Podcasts about No Reply

Marv and I sit down with Kenyon Rosewall of the "Note by Note" podcast.     We each compile some of our "key" Beatles songs written during the Beatles "first act".      Before there was "Help!" or "Rain", there was "Do You Want to Know a Secret", "No Reply", and even a couple of Elvis-inspired three-chord raveups!

In this episode, Sav and Jess delve into their personal experiences with relationships, growth, and cultural identity. They reflect on past relationships and the impact of those experiences on their current lives. The discussion also touches on the significance of Black History Month, the importance of therapy in navigating personal challenges, and the influence of pop culture on their perspectives. Throughout the conversation, they emphasize the journey of self-discovery and the complexities of emotional health. In this engaging conversation, Sav and Jess explore the complexities of relationships, personal growth, and the challenges of adulthood. They discuss the importance of therapy, communication, and self-care while navigating the ups and downs of life. The conversation touches on parenting, the impact of digital overload, and the significance of maintaining healthy relationships with partners and in-laws. Through humor and vulnerability, they share insights on how to manage overwhelm and prioritize personal well-being. Do want to share a story for the ladies to read on the Podcast? https://forms.gle/RgtzxESmAUEdnmmD8 Do you want to be a guest on the Podcast? https://forms.gle/rfbEXFRH4V115xRK8 Follow, Like, Subscribe: @mrsjessicadurand @savannaosborne @thisisntapodcast https://wallicases.com/ Use code DURAND10 for 10% off

This episode explores Beatles '65 and Beatles for Sale, two albums that captured a pivotal moment in The Beatles' journey. These recordings showcase their creative growth, the challenges of Beatlemania, and the ways record companies shaped the music people heard. https://beatles60.group/ We reflect on how Capitol Records reworked Beatles for Sale for the U.S. market, creating Beatles '65. Six tracks were cut, new ones like “I Feel Fine” were added, and the sound was altered with added reverb. These changes weren't just technical decisions—they shaped the album's reception and reveal the industry's influence on how music was marketed. Beyond the industry's impact, the albums themselves mark The Beatles' evolution as artists. From the raw honesty of “I'm a Loser” to the bittersweet harmonies of “Baby's in Black,” these tracks delve into introspective themes that contrast with earlier love songs. The use of African drums, organ, and other unconventional instruments adds a rich depth to the music. Looking back, these albums aren't just relics of the 1960s—they continue to resonate. Songs like “I'll Follow the Sun” and “No Reply” evoke both nostalgia and fresh appreciation, serving as a soundtrack for moments of reflection and rediscovery. This episode combines historical context, personal memories, and thoughtful analysis to celebrate the enduring legacy of Beatles '65 and Beatles for Sale. Join us as we explore the music, the stories behind it, and what it means to us today.

Wakko is back! That's right, Jess Harnell and his lovely wife Cara return to the podcast to discuss Jess' new Beatles cover album, butting heads with Michael Bay, how he "finds a voice" and more.Also, Jess and Jim sing a cover of The Beatles song, "No Reply"!Order "Jess Harnell On Abbey Road" at rocksugarband.com/product/jess-harnell-on-abbey-road/Listen on Spotify: bit.ly/4fHWwxa Listen on Apple: bit.ly/3AmUYZi Support on Patreon: patreon.com/jimcummingspodcast Order a Cameo from Jim: cameo.com/toondinjimcummingsCHECK OUT OUR OTHER PODCASTS:Four Finger Discount (Simpsons) - spreaker.com/show/four-finger-discount-simpsons-podcastGoin' Down To South Park - spreaker.com/show/goin-down-to-south-parkThe One About Friends - spreaker.com/show/the-one-about-friends-podcastSpeaKing Of The Hill - spreaker.com/show/speaking-of-the-hill-a-king-of-the-hill-Talking Seinfeld - spreaker.com/show/talking-seinfeldBecome a supporter of this podcast: https://www.spreaker.com/podcast/toon-d-in-with-jim-cummings--5863067/support.

Episode 215 - No Reply (28 Sept 2024) by A Production of Main Street Church of Brigham City

No Reply (Tauranga, New Zealand) is stoked to announce the release of their third single “Big Bad Takeaway” available everywhere on 18 September 2024. Big Bad Takeaway reflects on both the good and challenging times in a relationship and recounts having someone by your side through it all. Big Bad Takeaway is a horn-led groove on top of a hip hop beat, with flavours of rock throughout. Big Bad Takeaway is the third song No Reply have collaborated on with engineer Nate Sowter at Link Flamingo Studios (Blindspott, PNC, Deadbeat, Matty Buxton, The Sun Gods, MICAH). No Reply's two previous singles have received rotation on commercial and non commercial radio stations in Aotearoa, New Zealand and abroad, as well as on Air New Zealand flights. Formed in 2022 as a ska cover band, No Reply practices turned into original music that tries to emphasise the magic of the horn section with catchy melodies.

En la variedad, el gusto. Canciones de aquí - No Reply, Gata Brass Band - un poco de lounge y swing, otro de jazz orquestal, el encuentro fugaz de Thao Nguyen, una virginiana en San Francisco & Mirah Yom Tov Zeitlyn (De Filadelfia a Brooklin) y los caprichitos muy propio del selector: Janis Ian, Boz Scaggs, Crissi Cochrane, Stephen Bishop. Este miércoles Michael Franks cumplirá 80 años.CLO PROMO UPDISCO 1 GATA BRASS BAND Estamos vivos (6)DISCO 2 PAUL McCARTNEY Jet (Cd 1 - 2)DISCO 3 THAO & MIRAH Folks (2)SEP MARTÍN X (TWITER) + Lunes RÁINERDISCO 4 JOHN LEGEND P.D.A. (We Just Don’t Care) (7)DISCO 5 JANIS IAN Seventeen ( )DISCO 6 CHARLEY CROCKETT I'm Just A Clown (ESCA)CLO LUCAS Podcast + LUNES ELENADISCO 7 NELSON RIDDLE ORCHESTRA You Are My Lucky Star (ESCA)DISCO 8 BOZ SCAGGS Jo Jo ( )DISCO 9 CRISSI COCHRANE Get Out (ESCA)DISCO 10 STEPHEN BISHOP & Chaka Khan Little Italy (7)INDI MÚSICA ELIAS + SEP MARTÍN X (TWITTER)DISCO 11 LOUIS JORDAN & HIS TYMPHANY FIVE Choo-Choo Ch’ Boogie (6)DISCO 12 NO REPLY Loco (ESCA)DISCO 13 MICHAEL FRANKS Bob Mintzer Big Band My Foolish Heart (ESCA)Escuchar audio

Lisa Pegher is a brilliant American percussion soloist and drummer. She is also a composer, improvisor and software engineer.  She is known for pioneering percussion as a solo instrument within the orchestral realm and beyond, making it her life's work to present percussion to larger audiences by commissioning, collaborating, and creating new works and performances that bring percussion to the front of the stage. We talked about her new concerto/show, "Circuits and Skins," written for her by Paul Dooley, which explores ways to meld orchestra with Electronic Dance Music, and also her project A.I.RE Artificial Iintelligence Rhythm Evolution. You'll hear about her perspectives on self-care, social media, the value of mentors, and  a fascinating variety of her performances during this episode. (the links to the video performances from the podcast are linked to the show notes on my website, where you'll also find the transcript and this episode on my YouTube: https://www.leahroseman.com/episodes/lisapegher Lisa Pegher Website: https://www.lisapegher.com/music Original Merch for sale to support this channel and series: https://www.leahroseman.com/beautiful-shirts-and-more Complete Catalog of Episodes: ⁠https://www.leahroseman.com/about⁠ Newsletter sign-up: ⁠https://mailchi.mp/ebed4a237788/podcast-newsletter ⁠Linktree for social media: ⁠https://linktr.ee/leahroseman ⁠Can you buy this independent podcaster a coffee? ⁠https://ko-fi.com/leahroseman⁠ The podcast theme music was commissioned from composer Nick Kold, and you can use the timestamps to navigate the episode. Timestamps (00:00) Intro (02:24)the story of Lisa's first drum, breaking boundaries at a young age as a soloist, Schwantner concerto (13:34) vibraphone improvisation (16:48) love for the vibraphone (18:46) great teacher (22:29) yoga, getting in the zone (24:19) No Reply (27:24) love for marimba, the importance of a solid technique (30:13) dealing with burnout (31:38) Player of Games, AI, Fate Amenable to Change (34:40) A.I.RE Artificial Intelligence Rhythm Evolution show (38:03) demo using AI (39:31) thoughts about improvisation (43:34) new merch available! (44:28) intro to Matthew Rosenbloom's Northern Flicker (47:03) excerpt from Northern Flicker by Matthew Rosenbloom (50:17) the challenges of notating percussion scores (52:43) the fun of found objects (55:40) Splice, the joy of coding (01:00:51) TROMP percussion competition experience and value of community (01:03:43) Paul Dooley Circuits and Skins, bringing EDM audiences into symphonic music (01:06:02) Imperfection project with SideFire trio free jazz (01:12:38) excerpt from Fire from Imperfection with the SideFire trio (01:13:44) taking risks (01:15:45) collaboration with Andrew Knox Imaginary Windows (01:22:45) Water Runs Up from Minimal Art: Imaginary Windows (01:25:35) overwhelm with social media and promotion (01:32:52) equity and inclusion in music

The journey of "No Reply" is a curious one. A song John seemed to not think much of, and originally offered to another Brian Epstein-managed artist, it was possibly slated to be the final song recorded for A Hard Day's Night. If not for Ringo's tonsillitis, who knows what would've happened with it. After spending some time with it though, and working it into a bit more interesting arrangement, it turned out to be the lead off track to the band's 4th album, and a real signpost to where the band was headed. More introspective than what had come before it, and a much less energetic album opener than Beatles fans were expecting, No Reply is a real sneaky song. It's filled with great melody and harmony, possibly one of the best bridges the band ever recorded, and it's all done very economically. Not a second is wasted on this song. It shows a real growth that the band is starting to go through, with John painting a brilliant scene throughout the song. It's a fantastic and unique way to start a Beatles record, and a song that doesn't get nearly enough love. Joining us this week is musician and journalist Jeff Slate. You may have read his articles in Rollling Stone, Billboard, or the New Yorker, or heard him as guest DJ on Sirius XM or KLOS. He's got a brand new record out, The Last Day of Summer with a laundry list of great players joining him. It's a fantastic pop rock album, we can't recommend it enough. He'll be on the road this November supporting the Wallflowers on the East Coast so don't miss it! Check out all things Jeff at www.jeffslatehq.com or follow him on Twitter or Facebook! What do you think about "No Reply" at #88? Too high? Too low? Or just right? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Be sure to check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠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

Silence may be the most powerful communication tool you have at your disposal. Learn how to use the three-second rule to offset your adrenaline urge to react.  #ThePitch #INICIVOX #VirtualMentorship

