American record producer, songwriter, musician, composer and arranger
POPULARITY
5 episodes with nile rogers
3 episodes with nile rogers
4 episodes with nile rogers
3 episodes with nile rogers
2 episodes with nile rogers
2 episodes with nile rogers
2 episodes with nile rogers
2 episodes with nile rogers
2 episodes with nile rogers
PUBLIC VERSION. Filmmaker Mark Anthony Green (OPUS) joins Joe to discuss the making of his debut feature film. From how Mark's former career as a journalist informed the plot of OPUS (now available on VOD)… to the films that inspired him to pursue filmmaking… to the biggest learning curve he experienced transitioning from one medium to another… to the joy of collaborating with actors like John Malkovich, Ayo Edebiri, Murray Bartlett and Parker Posey… to being a leader and collaborator to the point of sweeping his own sets down… to working with legendary musician Nile Rogers on the music… to the film's triumphant premiere at this year's Sundance Film Festival and its subsequent theatrical release… Mark's first time experience is one that every aspiring filmmaker will enjoy hearing about. PLUS Adam returns from Malta to discuss his experience shooting his latest film ASCENT, share some fun anecdotes on the production and explain why the experience made Adam feel so old.
Robert L. Smith is an Oscar and Grammy-winning, Emmy-nominated producer, composer, and engineer. His 35+ years in the music industry also includes work as a composer, director, DJ, videographer, photographer, writer, and public speaker.Based in New York City, his career spans the globe, collaborating with legends from every country. Some recent highlights include “The Get Down” for Netflix, with director Baz Luhrmann, netting a # 1 Billboard single “Telepathy” with Christina Aguilera featuring Nile Rogers and Sia; Tina Arena's # 2 album “Love saves”; Oscar and Grammy wins for the documentary “20 Feet From Stardom”; an ongoing work with Sir PaulMcCartney; production with Peter Asher for Steve Martin's latest “The Long Awaited Album” with the Steep Canyon Rangers, as well as collaborating with Alice Cooper on Pink Floyd's “Wish You Were Here” Symphonic album. Robert is currently working on his memoir, as well as helping artists navigate the ever-changing tides of the music industry.IN THIS EPISODE, YOU'LL LEARN:Studio etiquette Navigating work/life balanceWorking smarter, not harderManaging expectations in the studioFinding mentorsWorking all of the roles in a production vs. only oneGainstaging with mixing in mindHow to prepare for sessionsWorking with AerosmithThe importance of a headphone mixWorking on the TV show GleeHow winning a Grammy won't change your lifeSession organizationMixing vocals firstTo learn more about Robert L. Smith, visit: https://defyrecordings.com/Looking for 1-on-1 feedback and training to help you create pro-quality mixes?Check out my coaching program Amplitude and apply to join:https://masteryourmix.com/amplitude/ Want additional help with your music productions?For tips on how to improve your mixes, visit: https://masteryourmix.com/ Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/ Get your copy of my Amazon #1 bestselling books:The Recording Mindset: A Step-By-Step Guide to Creating Pro Recordings From Your Home Studio: https://therecordingmindset.com The Mixing Mindset: The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/ Check out our Sponsors:Want more Mixing or Mastering clients? Communicate your true value with MixFlip: https://mixflip.io/?affiliate=mym Download Waves Plugins here: https://waves.alzt.net/EK3G2K Subscribe to the show:Apple Podcasts: https://podcasts.apple.com/us/podcast/master-your-mix-podcast/id1240842781 Spotify: https://open.spotify.com/show/5V4xtrWSnpA5e9L67QcJej Youtube: http://www.youtube.com/@MasterYourMix Have questions you'd like...
MONOLOGUE Randy Hillier's Triumph: How One Man's Defiance Smashed Ontario's COVID Tyranny NEWSMAKER Chinese Interference, polling manipulation https://www.junonews.com/p/ccp-election-interference-campaign https://www.thestar.com/politics/federal/mark-carneys-liberals-open-up-a-larger-lead-over-pierre-poilievres-conservatives-poll-analysis-suggests/article_71a708df-534f-4787-a86d-99b2e68f99c0.html Jasmin Laine Host of Over Opinionated with Jasmin Laine OPEN LINES THE CULT OF CLIMATE CHANGE REPLAY FROM MARCH 26th, 2025 MONOLOGUE Poisoned Taps and Gutless Bureaucrats: Why Canada Needs an RFK Jr. to Slay the Fluoride Dragon NEWSMAKER Pierre Poilievre and the Conservative's drug policy vs. the NDP/Liberal policies https://www.rebelnews.com/poilievre_slams_radical_liberal_policies_vows_to_defund_drug_dens_and_restore_hope_through_recovery_model Drea Humphrey Rebel News Reporter, BC Bureau Chief OPEN LINES THIS DAY IN ROCK HISTORY Audio: Lay Lady Lay – Bob Dylan Let's Dance – David Bowie April 9, 1969, folk star Bob Dylan reinvented himself with the release of his ninth studio album, Nashville Skyline. The album was a sonic and stylistic pivot from his earlier work and found Dylan immersing himself in country music. In 1983, David Bowie's “Let's Dance” became the shapeshifting artist's first single to top the charts on both sides of the Atlantic. The funky track, which was produced by Chic's Nile Rogers and featured guitarist Stevie Ray Vaughan, rebooted Bowie's career with a new generation of fans. Learn more about your ad choices. Visit megaphone.fm/adchoices
Nile Rogers of Chic Live on Game Changers With Vicki Abelson This sit-down with my old friend, multiple Grammy Winner, Rock & Roll Hall Inductee, Songwriters Hall of Fame Inductee, composer, producer, arranger, and guitarist, Nile Rogers, is SOLID GOLD… more like triple platinum. Even though we never exchanged more than a few words in the handful of times he graced my jams back in the day, there was always DHM (deep hidden meaning), as there always is with Nile. This day, we got to that and so much more. STORIES! Oh my lord, No one tells ‘em like Nile. Case in point, his tome, Le Freak, may be the greatest memoir I've read. I could not put the thing down. When was the last time I read a book cover to cover in less than 24 hours? A rare score on Amazon these days, Nile's assured he'll be updating and republishing. It's a MUST-read for music fans, flower children, and anyone who loves to sink their teeth into a great story, well-told. Nile covered his very humble early days, his barely older than him mother, the drugs, the bi-coastal extended family, the moves, the schools, early influences from Coltrane to The Beatles, flute to clarinet to guitar… how Bernard Edwards got him to the Hitmaker Strat and chucking, which has become synonymous with Nile's style. We talked the DHM, the breakdown, the Chic magic as well as the music during and since… producing the top of the top for Sister Sledge, Diana Ross, Madonna, David Bowie, Duran Duran, still winning Grammys and kicking it with Daft Punk, Beyonce, and Cold Play, to name but a few, 750 MILLION albums worth. Say what? We got the sweetest stories about Michael Jackson… a funny with Keith Richards, a Grace Jones impression, and a scary story about Nile's coke psychosis leading to him bottoming out and getting clean and sober. 31 years worth and counting… That Nile was able to do all that he's done, and it's Herculean - aside from the massive number of hits, the films he's scored, the shows he's played, there's the We Are Family Foundation, Chairing the Songwriters Hall of Fame, receiving the 2024 World Economic Forum's Crystal Award for his extraordinary efforts to make the world a more peaceful, equal, and inclusive place… Nile is a humanist, a gentle soul with a heart of platinum like the records that line his walls. I've always admired, respected, and adored Nile. After reading Le Freak, and spending this time with him, I cherish him all the more. What a man, what a man, what a mighty fine man! Nile Rogers of Chic Live on Game Changers With Vicki Abelson Wednesday, 4/2/25, 11AM PT, 2 PM ET Streamed Live on my Facebook and on my YouTube FB Replay here: https://bit.ly/4cmPP2u YouTube replay here: https://www.youtube.com/watch?v=q875x2lVyLE
Sun, 16 Mar 2025 12:05:00 +0000 https://jungeanleger.podigee.io/2090-song-62-spoken-rappers-delight 5ed2aa05aeb4791662fb5139d71497d7 Der Super Me Sunday auf audio-cd.at mit einer weiteren Facette: Denn ja, im egoth-Verlag wird 2025 ein Buch über mich mit ca. 350 Seiten erscheinen. Dies zum Fanboy-Status in den Bereichen Wiener Börse, Sport, Musik (und mehr). Musik ist mir extrem wichtig, aktiv wie passiv und leider erlaubt Spotify das Publishen von reinen Songs und Eigenkompositionen nicht mehr so wirklich, da braucht man Musiker-Accounts. Daher erzähle ich nun einfach was zu den Lieblingssongs, verbinde mit Coming of Age, darf mich bei Markus Dressen wie auch fürs Buch inspirieren lassen und selbst mal ansingen. Heute geht es um Rappers Delight von der Sugarhill Gang, ich verbinde das mit meinem Nicht-Genügend- und meinem Auswendig-Lern-Rekord, dem Sampling, Nile Rogers, mit einem trashigen Video im Hallenbad sowie einem Personal Fixpunkt beim Karaoke. Rappers Delight @Top Pop (Hallenbad): https://www.youtube.com/watch?v=zer0tlE4zGQ Fanboy Buch to come: https://photaq.com/page/index/4142/ https://markusdreesen.de/featured-content/100malmusiklegenden/ Project Mike: https://open.spotify.com/artist/17xd2JUVuvg3paLtINRSkE - mehr Songs: https://www.audio-cd.at/songs - Playlist mit ein paar unserer Songs: https://open.spotify.com/playlist/63tRnVh3aIOlhrdUKvb4P Bewertungen bei Apple (oder auch Spotify) machen mir Freude: http://www.audio-cd.at/apple http://www.audio-cd.at/spotify 2090 full no Christian Drastil Comm. 422
ILYASAH AL SHABAZZ – Third daughter of Malcolm X and Dr. Betty Shabazz, is an educator, social activist, motivational speaker, and author of award winning publications: (1) Growing Up X (Random House) a coming of age memoir; (2) Malcolm Little (Simon & Schuster), a children's illustration book and (3) X, A Novel (Candlewick Press) a young adult historical fiction. Ilyasah promotes higher education for at-risk youth, interfaith dialogue to build bridges between cultures for young leaders of the world, and she participates on international humanitarian delegations. Ilyasah produced training programs to encourage higher education sanctioned by City University of New York's Office of Academic Affairs. She served for twelve years on the Executive Youth Board for the City of Mount Vernon, including appointments as Director of Public Relations, Director of Public Affairs & Special Events, and later promoted to Director of Cultural Affairs. She is a member of the Diversity, Equity and Inclusion Committee at West Virginia University. She is a mentor for Nile Rogers' We Are Family Foundation. She mentors at various group homes, lock-up facilities, high schools and college campuses through production of The WAKE-UP Tour™ X-Tra Credit Forums—her exclusive youth empowerment program. Ilyasah has retraced her father's footsteps to the Holy City of Mecca, explored religious and historical sites in both Egypt and Jordan as the guest of HRH Princess Alia Hussein, participated in interfaith dialogue study programs under Rabbi Nancy Kreimer and Dr. Aziza Al Hibri, and served as member of the American Interfaith Leadership delegation that participated with the Malaria No More Foundation in Mali, West Africa. Ilyasah also served as a member of the United States delegation that accompanied President Bill Clinton to South Africa to commemorate election of President Nelson Mandela and the economic business development initiative. Ilyasah serves as Trustee for the Harlem Symphonic Orchestra, The Malcolm X & Dr. Betty Shabazz Memorial and Educational Center, and The Malcolm X Foundation. She is a member of the Arts Committee for the New York City Opera at Lincoln Center and a project advisor for the PBS award-winning Prince Among Slaves documentary. She holds a Master of Science in Education & Human Resource Development from Fordham University and a Bachelor of Science in Biology from SUNY/New Paltz. Ilyasah is currently an adjunct professor at John Jay College of Criminal Justice, and resides in Westchester County, New York.For further information, please contact, Dr. Jamal Watson, at jamal@ilyasahshabazz.comwww.ilyasahshabazz.com http://Twitter.com/ilyasahshabazzX: A NOVEL, Candlewick Press. (1/2015) MALCOLM LITTLE, Simon & Schuster. (1/2014) GROWING UP X, Random House. (1/2002)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.
Hello and thanks for joining us on another journey through music on Trve. Cvlt. Pop!On this week's show we're joined by Cam Humphreys, AKA Love is Noise, who takes our challenge of picking 5 albums with no criteria at all. Cam has a new album out called To Live in a Different Way and we thoroughly suggest you go listen to it.Cam talks to us about his musical journey through 5 albums that take in arena metal, shoegaze emo, metallic hardcore, alternative rock and tech-metal.There's also a review of the recent Justice show at Alexandra Palace, chat on the Kendrick Lamar Super Bowl Half-Time Show and a lost banger penned by Nile Rogers and performed by Carly Simon.
Stand Up is a daily podcast that I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 700 awesome, curious, kind, funny, brilliant, generous souls Check out StandUpwithPete.com to learn more GET TICKETS TO PODJAM II In Vegas March 27-30 Confirmed Guests! Professor Eric Segall, Dr Aaron Carroll, Maura Quint, Tim Wise, JL Cauvin, Ophira Eisenberg, Christian Finnegan and More! Born in the Great State of New Jersey, Dean Obeidallah's comedy comes in large part from his unique background of being the son of a Palestinian father and a Sicilian mother. Dean, an award winning comedian who was at one time a practicing attorney, co-starred on Comedy Central's “The Axis of Evil” Comedy TV special. He is the co-creator of Comedy Central.com's critically acclaimed Internet series “The Watch List” featuring a cast of all Middle Eastern-American comedians performing stand up and sketch comedy. Dean has appeared twice on ABC's “The View,” on the nationally syndicated TV series “Comics Unleashed with Byron Allen” and was one of five comedians profiled in the recent one hour TV Special entitled: “Stand Up: Muslim-American Comics Come of Age” which aired in the US on PBS and internationally on BBC World and Al Jazeera. Dean co-directed and co-produced the award winning documentary “The Muslims Are Coming!” featuring a tour of American-Muslim comedians performing free comedy shows across the heartland of America in the hopes of using comedy to foster understanding and dispel misconceptions about Muslims. The film also features special guest interviews with various well known people including: “The Daily Show's” Jon Stewart and Assif Mandvi, Russell Simmons, Soledad O'Brien and Ali Velshi, MSNBC's Rachel Maddow, comedians Lewis Black, David Cross, Lizz Winstead and Colin Quinn as well as Congressman Keith Ellison, and many more. The film is now available on Netfilx, iTunes and Amazon. Dean co-created the comedy show “Stand up for Peace” along with Jewish comic Scott Blakeman which they perform at colleges across the country in support of peace in the Middle East and as a way of fostering understanding between Arab, Muslim and Jewish-Americans. He is writes for MSNBC, CNN and The Daily Beast as well as other publications. Dean is also the co-creator and co-producer of the New York Arab-American Comedy Festival .He is also proud to serve as the Executive Director of The Amman Stand up Comedy Festival – the first stand up comedy festival ever held in the Middle East Dean is proud to have received the first annual “Bill Hicks Spirit Award” for “thought provoking comedy” (named after the late comedian Bill Hicks) from the NY Underground Comedy Festival and the Hicks' Family. See John on the Sexy Liberal show this Saturday https://sexyliberal.com/ He's been murdered on CSI, interviewed 2 Beatles on separate continents in the same week, and famously once got Mitt Romney's advisor to call Governor Romney an 'etch a sketch' on CNN. Actor, comedian & broadcaster John Fugelsang hosts 'Tell Me Everything" weekdays on SiriusXM Insight #121. He recently performed in 'The Bill of Rights Concert" alongside Lewis Black & Dick Gregory which aired on AXS. He's also appeared at Montreal's ‘Just for Laughs' Festival, HBO's U.S Comedy Arts Festival in Aspen, hosted America's Funniest Home Videos for ABC and Bill Maher called him ‘one of my favorite comedians'. Film/TV credits include 'Price Check' opposite Parker Posey, "Becker," "Providence," "Coyote Ugly," the religious standup performance film "The Coexist Comedy Tour" (which won Best Documentary at the NYC Vision Fest film festival). He appears in the upcoming features "The Girl On The Train," "Maggie Black," and he plays two roles in the romantic comedy ‘The Whole Truth' starring Elisabeth Rohm and Eric Roberts. He's interviewed Paul McCartney, Bruce Springsteen, Pete Townshend, Brian Wilson, Yoko Ono, Willie Nelson, Tony Bennett, Alan Rickman, Joey Ramone, Carlos Santana, James Taylor, Bo Diddley, Stevie Nicks, Robbie Robertson, Ravi Shankar, Beyonce Knowles, Olivia Harrison, Garth Brooks, William Hurt, Helen Hunt, Ashanti, John Fogerty, William Shatner, Sen. Trent Lott, Sen. Tom Daschle, Sen. Bernie Sanders, Ed Asner, Nile Rogers, Michael Moore, JK Simmons, Valerie Plame, Ethan Hawke, Brian Dennehy, Mavis Staples, Joel Grey, David Crosby, Graham Nash, Lily Tomlin, Dave Matthews, Terrence McNally, Stanley Tucci, Michael Shannon, Noel Gallagher, Jeff Daniels, Rita Moreno, & Carl Reiner. His interview with George Harrison included JF persuading George to play several songs on acoustic guitar. This proved to be George's final televised appearance and was broadcast as "The Last Performance." His new film "Dream On," a road trip in search of the American Dream, was named "Best Documentary" at the NY Independent Film Festival. Directed by 2 time Oscar nominee Roger Weisberg, the film examines the current state of the American Dream while retracing the journey Alexis de Tocqueville made while writing 'Democracy in America.' The film features 200 interviews in 55 cities in 17 states, including Mike Huckabee, Barney Frank & Paul Krugman and premieres on PBS Election Day Eve. The Stand Up Community Chat is always active with other Stand Up Subscribers on the Discord Platform. Join us Thursday's at 8EST for our Weekly Happy Hour Hangout! The Stand Up Community Chat is always active with other Stand Up Subscribers on the Discord Platform. Join us Thursday's at 8EST for our Weekly Happy Hour Hangout! Pete on Threads Pete on Tik Tok Pete on YouTube Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page All things Jon Carroll Follow and Support Pete Coe Buy Ava's Art Hire DJ Monzyk to build your website or help you with Marketing
Continuing the journey through time this week going back a further 10 years with 1985 including songs from James Brown, Maze and Nile Rogers.For more info and tracklisting, visit: https://thefaceradio.com/lock-and-stockTune into new broadcasts of Lock And Stock, Thursday from 4 – 6 PM EST / 9 -11 PM GMT.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.
Returning to albumtoalbum for a long-overdue reunion is renowned actor, occasional Dalek and author of The Complete David Bowie, Nicholas Pegg. Nick's an old friend of the podcast and has tackled some of David Bowie's most acclaimed albums in previous episodes - as well as exploring entire eras (our 198More series of chats take an overview of Bowie's singles, soundtracks and various off-extramural activities 1981 - 1989). Now, he's back to tackle one of the most challenging artefacts in the Bowie oeuvre - the much-maligned 1984 album Tonight. A rag-tag bag of semi-sentient cover versions, marimbas, an absolutely bracingly brilliant long-form promo video (very 1984) a couple of superb Bowie evergreens, some blue-and-brown-eyed reggae and uncharacteristically insipid production, Tonight might not be the worst album of 1984, but it fell short of what long time Bowie fans had come to expect. Clearly geared to what Bowie assumed were his new Let's Dance-era fans, the album was recorded almost straight after the massive Serious Moonlight tour, without the satisfying thwack that conceptual cohesion and creative conviction characterising Bowie's best work to date. Here, Bowie opted to work with a young British producer, Derek Bramble, who had little awareness of Bowie's work. As Nick says in this episode, Bramble's lack of public profile might have appealed to Bowie, after the megawatt presence of Nile Rogers on Let's Dance. Fair enough. But then, getting happening, in-demand producer, most recently with The Police, Hugh Padgham on board, in the junior role of engineer, wasn't Bowie's brightest idea. In this episode, we kick off by looking back at the lead-up to the album's recording (in Canada), a cast of characters including Derek Bramble, Hugh Padgham, Iggy Pop and Carlos Alomar and the album's first three tracks - Loving The Alien, Don't Look Down and the unforgettable cover version of the Beach Boys' God Only Knows. With thanks to Nicholas Pegg, and Leah Kardos for the background music. During the conversation, we have references from Chris O'Leary, Charles Shaar Murray and that Bowie resource par excellence, bowiebible.com
Legendary musician, composer and producer Brian Eno has turned his attention to the climate crisis. In 2021 he founded the ground-breaking organisation EarthPercent, a charity which aims to raise $100m by 2030. The money - from royalties of partner artists - is being used to reduce the environmental impact of the music industry, as well as restoring nature, advancing policy change and securing "climate justice and fair environmental stewardship." Among the musicians with whom he is currently collaborating are Coldplay, CHVRCHES, Nile Rogers, Anna Calvi, Louis VI and Michael Stipe. A rare honour, listeners are welcomed inside the hallowed soundproofed walls of his London studio, where they experience first-hand the recording methods of his latest project.
Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 700 awesome, curious, kind, funny, brilliant, generous souls Check out StandUpwithPete.com to learn more Born in the Great State of New Jersey, Dean Obeidallah's comedy comes in large part from his unique background of being the son of a Palestinian father and a Sicilian mother. Dean, an award winning comedian who was at one time a practicing attorney, co-starred on Comedy Central's “The Axis of Evil” Comedy TV special. He is the co-creator of Comedy Central.com's critically acclaimed Internet series “The Watch List” featuring a cast of all Middle Eastern-American comedians performing stand up and sketch comedy. Dean has appeared twice on ABC's “The View,” on the nationally syndicated TV series “Comics Unleashed with Byron Allen” and was one of five comedians profiled in the recent one hour TV Special entitled: “Stand Up: Muslim-American Comics Come of Age” which aired in the US on PBS and internationally on BBC World and Al Jazeera. Dean co-directed and co-produced the award winning documentary “The Muslims Are Coming!” featuring a tour of American-Muslim comedians performing free comedy shows across the heartland of America in the hopes of using comedy to foster understanding and dispel misconceptions about Muslims. The film also features special guest interviews with various well known people including: “The Daily Show's” Jon Stewart and Assif Mandvi, Russell Simmons, Soledad O'Brien and Ali Velshi, MSNBC's Rachel Maddow, comedians Lewis Black, David Cross, Lizz Winstead and Colin Quinn as well as Congressman Keith Ellison, and many more. The film is now available on Netfilx, iTunes and Amazon. Dean co-created the comedy show “Stand up for Peace” along with Jewish comic Scott Blakeman which they perform at colleges across the country in support of peace in the Middle East and as a way of fostering understanding between Arab, Muslim and Jewish-Americans. He is writes for MSNBC, CNN and The Daily Beast as well as other publications. Dean is also the co-creator and co-producer of the New York Arab-American Comedy Festival .He is also proud to serve as the Executive Director of The Amman Stand up Comedy Festival – the first stand up comedy festival ever held in the Middle East Dean is proud to have received the first annual “Bill Hicks Spirit Award” for “thought provoking comedy” (named after the late comedian Bill Hicks) from the NY Underground Comedy Festival and the Hicks' Family. Stand Up is a daily podcast that I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 700 awesome, curious, kind, funny, brilliant, generous souls Check out StandUpwithPete.com to learn more See John on the Sexy Liberal show this Saturday https://sexyliberal.com/ He's been murdered on CSI, interviewed 2 Beatles on separate continents in the same week, and famously once got Mitt Romney's advisor to call Governor Romney an 'etch a sketch' on CNN. Actor, comedian & broadcaster John Fugelsang hosts 'Tell Me Everything" weekdays on SiriusXM Insight #121. He recently performed in 'The Bill of Rights Concert" alongside Lewis Black & Dick Gregory which aired on AXS. He's also appeared at Montreal's ‘Just for Laughs' Festival, HBO's U.S Comedy Arts Festival in Aspen, hosted America's Funniest Home Videos for ABC and Bill Maher called him ‘one of my favorite comedians'. Film/TV credits include 'Price Check' opposite Parker Posey, "Becker," "Providence," "Coyote Ugly," the religious standup performance film "The Coexist Comedy Tour" (which won Best Documentary at the NYC Vision Fest film festival). He appears in the upcoming features "The Girl On The Train," "Maggie Black," and he plays two roles in the romantic comedy ‘The Whole Truth' starring Elisabeth Rohm and Eric Roberts. He's interviewed Paul McCartney, Bruce Springsteen, Pete Townshend, Brian Wilson, Yoko Ono, Willie Nelson, Tony Bennett, Alan Rickman, Joey Ramone, Carlos Santana, James Taylor, Bo Diddley, Stevie Nicks, Robbie Robertson, Ravi Shankar, Beyonce Knowles, Olivia Harrison, Garth Brooks, William Hurt, Helen Hunt, Ashanti, John Fogerty, William Shatner, Sen. Trent Lott, Sen. Tom Daschle, Sen. Bernie Sanders, Ed Asner, Nile Rogers, Michael Moore, JK Simmons, Valerie Plame, Ethan Hawke, Brian Dennehy, Mavis Staples, Joel Grey, David Crosby, Graham Nash, Lily Tomlin, Dave Matthews, Terrence McNally, Stanley Tucci, Michael Shannon, Noel Gallagher, Jeff Daniels, Rita Moreno, & Carl Reiner. His interview with George Harrison included JF persuading George to play several songs on acoustic guitar. This proved to be George's final televised appearance and was broadcast as "The Last Performance." His new film "Dream On," a road trip in search of the American Dream, was named "Best Documentary" at the NY Independent Film Festival. Directed by 2 time Oscar nominee Roger Weisberg, the film examines the current state of the American Dream while retracing the journey Alexis de Tocqueville made while writing 'Democracy in America.' The film features 200 interviews in 55 cities in 17 states, including Mike Huckabee, Barney Frank & Paul Krugman and premieres on PBS Election Day Eve. The Stand Up Community Chat is always active with other Stand Up Subscribers on the Discord Platform. Join us Thursday's at 8EST for our Weekly Happy Hour Hangout! The Stand Up Community Chat is always active with other Stand Up Subscribers on the Discord Platform. Join us Thursday's at 8EST for our Weekly Happy Hour Hangout! Pete on Threads Pete on Tik Tok Pete on YouTube Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page All things Jon Carroll Follow and Support Pete Coe Buy Ava's Art Hire DJ Monzyk to build your website or help you with Marketing
Episode 124. The Emporium brings you the music of Status Quo, Billy Idol, The Stone Roses, Siouxsie & The Banshees, Imani Copolla, Pale Waves, Daft Punk featuring Pharrell Williams & Nile Rogers, Joss Stone, Avery Anna, Deep Purple, The Rolling Stones and Florence & The Machines.
INJI came by to talk about her first song "Gaslight" going viral, new EP WE GOOD, what it takes to be "SEXY 4EVER" with Nile Rogers, growing up in Turkey and attending business school in Philadelphia and more!INJI is a Turkish singer and songwriter who burst into the dance-pop music scene almost by accident. Born in Istanbul and having spent time in the UK as a teen, Inji came to America to attend the no. 1 business school in the US at the University of Pennsylvania where she studied fiance. Despite being a classically trained pianist, Inji didn't see a career in music as a possibility until a just-for-fun track she created with a friend went mega-viral on TikTok. She eventually released the track as her debut single, “GASLIGHT” in 2022. But it was the success of subsequent singles “MADELINE” and “BELLYDANCING,” that convinced her that she had something there. Subsequently, Inji quit her consulting job and decided to lean into the power of loosening up, resulting in her 2023 debut EP “LFG”.Stream "WE GOOD" ►► https://inji.ffm.to/wegoodYou can always leave us a voicemail - (262) 515-9224!Follow Us On Social!TikTokTwitterInstagramFacebookFollow ZachFollow DanSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Dan and Sam talk about the 2024 Paris Olympics and there are the usual features Chart Toppers Through Time and the newly named Mark's Seven Sevens at Seven. My Oh My - Kylie Minogue, Be Be Rexha and Tove Lo Angel Of My Dreams - JADE Gypsy Woman (She's Homeless) Crystal Waters Black Friday (Pretty The Sun) - Tom Odell and Lost Frequencies Chart Toppers Through Time I Believe - Frankie Laine (The 50s) Help - The Beatles (The 60s) You're The One That I Want - John Travolta and Olivia Newton-John (The70s) The Winner Takes It All - Abba (The 80s) Wannabe - The Spice Girls (The 90s) Hips Don't Lie - Shakira ft Wyclef Jean (The 00's) Spectrum - Florence plus The Machine (The 10s) Head and Heart - Joel Corry and MNEK (The 20s) Ghosts - Laura Marlin Patterns - Laura Marlin Mark's Seven Sevens at Seven Love's Not Just An Illusion - Evelyn Thomas Where Is Someone To Love Me - Cheryl Ladd It'll All Come Around - Patsy Gallant Every Kinda People - Robert Palmer The Edge Of Heaven - Wham Wake Up And Make Love To Me - Ian Dury and the Blockheads Wot - Captain Sensible You Should Be... - Blockster Shake Your Head (Dub Mix) - Was (Not Was) with Steve 'Silk' Hurley Justified and Ancients - KLF and Tammi Wynett Olympics 2024 Mix Harder, Better, Faster, Stronger - Daft Punk Can I Kick It? - A Tribe Called Quest Jump Around - House Of Pain Fighter - Christina Aguilera Ride Like The Wind - Christopher Cross The Stars Of Track And Field - Belle and Sebastian I Love Paris - Ella Fitzgerald Ca Plane Pour Moi - Plastic Betrand La Seine and I - Vanessa Paradis and Sean Ono-Lennon Chariots of Fire - Vangelis Gold - Spandau Ballet We Are The Champions - Queen It's Not Right (But It's Ok) - MrBelt and Wezol These Words - Badger and Natasha Bedingfield Honey Boy - Purple Disco Machine and Benjamin Ingrosso ft Nile Rogers and Shenseea Please, Please, Please - Sabrina Carpenter Close To Heaven - Pet Shop Boys Good Luck, Babe! - Chappell Roan
Stand Up is a daily podcast that I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 700 awesome, curious, kind, funny, brilliant, generous souls Check out StandUpwithPete.com to learn more See John on the Sexy Liberal show this Saturday https://sexyliberal.com/ He's been murdered on CSI, interviewed 2 Beatles on separate continents in the same week, and famously once got Mitt Romney's advisor to call Governor Romney an 'etch a sketch' on CNN. Actor, comedian & broadcaster John Fugelsang hosts 'Tell Me Everything" weekdays on SiriusXM Insight #121. He recently performed in 'The Bill of Rights Concert" alongside Lewis Black & Dick Gregory which aired on AXS. He's also appeared at Montreal's ‘Just for Laughs' Festival, HBO's U.S Comedy Arts Festival in Aspen, hosted America's Funniest Home Videos for ABC and Bill Maher called him ‘one of my favorite comedians'. Film/TV credits include 'Price Check' opposite Parker Posey, "Becker," "Providence," "Coyote Ugly," the religious standup performance film "The Coexist Comedy Tour" (which won Best Documentary at the NYC Vision Fest film festival). He appears in the upcoming features "The Girl On The Train," "Maggie Black," and he plays two roles in the romantic comedy ‘The Whole Truth' starring Elisabeth Rohm and Eric Roberts. He's interviewed Paul McCartney, Bruce Springsteen, Pete Townshend, Brian Wilson, Yoko Ono, Willie Nelson, Tony Bennett, Alan Rickman, Joey Ramone, Carlos Santana, James Taylor, Bo Diddley, Stevie Nicks, Robbie Robertson, Ravi Shankar, Beyonce Knowles, Olivia Harrison, Garth Brooks, William Hurt, Helen Hunt, Ashanti, John Fogerty, William Shatner, Sen. Trent Lott, Sen. Tom Daschle, Sen. Bernie Sanders, Ed Asner, Nile Rogers, Michael Moore, JK Simmons, Valerie Plame, Ethan Hawke, Brian Dennehy, Mavis Staples, Joel Grey, David Crosby, Graham Nash, Lily Tomlin, Dave Matthews, Terrence McNally, Stanley Tucci, Michael Shannon, Noel Gallagher, Jeff Daniels, Rita Moreno, & Carl Reiner. His interview with George Harrison included JF persuading George to play several songs on acoustic guitar. This proved to be George's final televised appearance and was broadcast as "The Last Performance." His new film "Dream On," a road trip in search of the American Dream, was named "Best Documentary" at the NY Independent Film Festival. Directed by 2 time Oscar nominee Roger Weisberg, the film examines the current state of the American Dream while retracing the journey Alexis de Tocqueville made while writing 'Democracy in America.' The film features 200 interviews in 55 cities in 17 states, including Mike Huckabee, Barney Frank & Paul Krugman and premieres on PBS Election Day Eve. The Stand Up Community Chat is always active with other Stand Up Subscribers on the Discord Platform. Join us Thursday's at 8EST for our Weekly Happy Hour Hangout! The Stand Up Community Chat is always active with other Stand Up Subscribers on the Discord Platform. Join us Thursday's at 8EST for our Weekly Happy Hour Hangout! Pete on Threads Pete on Tik Tok Pete on YouTube Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page All things Jon Carroll Follow and Support Pete Coe Buy Ava's Art Hire DJ Monzyk to build your website or help you with Marketing
Hello and welcome back to another Trve. Cvlt. Pop! a music podcast. On this weeks show, Steve and Gaz are pitting songs against each other in a fight to the death (well... a polite discussion actually) as to what is the definitive anthem of a certain subgenre. So, what is the definitive thrash rager, the song that encapsulates the spirit of UK punk rock, the song most likely to get your Auntie on the dancefloor, the ultimate defiant pride anthem or the winner of the battle of Brit-pop? This and more is discussed, just for fun like, they don't win anything.Also, Dave Grohl had a pop at Taylor Swift, Swifties reacted in a totally normal and measured way as per, Steve saw Nile Rogers and Sophie Ellis Bextor together, with the pair of them trying to play every single famous song ever made, and we look back at a lost tune from UK grebo legends EMF's post-Unbelievable career, when they tried to go all Faith No More! OH YEAH!!! ★ Support this podcast on Patreon ★
Alfie Templeman is an English singer, songwriter, musician and producer who released his first EP 'Like An Animal' at the age of 15. He released his debutalbum 'Mellow Moon in 2022, which made it to the top spot of the UK indie charts and garnered him a solid following on social media along the way. We had a chance to speak with Alfie about his latest album 'Radiosoul', getting into music at a young age, getting more personal in his songs, working with Nile Rogers, touring vs being at home, and a lot more! interview by Robin Hignell Support the Show.Thank you for listening! For more interviews with your favorite artists visit the FaceCulture YouTube channel.
Birthday boy Disco77 had some great fun putting together this mix for you all after some chicken, waffles and a few sherbets. Enjoy! TRACK LISTING 1) Purple Disco Machine & Benjamin Ingrosso ft Nile Rogers & Sheneesa - Honey Boy 2) Gene Farris - Euphoria 3) Fillipo Fedetto & Marco Giacomelli ft Kathy Nelson - Saturday 4) Clean Bandit ft Jess Glynne - Rather Be (Mark Di Meo Remix) 5) Peter Brown - Funk Heaven (Odyssey Inc remix) 6) Tete De La Course ft Mandy Jones - True 7) ROMBE4T x Doche ft Roland Clark - Don't Wait 8) Haitras - Miamimmita (Low Steppa & Nolek Remix) 9) DJ Apt ft Ssavell - Foda 10) Milk & Sugar - Let The Sun Shine (James Hurr Scorchio Remix) 11) Per QX & BK298 - Closer 12) David Penn & OFFAIAH - Satisfied 13) Folkness, Trimtone feat Alexis Victoria Hall - Hallelujah 14) Mele - And1 15) Tyla - Water (James Queen's Stonebridge Club mix) 16) Raffaella Carra vs Mikks Lauder & Max Hunez - Pedro 17) Kings of Leon - Use Somebody (Zillonaire Remix) Support House Finesse by contributing to their tip jar: https://tips.pinecast.com/jar/housefinesse Find out more at https://housefinesse.pinecast.co This podcast is powered by Pinecast. Try Pinecast for free, forever, no credit card required. If you decide to upgrade, use coupon code r-b0b82e for 40% off for 4 months, and support House Finesse.
This week, we're diving headfirst into the mother lake (the one just outside the British Channel) to submit ourselves to the 3rd LP from english pop songstress DUA LIPA, 'Radical Optimism'! Throughout our track-by-track, we discuss the album's peculiar rollout strategy, *those* single choices, what's next for Dua & try to determine a better title for the record. ALSO discussed: LADY GAGA's Chromatica Ball sponsored by C*vid, KATY PERRY's imminent return (alongside mother monster), BONNIE MCKEE's 'Hot City', WeHo Pride ft. KESHA & KYLIE MINOGUE and the supreme court's hottest new case: BILLIE EILISH v. TAYLOR SWIFT. At the SPA: NELLY FURTADO, TOVE LO & SG LEWIS (Love Bites), MAGDALENA BAY (Death & Romance), MAUDE LATOUR (Cursed Romantics), DEBBII DAWSON (Turn the TV On), VINCINT (Another Lover ft. Adam Lambert), FLO (Caught Up), MADISON ROSE (Paradise), and PURPLE DISCO MACHINE & BENJAMIN INGROSSO (Honey Boy ft. Nile Rogers & Shenseea). NEXT WEEK: 'Hit Me Hard & Soft' by BILLIE EILISH!
Say She She is here and I am still smiling from this super fun conversation I had with this stellar trio!! The amazing Nya, Piya and Sabrina have been close friends for ages, and have finally come together in recent years to combine absolutely enthralling vocals with a vibey funk style they've dubbed "discodelic," and it's totally infectious. Their second album, Silver, released in 2023 has set a high benchmark for this expanding genre. Fun times aside, these stellar women have been touring hard and killing it on stages both large and small, as well as massive shows from Glastonbury in the UK to the Hollywood Bowl to Central Park Summerstage. Their stories from the road are indeed epic but even more importantly, Say She She flies the flag for empowerment, diversity and social awareness; they are a band with a higher purpose, if you will. Their recent song, Norma, written in response to the overturning of Roe v Wade has propelled them speak out and raise money not only for reproductive rights, but also for other important causes such as stricter gun control legislation and climate change awareness. Say She She is a bright light of awesome vibes and feel good music, while setting a shining example for new generations of young women. This interview is as inspiring as it is fun, and I'm all in!!
Say She She is coming off a big, big year. The trio of discodelic sirens released their double album “Silver” late September just shy of one year after their debut “Prism.” They had their national TV debut and played Glastonbury and the Hollywood Bowl, in addition to about 100 other shows, all on the strength of their dancefloor friendly sound and incredible, almost operatic three part harmonies. The threesome — their name is an homage to Nile Rogers and Chic — cites as influences everyone from Rotary Connection to Minnie Riperton to Asha Puthli to Liquid Liquid to Grace Jones and Tom Tom Club. Brooklyn news and views you can use: bkmag.com Email: hello@bkmag.com Follow along on Facebook: Brooklyn Magazine Twitter: @brooklynmag Instagram: @brooklynmagazine Follow Brian Braiker on Twitter: @slarkpope
To mark Halloween, Duran Duran have released Danse Macabre, a “spooky concept” album. Samira talks to Simon Le Bon and John Taylor about working with Nile Rogers, covering The Specials' Ghost Town and taking pop music seriously. This evening Filkin's Drift play the last of almost 50 concerts, concluding their two month that has seen them travel 870 miles…on foot. The duo has walked from gig to gig, carrying their instruments. As they reach Chepstow they tell Samira about their approach to sustainable touring and how this connects with ancient Welsh bardic tradition. Born in 1923, the artist Dobrivoje Beljkasic found refuge in Bristol after the outbreak of the Bosnian War. His daughter Dee Smart and author Priscilla Morris celebrate his life and legacy on the centenary of his birth, marked by a new exhibition in Sarajevo. George Orwell's seminal Nineteen Eighty-Four continues to occupy a lauded, and sometimes controversial, position in political discourse and popular culture three-quarters of a century after it was first written. Sandra Newman discusses reimagining the story from the perspective of Winston Smith's underwritten lover in her new novel, Julia.
Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 700 awesome, curious, kind, funny, brilliant, generous souls See John on the Sexy Liberal show this Saturday https://sexyliberal.com/ 23 mins He's been murdered on CSI, interviewed 2 Beatles on separate continents in the same week, and famously once got Mitt Romney's advisor to call Governor Romney an 'etch a sketch' on CNN. Actor, comedian & broadcaster John Fugelsang hosts 'Tell Me Everything" weekdays on SiriusXM Insight #121. He recently performed in 'The Bill of Rights Concert" alongside Lewis Black & Dick Gregory which aired on AXS. He's also appeared at Montreal's ‘Just for Laughs' Festival, HBO's U.S Comedy Arts Festival in Aspen, hosted America's Funniest Home Videos for ABC and Bill Maher called him ‘one of my favorite comedians'. Film/TV credits include 'Price Check' opposite Parker Posey, "Becker," "Providence," "Coyote Ugly," the religious standup performance film "The Coexist Comedy Tour" (which won Best Documentary at the NYC Vision Fest film festival). He appears in the upcoming features "The Girl On The Train," "Maggie Black," and he plays two roles in the romantic comedy ‘The Whole Truth' starring Elisabeth Rohm and Eric Roberts. He's interviewed Paul McCartney, Bruce Springsteen, Pete Townshend, Brian Wilson, Yoko Ono, Willie Nelson, Tony Bennett, Alan Rickman, Joey Ramone, Carlos Santana, James Taylor, Bo Diddley, Stevie Nicks, Robbie Robertson, Ravi Shankar, Beyonce Knowles, Olivia Harrison, Garth Brooks, William Hurt, Helen Hunt, Ashanti, John Fogerty, William Shatner, Sen. Trent Lott, Sen. Tom Daschle, Sen. Bernie Sanders, Ed Asner, Nile Rogers, Michael Moore, JK Simmons, Valerie Plame, Ethan Hawke, Brian Dennehy, Mavis Staples, Joel Grey, David Crosby, Graham Nash, Lily Tomlin, Dave Matthews, Terrence McNally, Stanley Tucci, Michael Shannon, Noel Gallagher, Jeff Daniels, Rita Moreno, & Carl Reiner. His interview with George Harrison included JF persuading George to play several songs on acoustic guitar. This proved to be George's final televised appearance and was broadcast as "The Last Performance." His new film "Dream On," a road trip in search of the American Dream, was named "Best Documentary" at the NY Independent Film Festival. Directed by 2 time Oscar nominee Roger Weisberg, the film examines the current state of the American Dream while retracing the journey Alexis de Tocqueville made while writing 'Democracy in America.' The film features 200 interviews in 55 cities in 17 states, including Mike Huckabee, Barney Frank & Paul Krugman and premieres on PBS Election Day Eve. Pete on Tik Tok Pete on YouTube Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page All things Jon Carroll Follow and Support Pete Coe
Kamille is a singer, songwriter, and record producer famous for writing songs for Little Mix, Mabel, Clean Bandit and The Saturdays to name a few. Ki & Dee are FANGIRLING in this weeks episode as they are confronted with a real life superstar as Kamille recounts stories from her career, including what Nile Rogers said to Beyonce when he wrote Cuff It (screams). Contact us at kianddee@insanityhq.com. Strictly Love Letters Only. Listen by clicking 'Play' on Apple Podcasts, Spotify, or wherever it is you're listening now. Make sure to Subscribe or Follow, Rate and Review to help others find the podcast and don't forget to check out Ki & Dee on Instagram here. Ki & Dee: The Podcast, this has been an Insanity Studios production. Learn more about your ad choices. Visit megaphone.fm/adchoices
Episode 168 of A History of Rock Music in Five Hundred Songs looks at “I Say a Little Prayer”, and the interaction of the sacred, political, and secular in Aretha Franklin's life and work. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-five-minute bonus episode available, on "Abraham, Martin, and John" by Dion. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many songs by Aretha Franklin. Even splitting it into multiple parts would have required six or seven mixes. My main biographical source for Aretha Franklin is Respect: The Life of Aretha Franklin by David Ritz, and this is where most of the quotes from musicians come from. Information on C.L. Franklin came from Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America by Nick Salvatore. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. Peter Guralnick's Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom is possibly less essential, but still definitely worth reading. Information about Martin Luther King came from Martin Luther King: A Religious Life by Paul Harvey. I also referred to Burt Bacharach's autobiography Anyone Who Had a Heart, Carole King's autobiography A Natural Woman, and Soul Serenade: King Curtis and his Immortal Saxophone by Timothy R. Hoover. For information about Amazing Grace I also used Aaron Cohen's 33 1/3 book on the album. The film of the concerts is also definitely worth watching. And the Aretha Now album is available in this five-album box set for a ludicrously cheap price. But it's actually worth getting this nineteen-CD set with her first sixteen Atlantic albums and a couple of bonus discs of demos and outtakes. There's barely a duff track in the whole nineteen discs. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick warning before I begin. This episode contains some moderate references to domestic abuse, death by cancer, racial violence, police violence, and political assassination. Anyone who might be upset by those subjects might want to check the transcript rather than listening to the episode. Also, as with the previous episode on Aretha Franklin, this episode presents something of a problem. Like many people in this narrative, Franklin's career was affected by personal troubles, which shaped many of her decisions. But where most of the subjects of the podcast have chosen to live their lives in public and share intimate details of every aspect of their personal lives, Franklin was an extremely private person, who chose to share only carefully sanitised versions of her life, and tried as far as possible to keep things to herself. This of course presents a dilemma for anyone who wants to tell her story -- because even though the information is out there in biographies, and even though she's dead, it's not right to disrespect someone's wish for a private life. I have therefore tried, wherever possible, to stay away from talk of her personal life except where it *absolutely* affects the work, or where other people involved have publicly shared their own stories, and even there I've tried to keep it to a minimum. This will occasionally lead to me saying less about some topics than other people might, even though the information is easily findable, because I don't think we have an absolute right to invade someone else's privacy for entertainment. When we left Aretha Franklin, she had just finally broken through into the mainstream after a decade of performing, with a version of Otis Redding's song "Respect" on which she had been backed by her sisters, Erma and Carolyn. "Respect", in Franklin's interpretation, had been turned from a rather chauvinist song about a man demanding respect from his woman into an anthem of feminism, of Black power, and of a new political awakening. For white people of a certain generation, the summer of 1967 was "the summer of love". For many Black people, it was rather different. There's a quote that goes around (I've seen it credited in reliable sources to both Ebony and Jet magazine, but not ever seen an issue cited, so I can't say for sure where it came from) saying that the summer of 67 was the summer of "'retha, Rap, and revolt", referring to the trifecta of Aretha Franklin, the Black power leader Jamil Abdullah al-Amin (who was at the time known as H. Rap Brown, a name he later disclaimed) and the rioting that broke out in several major cities, particularly in Detroit: [Excerpt: John Lee Hooker, "The Motor City is Burning"] The mid sixties were, in many ways, the high point not of Black rights in the US -- for the most part there has been a lot of progress in civil rights in the intervening decades, though not without inevitable setbacks and attacks from the far right, and as movements like the Black Lives Matter movement have shown there is still a long way to go -- but of *hope* for Black rights. The moral force of the arguments made by the civil rights movement were starting to cause real change to happen for Black people in the US for the first time since the Reconstruction nearly a century before. But those changes weren't happening fast enough, and as we heard in the episode on "I Was Made to Love Her", there was not only a growing unrest among Black people, but a recognition that it was actually possible for things to change. A combination of hope and frustration can be a powerful catalyst, and whether Franklin wanted it or not, she was at the centre of things, both because of her newfound prominence as a star with a hit single that couldn't be interpreted as anything other than a political statement and because of her intimate family connections to the struggle. Even the most racist of white people these days pays lip service to the memory of Dr Martin Luther King, and when they do they quote just a handful of sentences from one speech King made in 1963, as if that sums up the full theological and political philosophy of that most complex of men. And as we discussed the last time we looked at Aretha Franklin, King gave versions of that speech, the "I Have a Dream" speech, twice. The most famous version was at the March on Washington, but the first time was a few weeks earlier, at what was at the time the largest civil rights demonstration in American history, in Detroit. Aretha's family connection to that event is made clear by the very opening of King's speech: [Excerpt: Martin Luther King, "Original 'I Have a Dream' Speech"] So as summer 1967 got into swing, and white rock music was going to San Francisco to wear flowers in its hair, Aretha Franklin was at the centre of a very different kind of youth revolution. Franklin's second Atlantic album, Aretha Arrives, brought in some new personnel to the team that had recorded Aretha's first album for Atlantic. Along with the core Muscle Shoals players Jimmy Johnson, Spooner Oldham, Tommy Cogbill and Roger Hawkins, and a horn section led by King Curtis, Wexler and Dowd also brought in guitarist Joe South. South was a white session player from Georgia, who had had a few minor hits himself in the fifties -- he'd got his start recording a cover version of "The Purple People Eater Meets the Witch Doctor", the Big Bopper's B-side to "Chantilly Lace": [Excerpt: Joe South, "The Purple People Eater Meets the Witch Doctor"] He'd also written a few songs that had been recorded by people like Gene Vincent, but he'd mostly become a session player. He'd become a favourite musician of Bob Johnston's, and so he'd played guitar on Simon and Garfunkel's Sounds of Silence and Parsley, Sage, Rosemary and Thyme albums: [Excerpt: Simon and Garfunkel, "I am a Rock"] and bass on Bob Dylan's Blonde on Blonde, with Al Kooper particularly praising his playing on "Visions of Johanna": [Excerpt: Bob Dylan, "Visions of Johanna"] South would be the principal guitarist on this and Franklin's next album, before his own career took off in 1968 with "Games People Play": [Excerpt: Joe South, "Games People Play"] At this point, he had already written the other song he's best known for, "Hush", which later became a hit for Deep Purple: [Excerpt: Deep Purple, "Hush"] But he wasn't very well known, and was surprised to get the call for the Aretha Franklin session, especially because, as he put it "I was white and I was about to play behind the blackest genius since Ray Charles" But Jerry Wexler had told him that Franklin didn't care about the race of the musicians she played with, and South settled in as soon as Franklin smiled at him when he played a good guitar lick on her version of the blues standard "Going Down Slow": [Excerpt: Aretha Franklin, "Going Down Slow"] That was one of the few times Franklin smiled in those sessions though. Becoming an overnight success after years of trying and failing to make a name for herself had been a disorienting experience, and on top of that things weren't going well in her personal life. Her marriage to her manager Ted White was falling apart, and she was performing erratically thanks to the stress. In particular, at a gig in Georgia she had fallen off the stage and broken her arm. She soon returned to performing, but it meant she had problems with her right arm during the recording of the album, and didn't play as much piano as she would have previously -- on some of the faster songs she played only with her left hand. But the recording sessions had to go on, whether or not Aretha was physically capable of playing piano. As we discussed in the episode on Otis Redding, the owners of Atlantic Records were busily negotiating its sale to Warner Brothers in mid-1967. As Wexler said later “Everything in me said, Keep rolling, keep recording, keep the hits coming. She was red hot and I had no reason to believe that the streak wouldn't continue. I knew that it would be foolish—and even irresponsible—not to strike when the iron was hot. I also had personal motivation. A Wall Street financier had agreed to see what we could get for Atlantic Records. While Ahmet and Neshui had not agreed on a selling price, they had gone along with my plan to let the financier test our worth on the open market. I was always eager to pump out hits, but at this moment I was on overdrive. In this instance, I had a good partner in Ted White, who felt the same. He wanted as much product out there as possible." In truth, you can tell from Aretha Arrives that it's a record that was being thought of as "product" rather than one being made out of any kind of artistic impulse. It's a fine album -- in her ten-album run from I Never Loved a Man the Way I Love You through Amazing Grace there's not a bad album and barely a bad track -- but there's a lack of focus. There are only two originals on the album, neither of them written by Franklin herself, and the rest is an incoherent set of songs that show the tension between Franklin and her producers at Atlantic. Several songs are the kind of standards that Franklin had recorded for her old label Columbia, things like "You Are My Sunshine", or her version of "That's Life", which had been a hit for Frank Sinatra the previous year: [Excerpt: Aretha Franklin, "That's Life"] But mixed in with that are songs that are clearly the choice of Wexler. As we've discussed previously in episodes on Otis Redding and Wilson Pickett, at this point Atlantic had the idea that it was possible for soul artists to cross over into the white market by doing cover versions of white rock hits -- and indeed they'd had some success with that tactic. So while Franklin was suggesting Sinatra covers, Atlantic's hand is visible in the choices of songs like "(I Can't Get No) Satisfaction" and "96 Tears": [Excerpt: Aretha Franklin, "96 Tears'] Of the two originals on the album, one, the hit single "Baby I Love You" was written by Ronnie Shannon, the Detroit songwriter who had previously written "I Never Loved a Man (the Way I Love You)": [Excerpt: Aretha Franklin, "Baby I Love You"] As with the previous album, and several other songs on this one, that had backing vocals by Aretha's sisters, Erma and Carolyn. But the other original on the album, "Ain't Nobody (Gonna Turn Me Around)", didn't, even though it was written by Carolyn: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] To explain why, let's take a little detour and look at the co-writer of the song this episode is about, though we're not going to get to that for a little while yet. We've not talked much about Burt Bacharach in this series so far, but he's one of those figures who has come up a few times in the periphery and will come up again, so here is as good a time as any to discuss him, and bring everyone up to speed about his career up to 1967. Bacharach was one of the more privileged figures in the sixties pop music field. His father, Bert Bacharach (pronounced the same as his son, but spelled with an e rather than a u) had been a famous newspaper columnist, and his parents had bought him a Steinway grand piano to practice on -- they pushed him to learn the piano even though as a kid he wasn't interested in finger exercises and Debussy. What he was interested in, though, was jazz, and as a teenager he would often go into Manhattan and use a fake ID to see people like Dizzy Gillespie, who he idolised, and in his autobiography he talks rapturously of seeing Gillespie playing his bent trumpet -- he once saw Gillespie standing on a street corner with a pet monkey on his shoulder, and went home and tried to persuade his parents to buy him a monkey too. In particular, he talks about seeing the Count Basie band with Sonny Payne on drums as a teenager: [Excerpt: Count Basie, "Kid From Red Bank"] He saw them at Birdland, the club owned by Morris Levy where they would regularly play, and said of the performance "they were just so incredibly exciting that all of a sudden, I got into music in a way I never had before. What I heard in those clubs really turned my head around— it was like a big breath of fresh air when somebody throws open a window. That was when I knew for the first time how much I loved music and wanted to be connected to it in some way." Of course, there's a rather major problem with this story, as there is so often with narratives that musicians tell about their early career. In this case, Birdland didn't open until 1949, when Bacharach was twenty-one and stationed in Germany for his military service, while Sonny Payne didn't join Basie's band until 1954, when Bacharach had been a professional musician for many years. Also Dizzy Gillespie's trumpet bell only got bent on January 6, 1953. But presumably while Bacharach was conflating several memories, he did have some experience in some New York jazz club that led him to want to become a musician. Certainly there were enough great jazz musicians playing the clubs in those days. He went to McGill University to study music for two years, then went to study with Darius Milhaud, a hugely respected modernist composer. Milhaud was also one of the most important music teachers of the time -- among others he'd taught Stockhausen and Xenakkis, and would go on to teach Philip Glass and Steve Reich. This suited Bacharach, who by this point was a big fan of Schoenberg and Webern, and was trying to write atonal, difficult music. But Milhaud had also taught Dave Brubeck, and when Bacharach rather shamefacedly presented him with a composition which had an actual tune, he told Bacharach "Never be ashamed of writing a tune you can whistle". He dropped out of university and, like most men of his generation, had to serve in the armed forces. When he got out of the army, he continued his musical studies, still trying to learn to be an avant-garde composer, this time with Bohuslav Martinů and later with Henry Cowell, the experimental composer we've heard about quite a bit in previous episodes: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] He was still listening to a lot of avant garde music, and would continue doing so throughout the fifties, going to see people like John Cage. But he spent much of that time working in music that was very different from the avant-garde. He got a job as the band leader for the crooner Vic Damone: [Excerpt: Vic Damone. "Ebb Tide"] He also played for the vocal group the Ames Brothers. He decided while he was working with the Ames Brothers that he could write better material than they were getting from their publishers, and that it would be better to have a job where he didn't have to travel, so he got himself a job as a staff songwriter in the Brill Building. He wrote a string of flops and nearly hits, starting with "Keep Me In Mind" for Patti Page: [Excerpt: Patti Page, "Keep Me In Mind"] From early in his career he worked with the lyricist Hal David, and the two of them together wrote two big hits, "Magic Moments" for Perry Como: [Excerpt: Perry Como, "Magic Moments"] and "The Story of My Life" for Marty Robbins: [Excerpt: "The Story of My Life"] But at that point Bacharach was still also writing with other writers, notably Hal David's brother Mack, with whom he wrote the theme tune to the film The Blob, as performed by The Five Blobs: [Excerpt: The Five Blobs, "The Blob"] But Bacharach's songwriting career wasn't taking off, and he got himself a job as musical director for Marlene Dietrich -- a job he kept even after it did start to take off. Part of the problem was that he intuitively wrote music that didn't quite fit into standard structures -- there would be odd bars of unusual time signatures thrown in, unusual harmonies, and structural irregularities -- but then he'd take feedback from publishers and producers who would tell him the song could only be recorded if he straightened it out. He said later "The truth is that I ruined a lot of songs by not believing in myself enough to tell these guys they were wrong." He started writing songs for Scepter Records, usually with Hal David, but also with Bob Hilliard and Mack David, and started having R&B hits. One song he wrote with Mack David, "I'll Cherish You", had the lyrics rewritten by Luther Dixon to make them more harsh-sounding for a Shirelles single -- but the single was otherwise just Bacharach's demo with the vocals replaced, and you can even hear his voice briefly at the beginning: [Excerpt: The Shirelles, "Baby, It's You"] But he'd also started becoming interested in the production side of records more generally. He'd iced that some producers, when recording his songs, would change the sound for the worse -- he thought Gene McDaniels' version of "Tower of Strength", for example, was too fast. But on the other hand, other producers got a better sound than he'd heard in his head. He and Hilliard had written a song called "Please Stay", which they'd given to Leiber and Stoller to record with the Drifters, and he thought that their arrangement of the song was much better than the one he'd originally thought up: [Excerpt: The Drifters, "Please Stay"] He asked Leiber and Stoller if he could attend all their New York sessions and learn about record production from them. He started doing so, and eventually they started asking him to assist them on records. He and Hilliard wrote a song called "Mexican Divorce" for the Drifters, which Leiber and Stoller were going to produce, and as he put it "they were so busy running Redbird Records that they asked me to rehearse the background singers for them in my office." [Excerpt: The Drifters, "Mexican Divorce"] The backing singers who had been brought in to augment the Drifters on that record were a group of vocalists who had started out as members of a gospel group called the Drinkard singers: [Excerpt: The Drinkard Singers, "Singing in My Soul"] The Drinkard Singers had originally been a family group, whose members included Cissy Drinkard, who joined the group aged five (and who on her marriage would become known as Cissy Houston -- her daughter Whitney would later join the family business), her aunt Lee Warrick, and Warrick's adopted daughter Judy Clay. That group were discovered by the great gospel singer Mahalia Jackson, and spent much of the fifties performing with gospel greats including Jackson herself, Clara Ward, and Sister Rosetta Tharpe. But Houston was also the musical director of a group at her church, the Gospelaires, which featured Lee Warrick's two daughters Dionne and Dee Dee Warwick (for those who don't know, the Warwick sisters' birth name was Warrick, spelled with two rs. A printing error led to it being misspelled the same way as the British city on a record label, and from that point on Dionne at least pronounced the w in her misspelled name). And slowly, the Gospelaires rather than the Drinkard Singers became the focus, with a lineup of Houston, the Warwick sisters, the Warwick sisters' cousin Doris Troy, and Clay's sister Sylvia Shemwell. The real change in the group's fortunes came when, as we talked about a while back in the episode on "The Loco-Motion", the original lineup of the Cookies largely stopped working as session singers to become Ray Charles' Raelettes. As we discussed in that episode, a new lineup of Cookies formed in 1961, but it took a while for them to get started, and in the meantime the producers who had been relying on them for backing vocals were looking elsewhere, and they looked to the Gospelaires. "Mexican Divorce" was the first record to feature the group as backing vocalists -- though reports vary as to how many of them are on the record, with some saying it's only Troy and the Warwicks, others saying Houston was there, and yet others saying it was all five of them. Some of these discrepancies were because these singers were so good that many of them left to become solo singers in fairly short order. Troy was the first to do so, with her hit "Just One Look", on which the other Gospelaires sang backing vocals: [Excerpt: Doris Troy, "Just One Look"] But the next one to go solo was Dionne Warwick, and that was because she'd started working with Bacharach and Hal David as their principal demo singer. She started singing lead on their demos, and hoping that she'd get to release them on her own. One early one was "Make it Easy On Yourself", which was recorded by Jerry Butler, formerly of the Impressions. That record was produced by Bacharach, one of the first records he produced without outside supervision: [Excerpt: Jerry Butler, "Make it Easy On Yourself"] Warwick was very jealous that a song she'd sung the demo of had become a massive hit for someone else, and blamed Bacharach and David. The way she tells the story -- Bacharach always claimed this never happened, but as we've already seen he was himself not always the most reliable of narrators of his own life -- she got so angry she complained to them, and said "Don't make me over, man!" And so Bacharach and David wrote her this: [Excerpt: Dionne Warwick, "Don't Make Me Over"] Incidentally, in the UK, the hit version of that was a cover by the Swinging Blue Jeans: [Excerpt: The Swinging Blue Jeans, "Don't Make Me Over"] who also had a huge hit with "You're No Good": [Excerpt: The Swinging Blue Jeans, "You're No Good"] And *that* was originally recorded by *Dee Dee* Warwick: [Excerpt: Dee Dee Warwick, "You're No Good"] Dee Dee also had a successful solo career, but Dionne's was the real success, making the names of herself, and of Bacharach and David. The team had more than twenty top forty hits together, before Bacharach and David had a falling out in 1971 and stopped working together, and Warwick sued both of them for breach of contract as a result. But prior to that they had hit after hit, with classic records like "Anyone Who Had a Heart": [Excerpt: Dionne Warwick, "Anyone Who Had a Heart"] And "Walk On By": [Excerpt: Dionne Warwick, "Walk On By"] With Doris, Dionne, and Dee Dee all going solo, the group's membership was naturally in flux -- though the departed members would occasionally join their former bandmates for sessions, and the remaining members would sing backing vocals on their ex-members' records. By 1965 the group consisted of Cissy Houston, Sylvia Shemwell, the Warwick sisters' cousin Myrna Smith, and Estelle Brown. The group became *the* go-to singers for soul and R&B records made in New York. They were regularly hired by Leiber and Stoller to sing on their records, and they were also the particular favourites of Bert Berns. They sang backing vocals on almost every record he produced. It's them doing the gospel wails on "Cry Baby" by Garnet Mimms: [Excerpt: Garnet Mimms, "Cry Baby"] And they sang backing vocals on both versions of "If You Need Me" -- Wilson Pickett's original and Solomon Burke's more successful cover version, produced by Berns: [Excerpt: Solomon Burke, "If You Need Me"] They're on such Berns records as "Show Me Your Monkey", by Kenny Hamber: [Excerpt: Kenny Hamber, "Show Me Your Monkey"] And it was a Berns production that ended up getting them to be Aretha Franklin's backing group. The group were becoming such an important part of the records that Atlantic and BANG Records, in particular, were putting out, that Jerry Wexler said "it was only a matter of common decency to put them under contract as a featured group". He signed them to Atlantic and renamed them from the Gospelaires to The Sweet Inspirations. Dan Penn and Spooner Oldham wrote a song for the group which became their only hit under their own name: [Excerpt: The Sweet Inspirations, "Sweet Inspiration"] But to start with, they released a cover of Pops Staples' civil rights song "Why (Am I treated So Bad)": [Excerpt: The Sweet Inspirations, "Why (Am I Treated So Bad?)"] That hadn't charted, and meanwhile, they'd all kept doing session work. Cissy had joined Erma and Carolyn Franklin on the backing vocals for Aretha's "I Never Loved a Man the Way I Love You": [Excerpt: Aretha Franklin, "I Never Loved a Man the Way I Love You"] Shortly after that, the whole group recorded backing vocals for Erma's single "Piece of My Heart", co-written and produced by Berns: [Excerpt: Erma Franklin, "Piece of My Heart"] That became a top ten record on the R&B charts, but that caused problems. Aretha Franklin had a few character flaws, and one of these was an extreme level of jealousy for any other female singer who had any level of success and came up in the business after her. She could be incredibly graceful towards anyone who had been successful before her -- she once gave one of her Grammies away to Esther Phillips, who had been up for the same award and had lost to her -- but she was terribly insecure, and saw any contemporary as a threat. She'd spent her time at Columbia Records fuming (with some justification) that Barbra Streisand was being given a much bigger marketing budget than her, and she saw Diana Ross, Gladys Knight, and Dionne Warwick as rivals rather than friends. And that went doubly for her sisters, who she was convinced should be supporting her because of family loyalty. She had been infuriated at John Hammond when Columbia had signed Erma, thinking he'd gone behind her back to create competition for her. And now Erma was recording with Bert Berns. Bert Berns who had for years been a colleague of Jerry Wexler and the Ertegun brothers at Atlantic. Aretha was convinced that Wexler had put Berns up to signing Erma as some kind of power play. There was only one problem with this -- it simply wasn't true. As Wexler later explained “Bert and I had suffered a bad falling-out, even though I had enormous respect for him. After all, he was the guy who brought over guitarist Jimmy Page from England to play on our sessions. Bert, Ahmet, Nesuhi, and I had started a label together—Bang!