, Scott from North Dakota?This is a gem, and I love it so much. I love the whole EP.This would have been something I did not discover until well after I knew all of Wowie Zowie, all of Bright in the Corners, and it wasn't something I easily could have. have it.Track 2:[1:27] Hey, this is Westy from the Rock and Roll Band Pavement, and you're listening to the Countdown.Track 3:[1:34] Hey, it's JD here, back for another episode of our Top 50 Countdown for Seminole Indie Rock Band Pavement.Week over week, we're going to count down the 50 essential pavement tracks that you selected with your very own Top 20 ballads.I then tabulated the results using using an abacus and 28 grams of the best weed you've ever smoked, along with some drifter named Larry.How will your favorite songs fare in the rankings? Well, you'll need to tune in to find out. So there's that.This week I'm joined by Pavement superfan Devin from LA.Devin, how the fuck are you? I'm doing pretty good. I'm doing pretty good. Really glad to be here.Amazing to be on the World Wide Web talking about Pavement so many decades after I first started listening to them. Well, let's get right into that then.Let's go back a few decades and get your Pavement Origins story.You know, I have a lot of Pavement history. I started in around 92.Oh, wow. Yeah, so Slanted and Enchanted.And I'm pretty sure it was Summer Babe Winter Version that was the first song that I heard, I have to guess.Track 3:[2:50] And it was a weird time in my life I was a college student, I had been kicked out of college. Oh, shit. I had earned a 0.0 GPA.And not for cool reasons, mind you.I think that it was 1992, and my college had what they called a VAX computer system, which was the early internet.And I was on the early internet all night playing multi-user dungeon games and did not go to school.Track 3:[3:24] So I got kicked out of college for playing video games. Really ahead of my time.It's like big Gen Z energy, I feel like.And I was living with my dad in Illinois, who was living in the suburbs, and it was the most miserable year of my life because the alternative rock world that I had been in back when I was living in New York City had exploded.And I was stuck in the Chicago suburbs and I couldn't drive.And all of these amazing things were happening and I was not part of any of it.But there was a cool record store. And so I discovered Pavement and I have loved that band ever since.And, um, yes, that's my original pavement experience trapped in the suburbs of Chicago, New York city kid trapped in the suburbs of Chicago, uh, watching the world explode into cool alternative rock shit all around me, but so, so far away.Track 3:[4:24] So what was it like when you walked into that record store? Was it the album cover that got you?Had you heard of the band through like zines or anything like that?Or was it just like a random purchase? I probably had heard it from a magazine, probably Alternative Press, if I had to guess back then. I read that shit religiously.And I might have already heard the song, but I'll tell you, man, when I heard that album, it was like somebody had finally recorded music that was aimed directly at my particular personal brain.Wow. You know, just sort of the discordant, weird lo-fi sound they had on that first record, especially back in the day.But with melodic pop sensibilities, it was incredible to me.It really was incredible.And Malkmus' voice just really was, I mean, just got me, just nailed me.Track 3:[5:15] Yeah, it's very, I mean, they're very unique in a, in a world at the time where things were not yet starting to sound the same, but, and our guys were signing everybody out of Seattle.They could, you know, this bright beacon of hope from Stockton, California, um, really shone a light for a lot of people.I wish I could have been there at the time, but I didn't catch on until the late nineties.So yeah no i was pretty happy to be there which means that i got to experience some pretty cool pavement stuff in real time um you know the greatest t-shirt i ever owned was a pavement t-shirt it had two fried eggs on the tits yes uh it's one of the great t-shirts of all time but i also have two really memorable i've seen pavement a few times but i have two very memorable pavement concert experiences all right share them uh so one of them was at the tibetan freedom Freedom concert in New York City.And there were two stages. And I forget who was up against Pavement on the other stage at the time, but nobody came to see Pavement.And so it was this big stage at Randall Island in New York City and Pavement playing.And it was like me and 30 guys.Track 3:[6:30] Are you serious? There was nobody there. I got right to the front. Like it was incredible.They were really playing to like the sparsest crowd you could imagine.It was, I honestly