Más canciones con vientos y metales y de figuras más que ilustres. Bob Dylan, David Bowie, Valerie Carter, Van Morrison, Joss Stone, Everything But The Girl o No Reply. Y géneros varios: British Soul, Reggae, Funk, Jazz Contemporáneo, West Coast Sound… Que paséis una gran semana escuchando estas canciones para que nos guste la vida.  DISCO 1 NATHAN EAST Sir Duke (ESCA) DISCO 2 NO REPLY Un Día en el Mundo (ESCA)  DISCO 3 VALERIE CARTER So, So Happy (ESCA)   DISCO 4 BILL QUATEMAN Mama Won’t You Roll Me (3) DISCO 5 CROMÁTICA PISTONA Hurricane Boogie (6) DISCO 6 DAVID BOWIE I Keep Forgetting (ESCA)  DISCO 7 VAN MORRISON Days Like These (ESCA) DISCO 8 EVERYTHING BUT THE GIRL Get Back Together (ESCA)  DISCO 9 JOSS STONE Right To Be Wrong (ESCA)  DISCO 10 BOB DYLAN New Morning" (with horn section overdubs) (ESCA ) DISCO 11 TOOTS & THE MAYTALS Never Grow Old (ESCA) DISCO 12 NICOLA CONTE The Dharma Bums (9)  DISCO 13 THE MIGHTY MOGAMBOS St.Pauli Second Line (ESCA)Escuchar audio

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The Biden administration claims that it's using a heavy hand at the border. US/UK attack on Houthi rebels in Yemen. What is happening in the area of these Houthi Rebels? We in Indiana will feel that costs of what is happening in this area of the world. The US has allowed this group to prevent shipping in this region. Let's look at what's happening in the seas around China. This attack on the Houthis should have happened 2 months ago. When Matt Bair went to Tony's office. NBC layoffs. House Bill 1062 allowing children to work on the family farm. Democrats object. Senator Byrne objects to free transportation on Election Day. If free transportation is not being provided to all, then it should not be provided at all. Andre Carson stepped out of the bigoted closet. ESPN is a slimy outfit. Emmy's have taken back Emmy's from fake ESPN personalities.  Dr Jill Biden says that Joe's age is an asset. Popcorn moment. Houthis attacks on shipping costs us all. US/UK attacks back. Dr. Bumpus of the FDA talks about the importance of “inclusiveness”, and objects to Pie in the Face contests. The Gun grabbers never stop gun grabbing. Washington State proposing tax on bullets. Retired Major Mike Lyons joins the show to talk about the attack on the Houthis. Fill up on the news. Tony Katz Thursday Moment Friday Extra. "No Reply at All" Genesis 1981. What's leading people into madness? Anxiety. What causes the anxiety? Wokeism. Alaska Airlines has in its training, their training talks about inclusion. DEI is bigotry.  See omnystudio.com/listener for privacy information.

This week we take a look at the second test between England and Tonga. Plus we're joined by Gray to discuss the latest IMG ratings and the future of the sport!

It's time for a new album as Beatles For Sale falls under the spotlight and it's opening track, No Reply. Does this different way of starting an album on a more melancholy note work? Do the Anthology versions shed any light on the situation? And does this really signify Lennon's increasing maturity as a songwriter? Rankings: Track-by-track Ranking eMail: beatlesstuffology@gmail.com Twitter: @beatles_ology Instagram: beatlesstuffology JG's Blog: Judgementally Reviews… Andrew's Blog: Stuffology   Produced By: JG McQuarrie

This poem, all the podcasted poems, and many more poems are online at https://writingtheday.wordpress.com/ Here's a list of all the places you can listen to this podcast https://writingtheday.wordpress.com/podcast/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/ken-ronkowitz/message

Singles Going Around- Back To Mono Volume TwoEpisode Two of Mono records, recorded and transferred in mono. Play Loud..Cream- "I'm So Glad"The Doors- "Soul Kitchen"Howlin Wolf- "Spoonful"The Rolling Stones- "Route 66"The Beach Boys- "Surf's Up"Pink Floyd- "Jug Band Blues"The Beatles- "No Reply"Chuck Berry- "Thirty Days"The Coasters-"Charlie Brown" (78 version)The Everly Brothers- "All I Have To Do Is Dream" (78 version)Fats Domino- "I'm Walkin" (78 version)Dave Clark Five- "Bits and Pieces"The Mama's and The Papa's- "Straight Shooter"The Beach Boys- "Hushabye"Cream- "Rollin and Tumblin"Robert Johnson- "From Four Until Late"Howlin Wolf- "Shake For Me"The Doors- "Back Door Man"The Rolling Stones- "I'm A King Bee"

No Reply (Tauranga) is stoked to announce the release of their debut single “Departure Lounge” available everywhere on 13 July 2023. No Reply formed in 2022 as a ska cover band playing their favourite hits from the 90's and 2000's. Practices turned into jams of original music and the collaborative process blossomed.  No Reply tries to emphasise the magic of the horn section with catchy pop melodies.  

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Super excited to announce new guest, Clifton Bryan, to The Story!Clifton Bryan is originally from central Florida. He grew up on the redneck side of town. Country music was always playing in his house growing up. Everyone always said he was the entertainer of the family. Clifton started playing the guitar around 19yrs old. He had just gotten out of the Army and was living with his uncle who taught him how to do some finger picking in his spare time. At 20yrs old, Clifton was living in LA with 6 other people in a 2-bedroom flat, working at a local gym, trying to become an actor on the big screen. Music wasn't on his radar until he came across a guitar which he bought from a pawn shop in the Los Angeles valley in 1998 for a hundred bucks. By the end of the first week and three chords later Clifton wrote his first song! Clifton then went on to learn how to play and sing better, taking advice from lots of talented people over the years. He went through my early 20's learning all the songs I grew up listening to and trying to find myself as a musician.Clifton has been playing out locally for the last 1.5yrs and professionally for almost a year now. He still can't believe that he gets paid to play music and not just any music, but his own original brand of music. The support has been unimaginable.In the last year Clifton has brought some real country music to the local scene. It all started out with an open mic one night a week, then 2 nights a week. It didn't take long, and he was opening for Ryan Allen, Whiskey on the Rocks, Garrett Shultz, Ben Garner, Tyler Short, Ty March, Phillip Good and No Reply. Clifton has headlined at McCleary's, Burning Bridge Tavern, The Floating Squirrel, Harvest and Columbia Kettleworks 2nd Gear multiple times. He's played at the Tin Roof in Nashville over the summer. He is in the studio recording his 1st single "Belt Buckle Billy" and will be shooting the music video at the Burning Bridge Tavern very soon.Currently, Clifton hosts his own open mic night and karaoke night at two separate venues.Be sure to check out Clifton and his projects here:Facebook/Insta: @CliftonBryanCountryWebsite: CliftonBryanCountry.comFind The Story Podcast here: coryrosenproductions.comSupport this podcast at — https://redcircle.com/the-story/donations

JOYCUT est un avant-poste de la musique créative formé à Bologne. Le projet est nommé d'après les chansons "Joey" de Nick Drake's Time of No Reply et Pink Floyd's The Final Cut.Le nouvel album est prêt, profondément vivant, il a a pris forme de la Biennale de Venise. C'est une invitation à contempler l'émerveillement de l'attente, une évocation pour reconsidérer le temps. L'album a pour but d'éveiller les consciences sur la fragilité de la planète et d'inciter à protéger nos océans. JOYCUT_ THEBLUMIXTAPE_ CAMPUSCLUB | TheRadioShow_ 00:00:00 VoiceOver - Pasco Intro_ 00:08:08 JOYCUT - TheFirstSong - TheBluWave - PillowCase / 伊達直⼈人_ 09:20:00 JOYCUT - Darwin - TheBluWave - PillowCase / 伊達直⼈人_ 12:39:11 JOYCUT - Ungaretti - TheBluWave - PillowCase / 伊達直⼈人_ 16:11:16 JOYCUT - SAUN - TheBluWave - PillowCase / 伊達直⼈人_ 21:16:16 JOYCUT - BLUTOKYO - TheBluWave - PillowCase / 伊達直⼈人_ 29:03:08 JOYCUT - ThePlasticWhale - TheBluWave - PillowCase / 伊達直⼈人_ 32:15:00 JOYCUT - Antropocene - TheBluWave - PillowCase / 伊達直⼈人_ 38:43:08 JOYCUT - NOVEMBRE13 - TheBluWave - PillowCase / 伊達直⼈人_ 44:15:00 JOYCUT - KOMOREBI - TheBluWave - PillowCase / 伊達直⼈人_ JOYCUT is a creative music outpost formed in Bologna, Italy_ Not afraid to follow unconventional paths_ Orchestral Breathings, Tribal Drumming, Industrial Percussion_ Bandcamp :. https://joycut.bandcamp.com/ Soundcloud:. https://soundcloud.com/joycut/sets/thebluwave-twsiap-tihm-1

JOYCUT est un avant-poste de la musique créative formé à Bologne. Le projet est nommé d'après les chansons "Joey" de Nick Drake's Time of No Reply et Pink Floyd's The Final Cut.Le nouvel album est prêt, profondément vivant, il a a pris forme de la Biennale de Venise. C'est une invitation à contempler l'émerveillement de l'attente, une évocation pour reconsidérer le temps. L'album a pour but d'éveiller les consciences sur la fragilité de la planète et d'inciter à protéger nos océans. JOYCUT_ THEBLUMIXTAPE_ CAMPUSCLUB | TheRadioShow_ 00:00:00 VoiceOver - Pasco Intro_ 00:08:08 JOYCUT - TheFirstSong - TheBluWave - PillowCase / 伊達直⼈人_ 09:20:00 JOYCUT - Darwin - TheBluWave - PillowCase / 伊達直⼈人_ 12:39:11 JOYCUT - Ungaretti - TheBluWave - PillowCase / 伊達直⼈人_ 16:11:16 JOYCUT - SAUN - TheBluWave - PillowCase / 伊達直⼈人_ 21:16:16 JOYCUT - BLUTOKYO - TheBluWave - PillowCase / 伊達直⼈人_ 29:03:08 JOYCUT - ThePlasticWhale - TheBluWave - PillowCase / 伊達直⼈人_ 32:15:00 JOYCUT - Antropocene - TheBluWave - PillowCase / 伊達直⼈人_ 38:43:08 JOYCUT - NOVEMBRE13 - TheBluWave - PillowCase / 伊達直⼈人_ 44:15:00 JOYCUT - KOMOREBI - TheBluWave - PillowCase / 伊達直⼈人_ JOYCUT is a creative music outpost formed in Bologna, Italy_ Not afraid to follow unconventional paths_ Orchestral Breathings, Tribal Drumming, Industrial Percussion_ Bandcamp :. https://joycut.bandcamp.com/ Soundcloud:. https://soundcloud.com/joycut/sets/thebluwave-twsiap-tihm-1

Niño Josele, el enorme guitarrista flamenco, ojito derecho de Paco De Lucía, nos visita con su guitarra y su nuevo álbum “Galaxias” en el que han participado Chick Corea, Rubén Blades, Jorge Pardo o Rosario La Tremendita. El próximo domingo 10 de diciembre en el Auditorio Nacional de Madrid asistiremos al “Concierto Por Un Mundo Mejor” -, Concierto Solidario de Navidad organizado por Misiones Salesianas para proteger los derechos de los menores. El programa incluye la interpretación de diez composiciones de Juan Antonio Simarro, compositor, pianista, director y productor musical de cine, teatro, ballet y televisión interpretadas por la Orquesta Sinfónica Carlos Cruz Diez los beneficios de este concierto navideño irán destinados a proyectos que los misioneros salesianos llevan a cabo en los 134 países en los que están presentes. DISCO 1 NIÑO JOSELE & CHICK COREA Galaxias  DISCO 2 NO REPLY No somos hijos  DISCO 3 JUAN ANTONIO SIMARRRO CUARTETO DE CUERDA Nº1, 3er MOVIMIENTO  DISCO 4 JUAN ANTONIO SIMARRRO DIVERTIMENTO PARA UKELELE Y ORQUESTA DE CUERDA DISCO 5 JUAN ANTONIO SIMARRRO De Sol A Sol  DISCO 6 NIÑO JOSELE Caballo Andaluz DISCO 7 NIÑO JOSELE & RUBÉN BLADES No pasa nada DISCO 8 NIÑO JOSELE & ANDRÉS CALAMARO Ranchada de los paraguayos Escuchar audio

