Podcast appearances and mentions of jeff blehar

This episode is presented by Create A Video – There is a simple theory, posited by Jeff Blehar at National Review, that explains why the legacy media missed the story and all the signs of Joe Biden's cognitive decline while President. They didn't miss it. Subscribe to the podcast at: https://ThePetePod.com/ All the links to Pete's Prep are free: https://patreon.com/petekalinershow Media Bias Check: If you choose to subscribe, get 15% off here! Advertising and Booking inquiries: Pete@ThePeteKalinerShow.comGet exclusive content here!: https://thepetekalinershow.com/See omnystudio.com/listener for privacy information.

This is a free preview of a paid episode. To hear more, visit www.wethefifth.comI was very moved by friend & past guest Jeff Blehar's Covid anniversary piece, so … I just read it out loud. And added related commentary for paying subscribers. Some links alluded to therein, in rough order of reference:* Reason Roundtable Covid look-back* Related Twitter thread* “The Great COVID Rupture: Three years after ‘15 days to slow the spread,'…

R.E.M. spent the decade after Murmur growing steadily more successful, their popularity cresting with the 1991 #1 album Out of Time and its inescapable hit single “Losing My Religion.” But instead of going on an exhausting world tour like most bands would, R.E.M. went right back into the studio and recorded Automatic for the People, an album that defies rock star excess at nearly every turn. You probably know “Everybody Hurts” and “Man on the Moon,” which are still radio standards to this day, and with good reason. But even those songs were much more downcast and introspective than one would expect from a band at the height of their popularity. Automatic for the People is the sound of R.E.M. entering their thirties and taking stock of their place in both music and the world, and though it may take some time to sink in, John, Phil, Rich, and special guest Jeff Blehar all consider it one of their best albums. So join us for part 2 of a band that cannot be contained by one episode, and calluswhenyoutrytowakeherup.Cohosts: John McFerrin, Phil Maddox, Rich Bunnell, Jeff BleharComplete show notes: https://discordpod.com/listen/140-rem-automatic-for-the-people-1992Discord & Rhyme's merch store: http://tee.pub/lic/discordpodSupport the podcast! https://www.patreon.com/discordpod

Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) with guest Mike Long. Mike is a (very) occasional writer for National Review and was one of the originals back in the early 2000s as NRO was launched. He's the author of the non-fiction bestseller The Molecule of More and its sequel coming in fall of 2024.Mike's Music Pick: Joe JacksonAfter running through Elvis Costello and Nick Lowe/Rockpile, it was only a matter of time before we got to covering Joe Jackson. As an artist, Jackson frequently is grouped into the "angry young man"/Pub Rock category with the aforementioned artists. However, as we discuss on the show, there's an incredible depth to his songwriting and arrangements that quickly busted him out of whatever box critics might put him in.Jackson came out of the gate hot, with two releases in the magical year of 1979, Look Sharp! and I'm the Man. They could be parts one and two of the same album. These are the ones that lump him into the Costello/Parker/Lowe movement but it's a sound he rarely returns to again. Every single song is a winner. From here would come some of his best known songs – “I'm the Man,” “It's Different For Girls, and “Is She Really Going Out With Him?” By 1981, he took a massive detour from the rock/pop world with Jumpin' Jive, a collection of covers of 1940s swing and big band songs originally performed by Louis Jordan and Cab Calloway. Night and Day was released the same year as Elvis Costello's Imperial Bedroom and it, too, is a bid to be taken very seriously as a songwriter. Like Elvis's effort, it's a complete success artistically and even moreso commercially. "Steppin' Out" earned Grammy Award nominations and reached number six on the charts. "Breaking Us in Two" reached number 18. It's a cosmopolitan, big-city record. The rest of the 1980s would find Jackson stretching his wings and dabbling in jazz, Latin rhythms, classical – if you name a genre, he probably has a song in it (OK, perhaps not metal). Albums like Body and Soul, Big World, Blaze of Glory, and Laughter and Lust didn't sell nearly as well as previous efforts but kept fans happy. After 1991, however, he wouldn'trelease another non-classical studio album until 2000's Night and Day II. Why? Take it from the artist himself: "After the Laughter & Lust world tour … I had real bad writer's block. I couldn't even listen to music. I just lost it, totally. It was awful."But it wouldn't stay that way! Beginning in 2003 with Vol. 4, Jackson would release a string of records that showed he still know how to write a song. By the way, all of us have musical blind spots, and Joe Jackson was one for Jeff. Come along for the ride as he discovers the many layers of this talented performer and writer.

