Podcast appearances and mentions of Mark Oliver Everett

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.

Dos cañonazos de Bleeker abren esta sesión de Turbo 3 en la que te presentamos a un nuevo dúo, Boo Boos, tándem formado por Mark Oliver Everett de Eels y Kate Mattison de 79.5; escuchamos las últimas novedades de Wer Leg (nuevo avance de su próximo disco), Alexandra Savior y GLU, y la colaboración entre Vangoura y Repion en el single '40 de mayo'.Playlist:BLEEKER - Self-MadeBLEEKER - Fuck You I'm LeavingWET LEG - Davina McCallVANGOURA - 40 de mayo (feat. Repion)REPION - Viernes (con Rufus T. Firefly)WEDNESDAY - Wound Up Here (By Holdin On)BIG THIEF - IncomprehensibleALEXANDRA SAVIOR - The MothershipBOO BOOS - C'mon BabySHE & HIM - Why Do You Let Me Stay Here?ALEX KAPRANOS & CLARA LUCIANI - Summer WineISOBEL CAMPBELL & MARK LANEGAN - Come on Over (Turn Me On)IMELDA MAY - What We Did In The Dark (feat. Miles Kane)MILES KANE - Love Is CruelMILES KANE - LoadedMILES KANE - Nothing's Ever Gonna Be Good Enough (feat. Corinne Bailey Rae)MILES KANE - Better Than ThatMILES KANE - InhalerMILES KANE - BaggioçTHE LAST SHADOW PUPPETS - Standing Next To MeARCTIC MONKEYS - One For The RoadMINI MANSIONS - Vertigo (feat. Alex Turner)GLU - Gone Fishin' (feat. Phantogram)PHANTOGRAM - You Don't Get Me High AnymoreTWENTY ONE PILOTS - The ContractLINKIN PARK - Heavy Is the CrownTURNSTILE - Seein' StarsTURNSTILE - DullEscuchar audio

We all understand the many-worlds interpretation of quantum mechanics, so long as nobody has any follow-up questions. But did you know that the son of the guy who came up with it has several songs on the Shrek franchise soundtracks? This is Mark Oliver Everett, frontman of the band Eels, and this week's film, Parallel Worlds Parallel Lives, sees him untangle his strange quantum inheritance.Join Graham and Jeff, long-term Eels fans both, as they discuss this movie's surprisingly accessible treatment of quantum mechanics, its links to Christopher Nolan's Oppenheimer, and struggle to get to grips with the double-slit experiment. We also talk about the heartwrenchingly autobiographical qualities of Eels's music, share stories from their gigs and talk about the often subversive places where their music appears in popular culture. It's not just Shrek!God damn right, we've got a beautiful Patreon, and if you support us you can get a bonus episode of this show every month - this week Graham and Robyn are re-teaming for a second round with The Weeknd... There's also an end-of-month miscellany podcast Last Night..., as well as reviews of The Twilight Zone, The X-Files and many more features that aren't available anywhere else. Follow us on Facebook and Instagram to find out more.

We're officially back on Thursdays and we officially had a blockbuster episode to celebrate! E from Eels shared anecdotes and laughs, Mikaela Davis and Southern Star did a stripped down and gorgeous version of "Promise" with special guest Tim Heidecker on rhythm piano, and the hotheads had lots of bones to pick. Watch or listen to another hour of the show with more E and Mikaela, Doug's "Ace the Bass" game, a dip back into the awful world of Bill Maher and get tons of other stuff when you subscribe to OFFICE HOURS+. Get a FREE seven-day trial at patreon.com/officehourslive. Pre-Order Tim's new album SLIPPING AWAY now at timheidecker.merchtable.com. Find everything Office Hours including the merch store at officialofficehours.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Eels Time.On this episode we are joined by Mark Oliver Everett. Mark Oliver Everett is an American singer, songwriter, multi-instrumentalist and the frontman of the rock band Eels.Mark and Me is now on YouTube - Please subscribe here https://www.youtube.com/@markandmePlease support the Mark and Me Podcast via Patreon here: https://www.patreon.com/Markandme or you can buy me a coffee here: https://ko-fi.com/markandme.Mark is Me is hydrated by Liquid Death.The Mark and Me podcast is proudly sponsored by Richer Sounds.Visit richersounds.com now to shop for all your hi-fi, home cinema and TV solutions. Also, don't forget to join their VIP club for FREE with just your email address to receive a great range of fantastic privileges.

durée : 00:05:42 - Dans la playlist de France Inter - Matthieu Conquet nous parle du songwriter américain Mark Oliver Everett qui annonce un nouvel album prochain : Eels Time! avec deux morceaux, "Time" et "Goldy".

Ziehn, Saschawww.deutschlandfunk.de, Corso

Wer hat eigentlich beschlossen, dass Weihnachtsmusik immer besinnlich und friedlich sein muss? Die Indie-Meister der unweihnachtlichen Weihnachtsssongs sind definitv Mark Oliver Everett und seine Eels. Die Songs klingen zwar besinnlich, aber da hört es auch auf. Hier entlang geht's zu den Links unserer Werbepartner. Wenn ihr mithelfen wollt und könnt, unser Podcast-Radio dauerhaft zu erhalten und auszubauen, dann freuen wir uns auch über eure finanzielle Unterstützung. Ihr könnt uns jetzt auch schon ab 3,33 Euro pro Monat mit einem „Kaffee fürs Team“ bei Steady unterstützen. Alle Infos unter: detektor.fm/danke >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-eels-christmas-why-you-gotta-do-me-like-this

Wer hat eigentlich beschlossen, dass Weihnachtsmusik immer besinnlich und friedlich sein muss? Die Indie-Meister der unweihnachtlichen Weihnachtsssongs sind definitv Mark Oliver Everett und seine Eels. Die Songs klingen zwar besinnlich, aber da hört es auch auf. Hier entlang geht's zu den Links unserer Werbepartner. Wenn ihr mithelfen wollt und könnt, unser Podcast-Radio dauerhaft zu erhalten und auszubauen, dann freuen wir uns auch über eure finanzielle Unterstützung. Ihr könnt uns jetzt auch schon ab 3,33 Euro pro Monat mit einem „Kaffee fürs Team“ bei Steady unterstützen. Alle Infos unter: detektor.fm/danke >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-eels-christmas-why-you-gotta-do-me-like-this

Wer hat eigentlich beschlossen, dass Weihnachtsmusik immer besinnlich und friedlich sein muss? Die Indie-Meister der unweihnachtlichen Weihnachtsssongs sind definitv Mark Oliver Everett und seine Eels. Die Songs klingen zwar besinnlich, aber da hört es auch auf. Hier entlang geht's zu den Links unserer Werbepartner. Wenn ihr mithelfen wollt und könnt, unser Podcast-Radio dauerhaft zu erhalten und auszubauen, dann freuen wir uns auch über eure finanzielle Unterstützung. Ihr könnt uns jetzt auch schon ab 3,33 Euro pro Monat mit einem „Kaffee fürs Team“ bei Steady unterstützen. Alle Infos unter: detektor.fm/danke >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-eels-christmas-why-you-gotta-do-me-like-this