Más canciones soul para que nos gusten los lunes. Cositas nuevas de Lee Fields o Young Gus Silver Fox o lo más reciente de No Reply o Joy Crookes más rescates de artistas o grupos olvidados: Marlena Shaww, Pages, Bettye Swann, Ramsey Lewis… DISCO 1 LARRY CARLTON Back Stabbers (PHILADELPHIA - 2) DISCO 2 JOHN MAYER Clarity (1) DISCO 3 TROMBONE SHORTY Vieux carre (4) DISCO 4 LAURA NYRO & LABELLE Jimmy Mack (7) DISCO 5 LAURA ALLAN Sti (ESCA) DISCO 6 VALERIE CARTER So So Happy (5) DISCO 7 NICOLETTE LARSON You Send Me (cara 1 Corte 3) DISCO 8 MINNIE RIPERTON Lotta Love (A Jim Burgess Remix) (ESCA) DISCO 9 STEPHANIE MILLS & TEDDY PENDERGRASS Two Hearts (cara 1 Corte 2) DISCO 10 BOBBY CALDWELL You Belong To Me (7) DISCO 11 PAUL JACKSON JR Let’s Wait a While (Cara 2 Corte ) DISCO 12 JANET JACKSON That’s The Way Love Goes (2) DISCO 13 DONNY HATHAWAY Love, Love, Love (7) DISCO 14 JOY CROOKES Poison (ESCA) Escuchar audio

Red Hot Chili Peppers “These Are The Ways” Red Hot Chili Peppers “Black Summer” No Reply “Un Día En El Mundo” No Reply "El Invierno Más Largo" The Excitements “Tightrope” The Excitements “Mr. Landlord” Jontavious Willis ”The Blues Is Dead?” Jontavious Willis ”Daddy's Dough” Jontavious Willis ”Jon's Boogie” Paul Cauthen “Country As Fuck” Paul Cauthen ”Cut A Rug” Kurt Vile ”Flyin (like a fast train)” Kurt Vile ”Like Exploding Stones “ Tedeschi Trucks Band “Why Does Love Got To Be So Sad?” Escuchar audio

We're one step closer to finding out which Beatles song is the GOAT, and this week gives us four fun contenders: I'm Happy Just to Dance with You, Birthday, You've Got to Hide Your Love Away and No Reply. But wait there's more! Anne Murray! Oasis! Dylan! Happy George! Hand Clap Mal! We're gonna have a good time! 

- "NO REPLY", es una excelente formación madrileña de Swing y otros nobles géneros musicales, que ahora y tras un parón de 8 años, vuelven a tener disco de estudio: "El Invierno más Largo". Es su tercer disco de estudio, formado por 15 temas en el que dan nueva vida a temas conocidos de nuestra historia del Pop y del Rock y en el que también incluyen temas propios. Han contado con colaboraciones de amigos como Nina de Juan y Dani Martín, entre otros, dando a luz un trabajo maduro y consistente, con un nivel al alcance de muy pocos. "NO REPLY" son 9 músicos excelentes que imprimen su forma de abordar los temas y nos trasladan musicalmente a otros lugares como Nueva Orleans ó Chicago. Hablamos con Alberto Serrano, cantante del grupo, compositor y trompetista. - El bienestar y la felicidad no son estados inalcanzables en nuestra vida cotidiana, pero, por decirlo de alguna manera, nos tenemos que aplicar en ello. Los expertos psicólogos Joan Piñol y Javier Savin, se han unido para escribir el libro: "El Aprendiz de Farero"-15 claves para disfrutar de la vida- (Editorial Kairós). Es un relato en el que un joven decide dar un vuelco a su vida y en el que los autores nos muestran conceptos y técnicas psicológicas que nos pueden permitir aprender buenos hábitos, gestión emocional y nos pueden ayudar a disfrutar de una vida más plena y satisfactoria. El mundo del trabajo puede ser altamente frustrante y estresante para muchos trabajadores, pues abundan, con demasiada frecuencia, personas tóxicas, jefes incompetentes y una pésima e ineficaz organización del trabajo, que acaba cobrándose muchas bajas médicas y pérdidas millonarias, como concluyen varios estudios internacionales. Por ello es deseable contar con una serie de técnicas que nos pueden ayudar en nuestro día a día. Hablamos con los dos autores de todas estas cuestiones y, claro, del libro. Escuchar audio

Bienvenidos al canal de Cuéntame USA, con Moncho Caamaño. Esta es la última entrevista antes de hacer un descanso veraniego y nada mejor que charlar con Ernesto Millán, uno de los pilares de la banda No Reply, el Saxo alto y arreglista de varios temas del nuevo disco El invierno más largo. Muchas gracias a Ernesto por su amabilidad y le deseo todo lo mejor a esta gran banda. Enlaces a No Reply: https://www.instagram.com/noreplyswin... https://linktr.ee/NoReplySwing https://music.apple.com/es/artist/no-... https://open.spotify.com/album/77V7WU... ----------------------------------------------------------------------------------------------------------- Si deseas contactar conmigo: cuentameusa@gmail.com Instagram: https://www.instagram.com/cuentameusa/ Facebook: https://www.facebook.com/entrevistame64 Canal de YouTube: https://www.youtube.com/channel/UCp0v... Teléfono: (908)265-0125 1) No Reply - Jesucristo García 2) Políticamente Correcto -No Reply --- Send in a voice message: https://anchor.fm/cuentameusa/message Support this podcast: https://anchor.fm/cuentameusa/support

Una banda de supermúsicos. "El invierno más largo" es el álbum de regreso de No Reply. Grabaron en español para empezar con aquel "Drunkology". Luego probaron en español. Después crearon Dummie y cantaron junto a amigos como Quique González. Los estragos de la pandemia no evitaron que Alejandro Serrano, su voz principal, se aventurara en solitario preguntándose si "¿Hay alguien ahí?" Y ahora No Reply regresan con toda la carga y las ganas y la compañía entre otros de Dani Martín, Nina de Juan (Morgan) o Verónica Ferreiro. DISCO 1 NO REPLY Chaste malo DISCO 2 NO REPLY & Nina de Juan El invierno más largo DISCO 3 MORGAN Thank You DISCO 4 NO REPLY Loco DISCO 5 ALEJANDRO SERRANO Buena gente DISCO 6 NO REPLY Un día en el mundo DISCO 7 NO REPLY & VERÓNICA FERREIRO Un vestido y un amor DISCO 8 NO REPLY Aunque tú no lo sepas DISCO 9 DUMMIE & QUIQUE GLEZ Pájaros Mojados Escuchar audio

A solo ramble about the song No Reply At All by Genesis. Written By: Mike Rutherford, Phil Collins & Tony Banks  mentions:That Voice Again - hi-hats by Stewart Copeland - https://en.m.wikipedia.org/wiki/So_(album)  

Uxía y Javier Ruibal "De tu casa a la mía": (de la mano de Federico García Lorca y Rosalía de Castro) ”De tu casa a la mía” ”Ahí va la loca soñando” ”Danza da lúa en Santiago” ”Chove en Santiago” ”Morenita” ”Érguete, miña amiga” ”Por tu amor me duele el aire” ”Rosa de cen follas” ”Ay, ruada” ”O corazón na man” ”Romance de la Luna, Luna” ”Falares de amor” ”Solo tu corazón caliente” No Reply "El Invierno Más Largo": ”Aunque Tú No Lo Sepas” ”El Invierno Más Largo” con Nina de Juan “Un Vestido y Un Amor” con Verónica Ferreiro ”Cigarrito” con Dani Martin Escuchar audio

Reddit rSlash Storytime r prorevenge where Cashier Petty Revenge Blocking a field of view My mom kindly gives back her towels to her roomate I soaked a kid's backpack in water from my trombone slide today No Reply to Group Chat? Now its Goneold boss sold his business to someone who was kind of a dick. New guy didn't realize I was the face of the business and ended up losing out on everything. See acast.com/privacy for privacy and opt-out information.

Canciones de Sabina, Cecilia, Rosendo, Joan Baptista Humet, Radio futura, Los Brincos, Morgan, Fórmula V, Los Chunguitos, Golpes Bajos, Vetusta Morla, Perales… interpretadas por... DISCO 1 LOS CORONAS Flamenco DISCO 2 SEXY SADIE Cuéntame DISCO 3 MIQUI PUIG Y EL CONJUTO ELÉCTRICO Insurrección DISCO 4 AMPARO SÁNCHEZ Han caído los dos DISCO 5 NO REPLY Un día en el mundo DISCO 6 ANA D Me quedo contigo DISCO 7 IVÁN FERREIRO No mires a los ojos de la gente  DISCO 8 LíDIA PUJOL Nada de nada DISCO 9 VARONA DE DIEGO ASÚA ROMERO Contigo DISCO 10 LAUREL CANYON Hay que vivir DISCO 11 LUIS PRADO Loco por incordiar DISCO 12 SOLE GIMÉNEZ & ALBA ENGEL Volver DISCO 13 JAVIER ÁLVAREZ Por qué te vas Escuchar audio

Silhouette è stato il singolo di debutto della coppia di songwriters americani Frank Slay e Bob Crewe. Insieme più tardi scrissero molti dei successi di The Four Seasons, il gruppo capitanato da Frankie Valli, conosciuto dalle generazioni successive per avere cantato la sigla di Grease.Per ascoltare la plylist di oggi su Spotify clicca qui! https://rbe.it/?p=70221

El grupo Mäbu celebró 10 años con disco y gira en 2018, un disco grabado en compañía de varios amigos: Marilia, Jorge Marazu, Rozalén, Izal, Adriana Moragues, Estíbaliz Uranga, Rayden, Iseo y Mikel Erentxun. Hoy vuelven al programa con un álbum titulado “Un año después”, compuesto y grabado en este tiempo pandémico con canciones que han ido entregando según la estación del año. Este viernes Leiva vendrá también al programa. DISCO 1 Antonio Serrano, Mariano Díaz, Daniel García, Richie Ferrer Homenaje a Granados (7) PEDRO ITURRALDE TRIBUTO DISCO 2 LEIVA & XIMENA XARIÑANA Histéricos (6) DISCO 3 NO REPLY  Un Día en el Mundo (6) DISCO 4 DAVID LASLEY You Bring Me Joy (4)  DISCO 5 MÄBU Invierno (1) DISCO 6 MÄBU Mi Mala Suerte (11) DISCO 7 MÄBU Hay Una Luz (12) DISCO 8 MÄBU Serendipia (3) DISCO 9 MÄBU Primavera (4) Escuchar audio

Ese sonido de pop suave, agradable, con elementos del soul, el jazz, el funk… Ese West Coast Sound que anidó en California a finales de los años 70 del siglo pasado. Los mejores músicos del planeta eran convocados en sesiones de máxima exigencia en lo creativo y en lo técnico, en la compasión y en el sonido, en la grabación. Un estilo o un género que contagió a otras bandas de Australia, Canadá o Noruega, caso del grupo Lava. Bob Scaggs, Kenny Loggins y Michael McDonald muy responsable de la fundación y expansión de la onda mal llamada en aquellos años AOR (Música para Adultos). Y el gran disco de Summer Walker o el venidero de No Reply con su regreso. DISCO 1 MALCOLM STRACHAN Uncle Bobby's Last Orders 6’44 About Time 2019 DISCO 2 MICHAEL McDONALD All I Need 5’41 Blue Obsession 2000 DISCO 3 LAVA Give It Up (5’13) Cruisin’ 1981 Årdal, Norway. Members: Guitar - Svein Dag Hauge (The founder of the band in 1977) DISCO 4 KENNY LOGGINS Leap Of Faith 7’22 Leap Of Faith 1991 DISCO 5 JEAN CARN My Love Don't Come Easy (5’07) I Found You Love DISCO 6 CRISSI COCHRANE Just Friends (4’46) Heirloom 2020  Valle de Annapolis de la provincia de Nueva Escocia DISCO 7 NO REPLY Un día en el mundo (4’09) El Invierno más largo 2022 DISCO 8 BOZ SCAGGS Miss Riddle 6’27 Dig 2001 Escuchar audio

We're joined this week by Dave Weinberg and talking all things No Reply and Suicide File. Great interview with a great dude - hope you enjoy.Check out the website for our links, playlists, and smash that Patreon button:185milessouth.com

Gran Bretaña y Europa se rinden a la Beatlemanía y es el momento de conquistar Estados Unidos. En medio de un éxito tan arrollador como agotador, la música de los Beatles sigue evolucionando. Con testimonios de Andrés Calamaro y Hugo Fattoruso.

