Podcasts about eat that question

#204 Ainda completamente embevecidos com nosso retumbante triunfo de manter os mesmos 13 ouvintes depois de sete longos e sentidos anos, o Boia retorna com João Valente, Júlio Adler e sem Bruno Bocayuva (ninguem é de ferro!) mas com Bruno Pesca, observador atento dos detalhes que ninguem presta atenção - morou ou boiou ? A bodega abriu com trilha do King Gizzard & the Lizard Wizard, Rolling Stoned, especulamos acintosamente sobre rumos da WSL segundo o evangelho dos petrodólares, metemos (Opa!) um bom e velho Bob Dylan, I Contain Multitudes, seguimos sem medo pelo desassossego das competições e seus revertérios, nos desviamos algumas vezes do que realmente interessava e tudo terminou numa terça feira, com Eat That Question, do Zappa. Lembrem-se de usar o Cupom BOIAPODCAST da promoção de 20% de desconto em compras no site da South to South e seja feliz. Boia Podcast desde 2017 embalando seu sono. --- Send in a voice message: https://podcasters.spotify.com/pod/show/boia/message

On this episode of Eat That Question, Max hops on the horn with comedian and actor James Austin Johnson (Future Man, Hail Caesar, viral Trump impression) to talk about coming up in a conservative Christain environment, early bits, and more! Check out James on Instagram and Twitter @ShrimpJAJ, and check out Max @Maxbeasleyy.

This is the first post of VINYL VIBRATIONS by Brian Frederick. In today's podcast we look at Part ONE of a two-part program on JAZZ FUSION. Today, we focus on the decade of development of JAZZ FUSION during the late 1960s and into the 1970s -- during the "Golden Age of Vinyl" when many of the early works we will hear are found in Vinyl LP format. Jazz Fusion maybe not as much a musical style, but more of a MUSICAL APPROACH. PROGRAM SUMMARY M1 Gary Burton Quartet, their first album DUSTER in 1967 on RCA Records, vibraphonist Gary Burton, the song "LITANY". Gary Burton - the jazz vibraphonist from Anderson Indiana.  Burton plays with Larry Coryell [guitar], Roy Haynes [drums], Steve Swallow [bass].  Burton developed a pianistic style of four-mallet technique as an alternative to the usual two-mallets. He is also known for pioneering fusion jazz.   In 1967 BURTON formed the Gary Burton Quartet.   Predating the jazz-rock fusion craze of the 1970s, the group's first record, Duster, combined jazz, country and rock and roll elements. M2 John McLaughlin and the Mahavishnu Orchestra and the album APOCALYPSE, 1974 on CBS. With the London Symphony Orchestra, with Michael Tilson Thomas conductor. The song titled WINGS OF KARMA track one side 2. This album is produced by George Martin. Recorded in London 1974. McLaughlin is flexing his creative muscles, demonstrating, convincingly, that he can compose and arrange in a symphonic format, and work in his electric instruments, the electric piano, guitar and bass, and the rock drum set with . Jean Luc-Ponty is featured on electric violin. John McLaughlin on electric guitar, Gayle Morgan on keyboards, plus 9 other members of the LSO. Very powerful, a very new musical dimension, this sound, in 1974. M3 The MOTHERS, and the album ..The Grand Wazoo, and the song "EAT THAT QUESTION", on Reprise Records, Warner Bros Records, 1972. Produced by Frank Zappa. On woodwinds Mike Altshul and Joel Peskin, Sal Marquez on all brass, George Duke on Keyboards, Frank Zappa percussion, and Guitar Frank Zappa, Drums Aynsley Dunbar and Bass-the credit shows as "erroneous"! All selections composed and arranged (and produced) by Frank Zappa. M4 Jean-Luc Ponty on electric violin and the album King Kong, the song "IDIOT BASTARD SON" by Frank Zappa, The album cover indicates "music for electric violin and low budget orchestra - composed and arranged by Frank Zappa. The electric violin has a natural footing, a solid role as a solo instrument in this new JAZZ FUSION genre. M5 Jerry Goodman and Jan Hammer  the song "Stepping Tones, composed by Rick Laird on the "Like Children" album, Nemporer Records 1974. This is an interesting album from the standpoint that all of the performance talent on this record is supplied by only two persons --- Jerry Goodman on on violins, electric guitar, electric mandolin, acoustic guitar, viola and --- Jan Hammer on piano, drums, moog bass, moog lead, percussion. M6 The MOTHERS "Peaches en Regalia" live track from  The MOTHERS and the "Fillmore East, June 1971" album, distributed on Reprise (Warner Bros) Records. Zappa is on electric guitar, Ian Underwood on keyboards, Aynsley Dunbar on drums, Jim Pons on bass, Don Preston on the mini-moog, and Bob Harris on 2nd keyboard. "Peaches en Regalia" was written by Frank Zappa and published by Frank Zappa Music.  