forget who was up against them, but that was packed.Um, and, and, and the pavement was, it was dead. It was just incredible.Um, which I'm sure wasn't great for the band, but for me, uh, was a delight.I mean, just an absolute delight, but the greatest pavement concert experience I've ever had.Track 3:[7:00] They did a secret show at CBGB, which is a very small venue and also disgusting and very historic.And so I got tickets to this secret CBGB show, and I honestly forget what album this is, so I don't remember what they were playing.But the big memory of the secret CBGB show is the band had been on for a minute.And then Keanu Reeves entered CBGB wearing a tuxedo with a woman in a evening dress, evening gown of some kind, like they had just come from an award show or something. It looked like.And every time the band finished a song, Keanu Reeves would yell, Freebird, which is something I know.Track 3:[7:52] Uh, for maybe the younger listeners don't realize that there was a period in rock music history where people would go to concerts and yell free bird at the bands in between every single song.And I will tell you that shit did not fly with a pavement crowd.Uh, the pavement crowd was not excited to hear this.And so that was a very strange experience, but what it made it even stranger was years later reading an interview with the band.And they talked about that night. And they talked about how Keanu Reeves had tried to come backstage and meet them. And they turned him away.Because the other thing people have to remember is that in the 90s, Keanu Reeves before The Matrix was not cool.He had started making a bunch of like really crummy movies and sort of for Gen X, Keanu Reeves sort of had crossed a boundary that we did not necessarily like.And so he was not cool at the time.That's why when he was cast in The Matrix, it was kind of a joke.Like, you know, you couldn't believe that that guy was going to be in this movie.So they didn't let him come backstage.Track 3:[8:54] And then they talked about, after the show, they were leaving the venue and they were walking somewhere and they walked past this very famous downtown restaurant, Veselka, which is like the heart of the village.There's a documentary out about it right now, actually. But anyway, they were walking past Veselka and there by himself sitting in a window, sadly eating Ukrainian food, was Keanu Reeves.And they felt terrible that they had turned him away from backstage.Oh, that's a fantastic story.Yeah. Jesus.Keanu Reeves yelling Freebird. I can't believe it. It was unreal.And a friend of mine, who's actually now a music executive, heckled Keanu at the show.As Keanu was leaving CB, my friend yelled, Dogstar, love that band, which was Keanu's band at the time, his bad band at the time. So, yeah. Yeah.So are there any records that you cleave to now, or do you go back, for nostalgia's sake, to Slanted?Track 3:[10:11] Man, you know, it's a great... I mean, I gotta say, for me, Crooked Rain.Crooked Rain is the peak, I think. And I love every Pavement record.But Crooked Rain is the one that I just find myself drawn to again and again and again and again.Again um you know and that was the album you know where they started getting like videos on mtv which was a truly bizarre experience too uh you know when cut your hair debuted on 120 minutes and made its way into regular mtv programming uh was very strange because this was such an odd band uh for the time you know and and and crooked yeah crooked rain is i mean i love all of them Wowie zowie's amazing, bright in the corners.But it's crooked rain.Track 3:[10:59] Yeah, I think so. I just went for a walk earlier this morning.It's unseasonably warm here in Toronto.And I went for a walk and I just had a hankering to listen to Crooked Rain, Crooked Rain.So I threw it on and walked until it was over.And I just forgot, even though I know deep in my bones that it's a great album, like I had forgot just how cohesive it is and how big it sounds.And really it sounds completely different than slanted right yeah i know it's a total step forward but i think what's amazing you know so in the 90s i was a real diehard flannel guy you know i had my real deep opinions on selling out and for crooked rain they went much more rock oriented slanted than they had been on, on, uh, slanted.And, um, but it worked like there was no sense of selling out.Uh, it was more like a band fulfilling its promise.Um, even though I love the lo-fi stuff, you know, uh, you know, Westing by Musket and Sexton. I love that. Like that, love that noise. Give it to me.Uh, but, uh, but yeah, I mean, Crooked Rain, it just, it feels like a band blossoming into what they can be.Track 3:[12:18] Oh that's nice i like it yeah is there anything else you want to share about your pavement origins i mean i guess just