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It's time to interogate, or potentially impregnate, some witnesses, and Jorcerer is the sweaty sex blob for the job. Meanwhile, Cabert and Moog face off in an ultimately pointless excersise. Who will win??Dicey Bastards is the actual play podcast with more charisma than a dire worm who used to be your girlfriend but got cursed by a wizard after she wouldn't shut up about that stupid worm question people pretend they ask their boyfriends on the internet. Not much charisma is what I mean, buddy, you were better off without her.Check out our merch! https://www.teepublic.com/?ar_ad=teepublic&ar_adgroup=58700006420472509&ar_campaign=71700000074037014&ar_channel=google&ar_clx=yes&ar_strategy=search&gad_campaignid=1880244643&gad_source=1&gbraid=0AAAAADqCRGZgfX-dxU2RLIKwluivA-mek&gclid=Cj0KCQjwxdXBBhDEARIsAAUkP6iIsw8Ve3fiGA7hNb_NoJuptp9b-CvULc9_nO8pzvPII3ITlhFGTt4aAhKQEALw_wcB&gclsrc=aw.ds&ref_id=13059Become a supporter of this podcast: https://www.spreaker.com/podcast/authors-dragons-comedy-dnd-podcast--5624719/support.
"Dockery Farms is said to be the place where the Delta Blues began. That is a bold statement but once you hear the research I have gathered it will be hard to argue. Robert Johnson did not sell his soul for great musical talent. He went to Dockery Farms which is still open today and welcoming visitors."
La matinale d’AF : l’actu des instruments de musique et du matériel audio
Dans cette 186e matinale, on parle de la version compacte du synthé 3rd Wave, de Strymon qui transforme sa pédale ambient en plugin, du Launch Control XL MK3 de Novation et d'un nouveau synthé Moog à moins de 1000€.
"If you have an extra 12495 dollars lying around then you can be a roadie for Gene Simmons on his solo tour. We will discuss what you must do and if the money is worth it. We will also talk about the average monies paid to real roadies."
Episode 173 Chapter 32, Other Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 32, Other Analog Synthesizers from my book Electronic and Experimental music. Playlist: OTHER EARLY SYNTHESIZER RECORDINGS (PRE-MIDI AND NOT MOOG) Time Track Time Start Introduction –Thom Holmes 01:36 00:00 1. Raymond Scott, “Space Mystery” (1963). Used Scott's Electronium, a custom-made analog synthesizer/sequencer. 05:08 01:42 2. Pauline Oliveros, “Alien Bog” (1967). Used a prototype Buchla 100 modular synthesizer at Mills College. 33:13 06:53 3. John Eaton, “Soliloquy For Syn-Ket” (1973) from Electro-Vibrations (The Music Of John Eaton). Used the Synket, an Italian-made modular synthesizer of which only six were ever made. 06:38 40:06 4. John Keating, “Earthshine” (1975) from Space Experience 2. Featured the ARP 2600 and Pro- Soloist. 04:09 46:46 5. Patrick Gleeson, “Saturn, The Bringer Of Old Age” (1976) from Beyond The Sun: An Electronic Portrait Of Holst's The Planets. Used Eµ Systems Polyphonic synthesizer. 09:31 51:02 6. Jean Michel Jarre, “Oxygene, Part IV” (1976) from Oxygene. Used the ARP Odyssey, EMS Synthi AKS, EMS Synthi VCS3, and RMI Harmonic Synthesizer and Keyboard Computer. 03:07 01:00:34 7. Bennie Maupin, “Crystals” (1978) from Moonscapes. Featured the E-mu Modular Synthesizer programmed by Patrick Gleeson, who owned Different Fur Studios in the San Francisco area and owned E-mu synthesizers (see previous track for an example of the E-mu Systems Polyphonic synthesizer). Here, we have a different treatment of the same instrument by jazz woodwind player Maupin, who played Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Flute, Marimba, Glockenspiel, E-mu Synthesizer, and Computone Synthesizer Winddriver on this album. I picked this track because this is most stripped-down arrangement featuring only Maupin playing the E-mu synthesizer and other instruments. 01:18 01:03:44 8. Pere Ubu, “On the Surface” (1978) from Dub Housing. Allen Ravenstein used the EML Electrocomp 101 modular synthesizer as a member of this band. 02:37 01:05:02 9. Sylvester, “You Make Me Feel (Mighty Real)” (1978) from Step II. One of the few albums to feature EML (Electronic Music Laboratories) Modular Synthesizer plus String synthesizer, Electro-comp 101 synthesizer and 200 expander unit, Oberheim DS-2 Sequencer, Effects, Pat Cowley; organ, Electric piano, Clavinet, Michael C. Finden; Percussion, David Frazier; Producer, Lead Vocals, Piano, Sylvester. EML was a Connecticut-based synth maker that was around from about 1970 to 1984. They were best-known for their Electro-comp modular synths. The 101 was a duophonic semi-modular 44-note synth and the model 200 was an expander unit that added ring modulation, spring reverb, and high and low filters to the setup. It was interesting to hear this Moroder-like pulsating synth sound coming from something other than a Moog. 06:34 01:07:40 10. Isao Tomita, “The Sea Named Solaris” (1978) from Kosmos. Used the Roland System 700, Roland Strings RS- 202, Roland Revo 30, in addition to Moog Modular III, Moog System 55, and Polymoog synthesizers. 12:28 01:14:11 11. Moebius, “Song For Lya” (1979) from Moebius. Serge, Oberheim, and Minimoog synthesizers, vocals, Bryce Robbley; Serge, Oberheim synthesizers, Doug Lynner; Violin, John Stubbs. Listen closely to tune-out the parts by the Odyssey and Minimoog and you will experience a lovely bed laid down by the Serge. Moebius had three members, one a violinist, heard in this tune blending with the Serge. Although the group used a Sennheiser vocoder on another track, the vocal distortion on this track may have actually been the voice processed with the Serge. 03:15 01:26:42 12. Pascal Languirand, “O Nos Omnes” (1980) from De Harmonia Universalia. Features the Farfisa Synthorchestra, the famous Italian's company entry into the string synthesizer fray. The Syntorchestra was split into two keyboard sections, strings (polyphonic), and mono synth voices. It was a hybrid organ and synthesizer and used much by Klaus Schulze and other German electronic musicians for the short time that it was available from 1975 to 1978. Nine slider controls were positioned next to a 3-octave keyboard and provided some “chaotic” control episodes for this much beloved and rare keyboard. 07:15 01:29:56 13. Henry Kucharzyk, “Play Dot Sam” (1981) from Walk The Line - Three New Works By Henry Kucharzyk. This work is performed at the Samson Box at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, Palo Alto, California. This track is an escapee from the 1970s but nonetheless fills a void in that period when commercial synthesizers were moving to digital technology and were quite expensive. The Samson Box was a computer-based digital synthesizer created in 1977 by Peter Samson, who worked at the university. “Samson” was formally known as the “Systems Concepts Digital Synthesizer. It was a one-off special-purpose dedicated audio computer designed for use by student composers at Center for Computer Research in Musical and Acoustics (CCRMA) at Stanford University. 03:05 01:37:08 14. Terry Riley, “The Ethereal Time Shadow” (1981-82) from Music from Mills. Used two Prophet V synthesizers, tuned to just intonation and employing sequencing. 08:51 01:40:12 Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.