Wer hat eigentlich beschlossen, dass Weihnachtsmusik immer besinnlich und friedlich sein muss? Die Indie-Meister der unweihnachtlichen Weihnachtsssongs sind definitv Mark Oliver Everett und seine Eels. Die Songs klingen zwar besinnlich, aber da hört es auch auf. Hier entlang geht's zu den Links unserer Werbepartner. Wenn ihr mithelfen wollt und könnt, unser Podcast-Radio dauerhaft zu erhalten und auszubauen, dann freuen wir uns auch über eure finanzielle Unterstützung. Ihr könnt uns jetzt auch schon ab 3,33 Euro pro Monat mit einem „Kaffee fürs Team“ bei Steady unterstützen. Alle Infos unter: detektor.fm/danke >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-eels-christmas-why-you-gotta-do-me-like-this

Wer hat eigentlich beschlossen, dass Weihnachtsmusik immer besinnlich und friedlich sein muss? Die Indie-Meister der unweihnachtlichen Weihnachtsssongs sind definitv Mark Oliver Everett und seine Eels. Die Songs klingen zwar besinnlich, aber da hört es auch auf. Hier entlang geht's zu den Links unserer Werbepartner. Wenn ihr mithelfen wollt und könnt, unser Podcast-Radio dauerhaft zu erhalten und auszubauen, dann freuen wir uns auch über eure finanzielle Unterstützung. Ihr könnt uns jetzt auch schon ab 3,33 Euro pro Monat mit einem „Kaffee fürs Team“ bei Steady unterstützen. Alle Infos unter: detektor.fm/danke >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-eels-christmas-why-you-gotta-do-me-like-this

(NOTAS COMPLETAS Y ENLACES DEL CAPÍTULO AQUÍ: https://www.jaimerodriguezdesantiago.com/kaizen/184-la-utilidad-de-lo-inutil/)¿Es o no maravilloso este fragmento de una entrevista al escritor Álvaro Cunqueiro? El saber está comenzando a ser considerado en todas partes, no como un bien en sí mismo, sino como un medio. No nos gusta pensar que alguien esté disfrutando de la vida, sin más, por mucho que sea ese disfrute. Sentimos que todo el  mundo debería estar haciendo algo útil. Y no hay duda de que el conocimiento «útil« es muy útil. Ese conocimiento ha hecho el mundo moderno. Sin él no tendríamos máquinas, ni automóviles, ni trenes, ni aviones. Aunque tampoco publicidad, ni propaganda. Ese conocimiento moderno ha supuesto una mejora increíble en la salud y, a la vez, nos ha enseñado cómo borrar ciudades enteras del mapa con una bomba. Todo lo que distingue a nuestro mundo del de tiempos pasados tiene su origen en el conocimiento «útil». Y aunque seguramente parezca que estoy hablando de nuestros días, esto que te acabo de decir es casi literalmente, lo que decía Bertrand Russell al principio de aquel texto que cita Cunqueiro. Y que fue escrito en 1935. En aquel artículo, Russell defendía el valor del conocimiento que nos parece inútil. Decía que podía llevarnos a una vida más rica y a tener un mayor sentido de propósito; que podía hacer que las cosas desagradables lo fueran un poco menos, y que las agradables lo fueran más. Además de que, ese conocimiento que hoy nos parece inútil, puede ser muy útil mañana. Y es que, en el fondo, de lo que hablaba Russell era de la importancia de la curiosidad intelectual y del placer de aprender por aprender. Y de eso, precisamente, vamos a hablar un poco hoy, sin demasiado rumbo, en otro de esos capítulos de ideas a medio conectar que me salen de vez en cuando, sea o no útil. ¿Te gusta kaizen? Apoya el podcast uniéndote a la Comunidad y accede a contenidos y ventajas exclusivas: https://www.jaimerodriguezdesantiago.com/comunidad-kaizen/

Eels frontman Mark Oliver Everett joins Ralph Sutton and James Mattern and they discuss Mark Oliver Everett alternating between beard and no beard, his appearance in Kate Beckinsale movie Prisoner's Daughter as well as the Eels being featured on the soundtrack, playing multiple instruments but preferring drums, writing his first song about his girlfriend Becca, the myth about being hit in the eye by a laser and wearing sunglasses in doors, appearing in Ant-Man and the Wasp and Mark Oliver Everett's father's universal theories, the origin of the Eels band name Eels, personal tragedy leading to depressing lyrics, using text messages for lyrics in Earth To Dora, starting music late in life, his autobiography Things the Grandchildren Should Know, the new album Extreme Witchcraft, Mark Oliver Everett's first concert, first drug and first sexual experience and so much more!(Air Date: November 4th, 2023)Support our sponsors!YoDelta.com - Use promo code: Gas to get 25% off!Get your very own T-Shirt of Big Jay's sexy drawing right here! https://merchengine.com/products/jay-sex-sdr-showTo advertise your product or service on GaS Digital podcasts please go to TheADSide.comand click on "Advertisers" for more information!The SDR Show merchandise is available at https://podcastmerch.com/collections/the-sdr-showYou can watch The SDR Show LIVE for FREE every Wednesday and Saturday at 9pm ET at GaSDigitalNetwork.com/LIVEOnce you're there you can sign up at GaSDigitalNetwork.com with promo code: SDR for a 7-day FREE trial with access to every SDR show ever recorded! On top of that you'll also have the same access to ALL the shows that GaS Digital Network has to offer!Follow the whole show on social media!EelsTwitter: https://twitter.com/The_EelsInstagram: https://instagram.com/EelsTheBandLinkTree: https://linktr.ee/eelsthebandJames L. MatternTwitter: https://twitter.com/jameslmatternInstagram: https://instagram.com/thejamesmatternRalph SuttonTwitter: https://twitter.com/iamralphsuttonInstagram: https://www.instagram.com/iamralphsutton/The SDR ShowTwitter: https://twitter.com/theSDRshowInstagram: https://www.instagram.com/thesdrshow/GaS Digital NetworkTwitter: https://twitter.com/gasdigitalInstagram: https://www.instagram.com/gasdigital/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Phil gets to know and love David's longtime friend Mark Oliver Everett, AKA E, the leader of the acclaimed band EELS who have released fourteen studio albums and become an internationally beloved touring act since the "Beautiful Freak" album in 1996 that featured the alternative radio favorites "Novocaine for the Soul." We hear how E and David first met, how E played his wedding to Fran who he lovingly dubbed "Chiclet" and their early days hanging out with friends like Terence Trent D'Arby, Howie Epstein of Tom Petty & The Heartbreakers and more. Over lunch from Sycamore Kitchen, E shares amazing stories about getting to know notable EELs fans like Steve Perry of Journey fame and Tom Waits, E's soundtrack and acting work (the "Shrek" movies, "Love," "Ant Man and the Wasp: Quantumania," "Prisoner's Daughter"), dancing with Joni Mitchell and even playing Garry Shandling's memorial for an audience including Phil. For more on Eels, go here. https://www.eelstheband.com/ To learn more about building community through food and "Somebody Feed the People," visit the Philanthropy page at philrosenthalworld.com.