—where Bert produced Van Morrison's first album. But Bert also had a penchant for trouble. He courted the wise guys. He wanted total control over every last aspect of our business dealings. Finally it was too much, and the Erteguns and I let him go. He sued us for breach of contract and suddenly we were enemies. I felt that he signed Erma, an excellent singer, not merely for her talent but as a way to get back at me. If I could make a hit with Aretha, he'd show me up by making an even bigger hit on Erma. Because there was always an undercurrent of rivalry between the sisters, this only added to the tension.” There were two things that resulted from this paranoia on Aretha's part. The first was that she and Wexler, who had been on first-name terms up to that point, temporarily went back to being "Mr. Wexler" and "Miss Franklin" to each other. And the second was that Aretha no longer wanted Carolyn and Erma to be her main backing vocalists, though they would continue to appear on her future records on occasion. From this point on, the Sweet Inspirations would be the main backing vocalists for Aretha in the studio throughout her golden era [xxcut line (and when the Sweet Inspirations themselves weren't on the record, often it would be former members of the group taking their place)]: [Excerpt: Aretha Franklin, "Ain't Nobody (Gonna Turn Me Around)"] The last day of sessions for Aretha Arrives was July the twenty-third, 1967. And as we heard in the episode on "I Was Made to Love Her", that was the day that the Detroit riots started. To recap briefly, that was four days of rioting started because of a history of racist policing, made worse by those same racist police overreacting to the initial protests. By the end of those four days, the National Guard, 82nd Airborne Division, and the 101st Airborne from Clarksville were all called in to deal with the violence, which left forty-three dead (of whom thirty-three were Black and only one was a police officer), 1,189 people were injured, and over 7,200 arrested, almost all of them Black. Those days in July would be a turning point for almost every musician based in Detroit. In particular, the police had murdered three members of the soul group the Dramatics, in a massacre of which the author John Hersey, who had been asked by President Johnson to be part of the National Advisory Commission on Civil Disorders but had decided that would compromise his impartiality and did an independent journalistic investigation, said "The episode contained all the mythic themes of racial strife in the United States: the arm of the law taking the law into its own hands; interracial sex; the subtle poison of racist thinking by “decent” men who deny they are racists; the societal limbo into which, ever since slavery, so many young black men have been driven by our country; ambiguous justice in the courts; and the devastation in both black and white human lives that follows in the wake of violence as surely as ruinous and indiscriminate flood after torrents" But these were also the events that radicalised the MC5 -- the group had been playing a gig as Tim Buckley's support act when the rioting started, and guitarist Wayne Kramer decided afterwards to get stoned and watch the fires burning down the city through a telescope -- which police mistook for a rifle, leading to the National Guard knocking down Kramer's door. The MC5 would later cover "The Motor City is Burning", John Lee Hooker's song about the events: [Excerpt: The MC5, "The Motor City is Burning"] It would also be a turning point for Motown, too, in ways we'll talk about in a few future episodes. And it was a political turning point too -- Michigan Governor George Romney, a liberal Republican (at a time when such people existed) had been the favourite for the Republican Presidential candidacy when he'd entered the race in December 1966, but as racial tensions ramped up in Detroit during the early months of 1967 he'd started trailing Richard Nixon, a man who was consciously stoking racists' fears. President Johnson, the incumbent Democrat, who was at that point still considering standing for re-election, made sure to make it clear to everyone during the riots that the decision to call in the National Guard had been made at the State level, by Romney, rather than at the Federal level. That wasn't the only thing that removed the possibility of a Romney presidency, but it was a big part of the collapse of his campaign, and the, as it turned out, irrevocable turn towards right-authoritarianism that the party took with Nixon's Southern Strategy. Of course, Aretha Franklin had little way of knowing what was to come and how the riots would change the city and the country over the following decades. What she was primarily concerned about was the safety of her father, and to a lesser extent that of her sister-in-law Earline who was staying with him. Aretha, Carolyn, and Erma all tried to keep in constant touch with their father while they were out of town, and Aretha even talked about hiring private detectives to travel to Detroit, find her father, and get him out of the city to safety. But as her brother Cecil pointed out, he was probably the single most loved man among Black people in Detroit, and was unlikely to be harmed by the rioters, while he was too famous for the police to kill with impunity. Reverend Franklin had been having a stressful time anyway -- he had recently been fined for tax evasion, an action he was convinced the IRS had taken because of his friendship with Dr King and his role in the civil rights movement -- and according to Cecil "Aretha begged Daddy to move out of the city entirely. She wanted him to find another congregation in California, where he was especially popular—or at least move out to the suburbs. But he wouldn't budge. He said that, more than ever, he was needed to point out the root causes of the riots—the economic inequality, the pervasive racism in civic institutions, the woefully inadequate schools in inner-city Detroit, and the wholesale destruction of our neighborhoods by urban renewal. Some ministers fled the city, but not our father. The horror of what happened only recommitted him. He would not abandon his political agenda." To make things worse, Aretha was worried about her father in other ways -- as her marriage to Ted White was starting to disintegrate, she was looking to her father for guidance, and actually wanted him to take over her management. Eventually, Ruth Bowen, her booking agent, persuaded her brother Cecil that this was a job he could do, and that she would teach him everything he needed to know about the music business. She started training him up while Aretha was still married to White, in the expectation that that marriage couldn't last. Jerry Wexler, who only a few months earlier had been seeing Ted White as an ally in getting "product" from Franklin, had now changed his tune -- partly because the sale of Atlantic had gone through in the meantime. He later said “Sometimes she'd call me at night, and, in that barely audible little-girl voice of hers, she'd tell me that she wasn't sure she could go on. She always spoke in generalities. She never mentioned her husband, never gave me specifics of who was doing what to whom. And of course I knew better than to ask. She just said that she was tired of dealing with so much. My heart went out to her. She was a woman who suffered silently. She held so much in. I'd tell her to take as much time off as she needed. We had a lot of songs in the can that we could release without new material. ‘Oh, no, Jerry,' she'd say. ‘I can't stop recording. I've written some new songs, Carolyn's written some new songs. We gotta get in there and cut 'em.' ‘Are you sure?' I'd ask. ‘Positive,' she'd say. I'd set up the dates and typically she wouldn't show up for the first or second sessions. Carolyn or Erma would call me to say, ‘Ree's under the weather.' That was tough because we'd have asked people like Joe South and Bobby Womack to play on the sessions. Then I'd reschedule in the hopes she'd show." That third album she recorded in 1967, Lady Soul, was possibly her greatest achievement. The opening track, and second single, "Chain of Fools", released in November, was written by Don Covay -- or at least it's credited as having been written by Covay. There's a gospel record that came out around the same time on a very small label based in Houston -- "Pains of Life" by Rev. E. Fair And The Sensational Gladys Davis Trio: [Excerpt: Rev. E. Fair And The Sensational Gladys Davis Trio, "Pains of Life"] I've seen various claims online that that record came out shortly *before* "Chain of Fools", but I can't find any definitive evidence one way or the other -- it was on such a small label that release dates aren't available anywhere. Given that the B-side, which I haven't been able to track down online, is called "Wait Until the Midnight Hour", my guess is that rather than this being a case of Don Covay stealing the melody from an obscure gospel record he'd have had little chance to hear, it's the gospel record rewriting a then-current hit to be about religion, but I thought it worth mentioning. The song was actually written by Covay after Jerry Wexler asked him to come up with some songs for Otis Redding, but Wexler, after hearing it, decided it was better suited to Franklin, who gave an astonishing performance: [Excerpt: Aretha Franklin, "Chain of Fools"] Arif Mardin, the arranger of the album, said of that track “I was listed as the arranger of ‘Chain of Fools,' but I can't take credit. Aretha walked into the studio with the chart fully formed inside her head. The arrangement is based around the harmony vocals provided by Carolyn and Erma. To add heft, the Sweet Inspirations joined in. The vision of the song is entirely Aretha's.” According to Wexler, that's not *quite* true -- according to him, Joe South came up with the guitar part that makes up the intro, and he also said that when he played what he thought was the finished track to Ellie Greenwich, she came up with another vocal line for the backing vocals, which she overdubbed. But the core of the record's sound is definitely pure Aretha -- and Carolyn Franklin said that there was a reason for that. As she said later “Aretha didn't write ‘Chain,' but she might as well have. It was her story. When we were in the studio putting on the backgrounds with Ree doing lead, I knew she was singing about Ted. Listen to the lyrics talking about how for five long years she thought he was her man. Then she found out she was nothing but a link in the chain. Then she sings that her father told her to come on home. Well, he did. She sings about how her doctor said to take it easy. Well, he did too. She was drinking so much we thought she was on the verge of a breakdown. The line that slew me, though, was the one that said how one of these mornings the chain is gonna break but until then she'll take all she can take. That summed it up. Ree knew damn well that this man had been doggin' her since Jump Street. But somehow she held on and pushed it to the breaking point." [Excerpt: Aretha Franklin, "Chain of Fools"] That made number one on the R&B charts, and number two on the hot one hundred, kept from the top by "Judy In Disguise (With Glasses)" by John Fred and his Playboy Band -- a record that very few people would say has stood the test of time as well. The other most memorable track on the album was the one chosen as the first single, released in September. As Carole King told the story, she and Gerry Goffin were feeling like their career was in a slump. While they had had a huge run of hits in the early sixties through 1965, they had only had two new hits in 1966 -- "Goin' Back" for Dusty Springfield and "Don't Bring Me Down" for the Animals, and neither of those were anything like as massive as their previous hits. And up to that point in 1967, they'd only had one -- "Pleasant Valley Sunday" for the Monkees. They had managed to place several songs on Monkees albums and the TV show as well, so they weren't going to starve, but the rise of self-contained bands that were starting to dominate the charts, and Phil Spector's temporary retirement, meant there simply wasn't the opportunity for them to place material that there had been. They were also getting sick of travelling to the West Coast all the time, because as their children were growing slightly older they didn't want to disrupt their lives in New York, and were thinking of approaching some of the New York based labels and seeing if they needed songs. They were particularly considering Atlantic, because soul was more open to outside songwriters than other genres. As it happened, though, they didn't have to approach Atlantic, because Atlantic approached them. They were walking down Broadway when a limousine pulled up, and Jerry Wexler stuck his head out of the window. He'd come up with a good title that he wanted to use for a song for Aretha, would they be interested in writing a song called "Natural Woman"? They said of course they would, and Wexler drove off. They wrote the song that night, and King recorded a demo the next morning: [Excerpt: Carole King, "(You Make Me Feel Like) A Natural Woman (demo)"] They gave Wexler a co-writing credit because he had suggested the title. King later wrote in her autobiography "Hearing Aretha's performance of “Natural Woman” for the first time, I experienced a rare speechless moment. To this day I can't convey how I felt in mere words. Anyone who had written a song in 1967 hoping it would be performed by a singer who could take it to the highest level of excellence, emotional connection, and public exposure would surely have wanted that singer to be Aretha Franklin." She went on to say "But a recording that moves people is never just about the artist and the songwriters. It's about people like Jerry and Ahmet, who matched the songwriters with a great title and a gifted artist; Arif Mardin, whose magnificent orchestral arrangement deserves the place it will forever occupy in popular music history; Tom Dowd, whose engineering skills captured the magic of this memorable musical moment for posterity; and the musicians in the rhythm section, the orchestral players, and the vocal contributions of the background singers—among them the unforgettable “Ah-oo!” after the first line of the verse. And the promotion and marketing people helped this song reach more people than it might have without them." And that's correct -- unlike "Chain of Fools", this time Franklin did let Arif Mardin do most of the arrangement work -- though she came up with the piano part that Spooner Oldham plays on the record. Mardin said that because of the song's hymn-like feel they wanted to go for a more traditional written arrangement. He said "She loved the song to the point where she said she wanted to concentrate on the vocal and vocal alone. I had written a string chart and horn chart to augment the chorus and hired Ralph Burns to conduct. After just a couple of takes, we had it. That's when Ralph turned to me with wonder in his eyes. Ralph was one of the most celebrated arrangers of the modern era. He had done ‘Early Autumn' for Woody Herman and Stan Getz, and ‘Georgia on My Mind' for Ray Charles. He'd worked with everyone. ‘This woman comes from another planet' was all Ralph said. ‘She's just here visiting.'” [Excerpt: Aretha Franklin, "(You Make Me Feel Like) A Natural Woman"] By this point there was a well-functioning team making Franklin's records -- while the production credits would vary over the years, they were all essentially co-productions by the team of Franklin, Wexler, Mardin and Dowd, all collaborating and working together with a more-or-less unified purpose, and the backing was always by the same handful of session musicians and some combination of the Sweet Inspirations and Aretha's sisters. That didn't mean that occasional guests couldn't get involved -- as we discussed in the Cream episode, Eric Clapton played guitar on "Good to Me as I am to You": [Excerpt: Aretha Franklin, "Good to Me as I am to You"] Though that was one of the rare occasions on one of these records where something was overdubbed. Clapton apparently messed up the guitar part when playing behind Franklin, because he was too intimidated by playing with her, and came back the next day to redo his part without her in the studio. At this point, Aretha was at the height of her fame. Just before the final batch of album sessions began she appeared in the Macy's Thanksgiving Parade, and she was making regular TV appearances, like one on the Mike Douglas Show where she duetted with Frankie Valli on "That's Life": [Excerpt: Aretha Franklin and Frankie Valli, "That's Life"] But also, as Wexler said “Her career was kicking into high gear. Contending and resolving both the professional and personal challenges were too much. She didn't think she could do both, and I didn't blame her. Few people could. So she let the personal slide and concentrated on the professional. " Her concert promoter Ruth Bowen said of this time "Her father and Dr. King were putting pressure on her to sing everywhere, and she felt obligated. The record company was also screaming for more product. And I had a mountain of offers on my desk that kept getting higher with every passing hour. They wanted her in Europe. They wanted her in Latin America. They wanted her in every major venue in the U.S. TV was calling. She was being asked to do guest appearances on every show from Carol Burnett to Andy Williams to the Hollywood Palace. She wanted to do them all and she wanted to do none of them. She wanted to do them all because she's an entertainer who burns with ambition. She wanted to do none of them because she was emotionally drained. She needed to go away and renew her strength. I told her that at least a dozen times. She said she would, but she didn't listen to me." The pressures from her father and Dr King are a recurring motif in interviews with people about this period. Franklin was always a very political person, and would throughout her life volunteer time and money to liberal political causes and to the Democratic Party, but this was the height of her activism -- the Civil Rights movement was trying to capitalise on the gains it had made in the previous couple of years, and celebrity fundraisers and performances at rallies were an important way to do that. And at this point there were few bigger celebrities in America than Aretha Franklin. At a concert in her home town of Detroit on February the sixteenth, 1968, the Mayor declared the day Aretha Franklin Day. At the same show, Billboard, Record World *and* Cash Box magazines all presented her with plaques for being Female Vocalist of the Year. And Dr. King travelled up to be at the show and congratulate her publicly for all her work with his organisation, the Southern Christian Leadership Conference. Backstage at that show, Dr. King talked to Aretha's father, Reverend Franklin, about what he believed would be the next big battle -- a strike in Memphis: [Excerpt, Martin Luther King, "Mountaintop Speech" -- "And so, as a result of this, we are asking you tonight, to go out and tell your neighbors not to buy Coca-Cola in Memphis. Go by and tell them not to buy Sealtest milk. Tell them not to buy—what is the other bread?—Wonder Bread. And what is the other bread company, Jesse? Tell them not to buy Hart's bread. As Jesse Jackson has said, up to now, only the garbage men have been feeling pain; now we must kind of redistribute the pain. We are choosing these companies because they haven't been fair in their hiring policies; and we are choosing them because they can begin the process of saying, they are going to support the needs and the rights of these men who are on strike. And then they can move on downtown and tell Mayor Loeb to do what is right."] The strike in question was the Memphis Sanitation Workers' strike which had started a few days before. The struggle for Black labour rights was an integral part of the civil rights movement, and while it's not told that way in the sanitised version of the story that's made it into popular culture, the movement led by King was as much about economic justice as social justice -- King was a democratic socialist, and believed that economic oppression was both an effect of and cause of other forms of racial oppression, and that the rights of Black workers needed to be fought for. In 1967 he had set up a new organisation, the Poor People's Campaign, which was set to march on Washington to demand a program that included full employment, a guaranteed income -- King was strongly influenced in his later years by the ideas of Henry George, the proponent of a universal basic income based on land value tax -- the annual building of half a million affordable homes, and an end to the war in Vietnam. This was King's main focus in early 1968, and he saw the sanitation workers' strike as a major part of this campaign. Memphis was one of the most oppressive cities in the country, and its largely Black workforce of sanitation workers had been trying for most of the 1960s to unionise, and strike-breakers had been called in to stop them, and many of them had been fired by their white supervisors with no notice. They were working in unsafe conditions, for utterly inadequate wages, and the city government were ardent segregationists. After two workers had died on the first of February from using unsafe equipment, the union demanded changes -- safer working conditions, better wages, and recognition of the union. The city council refused, and almost all the sanitation workers stayed home and stopped work. After a few days, the council relented and agreed to their terms, but the Mayor, Henry Loeb, an ardent white supremacist who had stood on a platform of opposing desegregation, and who had previously been the Public Works Commissioner who had put these unsafe conditions in place, refused to listen. As far as he was concerned, he was the only one who could recognise the union, and he wouldn't. The workers continued their strike, marching holding signs that simply read "I am a Man": [Excerpt: Stevie Wonder, "Blowing in the Wind"] The Southern Christian Leadership Conference and the NAACP had been involved in organising support for the strikes from an early stage, and King visited Memphis many times. Much of the time he spent visiting there was spent negotiating with a group of more militant activists, who called themselves The Invaders and weren't completely convinced by King's nonviolent approach -- they believed that violence and rioting got more attention than non-violent protests. King explained to them that while he had been persuaded by Gandhi's writings of the moral case for nonviolent protest, he was also persuaded that it was pragmatically necessary -- asking the young men "how many guns do we have and how many guns do they have?", and pointing out as he often did that when it comes to violence a minority can't win against an armed majority. Rev Franklin went down to Memphis on the twenty-eighth of March to speak at a rally Dr. King was holding, but as it turned out the rally was cancelled -- the pre-rally march had got out of hand, with some people smashing windows, and Memphis police had, like the police in Detroit the previous year, violently overreacted, clubbing and gassing protestors and shooting and killing one unarmed teenage boy, Larry Payne. The day after Payne's funeral, Dr King was back in Memphis, though this time Rev Franklin was not with him. On April the third, he gave a speech which became known as the "Mountaintop Speech", in which he talked about the threats that had been made to his life: [Excerpt: Martin Luther King, "Mountaintop Speech": “And then I got to Memphis. And some began to say the threats, or talk about the threats that were out. What would happen to me from some of our sick white brothers? Well, I don't know what will happen now. We've got some difficult days ahead. But it doesn't matter with me now. Because I've been to the mountaintop. And I don't mind. Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the promised land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land. So I'm happy, tonight. I'm not worried about anything. I'm not fearing any man. Mine eyes have seen the glory of the coming of the Lord."] The next day, Martin Luther King was shot dead. James Earl Ray, a white supremacist, pled guilty to the murder, and the evidence against him seems overwhelming from what I've read, but the King family have always claimed that the murder was part of a larger conspiracy and that Ray was not the gunman. Aretha was obviously distraught, and she attended the funeral, as did almost every other prominent Black public figure. James Baldwin wrote of the funeral: "In the pew directly before me sat Marlon Brando, Sammy Davis, Eartha Kitt—covered in black, looking like a lost, ten-year-old girl—and Sidney Poitier, in the same pew, or nearby. Marlon saw me, and nodded. The atmosphere was black, with a tension indescribable—as though something, perhaps the heavens, perhaps the earth, might crack. Everyone sat very still. The actual service sort of washed over me, in waves. It wasn't that it seemed unreal; it was the most real church service I've ever sat through in my life, or ever hope to sit through; but I have a childhood hangover thing about not weeping in public, and I was concentrating on holding myself together. I did not want to weep for Martin, tears seemed futile. But I may also have been afraid, and I could not have been the only one, that if I began to weep I would not be able to stop. There was more than enough to weep for, if one was to weep—so many of us, cut down, so soon. Medgar, Malcolm, Martin: and their widows, and their children. Reverend Ralph David Abernathy asked a certain sister to sing a song which Martin had loved—“Once more,” said Ralph David, “for Martin and for me,” and he sat down." Many articles and books on Aretha Franklin say that she sang at King's funeral. In fact she didn't, but there's a simple reason for the confusion. King's favourite song was the Thomas Dorsey gospel song "Take My Hand, Precious Lord", and indeed almost his last words were to ask a trumpet player, Ben Branch, if he would play the song at the rally he was going to be speaking at on the day of his death. At his request, Mahalia Jackson, his old friend, sang the song at his private funeral, which was not filmed, unlike the public part of the funeral that Baldwin described. Four months later, though, there was another public memorial for King, and Franklin did sing "Take My Hand, Precious Lord" at that service, in front of King's weeping widow and children, and that performance *was* filmed, and gets conflated in people's memories with Jackson's unfilmed earlier performance: [Excerpt: Aretha Franklin, "Take My Hand, Precious Lord (at Martin Luther King Memorial)"] Four years later, she would sing that at Mahalia Jackson's funeral. Through all this, Franklin had been working on her next album, Aretha Now, the sessions for which started more or less as soon as the sessions for Lady Soul had finished. The album was, in fact, bookended by deaths that affected Aretha. Just as King died at the end of the sessions, the beginning came around the time of the death of Otis Redding -- the sessions were cancelled for a day while Wexler travelled to Georgia for Redding's funeral, which Franklin was too devastated to attend, and Wexler would later say that the extra emotion in her performances on the album came from her emotional pain at Redding's death. The lead single on the album, "Think", was written by Franklin and -- according to the credits anyway -- her husband Ted White, and is very much in the same style as "Respect", and became another of her most-loved hits: [Excerpt: Aretha Franklin, "Think"] But probably the song on Aretha Now that now resonates the most is one that Jerry Wexler tried to persuade her not to record, and was only released as a B-side. Indeed, "I Say a Little Prayer" was a song that had already once been a hit after being a reject. Hal David, unlike Burt Bacharach, was a fairly political person and inspired by the protest song movement, and had been starting to incorporate his concerns about the political situation and the Vietnam War into his lyrics -- though as with many such writers, he did it in much less specific ways than a Phil Ochs or a Bob Dylan. This had started with "What the World Needs Now is Love", a song Bacharach and David had written for Jackie DeShannon in 1965: [Excerpt: Jackie DeShannon, "What the "World Needs Now is Love"] But he'd become much more overtly political for "The Windows of the World", a song they wrote for Dionne Warwick. Warwick has often said it's her favourite of her singles, but it wasn't a big hit -- Bacharach blamed himself for that, saying "Dionne recorded it as a single and I really blew it. I wrote a bad arrangement and the tempo was too fast, and I really regret making it the way I did because it's a good song." [Excerpt: Dionne Warwick, "The Windows of the World"] For that album, Bacharach and David had written another track, "I Say a Little Prayer", which was not as explicitly political, but was intended by David to have an implicit anti-war message, much like other songs of the period like "Last Train to Clarksville". David had sons who were the right age to be drafted, and while it's never stated, "I Say a Little Prayer" was written from the perspective of a woman whose partner is away fighting in the war, but is still in her thoughts: [Excerpt: Dionne Warwick, "I Say a Little Prayer"] The recording of Dionne Warwick's version was marked by stress. Bacharach had a particular way of writing music to tell the musicians the kind of feel he wanted for the part -- he'd write nonsense words above the stave, and tell the musicians to play the parts as if they were singing those words. The trumpet player hired for the session, Ernie Royal, got into a row with Bacharach about this unorthodox way of communicating musical feeling, and the track ended up taking ten takes (as opposed to the normal three for a Bacharach session), with Royal being replaced half-way through the session. Bacharach was never happy with the track even after all the work it had taken, and he fought to keep it from being released at all, saying the track was taken at too fast a tempo. It eventually came out as an album track nearly eighteen months after it was recorded -- an eternity in 1960s musical timescales -- and DJs started playing it almost as soon as it came out. Scepter records rushed out a single, over Bacharach's objections, but as he later said "One thing I love about the record business is how wrong I was. Disc jockeys all across the country started playing the track, and the song went to number four on the charts and then became the biggest hit Hal and I had ever written for Dionne." [Excerpt: Dionne Warwick, "I Say a Little Prayer"] Oddly, the B-side for Warwick's single, "Theme From the Valley of the Dolls" did even better, reaching number two. Almost as soon as the song was released as a single, Franklin started playing around with the song backstage, and in April 1968, right around the time of Dr. King's death, she recorded a version. Much as Burt Bacharach had been against releasing Dionne Warwick's version, Jerry Wexler was against Aretha even recording the song, saying later “I advised Aretha not to record it. I opposed it for two reasons. First, to cover a song only twelve weeks after the original reached the top of the charts was not smart business. You revisit such a hit eight months to a year later. That's standard practice. But more than that, Bacharach's melody, though lovely, was peculiarly suited to a lithe instrument like Dionne Warwick's—a light voice without the dark corners or emotional depths that define Aretha. Also, Hal David's lyric was also somewhat girlish and lacked the gravitas that Aretha required. “Aretha usually listened to me in the studio, but not this time. She had written a vocal arrangement for the Sweet Inspirations that was undoubtedly strong. Cissy Houston, Dionne's cousin, told me that Aretha was on the right track—she was seeing this song in a new way and had come up with a new groove. Cissy was on Aretha's side. Tommy Dowd and Arif were on Aretha's side. So I had no choice but to cave." It's quite possible that Wexler's objections made Franklin more, rather than less, determined to record the song. She regarded Warwick as a hated rival, as she did almost every prominent female singer of her generation and younger ones, and would undoubtedly have taken the implication that there was something that Warwick was simply better at than her to heart. [Excerpt: Aretha Franklin, "I Say a Little Prayer"] Wexler realised as soon as he heard it in the studio that Franklin's version was great, and Bacharach agreed, telling Franklin's biographer David Ritz “As much as I like the original recording by Dionne, there's no doubt that Aretha's is a better record. She imbued the song with heavy soul and took it to a far deeper place. Hers is the definitive version.” -- which is surprising because Franklin's version simplifies some of Bacharach's more unusual chord voicings, something he often found extremely upsetting. Wexler still though thought there was no way the song would be a hit, and it's understandable that he thought that way. Not only had it only just been on the charts a few months earlier, but it was the kind of song that wouldn't normally be a hit at all, and certainly not in the kind of rhythmic soul music for which Franklin was known. Almost everything she ever recorded is in simple time signatures -- 4/4, waltz time, or 6/8 -- but this is a Bacharach song so it's staggeringly metrically irregular. Normally even with semi-complex things I'm usually good at figuring out how to break it down into bars, but here I actually had to purchase a copy of the sheet music in order to be sure I was right about what's going on. I'm going to count beats along with the record here so you can see what I mean. The verse has three bars of 4/4, one bar of 2/4, and three more bars of 4/4, all repeated: [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] While the chorus has a bar of 4/4, a bar of 3/4 but with a chord change half way through so it sounds like it's in two if you're paying attention to the harmonic changes, two bars of 4/4, another waltz-time bar sounding like it's in two, two bars of four, another bar of three sounding in two, a bar of four, then three more bars of four but the first of those is *written* as four but played as if it's in six-eight time (but you can keep the four/four pulse going if you're counting): [Excerpt: Aretha Franklin, "I Say a Little Prayer" with me counting bars over verse] I don't expect you to have necessarily followed that in great detail, but the point should be clear -- this was not some straightforward dance song. Incidentally, that bar played as if it's six/eight was something Aretha introduced to make the song even more irregular than how Bacharach wrote it. And on top of *that* of course the lyrics mixed the secular and the sacred, something that was still taboo in popular music at that time -- this is only a couple of years after Capitol records had been genuinely unsure about putting out the Beach Boys' "God Only Knows", and Franklin's gospel-inflected vocals made the religious connection even more obvious. But Franklin was insistent that the record go out as a single, and eventually it was released as the B-side to the far less impressive "The House That Jack Built". It became a double-sided hit, with the A-side making number two on the R&B chart and number seven on the Hot One Hundred, while "I Say a Little Prayer" made number three on the R&B chart and number ten overall. In the UK, "I Say a Little Prayer" made number four and became her biggest ever solo UK hit. It's now one of her most-remembered songs, while the A-side is largely forgotten: [Excerpt: Aretha Franklin, "I Say a Little Prayer"] For much of the
In this solo installment of Shred With Shifty, host Chris Shiflett shares juicy unreleased footage from previous episodes, rates fan submission solos, and fields questions from viewers. This week's Shred With Shifty keeps the spotlight on our intrepid host and shameless shredmeister, as Shifty kicks things off with a swift hammer-on ascent up the neck. Next, he shares a few ace videos submitted by fans where they tackle Alex Lifeson's solo on Rush's “Limelight,” though Shifty has some choice words for one shredder's choice in guitars. (Plus, he duets one lucky Foos cover band expert's rendition of the solo on “Long Road To Ruin.”) Shifty shares some unseen clips from his conversations on the pod thus far. He talks Epiphones versus Gibsons with Lifeson, soccer fandom and arthritis with Rivers Cuomo, and guitar-painting with Lindsay Ell. Best of all, Nile Rogers dishes on how he rescued David Bowie's dismal “Let's Dance” demo. To round out the show, Shiflett answers questions from viewers. He talks about his love for Strymon's Iridium and how they fit into his solo shows, plus he reveals what he's playing through on Shred With Shifty. Later on, he recounts how a malfunctioning amp during “This Is A Call” ended with a smashed guitar, his favorite pedalboard picks (“Put like 15 pedals on your pedalboard and go to the races!”), his amp-switching rig and pre-show warm up routine with Foo Fighters, and how to play his leads on Foos' emotional new track, “Under You.” Look out for the next episode of Shred With Shifty, when Bon Jovi's Richie Sambora joins Shiflett to teach him the screaming solo for "Dead Or Alive." Click below to subscribe to the podcast! Full Video Episodes: http://volume.com/shifty Apple: https://podcasts.apple.com/podcast/id1690423642 Spotify: https://open.spotify.com/show/4B8BSR0l78qwUKJ5gOGIWb iHeart: https://www.iheart.com/podcast/269-shred-with-shifty-116270551/ Pandora: https://www.pandora.com/podcast/shred-with-shifty/PC:1001071314 Follow Chris Shiflett: Facebook: https://www.facebook.com/chrisshiflettmusic Instagram: https://www.instagram.com/shifty71 TikTok: https://www.tiktok.com/@chris.shiflett Twitter: https://twitter.com/chrisshiflett71 Website: http://www.chrisshiflettmusic.com Spotify: https://open.spotify.com/artist/5tv5SsSRqR7uLtpKZgcRrg?si=26kWS1v2RYaE4sS7KnHpag Producer: Jason Shadrick Executive Producers: Brady Sadler and Jake Brennan for Double Elvis Engineering support by Matt Tahaney and Matt Beaudoin Video Editors: Dan Destefano and Addison Sauvan Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
In this episode of the V Recordings Podcast, Bryan Gee takes the reins once more, coming off the high of some more of the 30 Years of V festival takeovers. This month's offering has a generous dose of new music, featuring tracks from the likes of Shy FX, Motiv, SL8R, Zar Gardna, Alibi and many more. We also take a moment to spotlight the Brazilian influence in drum and bass, with iconic sounds from DJ Marky, Patife, and XRS. These artists have played pivotal roles in shaping the rich history of V Recordings and their music still sounds fresh 20 years on! Tune in for a mix that bridges both the new and the nostalgic. Feedback and shoutouts? Drop us a line at podcast@vrecordings.com. 01. Shy FX, Nile Rogers and Kojey Radical - Morning 02. Ilmatika and L-Side- Outside 03. Motiv - All I Want 04. Random Movement - Eighty Hours 05. Lenzman - New Soul (Remix) 06. Redeyes and Lenzman - Midnight Fantasy 07. Steo - Omni God 08. Zar - Aura (feat. Millansangar) 09. Motiv - Canopy 10. SL8R - Switchin It Up (feat. Freddy B) 11. Motiv and Luke Truth - Statements of Nature 12. Chimpo and Salo - Let Me Rise 13. Gardna - Regional (Dismantle Remix) 14. Riya, Subten, and L-Side- Control 15. Riya and Collette - All for Something (L-Side VIP Mix) 16. Paul T and Edward Oberon - Reminesse (feat. Jaki Graham) 17. Benny L and Shady Novelle - Eriq Song 18. Benny L - Ere Me Know (feat. Darrison) 19. Carlito and Addiction - Scream (feat. T.R.A.C.) 20. Carlito - Whole Wide World 21. L-Side and Natty Campbell - Watch Dem 22. Alibi - Majesty 23. Alibi - Run Tings 24. SL8R - Strange Justice 25. SL8R - Losing Streak 26. Alibi and Envy - Forged 27. Watch Da Ride - Times Up VIP 28. Level 2 - Dub Cant Hide 29. 45 Roller - Skenga 30. Drumajik - Brazilian D and B 31. Fernando Porta - Sambasim (DJ Patife Remix) 32. - So Tinha de Ser Com (Cosmonautics Remix) 33. DJ Marky - Tudo 34. DJ Marky and XRS - Sem Pensar (Remix) 35. Cleavland Watkiss - Torch of Freedom 36. Fats, Cleavland Watkiss, Dextrous, Patife, and Marlene De Castro - Made in Bahia 37. SUV and Patife - Inta Outa (feat. MC Tali) 38. XRS - System 39. XRS - Calypso 40. XRS - Backspin 41. XRS - Mach Speed 42. Max De Castro - Samba Raro (DJ Marky Remix) 43. Syndicate - Sandalkia de Prada 44. Cleavland Watkiss and Patife - Overjoyed 45. Drumajik - Take It Easy 46. Max De Castro - Carnival (Patife Remix) 47. XRS - Secrets of the Floating Island 48. DJ Marky and XRS - LK (MIST Remix)
Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 740 awesome, curious, kind, funny, brilliant, generous souls Check out StandUpwithPete.com to learn more 10 mins He's been murdered on CSI, interviewed 2 Beatles on separate continents in the same week, and famously once got Mitt Romney's advisor to call Governor Romney an 'etch a sketch' on CNN. Actor, comedian & broadcaster John Fugelsang hosts 'Tell Me Everything" weekdays on SiriusXM Insight #121. He recently performed in 'The Bill of Rights Concert" alongside Lewis Black & Dick Gregory which aired on AXS. He's also appeared at Montreal's ‘Just for Laughs' Festival, HBO's U.S Comedy Arts Festival in Aspen, hosted America's Funniest Home Videos for ABC and Bill Maher called him ‘one of my favorite comedians'. Film/TV credits include 'Price Check' opposite Parker Posey, "Becker," "Providence," "Coyote Ugly," the religious standup performance film "The Coexist Comedy Tour" (which won Best Documentary at the NYC Vision Fest film festival). He appears in the upcoming features "The Girl On The Train," "Maggie Black," and he plays two roles in the romantic comedy ‘The Whole Truth' starring Elisabeth Rohm and Eric Roberts. He's interviewed Paul McCartney, Bruce Springsteen, Pete Townshend, Brian Wilson, Yoko Ono, Willie Nelson, Tony Bennett, Alan Rickman, Joey Ramone, Carlos Santana, James Taylor, Bo Diddley, Stevie Nicks, Robbie Robertson, Ravi Shankar, Beyonce Knowles, Olivia Harrison, Garth Brooks, William Hurt, Helen Hunt, Ashanti, John Fogerty, William Shatner, Sen. Trent Lott, Sen. Tom Daschle, Sen. Bernie Sanders, Ed Asner, Nile Rogers, Michael Moore, JK Simmons, Valerie Plame, Ethan Hawke, Brian Dennehy, Mavis Staples, Joel Grey, David Crosby, Graham Nash, Lily Tomlin, Dave Matthews, Terrence McNally, Stanley Tucci, Michael Shannon, Noel Gallagher, Jeff Daniels, Rita Moreno, & Carl Reiner. His interview with George Harrison included JF persuading George to play several songs on acoustic guitar. This proved to be George's final televised appearance and was broadcast as "The Last Performance." His new film "Dream On," a road trip in search of the American Dream, was named "Best Documentary" at the NY Independent Film Festival. Directed by 2 time Oscar nominee Roger Weisberg, the film examines the current state of the American Dream while retracing the journey Alexis de Tocqueville made while writing 'Democracy in America.' The film features 200 interviews in 55 cities in 17 states, including Mike Huckabee, Barney Frank & Paul Krugman and premieres on PBS Election Day Eve. 46 mins Senator Zach Wahls is a sixth-generation Iowan, a longtime resident of the senate district with deep community roots, an Eagle Scout, and an active member of the Unitarian Universalist congregation in Coralville. Wahls is Vice President of Community Investment and Development at GreenState Credit Union, Iowa's largest financial cooperative. His testimony before the Iowa House Judiciary Committee about growing up with lesbian parents was YouTube's most-watched political video of 2011. He has spoken at over 300 events all over Iowa and across America, including a primetime speech at the 2012 Democratic National Convention supporting President Barack Obama's re-election. He is the author of the nationally bestselling memoir My Two Moms: Lessons of Love, Strength and What Makes a Family. Wahls co-founded and served as Executive Director of Scouts for Equality, which successfully led the national campaign to end LGBTQ discrimination in the Boy Scouts of America. Wahls received his bachelor's degree from the University of Iowa's College of Liberal Arts and Sciences and his master's degree from Princeton University's School of Public and International Affairs. Zach lives with his wife Dr. Chloe Angyal, who is a journalist and author, and their dog Zelda, in Coralville. Pete on YouTube Check out all things Jon Carroll Follow and Support Pete Coe Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page
Celebrating his first #1 on the dance charts as a vocalist, Sam Gray shares how his song “Unbreakable” w/ TELYKast was born. Plus how his first performance back as country duo Brown & Gray was.Having written songs for Hardwell, The Chainsmokers, Nile Rogers, Ava Max, and more, Sam also shares which song is his favorite.Follow: @AmericasDance30 on all socials!Count down the biggest dance songs in the country every week with Brian Fink on America's Dance 30; listen on dance stations around the world!AmericasDance30.com
One of the first songs The Beatles worked on for the Get Back sessions of 1969, Paul's "Two of Us" was inspired by his road trips to nowhere with his new love, Linda; piling in the car, picking a direction and getting lost, just for fun. When he brought it to the band, it was originally conceived as a fast, chugging rocker, with a dual harmony vocal for Paul and John to harness their inner Everly Brothers on. This is the song the band were working on when George has his infamous "I'll play whatever you want me to play, or I won't play at all, whatever it is that will please you, I'll do" moment in the Let it Be film. Despite it's peaceful, loving origins, it was a track that caused major head bumping. However, in it's final form, it's a breezy, easy, track, with effortless vocals from Paul & John, and just the right amount of everything from the band musically. I've got to say, I adore this song, and what I was thinking when I ranked this at #112, I have no idea. Honestly, maybe I was drunk. I don't know, I ranked these during lockdown so it's possible. To rightfully question my sanity this week, we welcome Brian O'Connor and Simon Barber to the pod. Better known as the duo Sodajerker, Brian and Simon are a songwriting team who also host the absolutely brilliant podcast Sodajerker on Songwriting. For the last 10 years, they've been interviewing the cream of the crop of the world's biggest and most successful songwriters, legends such as Elvis Costello, Lindsey Buckingham, Nile Rogers, Diane Warren, Paul Simon, Noel Gallagher, and an up-and coming writer you may have heard about named Paul McCartney. They've amassed the largest archive of songwriter interviews in the world, and it's one of my absolute favorite listens, both as a musician, and as a music lover. Brian and Simon join us to talk about all manner of things, sculpting air, esoteric songwriters like Van Dyke Parks and Michael Nesmith, bad Scouse acting, how badly Jonathan blew it here, and their absolutely EPIC meeting with Sir Paul. Check out Sodajerker at www.sodajerker.com, or on Apple podcasts or anywhere you get podcasts! What do you think? Too high? Too low? Or just right? Let us know in the comments on Facebook, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to visit rankingthebeatles.com! Wanna show your support? Buy us a coffee! --- Send in a voice message: https://podcasters.spotify.com/pod/show/rankingthebeatles/message Support this podcast: https://podcasters.spotify.com/pod/show/rankingthebeatles/support
Chasing Tone - Guitar Podcast About Gear, Effects, Amps and Tone
Brian, Blake, and Richard are joined by the one and only Cory Wong for an all-new episode of the Chasing Tone Podcast!We are joined by the legend that is Cory Wong and naturally we talk compression and specifically the Wampler x Cory Wong Compressor. First though, it's calculator nostalgia - because why not? Cory then gives us a little insight into his early days, his formative influences, and the mindset he developed that has got him to where he is today. Creative folk are going to absolutely love this episode!Brian is curious to learn about some of the bands that influenced Cory and also how he built up his ridiculously precise sense of rhythm. He tells us a trick that anyone can follow but it may cause marital issues and it requires dedication. Cory also breaks down the formula for his influences in a candid interview while also showing us how he channels his creativity into his art. Cory also details the songwriting process he follows from the ground up and then we get on to some reader questions - most of which are vaguely sensible. He tells us some session work tales and then Brian and he analyze how the Wampler x Cory Wong compressor came to be and what makes it different. Cory also graciously joins us for the first part of the Patreon so this might be a good week to join us for the secret stuff...Please note - because this is a long and information-dense episode we didn't manage to get the producers names in at the end - sorry bout that - normal service resumes next week...well I say "normal"....Drug Wars, Skateboards, Nile Rogers, obscure Blackadder reference, Production tips...it's all in this week's Chasing Tone!Buy the new Cory Wong Compressor HereWe are on Patreon now too!Support the show (https://www.patreon.com/chasingtonepodcast)Awesome Merch and DIY mods:https://modyourownpedal.com/collections/booksFind us at:https://www.wamplerpedals.com/https://www.instagram.com/WamplerPedals/https://www.facebook.com/groups/wamplerfanpage/Youtube:https://www.youtube.com/channel/UCdVrg4Wl3vjIxonABn6RfWwContact us at: podcast@wamplerpedals.comSupport the show
155 Mid Day Mix Fix is a Deep House-inspired mix featuring tracks and remixes by Todd Terje, Nile Rogers, Funkerman, Icarus, Oliver Heldens, Busy P, Luca Debonaire and more. The post 155 MIDDAY MIX FIX on Mix93FM appeared first on Ed Unger Music.
Jamie chats with “Bluey” Maunick ahead of this US and European shows including that at the Rochester Castle supporting Nile Rogers. We also have the regular features and tracks from James Brown, Sugerhill Gang and Gene Harris.Tune into new broadcasts of Lock And Stock, Friday from 8 – 10 AM EST / 1 - 3 PM GMT.For more info visit: https://thefaceradio.com/lock-and-stock//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.