Der nächste Anschlag – und diesmal zeigen sich die Terroristen äusserst brutal und skrupellos. Die Polizei befürchtet eine Eskalation. Und nimmt Josi in die Mangel. Die ist in Gedanken aber noch im Tessin: Wer ist der Fremde, dem sie von der Madonna del Sasso in das abgeschiedene Tal gefolgt ist? Wer das Hörspiel im Radio hören will: Freitag, 16.05.2025, 20.00, Radio SRF 1 Die Songs von «Angry Freedom» wurden eigens für das Hörspiel komponiert und von Tessiner Musikern eingespielt. Der Singer-Songwriter Leo Pusterla konnte für die Komposition (zusammen mit dem Musiker Andrea Manzoni) und den Lead-Gesang gewonnen werden. In der RSI-Version des Hörspiels beweist er zudem schauspielerisches Talent: Er spricht den jungen Giuseppe Marin. Alle weiteren Musikstücke im Hörspiel sind Neukompositionen von Dorotea Crameri. Die junge Zürcherin beendet an der ZHdK gerade ihren Masterstudiengang in Komposition für Film, Theater und Medien und arbeitet parallel dazu schon als Freelancerin für Film und Bühne. ____________________ Mit: Anja Andersen Rüegg (Josi), Andrea Bettini (Giuseppe), Mona Petri (Marie), Samuel Streiff (Popa), Ivan Georgiev (Michele), Urs Jucker (Fabian), Jonas Götzinger (Giuseppe jung), Jonathan Ferrari (Fabio), Lou Haltinner (Marie jung), Michael von Burg (Widmer), Sabina Deutsch (Ursina), Mariananda Schempp (FaGe Nele Messerschmidt), Martin Hug (Peter), Antonio Ramon Luque (Punk), Roberto Turri (Wildhüter), Joey Zimmermann (Stammgast Osteria), Fabio Romano (Barista, Barkeeper, Polizist), Anja Schärer (Sarah), Jakob Fessler (Pietro), Christian Zeugin (Moderator), Hanna Girard (Podcasterin) u.v.a. «Angry Freedom»: Leo Pusterla (Komposition, Text, Gesang, Gitarre), Andrea Manzoni (Komposition, Moog, Mix), Matteo Lorenzi (Drums), Andrea Dominoni (Bass) und Flavio Stroppini (Text) ____________________ Übersetzung aus dem Italienischen: Matteo Emilio Baldi – Komposition: Dorotea Crameri – Tontechnik: Tom Willen – Regie: Susanne Janson – Dramaturgie: Lia Schmieder und Wolfram Höll ____________________ Produktion: SRF/RSI 2024 ____________________ Dauer: 36'
A Strasbourg en mai 1995, Carole Prin, une jeune femme sur le point d'accoucher, disparaît. Elle a appelé son compagnon, Roland, projectionniste dans un cinéma, pour lui dire qu'elle partait à la maternité : elle n'y est jamais arrivée. Depuis, pas de nouvelles. Une information judiciaire pour enlèvement vient d'être ouverte.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
"First you need to know there are no swear words in this show. It was this week back in the 60s when the FBI released a letter stating that there were no curse words in the song Louie Louie. But people keep looking. This is a list of songs that were banned or otherwise maligned because someone was sure the singer was cursing. But there was no curse word. It is a long list."
Und wieder findet ein Anschlag in Zürich statt. Unsicherheit macht sich breit. Und Josis Chef wittert die grosse Story. Doch Josi liefert nicht. Was hält sie zurück? Im Tessin weckt ein namenloser Eigenbrötler das Misstrauen der Einheimischen. Wer das Hörspiel im Radio hören will: Freitag, 09.05.2025, 20.00, Radio SRF 1 Im Hörspiel prallen zwei Welten aufeinander: Hier die Grossstadt Zürich, wo ein Anschlag auf den anderen folgt. Wo sich Unverständnis und Angst in der Bevölkerung breitmachen. Wo die Polizei die Klimaaktivisten in die Mangel nimmt und Josis Arbeitgeber Öl ins Feuer giessen will. Dort ein Tal im Tessin, weit ab vom Schuss, wo ein nicht mehr ganz junger Mann einsam in einem Rustico wohnt, sich mit Wilderei und illegalem Holzschlag über Wasser hält und einmal im Monat zu einer Kapelle fährt und auf jemanden wartet, vergeblich, seit 30 Jahren … ____________________ Mit: Anja Andersen Rüegg (Josi), Andrea Bettini (Giuseppe), Mona Petri (Marie), Samuel Streiff (Popa), Ivan Georgiev (Michele), Urs Jucker (Fabian), Jonas Götzinger (Giuseppe jung), Jonathan Ferrari (Fabio), Lou Haltinner (Marie jung), Michael von Burg (Widmer), Sabina Deutsch (Ursina), Mariananda Schempp (FaGe Nele Messerschmidt), Martin Hug (Peter), Antonio Ramon Luque (Punk), Roberto Turri (Wildhüter), Joey Zimmermann (Stammgast Osteria), Fabio Romano (Barista, Barkeeper, Polizist), Anja Schärer (Sarah), Jakob Fessler (Pietro), Christian Zeugin (Moderator), Hanna Girard (Podcasterin) u.v.a. «Angry Freedom»: Leo Pusterla (Komposition, Text, Gesang, Gitarre), Andrea Manzoni (Komposition, Moog, Mix), Matteo Lorenzi (Drums), Andrea Dominoni (Bass) und Flavio Stroppini (Text) ____________________ Übersetzung aus dem Italienischen: Matteo Emilio Baldi – Komposition: Dorotea Crameri – Tontechnik: Tom Willen – Regie: Susanne Janson – Dramaturgie: Lia Schmieder und Wolfram Höll ____________________ Produktion: SRF/RSI 2024 ____________________ Dauer: 41'
"This week back in 2007 Sammy Hagar sold an 80 percent stake in his Cabo Wabo tequila for $80 million. Since then it seems every musician or band has their own line of booze. Here is a good long list and where you can buy it."