Phil and David have a very, very fine conversation with the legendary singer-songwriter Graham Nash about his strong new solo album called simply, "Now," his long history with The Hollies, his illustrious yet emotionally complex relationship life making music with Crosby, Still & Nash -- and sometimes Young. Along the way, Nash answers fan questions from Adam Levine, Mark Oliver Everett of Eels and The Milk Carton Kids. Hear great stories involving Joni Mitchell, Tom Petty, The Everly Brothers, the "No Nukes" Concerts and so much more. To learn more about building community through food and "Somebody Feed the People," visit the Philanthropy page at philrosenthalworld.com. 

Three birthdays to celebrate this week: The 50th birthday of Pharrell Williams, the 60th birthday of Mark Oliver Everett (better known as E) of The Eels, and what would have been the 90th birthday of Vangelis. Cover stories for all three, I say! (60 minutes)

Three birthdays to celebrate this week: The 50th birthday of Pharrell Williams, the 60th birthday of Mark Oliver Everett (better known as E) of The Eels, and what would have been the 90th birthday of Vangelis. Cover stories for all three, I say! (60 minutes)

Synopsis Famous eels: 1/ “Those are the shrieking eels. You don't believe me? Just wait. They always grow louder when they're about to feed on human flesh.” (Name that movie.) 2/ Mark Oliver Everett 3/ Medieval eel rents! The medieval church, famously, had a lot of restrictions on what people could eat and when—during Lent, … Continue reading "Episode 59: The Real MedEELval Times"

Torna a escena el projecte personal de Mark Oliver Everett amb un nou disc, "Extreme witchcraft", i una nova gira que el portar

Torna a escena el projecte personal de Mark Oliver Everett amb un nou disc, "Extreme witchcraft", i una nova gira que el portar

What is up Good People? Join us this week as we review the prolific career of Mark Oliver Everett, better known as E. He and his group, eels, have been consistently putting out records for 30 years. The pace of release is pretty much the only consistent thing about them, as we will discuss! Check out the music playlist for the episode!

Victor DeLorenzo is the founding drummer of the band the Violent Femmes. He's also been an actor and filmmaker. He currently plays in the chamber rock duo Nineteen Thirteen with cellist Janet Schiff, and his newest project titled Night Crickets is with none other than David J from Bauhaus. Mark Oliver Everett better known as “E” is the lead singer, songwriter, guitarist, keyboardist and sometimes drummer of the rock band Eels. His new and 14th studio album, Extreme Witchcraft, is out now and you should totally check it out.

Trübsal blasen mit Mark Oliver Everett, Runde Nummer 14: Auf «Extreme Witchcraft» verdaut der Eels-Frontmann seine 2. Scheidung und das 2. Pandemiejahr. 20 Jahre nach «Souljacker» wieder mit Produzent John Parish - und der Nostalgie-Trick gelingt zumindest teilweise. Trotzdem muss man einsehen, dass es nicht mehr besser wird, weder mit der Welt noch mit den Eels.

Mark Oliver Everett discusses EELS' new album out this week, for which he reunited with producer John Parish (PJ Harvey, Dry Cleaning, Aldous Harding) Download the Callin app for iOS and Android to listen to this podcast live, call in, and more! Also available at callin.com

LA Times columnist Patt Morrison is back with an updated version of her 2011 bestseller: “Río L.A.: Tales from the Los Angeles River.” Mark Oliver Everett, singer of the LA band Eels, talks about the lack of a warm relationship with his quantum physicist dad, and eating strawberries and popcorn for dinner.

Two years, Mark Oliver Everett interjects, isn't really that long away from the road. In March, the Eels return to the road for the perfectly titled, “Lockdown Hurricane” tour.   Even as the rest of the world shut down, the band was never away for too long, releasing Earth to Dora in 2020, and returning this month with Extreme Witchcraft – their 14th album overall. It's a hard rocking affair, a reinvigorated return for a band that's managed a remarkable run over the past 20 years. It's a musical project that's held together even in the face of Everett's own doubts, which not even a proper pandemic could keep away for too long.  

Libri: Francisco Cantú, Solo un fiume a separarci (trad. Fabrizio Coppola, Minimum Fax)..Mariangela Gualtieri, Bestia di gioia (Einaudi)..Albert Camus, La peste (trad. Yasmina Melaouah, Bompiani)..Musica: Antonio Bribiesca, Dos Arbolitos, Rayando el Sol, La Borrachita (La guitarra de Mexico)..Mercedes Sosa, Solo le pido a Dios..Brian Eno, 1/1 (Ambient 1: Music for Airports)..Bruce Springsteen, Matamoros Banks (Devils and Dust)..Alva Noto, Ryuichi Sakamoto, Uoon 1 (Vrioon)..Eels, Mistakes of My Youth (The Cautionary Tales of Mark Oliver Everett)..Chopin, 24 Préludes, Oleg Boshniakovich..Fabrizio Coppola, La ballata dell'uomoformica (Waterloo)

Inspired by a photo, Brian and Murdock dig to discover what caused Steve Perry to walk away from a monumental career - and the relationships that eventually brought him back. This episode is brought to you in part by Misen. SHOW NOTES: Songs used in this episode: Journey - “Stone in Love”, Journey – “1990's Theme”, Bad English – “When I See You Smile,” Journey – “When You Love a Woman” The grilling photo: https://www.flickr.com/photos/nubbytwiglet/3670374986 https://www.iheart.com/content/2018-08-15-steve-perry-explains-why-he-disappeared-after-leaving-journey/ “1990's Theme”: https://youtu.be/NxztxglUxK4 https://en.wikipedia.org/wiki/Steve_Perry http://www.mtv.com/news/1562298/journey-singer-insisted-on-knowing-sopranos-finale-before-allowing-song-use/ https://ultimateclassicrock.com/dont-stop-believin-sopranos/ http://www.mtv.com/news/1562182/sopranos-is-latest-to-keep-the-faith-in-journeys-dont-stop-believin/ https://en.wikipedia.org/wiki/Eels_(band) https://www.nytimes.com/2018/09/05/arts/music/steve-perry-journey-traces-interview.html https://ultimateclassicrock.com/steve-perry-eels-influence/ https://www.amazon.com/Eels-Blinking-Lights-Other-Revelations/dp/1849385963/ref=sr_1_1?dchild=1&keywords=9780857127471&linkCode=qs&qid=1631529259&s=books&sr=1-1 Patty Jenkins filmography: https://www.imdb.com/name/nm0420941/ The 2014 St Paul performance: https://www.youtube.com/watch?v=Ip4F9fGHZ00