Will Page returns to the show for a “state of the industry” episode. In last year's appearance he correctly called out the slowdown in streaming subscriptions, bubbles in web3, and more.Will believes the value of copyrighted music could hit $45 billion annually when the 2022 numbers are calculated — up $5 billion from 2021, which is already an all-time high for the industry. Another massive shift is glocalisation”: the trend of local music dominating the domestic charts, as opposed to Western artists. This phenomenon isn't just being felt in music, but across every industry, from film to education.We covered both these trends, plus many more. Here's all our talking points: 1:33 Why the music industry is actually worth $40+ billion annually7:03 Physical music sales on the up and up10:47 How publisher and labels split up copyright value16:59 The rise of “glocalisation” will impact every industry34:39 DSP carnivores vs. herbivores 40:23 Why video vs. music streaming isn't a perfect comparison 46:31 Music as a premium offering in the marketplace 51:38 How to improve streaming royalties 1:06:05 AI music benefits that goes overlooked 1:10:07 Will's latest mix pays homage to Carole KingGlocalisation report: https://www.lse.ac.uk/european-institute/Assets/Documents/LEQS-Discussion-Papers/EIQPaper182.pdfWill Page's 2023 Believe in Humanity:https://www.mixcloud.com/willpagesnc/2023-believe-in-humanity/Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuest: Will Page, @willpageauthorThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmTrapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. TRANSCRIPT[00:00:00] Will Page: I put so much emotional time and effort into making these mixes happen and going out for free.They get your DJ slots, but more importantly, it goes back to what makes me wanna work in music, which was a lyric from Mike G and the Jungle Brothers from that famous album done by the forties of Nature, where he said, it's about getting the music across. It's about getting the message across. It's about getting it across without crossing over.How can I get art across an audience without delegating its integrity? And it's such an honor to have this mixed drop in this Friday I mean, that's, made my year and we're not even into June yet.[00:00:30] Dan Runcie Intro: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:00:56] Dan Runcie Guest Intro: Today's episode is all about the state of the music industry, and we're joined by the One and Only, Will Page. He is a fellow at the London School of Economics. He's an author of Tarzan Economics and Pivot, and he is the former chief economist at Spotify. Will's second time on the podcast. Now, the first time we talked all about the future of streaming and where things are going in music, and we picked that conversation, backed up.We talked about a bunch of trends including the glocalisation of music, which is from a new report that Will had recently put out. We also talked about why he values the music industry to be close to a 40 billion industry, which is much higher than a lot of the reports about recorded music itself.And we also talk about a bunch of the topics that are happening right now, whether it's ai, how streaming should be priced, the dynamic between record labels and streaming services, and a whole lot more love. This conversation will always brings it with these conversations, so I hope you enjoy it as much as I did. Here's our chat.[00:02:00] Dan Runcie: All right, today we have the one and only Will Page with us who is recording from a beautiful location. I don't know if you're listening to the pod you can't see, but will tell us where you are right now.[00:02:09] Will Page: So great to be back like a boomerang on Trapital. Dan, and I'm coming to you from the Platoon Studios. Part of the Apple Company Platoon is our label services company, which is owned by Apple. They're doing great stuff with the artists like Amapiano music from South Africa. And the best place I can describe to you here, it's like a Tardus.Have you've ever seen Dr. Who? There's a tiny door in this tall yard music complex in North London just behind Kings Cross. When you enter that tiny door, you enter this maze of the well class spatial audio recording studios of Apple. And it's an honor they've given me this location to come to Trapital today.[00:02:41] Dan Runcie: Well we're gonna make the best of it here and it's always great to have you on, cuz Last year, last year's episode felt like a state of the industry episode, and that's where I wanna start things off this year with this episode.A couple months ago, you put out your post in your Tarzan economics where you said that this industry is not a 2020 5 billion industry, the way others say. Mm-hmm. You say, no, this is almost a 40 billion industry. So let's break it down. How did you arrive there and what's the backstory?[00:03:12] Will Page: I get goosebumps when you say that you think like 10 years ago we were talking about a 14 billion business and now it's a 40, you know, skews a slurred Scottish pronunciation, but let's just be clear from one four to four zero, how did that happen?Well the origins of that work, and you've been a great champion of it, Dan, is for me to go into a cave around about October, November and calculate the global value of copyright and copyright is not just what the record labels publish, that famous IFPIGMR report that everyone refers to, but it's what collecting studies like ask F and BMI collect what publishers generates through direct licensing.You have to add A plus B plus C labels, plus collecting societies plus publishers together. Then the complex part, ripping out the double counting and doing all the add-backs, and you get to this figure of 39.6 billion, which as you say, you round it up, it begins with a four. And I think there's a few things that we can kind of get into on this front.I think firstly we should discuss the figure. I'll you a few insights there. Secondly, I think we should discuss the division. And then thirdly, I want to cover the physical aspect as well. So if you think about the figure, we've got 39.6 billion. We know it's growing. I think what's gonna be interesting when I go back into that cave later this year to redo that number, it's gonna be a lot bigger.Dan, I'll see it here on Trapital First. I think a 40 billion business in 2021 is gonna be closer to a 45 billion business in 2022. And one of the reasons why it's not labels and streaming, it's a combination of publishers are reporting record collections, essentially they're playing catch up with labels, booking deals that perhaps labels booked a year earlier.And collecting studies are gonna get back to normal after all the damage of the pandemic. And when you drive those factors in where you have a much bigger business than we had before. So for the people listening to your podcast who are investing in copyright, this party's got a waiter run. You know, don't jump off the train yet cause this thing is growing[00:05:18] Dan Runcie: And the piece I want to talk about there is the publishing side of this. If you look at the breakdown of the numbers you have, the publishing is nearly, publishing plus is nearly 13 billion itself. The major record labels own most of the largest publishers right now. Why isn't this number just automatically included? Wouldn't it be in everyone's advantage to include the fact that yes, Universal Music Group and Universal Music Publishing Group are together, part of the entity that make this, whether it's them, it's Warner Chapel, it's others. Why isn't this just the top line number that's shared in all of the other reports?[00:05:56] Will Page: It would be nice if it was, and indeed, I think the publishing industry around about 2001 used to do this. They haven't done it since. But it's like spaghetti. It's the best way I can describe it. I mean, how do you measure publisher income? You know, is it gross receipts by the publisher? Is it the publisher plus the collecting Saudi? That is money that went straight to the songwriter and didn't touch the publisher. So what the publisher holds onto what we call an industry, a net publisher, shares all these weird ways of measuring this industry that we have to be clear on.And it's, not easy. but I think what we do in the report is we try and make it bite size. We try and make it digestible to work out how much of that publisher's business came through, CMOs, the S gaps and BMIs this X over here PS music and how much do they bring in directly? And that allows you to understand a couple of things.Firstly, how do they compare vi to vis labels in terms of their overall income? And secondly, how do they compare when they go out to market directly, let's say putting a sync and a TV commercial or movie versus generating money through collective licensing that is radio or TV via ASCAP or bmr. So you get an interpretation of how these publishers are making those numbers work as well.[00:07:03] Dan Runcie: That makes sense. And then when we are able to break it down, we see a few numbers that roll up into it. So from a high level, at least what you shared from 2021, we have that 25.8 billion number from the recorded side. So that does fall in line with what we see from what the IPIs and others share. 10 billion Sure.From the publishing. And then you do have, the next 3.5 and then a little sliver there for royalty free and for the publishers' direct revenue that doesn't come from the songwriters. The next piece though, within the elements of how all of the revenue flows into that. We've talked a lot about streaming and we've talked, we'll get into streaming in a little bit, but I wanna talk about the physical side cause that was the second piece that you mentioned.We've all talked about vinyl, but it's not just vinyl. So could you talk a bit about where the trends are right now with physical sales and why this is such a huge factor for this number?[00:07:56] Will Page: Who would've thought on a Trapital podcast in May, 2023. We'll be talking about physical as a second topic on the agenda, but it's worth it. I mean, it's not a rounding era anymore. It's not chump change. in America, physical revenues largely vinyl outpaced the growth of streaming for the second year straight. It's not as big as streaming, but it's growing faster and it has been growing faster for two years now. That's crazy. Here in the uk the value of physical revenues to the UK music industry has overtaken the value of physical to Germany.Quick bit of history. For years, decades, Germans used to buy CDs. that's fallen off a cliff. They've given up on CDs. Whereas over here in Britain, we've all started buying vinyl again. So the value of vinyl in Britain is worth more than the value of CDs to Germans, that type of stuff you didn't expect to see.And if you go out to Asia, you see the CD market still strong. You've still got people who buy more than one copy of the same cd, of the same band. Don't ask me to explain the rationale for that, but it happens and it moves numbers. But after all this, when the dust settles, I mean a couple of observations, all the data to me is suggesting that 55, 60% of vinyl buyers don't actually own a record player.So I think it was Peter Drucker who said, the seller really knows what they're selling, and I don't think you're selling intellectual property or music cop right here. What we're actually selling is merchandise, you know, Taylor Swift, I got an email from Taylor Swift team saying they've got a marble blue vinyl coming out this week.Now we're talking about vinyl in the same way we used to talk about stone wash jeans, marble blue. This is like the fourth version of the same 11 songs priced at 29 99. Let's just figure that out for a second. I'm willing to give you 10 bucks a month to, access a hundred million songs on streaming services, but I'm also, it's the same person.I'm also willing to give you 30 bucks to buy just 10 of them. This is expensive music and I might not even be listening to it cause I don't even have a record player.[00:09:55] Dan Runcie: This is the fascinating piece about how we're calculating this stuff because the vinyl sales and all of that has been reported widely as a great boom to the industry and it has been.We've seen the numbers and in a lot of ways it brings people back to the era of being able to sell the hard copy of the thing itself, but it's much closer to selling a t-shirt or selling a sweatshirt or selling some type of concert merchant. It actually is the actual physical medium itself. So it'll be fascinating to see how that continues to evolve, how that embraces as well. On your side though, as a personal listener, do you buy any vinyls yourself that you don't listen to, that you just keep on display or?[00:10:34] Will Page: It's like your shoe collection, isn't it? Yes, right. Is the answer to that. But no, I mean, I will say that I got 3000 fi funk records in the house and they're all in alphabetical chronological order.So if they haven't been listened to, at least I know where to find them.[00:10:48] Dan Runcie: That's fair. That makes sense. So let's talk about the third piece of this, and that's the division of this. So you have the B2C side and you have the B2B side. Can we dig into that?[00:10:59] Will Page: Sure. this is, I think the backdrop for a lot more of the sort of thorny conversations happening in the music industry is now, you may have heard that in the UK we've had a three year long government inquiry into our business.We had the regulator turn over the coals, and so there's a lot of interest in how you split up this 40 billion dollar piece of pie. who gets what? And the division I'm gonna talk about here is labels an artist on one side. Songwriters and publishers on the other side as it currently stands, I would keep it simple and say two thirds of that 40 billion dollars goes to the record label and the artist, one third goes to the publisher and the songwriter.Now, when I first did this exercise back in 2014, it was pretty much 50 50, and when you see things which are not 50 50 in life, you're entitled to say, is that fair? Is it fair that when a streaming service pays a record label a dollar, it pays the publisher and the songwriter around 29 cents? If you're a publisher, a songwriter, you might say, that's unfair, cuz I'm getting less than them.I have preferences, issues, and I have any issues with this division. Well, let's flip it around. If you look at how B2B world works, licensing at the wholesale level, let's say you're licensing the bbc, for example, if your song's played on the bbc, you're gonna get 150 pounds for a play. 90 pounds goes to the songwriter and the publisher, 60 pounds goes to the artist and a record label.Now, is that fair? Why does the publisher win in the B2B market? By the record, label wins in the B2C market. And the one, the lesson I want to give your listeners is one from economics, and it's rarely taught university these days, but back in 1938, 1939, in a small Polish town called la. Now part of the Ukraine, ironically, free Polish mathematicians sat in a place called a Scottish Cafe, ironic for me, and invented a concept called Fair Division.And the question they posed was, let's imagine there's a cake and there's two people looking at that cake getting hungry. There's Dan Runcie over in the Bay Area and there's Will page back in Edinburgh. What's the best way to divide that cake up? And the conclusion they came up with is you give Will page, the knife.Aha, I've got the power to cut the cake. But you give Dan Runcie the right to choose which half. Damn, I've gotta make that cut really even otherwise, Dan's gonna pick the bigger half and I'll lose out. And this divider two model gave birth to the subject of fair Division and it simply asked, what makes a fair division fairer?How can I solve a preference? How can I solve for envy? I want that slice, not that slice. I'm unhappy cause Dan got that slice and not that slice. There's a whole bunch of maths in this. We had a third person that gets more complex. But I just wanna sow that seed for your listeners, which is when we ask questions like, why is it the label gets a dollar and the publisher gets 29 cents?There's gotta be some rationale why you know who bets first? Is it the label that bets first or the publisher who commits most? Is it label that commits most marketing spend or the publisher? These types of questions do with risk, often help answer questions of fair division, or to quote the famous Gangstar song, who's gonna take the weight?Somebody's gotta take a risk when you play this game, and perhaps there's a risk reward trade off, which is telling us who gets what Share of the spoils.[00:14:15] Dan Runcie: Let's unpack this a little bit because it's easy to see. May not be fair, but it's easy to see why the record labels get preference on the B2C side because as I mentioned before, the record labels have acquired a lot of the publishers, and especially in the streaming era, they were prioritizing that slice of the pie, their top line, as opposed to what essentially is the subsid subsidiary of their business, the publishing side.Why is it flipped with sync? Well, how did that dynamic end up being that way?[00:14:47] Will Page: That's an anomaly, which is actually blatantly obvious. You just don't think about it. And the way it was taught to me is anyone can record a song, but only one person can own a song. So I think, let's give an example of, I don't know, a Beach Boy song where I could ask for the original recording of that Beach Boy song to be used in the sync.Or I could get a cover band. So let's say I got a hundred thousand dollars to clear the rights of that song, and the initial split should be 50 50. If a band is willing to do a version of it for 10,000, the publisher can claim 90,000 of the budget and get the option. If the record label objects and says, well, I wish you used a master.Well, you got a price under the 10,000 to get the master in. So this kind of weird thing of bargaining power, if you ever hear. Let me scratch that again. Let me start from the top. Let me give you a quick example, Dan, to show how this works. One of my favorite sort of movies to watch when you're Bored and killing Time is The Devil's Swear, Prada great film.And then that film is a song by Seal called Crazy, incredible song, timeless. That guy has, you know, timeless hits to his name, but it's not him recording it. Now, what might have happened in that instance is the film producer's got a hundred thousand to get the song in the movie, and he's looking to negotiate how much you pay for publishing, how much you pay for label.Now the label is getting, you know, argumentative, wanting more and more, and the publisher is happy with a certain fee. Well, the film producer's got an option. Pay the publisher of the a hundred thousand, pay him 90,000, given the lion share of the deal. And then just turn the label and say, screw you. I'm gonna get a covers bant and knock me out.A decent version of it. And this happens all the time in TV films, in commercials, you'll hear covers of famous songs. And quite often what's happening there is you gotta pay the publisher the lion share of your budget and then just cough up some small chains to the covers bant to knock out a version.And then, so just a great reminder, Dan of anyone can record a song, but only one person can own the song that is the author. And that's why negotiating and bargaining power favors publishes in sync over the record labels.[00:16:59] Dan Runcie: That makes sense. And as you're saying that, I was thinking through five, six other examples of cover songs I've seen in many popular TV shows and movies.And this is exactly why?[00:17:08] Will Page: It's always car commercials. For some reason, every car commercial's got cover in a famous song. You think, remember that weird Scottish guy down Ronie Trapital? Yeah. That's what's happened. The publishers pool the rug from under the record label's feet at negotiation table.Another super important observation about the glocalisation trend, Dan, is I'm gonna take one of those 10 countries as our spotlight, Poland. Now the top 10 in Polands or Polish, the top 20 in Poland, or Polish. In fact, if you go to the top 40, it's pretty much all Polish bands performing in Polish, and you could say that's localization.But stop the bus. Most of those acts are performing hip hop, which is by itself a US genre. So perhaps we've got glocalisation of genre, but localization of language and artist. And that's a very important distinction for us to dissect. And perhaps it's for the anthropologist, the sociologist, to work out what's going on here.But it's not as straightforward as it's just local music. It's local music, but it's global genres, which is driving us forward.[00:18:08] Dan Runcie: And that's a great point for the people that work at record labels and other companies making decisions too, because there's been so much talk about hip hop's decline. But so much of that is focused on how this music is categorized and a lot of it's categorized solely on.What is considered American hip hop. But if you look at the rise of music in Latin America, which has been one of the fastest growing regions in the world, most of that music is hip hop. Bad Bunny considers himself a hip hop artist. You just brought up this example of Polish hip hop being one of the most popular genres there.So when we think about. How different genres get categorized, which genres get funding. Let's remember that key piece because hip hop is this culture and it's global, and that's gonna continue. So let's make sure that we are not taking away from a genre that is really one of the most impactful and still puts up numbers if we're categorizing it in the right way.[00:19:04] Will Page: Damn straight. I mean, I think genres are often like a square peg trying to fit into a round hole and in a paper published by London School of Economics, I was honored to use that line that I think I said on trap last time, which is rap is something you do. Hip hop is something you live. Rap could be the genre, hip hop could be the lifestyle.Maybe what those Polish acts getting to the top of the charts of doing is representing a lifestyle, but they're doing it in their mother tongue.[00:19:28] Dan Runcie: Well said. Agreed. Well, let's switch gears a bit. One topic that I wanna talk about, and I actually gave a talk recently, and I referenced you from this term, and its of music, was the glocalisation of music and why this is happening and what it means for Western music specifically in the us. But first, if you could define that term and explain why this is so important in music right now.[00:19:53] Will Page: Well, I'm so excited to be on Trapital talking about this because we are now officially published by London School of Economics, so I'm gonna make my mom and dad proud of me. At last Backstory, paperback of my book, guitars in Economics, retitled to Pivot. Apparently WH Smith's Travel and Hudson Travel said books with economics in their titles Don't sell an airport.So we've rebranded the whole book to Pivot and it's in airports, which is a result. that book, that paperback came out on the 6th of February and that night I was on the BBC one show and they had this great happy, clappy family friendly story. They wanted to bounce off me. They said, Hey, will, Isn't it great that the top 10 songs in Britain last year were all British ex?For the first time in 60 years, Britain got a clean sweep of the top 10 in the music charts. And I said, curb your enthusiasm because we're seeing it elsewhere. The top 10 in Germany, were all German. Top 10 in Italy, all Italian, ditto France, deto Poland. And if you go to Spain, the top 10, there were all Spanish language, but largely Latin American.So it's not just a British thing that we've seen this rise of local music on global streaming platforms. We're seeing it everywhere, cue some gulps and embarrassments live in the TV studio. But I made my point and I came out of that interview thinking. Well that stunned them. It's gonna stu more people.And I said about working on a paper called glocalisation, which with a Scottish accent, it's hard to pronounce. Let's see how you get on with it. Not localization and not glocalisation. Emerging to by definition and by practice glocalisation. I teamed up with this wonderful author, Chris Riva, who'd be a great guest on your show.He did a wonderful blog piece you may have read, called Why is There No Key Changes in Music anymore? It's a really beautiful piece of music writing and there isn't. Nobody uses key changes in the conclusion of songs. And we set out to do this academic study to explain to the world what's been happening in music and why it's relevant to everyone else.And what we saw across 10 European countries was strong evidence of local music dominating the top of the charts in these local markets on global platforms. Now history matters here. We didn't see this with local High street retailers, America, British, Canadian music dominated those charts. We still don't see it in linear broadcast models like radio and television, you know, it's still English language repertoire dominating those charts. But when it comes to global streaming, unregulated free market, global streaming, we see this phenomenal effect where local music is topping the charts. And you know, you look at what does it mean for us English language countries like ourselves?It means things get a little bit tough. It means exporting English language repertoire into Europe becomes harder and harder. Maybe I'll just close off with this quite frightening thought, which is Britain is one of only three net exporters of music in the world. The other two being your country, United States and Sweden.Thanks to a phenomenal list of Swedish songwriters and artists. And I can't think of the last time this country's broken a global superstar act since Dua Lipa in 2017. Dan, we used to knock them out one, two a year. 2017 was a long time ago, and it's been pretty dry since.[00:23:13] Dan Runcie: And that's a great point for the people that work at record labels and other companies making decisions too, because there's been so much talk about hip hop's decline. But so much of that is focused on how this music is categorized and a lot of it's categorized solely on.What is considered American hip hop. But if you look at the rise of music in Latin America, which has been one of the fastest growing regions in the world, most of that music is hip hop. Bad Bunny considers himself a hip hop artist, you just brought up this example of Polish hip hop being one of the most popular genres there.So when we think about, how different genres get categorized, which genres get funding. Let's remember that key piece because hip hop is this culture and it's global, and that's gonna continue. So let's make sure that we are not taking away from a genre that is really one of the most impactful and still puts up numbers if we're categorizing it in the right way.[00:24:07] Will Page: Damn straight. I mean, I think genres are often like a square peg trying to fit into a round hole and in a paper published by London School of Economics, I was honored to use that line that I think I said on trap last time, which is rap is something you do. Hip hop is something you live. Rap could be the genre, hip hop could be the lifestyle.Maybe what those Polish acts getting to the top of the charts of doing is representing a lifestyle, but they're doing it in their mother tongue.[00:24:32] Dan Runcie: Well said. Agreed. This is something that's been top of mind for me as well because technology in general has a way of making regions and making people in particular regions closer together than it does making the world bigger. It's like in, in a sense, technology can make the world seem bigger, but it actually makes it seem smaller, right? And I think that algorithms and bubbles that come from that are another symptom of this.But this is going to have huge implications for Western music. You mentioned it yourself. All of these markets that are used to being export markets, when they no longer have the strength to be able to have those exports, how does that then change the underlying product? How does that then change the budgets, the expectations of what you're able to make? Because if you're still trying to maintain that same top line revenue, you're still trying to maintain those airwaves you have, it's gonna cost you more money to do that, because you can't rely on the few Western superstars that you have to get, that you have to have equivalent of a superstar or at least a middle tier star in every region that you once had strong market share that you could export in.And it's gonna change cost structures. It's gonna change focus. And a lot of these expansions that we've seen of record labels, especially Western record labels, having strong footprints in different regions across the world, they're not just gonna need to have presence, they're gonna need to have strong results.And in many ways, try to rival the own companies that are in those comp, in those regions, the homegrown record labels, because every country is trying to do their own version of this and it's gonna be tight. This is one of the challenges that I think is only gonna continue to happen.[00:26:14] Will Page: You're opening up a real can of worms. I get it. Pardon to your listeners, we're getting excited here. Day of publication, first time we've been able to discuss it on air, but I know I'm onto something huge here and you've just illustrated why just a few remarks. One, some of the quotes that we have in the paper were just phenomenal. We have Apple included in the paper. We have Amazon, Steve Boom, the head of that media for Amazon in charge of not just music, but Twitch audio books, the whole thing. He's looking at all these media verticals. He makes this point where he says, as the world becomes more globalized, we become more tribal. Stop right there, as he just nailed it.What's happening here? It's The Economist can only explain so much. This is what's so deep about this topic. I wanna toss it to the anthropologist of sociologists to make sense of what I've uncovered, but it's massive. Now let's take a look at what's happening down on the street level with the record labels and the consumers. You know, the record labels are making more money and they're devolving more power to the local off seats. You know the headcount in the major labels, local off season, Germany, France, and Vietnam or wherever is doubled in the past five years. It hasn't doubled in the global headquarters. That's telling you something.If you look at how labels do their global priority list, maybe every month, here's 10 songs we want you to prioritize globally. So I had a look at how this is done, and across the year I saw maybe 8, 10, 12 artists in total, and there's 120 songs. There's not that many artists. You think about how many local artists are coming out the gate every week hitting their local labels or local streaming staff, up with ideas, with showcases and so on.Not a lot of global priority. Then you flip it and you think about the consumer, you know, they've had linear broadcast models for 70 years where you get what you're given. I'm gonna play this song at this time and you're gonna have to listen to it. FM radio, TV shows now they're empowered with choice and they don't want that anymore.They want what's familiar. What comforts them. They want their own stars performing in their own mother tongue topping those charts. So this has got way to go. Now, a couple of flips on this. Firstly, what does this mean for artists? And then I'm gonna take it out of media, but let's deal with artists.Let's imagine a huge festival in Germany. 