Episode 170 Chapter 29, Buchla Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 29, Buchla Analog Synthesizers from my book Electronic and Experimental music. Playlist: MUSIC MADE WITH BUCHLA ANALOG SYNTHESIZERS Time Track Time Start Introduction –Thom Holmes 01:38 00:00 1. Morton Subotnick, “Prelude No. 4” (1966). Early work for piano and electronic tape using sounds created on the Buchla 100. Pianist, Richard Bunger, recorded in 1973 (Buchla tape from 1966). 05:15 01:40 2. Morton Subotnick, “Silver Apples of the Moon” (Part 1) (1966). First commissioned work of electronic music from Nonesuch Records. 04:23 08:32 3. Gerry Olds, “4/3 + 1” (1967). Jazz mixed with electronics created on the Buchla 100 at a San Francisco Tape Music Center Concert. 11:19 12:58 4. Buffy Sainte- Marie, “Better To Find Out For Yourself” and “The Vampire” (1969). Electronic “settings,” processing of Sainte-Marie's voice and guitar done on Buchla 100 modular systems (3 units) used by Michael Czajkowski at the electronic music studio of NYU. 04:39 24:16 5. Douglas Leedy, “Entropical Paradise” (1970). Sonic environments created by the Moog and Buchla modular synthesizers. 20:09 28:52 6. George Marsh, “Wind Borne” (1973). Prepared Buchla 200 Synthesizer with sequencing, George Marsh. 08:28 49:06 7. David Rosenboom and Donald Buchla, “How Much Better If Plymouth Rock Had Landed On The Pilgrims, Section V” (1978). Buchla modular synthesizers by composer Rosenboom and the inventor himself, Donald Buchla. 22:47 57:34 8. Morton Subotnick, “The Last Dream of the Beast” (1978, 1982, 1984). Featured the Buchla 400. 14:47 01:20:20 9. Mel Powell, “Three Synthesizer Settings” (1981). Moog and Buchla synthesizers. 08:47 01:35:06 10. Morton Subotnick, “A Sky of Cloudless Sulphur, Opening” (1980). Buchla 200 and Subotnick's “ghost shadow electronics.” 11:15 01:43:51 Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.
Ein Mundarthörspiel, das im Tessin und in Zürich spielt. Eine Anschlagsserie erschüttert die Stadt. Die junge Journalistin Josi ermittelt. Spuren führen ins ökoextremistische Lager, aber auch zu einer ehemaligen Punkband. Und dann sogar in Josis eigene Familiengeschichte … Wer das Hörspiel im Radio hören will: Freitag, 02.05.2025, 20.00, Radio SRF 1 Öko-Extremisten werden hinter den Anschlägen vermutet. Doch Josi Amstutz, Mitarbeiterin des rechtsoffenen Magazins «the right news», vermutet, dass die Geschehnisse mit einem Song der Band «Angry Freedom» zusammenhängen. «Angry Freedom», gegründet von italienischen Einwanderern, gehörte in den 1990ern zur New-Wave-Punkszene und musste sich nach einem Konzert mit tödlichem Ausgang auflösen. Josi taucht bei ihren Nachforschungen in eine Ära der Revolte und der Träume ein. Und stösst dabei auf schmerzhafte persönliche Wahrheiten, die sie sich nie hätte träumen lassen. Dabei hat sie doch mit der eigenen Familie schon genug Schwierigkeiten: Ihre Zieheltern sind tot oder dement, ihren Vater kennt sie nicht, und die ihr entfremdete Mutter Marie versucht sich gerade zurück in Josis Leben zu kämpfen. Für dieses Hörspiel haben SRF und RSI zusammengearbeitet. Das gemeinsam entwickelte Manuskript wurde in zwei Versionen produziert: auf Italienisch und auf Deutsch, verbunden durch eine gemeinsame Musik. Ein Hörspielmehrteiler, der Brücken zwischen gestern und heute und zwischen Deutschschweiz und Svizzera italiana schlägt. ____________________ Mit: Anja Andersen Rüegg (Josi), Andrea Bettini (Giuseppe), Mona Petri (Marie), Samuel Streiff (Popa), Ivan Georgiev (Michele), Urs Jucker (Fabian), Jonas Götzinger (Giuseppe jung), Jonathan Ferrari (Fabio), Lou Haltinner (Marie jung), Michael von Burg (Widmer), Sabina Deutsch (Ursina), Mariananda Schempp (FaGe Nele Messerschmidt), Martin Hug (Peter), Antonio Ramon Luque (Punk), Roberto Turri (Wildhüter), Joey Zimmermann (Stammgast Osteria), Fabio Romano (Barista, Barkeeper, Polizist), Anja Schärer (Sarah), Jakob Fessler (Pietro), Christian Zeugin (Moderator), Hanna Girard (Podcasterin) u.v.a. «Angry Freedom»: Leo Pusterla (Komposition, Text, Gesang, Gitarre), Andrea Manzoni (Komposition, Moog, Mix), Matteo Lorenzi (Drums), Andrea Dominoni (Bass) und Flavio Stroppini (Text) ___________________ Übersetzung aus dem Italienischen: Matteo Emilio Baldi – Komposition: Dorotea Crameri – Tontechnik: Tom Willen – Regie: Susanne Janson – Dramaturgie: Lia Schmieder und Wolfram Höll ____________________ Produktion: SRF/RSI 2024 ____________________ Dauer: 41'
There’s two kinds of people when it comes to holidays.Those who are more than happy to spend two straight weeks napping by the pool, and those who struggle with suddenly not having something to do.Osher is most definitely in the latter cohort.In this episode he shares how over time, he’s had to learn a lot about what to do when he’s not working. Mostly because when he goes too hard in either direction (work or play) - it’s not a good time for me or anyone.::Subscribe to Osher’s Substack here: https://oshergunsberg.substack.com/Join Osher and guests for the next live show - Story Club at The Sydney Comedy Festival - tickets at storyclublive.comMay 11 The Comedy Store, Sydney. Ft: Osher GünsbergZoë Norton-LodgeNat’s What I ReckonHannah ReillyBlair Joscleyne (aka Moog)and Gracie OttoSee omnystudio.com/listener for privacy information.