Cuando los artistas se ponen a los mandos del programa, nada malo puede pasar. En esta nueva emisión Mark Oliver Everett sigue repasando sus canciones favoritas y recordando fantásticas anécdotas de su carrera.  Prepárate para vivir un viaje alucinante seas o no seas seguidor de Eels. GRACIAS especialmente a MÓNICA por el fantástico trabajo en la traducción, sin ella no hubiera sido posible. 🙏 Suenan: Turn On Your Radio - Harry Nilsson 1941 - Harry Nilsson Miss Butter's Lament - Harry Nilsson Good Old Desk - Harry Nilsson Passion Play - Papas Fritas No Matter What - Badfinger Die, All Right! - The Hives T.V. Eye - The Stooges If You Want Me To Stay - Sly & The Family Stone Someone's Watching You - Sly & The Family Stone Runnin' Away - Sly & The Family Stone (You Caught Me) Smilin' - Sly & The Family Stone Pocahontas - Neil Young and Crazy Horse The Makings of You - Gladys Knight & The Pips More Than A Dream - Stevie Wonder Big Brother - Stevie Wonder if You Really Love Me - Stevie Wonder Every Single Night - Fiona Apple Extraordinary Machine - Fiona Apple Just Like A Woman - Nina Simone Compared To What - Roberta Flack Funeral Parlour - Eels Perfect World - Liz Phair Look At Me - John Lennon Stardust - Willie Nelson All I Ever Needed Is You - Ray Charles 🙏Espacio patrocinado por: CARMEN VENTURA, NORBERTO BLANQUER, JORDI, ROSA RIVAS, INFESTOS, 61 GARAGE, MR.KAFFE, ISRAEL, TOLO SENT, ANXO, RAUL SANCHEZ, VICTORGB, EDUARDO MAYORDONO, BARON72, EDUARDO VAQUERIZO, LIP, ALEJANDRO GOMEZ, DANI RM, JOCIO, RULKTO, AYTIRO SAKI, MARCOS, PABLO ARABIA, CARLOS CONSEGLIERI, JEKY LOSABE, CESMUNSAL, LARUBIAPRODUCCIONES, RUBIO CARBÓN, PILAR DÍEZ, ALFONSO MOYA, JON LÓPEZ, FERNANDO MASERO, RODRIGO GUADIÁN, DOMINGO SANTABÁRBARA, JOSE MIGUEL, ALEXANDER CASTAÑEDA, ANTO78, JULMORGON, JUANMI, MIGUEL BLANCO y varios oyentes anónimos. ¡¡GRACIAS!! 🅱️9️⃣0️⃣

EELS frontman Mark Oliver Everett (aka 'E') drops in to talk about about the writing of the band's new album Earth To Dora and his creative process. During the chat, Mark highlights the power of resilience, how he collaborates with his bandmates, and his love for John Lennon's Plastic Ono Band.

Welcome to the first DR&R Show of the new year! 2012....Holy S**t!We'll start out with the Usual Suspects and then Kai Ray takes center stage with a classic DR&R wiggler: Jungle Talk [I want some of that]. The original release was on Lodestar 1961 but we'll have to settle with my 45 rpm on Bright Star [same year].For the 1st set we hand the mic off to Jimmy Reed - I'm goin' upside your head [Vee Jay 1964] a sure candidate for misogynist platter of the '60s...sorry Jagger but "Under My Thumb" gets 2nd billing to the musings of Mr. Reed! Albert Collins turns up the heat with "Whatcha Say" a pounder of gigantic proportions! [Imperial 1968]. Ronnie Hawkins asks the age-old lovers question: "Who do you love?" which got it's waxing on Roulette in 1963...and the author of WDYLOve, Bo Diddley, follows up with all apologies: Dearest Darlin' which appeared on a Checker 45 in 1958 [a great year for music!].Purging out the demon for the start of the 2nd set with a killer garage waxing from the Hangmen on Monument 1966...quintessential garage! Following up with a west coast ditty by The Jewels on Imperial "Natural natural ditty" 1955. And just to prove that all music is just music we spin the opening cut from Brisbane's The Saints 1st LP - "I'm Stranded". We found an Aussie pressing of their first 2 pounding punk LP's last year! For my money, The Saints were opening the punk door for EVERYONE! From Australia to Morris County, NJ with a band [that changed their name from The Pseudo-Realists to Good Reason for no good reason] with a song that should've been blasting on every car radio "Hold on to me". A song that's near and dear to my heart as this was the last recordings of my band in the '90s. DRR fave Mark Oliver Everett aka The Eels from a release that I didn't pick up until recently "End Times" from 2010.Last set of the show: The Queen of Rock-a-billy Wanda Jackson cooks up a vampy meal with Funnel of Love on the Capitol label from 1961. And speaking of vamps: Billie Holiday w/ the Teddy Wilson Orchestra swings like 60 from 1941 on Columbia Records - Miss Brown to you. You betcha! Jethro Tull informs us that "It's a new day yesterday" while the Gang of Four revisits one of their pounders "Naturals no in it"....Over and Out with the Braz Gonsalves 7.....Raga Rock on Odeon Records 1970....I've had this one for a while and this is its first airing....I hope you like the show / tell all your friends and we'll see you next week!

Author Melissa Maerz takes us behind the scenes of Richard Linklater's cult film, “Dazed and Confused.” Also, Eels frontman Mark Oliver Everett dishes about the band’s album, “Earth to Dora.” And the renowned sportscaster Jim Gray talks about his most memorable interviews.

SAISON PRODUITE PAR STEREOLAB Bienvenue dans le reboot de Ma chanson préférée. Après Patrice Fornies, son créateur et Dimitri Régnier, c'est au tour d'Hervé Hauboldt d'animer ce podcast musical et participatif. On va vous la faire brève, le reconfinement a un peu mis le brin dans la production des saisons à venir. Du coup, plutôt que d'interrompre une série en cours, on a décidé de vous faire patienter avec quelques épisodes bonus jusqu'à Noël. Et pour la peine, c'est le taulier qui s'y colle, à raison d'une chronique par semaine que retrouverez dans la playlist Spotify qui s'enrichit au fil des épisodes. Dans cet épisode, Hervé raconte une histoire personnelle indissociable de “Your Lucky Day in Hell” extraite du premier album de Eels. Your Lucky Day in Hell – Eels (écrite et composée par Mark Oliver Everett) © 1996 SKG Music L.L.C.  Production : Stereolab – Couverture : Hervé Hauboldt – Générique : Julie Nolet Retrouvez l'actualité de Ma chanson préférée sur Instagram, Twitter et Facebook et merci de votre soutien sur votre plateforme d'écoute préférée (un abonnement, 5 étoiles, des petits cœurs, un commentaire sympa) ainsi que sur Podmust.com