I Touch a Red Button Man transformado numa colecção de NFTs; Confirmada a segunda parte de 'Dune'; Inauguração de instalação sonora de Diogo Bolota na Fundação Leal Rios.

This week's episode looks at "Ticket to Ride", the making of the Beatles' second film, and the influence of Bob Dylan on the Beatles' work and lives. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "The Game of Love" by Wayne Fontana and the Mindbenders. 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 the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them, but the ones I specifically referred to while writing this episode were: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For material on the making of the film, I referred to Getting Away With It by Steven Soderbergh, a book which is in part a lengthy set of conversations between Soderbergh and Richard Lester. Sadly the only way to legally get the original mix of "Ticket to Ride" is this ludicrously-expensive out-of-print box set, but the 1987 remix is widely available on the CD issue of the Help! soundtrack. The film is available on DVD. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript When we last looked at the Beatles, they had just achieved their American success, and had appeared in their first film, A Hard Day's Night. Today, we're going to look at the massive artistic growth that happened to them between late 1964 and mid 1965, the making of their second film, Help!, the influence, both artistic and personal, of Bob Dylan on the group, and their introduction both to studio experimentation and to cannabis. We're going to look at "Ticket to Ride": [Excerpt: The Beatles, "Ticket to Ride"] 1964 was a tremendously busy year for the Beatles. After they'd finished making A Hard Day's Night, but even before it was released, they had gone on yet another tour, playing Denmark, the Netherlands, Hong Kong, Australia, and New Zealand, though without Ringo for much of the tour -- Ringo had to have his tonsils removed, and so for the first eight shows of the tour he was replaced by session drummer Jimmy Nicol, the former drummer with Colin Hicks and his Cabin Boys, who had played on several cheap soundalike records of Beatles songs. Nicol was a competent drummer, though very different in style from Ringo, and he found his temporary moment of celebrity hugely upsetting -- he later described it as the worst thing to ever happen to him, and ended up declaring bankruptcy only nine months after touring with the group. Nicol is now a recluse, and hasn't spoken to anyone about his time with the Beatles in more than thirty years. After Ringo returned to the group and the film came out they went back into the studio, only two months after the release of their third album, to start work on their fourth. They recorded four songs in two sessions before departing on their first full US tour. Those songs included two cover versions -- a version of "Mr. Moonlight" by Doctor Feelgood and the Interns that appeared on the album, and a version of Little Willie John's "Leave My Kitten Alone" that didn't see release until 1995 -- and two originals written mostly or entirely by John Lennon, "Baby's In Black", and "I'm a Loser": [Excerpt: The Beatles, "I'm a Loser"] "I'm a Loser" was an early sign of an influence that had particularly changed Lennon's attitude to songwriting -- that of Bob Dylan. Dylan had been on the group's radar for some time -- Paul McCartney in the Anthology book seems to have a confused memory of seeing Madhouse on Castle Street, the TV play Dylan had appeared in in January 1963 -- but early 1964 had seen him rise in prominence to the point that he was a major star, not just an obscure folk singer. And Lennon had paid particular attention to what he was doing with his lyrics. We've already seen that Lennon had been writing surreal poetry for years, but at this point in his life he still thought of his songwriting and his poetry as separate. As he would later put it "I had a sort of professional songwriter's attitude to writing pop songs; we would turn out a certain style of song for a single, and we would do a certain style of thing for this and the other thing. I'd have a separate songwriting John Lennon who wrote songs for the meat market, and I didn't consider them (the lyrics or anything) to have any depth at all." This shouldn't be taken as Lennon saying that the early Beatles songs were lacking in quality, or that he didn't take the work seriously, but that it wasn't about self-expression. He was trying to do the best work he could as a craftsman. Listening to Dylan had showed him that it was possible instead to treat pop songwriting as art, in the sense Lennon understood the term -- as a means of personal expression that could also allow for experimentation and playing games. "I'm a Loser" is a first tentative step towards that, with Lennon for one of the first times consciously writing about his own emotions -- though careful to wrap those feelings both in a conventional love song structure and in a thick layer of distancing irony, to avoid making himself vulnerable -- and the stylistic influence of Dylan is very noticeable, as much in the instrumentation as in the lyrics. While several early Beatles singles had featured Lennon playing harmonica, he had been playing a chromatic harmonica, a type of harmonica that's mostly used for playing single-note melodies, because it allows the player to access every single note, but which is not very good for bending notes or playing chords. If you've heard someone playing the harmonica as a single-note melody instrument with few or no chords, whether Stevie Wonder, Larry Adler, or Max Geldray, the chances are they were playing a chromatic harmonica. On "I'm a Loser", though, Lennon plays a diatonic harmonica -- an instrument that he would refer to as a "harp" rather than a harmonica, because he associated it with the blues, where it's often referred to as a harp. Diatonic harmonicas are the instrument of choice for blues players because they allow more note-bending, and it's easier to play a full chord on them -- the downside, that you have a smaller selection of notes available, is less important in the blues, which tends towards harmonic minimalism. Diatonic harmonicas are the ones you're likely to hear on country, blues, and folk recordings -- they're the instrument played by people like Little Walter, Sonny Boy Williamson, Charlie McCoy, and Bob Dylan. Lennon had played a diatonic before, on "I Should Have Known Better", another song which shows Dylan's influence in the performance, though not in the lyrics. In both cases he is imitating Dylan's style, which tends to be full of chordal phrases rather than single-note melody. What's interesting about “I'm a Loser” though is contrasting John's harmonica solo with George's guitar solo which follows immediately after: [Excerpt: The Beatles, "I'm a Loser"] That's a pure Carl Perkins solo, and the group would, in their choices of cover versions for the next few months, move away somewhat from the soul and girl-group influences that dominated the covers on their first two albums, and towards country and rockabilly -- they would still cover Larry Williams, Little Richard, and Chuck Berry, but there were no more covers of contemporary Black artists, and instead there were cover versions of Buddy Holly, Carl Perkins, and Buck Owens, and Harrison switched from the Rickenbacker that had been his main instrument on A Hard Day's Night to playing a Gretsch -- the brand of guitar that Chet Atkins and Eddie Cochrane played.  The consensus among commentators -- with which, for once, I agree -- seems to be that this was also because of the influence of Dylan. The argument is that the Beatles heard Dylan's music as a form of country music, and it inspired them to go back to their other country-oriented influences. And this makes a lot of sense -- it was only fifteen years earlier, at the same time as they replaced "race" with "rhythm and blues", that Billboard magazine chose to rename their folk chart to the country and western chart -- as Tyler Mahan Coe puts it, "after years of trying to figure out what to call their “poor Black people music” and “poor white people music” charts". And Dylan had been as influenced by Hank Williams as by Woody Guthrie. In short what the Beatles, especially Lennon, heard in Dylan seems to have been three things -- a reminder of the rockabilly and skiffle influences that had been their first love before they'd discovered R&B and soul, permission to write honestly about one's own experiences, and an acknowledgement that such writing could include surrealistic wordplay. Fundamentally, Dylan, as much as being a direct influence, seems to have given the group a kind of permission -- to have shown them that there was room in the commercial sphere in which they were now operating for them to venture into musical and lyrical areas that had always appealed to them. But of course, that was not the only influence that Dylan had on the group, as anyone who has ever read anything at all about their first full US tour knows. That tour saw them playing huge venues like the Hollywood Bowl -- a show which later made up a big part of their only official live album, which was finally released in 1977: [Excerpt: The Beatles, "Things We Said Today (live at the Hollywood Bowl 1964)"] It was nine days into the tour, on the twenty-eighth of August 1964, that they met Bob Dylan for the first time. The meeting with Dylan is usually called the first time the Beatles ever smoked cannabis -- and that's true, at least if you're talking about them as a group. Lennon had tried it around 1960, and both Lennon and Harrison had tried it at a show at the Southport Floral Hall in early 1962, but neither had properly understood what they were smoking, and had both already been drunk before smoking it. According to a later interview with Harrison, that had led to the two of them madly dancing the Twist in their dressing room, shouting "This stuff isn't doing anything!" But it was at this meeting that Paul and Ringo first smoked it, and it also seems to have been taken by Lennon and Harrison as their "real" first time, possibly partly because being introduced to cannabis by Bob Dylan in a New York hotel sounds a lot cooler than being introduced to it by your support band's drummer in Southport, possibly because it was the first time that they had all smoked it together as a group, but mostly because this was the time when it became a regular part of the group's life. Oddly, it happened because of a misheard lyric. Dylan had loved "I Want to Hold Your Hand", and had misheard "I can't hide" as "I get high", and thus just assumed that the British band were already familiar with cannabis. The drug had a profound effect on them -- McCartney later recalled being convinced he had discovered the meaning of life, writing it down on a bit of paper, and getting their roadie Mal Evans to hold the paper for safekeeping. The next morning, when he looked at the paper, he found it merely said "there are seven levels". Lennon, on the other hand, mostly remembered Dylan playing them his latest demos and telling them to listen to the words, but Lennon characteristically being unable to concentrate on the lyrics because in his stoned state he was overwhelmed by the rhythm and general sound of the music. From this point on, the use of cannabis became a major part of the group's life, and it would soon have a profound effect on their lifestyles, their songwriting, the production on their records, and every other aspect of their career. The Beatle on whom it seems to have had the strongest and most immediate effect was Lennon, possibly because he was the one who was coping least well with success and most needed something to take his mind off things. Lennon had always been susceptible to extremes of mood -- it's likely that he would these days be diagnosed as bipolar, and we've already seen how as soon as he'd started writing personally, he'd written "I'm a Loser". He was feeling trapped in suburbia, unsuited for his role as a husband and father, unhappy about his weight, and just generally miserable. Cannabis seemed, at least at first, to offer a temporary escape from that. All the group spent much of the next couple of years stoned, but Lennon probably more than any of them, and he was the one whose writing it seemed to affect most profoundly. On the group's return from the US, they carried on working on the next album, and on a non-album single designed to be released simultaneously with it. "I Feel Fine" is a major milestone in the group's career in a number of ways. The most obvious is the opening -- a brief bit of feedback which Lennon would always later claim to be the first deliberate use of the technique on a record: [Excerpt: The Beatles, "I Feel Fine"] Feedback had, up until this point, been something that musicians generally tried to avoid -- an unwanted sound that could wreck a performance. But among guitarists in London, especially, it was becoming the fashionable sound to incorporate, in a carefully controlled manner, in order to make sounds that nobody had heard before. Jeff Beck, Dave Davies, and Pete Townshend would all argue about which of them was the first to use the technique, but all were using it on stage by the time the Beatles