Episode 168 Chapter 28, Moog Analog Synthesizers, Part 1. Works Recommended from my book, Electronic and Experimental Music Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 28, Moog Analog Synthesizers, Part 1 from my book Electronic and Experimental music. Playlist: EARLY MOOG RECORDINGS (BEFORE 1970) Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1. Emil Richards and the New Sound Element, “Sapphire (September)” from Stones (1967). Paul Beaver played Moog and Clavinet on this album by jazz-pop mallet player Richards, who also contributed some synthesizer sounds. 02:21 01:44 2. Mort Garson, “Scorpio” (1967) from Zodiac Cosmic Sounds (1967). Mort Garson and Paul Beaver. Incorporated Moog sounds among it menagerie of instruments. Garson went on to produce many solo Moog projects. 02:53 04:04 3. Hal Blaine, “Kaleidoscope (March)” from Psychedelic Percussion(1967). Hal Blaine and Paul Beaver. Beaver provided Moog and other electronic treatments for this jazzy percussion album by drummer Blaine. 02:20 06:58 4. The Electric Flag, “Flash, Bam, Pow” from The Trip soundtrack (1967). Rock group The Electric Flag. Moog by Paul Beaver. 01:27 09:18 5. The Byrds, “Space Odyssey” (1968) from The Notorious Byrd Brothers (1968). Produced by Gary Usher who was acknowledged for having included the Moog on this rock album, with tracks such as, “Goin' Back” (played by Paul Beaver), “Natural Harmony,” and unreleased track “Moog Raga.” 03:47 10:48 6. The Monkees, “Daily Nightly” from Pisces, Aquarius, Capricorn, and Jones Ltd. (1967). Moog effects provided by Micky Dolenz of the Monkees and Paul Beaver. 02:29 14:40 7. Jean Jacques Perrey and Gershon Kingsley, “The Savers,” a single taken from Kaleidoscopic Vibrations (1967). The first Moog album by this duo known for their electro-pop songs. 01:48 17:08 8. Wendy Carlos, “Chorale Prelude "Wachet Auf" from Switched-On Bach (1968). The most celebrated Moog album of all time and still the gold standard for Moog Modular performances. 03:34 18:54 9. Mike Melvoin, “Born to be Wild” from The Plastic Cow Goes Moooooog (1969). Moog programming by Paul Beaver and Bernie Krause. 03:03 22:28 10. Sagittarius, “Lend Me a Smile” from The Blue Marble (1969). This was a studio group headed by Gary Usher, producer of The Byrds, who used the Moog extensively on this rock album. 03:09 25:30 11. The Zeet Band, “Moogie Woogie” from the album Moogie Woogie(1969). Electronic boogie and blues by an ensemble including Paul Beaver, Erwin Helfer, Mark Naftalin, “Fastfingers” Finkelstein, and Norman Dayron. 02:43 28:40 Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.
Episode 169 Chapter 28, Moog Analog Synthesizers, Part 2. Works Recommended from my book, Electronic and Experimental Music Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 28, Moog Analog Synthesizers, Part 2 from my book Electronic and Experimental music. Playlist: CLASSIC SYNTHESIZER ROCK— FROM TAPE COMPOSITION TO SYNTHESIZERS Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1. The Beatles, “Tomorrow Never Knows” (1966). Tape loops and Lennon's voice fed through the rotating Leslie speaker of a Hammond organ. 02:57 01:42 2. Spooky Tooth and Pierre Henry, “Have Mercy” (1969). Featured tape composition by the French composer of musique concrète as part of a collaborative rock opera. 07:55 04:40 3. Emerson, Lake, & Palmer, “Lucky Man” (1971). Featured the Moog Modular played by Keith Emerson; one of the first rock hits in which a Moog was the featured solo instrument. 04:39 12:34 4. Yes, “Roundabout” (1971). Featured the Minimoog, Mellotron, Hammond Organ and other electronic keyboards played by Rick Wakeman. 08:33 17:10 5. Elton John, “Funeral for a Friend/Love Lies Bleeding” (1973). Featured the ARP 2600 played by Dave Henschel. 11:10 25:42 6. David Bowie, “Speed of Light” (1977). Produced by Brian Eno. Used an EMS AKS synthesizer and Eventide H910 harmonizer for the electronic effects and sounds. 02:47 36:46 7. Gary Wright, “Touch and Gone” (1977). Used Polymoog, Clavinet, Oberheim, and Fender-Rhodes electronic keyboards. 03:58 39:32 8. Gary Numan, “Cars” (1979). Early synth-rock success using electronic keyboards without guitar. Multiple Polymoog synthesizers. 03:52 43:28 9. The Art of Noise, “(Who's Afraid Of?) The Art of Noise” (1984). Art rock devised by Anne Dudley and Trevor Horn exploring the sampling capabilities of the Fairlight CMI. 04:23 47:20 10. Grace Jones, “Slave to the Rhythm” (1985). Featured the Synclavier programmed and played by Trevor Horn. 09:39 51:43 Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.
"We all know the stories of the Beatles, Doors, Dylan and Stones on Ed Sullivan. However, there are a few more good stories you might find interesting. They are not as big at the main stories, but interesting nonetheless."
durée : 00:14:15 - Belle Epoque, Joseph Moog - Dans ce nouvel opus, Joseph Moog partage avec nous un état d'âme sentimental, sa nostalgie d'une époque pleine de créativité et d'exubérance intellectuelle.
durée : 00:14:15 - Belle Epoque, Joseph Moog - Dans ce nouvel opus, Joseph Moog partage avec nous un état d'âme sentimental, sa nostalgie d'une époque pleine de créativité et d'exubérance intellectuelle.