that.Track 3:[12:33] Pavement is a really special band to me you know partially because of um, Where I was when I found them, you know, I was so trapped in the suburban hell that I just didn't understand and I was not part of, you know, this was the era when I had, um, like a blue undercut.Like I had like that top knot thing going on the sides and back of my head shaved and my hair was dyed a little blue and I wore ripped jeans and flannels.And when I was walking to work in the suburbs along the side of the road where they had no sidewalks, I had a car drive past me and throw a beer can at me and shout the F slur at me as they drove by.So I'm not saying that I'm an oppressed person, but I'm saying that I was living in an environment that was not friendly to me and my kind of people.Track 3:[13:27] And I heard this band and it was like somebody talking directly to me.And so as a result, it has always been just an important band to me.And because I am still partially that Gen X, quote unquote, hardcore, never sell out kind of a guy, I love that Pavement never sold out.I love that Pavement never ended up becoming some kind of a big, massive band that like the worst people you know got into. to.Pavement has gotten more well-known and it has a great legacy, but it's closer to the way that the Velvet Underground used to be.The Velvet Underground has sort of crossed over.People know the Velvet Underground now, but there was a very long time where you could say to somebody that you love the Velvet Underground and if they got it, you knew they were a cool person that you were going to like.Pavement has that right now.If I tell somebody I love Pavement and they They actually know Pavement.They don't just know two songs or something.Track 3:[14:35] Then I know, oh, that's a person who I can be friends with. That's a person who gets me. Because part of the deal is that Pavement...It's not just this amazing music, but there's a thing I love about Pavement, which is that the kind of brain that I think it takes to really appreciate Pavement, because so many of the lyrics are close to nonsense, but not nonsense.And it requires a brain that's willing to engage with that.And I think it's sort of like really fun and smart at the same time that it can be incredibly dumb sometimes.But, you know, that's, I think, the defining line for Pavement for me.Those lyrics that, like, have silly things in them and have nonsensical things in them, but very often they add up to something that is emotionally true that you can really understand, even if you can't understand it as language necessarily.And also every now and again drops in bizarre stuff that's like smart people stuff, you know?You know, how many bands have songs about how the kids that made acid couldn't get laid?I mean, like, you know, that's like an amazing thing to drop into the middle of a song out of nowhere.So, you know, yeah, so that's my Pavement, yeah.That's nice. I like it. Well, what do you say we take a quick break and come back to the other side and talk about song number 30?Sounds good. All right, let's do that.Track 2:[16:01] Hey, this is Bob Mustanovich from Pavement. Thanks for listening.And now on with a countdown.Track 1:[16:09] 30.Track 3:[19:08] Song number 30 on the countdown comes from Pavement's fifth and final album, Terror Twilight.It's also the third song from this album to make the top 50 thus far.At track 30, we have Spit on a Stranger.What the hell do you make of this song, Devin?Track 3:[19:29] I'm really glad I got this song because I love this song.And the thing about this song is that there's a real tension within the song that truly appeals to me, because I believe that musically and in the verses, this is the most romantic song that Pavement has ever recorded.100%. Like some of these verses are things that you would say at a wedding.Track 3:[19:58] And then you get to the chorus and there's the you're a bitter stranger.And it's obvious that it's about a breakup of some kind, but it has those that tinge of love in the verses.And again, musically that I think make it really beautiful and really melancholic in a really incredible way.The song, you know, you're a bitter stranger, but the song is not bitter.Uh which i think is amazing and i just tender yeah i love the the the the tension within it i just it's it's so good because it's not an obvious tension like if you just listen to this song and don't pay attention to the lyrics it's just a beautiful lovely song that uh if you catch a couple of the verse lyrics you go that's really gorgeous you know um and then and then we listen to the whole thing there's like a lot more going on i i i adore this song yeah it's a it's a it's a standout on terror twilight for sure not just because it's a single it it just i don't know it just pops off that record um