recorded "I Feel Fine". But the Beatles were, if not the first to deliberately use feedback on a record (as I've said in the past, there is no such thing as a first anything, and there are debatable examples where feedback may be deliberate going back to the 1930s and some records by Bob Wills), certainly the most prominent artists to do so up to that point, and also the first to make it a major, prominent feature of a hit record in this manner. If they hadn't done it, someone else undoubtedly would, but they were the first to capture the sound that was becoming so popular in the London clubs, and as so often in their career they were able to capture something that was at the cutting edge of the underground culture and turn it into something that would be accepted by millions. "I Feel Fine" was important to the Beatles in another way, though, in that it was the first Beatles original to be based entirely around a guitar riff, and this was if anything a more important departure from their earlier records than the feedback was. Up to this point, while the Beatles had used riffs in covers like "Twist and Shout", their originals had avoided them -- the rhythm guitar had tended to go for strummed chords, while the lead guitar was usually reserved for solos and interjections. Rather than sustaining a riff through the whole record, George Harrison would tend to play answer phrases to the vocal melody, somewhat in the same manner as a backing vocalist. This time, though, Lennon wrote an entire song around a riff -- one he had based on an R&B record from a few years earlier that he particularly loved, "Watch Your Step" by Bobby Parker: [Excerpt: Bobby Parker, "Watch Your Step"] Parker's record had, in turn, been inspired by two others -- the influence of Ray Charles' "What'd I Say" is very obvious, but Parker had based the riff on one that Dizzy Gillespie had used in "Manteca", a classic early Afro-Cuban jazz record from 1947: [Excerpt: Dizzy Gillespie, "Manteca"] Parker had played that riff on his guitar, varied it, and come up with what may be the most influential guitar riff of all time, one lifted not only by the Beatles (on both "I Feel Fine" and, in a modified form, "Day Tripper") but Led Zeppelin, Deep Purple, the Allman Brothers Band, and many, many others: [Excerpt: Bobby Parker, "Watch Your Step"] Lennon took that riff and based a new song around it -- and it's important to note here that "I Feel Fine" *is* a new song. Both songs share the same riff and twelve-bar blues structure, but Lennon's lyric and melody are totally different, and the record has a different feel. There's a blurry line between plagiarism and homage, and to my mind "I Feel Fine" stays on the right side of that line, although it's a difficult issue because the Beatles were so much more successful than the unknown Parker. Part of the reason "I Feel Fine" could be the Beatles' first single based around a riff was it was recorded on a four-track machine, EMI having finally upgraded their equipment, which meant that the Beatles could record the instrumental and vocal tracks separately. This allowed Lennon and Harrison to hold down the tricky riff in unison, something Lennon couldn't do while also singing the melody -- it's noticeable that when they performed this song live, Lennon usually strummed the chords on a semi-acoustic guitar rather than doubling the riff as he does on the record. It's also worth listening to what Ringo's doing on the drums on the track. One of the more annoying myths about the Beatles is the claim made by a lot of people that Starr was in some way not a good drummer. While there has been some pushback on this, even to the extent that there is now a contrarian counterconsensus that says he was the best drummer in the world at the time, the general public still thinks of him as having been not particularly good. One listen to the part Starr played on "I Feel Fine" -- or indeed a close listen to any of his drum parts -- should get rid of that idea. While George and John are basically duplicating Parker's riff, Ringo picks up on the Parker record's similarity to "What'd I Say" and plays essentially the same part that Ray Charles' drummer had: [Excerpt: The Beatles, "I Feel Fine (isolated drum part)"] There are copies of that posted on YouTube, and almost all of them have comments from people claiming that the drumming in question must be a session drummer, because Starr couldn't play that well.  Several of the Beatles' singles for the next two years would feature a heavy guitar riff as their main instrumental hook. Indeed, it seems like late 1964 is a point where things start to change a little for the Beatles in how they conceptualise singles and albums. Up to this point, they seem to have just written every song as a potential single, then chosen the ones they thought of as the most commercial as singles and stuck the rest out as album tracks. But from autumn 1964 through early 1966 there seems, at least on Lennon's part, to be a divide in how he looked at songs. The songs he brought in that became singles were almost uniformly guitar-driven heavy rockers with a strong riff. Meanwhile, the songs recorded for albums were almost all based on strummed acoustic guitars, usually ballads or at most mid-tempo, and often with meditative lyrics. He clearly seems to have been thinking in terms of commercial singles and less commercial album tracks, even if he didn't quite articulate it that way.  I specify Lennon here, because there doesn't seem to be a comparable split in McCartney's writing -- partly because McCartney didn't really start writing riff-based songs until Lennon dropped the idea in late 1966. McCartney instead seems to start expanding his palette of genres -- while Lennon seems to be in two modes for about an eighteen-month period, and not really to venture out of either the bluesy riff-rocker or the country-flavoured folk rock mode, McCartney starts becoming the stylistic magpie he would become in the later period of the group's career. The B-side to the single, "She's a Woman" is, like the A-side, blues-based, but here it's McCartney in Little Richard mode. The most interesting aspect to it, though, is the rhythm guitar part -- off-beat stabs which sound very much like the group continuing to try to incorporate ska into their work: [Excerpt: The Beatles, "She's a Woman"] The single went to number one, of course, as all the group's singles in this period did. Beatles For Sale, the album that came out of these sessions, is generally regarded as one of the group's weaker efforts, possibly because of the relatively large number of cover versions, but also because of its air of bleakness. From the autumnal cover photo to the laid-back acoustic feel of much of the album, to the depressing nature of Lennon's contributions to the songwriting -- "No Reply", "I'm a Loser", "Baby's in Black", and "I Don't Want to Spoil the Party" all being a far cry from "I Feel Fine" – it's not a fun album by any means. I've always had a soft spot for the album myself, but it's clearly the work of people who were very tired, depressed, and overworked. And they were working hard -- in the four months after the end of their American tour on the twentieth of September, they recorded most of Beatles For Sale and the accompanying single, played forty-eight gigs, made TV appearances on Shindig, Scene at 6:30, Thank Your Lucky Stars, Ready Steady Go, and Top of the Pops, radio appearances on Top Gear and Saturday Club, and sundry interviews. On top of that John also made an appearance on Peter Cook and Dudley Moore's show "Not Only... But Also", performing versions of some of his poetry with Moore and Norman Rossington, who had co-starred in A Hard Day's Night: [Excerpt: John Lennon, Dudley Moore and Norman Rossington, "All Abord Speeching"] They did get a month off from mid-January 1965 through mid-February, but then it was back to work on a new film and accompanying soundtrack album. The group's second film, Help!, is generally regarded with rather less fondness than A Hard Day's Night, and it's certainly the case that some aspects of the film have not dated at all well -- in particular the way that several characters are played by white actors in brownface doing very unconvincing Indian accents, and the less than respectful attitude to Hindu religious beliefs, are things which will make any modern viewer with the slightest sensitivity to such issues cringe terribly.  But those aren't the aspects of the film which most of its critics pick up on -- rather they tend to focus only on the things that the Beatles themselves criticise about the film, mostly that the group spent most of the filming stoned out of their minds, and the performances are thus a lot less focused than those in A Hard Day's Night, and also that the script -- written this time by Richard Lester's regular collaborator Charles Wood, from a story by Marc Behm, rather than by Alun Owen -- is also a little unfocused. All these are fair criticisms as far as they go, but it's also the case that Help! is not a film that is best done justice by being viewed on a small screen on one's own, as most of its critics have viewed it most of the time. Help! is part of a whole subgenre of films which were popular in the 1960s but largely aren't made today -- the loose, chaotic, adventure comedy in which a nominal plot is just an excuse for a series of comedy sketches strung together with spectacular visuals. The genre encompasses everything from It's a Mad Mad Mad Mad World to Casino Royale to The Pink Panther, and all of these films are meant to be seen on a big screen which allows the audience to appreciate their visual inventiveness, and in a communal audience which is laughing along with them. And when seen in that light, Help! is actually a remarkably entertaining example of the type. Yes, it doesn't hold together as well as A Hard Day's Night, and it doesn't resolve so much as just stop, but structurally it's remarkably close to the films of the Marx Brothers, especially their Paramount films, and it's odd that the Marx comparisons get made about A Hard Day's Night, a slice-of-life film inspired by the French New Wave, and not about the screwball comedy that ends in a confused chase sequence. There is one thing that is worth noting about Help! that is often obscured -- part of the reason for its globetrotting nature was because of the levels of taxation in Britain at the time. For top earners, like the Beatles were, the marginal rate of income tax was as high as ninety-five percent in the mid-sixties. Many of us would think this was a reasonable rate for people who were earning many, many times in a year what most people would earn in a lifetime, but it's also worth noting that the Beatles'  success had so far lasted only two years, and that a pop act who was successful for five years was remarkably long-lived -- in the British pop industry only Cliff Richard and the Shadows had had a successful career as chart artists for longer than that, and even they were doing much less well in 1965 than they had been in 1963. In retrospect, of course, we know that the Beatles would continue to sell millions of records a year for more than sixty years, but that was not something any of them could possibly have imagined at the time, and we're still in a period where Paul McCartney could talk about going into writing musicals once the Beatles fad passed, and Ringo could still imagine himself as the owner of a hairdresser's. So it's not completely unreasonable of them to want to keep as much of their money as they could, while they could, and so while McCartney will always talk in interviews about how many of the scenes in the film were inspired by a wishlist from the group -- "We've never been skiing", "We've never been to the Bahamas" -- and there might even be some truth to that, it's also the case that the Bahamas were as known for their lax tax regime as for their undoubted charm as a tourist destination, and these journeys were not solely about giving the group a chance to have fun. But of course, before making the film itself, the group had to record songs for its soundtrack, and so on February the sixteenth they went into the studio to record four songs, including the next single, "Ticket to Ride": [Excerpt: The Beatles, "Ticket to Ride"] While "Ticket to Ride" is mostly -- or possibly solely -- John's song, the record is very much Paul's record. For most of 1964, McCartney hadn't really been pulling his weight in the songwriting department when compared to John -- the handful of songs he had written had included some exceptional ones, but for the most part he hadn't written much, and John had been the more productive member of their partnership, writing almost all of the A Hard Day's Night album, most of the better tracks on Beatles For Sale, and the non-album single "I Feel Fine".  But now, John was sinking into one of his periodic bouts of depression -- he was still writing strong material, and would produce some of the best songs of his career in 1965, but he was unfocused and unhappy, and it was showing in his slowed productivity -- while McCartney was energised by living in London, the cultural capital of the world at that point in time, and having a famous girlfriend who was exposing him to vast areas of culture he had never been aware of before.  