It’s Monday, and Osher’s got a story about the time he traded bagels for having a baby, and the mortifying experience of being emasculated by a plastic cup. Story Club Tickets at storyclublive.comMay 11 The Comedy Store, Sydney.Ft: Osher GünsbergZoë Norton-LodgeNat’s What I ReckonHannah ReillyBlair Joscleyne (aka Moog)and Gracie OttoSee omnystudio.com/listener for privacy information.
"A story about the Payola Hearings came up in a music history feed and it occurred to me that we have never done a show on Payola. It is a rather interesting story of companies acting in their own interest with the backing of the government. You may think Payola is bad but I believe I can change your mind."
Today on another encore episode of the Rarified Heir Podcast, we are talking to musician Jon Klages, grandson of musician and Hi-Fi proponent and record label owner Enoch Light. Our conversation with Jon began with understanding just who his grandfather was. A classically trained musician, Enoch founded his first group, Enoch Light & His Orchestra & later Enoch Light and the Light Brigade before World War II. Wildly popular in upper class New York society, Light went on to found one of the most unique independent record labels, well, ever. Vinyl collectors today will know Light's Command Records & Project 3 firstly for its unique, minimalist artwork from renowned artist Josel Albers. From classical to pop to Space Age Bachelor Pop to popular soundtrack hits and more, Light was nothing if not proficient. From albums like Persuasive Percussion to The Private Life of a Private Eye, Lights albums were visually stunning first and foremost. But take a listen to any of his albums from composers as varied as Doc Severinson, Dick Hyman, Tommy Mottola & the landmark album from The Free Design, the albums were recorded for the best audio fidelity available. The albums sound terrific. We discuss this with Jon & loved hearing about how his own mother played a role in all these recordings too. If you love the Moog, horns, Bossa Nova and more mid-sixties exotica, you must find these albums for your collection. We also talk to Jon about his experiences in the studio with his grandfather as well as his own recordings. Part of the fabled Hoboken indie scene of the 1980s, Jon release a new album in 2021, Fabulous Twilight and has a new album coming in 2025 as well. We discuss how Jon became a singer/songwriter, how his passion for being around music led to a career in it and much more. Plus, we hear much about Jon's father, a seven-time Emmy winner for lighting design who worked with everyone from Muhammad Ali to Ernie Kovacs. This is one episode you do not want to miss and it's happening right now. Take a listen to the Rarified Heir Podcast with Jon Klages, right now.
"At the time of this recording, President Trump has paused the Tariffs but for China. Even so, the tariffs will have a marked effect on the cost of almost everything dealing with music including instruments to records to touring to streaming."
"Tool was just roundly booed off the stage at their own festival. Seems they promised two separate sets over two night and did not deliver. But it is not just them. You will not believe some other bands who were booed off stage as well."
"There are a lot of songs that have famous people in their titles. We wanted to know who some of the lesser known people named in titles are. The internet did not disappoint. We have a good long list."
With no guest and nothin but time to kill, Chaz N Schatz get on to a busy news week, celebrate the release of Rush 50, and get schooled by Geddy Lee himself on the proper way to pronounce Moog. And the wheel gives us Countdown off 1982's Signals. Grab yer toque and let's honor the love we feel for all our Canadian friends on a music-filled episode for all Rushians!And as always, we don't want you to forget rushvault.com and our friends at RushIsABand.com, as well as our sponsors Danforth & Pape and Podcastle.ai , and Rushbot at perplexity.ai. The Scratch List - go see these bands and scratch that itch to hear Rush music live - this list is growing all the time!!UKScotlandMoving Pictures ScotlandRUSHfest ScotlandEnglandLeoni Jane KennedyNorth AmericaUSAYYNOTSecond ContactSteel RevengeSolar FederationAccidental BreakdownRush ArchivesMood LiftersLotus LandDumb LoveVapor TrailRashThe DiscsA Farewell To KingsAnalog KidsSTAVOCanadaRUSHfest CanadaNew World Men2112YYCPermanent WavesSouth AmericaBrazilRUSHfest BrazilRush news, general nonsensical disorderly conduct, lack of regard for correctness or truth, and reckless endangerment of your whole-brain. This is one of two of the only podcasts dedicated to increasing opioid release in your anterior insula, your anterior cingulate cortex (ACC), and your posterior cingulate cortex (PCC), in addition to the basal ganglia and the thalamus...and all that that implies. Some thick North Jersey accents and they give you some royalty-free sound effects and movie clips too - what more do you need to indulge your urge to scratch?! Join us - you know where to scratch - blah, blah...RushRash.