Desde Bienvenido a los 90 sentimos verdadera pasión por Mark Oliver Everett y su forma de entender el mundo, por eso hoy será el propio músico quien ponga sus canciones favoritas. Prepárate para vivir un viaje alucinante seas o no seas seguidor de Eels. Tengo que agradecer especialmente a MÓNICA por el fantástico trabajo en la traducción, sin ella no hubiera sido posible. 🙏 Suenan: 01. Aretha Franklin - The Fool On The Hill  02. Glen Campbell - Gentle On My Mind 03. Aretha Franklin - Gentle On My Mind 04. Aretha Franklin - Didn't I (Blow Your Mind This Time) 05. Lee Marvin - Wand'rin Star 06. Curtis Mayfield - Think 07. Gilberto Gil - Procissao 08. Gal Costa - Baby  09. James Brown - Something 10. PJ Harvey - The Devil 11. The Archies - Sugar, Sugar 12. The Kinks - Shangri-La   13. Prince - Good Love 14. Prince - I Wonder U 15. Prince - Alphabet St. 16. Prince - Gett Off 17. David Bowie - I Dig Everything 18. David Bowie - Kooks 19. The Faces - Glad and Sorry 20. Small Faces - Lazy Sunday 21. John Parish - Add To The List 22. Tom Waits - Chicago 13. Joe Cocker - Sandpaper Cadillac 14. Bobby Hebb - Sunny 15. Z Berg - I Fall For The Same Face Every Time 16. Fleetwood Mac - That's All For Everyone 17. Bobby Womack - Fire And Rain  18. Bob Dylan - Spanish Is The Loving Tongue Espacio patrocinado por: CARMEN VENTURA, NORBERTO BLANQUER, JORDI, ROSA RIVAS, INFESTOS, 61 GARAGE, MR.KAFFE, ISRAEL, TOLO SENT, ANXO, RAUL SANCHEZ, VICTORGB, EDUARDO MAYORDONO, BARON75, EDUARDO VAQUERIZO, LIP, ALEJANDRO GOMEZ, DANI RM, JOCIO, RULKTO, AYTIRO SAKI, MARCOS, PABLO ARABIA, CARLOS CONSEGLIERI, JEKY LOSABE, CESMUNSAL, LARUBIAPRODUCCIONES, RUBIO CARBÓN, PILAR DÍEZ, ALFONSO MOYA, JON LÓPEZ, FERNANDO MASERO, RODRIGO GUADIÁN y varios oyentes anónimos. ¡¡¡GRACIAS!! 🅱️9️⃣0️⃣

Desde Bienvenido a los 90 sentimos verdadera pasión por Mark Oliver Everett y su forma de entender el mundo, por eso hoy será el propio músico quien ponga sus canciones favoritas. Prepárate para vivir un viaje alucinante seas o no seas seguidor de Eels. Tengo que agradecer especialmente a MÓNICA por el fantástico trabajo en la traducción, sin ella no hubiera sido posible. 🙏 Suenan: 01. Aretha Franklin - The Fool On The Hill  02. Glen Campbell - Gentle On My Mind 03. Aretha Franklin - Gentle On My Mind 04. Aretha Franklin - Didn't I (Blow Your Mind This Time) 05. Lee Marvin - Wand'rin Star 06. Curtis Mayfield - Think 07. Gilberto Gil - Procissao 08. Gal Costa - Baby  09. James Brown - Something 10. PJ Harvey - The Devil 11. The Archies - Sugar, Sugar 12. The Kinks - Shangri-La   13. Prince - Good Love 14. Prince - I Wonder U 15. Prince - Alphabet St. 16. Prince - Gett Off 17. David Bowie - I Dig Everything 18. David Bowie - Kooks 19. The Faces - Glad and Sorry 20. Small Faces - Lazy Sunday 21. John Parish - Add To The List 22. Tom Waits - Chicago 13. Joe Cocker - Sandpaper Cadillac 14. Bobby Hebb - Sunny 15. Z Berg - I Fall For The Same Face Every Time 16. Fleetwood Mac - That's All For Everyone 17. Bobby Womack - Fire And Rain  18. Bob Dylan - Spanish Is The Loving Tongue Espacio patrocinado por: CARMEN VENTURA, NORBERTO BLANQUER, JORDI, ROSA RIVAS, INFESTOS, 61 GARAGE, MR.KAFFE, ISRAEL, TOLO SENT, ANXO, RAUL SANCHEZ, VICTORGB, EDUARDO MAYORDONO, BARON75, EDUARDO VAQUERIZO, LIP, ALEJANDRO GOMEZ, DANI RM, JOCIO, RULKTO, AYTIRO SAKI, MARCOS, PABLO ARABIA, CARLOS CONSEGLIERI, JEKY LOSABE, CESMUNSAL, LARUBIAPRODUCCIONES, RUBIO CARBÓN, PILAR DÍEZ, ALFONSO MOYA, JON LÓPEZ, FERNANDO MASERO, RODRIGO GUADIÁN y varios oyentes anónimos. ¡¡¡GRACIAS!! 🅱️9️⃣0️⃣

"Earth to Dora"

Etwas Freude in Zeiten voller Sorgen wollen uns Mark Oliver Everett und die Eels mitgeben. Und ja, sie sind dabei, die Hits mit dem typischen Eels-Gesicht aka «alles ist Scheisse, aber hey..!» - doch Album Nummer 13 wird eine Randerscheinung bleiben in der grandiosen Diskographie der Kalifornier. Bei Sounds! am Freitag hört ihr die neuen Releases der Woche. Neben den Eels stehen u.a. der Schweizer DIY-Folkpunk Louis Jucker, Altmeister Elvis Costello, die breit-lärmigen NOTHING und der Elektro-Explorateur Oneohtrix Point Never auf dem Einkaufszettel für den Plattenladenbesuch am Wochenende.

Etwas Freude in Zeiten voller Sorgen wollen uns Mark Oliver Everett und die Eels mitgeben. Und ja, sie sind dabei, die Hits mit dem typischen Eels-Gesicht aka «alles ist Scheisse, aber hey..!» - doch Album Nummer 13 wird eine Randerscheinung bleiben in der grandiosen Diskographie der Kalifornier. Bei Sounds! am Freitag hört ihr die neuen Releases der Woche. Neben den Eels stehen u.a. der Schweizer DIY-Folkpunk Louis Jucker, Altmeister Elvis Costello, die breit-lärmigen NOTHING und der Elektro-Explorateur Oneohtrix Point Never auf dem Einkaufszettel für den Plattenladenbesuch am Wochenende.

durée : 00:07:52 - Dans la playlist de France Inter - Le 30 octobre prochain, paraîtra le 13ème album des Anguilles, autrement dit les Eels, toujours emmené par le leader Mark Oliver Everett, connu sous le nom de scène E.