I say that "Ticket to Ride" is written by John, but there is some slight dispute about who contributed what to the writing. John's statement was that the song was all him, and that Paul's main contribution was the drum pattern that Ringo plays. Paul, on the other hand, claims that the song is about a sixty-forty split, with John being the sixty. McCartney's evidence for that is the strong vocal harmony he sings -- usually, if there's a two-part harmony like that on a Beatles song, it came about because Lennon and McCartney were in the same room together while writing it, and singing the part together as they were writing. He also talks about how when writing it they were discussing Ryde in the Isle of Wight, where McCartney's cousin ran a pub. I can certainly see it being the case that McCartney co-wrote the song, but I can also easily see the musicianly McCartney feeling the need to harmonise what would otherwise have been a monotonous melody, and adding the harmonies during the recording stage.  Either way, though, the song is primarily John's in the writing, but the arrangement is primarily McCartney's work -- and while Lennon would later claim that McCartney would always pay less attention to Lennon's songs than to McCartney's own, in this middle period of the group's career most of their truly astounding work comes when  Lennon brings in the song but McCartney experiments with the arrangement and production. Over and over again we see McCartney taking control of a Lennon song in the studio and bringing out aspects of it that its composer either had not considered or had not had the musical vocabulary or patience to realise on his own. Indeed one can see this as part of the dynamic that eventually led to the group breaking up. Lennon would bring in a half-formed idea and have the whole group work on it, especially McCartney, and turn it into the best version of itself it could be, but this would then seem like McCartney trying to take over. McCartney, meanwhile, with his greater musical facility, would increasingly not bother asking for the input of the group's other members, even when that input would have turned a mediocre song into a good one or a good one into a great one.  But at this point in their careers, at least, the collaboration brought out the best in both Lennon and McCartney -- though one must wonder what Harrison and Starr felt about having their parts dictated to them or simply replaced. In the case of "Ticket to Ride", one can trace the evolution of McCartney's drum pattern idea over a period of a few months. He was clearly fascinated by Hal Blaine's drum intro to "Be My Baby": [Excerpt: The Ronettes, "Be My Baby"] and came up with a variation of it for his own song "What You're Doing", possibly the most interesting song on Beatles For Sale on a pure production level, the guitar part for which, owing a lot to the Searchers, is also clearly a pointer to the sound on “Ticket to Ride”: [Excerpt: The Beatles, "What You're Doing"] "Ticket to Ride"s drum part is a more complex variation on that slightly broken pattern, as you can hear if you listen to the isolated drum part: [Excerpt: The Beatles, "Ticket to Ride (isolated drums)"] Interestingly, Ringo doesn't keep that precise pattern up all the way through in the studio recording of the song, though he does in subsequent live versions. Instead, from the third verse onwards he shifts to a more straightforward backbeat of the kind he would more normally play: [Excerpt: The Beatles, "Ticket to Ride (isolated drums)"] The mono mix of "Ticket to Ride", which is how most listeners of the time encountered it, shows much more than the stereo mix just what the group, and particularly Paul, were trying to do.  It's a bass-heavy track, sluggish and thundering. It's also a song that sounds *obsessed*. For the first six bars of the verse, and the whole intro, the song stays on a single chord, A, only changing on the word "away", right before the chorus: [Excerpt: The Beatles, "Ticket to Ride"] This obsession with one chord was possibly inspired by soul music, and in particular by "Dancing in the Street", which similarly stays on one chord for a long time: [Excerpt: Martha and the Vandellas, "Dancing in the Street"] We'll be looking more at how soul music was increasingly doing away with chord progressions in favour of keeping to an extended groove on a single chord when we next look at James Brown in a few weeks' time. But in its single-chord focus and its broken drum beat, "Ticket to Ride" is very much a precursor of what the group would do a little over a year later, when they recorded "Tomorrow Never Knows". Of course, it was also around this time that the group discovered Indian music for the first time. There are scenes in the film Help! which feature musicians playing Indian instruments, and George Harrison became fascinated by the sound of the sitar and bought one, and we'll be seeing the repercussions of that for much of the next year. But it's interesting to note that a lot of the elements that make Indian classical music so distinctive to ears used to Western popular music -- the lack of harmonic movement, the modal melodies, the use of percussion not to keep a steady beat but in melodic interplay with the string instruments -- were all already present in songs like "Ticket to Ride", albeit far less obviously and in a way that still fit very much into pop song conventions. The Beatles grew immensely as musicians from their exposure to Indian music, but it's also the case that Indian music appealed to them precisely because it was an extension of the tastes they already had. Unlike when recording Beatles For Sale, the group clearly had enough original material to fill out an album, even if they ended up not doing so and including two mediocre cover versions on the album -- the last time that would happen during the group's time together. The B-sides of the two singles, John's "Yes It Is" and Paul's "I'm Down", both remained only available on the singles, even though the previous film soundtrack had included the B-sides of both its singles. Not only that, but they recorded two Lennon/McCartney songs that would remain unreleased until more than thirty years later. "If You've Got Troubles" was left unreleased for good reason -- a song written for Ringo to sing, it's probably the single worst Lennon/McCartney song ever attempted by the group, with little or nothing to redeem it. McCartney's "That Means a Lot" is more interesting. It's clearly an attempt by McCartney to write a "Ticket to Ride" part two, with a similar riff and feel: [Excerpt: The Beatles, "That Means a Lot"] It even has a sped-up repurposing of the hook line at the end, just as "Ticket to Ride" does, with "Can't you see?" taking the place of "My baby don't care": [Excerpt: The Beatles, "That Means a Lot"] The group spent a couple of sessions on that track, but seem to have given up on it. While it's far from the best thing they did, it's not worthless or unreleasable, and one suspects that they ended up thinking that the track couldn't go on the same album as "Ticket to Ride" because the two songs were just too close. Instead, they ended up giving the song to P.J. Proby, the American singer who had been brought over by Jack Good for the About The Beatles show, and who had built something of a career for himself in the UK with a string of minor hits. Lennon said "we found we just couldn't sing it. In fact, we made a hash of it, so we thought we'd better give it to someone who could do it well". And Proby *could* have done it well -- but whether he did or not is something you can judge for yourself: [Excerpt: P.J. Proby, "That Means a Lot"] Somehow, Proby's version of the song made the top thirty. When the group started filming "Help!", the film was still going under the working title "Eight Arms to Hold You", which absolutely nobody involved liked -- the title was even included on the label of some copies of "Ticket to Ride", but Lennon and McCartney particularly disliked the idea of writing a song to that title. Some have suggested that the plan was to use McCartney's "Eight Days a Week", an album track from Beatles For Sale that had been released as an American single, as a title track, but it seems unlikely that anyone would have considered that -- United Artists wanted something they could put out on a soundtrack album, and the song had already been out for many months. Instead, at almost the last minute, it was decided to name the film "Help!". This was actually close to the very first working title for the film, which had been "Help, Help". According to Lester, "the lawyer said it had already been registered and you mustn't use it so we had Beatles Two and then Eight Arms to Hold You". The only film I've been able to discover with the title "Help, Help", though, is a silent film from 1912, which I don't imagine would have caused much problem in this case.  However, after the group insisted that they couldn't possibly write a song called "Eight Arms to Hold You", Lester realised that if he put an exclamation mark after the word "help", that turned it into a different title. After getting legal approval he announced that the title of the new film was going to be "Help!", and that same day John came up with a song to that title: [Excerpt: The Beatles, "Help!"] Lennon later said that the song had started out as a slow, intense, ballad, and he had been persuaded to speed it up in the studio somewhat against his will. The song being performed as an upbeat pop song possibly made it harder for the public to see what was obvious to Lennon himself, that the song itself was a cry for help from someone going through a mental health crisis. Despite the title not being his, the sentiments certainly were, and for the first time there was barely even the fig-leaf of romantic love to disguise this. The song's lyrics certainly could be interpreted as being the singer wanting help from a romantic partner, but they don't actually specify this, which is not something that could be said about any of the group's other originals up to this point. The soundtrack album for Help! is also notable in other ways. George Harrison writes two songs on the album, when he'd only written one in total for the first four albums. From this point on he would be a major songwriting presence in the group. It also contains the most obvious Dylan homage yet, with Lennon impersonating Dylan's vocal style on "You've Got to Hide Your Love Away", recorded three days after "Ticket to Ride": [Excerpt: The Beatles, "You've Got to Hide Your Love Away"]  "You've Got to Hide Your Love Away" was notable in another way as well -- it was the first time that a musician other than the Beatles or George Martin was called in to work on a Beatles record (other than Andy White on the "Love Me Do" session, which was not something the Beatles chose or approved of). The flute player Johnny Scott overdubbed two tracks of flute at the end of the recording: [Excerpt: The Beatles, "You've Got to Hide Your Love Away"] That was a sign of things to come, because in June, once filming had completed, the group went into the studio to continue recording for the non-soundtrack side of the soundtrack album. This was the height of the group's success and embrace by the establishment -- two days earlier it had been announced that they were all to be awarded MBEs -- and it's also the point at which McCartney's new creative growth as a songwriter really became apparent. They recorded three songs on the same day -- his Little Richard soundalike "I'm Down", which ended up being used as the B-side for "Help!", an acoustic country song called "I've Just Seen a Face", and finally a song whose melody had come to him in a dream many months earlier. McCartney had been so impressed by the melody he'd dreamed that he'd been unable to believe it was original to him, and had spent a long time playing it to other people to see if they recognised it. When they didn't, he eventually changed the lyrics from his original jokey "Scrambled eggs/Oh my baby how I love your legs" to something more appropriate, and titled it "Yesterday": [Excerpt: The Beatles, "Yesterday (Anthology 2 early take)"] "Yesterday" was released as a Beatles track, on a Beatles album, but it had absolutely no involvement from John, George, and Ringo -- nobody could figure out how to adapt the song to a guitars/bass/drums format. Instead George Martin scored it for a string quartet, with some assistance from McCartney who, worried that strings would end up meaning something Mantovani-like, insisted that the score be kept as simple as possible, and played with almost no vibrato. The result was a Beatles track that featured five people, but only one Beatle: [Excerpt: The Beatles, "Yesterday"] The group's next album would see all the band members appearing on every track, and no musicians brought in from outside the group and their organisation, but the genie was now out of the bottle -- the label "The Beatles" on a record no longer meant that it featured John, Paul, George, and Ringo, but just that at least one of them was on the track and the others had agreed it could go out under their name. This would lead to immense changes in the way the group worked, and we'll be seeing how that played out throughout the rest of the 1960s.