what's your relationship with the song do you remember hearing it for the first time or do you remember what that was like.Track 3:[21:10] I don't remember hearing it for the first time. I can't remember if this was a single before the album came out or not. I don't recall.I believe it was. So I probably heard it as a single.I'm sure I heard it on the radio or I bought the single before the album came out. But I don't really recall.I remember when this came out and this album came out that this was a song that I fixated on pretty intensely at the time. This was kind of a track I kept going back to again and again and again and again.And I just I just fell immediately in love with it.It's funny, because now, with many years gone by, and the world having moved on and learning more about the making of this record.Track 3:[21:58] There's something beautiful about this being the opening track on their final record, because now I know behind the scenes, they were in the process of breaking up.And so in some ways, this is a song about that process in some ways, you know, and that speaks to what the band was going through.So I think that's a cool thing that has kind of grown on me over the years.But like this is definitely a song that i have from just again from the very beginning, just latched on to i just think that some of those lyrics are just so beautiful and i just think that they're so lovely because i think that they're beautiful in a way uh.Track 3:[22:41] That feels relatable. It's not over the top.So it's like, however you feel, whatever it takes, whenever it's real, whatever awaits, whatever you need, however so slight, whenever it's real, whenever it's right.I mean, that's like a beautiful everyday idea of what love is, right?It's a beautiful everyday piece of it. And then again, obviously, the choruses get a little different.But I really just keyed into that because this is not a band that traditionally had a lot of songs that I would have felt super romantic about.This is not a band that has a lot of songs that I would say, oh, I would love to play this for someone to let them know how I feel about them.Yeah, yeah, yeah. Not a lot of those.But this is one that does have- You're not going to play Debris Slide.Track 3:[23:31] Uh, but this is, this is one of those. And, and so, yeah, it's always been a very special song to me. What do you think about the production values on Terror Twilight and this song specifically?When you think back to putting on Slanted and Enchanted and hearing that real lo-fi and that crushing riff and that drum riff as well on Summer Babe, and then flash forward like seven years, eight years, and you've got this song that is, like you said, melancholic and beautiful.But so lush as well. Yeah, it's a very thick production. It's very crystal clear.Track 3:[24:14] I mean, I think it's really important for me, because of how I experience pavement, I experience them in real time.The gap between 92 and 99 is enormous.I mean, just sort of like what the world was like and what the music scene was like.And so in 99 was the year of the second Woodstock.That's right. And so we're looking at a world with all of this new metal and stuff, which, as a guy who had been a big...Track 3:[24:46] I was a metal and punk guy, you know, when I was younger.And when grunge broke through and heavy rock hit the radio airwaves and MTV, I was like, we won.We did it. Like, this is incredible. This is really great music.And then that all turned into Nickelback and Linkin Park and stuff like that, which I hated.And so by 99, I felt like we had lost the war.A lot of what I was listening to was more electronic at that point.You know, a lot of the bands I liked had sort of moved in that direction.And this gorgeous, gentle sound felt like an evolution that I could roll with because the rest of the world had become so ugly in so many ways.The rock music scene had become so gross.And so as a result, this album sounding this way, I think, feels alternative to what was happening then.Ah that's nice yeah i would i would say you're bang on the money because uh this was the time where pop music really reared its head you know with the spice girls and n-sync and backstreet boys and then on the flip side of the coin mainstream wise hip-hop was finally you know crushing through so rock really was left behind and the flag bearers for it were pretty trash Yeah.Track 3:[26:03] You know? So for this band to come out and release Terror of Twilight at the time that they did, you're so right.It was maybe the last battle, but it was a battle nevertheless.And also, I mean, again, I mean, for me, I mean, I'm going to be very personal here. You know, when I first heard Slanted and Enchanted, I was 19.And, you know, seven years later, I'm heading to my late 20s and I'm about to be 30. And a