La genèse d'Electro-Shock Blues, ou comment le songwriter Mark Oliver Everett, suite à la mort de sa sœur et à la maladie de sa mère, a fait l'un des plus beaux albums de l'histoire du rock (en tout cas, l'un des disques les plus importants de ma vie).

Psalm 126 – 5 Those who sow with tears will reap with songs of joy. 6 Those who go out weeping, carrying seed to sow, will return with songs of joy, carrying sheaves with them. ** Don’t waste your sorrows… See your tears as an opportunity for growth. You can’t stuff them… you get no fruit! You can’t just walk outside and dump a pile of seeds! No fruit! Look beneath the surface! What’s going on…? What’s underneath…? What’s under the hood…? What causes our tears? Psalm 42:5 – 5 My spirit, why are you so sad? Why are you so upset deep down inside me? ** Musicians get it! Eels… Songs like, “Novocain for the soul” and “Elizabeth on the Bathroom Floor” & “Be Hurt”… probably most known for his songs on the Shrek movie… Mark Oliver Everett went on what he calls a project of self-improvement, during which he got married, got divorced and, at the age of 54, had a son. He also spent time reckoning with the losses he'd experienced earlier in life, including his sister's suicide, his mother's death from cancer and his father's fatal heart attack. Now he's back, with a new album, The Deconstruction: a reflection on both the pain and joy of life. He says the point of the record is that "life is constant motion." "We spend most of our lives after we're born slowly building up these defenses and walls around ourselves," Everett explains. "I just thought, 'What's underneath all that? What would happen if you tore down those defenses?” When we sow our tears… the promise of the Bible… tears don’t just go away or give way but actually produce joy! There is a joy comes from tears it is so rich and deep. So avoiding our tears doesn’t change us. But planting or invest more tears.

"Who You Say You Are" es lo nuevo de Eels, la cara b de Baby Let’s Make It Real y otro de los pasajes del genio Mark Oliver Everett, una canción de amor que expresa la inseguridad acerca de su amante y dice: “Aquí hay una manera de olvidar sus problemas durante dos minutos y 55 segundos". Escuchamos también la voz increíble de la catalana Ainhoa Sánchez con "I'm Say Enough" y a Cariño, que han llamado a Natalia Lacunza para grabar juntos "Modo Avión" TEMPLES – Paraphernalia THE KILLERS – Blowback DOMINIC FIKE feat. SKELETON MILKSHAKE - Double Negative LA TRINIDAD – La Mundial NUEVA VULCANO - La Pedra Oscil- lant JAWNY – Sabotage ROYAL REPUBLIC - Superlove EELS – Who You Say You Are GUS DAPPERTON – Medicine CARIÑO feat. NATALIA LACUNZA – Modo Avión ALUNA – Body Pump AINHOA SÁNCHEZ – I’m Say Enough BOY PABLO – Rest Up ELYELLA feat. MARC DORIAN – Mi Renacer BLOXX – Off My Mind BARTEES STRANGE – Boomer ALFIE TEMPLEMAN – Obvious Guy Escuchar audio

Thanks to a reliance on off-kilter retro sounds and lo-fi instrumentation, Eels were often compared to Beck (and not always favorably). On their second album, 1998's Electro-Shock Blues, they utilized one of the producers who helped Beck transition from one-hit-wonder status with Loser to the layered mastery of 1996's Odelay. But instead of matching the mayhem, singer/multi-instrumentalist Mark Oliver Everett constructs a sixteen-track somber affair with a few noisy interludes delving into personal loss at a bone-chillingly intimate level. What struck us was the deliberate shift from their debut that produced the hit single "Novocaine For The Soul," and wondering if like many, the lyrical content was too heady to digest, needing the growth and loss of maturity to fully appreciate the depths that E is willing to explore.   Songs In This Episode:   Intro - Last Stop: This Town 16:39 - 3 Speed 20:58 - Hospital Food 24:21 - Elizabeth On The Bathroom Floor 38:52 - Cancer For The Cure Outro - Climbing To The Moon   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.    

Thanks to a reliance on off-kilter retro sounds and lo-fi instrumentation, Eels were often compared to Beck (and not always favorably). On their second album, 1998's Electro-Shock Blues, they utilized one of the producers who helped Beck transition from one-hit-wonder status with Loser to the layered mastery of 1996's Odelay. But instead of matching the mayhem, singer/multi-instrumentalist Mark Oliver Everett constructs a sixteen-track somber affair with a few noisy interludes delving into personal loss at a bone-chillingly intimate level. What struck us was the deliberate shift from their debut that produced the hit single "Novocaine For The Soul," and wondering if like many, the lyrical content was too heady to digest, needing the growth and loss of maturity to fully appreciate the depths that E is willing to explore.   Songs In This Episode:   Intro - Last Stop: This Town 16:39 - 3 Speed 20:58 - Hospital Food 24:21 - Elizabeth On The Bathroom Floor 38:52 - Cancer For The Cure Outro - Climbing To The Moon   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.    

L’épisode 3 du Binz c’est comme Kaamelott le film : on l’espérait, on en rêvait, puis on a arrêté d’y croire, mais maintenant on est le 2 Avril donc ça rigole plus. Durant cette nouvelle aventure binzale, nos valeureux aventuriers se sentent le pied marin : pour trouver le Binz, graal culturel, il leur faudra mouiller la chemise avec Emiliano Sala ! Ni une ni deux, les glauses culturelles s’enchaînent plus vite que des mojitos au soleil : une base d’histoire avec le soixante-huitard Robert Linhart, compléter par une touche littéraire avec la bio de Mark Oliver Everett, un petit tour dans le shaker musical de Kanye West et ajouter un petit parasol cinématographique pour la déco avec une analyse de Portrait de la jeune fille en feu de Céline Sciamma. Un beau cocktail somme toute !

Prior to The Deconstruction, Mark Oliver Everett took a break. Four years passed between albums. Honestly, it’s not too long for most musical acts pushing a quarter century, but The Eels have released records like clockwork, with a dozen studio albums currently under their belt. For Everett (that’s “E,” to you), the last few years have marked a new chapter. He got did some acting married, got divorced and at age 54 had a son. It was a lot, even for someone who’s lived through plenty. It’s clear seeing The Eels’ current iteration on-stage, however, that the musician has found new appreciation for the music on his return. Now 56, he’s very intent on putting on a show, as the group powers through its lengthy catalog, all while sporting matching pants. Ahead of a performance at New York’s Irving Plaza, he sat down to discuss his break, return and the highs and lows of the past 23 years.