"I very carefully listened to scores of recordings before settling on this one and it captured my imagination instantly. It's incredibly rich and mysterious. What was documented in this field recording transports us, I think, to a place both ancient and instantly present. We hear footfalls climbing rickety stairs. In the distance bells toll. And in the foreground a sonorous voice intones a repeated phrase, mysteriously. It was my clear favourite and I hope we've done it justice. "The recording is from Spain and although Sylvia has visited the country, I have not yet been there myself. We have friends who live in the ancient city of Tarifa and they have often spoken of the magic of this place - particularly the spectacular religious processions and other traditional sacred rituals. The field recording seems to conjure this for us, quite movingly so. I hope my composition and our recording underscores and enhances that sense of mystery, of faith, of ritual. "There is very little enhancement to this particular field recording aside from looping it and lightly adding reverb in places. We were committed to keeping it out front as the most present piece of sound throughout. Listening repeatedly, I began to compose, beginning with an underscoring on synth - a sine pad in a kind of four-voice drone. Using that as our basic track, I continued with further instrumentation: bass, a kind of twinkling, echoing guitar figure and two further tracks of a deep Moog synth played live through a Vox AC-30 amplifier and a large double-speaker cabinet, both parts rising and falling in swells. At that point I sent the track to Sylvia in France. It was the first time she had heard the field recording and, partly of Spanish extraction herself, she instantly recognized it as being from Spain. She added a whispered echo of that mysterious repeated phrase, just the word “siempre”. Sylvia and I continued by recording wordless vocals in four parts, like a distant choir. Finally, Summer's voice joins, rising above them. All of the instrumentation and vocals slowly fade up into the mix in support of the field recording itself, in what we hope illustrates this track's very title - the dream of the trusted watchman of this ancient bell tower. "There is, we hope, a decidedly spiritual component to our work. And this field recording certainly engaged that part of us. Bipolar Explorer is a project begun and now continued in dedication to our cofounder Summer Serafin who passed away age 31 after a tragic accident in 2011. We often say that our work is of, for and about Summer, which is to say that it finds its inspiration and narrative in dedication but also includes her. Our treasure trove of Summer's isolated vocals make it possible to fly her in as we build and compose new works. Indeed, you hear her on this very track. I think that great loss brings us to question what we believe - of our lives, of the world, of what may be beyond. It's a very personal journey but we're all of us on one and sometimes artistic expression can bring that to bear, bring the disparate together so we don't feel so alone. Perhaps (and I personally and fervently believe) there's more to our lives than we can know. Perhaps our lives are more than we can see. Perhaps time is not static. Perhaps in that sense we are forever. These sounds from Spain moved us yet again to compose a piece that we hope reflects that very thing: perhaps we are all forever. Perhaps we get a hint of that in dreams. Bipolar Explorer is Summer Serafin (vocals, spoken word), Michael Serafin-Wells (guitars, bass, sine pad, Moog synth, tape loops, vocals) and Sylvia Solanas (vocals, spoken word). Clerecia Towers, Salamanca reimagined by Bipolar Explorer. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world's most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage
Guest and HostGuest: Seth Cluett, Director of Columbia University's Computer Music Center | On LinkedIn: https://www.linkedin.com/in/seth-cluett-7631065/ | Columbia University Computer Music Center Bio: https://cmc.music.columbia.edu/bios/seth-cluettHost: Sean Martin, Co-Founder at ITSPmagazine and Host of Redefining CyberSecurity Podcast & Music Evolves Podcast | Website: https://www.seanmartin.com/Show NotesMusic and technology have always shaped each other, and few places embody that relationship as deeply as the Computer Music Center (CMC) at Columbia University. In this episode of Music Evolves, Sean Martin sits down with Seth Cluett, Director of the Computer Music Center and Assistant Director of the Sound Art MFA program at Columbia, to explore the center's rich history, its role in advancing music technology, and how it continues to shape the future of sound.The Legacy and Mission of the Computer Music CenterThe CMC is housed in the same 6,000-square-foot space as the original Columbia-Princeton Electronic Music Center, which dates back to 1951 and is one of the world's oldest university-based electronic music research facilities. This was the birthplace of early electronic music, where pioneers learned to use cutting-edge technology to create new sounds. Many of those musicians went on to establish their own studios around the world, from Egypt to Japan.The center has played a role in major milestones in music history, including the work of Wendy Carlos, a former student known for Switched-On Bach, the score for Tron, and The Shining. The first piece of electronic music to win a Pulitzer Prize was also composed here. Today, under Cluett's leadership, the focus remains on creativity-driven technological innovation—allowing composers and artists to explore technology freely and push the boundaries of what's possible in sound and music.One of the center's guiding principles is accessibility. Cluett emphasizes the importance of lowering barriers to entry for students who may not have had prior access to music technology. The goal is to make sure that anyone, regardless of background, can walk into the studio and begin working with 80% of its capabilities within the first 20 minutes.Exploring the Labs and StudiosThe episode also includes a tour of the labs and studios, showcasing some of the center's groundbreaking equipment. One highlight is the RCA Mark II Synthesizer, the world's first programmable music synthesizer. Built in the late 1950s, this massive machine—seven feet tall and weighing over a ton—was instrumental in shaping the sound of early electronic music. The system worked by punching holes into paper to control sound generation, similar to a player piano. While no longer in use, the CMC has collaborated with iZotope to model some of its effects digitally.The tour also features Columbia's electronic music studio, which houses synthesizers from Buchla, Serge, and Moog—the latter being developed by Bob Moog, who was once an undergraduate at Columbia. The center's modern design emphasizes a seamless workflow between analog and digital technologies, allowing students to quickly create, process, and experiment with sound.Another key space is the immersive media and spatial audio research facility, which features a 12.1-channel loudspeaker sphere for ambisonic sound, along with a 32-capsule microphone that captures highly detailed audio environments. This technology is not only shaping music but also fields like virtual reality, data sonification, and interactive media.The Future of Music TechnologyLooking ahead, Cluett highlights the increasing interplay between AI, machine learning, and music composition. While some companies promote AI-generated melodies, he believes that truly expressive, human-driven composition remains essential. The role of technology, he argues, is not to replace human creativity but to enable new forms of expression. The CMC is at the forefront of this shift, experimenting with real-time audio processing, interactive performance systems, and embedded sensors that enhance live music experiences.As music and technology continue to merge, Columbia's Computer Music Center remains a key player in shaping the future of sound. Whether through pioneering hardware, software innovation, or fostering the next generation of creative minds, the center proves that music technology is not just about engineering—it's about expression, accessibility, and the pursuit of artistic joy.
"We hit a thread that listed some songs that were written for revenge. A single Google Search later and we had a good long list. And it is not just Taylor Swift."
Once again, we're diving deep into the Esalen archives to share a fascinating historical recording - this one featuring electronic music pioneer Doug McKechnie. In the late 1960s and early '70s, Doug McKechnie was at the cutting edge of musical innovation, harnessing the revolutionary Moog synthesizer to create mesmerizing sounds. McKechnie was a contemporary of iconic figures like Wendy Carlos, known for the 1968 record "Switched-on Bach," a collection of pieces by Bach that were performed by Carlos on the Moog synthesizer. This album, which won a Grammy for Classical Album of the Year, played a key role in bringing synthesizers to popular music. McKechnie was also tied to the Grateful Dead, contributing to the band's most experimental album, "Aoxomoxoa.” He also played at Altamont, not really a feather in anyone's cap, but it shows the breadth of his growing popularity, and that of the Moog synthesizer. Moogs are characterized by distinctive electronic timbres and pulsating rhythms, as well as hypnotic sequences. They are very much a part of the psychedelia of the late 1960s, fitting right in with the oil light shows, pop art, face paint and neon day glo colors of the time. The Moog's ability to generate evocative psycho-acoustic atmospheres allowed musicians like McKechnie to tap into the exploration of internal landscapes that seemed to naturally occur during psychedelic adventures. The performance you're about to hear was recorded live at Esalen in the late 1960s, preserved for decades on half inch to reel, then dusted off, digitized, and transported to you via the magic of podcasting. So sit back, relax, and let the Moog take you on a trippy auditory journey to a pivotal moment in musical and technological history.