We have a special guest, Jeff Blehar, filling in for Vic this episode. We're discussing all the drama with Don Lemmon, Trump's arraignment and Chicago's mayoral election. Questions? Comments? Email us at Hammered@Nebulouspodcasts.com Time Stamps: 4:50 Don Lemmon 15:20 Chicago Election 29:13 Trump Talk

On episode six of The Charles C. W. Cooke Podcast, Charles soldiers on with a much-depleted voice to bring you the first Husky Edition of the show. This week's guests are Mary Katharine Ham, who was punished by CNN for criticizing Jeffrey Toobin after he was suspended for . . . well, for "Toobining," and Jeff Blehar, who shows up again in the Color Supplement to discuss the remix of The Beatles' Revolver album. Charles also discusses the press's preposterous attempt to use the attack on Paul Pelosi to get the Republican Party to shut up.The dial-up tone in the introduction was recorded by lintphishx and is used under a CC 3.0 License.

The First Avenue club in Minneapolis helped break Prince, one of the most controversial artists of the 1980s despite backlash that decade from social conservatives who worried that his music was dangerous for the youth. Today that same club has caved to pressure from moral scolds on the left who claim Dave Chappelle's comedy endangers the trans community. In this episode Eli and guest, Jeff Blehar examine First Avenue's decision to cave to the censors. Time Stamps: 00:02 Introduction 00:17 Monologue 13:00 Interview with Jeff Blehar

One of the most famous shipwrecks has finally been discovered at the bottom of a sea in Antarctica. Plus, why the letter “Z” has become a Russian pro-war symbol. And, post-punk Alvin and the Chipmunks.Sponsors:Indeed, Get a free $75 credit at Indeed.com/goodnewsNovo, Sign up for a free business checking account and get access to over $5,000 in perks and discounts at novo.co/kottkeLinks:At the Bottom of an Icy Sea, One of History's Great Wrecks Is Found (NY Times)Endurance: 'Finest wooden shipwreck I've ever seen' (BBC)Endurance: Shackleton's lost ship is found in Antarctic (BBC)Shackleton's lost shipwreck discovered off Antarctica (Phys.Org)Ernest Shackleton's Ship Found After 106 Years (Kottke.Org) Ukraine war: Why has 'Z' become a Russian pro-war symbol? (BBC)Why has the letter Z become the symbol of war for Russia? (The Guardian)Alvin & the Chipmunks tweet (Jeff Blehar, Twitter)Chipmunks On 16 Speed - Sludgefest (Full Album) (LunarOrbit, YouTube) Kottke.OrgJackson Bird on TwitterSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

What kind of band was Genesis - strange, artsy prog-rock masters, or catchy, commercial pop stars? In this very special episode of Discord and Rhyme, we brought in returning guest Jeff Blehar to help make the case that they did both equally well - and not only that, but the presence or absence of Peter Gabriel was not the main influence on their sound. They never truly lost their prog sensibilities, but they did get better at balancing them with more commercial and accessible sounds. After you get through all three hours of our third double feature, you will be the person at the party who says, “WELL, ACTUALLY” when someone tries to tell you that post-Gabriel Genesis is bad. Cohosts: Mike DeFabio, Phil Maddox, John McFerrin, Amanda Rodgers, Jeff BleharComplete show notes: https://discordpod.com/listen/075-genesis-a-trick-of-the-tail-1976-and-invisible-touch-1986Support the podcast! https://www.patreon.com/discordpod