lot changed.Changes in that decade, you know, a lot changes.And I had begun a process of growing and changing in a lot of different ways and that the band grew and changed worked for me.I didn't need them to stay what they were, I think is the thing.Track 3:[26:51] Yeah, and it just leads to like, what would a sixth album have looked like?I'm so pleased that, you know, despite two reunions, they haven't ventured down that path.We're just left with these five great records and multiple EPs that stand the test of time, quite frankly. Yeah, no, I agree.I have the controversial opinion that I'm really glad when bands don't do new records or I'm not going to say, I don't know how to say this in a way that I'm not going to get in trouble for, but like, it's not good that John Lennon died, but I'm glad the Beatles didn't get back together for Live Aid and then release some terrible late 80s record. Do you know what I mean?Like, so I obviously it's horrible. Like, it's terrible that John Lennon was shot dead.But I'm glad that today I don't have Kurt Cobain on Twitter because I'm afraid of what he would be saying.And so as a result, sometimes it's good when things just end.Track 3:[27:54] And these days, people don't let things end. And the fact that the band Pavement has let Pavement be a thing that exists in this one decade.Decade uh i mean it still exists because they do reunions but like it is of that decade they're not out here trying to do new songs for soundtracks or shit like that i really respect that and i like that me too i i couldn't agree with you more i think um there's a time and place element to it all like you said uh i discovered them when i was uh just approaching 30 probably just approaching So I got to go back and zip through it, but through my 30s.And it was a similar type thing that you experienced because you know that the difference between 30 and 40 is enormous as well.And so by the time I got to really experience Terror Twilight in a way that it was meant to be experienced after, you know, um, pouring through the other four records, it, it did live up to that for me.Track 3:[29:02] It's so funny. We're such old motherfuckers and the band's a bunch of old motherfuckers.And this is honestly, especially the early records are young people music, but it still really holds up as an old guy.I mean, like Crooked Rain is young people music. They're over there talking shit on other bands and stuff like that.I mean, like, that's what you do when you're a young little snobby hipster.Uh and here we are i'm 50 man and uh i still listen to the exact same tracks i listened to when i was 19 um so either i haven't grown at all in any acceptable or understandable way or perhaps this music is eternal and speaks to us at every stage of life oh i'll take the latter then.Track 3:[29:46] Yeah absolutely well devin it's been absolutely a thrill to have you on and you know to talk Walk through song number 30, Spit on a Stranger.I'm wondering if you have anything you need to plug or you would like to plug.Yeah, so I have a couple of podcasts that I do, and I have a Patreon where I do writing about pop culture stuff.So you can go visit that, patreon.com slash cinema, sanga, S-A-N-G-H-A.And you can go join and get access to the writing and get access to my numerous podcasts that happen over there where i am being told today my sound quality is pretty good i'm very happy to hear this because this is my number one concern in life is how my sound quality is so yeah it's great thanks so much thank you for having me i really appreciate it all right wash your goddamn hands thanks.Track 2:[30:40] For listening to meeting malchus a pavement podcast where we count down the top 50 pavement tracks as selected by you.If you've got questions or concerns please shoot me an email JD at MeetingMalchemist.com.Support this podcast at — https://redcircle.com/meeting-malkmus-a-pavement-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

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"A cosmological epic" Producer and artist Ben Hosley (Black Check, Congratulations, Slow X-Mas) returns to the show, this time to discuss Stan Brakhage's historic series of experimental films, Dog Star Man. We take a cosmic journey through the snowy mountains of our minds to try to get to the heart of the elusive and evocative imagery.See our full episode with Ben Hosley on our YouTube channel: https://youtu.be/kQVKj6IDv1gSee the full Dog Star Man for free on our YouTube channel: https://youtu.be/imzHokGF6Ic Hosts:Michael NataleTwitterInstagramLetterboxd Tom LorenzoTwitterInstagramLetterboxd Producer:Kyle LamparTwitterInstagram Guest:Ben HosleyBlank Check with Griffin and DavidCongratulationsSlow X-Mas Follow the Show:TwitterInstagramWebsite Music by Mike Natale