"It seems that lately that are more plane crashes and close calls than we have had in a while. There are many stories of musicians dying in plane crashes but what we have here are stories of survival over multiple crashes and air mishaps."
"This is something we should keep a good eye on. In an effort to become a leading force in AI the government in the UK is strongly considering rewriting their copyright laws to allow all copyrighted material including music to be offered fully to all AI companies. I know it sounds fake but it is not."
It's time for Stan to indulge in his incredibly destructive gambling habit, and with no one to babysit Moog, murder is definitely on the cards! Meanwhile Cabert and Klaudia need to rush back with their shocking news, as soon as they stop at this fancy restaurant, obviously.Dicey Bastards is the actual play D&D podcast for people who want an entire fried octopus in their Bloody Mary. Featuring Drew Hayes, Rick Gualtieri, Robert Bevan, EM Kaplan, MK Gibson, and Steve Wetherell. That's right, the internet's finest comedy fantasy writers who also appear on this podcast!Hey, you're still reading? Excellent! Join us on Patreon or check out our merch store. Money is a prison. Free yourself! Give it to us!Become a supporter of this podcast: https://www.spreaker.com/podcast/authors-dragons-comedy-dnd-podcast--5624719/support.
"Brian Setzer of the Stray Cats announced he is dealing with an unnamed autoimmune disease that has taken his ability to play guitar. This is certainly not the first time something like this has happened. We have a list of musicians who are in a battle that has taken away their ability to play."
Oppenheimer was an indie pop band from Belfast, Northern Ireland. The band was made up of musicians Shaun Robinson and Rocky O'Reilly. Robinson and O'Reilly were previously members of the now disbanded Belfast group, Torgas Valley Reds. They met in 2003, in Belfast. O'Reilly had been mixing sound and recording Torgas Valley Reds, whom Robinson drummed for. Inspired by their mutual love for Moog synthesizers, vocoders, and airhorns, O'Reilly and Robinson formed Oppenheimer in late 2004, using O'Reilly's spare room to record three songs, which they sent to their favourite labels. And lucky for us, they found a home at Bar None Records. Many thanks to Mark at Bar None Records for making this happen.
When Kait Parrish found out she was pregnant with twins, she imagined matching outfits, sibling giggles, and the life she had always dreamed of. Instead, at 24 weeks, she gave birth to two fragile babies fighting for survival in the NICU. Then, two weeks later, she lost one of them.In this raw and deeply personal episode, Kait shares the heartbreak of losing Avery, the terrifying rollercoaster of Addie's early medical battles, and how her perspective on parenting shifted when she became pregnant again. We also talk about the complexity of raising a medically complex child alongside a non-disabled sibling, and the emotions that come with it all.From NICU trauma to navigating life after loss, Kait's story is one of resilience, heartbreak, and unexpected love. If you've ever felt like your parenting journey didn't go as planned, you'll find so much to relate to here.Plus, our 2nd Annual Friends and Family Fundraiser is live! We're not asking for your funds, only that you share this fundraiser with your friends, family, and community that may want to contribute. Thank you so much! We couldn't do this without you!And a big thank you to MOOG, our sponsor for this episode! Links:Help us continue The Rare Life by asking your community to donate to our Friends and Family Fundraiser between Feb 14-Feb 28!Visit MOOG's website to see the many ways they support families like ours!Fill out our contact form to join upcoming discussion groups!Follow Alyssa and Erica at @caffeinated_caregivers!Follow us on Instagram @the_rare_life!Donate to the podcast or Contact me about sponsoring an episode.Follow the Facebook page.Join the Facebook group Parents of Children with Rare Conditions.Access the transcript on the website here.And if you love this podcast, please leave us a rating or review in your favorite podcast app!
"Fred Durst and the members of Limp Bizkit have brought a rather substantial lawsuit against their record company for unpaid royalties. I know it is Limp Bizkit but the suit goes back to before streaming to when artists had lousy deals and if it is upheld in court, could lay bare much of what was going on in the 90s."
"It seems impossible that a judge in Brazil could stop streaming services worldwide from playing a song due to a copyright concern. That is what is happening now to Adele. If other countries stand by the injunction then it could have a rather wide ranging concerns."
"I wrote a book. It is titled We Will Try and Get That On For You. My Life in Personality Radio. It is a memoir of radio in the 80s and 90s when I did it for real. In this show we will tell you where you can get it and play some excerpts from the Audible audio version."