Cowboy Bebop combines jazz, blues, country, rock, even heavy metal. who better to discuss this genre-bending soundtrack than Steve Conte, vocalist from some of the anime's most famous jams? He honored us with an interview, and even after this awesome episode, we STILL aren't sure if we're done talking about Cowboy Bebop's music... Find Steve Conte online:http://stevecontenyc.com/and search up his music on Spotify or Apple Music!Check out Save Our Stages:https://www.saveourstages.com/and remember to support your local venues and musicians however you (safely!!) can.

Special Guest: Chris Merida, Global Search Network (Staffing Company)Every day I have people contacting me on why they are not getting calls or replies to their resume.  I try to explain why and often times it is met with anger or defensiveness.  I decided to bring in another staffing professional to help solidify some of the issues with candidate's resumes and why they hear nothing back.  SYNOPSISTop 10 Resumes MistakesChris Merida - Who he is and what he doesBad Resumes - what do recruiters do?Why don't recruiters tell people why?Generic Posting - reason why candidates don't get a responseResume Mistakes! What is missingWhat recruiters and companies look forJob changes / trying to deceive the companiesAgeism - why it doesn't matter and why you may make it obviousCertifications - They should be on your resumeChris MeridaGlobal Search NetworkTalent Acquisition Leader Office: 813.832.8300 x 204 Chris@globalsearchnetwork.comhttps://www.linkedin.com/in/christophermerida  GLINTER SOCIAL MEDIAL AND CONTACT INFO michael@michaelglinter.com (Email) https://www.michaelglinter.com/podcast-1 (Podcast) http://www.linkedin.com/in/michaelglinter2 (Linked In) #MichaelAGlinter (Twitter) http://www.facebook.com/michael.glinter (Facebook) https://www.youtube.com/c/MichaelGlinter (YouTube) www.michaelglinter.com (Website)

Un doble pletina estándar donde nuestros dos melómanos repasan las canciones con las que han empezado el 2021.

Welcome to the Big Beatles Sort Out, a show in which I, author and musician Garry Abbott, attempt to finally decide my favorite Beatles recordings by scoring each and every one for lyrical content, musicality and production. I am assisted in this venture by my brother and resident Beatles expert, Paul Abbott, with a deep knowledge of the Beatles and the wider context in which they operated. Each episode we explore and score 5 songs from the Beatles full recording catalogue. The songs are drawn at random to try and avoid any album or era prejudices skewing the results. So please join us as we try and sort out, The Beatles. Episode 22 Songs: I should Have Known Better, No Reply, If I Needed Someone, Chains, Tell Me What You See Please let anyone know about this podcast who might be interested! You can contact me on Twitter @big_sort or @Garry_Abbott, or via my website www.garryabbott.co.uk. Please listen out for Paul's other Podcasts, 'The Head Ballet' - all about novelty music, and 'Hark! 87th Precinct Podcast' - all about Ed McBain's seminal police procedural novel series. You can listen along to the songs featured in this episode on this handy Spotify playlist: https://open.spotify.com/playlist/1zqQTOtj8WTUksB6MkltuI?si=bf4057a091bb4d94 Keep up with the scoring charts, or start your own using the blank-master, with this handy google sheet: https://docs.google.com/spreadsheets/d/1Qc7mHMeBBM9LSPUV0L6zrYrF2Rib9eX-Xssua-Wox3g/edit?usp=sharing Paul also mentions some 'Grandstand' footage of The Beatles homecoming. You can find that here: Grandstand : The Beatles at London Airport 1964 - YouTube

WJBW is Re-releasing The entire catalog of The Circadian Cast....these Past Episodes were taken offline to save on space for future episodes. Because again we fund this ourselves and never have made a dime playing other peoples music... at that time we had a limited account with Spreaker, but now we have unlimited space. So...enjoy the origins of This Show's dedication to original music .....enjoy the nostalgia episodes from 2015

A theme Park, Giggles of kiddos, Crosses of mummas, Clearance for toys, Dolphins put on air, Draws everyone's attention, Made kids to fall for them. With huge zeal, Air Rushed to see the Mug of every child. Drop dead gorgeous toothless smiles, Reasonless Cries, Multitude of godness in themselves... A child demanded mum, To buy Jerry and Tom, Asked over and over again not calm. Mum looked up money in hair expensive handbag, Dumped with cookies ,candies , wrappers etc... Must be a well to do family. 1 rupee slipped down, As wanted to take breath, After getting suffocated by the dumped stuffs. No one cares on it, Days passed by, Trespassers passed by, A Hard lucked coin, Spent its weekdays as a doormat.. One day itsy bitsy hand lifted it, Gave life to it. Yeah! That's a Child, With torned cloth, Parched lips, Longingness for love in eyes, Never celebrated his birthday, Everyone lets him untouched. Because, He is a fetus of a unmarried couple. They were busted up, Let a guiltless soul to suffer. And now, they are living in Realm disunited. This poor boy, Undergoing the God's game, This is not his shame, Please never blame.......... When he cries and tears out, No one is by his side to calm down him. Children holding the fingers of their mum and dad, But ,He hold his palms together and pray to God. Never God replies, Because God is speechless by his misery. God now I am asking! Why are you letting a guilt-free child to suffer? No Reply, I guess this will end when the pigs fly. -Warrior  R

Hace ya 40 años. Ni existía Discópolis. Pero nos acordamos. La influencia y el legado de John Lennon es enorme. Por más que algunos anuncios comerciales quieran trivializar alguno de sus mensajes será muy difícil sustraerse a títulos tan claros como "Poder para el pueblo" o "Imagina un mundo sin religión, fronteras o propiedad privada". Le recordamos en once de sus canciones interpretadas por artistas españoles. Siete son tesoros de RNE. 1. Cold Turkey por Javier Gurruchaga y la Orquesta Mondragón.  2. Sexy Sadie por el grupo homónimo. (Los Conciertos de Radio 3) 3. Imagine por Ana Belen con Javier Gurruchaga y Kepa Junkera. 4. Power to the People, instrumental de Manolo Gas con Pedro Iturralde. 5. Mother - Madre por Dova y Manolo Gas al Hammond. 6. Happy X-mas - La Guerra ha terminado por Lax'n'Busto 7. Give peace a chance - Dale una oportunidad a la paz por Javier Gurruchaga con la Orquesta Mondragón.  8. Drive my car por Tam Tam Go 9. Medley: Imagine, Can't Buy my Love, No Reply por Perversa en 1997 10. Sexy Sadie por Sexy Sadie en Viña Rock 1999 11. Imagine por Zebra (Joan Bibiloni) Los temas 2,4,5,8,9,10 y 11 son Producción Propia de Radio Nacional de España. Escuchar audio

Han pasado 80 años desde que el 9 de Octubre de 1940 viniera al mundo en la portuaria ciudad de Liverpool John Lennon, cantante, compositor, guitarrista y activista político. Un personaje indispensable para entender el desarrollo de la música popular en cuanto a sonido, estilo y actitud. Fue el más decidido y personal de los cuatro miembros de los Beatles, incansable buscador de nuevas sensaciones y un rebelde por naturaleza, lo que le llevó a situaciones comprometidas a lo largo de su vida. “Imagine” es, sin duda, la canción más representativa de toda la carrera musical de John Winston Lennon, a quien recordamos hoy, cuando se cumplen 70 años desde su nacimiento. Después de todo lo que se ha comentado en estas fechas tan solo nos queda escuchar una emocionante versión realizada por Emmylou Harris de este tema, que fue uno de los censurados por la Administración Bush tras los atentados del 11 de Septiembre de 2001 y que dejaba mensajes como: Imagina que no hay países. No es difícil de hacer. Nada por lo que matar o morir. Y tampoco ninguna religión… John Lennon incluyó originalmente “Grow Old With Me” en su álbum Milk And Honey. Una línea de la letra estaba tomada del poema “Rabbi Ben Ezra”, de Robery Browning, y la canción venía a expresar los sueños de John sobre que le hubiera gustado hacer cuando envejeciera. Sueños simples como los de vivir para siempre una vida sencilla con la persona querida. Mary Chapin Carpenter interpretó esta canción en el álbum Working Class Hero… A Tribute To John Lennon. “Nowhere Man”, que pertenecía a Rubber Soul, el sexto álbum de los Beatles editado en 1965, parece definir en un principio el carácter del propio John Lennon. Tras admitir posteriormente que consumía drogas, el personaje fue analizado desde todos los puntos de vista posibles por los expertos. Como conclusión, aquél “hombre de ninguna parte” podía ser desde un “camello” al capitán del Submarino Amarillo. De forma casi sorprendente, Randy Travis, uno de los baluartes de la mejor etapa de los neotradicionalistas del country, la incluyó en un álbum imprescindible de homenaje a los Fab 4 como fue Come Together:America Salutes The Beatles publicado hace 25 años.  Con Kris Kristofferson y Willie Nelson en los coros, Chris Stapleton realizó esta poderosa versión de “You’ve Got To Hide Your Love Away”, una canción que compuso y cantó como solista John Lennon en una etapa en la que el músico estaba especialmente influido por Bob Dylan. La canción es un ejemplo temprano de la autorreflexión de John en su escritura, que había comenzado con canciones como "I'm a Loser" en el verano de 1964. Esta canción, compuesta indudablemente por John Lennon, es uno de los cortes más sencillos del cuarteto al que solo se le añadió una flauta final en su versión original, incluida en la banda sonora de Help!. Los Beatles acababan de completar su segunda gran gira de conciertos por Estados Unidos cuando empezaron a grabar Beatles For Sale en pleno agosto de 1964. Cuando uno escucha con cierto detenimiento aquel disco es fácil de entender que el cuarteto estuviera exhausto en algunos de los cortes. Cuando John Lennon compuso “I’m A Loser” las influencias de Bob Dylan en su forma de escribir eran evidentes, como se demuestra en la utilización de ciertas expresiones y matices propios del genio de Minnesota en aquella época. En 1977, Doug Kershaw publicaba su álbum Flip, Flop & Fly con esta versión absolutamente campera. Help! fue uno de los momentos mágicos en la historia de los Beatles. Empezaron trabajando bajo el título de Beatles Phase II, pero muy pronto pasó a denominarse Eight Arms to Hold You (Ocho brazos para atraparte) hasta que se decidieron por Help!. Al parecer, la película está inspirada en el clásico de los Hermanos Marx Sopa de ganso, aunque en diferentes momentos encontramos alusiones satíricas de las series de James Bond como ocurre con el comienzo del tema central. De hecho, por entonces, Help! y las cintas de las aventuras del agente 007 tenían la misma distribuidora, United Artists, y llegaron a utilizar algunos sonidos muy característicos que no vieron la luz en el mercado europeo por entonces. Como canción, “Help!” fue una de las primeras canciones del cuarteto en que no se hablaba del chico que encuentra a la chica y la pierde después. Lennon súplica ayuda, comparando la situación en la que se encontró en los primeros tiempos, menos complicados. Dolly Parton nos sorprendió a todos llevándola al terreno del bluegrass. Lorrie Morgan, realizó hace años una extraordinaria versión de “Eight Days A Week”, que originalmente contaba con John Lennon como solista, abría la segunda cara del LP Beatles For Sale, que empezó a gestarse cuando habían terminado su segunda gran gira por los Estados Unidos. Se ha especulado sobre si el tema estaba dedicado a Brian Epstein, porque en aquellos tiempos tenía que dividirlo para atender como manager a multitud de grupos y solistas, de tal forma que trabajaba “ocho días a la semana”. La canción fue compuesta por John cuando el grupo estaba preparando su segunda película, que en principio iba a llamarse Eight Arms To Hold You y que, definitivamente, llevó el nombre de Help!. “I Feel Fine”  nos sirve también para recordar que esta canción se editó como single en 1964, con reservas de tres cuartos de millón de copias, como continuación de “A Hard Day’s Night”. Fue el octavo single del grupo y el sexto No.1 consecutivo y, sin embargo, no apareció en un álbum oficial hasta que vio la luz Past Masters. Volume One. Nativas de Manhattan Beach, al sur de California, y con una educación que mezclaba las tradiciones polacas y de Oklahoma, las hermanas Oliver, Kristine y Janis, empezaron a cantar juntas desde que tenían 7 y 9 años. Sus primeras apariciones musicales fueron en el coro de la iglesia local para llegar a la high school con un cierto sabor vaquero. Sus influencias incluyen a Dylan, Everly Brothers, Linda Ronstadt, Hank Williams, Bob Wills, el bluegrass y, como no, los Beatles. El segundo álbum de la familiar pareja con el nombre de Sweethearts Of The Rodeo, One Time, One Night, nos dejó esta versión de “I Feel Fine”, que fue editado en single en 1988, cinco años después de que Janis Oliver hubiera encontrado a Vince Gill, por entonces miembro de Pure Prairie League. Fue su primera mujer. “I Don’t Want To Spoil The Party” perteneció originalmente al álbum Beatles For Sale, editado en 1964. Estamos ante otra canción de Lennon con referencias a su infancia y sus relaciones familiares. En este caso tiene que ver con la alienación y un cierto sufrimiento. Ya que la chica a la que espera le da platón, decide dejar la fiesta para no estropearla a los demás. Tanto la letra como la música tienen claras reminiscencias de temas del estilo de "No Reply" y "I'm A Loser". En la versión original George Harrison fue solista junto a Lennon. Rosanne Cash incluyó esta espléndida versión en su recopilatorio Hits 1979-1989 logrando el primer puesto de las listas de singles de country… el último de su carrera por el momento. En el tiempo de TOMAUNO de hoy, nos visitan los más variopintos artistas de la escena de la Americana en sus distintas facetas. Así, Herb Pedersen recuerda un “Paperback Writer” que fue grabado durante las sesiones de Revolver  y se publicó como single en Junio de 1966, un par de meses antes de la edición del álbum, no publicándose en ningún Lp hasta la edición de Past Masters, Volume Two en el 88. La letra está inspirada por los dos libros de Lennon, “In His Own Write” y “Spaniard In The Works”, hablando del deseo de Paul McCartney de convertirse también en escritor. Steve Earle entendió la importancia del legado de los Beatles y llegó a realizar una versión muy particular de “I’m Looking Through You”, una canción que revelaba la influencia que Little Richard y Buddy Holly tuvieron en primeros escarceos del cuarteto de Liverpool, pero mantenidas durante el tiempo. Pertenecía a uno de sus álbumes más representativos, Rubber Soul, donde los llamados Fab 4 empezaron a tomar direcciones alternativas en su sonido. Los Lonely Boys es un trío de hermanos de San Angelo, Texas, que combinan elementos de rock and roll, blues, soul, country y música tejana siguiendo la tradición de su padre. Los hermanos Garza lo llaman Texican Rock’N’Roll. En la versión realizada originalmente por John Lennon estuvo acompañado de Elton John. “Whatever Gets You Thru The Night” está inspirada en una frase de un pastor evangelista durante un programa nocturno de televisión. En el álbum Instant Karma: The Amnesty International Campaign to Save Darfur, Jakob Dylan, hijo de Bob Dylan y líder de los Wallflowers, grababa una versión de “Gimme Some Truth” junto a Dhani Harrison, hijo de George Harrison, que tomó el lugar de su padre en la canción, tocando la guitarra solista. En "Gimme Some Truth" Lennon expresa su frustración con los políticos, especialmente con el entonces presidente de Estados Unidos, Richard Nixon, a quien llama "Tricky Dicky", un apodo que se utilizaría tras el escándalo Watergate. Fue compuesta tras de la Guerra de Vietnam e incluida en el álbum Imagine de 1971. Ayer mismo, conmemorando los 80 años del nacimiento de John Lennon, se editó Gimme Some Truth. The Ultimate Mixes. Bajo ese nombre, Yoko Ono y su hijo Sean han seleccionado 36 canciones de la carrera en solitario de Lennon por orden cronológico. El álbum Imagine es una referencia evidente en la discografía de John Lennon, por lo que versionar algunas de sus canciones ha sido especialmente atractivo. Aun siendo una de las interpretaciones más sólidas de la carrera de Lennon, "Oh My Love" es una de las menos conocidas. La compuso junto a Yoko Ono durante las sesiones de grabación del llamado White Album de los Beatles con el apoyo de George Harrison con su guitarra, como ocurrió en buena parte de los cortes de aquel disco. La canción tiene que ver con la terapia para superar sus traumas de la infancia. Jackson Browne la interpretó de esta forma en el proyecto Instant Karma: The Amnesty International Campaign to Save Darfur. Doug Dillard y Gene Clark unieron fuerzas para realizar dos aventuras discográficas que han pasado a la historia como referencias fundamentales de la combinación de géneros musicales apegados a la tradición, pero con una apuesta de futuro arriesgada y positiva. En aquella segunda entrega, titulada The Fantastic Expetion Of Dillard & Clark, escogieron para cerrarla un tema como “Don’t Let Me Down”, que fue la cara B de “Get Back”. Las dos canciones iban a aparecer en un disco titulado precisamente Get Back que los Beatles estaban intentando grabar en 1969 en los estudios de Apple en Savile Row. El disco se abandonó, pero el single se publicó en el mes de abril. Escuchar audio