The brightest star in the night sky is getting ready to leave it for a while. Sirius, the Dog Star, is low in the southwest as night falls. Over the next few weeks, it'll sink deeper into the twilight, then disappear from view. Sirius is almost nine light-years away. And it actually consists of two stars, not one. The one we see is a good bit bigger, brighter, and heavier than the Sun. The other is about the same mass as the Sun, but a whole lot smaller — only as big as Earth. That star is a white dwarf. It's the crushed core of a star that originally was more massive than its companion. Because of those extra pounds, the star aged more quickly. It puffed up to giant proportions. When it could no longer produce energy in its core, it cast off its outer layers, leaving only the dead core. The white dwarf is so small and faint that it's visible only through a telescope. The bright star of Sirius eventually will suffer the same fate. And so will the Sun — but not for several billion years. Sirius will return to view — in the morning sky — in August, with the exact date depending on your location. From ancient Egypt, it disappeared for about 70 days. Sirius was important in both religious and secular life. So 70 days became the length of time set aside to prepare a dead king's body for the afterlife. And the star's reappearance marked the start of a new year — in a calendar regulated by the Dog Star. Script by Damond Benningfield

We continue our look back at how some of today's biggest actors and comedians got their start playing music! Track list: 00:00 - Intro (Dogstar - Denial) 00:57 - Martini Ranch - How Can the Labouring Man Find Time For Self-Culture? 10:47 - Queen Latifah (ft. Monie Love) - Ladies First 21:14 - Marky Mark and the Funky Bunch - Good Vibrations 36:12 - Connor Price, Akintoye, Idris Elba - Aces 49:45 - The Rentals - Waiting 65:10 - Outro (The Blues Brothers - Everybody Needs Somebody) Reach Us:  @ReasonsAre  @ChrisMaierBC  @olinernotes  olinernotes@gmail.com Web Site: https://ourlinernotes.libsyn.com/ Check out our merch store: https://teespring.com/stores/ourlinernotes   

First rising to prominence in the mid-'90s, the Southern California outfit says reuniting to make their first album in 23 years felt totally natural.

This week we're joined by the band Dogstar with members Keanu Reeves, Robert Mailhouse and Bret Domrose. Make sure you check out their new album ‘Somewhere Between the Power Lines and Palm Trees' because we get into a lot of it this episode. The guys share their feelings coming back after decades of not performing together and the catalyst that brought the band back. We also get into the idea of nerves driving performance, horror-story gigs, and the therapeutic power of music. Thank you to our sponsors: ❤️ Betterhelp: https://betterhelp.com/inside

The brightest star in all the night sky is clawing its way into prime-time viewing. Sirius is low in the southeast by 10 p.m., and high in the south after midnight. It's the brightest star of the constellation Canis Major, the Big Dog, so it's also known as the Dog Star. Like all the stars that twinkle in the night, Sirius's brightness is a combination of two factors: its true brightness and its distance. In fact, Sirius really is a bright star — about 25 times brighter than the Sun. That's because it's about twice as massive as the Sun. It “burns” the nuclear fuel in its core in a hurry, so it produces lots of radiation. That energy pushes outward on the surrounding layers of gas, making Sirius bigger than the Sun. It also heats the gas to higher temperatures, so any given area on Sirius radiates more energy into space than the same-size area on the Sun. The combination of the size and surface temperature makes Sirius a real shiner. The other reason Sirius shines so brightly in our sky is its distance — just 8.6 light-years away. That makes it the fifth-closest star system to the Sun. And it's moving even closer, so it'll remain the brightest star in the night sky for tens of thousands of years to come. Keep an eye on Sirius tonight and throughout the winter — a close and shiny neighbor climbing high across the southern sky. We'll talk about an even brighter star in the Big Dog tomorrow. Script by Damond Benningfield Support McDonald Observatory