Episode 142 Chapter 04, Electronic Music Composition by Process. Works Recommended from my book, Electronic and Experimental Music Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. Playlist Time Track Time* Start Introduction –Thom Holmes 01:31 00:00 Yves Klein, “Monotone-Silence Symphony” (1947). I could not find any recorded versions of this piece, so I produced this realization of my own to capture the feel and nature of this process work. Klein conceived this as performance art in which an orchestra would only play a single note, continuously, for 20 minutes followed by another 20 minutes of silence. I've examined the score and can see that Klein also intended that the same note could be played in different octaves. The playing would have been staged so that one group of musicians could overlap another, both for reasons of fatigue but also to allow smooth transitions for the wind instruments because players would need to take a breath. My version includes electronic instruments for multiple parts, each part playing the same note, often in different octaves. The introduction of instrumental groups was planned in stages, each overlapping the previous grouping, gradually shortening in duration as the piece goes on. 40:03 01:34 Steve Reich, “It's Gonna Rain” (1965). Process piece using tape loops and phasing. 08:03 41:38 La Monte Young and Marian Zazeela, “31 VII 69 10:26 - 10:49 PM” (1969). Early work employing electronic drones. Eponymous untitled album popularly known as "The Black Record" or "The Black Album" Mine is an original copy. The cover is black gloss print on matt black and very hard to read. Numbered edition limited to 2800 copies of which numbers 1-98 are dated and signed by the artists. This work “was recorded at the date and time indicated in the title, at Galerie Heiner Friedrich, München. The work “31 VII 69 10:26-10:49 PM” is a section of the longer work: Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals Ornamental Lightyears Tracery. Play this side at 33 1/3 rpm only.” Early work employing electronic drones. By the mid-sixties, Young and his partner Marian Zazeela were creating music for electronic drones as an extension of their group, The Theatre of Eternal Music. Using a Heathkit sine wave oscillator and later Moog modules as sources, they created drone pieces that employed “extended duration time signatures” and “long sustained tones, intervals, triads and chords to create the musical texture.” A reissue has now occurred on the label Super Viaduct. 22:49 49:24 Terry Riley, “A Rainbow in Curved Air” (1969). Minimalist process work for electronic organ. 18:46 01:12:08 Steve Reich, “Four Organs” (1970). Process piece for four electronic organs. 24:11 01:31:04 Brian Eno, “Discreet Music” (1975). Process piece for synthesizers. 31:35 01:55:12 David Behrman, “Figure in a Clearing” (1977). Process piece using the KIM- 1 microcomputer 19:13 02:25:30 Laurie Spiegel, “A Harmonic Algorithm” (1980). Self-generating program running on an Apple II computer. 03:08 02:44:48 Alvin Lucier, “Music for Piano with One or More Snare Drums” (1990). Process piece for amplified piano and snare drum. 09:20 02:47:48 Marina Rosenfeld, “Two (Joy of Fear)” (2005). Process piece for a timed improvisational live performance. 10:22 02:56:50 Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.
Dimitri and Khalid resume their dive into the deep history of the synthesizer and electronic music, this time covering the late 1960s-early 1970s explosion of the Moog and Buchla synths into popular consciousness. Topics include: More from Trevor Pinch's “Analog Days”, sus acid test graduations, the faux-apocalyptic “Awareness Festival” held amid race riots at SF State, B-52 bombers turning into butterflies, the Diggers Commune and the sounds of space aliens, the Grateful Dead's pivotal role in sound technology innovation, Moog's coming out party at the 1967 Monterey Pop Festival, heckin' Bernie Krause and the curious Scientologist swinger Paul Beaver selling Moogs in LA, UFO hunting around Mt. Shasta, George Harrison screwing over Bernie to make his shitty electronic album, the impact of Wendy Carlos' seminal “Switched On Bach” album, the question of gender and the synthesizer, the labor anxieties triggered by “Switched On Bach” and the Moog, Suzanne Ciani's long strange Buchla trip, synthesizing the sounds of corporate America throughout the 1970s, human-Buchla cathexis, the feminine approach to synthesis, and more. For access to premium SJ episodes, upcoming installments of DEMON FORCES, and the Grotto of Truth Discord, become a subscriber at patreon.com/subliminaljihad.
"The LA Wildfires have devastated multiple communities. The number of not only musicians but producers and orchestras and studios and engineers affected is vast. There are some big names but mainly those who simply made their living in music. We will talk about it and how you can help if you wish."
"If you use Spotify then you know it gives you a year end rundown of the songs you most listened to. It is called Spotify Wrapped and it is more than just a nice way of saying you are being tracked. It is a successful marketing ploy."
Would a workplace tragedy fundamentally alter your perspective on your career? For Sandra Merritt, CSP, ASP, a workplace fatality became a pivotal moment that redefined her career—and her purpose.In this episode of My Big Safety Challenge, Sandra recounts how the loss of a colleague, which left a four-year-old child fatherless, stirred her to shift her career from environmental management and compliance to the world of safety. Now the Global Health & Safety Manager at Moog, Sandra—known affectionally as Safety Sandy—shares how experiencing a workplace fatality shaped her hands-on approach to safety. Join us as Sandra expounds upon the power of building personal relationships, breaking down the “we've always done it this way” mindset, and navigating the emotional rollercoaster that is the safety profession.
"January 1 was the 2025 Public Domain Day but it goes a bit further. It is not only those works of art that are from 1929. This year the Digital Millennium Act went into effect so other years came into the Public Domain. We will explain."
"The US will inaugurate a new president come January 20. We went back as far as we could to get audio and found who performed at each of the Inaugurations. Plus we play a game. Who did the president defeat in the vote and who was his Vice President. See how you do."
"This is our second show celebrating the anniversaries you'll hear about during 2025. Throughout the show we will have some predictions about music from websites and a few from the Rock School hosts."
"Welcome to 2025! Here is the first of two shows where we look at many of the big music anniversaries of the year ahead."
"Every year we take the last full week of the year and offer a tip of the hat and a raise of the glass to those in the music world who left us. Here are the names from 2024."
Trump's Press Exchange, D.C. Panic, and Drone War Insights On today's episode of the MG Show, hosts Jeffrey and Shannon dive deep into the latest developments from the incoming Trump administration, which has both political parties in D.C. scrambling to cover up their tracks of corruption. President Trump delivers a remarkable press exchange from Mar-A-Lago, where the press corps engaged respectfully, covering key topics like tariffs, the border, and the economy as top priorities. Trump also shared intriguing details from a dinner with Pfizer, RFK, and others focused on lowering drug costs. Additionally, the team explores the fate of Rubio's Senate seat, which DeSantis may control, and Trump's call to end the violence in Ukraine and Russia. With new concerns about drone sightings in New Jersey, Trump canceled a trip to Bedminster and hinted at the government's awareness of the issue. Jeffrey takes the second hour with an in-depth analysis of the drone sightings, suggesting MOOG craft involvement, while Schumer's media appearance pushes the “problem, reaction, solution” narrative. The episode wraps up by discussing overwhelmed psyops and much more. Trump administration, Mar-A-Lago press exchange, tariffs, border security, economy, DeSantis, Rubio Senate seat, drone sightings, MOOG craft, RFK, Pfizer drug costs, Schumer, problem-reaction-solution, psyops, independent journalism, America First, conservative podcast, political insight, factual analysis -----------------
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