The guys look at Disney's Moana, boxing drama Bleed For This, true-story hero tale Sully, teen dramedy The Edge Of Seventeen, Chicago musical Chi-Raq, and Frank Zappa documentary Eat That Question. See acast.com/privacy for privacy and opt-out information.

Rated R Opens: August 12, 2016 Kevin says Eat That Question: Frank Zappa In His Own Words kinda rocks! Download this Review Follow Kevin on…    

Host Matthew Soceys reviews the Frank Zappa documentary EAT THAT QUESTION and SUICIDE SQUAD. Then he plays his appearance earlier that week on NO LIMITS, where he chats with host John Krull and fellow critics Ed Johnson-Ott (NUVO) and Christopher Lloyd (The Film Yap) about the half-year in film.

Host Matthew Soceys reviews the Frank Zappa documentary EAT THAT QUESTION and SUICIDE SQUAD. Then he plays his appearance earlier that week on NO LIMITS, where he chats with host John Krull and fellow critics Ed Johnson-Ott (NUVO) and Christopher Lloyd (The Film Yap) about the half-year in film.

Thorsten Schutte, director of Eat That Question: Frank Zappa in His Own Words, joins V. Vale and Marian Wallace in the RE/Search office. Eat That Question: Frank Zappa in His Own Words directed by Thorsten Schutte (2016) Review by Marian Wallace There is never a dull moment watching Frank Zappa, from age approximately 14 to just before his all-too-early death at 52. “Eat That Question” shows that Frank Zappa was not only a self-taught musical prodigy—while also fun, topical, and “real”—but he was a straight and obsessive genius with Integrity. It is a wonderful thing to see him interact with the senate hearings committee on censorship (which was spearheaded by Tipper Gore) inviting the straight-laced, woman-senator-questioner (forgot her name) to “come by the house” if she wanted to see what kinds of toys his children played with. Besides her being foiled by Zappa’s unorthodox answers and trying in vain to remain “in character” as the “pro-censorship” hearings unfolded, she was obviously charmed by Zappa, and stated that she “might just do that” [i.e., go check out his children’s toys]. Early in the film, Zappa explains to one interviewer, in a non-hyperbolic way, why he is against the status-quo music business. It is then illustrated by many and miscellanous Zappa footage/interviews/performances how: over the years he goes on to make his own success, remaining true to his vision. Later he needs to explain to an interviewer that he just wanted to spend some of the money he had earned, to hire a British orchestra and a California conductor to actually play some of the music he had written in notation over the years, but had never heard. He did not do this expecting to make money, but rather to spend money. Although he would make the results available to purchase in case anyone wanted it. This is a fantastic collection of Zappa interviews and performances from over the years: tapings from USA and all over Europe, painstakingly collected by Schutte in his travels to various TV stations world-wide. The earliest appearance was a teenaged Zappa on the Steve Allen Show, orchestrating a noise piece utilizing the Steve Allen Show Band, electronic-taped random input, and Frank and Steve playing bicycle wheels. (The band was directed to play whatever and whenever they wanted, but to avoid actual musical tones.) This is a MUST SEE for all music fans; anti-censorship believers; jazz, rock, free-form & noise musicians; and anyone who wants to spend an enjoyable and enlightening 90 minutes being totally entertained. It had the full support of the whole Zappa clan, who are lovingly and colorfully mentioned but do not appear in the film.—by M. Wallace

Eat That Question offers plenty of archival footage of various interview sessions Frank Zappa did for television, combining this with clips from some of his own personal movies, as well as a number of his stage performances in front of crowds both welcoming and skeptical. Some of the delights include a clean-cut younger Frank Zappa improvising music to an audience who clearly don't get it on "The Steve Allen Show" in 1963, where the witty host praised Zappa for his far-sighted courage to push the boundaries of his artistic expression, while also quipping to not ever perform that music around him again. We also get some insightful footage of Zappa's testimony to congress in the 1980s, taking on Tipper Gore's proposal to put warning labels on music of objectionable content to protect younger ears, while he fought back on trying to clamp down on artistic freedoms, feeling that there is no such thing as a bad word.

Somehow a conversation about moving on this week’s show turns into a digression about sippy cups where Evan shares why he needs them. The episode opens with a first ever joint segment of “Riedel’s Recaps” and “Keepin’ up with the Jensons,” where Kris and Dave talk about MCCABE & MRS. MILLER (at 4:26), one of Dave’s all-time favorite movies. They fill in some blanks left by Charlie’s exploration from the previous episode and use the segment as an opportunity to discuss Robert Altman in general. Then Kris reviews THE BFG (at 18:30), a movie that is neither Disney nor Steven Spielberg’s best work, but it does contain very very very good motion capture. After that Dave covers EAT THAT QUESTION: FRANK ZAPPA IN HIS OWN WORDS (at 36:22), a talking head documentary that only contains one talking head—Frank Zappa himself. He ends up talking about the Zappa family’s recent drama for a bit before Evan wraps up with OUR KIND OF TRAITOR, a bromantic and tedious spy flick featuring Stellan Skarsgard with a BFM (Big Fuckin Mullet) and a silly Russian accent.