This week on Discord & Rhyme, we strap in for another ride through ’90s indie rock as we discuss Pavement’s beautifully messy third album, Wowee Zowee. Released right as the band was positioned for a possible mainstream breakout, this sprawling, stylistic tour de force was apparently the last thing MTV’s Buzz Bin was looking for in 1995. Over the years, however, fans and critics have come around to the album’s wild, unpredictable twists and turns through gorgeous soundscapes, tossed-off blasts of punk fuzz, country-rock ballads, big power-pop hooks, and stoned weirdness. Special guest (and fellow music podcaster himself) Jeff Blehar joins Dan, Phil, and Rich for a deep dive into Pavement’s eclectic masterpiece. (NOTE: We said some swears in this one, but nothing too terrible.) Co-hosts: Dan Watkins, Phil Maddox, Rich Bunnell, Jeff Blehar Complete show notes: https://discordpod.com/listen/033-feat-jeff-blehar-pavement-wowee-zowee-1995 Support the podcast! https://www.patreon.com/discordpod

Scot Bertram and Jeff Blehar discuss the second part of The Beach Boys' career with Matt Welch. Introducing The Band: Your hosts Scot Bertram (@scotbertram) and Jeff Blehar (@EsotericCD) with guest Matt Welch, former editor-in-chief and current editor-at-large of Reason, and co-host and self-described “provost” of “The Fifth Column” podcast. Follow Matt on Twitter at @MattWelch and check out The Fifth Column podcast (whose members Political Beats likes so much that we've had literally every single one of them on as a guest) here. Matt's Music Pick: The Beach Boys The Summer Spectacular continues as Political Beats wraps up its coverage of The Beach Boys' career with Part Two: The Beach Boys Get Weird.  Beginning with the legendary 1966 #1 hit single “Good Vibrations” and the equally legendary lost album Smile (now at least somewhat ‘found' since the 2004 release of Brian Wilson's solo take on the project and archival Smile Sessions boxed set), the Beach Boys rapidly shift from “fun in the summer sun” to a bizarre, uniquely Southern California morass of bad drug trips, transcendental meditation albums, Manson family hijinks, and the occasional guest appearance by John Stamos. This was the period of their great commercial collapse, and Brian Wilson's concurrent mental collapse, but here's the paradox: both Jeff and Matt believe THIS phase of the band's career to contain much of their most fascinating and rewarding music. From Smiley Smile and Wild Honey all the way through to Holland and the weirdness of the man-child directness of The Beach Boys Love You, the boys' later career reveals equally as much amazing music as their earlier, more famous material. And yes, everyone hates “Kokomo.”

Scot Bertram and Jeff Blehar discuss the second part of The Beach Boys’ career with Matt Welch.

Scot Bertram and Jeff Blehar discuss the first part of The Beach Boys' career with Matt Welch.

Scot and Jeff discuss their favorite soundtracks.

Scot Bertram and Jeff Blehar discuss Marvin Gaye with Kmele Foster.

Scot Bertram and Jeff Blehar discuss LCD Soundsystem with Tim Miller.

There used to be an old saying about how you should never talk about politics or religion in friendly conversation, because those are the topics guaranteed to make any interaction decidedly un-friendly. However, in the past few years, it's been seemingly impossible to avoid the most pressing social issues of the day, even in traditional sanctuaries like sports and pop culture. For this episode, I wanted to explore whether it's still possible for people who disagree ideologically to come tougher as music fans and geek out over a shared love of particular songs and albums. I also wanted to delve into a question I've long found fascinating: Given that pop music generally is dominated by liberal-minded artists, how do conservatives put that aside and enjoy the music?  I figured a good person to discuss this was Jeff Blehar, host of the Political Beats podcast, which features journalists and pundits from the left and right expounding on their favorite artists, including MSNBC's Chris Hayes and National Journal's Charles C.W. Cooke. A "Never Trump" conservative, Blehar regularly listens to bands who don't adhere to his personal viewpoints, including Radiohead and the Clash. Given the struggles that liberals have had in 2018 reconciling Kanye West's apparent support of Donald Trump, is it really possible to "separate the art from the artist" in terms of politics? It's a hard question, and Blehar and I had a great conversation trying to figure it out.