80,000 people now festival can now sell out with just German X, no problem at all. So when the big American X or British X commanded like a million dollars a headlining fee, you wanna go play that festival. That promoter can turn around and say, sorry man, I can't generate any more money by having you on my bill.How much are you gonna pay me to get on stage? Price maker, price taker? You see what happens. And then the last thing, and there's so much more in this paper for your listeners to get to, and let's please link to it and you'll take, I'll take questions live on your blog about it as well, but. There's a great guy called Chris Deering, the father of the Sony PlayStation. Did you play the Sony PlayStation back in the day? Were you're a fan of the PlayStation.[00:29:08] Dan Runcie: Oh, yeah. PS one and PS two. Yeah. Okay.[00:29:11] Will Page: You, oh, so you, you're an OG PlayStation fella. So he's the father of the PlayStation and launching the PlayStation in the nineties and into the nineties. He offered us observation, which is when they launched a SingStar, which was karaoke challenge.In the PlayStation, he says, we always discussed why the Swedish version of SingStar was more popular in Sweden than the English version Science. Intuitive enough. Let me break it down. Gaming back then was interactive music was not, you interacted with your PlayStation, that's why you killed so much time with it. Music was just a CD and a plastic case that broke your fingernails when you tried to open it. That's how the world worked back then and gaming offered you choice. I could try and do karaoke with those huge global English language hits where I could go further down the chart and buy the Swedish version and sing along to less well known Swedish hits. And the consumer always picked the Swedish version. So as a bellwether, as a microcosm, what I think Chris Ding was teaching us was we saw this happening in gaming long before you started seeing it happen with music. 20 years ago when there was interactive content, which gaming was, music wasn't, and consumers had a choice, which gaming offered a music didn't.They went local. Today, Dan, we're dealing with music lists, A interactive, and B offers choice. And what we're seeing is local cream is rising to the top of the charts.[00:30:33] Dan Runcie: And we're seeing this across multimedia as well. We're seeing it in the film industry too. Even as recent as five, 10 years ago, you release any of the blockbuster movies that were successful in the us, almost all of them had some overseas footprint.Some of them definitely vary based on the genre, but they were always there. But now China specifically had been such a huge market for the Hollywood and Box office specifically, but now they're starting to release more of their own high ed movies and those are attracting much more audiences than our export content can one.Two, the Chinese government in general is just being very selective about what they allow and what they don't allow. And then three, with that, that's really only leaving certain fast and furious movies and Avatar. That's it. The Marvel movies are hit and missed depending on what they allow, what they don't allow, and how, and it's just crazy to see the implications that has had for Marvel Studios for everyone else in Hollywood as well.When you think about it, and we're seeing this across multimedia, I think there's a few trends here that makes me think about, one is. Population growth in general and just where those trends are and how different corporations can approach the opportunity. Because I look at Nigeria, you look at Ethiopia, these are some of the fastest growing countries in the world.And you look at the music that is rising more popular than ever, whether it's Amapiano or it's Afrobeats, that's only going to continue to grow. And that's only from a few regions in the huge continent of Africa. So when we're thinking about where success is gonna come from, where that lines up with infrastructure, people have been seeing it for years.But the reason that we're seeing the growth in Africa, the growth in Latin America, the growth in a lot of these markets is this trend of glocalisation and it's only going to increase. So if we're thinking about where we wanna invest dollars, where we wanna build infrastructure in the future, we not just being folks that live in the western world, but also elsewhere in the world, this is where things are heading.[00:32:37] Will Page: Let me come in down the middle and then throw it out to the side. So, Ralph Simon, a longtime mentor of mine, is quoted in the paper and where he's actually gonna moderate the address here at the Mad Festival here in London, which is for the marketing and advertising community here, where he says, what you've uncovered here that headwind of glocalisation is gonna affect the world of marketing and advertising this time next year.That's what will be the buzzword in their head. So if you think about, I don't know, a drinks company like Diagio, maybe they've got a globalized strategy and a globalized marketing budget. When they start seeing that you gotta go fishing where the fish are and the fish are localized, they're gonna devolve that budget and devolve that autonomy down to local offices. So the wheels of localization, this rise of local, over global, they've only just got started, if I've called it right. We're onto something way bigger than a 20 minute read LSE discussion paper. This goes deep, deep and far beyond economics. But then you mentioned as well China, I mean just one offshoot observation there, which is to look at education.If you look at the UK university system, about a third, if not more, of it is subsidized by the Chinese government and Chinese students here. Great for business, slightly dubious in its business, besties, charging one student more than another student for the same product. But that's what we do over here.And I recently, we made a fellow of Edmar University's Futures Institute, which is an honor to me, you know, gets me back home more often. Fine. And I was learning from them that. The quality of students coming from China to study here in Britain and across Europe is getting worse and worse. Why? Cuz the best students have got the best universities in China.They no longer need to travel. So there's a classic export import dilemma of, for the past 10, 15 years, universities have built a complete treasury coffer base of cash around selling higher education to the Chinese. And now the tables are turning. I don't need to send my students to you universities anymore.I'll educate them here. Thank you very much. So, like I say, this stuff is a microcosm. It's got a can of worms that can open in many different directions[00:34:39] Dan Runcie: And it's gonna touch every industry that we know of to some extent, especially as every industry watches to be global to some extent. This is going to be a big topic moving forward.Let's shift gears a bit. One of the terms that was really big for us. That came from our podcast we did last year. We talked about herbivores and we talked about carnivores, and we talked about them in relation to streaming. We haven't touched on streaming yet, and this will be our opportunity to dig down into it, but mm-hmm.For the listeners, can we revisit where that came from, what that means, and also where this is heading? What does this mean for music streaming right now as it relates to the services and competition?[00:35:24] Will Page: Well, when I first came on Trapital, that was in a small Spanish village of Cayo De Suria and I didn't think I'd come up with an expression that would go viral from a small village in Spain to be, you know, quoted from in Canada, in America.And Dan, this is quite hilarious. we have a new secretary of state of culture here in the UK. The right Honorable MP, Lucy Fraser KG, Smart as a whip. Brilliant. And when I first met her, you know what the first thing she said was, I listened to you on Trapital. I wanted to ask you about this thing you've got going called herbivores and carnivores.So right the way through to the corridors of power, this expression seems to have traveled. What are we talking about? Well, the way I framed it was for 20 years we've had these streaming services, which essentially grow without damaging anyone else. Amazon is up. Bigger subscriber numbers. Apple's got bigger subscriber numbers.YouTube and Nancy's bigger subscriber numbers. And then Spotify. Nancy's bigger subscriber numbers. Everyone's growing each other's gardens. That's fine. That's herbivores. What happens when you reach that saturation point where there's no more room to grow? The only way I can grow my business is stealing some of yours.That's carnivores. And the greatest example is simply telcos. We're all familiar with telcos. We all pay our broadband bills. How do telcos compete? Everybody in your town's got a broadband account, so the only way you can compete is by stealing someone else's business. The only way here in Britain Virgin Media can compete is by stealing some of skies.The only way that at and t competes is by stealing some of com. So that's carnival competition. Now, the key point for Trapital listeners is we don't know what this chapter is gonna read like cuz we've never had carus pronounce that word correctly. Carus behavior before. We've never seen a headline that said, Spotify's down 2 million subs and apple's up 2 million, or Amazon's up 3 million and you know, YouTube is down 3 million.We don't know what that looks like. So I think it's important for Trapital to start thinking about logical, plausible scenarios. You kick a one obvious one, which is again, a lesson from the telcos. When we do become carnivores, do we compete on price or do we compete on features? Let me wheel this back a second, you know, we'll get into pricing in more depth later. But downward competition on price tends to be how carnivores compete, and that'll be a fascinating development given that we've not seen much change in price in 22 years in counting or as we saw with Apple, they roll out spatial audio, they charge more for it, they've got a new feature, and they charge more for that feature.So do we see downward competition blood on the carpet price competition, or do we see. Upward competition based on features. I don't know which one it's gonna be. It's not for me to call it. I don't work for any of these companies. I've worked with these companies, but I don't work for any of them directly.But we have to start discussing these scenarios. How's this chapter gonna read when we start learning of net churn amongst the four horseman streaming services that's out there. It's gonna be a fascinating twist, and I'm beginning, Dan, I'm beginning to see signs of con behavior happening right now, to be honest with you.I can see switchers happening across the four, so I think we're getting there in the US and the UK. What are those signs you see? I'm just seeing that in terms of subscriber growth, it's a lot bumpier than before. Before it is just a clear trajectory. The intelligence I was getting was, everyone's up, no one needs to bother.Now I flag, you know, I signed the siren. I'm beginning to see, you know, turbulence in that subscriber growth. Someone could be down one month, up the next month. Maybe that's just a little bit of churn. The ending of a trial period, you don't know. But now for me, the smoke signals are some of those services are seeing their gross stutter.Others are growing, which means we could start having some switching. I can add to that as well. Cross usage is key here. I really hammered this home during my 10 years at Spotify, which is to start plotting grids saying, who's using your service? This person, that person, and next person now ask what other services are they using?And some data from America suggests that one in four people using Apple music are also using Spotify. And one in four people using Spotify are also using Apple Music. Cross usage confirmed. So if that was true, what do you make of that? With a public spending squeeze? With inflation, with people becoming more cost conscious in the economy with less disposable income, maybe they wanna wheel back from that and use just one, not two. And that's where we could start seeing some net churn effects taking place as well. So, you know, imagine a cross usage grid in whatever business you're working on. If your Trapital listeners and ask that question, I know who's using my stuff, what else are they using? Um, that's a really, really important question to ask to work out how this carnivore scenario is gonna play out.How are we gonna write this chapter?[00:40:23] Dan Runcie: This is interesting because it reminds me of the comparisons that people often make to video streaming and some of the dynamics there where prices have increased over the years. I know we've talked about it before to tend to a 12 years ago Netflix was cheaper than Spotify was from a monthly, US price group subscription.And now tough, tough. It's right. And now it's nearly twice the price of the current price point. That it is. The difference though, when we're talking about when you are in that carnival, when you're in that carnival market, what do you compete on? Features or price? Video streaming, you can compete on features essentially because the content is differentiated.If you want to watch Wednesday, that Netflix series is only one platform that you can watch it on. Yeah, you need to have that Netflix subscription, but in music it's different because if you wanna listen to SZA's SOS album, that's been dominating the charts. You can listen to it on any of these services.So because there are fewer and fewer limitations, at least, if your goal, main goal from a consumption perspective is to listen to the music, how do you then differentiate, which I do think can put more pressure on price, which is very interesting because there is this broader pricing debate that's happening right now about why prices should be higher.And we've seen in the past six plus months that Apple has at least raised its prices. Amazon has done the same, at least for new subscribers. Spotify has announced that it will but hasn't yet and this is part of that dynamic because on one hand you have these broader economic trends as you're calling them out, but on the other hand you do have the rights holders and others pushing on prices to increase.And then you have the dynamic between the rights holders and then the streaming services about who would then get the increased revenue that comes. So there's all of these fascinating dynamics that are intersecting with this her before shift to carnivores[00:42:23] Will Page: For sure. Let me just go around the block of those observations you offered us. All relevant, all valid and just, you know, pick off a few of them. If we go back to Netflix, I think Netflix has a, not a herbivore. I'm gonna talk about alcohol here cause it's late in the day in the UK. A gin and tonic relationship with its competitors. That is, if Dan Runcie doesn't pay for any video streaming service, and let's say Netflix gets you in and I'm the head of Disney plus, I say, well, thank you Netflix.That makes it easier for me to get Dan to pay for Disney Plus too. They compliment each other. They are genuine complimentary goods. They might compete for attention. You know who's got the best exclusive content, who's gonna renew the friends deal, whatever, you know, who's gonna get Fresh Prince of Bel Air on?That could be a switch or piece of content too, but when you step back from it, it's gin and tonic. It's not different brands of gin, that's really important technology, which is they've grown this market of video streaming. They've increased their prices and the same person's paying for 2, 3, 4 different packages.If I added up, I'm giving video streaming about 60 quid a month, and I'm giving music streaming 10 and the sixties going up and the music's staying flat. So it's bizarre what's happened in video streaming because the content is exclusive. Back to, how do music carnivores play out again? Could we see it play out in features?I listen to airport cause they've got classical and I listen to Spotify because it got discovered weekly. Is that plausible? Personally, I don't buy it, but you can sow that seed and see if it takes root, as well. I think just quick pause and Apple as well. I think two things there. They've launched Apple Classical. That's a very, very good example of differentiating a product because it's a standalone app like podcast as a standalone app. The way I look at that is you can go to the supermarket and buy all your shopping. You can get your Tropicana orange juice, you can get your bread, get your eggs, get your meat, get your fish or you could go to a specialist butcher and buy your meat there instead. Apple Classical for me is the specialist butcher as opposed to the supermarket, and they're offering both in the same ecosystem. It'd be incredible if they preload out the next iOS update and give 850 million people an Apple classical app.Imagine if they did that for Jazz, my friend. Imagine if they did that for jazz. Just if Apple's listening, repeat, do that for jazz. So there's one example. The other example from Apple is to go back to bundling. You know we talk about 9.99 a month. I chewed your ear off about this topic last time I was on your show.Just to remind your listeners, where did it come from? This price point in pound Sterling, in Euro in dollar that we still pay for on the 20th of May, 2023. It came from a Blockbuster video rental card that is when reps, he got its license on the 3rd of December, 2001. Not long after nine 11, a record label exec said if it cost nine 90 nines, rent movies from Blockbuster.That's what it should cost to rent music. And 22 years plus on, we're still there, ran over. But what does this mean for bumbling strategies? How much does Apple really charge? If I give $30 a month for Apple One, which is tv, music, gaming news, storage and fitness, all wrapped up into one price. Now, there's a famous Silicon Valley investi called James Barksdale.Dunno if you've heard of him from the Bay Area where you're based. And he had this famous quote where he said, gentlemen, there's only two ways to make money in business. Bundling and unbundling. What we've had for the past 10 years is herbivores. Unbundling. Pay for Netflix, don't pay for Comcast. Pay for Spotify. Don't pay for your CDs, fine. What we might have in the next 10 years is carnivores bundling, which is a pendulum, swings back towards convenience of the bundle and away from the individual items. So Apple, take 30 bucks a month off my bank balance. Please take 40. All I want is one direct debit. I don't care about the money, I just want the bundle.And I don't want to see 15 direct debits every month. I just wanna see one. I think that's a very plausible scenario for how the next 10 years it's gonna play out as we shift from herbivores to carnivores[00:46:31] Dan Runcie: And the bundle benefits, the companies that have the ability to do that, right? You can do that through Amazon Prime and get your video, your music, your free shipping or whatever is under that umbrella. You could do that through Apple. You mentioned all the elements under Apple one. Spotify has some element of this as well, whether it's exclusive podcasting and things like that. So you're starting to see these things happen, one thing that you mentioned though earlier, you're talking about going through the supermarket and all of the items that you could get there versus going to the specialty butcher.One of the unique aspects of the supermarket thing though, is that. You go into the supermarket, yes, you can get your high-end Tropicana, or you can get the generic store brand, but you're gonna pay more for that high-end Tropicana because you're paying for the brand, you're paying for everything else that isn't gonna necessarily be the same as the generic one.That may not necessarily be the same quality or the same taste. We're seeing this a bit in the streaming landscape now and some of the debates that were happening. You've heard the major record label executives talk about how they don't necessarily want their premium music. They see their content as HBO level and it's being in a playlist next to rain music, or it's next to your uncle that is playing some random song on the banjo and they're getting essentially the same price going to the rights holders for that song.And in the supermarket that's obviously very different, each item has its own differentiator there, or econ has its own price point there and its own cost, but that isn't necessarily the same thing in music. Of course, the cost of each of those tracks may be different, but the revenue isn't. So that's gonna be, or that already is a whole debate that's going on right now. Do you have thoughts on that?[00:48:21] Will Page: Well, you tossed top Tropicana, let me go grab that carton for a second. It's one of the best economic lessons I ever learned was visiting a supermarket in America cuz it's true to say that when you go into one of your American supermarkets, an entire aisle of that precious shelf space, it's dedicated to selling inferior brands of orange juice next to Tropicana.Just very quickly what's happening there, the undercover economist, if you want, is a bargaining power game. Tropicana knows The reason Dan Runcie pulled the car over, got the trolley, went into that supermarket is to get a staple item of Tropicana and other stuff. By the time it gets to the till, Tropicana could be $5.By the time he gets to till he spent $50. So here, subscriber acquisition cost contribution is really high. They're getting you into the mall. What you do once you're in the mall is anyone's business, but they got you in. Otherwise you would've gone to the deli across the street. So they could say to the supermarket, I'm gonna charge you $7 to sell that Tropicana for $5 in my supermarket.Supermarket knows this, they know that Tropicana's got the bargaining paris. They counter by saying, here's an entire shell space of awful brands of orange juice to curb your bargaining power to see if the consumer wants something different. Now is this Will Page taking a stupid pill and digressing down Tropicana Alley. No. Let's think about this for a second today, Dan, there's a hundred thousand songs being onboarded onto streaming services. Is there anybody what? Marching up and down Capitol Hill saying We want a hundred thousand songs. No, the floodgates have opened them. It's all this content. Two new podcasts being launched every minute.All this content, all of these alternative brands to Tropicana. But you just wanted one. And I think the record labels argument here is that one Cardinal Tropicana is worth more than everything else you're offering by its side. So we wanna rebalance the scales. Now this gets really tricky and very contentious, but what is interesting, if you wanna take a cool head on this topic, it's to learn from the collecting studies, which is not the sexiest thing to say on a Trapital podcast, but it's to look at your Scaps and your BMIs and understand how they distribute the value of money for music.Since their foundation in the 1930s, scap has never, ever treated music to have the same value. They have rules, qualifications, distribution, allocation practices, which change the value of music. And they don't have data scientists then. And to be honest, I don't think they have data scientists now, but they always have treated the value of music differently.When they were founded, they had a classical music distribution pot and a distribution pot for music that wasn't classical music. Ironically, their board was full of classical composers, and I think that's called embezzlement, but we'll leave that to the side. What we have here is a story of recognizing music as different value in the world of collecting Saudi.I call that Jurassic Park, but in the world of music streaming with all those software developers and engineers and data scientists, 22 years of 9.99 money coming in and the Prorata model, which means every song is worth the same for money going out, and that's your tension. That's your tension. How do you get off that?Tension is anyone's business. We got some ideas we can discuss. User-centric is one, autocentric is another. I've got a few ideas for my own, but I want your audience to appreciate. In straight no chaser language we call it. That's the undercurrent of what's going on here. How do you introduce Trapitalism to communism?[00:51:38] Dan Runcie: You mentioned there's artist centric, user-centric, but you mentioned some ideas you had of your own. What are those ideas?[00:51:44] Will Page: Can I bounce it off? Use my intellectual punch bag for a quick second. Yes, and I've worked 'em all. I've worked on the artist centric model. I've worked on artist growth models. That's up on YouTube. I've worked on user centric, but I'm just, I'm worried that these models, these propositions could collapse the royalty systems that these streaming services work under. The introduction of user centric or artist centric could become so complex, so burdensome, the royalty systems could break down.That's a genuine concern I have. It's not one you discuss when you talk about your aspirations and the land of milk and honey of our new streaming model that you envisage. Back in the engine room when you see how royalties are allocated and calculated and distributed out to right holders, I mean they're under stress anyway.Any more stress could snap it. So I come at this model, my proposition from the one that's least likely to break the system. I'm not saying it's the best model, but it's the least like least likely to have adverse impact on the system. And it came from my DCMS Select Committee performance in the UK Parliament, which your listeners can watch, we can give the link out, which is I said to the committee in terms of how you could change the model.What about thinking about duration? This wheel back since 1980s when B BBC radio plays, let's say Bohemian Rhapsody, it will pay for that song twice what it would pay for. You're my best friend, members of Queen wrote both songs, both released within three, four years of each other, but one lasts twice as long as another.So duration is not new. We factor in duration a lot in our music industry. We just never thought about it. If you look at Mexico, the Mexican collecting Saudi, which is so corrupt as an inside an army barracks, if you look there, they have sliding scales, duration. They factor in time, but they say the second minute is what?Less than the first. But I'm giving you more for more time just adding, decreasing scale. Germany, they have ranges in your country. America, mechanical licensing collective, the MLC in Nashville, they have overtime songs that last more than six minutes get a 1.2 multiplier. So I've been thinking about how could you introduce duration to this business?And the idea I've come up with is not to measure time. That'd be too complex, too burdensome. Every single song, measuring every second of consumption. How do you audit there? If you're an artist manager, but I wanna measure completion, then I think this is the answer. I want songs that are completed in full to receive a bonus and songs that are skipped before they end to receive a penalty.Not a huge bonus, not a huge penalty, but a tweak. A nudge that says, I value your attention. I value great songs, and you listen to these great songs and it captures my entire attention. You deserve something more. But if I skipped out after the first chorus, you deserve something less. I think that small nudge is a nudge in the right direction for this industry, and it wouldn't break the systems.So there it is. Tell me now, have I taken a stupid pill?[00:54:42] Dan Runcie: What I like about it, and I've heard other people in the industry mention this too, you're able to get something closer to what we do see in video streaming. I forget which app is specifically, but their threshold is 75%. So they acknowledge that yes, if you don't wanna watch the credits, you don't wanna listen to the closeout, that's fine.But if we at least get you for 75%, then we are gonna count that, and then that then can get used internally. That can then get used in different areas. But I think it provides everyone better data and analysis, much better data to be able to break down than. Whether or not you listen to the first 30 seconds, that's such a low threshold, but that's essentially where we are today.I think the biggest thing, regardless of what path is chosen, because as you and I both know, there's trade-offs to everyone. So instead of going through all the negative parts about it, I think it's probably more helpful to talk about it collectively, you accept the fact that there are trade-offs. You accept the fact that people are gonna try to game the system regardless of how you go about it.Because we have seen duration work elsewhere and it does get at that particular thing that we're trying to get at there is help there. And you mentioned other things such as, yes, if you're listening to the Bohemian Rhapsody, you, which I think is at least seven minutes and 15 seconds, most likely longer versus two minute song that is clearly idealized for the streaming era.There still should be maybe some slight difference there because listening to a minute and 30 seconds is very different than listening to five minute and 45 seconds to be able to hit that 75% threshold. So between that and then I've heard other topics such as which artists you start your session with should have some type of multiplier on there, and as opposed to someone that gets algorithmically recommended to you to be able to put some more onus on the on-demand nature of music streaming.The tough thing is that these things do get tough in general. Anytime there's any type of multiplier or factor in, there still is a zero sum pot that we're taking the money out of. So accepting the trade-offs, I like the direction, I think that there's a few ways to go about it that could make it more interesting, but in general, I do think that any of the proposed options I've seen at least, allow a bit more of a true economic reflection of where the reality is as opposed to where things are today.And I understand where things are today. It's easy. It's easy to report, it's easy to collect on and pay people out, relatively speaking. But like anything, there's trade offs.[00:57:14] Will Page: Yeah, it's really easy today. Even drummers can work out their royalties and no offense to drummers, but that's telling you something.But two points on my dura
Louis Theroux is embarking on a series of in-depth and freewheeling conversations with a curated collection of fascinating figures from across the globe. In this preview episode, we hear some highlights from the upcoming series which features guests including Shania Twain, Nile Rogers, Craig David, Nick Cave, Amelia Dimoldenberg and more. Listen free and exclusively on Spotify from Tuesday 6th June. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Hi Quality Records proudly presents a project more than 20 years in the making. More Amour are Dance Music DJ, Artwork and Jazz Keyboard Genius Jon Solo. Collaborators for over two decades, with over 60 years musical experience between them, it was only a matter of of time before they formed a duo. With Artwork's knowledge of working the worlds finest dance floors and Jon's incredible keyboard skills that include playing keys with imagination on tour and recording with Nile Rogers, the pair are delighted to finally share the music they have spent the last 3 years creating. With several releases lined up, and hybrid DJ/ live shows at their upcoming More Amour parties planned following debut performances at Art's House, Glastonbury and Printworks, critics are already calling More Amour the most exciting dance music duo they have ever heard in their entire fucking lives. "More Amour were delighted to be asked to do a mix for SlothBoogie. In this mix we see Arthur selecting some of More Amour's own tracks and live editing others while Jon solo makes some magical loops and improvisation on the keys. We do hope you enjoy grooving to this as much as we did making it. Lots more love." - Jon & Art.