Deuxième émission consacrée aux chansons ayant pour thème les trains. Les songwriters Mark Oliver Everett, de Eels, et Ray Davies, des Kinks, à des époques différentes, ont tous deux utilisé le train comme métaphore de leur sentiment de ne plus avoir leur place dans le monde moderne – et plus précisément dans l'industrie musicale. Bouleversant.

Heading into the Labor Day weekend we have a top notch episode to deliver! Opening Salvo - Skinny dippin' in the oil o joy! Set 1: The Yardbirds fly in for some fun and games with "Little Games" offa the LP of the same name....Jimmy Page's debut LP with the 'birds' and not a bad cut on it! Page's "sloppy drunk" guitar is the star here.. *Dr Jack Van Impe with a public service announcement on the dangers of R&R The Sopwith Camel with "Frantic Desolation"...The Camel were one of the early San Fran groups to score a hit song with "Hello Hello" a novelty ditty that holds up to this day. Peter Kraemer's vocals and Norman Mayell's drums along with the guitars of Terry MacNeil and William "Truckaway" Sievers steal the show. Trader Horne was really a duo consisting of Judy Dyble & Jackie McAuley...Dyble was formerly with Fairport Convention and a brief demo recording stint with King Crimson while MaAuley cut his r&r chops with Them and later The Belfast Gypsies...both holding a high place in my record collection. *Dr. Jack Van Impe checks in again with some more of his take on "rock and roll music" I probably have 10-15 of Jack's LP's....I have fond memories of watching his weekly TV show where his eschatological sermons haunt me to this day....and lets not forget the Doc's foil Rexella Van Impe…..yikes! Willie Nelson from 2003....with a Mickey Newbury song "Just dropped in to see what condition my condition was in"....I love this song no matter who's doing it and it's tailormade for Willie.... Set 2: Love....the great band from LA that rocked my world when I was poppin' pimples in high school...."You I'll be following" ….indeed. Alice Cooper when Alice Cooper was a band and not a person with "Shoe salesman"....terrific out of place cut on their 2nd offering before they became Vincent Damon Furnier backing band. Alice is one of the good guys always helping out his band when they wanted to leave the nest....kudos to AC. The Onion Radio News with a hysterical report on the Cicadas and the Red Hot Chili Peppers... English Beat..."Best friend"...great UK band from the early 80's... Earl pays homage to the Chuckster...Chuck Berry with my favorite CB song "Too much monkey business" Set 3: "Not so sweet Martha Loraine".....ahhhh when I hear this song I think of an girl from the Jersey Shore who used to come knocking on my door late at night when she was lonely...Martha... Amy Rigby writes great songs and should be better known....."Believe in you" is one of them. Rusty & Doug [Kershaw] "Hey Mae" one of my favorite 45's that took a while to track down a clean one. And The Youngbloods with a classic "Darkness Darkness" / Elephant Mountain...what a way to end the 60's! Set 4: Wimple Winch - "Save my Soul"...great freakbeat from their 1st record / 45 rpm. They started life as Dee Fenton & the Silhouettes and checked out after 3 great records.... Opal was a psychedelic rock band from Los Angeles, CA. The group was formed by David Roback (ex-Rain Parade) and Kendra Smith (ex-The Dream Syndicate) in 1982 under the name Clay Allison. Changing their name to Opal, they released their sole LP, "Happy Nightmare Baby" in late 1987. Smith left the band the following year mid-tour. Roback went on to form Mazzy Star while Smith later re-emerged as a solo artist. And finishing off the show with the brainchild of Mark Oliver Everett and his Eels...."Soul Jacker pt. 1" Next week will be a DR&R Show favorite recording as I'm going out on the road selling and buying more rekids……...sayanara, Papa-sans and Mama-sans....

In dieser Folge zu hören: Bernd Kiesewetter und Jeannette Hagen – ein Gespräch über Freiheit, Werte, Ablehnung, Familie und das Leben dazwischen. Jeanette zeigt uns, wieso wir allein für unser Leben verantwortlich sind und weshalb nur in unserem Herzen die Antwort auf alle Fragen steckt. Wir lernen, was es bedeutet, seinem eigenen Impuls zu folgen, warum uns die Meinung der Anderen dabei egal sein kann und welche Rolle bürgerliche Integrität und persönliche Selbstreflektion in unserer Stellung als Weltbürger spielt. Jeanette nimmt uns mit auf Spurensuche nach den Gründen für unsere gesellschaftlichen Missstände, lehrt uns den Zusammenhang zwischen Hilfe und Selbsthilfe und erklärt, wieso wir gerade in der Polarisation zu uns selbst finden. Freue Dich auf eine Reise voller Optimismus und Inspiration durch das Leben einer beeindruckenden Frau von Welt.   00:00 Selbstportrait einer wahren Powerfrau 03:26 Vom Impuls zur Umsetzung 07:40 Selbsthilfe durch Altruismus 09:54 Hagen: Wie ich zwischen Verachtung und Ablehnung zu mir selbst fand 13:17 Helfen ist ein Impuls - Nicht zu helfen eine Entscheidung 20:00 Was steckt hinter der Flüchtlingskrise? Ein Erklärungsversuch 24:22 Erkennst du deine Grenzen - dann kennst du deine Stärken 27:16 Verantwortung bedeutet Selbsttreue, Sorgsamkeit und nachhaltige Lebensweise 33:31 Es gibt keine Krisen - nur Herausforderungen und Momente des Gelingens 39:03 Vertrau auf deinen Impuls 41:38 „Lebe, Liebe, Lache“ 44:26 Tipp für junge Leute 48:08 Das Leben kann sich immer entwickeln – es ist unsere Verantwortung, wohin 50:11 Lieblingslieder einer Autorin 51:37 Buchempfehlung: Glückstage in der Hölle, Mark Oliver Everett

Our opening salvo takes us to Sleepy Hollow NY where Gandalf Murphy and his band of Slambovians hold center court while "Living With God"...from there a visit with a "Good Shepherd" via the Jefferson Airplane airways lands us in Tennessee via Mississippi Fred McDowell and "Kokomo Me, Baby"...remember MFMcDowell does not play no R&R! Finishing off the 1st set of music is Tito & his Tarantulas warning of the hazards of going out late at night "After Dark". Set 2 has a raucous celebration of "Saturday Morning" via Mark Oliver Everett a.k.a. The EELS...but a reminder from Pops Staples has humbled us via "Gotta Serve Somebody". Finishing up a short set with "Struttin' Down Main Street" with a very righteous slide guitar from Ry Cooder and a band he recorded this record with called FUSION... Set 3 has the listeners "Driving The View" from one of the bastard children of the shotgun wedding called Uncle Tupelo....SON VOLT. Sixpence None The Richer "Waiting On The Sun" [I'm a fan.....don't judge me for it...I like catchy pop songs...] Billie Holiday gets remixed and reimagined by Nicodemous & Zeb so she's not "Traveling Alone"...and a reminder from Willie DeVille…"Time Has Come Today" finishes out the 3rd offering from your humble host... 4th and last set of music: The Bob Seger System lets everyone know he's "Ramblin' Gamblin' Man".....from the "polarity correct" version of XTC's SKYLARKING "Earn Enough For Us" gets a spin...apparently Andy Partridge and producer Todd Rundgren clashed frequently whilst recording quite possibly the best work of XTC and when The Wizard A True Star submitted his final mix he had the mixing desk hooked up with a reversed polarity which resulted in a great LP but the rhythm section was nowhere to be found! Well it's been released as a double 45 rpm Polarity Corrected offering and I must say it's spectacular! Oh yeah you heard "Earn Enough For Us". Finishing up is a band from the UK called BROADCAST and "I Found The F" from TENDER BUTTONS..... That's if for this week....I'm feelin' the love so I'll be back next week....have a great day! Mickster