PLEASE SHARE THIS LINK in your social media so others who loves strange and macabre stories can listen too:https://weirddarkness.com/assassination-loch-ness-monster/IN THIS EPISODE: You probably saw the title of this episode and immediately thought, “Whaaa?” Well, I'm going to tell you one of the most ridiculous stories I've ever heard that is 100% true. The Axis powers of World War II tried to kill the Loch Ness Monster. (The Assassination of the Loch Ness Monster) *** As far back as time is recorded, mankind has had a fascination with Sirius, the Dogstar. But what is so special about it aside from the fact that it's one of the brightest stars in our sky? Might there be an extraterrestrial connection as well? (Why So Serious About Sirius?) *** UFO reports come in constantly to police stations and online sites dedicated to the subject of Ufology – practically on a daily basis. And many sightings are by people you would consider above reproach such as law enforcement, scientists, military, numerous sightings by pilots… but when you head out into space and see a UFO, as is what happens with astronauts' reports, that's something you take a much closer look at. (Code Word: Santa Claus) *** Jimmy Logue left his wife after only two years of marriage. Without first getting divorced, he married another woman – whom he badly mistreated, so she left him. But he had already started an affair with her sister, so he married her next – now on his third wife. He abused her as well. He was also a career criminal – spending half his life living off the spoils of his thievery, the other half behind bars when caught. So it probably comes as no surprise that he was suspect number one when his third wife was found murdered. (A Romance In Crime) *** (Originally aired December 05, 2020)SOURCES AND REFERENCES FROM THE EPISODE…BOOK: “The Sirius Mystery: New Scientific Evidence of Alien Contact 5,000 Years Ago” by Robert Temple: https://amzn.to/2JDnD27BOOK: “The Secret Teachings of All Ages” by Manly P. Hall: https://amzn.to/3mNlkbo“Why So Serious About Sirius?” by Gregg Prescott, M.S. for Message To Eagle: https://tinyurl.com/y2v4gqsd“The Assassination of the Loch Ness Monster” by Blake Stilwell for Military.com: https://tinyurl.com/y2kpzrn5“A Romance in Crime” by Robert Wilhelm for Murder by Gaslight: https://tinyurl.com/y584we6w“Code Word: Santa Claus” by Tim Swartz, for Mysteries Magazine (no longer online or in print)Visit our Sponsors & Friends: https://weirddarkness.com/sponsorsJoin the Weird Darkness Syndicate: https://weirddarkness.com/syndicateAdvertise in the Weird Darkness podcast or syndicated radio show: https://weirddarkness.com/advertise= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =Weird Darkness theme by Alibi Music Library. Background music provided by Alibi Music Library, EpidemicSound and/or StoryBlocks with paid license. Music from Shadows Symphony (https://tinyurl.com/yyrv987t), Midnight Syndicate (http://amzn.to/2BYCoXZ) Kevin MacLeod (https://tinyurl.com/y2v7fgbu), Tony Longworth (https://tinyurl.com/y2nhnbt7), and Nicolas Gasparini (https://tinyurl.com/lnqpfs8) is used with permission of the artists.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =OTHER PODCASTS I HOST…Paranormality Magazine: https://weirddarkness.tiny.us/paranormalitymagMicro Terrors: Scary Stories for Kids: https://weirddarkness.tiny.us/microterrorsRetro Radio – Old Time Radio In The Dark: https://weirddarkness.tiny.us/retroradioChurch of the Undead: https://weirddarkness.tiny.us/churchoftheundead= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =WeirdDarkness® is a registered trademark. Copyright ©2023, Weird Darkness.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =PARTIAL TRANSCRIPT: https://weirddarkness.com/assassination-loch-ness-monster/This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3655291/advertisement

Bret Domrose, Rob Mailhouse, and Keanu Reeves of Dogstar join us for a very special episode: our first-ever three-person party. The group discusses its new record, 'Somewhere Between the Power Lines and Palm Trees'; the thrill of hearing Discharge for the first time; and being starstruck by the guy who sang your first slow-dance song. They also somehow find time in between questions to hold an impromptu band meeting and sneak a little bass practice in. All this and more this week on '24 Question Party People.' Host: Yasi Salek Guests: Bret Domrose, Rob Mailhouse, and Keanu Reeves Producer: Jesse Miller-Gordon Associate Producer: Chris Sutton Additional Production Supervision: Justin Sayles Theme Song: Hether Fortune Learn more about your ad choices. Visit podcastchoices.com/adchoices

Charlie sees a Beatle (in concert). What if Paul branched out and wrote a diss track? If Wil can't become Keanu Reeves, maybe he can befriend him? He shares the story of a time he saw him in a hotel. (side note, is TOFOP Wil's Dog Star? Charlie's insulted but acknowledges it could be true). A large chunk of the episode is then devoted to brainstorming how Wil could go back in time and create a series of coincidences (that aren't creepy) to allow him to become friends with Keanu. See TOFOP live at the Sydney Comedy Store: https://linktr.ee/TOFOP  Fill out this survey and help us keep the podcast free, plus you'll go in the draw to win a $100 gift voucher: https://form.typeform.com/to/Gy82VLlz See omnystudio.com/listener for privacy information.