Glen Matlock, the original bass player for Sex Pistols joined Mark and Josi Kat, the lead singer of Piss Ant for a fun size punk party Glen just played Coachella with Blondie and talked about the experience of performing in front of 100,000 people and having to show Nile Rogers the proper notes to play on the fly, why there was no animosity between him and his Pistols replacement Sid Vicious and explains why Glen thought Sid was the “Elvis of Punk”. He has some choice words for director Danny Boyle regarding the recent FX miniseries “Pistol”, sets the record straight about why he left the band, how he was included in the reunions, explains why Never Mind The Bollocks was missing some bass flourishes after he left, the thrill of touring with his childhood heroes The Faces, his new album “Consequences Coming” and his upcoming show at The Roxy featuring members of Guns N Roses, Blondie, The Go-Go's and Fred Armisen and so much more. He also had some choice words about Mark's hair dye… You can check out Glen at his website here glenmatlock.co.uk Get some Dark Mark Show gear Go to www.teepublic.com/user/dms1 for shirts, mugs, phone/laptop covers, masks and more! Follow Josi Kat on all social media This show is sponsored by: Eddie by Giddy FDA Class II medical device built to treat erectile dysfunction and performance unpredictability. Eddie is specifically engineered to promote firmer and longer-lasting erections by working with the body's physiology. Get rock hard erections the natural way again. Using promo code DARKMARK20, you can save 20% on your Eddie purchase, and you and your partner will be chanting incantations of ecstasy together faster than you can say “REDRUM.” Go to buyeddie.com/DarkMark for 20% off your purchase using code DARKMARK20 today. Raze Energy Drinks Go to https://bit.ly/2VMoqkk and put in the coupon code DMS for 15% off the best energy drinks. Zero calories. Zero carbs. Zero crash Renagade CBD Go to renagadecbd.com for all of your CBD needs Tactical Soap Smell Great with Pheromone infused products and drive women wild with desire! Go to https://grondyke-soap-company.myshopify.com/?rfsn=7187911.8cecdba
Singer and songwriter Jack Savoretti is described in pretty much every interview I came across as both extremely talented and also very charming perhaps it is this combination that has led to Jack's stellar career. He tells us of his idyllic childhood Summers spent in the Italian Riviera, why he's grateful that his success didn't happen overnight and reveals a surprising yet delicious final desert island dish. Jack's one of the most successful singer / songwriters in the UK and has collaborated with the likes of Kylie Minogue, Bob Dylan and Nile Rogers and performed to a sold out Wembley Arena. He had an international upbringing, with an Italian father and a German-Polish mother, moving from London to Switzerland, and spending idyllic childhood summers in Portofino, Italy, where his father's family come from. After falling in love with music at the age of 15 it was a somewhat slow-burning rise to fame for Jack as a musician. He toured the UK for several years, quietly growing his fanbase and it was his sixth album, Singing to Strangers, that finally hit the number one spot. His most recent record, the gorgeous sun-soaked, feel good and star-studded Europiana – inspired by his European upbringing and life –was also a chart-topper and arguably his best work to date. Thank you so much for listening.Thank you to our season sponsor Lloyds bank for supporting us and helping us bring the podcast to you each week. Follow Jack hereFollow @DesertIslandDishesThank you for all your lovely reviews. Do leave one on Spotify or Apple for a chance for yours to be read out next week. See you next time!Bye! Hosted on Acast. See acast.com/privacy for more information.
Creed vs Drago, and the winner is all of us! Again, we all love this movie. Dinner scenes. Phylicia Rashad, Tessa Thompson, and BRIGITTE!! Dads and babies. Embarrassing Russian lessons with Andy. Weird tangents at the end about running/kinesiology/mental toughness, Nile Rogers, watching movies with Andy and Kitt's parents (these are all separate tangents). Next week Creed III comes out! We'll have a new episode early the next week after it comes out with no spoilers to give everyone a chance to see it. But we'll also rank our favorite fights, montages, and movies across the series. --- Send in a voice message: https://anchor.fm/kissyourfranchisegoodbye/message
Hi! I am doing the stand up comedy in southeast PA on Friday Jan 13. Get tickets ! Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 700 awesome, curious, kind, funny, brilliant, generous souls Check out StandUpwithPete.com to learn more See John Fugelsang in Garrison NY on Jan 21 He's been murdered on CSI, interviewed 2 Beatles on separate continents in the same week, and famously once got Mitt Romney's advisor to call Governor Romney an 'etch a sketch' on CNN. Actor, comedian & broadcaster John Fugelsang hosts 'Tell Me Everything" weekdays on SiriusXM Insight #121. He recently performed in 'The Bill of Rights Concert" alongside Lewis Black & Dick Gregory which aired on AXS. He's also appeared at Montreal's ‘Just for Laughs' Festival, HBO's U.S Comedy Arts Festival in Aspen, hosted America's Funniest Home Videos for ABC and Bill Maher called him ‘one of my favorite comedians'. Film/TV credits include 'Price Check' opposite Parker Posey, "Becker," "Providence," "Coyote Ugly," the religious standup performance film "The Coexist Comedy Tour" (which won Best Documentary at the NYC Vision Fest film festival). He appears in the upcoming features "The Girl On The Train," "Maggie Black," and he plays two roles in the romantic comedy ‘The Whole Truth' starring Elisabeth Rohm and Eric Roberts. He's interviewed Paul McCartney, Bruce Springsteen, Pete Townshend, Brian Wilson, Yoko Ono, Willie Nelson, Tony Bennett, Alan Rickman, Joey Ramone, Carlos Santana, James Taylor, Bo Diddley, Stevie Nicks, Robbie Robertson, Ravi Shankar, Beyonce Knowles, Olivia Harrison, Garth Brooks, William Hurt, Helen Hunt, Ashanti, John Fogerty, William Shatner, Sen. Trent Lott, Sen. Tom Daschle, Sen. Bernie Sanders, Ed Asner, Nile Rogers, Michael Moore, JK Simmons, Valerie Plame, Ethan Hawke, Brian Dennehy, Mavis Staples, Joel Grey, David Crosby, Graham Nash, Lily Tomlin, Dave Matthews, Terrence McNally, Stanley Tucci, Michael Shannon, Noel Gallagher, Jeff Daniels, Rita Moreno, & Carl Reiner. His interview with George Harrison included JF persuading George to play several songs on acoustic guitar. This proved to be George's final televised appearance and was broadcast as "The Last Performance." His new film "Dream On," a road trip in search of the American Dream, was named "Best Documentary" at the NY Independent Film Festival. Directed by 2 time Oscar nominee Roger Weisberg, the film examines the current state of the American Dream while retracing the journey Alexis de Tocqueville made while writing 'Democracy in America.' The film features 200 interviews in 55 cities in 17 states, including Mike Huckabee, Barney Frank & Paul Krugman and premieres on PBS Election Day Eve. Check out all things Jon Carroll Follow and Support Pete Coe Pete on YouTube Pete on Twitter Pete On Instagram Pete Personal FB page
01. Öwnboss, Fastboy - Left & Right [INTRO] 02. Sam Feldt, Monsta X - Late Night Feels (Öwnboss Remix) x Duke Dummont - Ocean Drive (Öwnboss Edit) 03. Öwnboss, Watzgood. Zuffo – PAPAPO 04. Duke & Jones - Lucid (Öwnboss Remix) vs. Eric Prydz - Every Day (Öwnboss Mashup) 05. Öwnboss, Watzgood - Break Break Down Down 06. Billen Ted & Shift K3y – Step Correct 07. Öwnboss - Shelter VS Florence the Machine You've got the love (Öwnboss Mashup) 08. Sam Smith - Unholy (Feat. Kim Petras) (Acraze Remix) 09. Sofi Tukker - Summer In New York (Öwnboss & Fancy Inc Remix) 10. Lola Audreys - Miami ft. Nile Rogers (Öwnboss Remix) vs Satisfaction (Öwnboss Mashup) 11. Black Eyed Peas - Pump It Louder (Tiёsto Remix) 12. Joel Corry - History (Öwnboss & Selva Remix) 13. Cedric Gervais x Joel Corry - MOLLY (Extended Mix) 14. Öwnboss, ÜHÜ - Nothing But Love 15. Dimitri Vegas, David Guetta, Aztek feat. Nicole Scherzinger - The Drop (Öwnboss Remix) 16. Junior Senior - Move Your Feet (Öwnboss, Jetlag Remix) 17. Öwnboss vs. Ranzhiel vs. Morten - MYV vs. No Good (Öwnboss MASHUP) 18. Öwnboss & FAST BOY - Left & Right (BYOR Extended Remix) 19. Bebe Rexha D.G vs. Tony Romera (Remix) - I'm Good vs. Raw (Öwnboss Edit) 20. ACRAZE - A MILLI
A lot of creating, especially writing - whether it be music, prose, poetry or nonfiction - is a solo pursuit and often happens in isolation which is why this conversation about Collaboration is so inspiring to me. My guests for this episode, composer and author Karen LeFrak and creative facilitator and strategist, Cathleen Murphy, explain how they came together to collaborate and what they did to translate Karen's vibrant music to a global, digital audience and over 18 million (and counting) streams worldwide. Theirs is a mature creative partnership built on trust, mutual respect, active listening, open communication and joy. Key Takeaways Find opportunity Adapt to new platforms Conform to industry standards of quality Be open Ask questions Know your audience Go to where your audience is Show up consistently Build relationships Find the right partners Think strategically and long term Be discoverable You Can Find Your Voice at Any Age Karen has released seven studio recordings since March of 2021, including her latest, Renewal. Her works have been commissioned and performed by the New York Philharmonic, the American Ballet Theater, and the Shanghai and Miami Symphony orchestras. She is an ardent champion of musical and literary education for children and has received wide accolades for her children's books. Discover more about Karen at KarenLeFrak.com Cathleen is a widely respected music industry professional and the CEO of Key Of C Entertainment, who has established one of the industry's most diverse and creative driven careers leading initiatives, major labels and music publishing companies, working with a staggering list of acclaimed Grammy, Tony Pulitzer Prize and Academy Award-winning artists, including Yo-Yo Ma, Tedeschi Trucks Band, Billy Porter, Idina Menzel, Nile Rogers, the Blind Boys of Alabama, 2 Cellos, Bobby McFaren and Cindy Lauper, among many others. Find Cathleen at KeyOfCEntertainment.
Baxie talks to emerging singer/songwriter Rozzi Crane. Rozzi is an emerging talent that was not only discovered by Adam Levine of Maroon 5. She has also worked with Don Henley, Nile Rogers, Kendrick Lamar, and many others. And with her new album, "Berry Deluxe" being released in November, she appears to be an artist with a blistering wave of momentum behind her--thanks to years of hard work, talent, and vision. Really interesting stuff! Listen on Apple Podcasts, SoundCloud, Spotify, and on the Rock102 website!
RockerMike and Rob Presents: Don Henze Don Henze was born in Passaic New Jersey and grew up in Baldwin Long Island. In the 80s he co-founded and played drums for the bands WetCat and New Music Museum. In 1991 Roger Daltrey managed his band Radio Stupid, and in 2022 he wrote a book about the experience titled: “Roger Daltrey and the Bright Shiny Object”. As a musician Henze has shared the stage and studio with Roger Daltrey, Dee Dee Ramone, John “The Cat” Gatto (The Good Rats), Herbie Hancock, Nile Rogers, Phoebe Snow, Mel Schacher (Grand Funk Railroad) and Gerard McMann (Cry Little Sister). He is credited with singing background vocals on Daltrey's album “Rocks in the Head”. https://www.liherald.com/baldwin/stories/former-baldwinite-writes-book-on-music-industry-experience,141450 https://www.instagram.com/don.henze/?hl=en https://www.facebook.com/don.henze.9 https://m.youtube.com/watch?v=ugbJ0aejMSA&autoplay=1 https://www.amazon.com/Roger-Daltrey-Bright-Shiny-Object-ebook/dp/B09RSDKP65 https://www.amazon.com/Don-M-Henze/e/B09Z3DR48L/ref=pd_sim_bl_sccl_3_5/000-0000000-0000000?pd_rd_w=gtGGN&pf_rd_p=262acb63-b997-4c81-83bd-9526eab7f618&pf_rd_r=YNQ2329DAREG0FGQYXP1&pd_rd_r=c44a556f-25b9-46e0-a68f-217da3469475&pd_rd_wg=yDc8b&pd_rd_i=B09QP23ZBY #drummer #Author #musician #writer #amazonbooksale #TheWho #RogerDaltrey @drummer @TheWho @RogerDaltrey @Author @writer @amazonbook @amazon @musician Park Dental Care 12419 101st Ave South Richmond Hill Queens (718) 847-3800 https://www.718DENTISTS.com Please follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.com https://linktr.ee/RobRossi Get your T-shirt at https://www.prowrestlingtees.com/gettinglumpedup And https://www.bonfire.com/store/getting-lumped-up/ Subscribe to the channel and hit the like button This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://www.patreon.com/Gettinglumpedup --- Support this podcast: https://anchor.fm/rob-rossi/support
On today's episode we're joined by one of the UK's most successful singer-songwriters. He's collaborated with everyone from Kylie Minogue to Bob Dylan and Nile Rogers, and recently sold out Wembley Arena - we're joined today by the utterly delightful and extremely talented Jack Savoretti.Jack had a truly international upbringing, moving from London to Switzerland, and spending idyllic childhood summers in Portofino, Italy, where his father's family hail from as well as on a remote Bahamian island - it's a rather enviable childhood I have to say. It was a slow-burning rise to fame for Jack as a musician, who toured the UK for several years, all the while his fanbase grew and grew and it was his sixth album, Singing to Strangers, that finally hit the number one spot, and his most recent record, the sun-soaked and star-studded Europiana - which frankly couldn't be a better talking point for the podcast, as it was inspired by his European upbringing and life - that was also a chart-topper too and it was really interesting to hear the story behind that.This episode is a love letter to the Mediterranean as well as a few spots farther afield, but as the night's draw in here in England, I hope this injects a bit of sunshine into your day.Destination Recap:Liguria, Italy Formentera, SpainOxfordshire, EnglandLugano, SwitzerlandAscona, Switzerland Hotel Eden Roc, Ascona, SwitzerlandPortofino, ItalySan Fruttuoso, ItalyPierre Island, BahamasAbu DhabiSouth AmericaJack Savoretti's latest single Dancing Through The Rain which is taken from Europiana Encore, a special extended edition of his chart topping album, Europiana, is out now.If you'd like to hear more from the podcast don't forget to hit subscribe or if you use apple podcasts to hit follow so that a new episode lands in your podcast app each week, and if you're really enjoying it I'd be so grateful if you could leave a rating or review. If you want to be the first to find out who's joining me on next week's episode come and follow me on Instagram, I'm @hollyrubenstein and I'd love to hear from you. If you can't wait til then remember there's the first seven seasons to catch up on - that's over 85 episodes to keep you busy there. And don't forget that all the destinations mentioned by my guests are always included in the episode show notes and they're also on my website, TheTravelDiariesPodcast.com Thanks so much for listening. Hosted on Acast. See acast.com/privacy for more information.
Cynthia Daniels is a Grammy and Emmy award-winning producer, engineer and composer working extensively in film, television, and music. Her career has led her around the world, initially specializing in orchestral pop from Big Band Jazz to Broadway, and then crossing over into producing records for young and seasoned artists in the rock, country, and folk-rock world. She is owner and chief engineer at The Hamptons first world-class recording studio, MonkMusic. She has hosted or engineered sessions for Chaka Khan, Beyonce, Coldplay, Paul McCartney, Nile Rogers, Alec Baldwin, Julie Andrews, Sarah Jessica Parker, and Billy Porter."We all are looking for a little magic in our lives, and I think that's what art and the creative process allow for, above all. In a world that can be either way too predictable and mundane and create tedium, the creative mind, for me, is the curious mind and the mind that's always learning and allowing yourself to make mistakes. To generate from your core, from your soul, and from your experience something new and experimental and something that is unique to yourself.”www.cynthiadaniels.netMonk Music Radiowww.creativeprocess.infowww.oneplanetpodcast.org
"We all are looking for a little magic in our lives, and I think that's what art and the creative process allow for, above all. In a world that can be either way too predictable and mundane and create tedium, the creative mind, for me, is the curious mind and the mind that's always learning and allowing yourself to make mistakes. To generate from your core, from your soul, and from your experience something new and experimental and something that is unique to yourself.”Cynthia Daniels is a Grammy and Emmy award-winning producer, engineer and composer working extensively in film, television, and music. Her career has led her around the world, initially specializing in orchestral pop from Big Band Jazz to Broadway, and then crossing over into producing records for young and seasoned artists in the rock, country, and folk-rock world. She is owner and chief engineer at The Hamptons first world-class recording studio, MonkMusic. She has hosted or engineered sessions for Chaka Khan, Beyonce, Coldplay, Paul McCartney, Nile Rogers, Alec Baldwin, Julie Andrews, Sarah Jessica Parker, and Billy Porter.www.cynthiadaniels.netMonk Music Radiowww.creativeprocess.infowww.oneplanetpodcast.org
Cynthia Daniels is a Grammy and Emmy award-winning producer, engineer and composer working extensively in film, television, and music. Her career has led her around the world, initially specializing in orchestral pop from Big Band Jazz to Broadway, and then crossing over into producing records for young and seasoned artists in the rock, country, and folk-rock world. She is owner and chief engineer at The Hamptons first world-class recording studio, MonkMusic. She has hosted or engineered sessions for Chaka Khan, Beyonce, Coldplay, Paul McCartney, Nile Rogers, Alec Baldwin, Julie Andrews, Sarah Jessica Parker, and Billy Porter."And so that this is like a daily gift, which is why I practice every day, and that's what the artistic and creative experience is for me. So in a world that's either so impossible to control, such as political situations and world hunger and gargantuan, spiritual malaise, which is what I believe this world is suffering from because we are way too identified with our animal nature and way too unidentified with our spiritual nature, which is what I believe is required as a transformation for this world to exist. For us to become less selfish and more compassionate human beings or we're doomed.You know, it can be painful to stay awake or it can be revelation to become awake, which is why people are learning how to meditate and why that's coming into schools because there's an awakening to yourself and the goodness and possibility in this world.”www.cynthiadaniels.netMonk Music Radiowww.creativeprocess.infowww.oneplanetpodcast.orgPortrait of Cynthia Daniels by Mia Funk
© 2020-2025 Ivy Podcast Discovery LLC