Charlie Musselwhite and Ben Harper are musicians with wildly different backgrounds but a unifying love of the blues. Charlie was there at the birth of rock and roll. Ben grew up immersed in music while his family ran a landmark music store. They tell Marc how their shared interests led to their musical collaboration and their new joint album. Plus, Mark Oliver Everett, also known as E from the band Eels, returns to the show after a five-year hiatus to talk about Garry Shandling, Tom Petty, becoming a parent, and the new Eels album. See acast.com/privacy for privacy and opt-out information. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast.

...gli Eels sono una band americana, che poi non è altro che una bizzarra creatura di Mark Oliver Everett, meglio noto come Mr. E. Un artigiano, come si ama definire lui [e forse è proprio per questo che mi piace], del pop-rock alternativo. I testi delle canzoni sono autobiografiche, il sound della musica e quasi sempre un po’ dolente, sentimentale, e riesce a far vibrare le corde del cuore [almeno del mio]. In questo caso mi sono fatto ispirare da A Swallow in the Sun. ...ho preso alcuni passaggi del testo : sei rotto come un bicchiere/una rondine al sole, un passero nella notte tutto solo/il mio amore non lo senti? Non so come lasciarti andare.....e ne ho tirato fuori questo breve audioracconto. Ringrazio Tiziana che mi ha prestato la sua voce. Buon ascolto!

The TSA,California visit, Chemtrail Schmuck, The Nuke Hoax, Edwin Corley, The Jesus Factor, Memory Courses, iTunes ShmiTunes, Sean calls from the Bernalillo County lockup to discuss various connections among the elite, John Adams joins in and so does Johnny from Illinois,W. Averell Harriman,David Rockefeller, William Luther Pierce III, Nelson Aldrich Rockefeller,Franklin Delano Roosevelt,Charles Darwin, Charles Galton Darwin,Amanda Jay Mortimer Burden,William S. Paley,Gregory Bateson, Dr. Harvey Cushing,Stanley Grafton Mortimer, Jr.,Pamela Digby Churchill Hayward Harriman,John Jay, Cornelius Vanderbilt Whitney, Leland Hayward, Winston Churchill, Dennis Hopper, Cornelius Vanderbilt Whitney,Mark Oliver Everett, The Strokes, Al Gore. ........................hoaxbusterscall.com

Emitido el 17/07/2014 en www.radioutopia.es Arrancamos el programa con el sonido de Eels en directo el pasado lunes en el madrileño Circo Price. Un Mark Oliver Everett y su banda ofrecieron un show diferente al del pasado año en La Riviera con un set-list que repasaba su último Lp "The Cautionary Tales of Mark Oliver Everett". Después, como cada año, nos damos un paseo por festival Glastonbury en su edición 2014 escuchando los conciertos de Kasabian, Jack White, Robert Plant, Pixies, Manic Street Preachers, Goldfrapp, Myles Kennedy con Slash, Reignwolf, Arcade Fire y Metallica.

Emitido el 17/07/2014 en www.radioutopia.es Arrancamos el programa con el sonido de Eels en directo el pasado lunes en el madrileño Circo Price. Un Mark Oliver Everett y su banda ofrecieron un show diferente al del pasado año en La Riviera con un set-list que repasaba su último Lp "The Cautionary Tales of Mark Oliver Everett". Después, como cada año, nos damos un paseo por festival Glastonbury en su edición 2014 escuchando los conciertos de Kasabian, Jack White, Robert Plant, Pixies, Manic Street Preachers, Goldfrapp, Myles Kennedy con Slash, Reignwolf, Arcade Fire y Metallica.

Emitido el 25/04/2013 en www.radioutopia.es Nos hacemos eco del próximo concierto que ofrecerá la banda de Mark Oliver Everett los próximos 27 y 28 de abril en Barcelona y Madrid. Eels son un grupo de los 90 que han sabido madurar con el tiempo gracias a composiciones originales. Además Felipe Couselo pone su toque personal sobre Mr. E. También repasamos los sonidos de Beck, el esperado KID A de Radiohead, el primer disco en solitario de Eddie Vedder y Miriam Faraj nos recomienda Peggy Sue. 1 - Beck - Where It´s At 2 - Radiohead - Everything In Its Right Place 3 - Radiohead - Idioteque 4 - Eels - Susan´s House 5 - Eels - Hospital Food 6 - Eels - Novocaine for the Soul 7 - Eels - Beautiful Freak 8 - Eels - Your lucky day in hell 9 - Eels - Bombs away 10 - Eels - The Turnaround 11 - Eels - New Alphabet 12 - Miriam Faraj presenta Peggy Sue con Yo Mama 13 - Eddie Vedder - Hard Sun

Emitido el 25/04/2013 en www.radioutopia.es Nos hacemos eco del próximo concierto que ofrecerá la banda de Mark Oliver Everett los próximos 27 y 28 de abril en Barcelona y Madrid. Eels son un grupo de los 90 que han sabido madurar con el tiempo gracias a composiciones originales. Además Felipe Couselo pone su toque personal sobre Mr. E. También repasamos los sonidos de Beck, el esperado KID A de Radiohead, el primer disco en solitario de Eddie Vedder y Miriam Faraj nos recomienda Peggy Sue. 1 - Beck - Where It´s At 2 - Radiohead - Everything In Its Right Place 3 - Radiohead - Idioteque 4 - Eels - Susan´s House 5 - Eels - Hospital Food 6 - Eels - Novocaine for the Soul 7 - Eels - Beautiful Freak 8 - Eels - Your lucky day in hell 9 - Eels - Bombs away 10 - Eels - The Turnaround 11 - Eels - New Alphabet 12 - Miriam Faraj presenta Peggy Sue con Yo Mama 13 - Eddie Vedder - Hard Sun

Wonderful Glorious is the tenth album from songwriter and vocalist Mark Oliver Everett and his band and delivers an uplifting, rocking reason for living.

Mark Oliver Everett, sometimes known as E, joins us. He's the frontman of the rotating cast that makes up the rock band The Eels.