Bible Reading: Psalms 73:23-28; 147:4-5; John 1:9-14"Wow, look at all the stars!" Bretton gaped at the tiny specks of light splattered across the night sky as he and his dad walked onto the beach. "I don't think I've ever seen so many at once!""It's amazing, isn't it?" Dad spread a blanket on the sand so they could sit down. "This has always been my favorite part of camping--getting away from all the city lights so we can see the stars.""Yeah," said Bretton. He pointed to a twinkling point of light. "Look at that one! It's brighter than the rest.""That's Sirius, or the Dog Star. It's one of the closest stars to Earth, and it's twice as big as our sun." "Really? It's bigger than the sun?" asked Bretton."Sure is. And it's small compared to some other stars out there." Dad pointed to a spot slightly below Sirius. "In that area of the sky is one of the biggest stars we know of--VY Canis Majoris. It's two thousand times bigger than the sun!" Dad took a quarter out of his pocket. "If this quarter was the sun, VY Canis Majoris would fill half a football field!""No way!" Bretton looked at the dim spot in the sky. "But I can't even see it from here!""It's too far away to see with the naked eye," said Dad. "You need binoculars or a telescope.""It's so much bigger than Sirius, but Sirius is easier to see," observed Bretton. "And the sun is the smallest of them, but on earth it shines the brightest!""That's because of the stars' distance from earth, not their size. If you saw all three side by side, you'd know which one was biggest!"Dad leaned back on the blanket. "You know, the same can be true of how we view God, the One who made the stars. Sometimes on earth God can seem small and distant compared to other things that seem important, like being successful or having cool stuff. But God sent His Son, Jesus, to bring us near to Him, and when we have a relationship with Jesus and see His goodness in our lives, His light becomes brighter and everything else grows dim. Just like being close to a star is the only way to see its true size, we need Jesus to show us how big and wonderful He really is."-Courtney LasaterHow About You?Has God ever seemed small and distant to you? Maybe you don't think He's as important as other things in your life because you can't see or touch Him. But God is bigger and more powerful than you could ever imagine. He created the entire universe, and He wants to have a relationship with you! Trust in Jesus today. (To learn more, click the "Good News!" button in the right column of this page.) Then watch His light grow brighter in your life!Today's Key Verse:The Word [Jesus] became flesh and made his dwelling among us. We have seen his glory. (NIV) (John 1:14)Today's Key Thought:You can have a relationship with God

Holmberg's Morning Sickness - Tuesday October 3, 2023 Learn more about your ad choices. Visit megaphone.fm/adchoices

Help us pick the next book! We'll be running a poll on the 372 Patreon: http://patreon.com/372pages The Bark Squad wraps up Dodie Smith's fever nightmare of a sequel in this final episode covering The Starlight Barking. Sirius the Dogstar visits, promising a lifetime of bliss in outer space. Unfortunately, some whiny mangey strays are all … Continue reading "Ep 150 – The Starlight Barking Ep 3 – Roly Poly Does Paris"

Dogstar has a new song and a new album coming out, The Cure just had their highest grossing tour, Creed is getting back together, some fast facts, and everyone has become an early bird!