Fridays are for the Frogs! This week M&E discuss dating in 2020, relationships, ghosting, anal pleasures, and movies & music!

Giving this a rest in order an attempt to try something new

Much has been made regarding the UK's efforts in creating a contact tracing app to help mitigate the spread of COVID-19. How is it coming along and does it work as intended?Starring Tom Merritt, Sarah Lane, Charlotte Henry, Roger Chang and Joe.Link to the Show Notes.  See acast.com/privacy for privacy and opt-out information.

Heyyyyyyy world! The very first episode of the No Reply Show is finally out! Hope you guys enjoy it && we cant wait to release episode 2.

Ventinovesima puntata della stagione 2019-2020 di Border Nights – La notte ai confini in diretta dalle 22 su Web Radio Network e poi in podcast su Spreaker, YouTube, Spotify, Itunes. Ospiti della puntata il prof. Marianno Franzini per parlare di ozonoterapia e Covid-19, Aldo Nove e Rosangela Catalano. Ad aprire la puntata la consueta copertina di Pietro Ratto.L’OZONOTERAPIA: PROF. MARIANNO FRANZINIMarianno FranziniPrimo ospite della serata sarà il prof. Marianno Franzini, Docente a.c. di Ossigeno Ozono Terapia Università di Pavia, per parlare di ozonoterapia e Covid-19. Diversi ospedali anche in Italia stanno utilizzando l’ossigeno ozono terapia per curare i malati e interrompere il contagio del Covid-19. Al Policlinico di Roma il prof. Francesco Pugliese, dopo aver avuto il parere favorevole del Comitato etico, ha annunciato l’avvio della terapia all’ozono, con un protocollo che – secondo quanto riportato da fonti giornalistiche – prevede l’ozonizzazione di 200 millilitri di sangue che poi viene reinfuso su 50 pazienti trovati positivi al virus. All’Ospedale di Udine il dott. Amato De Monte, direttore del dipartimento di anestesia e rianimazione del Santa Maria della Misericordia, racconta che, su 36 pazienti positivi al Covid-19 trattati con ossigeno ozono terapia, 35 sono stati dimessi ed uno è entrato in terapia intensiva. «All’inizio la pericolosità del virus Covid-19 è stata sottovalutata. Sono state adottate misure per contenerlo limitando i contatti, moltiplicando i ventilatori polmonari e aumentando i posti letto per la terapia intensiva. Ma ora è giunto il momento di andare ad aggredire il virus per disattivarlo. Possiamo farlo con l’Ossigeno Ozono Terapia», afferma il prof. Marianno Franzini, presidente internazionale della Società Scientifica di Ossigeno Ozono Terapia (SIOOT).Insieme al prof. Luigi Valdenassi, presidente nazionale della SIOOT, Franzini sta raccogliendo e analizzando i dati provenienti dai 20 ospedali che attualmente, in Italia, stanno curando le persone colpite dal Covid-19 secondo il protocollo medico di ozonoterapia formulato dalla SIOOT. Ieri sono arrivati i dati relativi a 46 pazienti, ricoverati in 6 ospedali diversi, che sono stati curati con 5 sedute di Ossigeno Ozono Terapia. Analizzando i parametri risulta che l’ossigeno ozono è altamente efficace. C’è un miglioramento rapido ed evidente in tutti i pazienti trattati. Aldo NoveTRA POESIA E REALTA’: ALDO NOVESecondo ospite della serata sarà il poeta e scrittore Aldo Nove, con cui cercheremo di afferrare questo difficile presente. Nel 1996, dopo la laurea in filosofia morale, scrive Woobinda e altre storie senza lieto fine, edito da Castelvecchi e ripubblicato da Einaudi nel 1998 con il titolo Superwoobinda. Nel 1999, dopo che l’autore lascia l’editore Castelvecchi, quest’ultimo pubblica Route 66 a firma Aldo Dieci, presentando il libro come scritto dall’ultima release più aggiornata del software Aldo. Dietro lo pseudonimo Aldo Dieci si nascondono gli scrittori Nicola Lagioia e Andrea Piva. Con il racconto Il mondo dell’amore, pubblicato nell’antologia Gioventù cannibale (Einaudi 1996) viene collocato dalla stampa nella famiglia di genere pulp dei cosiddetti “Cannibali”, che annovera, tra gli altri, Niccolò Ammaniti. Ha pubblicato due raccolte di poesia con lo pseudonimo Antonello Satta Centanin, in cui ha unito i cognomi della madre e del padre, e un libro di poesie ispirate a celebri brani rock dal titolo Nelle galassie oggi come oggi. Covers (con Tiziano Scarpa e Raul Montanari). L’uscita di Amore mio infinito, nel 2000, segna una svolta intimista ed esistenzialista che lo allontana dalla letteratura “cannibale”. Nel 2006, il cantautore Bugo scriverà una canzone intitolata “Amore mio infinito”, tributo al libro di Nove, il quale comparirà nel videoclip omonimo girato nel 2006. Aldo collaborerà ancora con Bugo nel 2008 per la stesura della canzone “Balliamo un altro mese”, che entrerà nel disco di Bugo intitolato Contatti. Negli anni successivi Nove si interessa alle questioni sociali legate al precariato e alla flessibilità: nel 2005 oltre a pubblicare un curioso omaggio a Fabrizio De André, Lo scandalo della bellezza (No Reply, 2005), è coautore (con Alessandro Gilioli) del testo teatrale Servizi & Servitori: la vita, al tempo del lavoro a tempo; l’anno seguente pubblica Mi chiamo Roberta, ho 40 anni, guadagno 250 euro al mese (Einaudi Stile Libero, 2006) con cui vince il Premio “Stephen Dedalus”. Nel 2006 dà vita, con la TEA, alla collana di narrativa Neon, con opere di Sara Falli (Vita di Saragaia), Giovanna Giolla, Alessandro Scotti e Ciro Ascione. Nel 2010 pubblica “La vita oscena”, testo autobiografico che ripercorre la sua vita dall’infanzia all’età adulta. Nel 2012 pubblica “Giancarlo Bigazzi, il geniaccio della canzone italiana” (Bompiani). Edoardo Sanguineti lo inserisce, insieme a Tiziano Scarpa e a Giuseppe Caliceti, nel suo Atlante del Novecento Italiano, ponendoli a chiusa del “secolo delle avanguardie” della letteratura italiana. Tra le altre cose, è stato testimonial del noto marchio Hogan per il quale ha scritto lo slogan “Versi che calzano a pennello”. La pubblicità appare nel retrocopertina di tutti i volumi Bompiani InVersi, collana di poesia diretta da Aldo Nove e Elisabetta Sgarbi fra gli anni Novanta e i primi anni Duemila.STORIA DI UNA STREGA MODERNA: ROSANGELA CATALANORosangela CatalanoNella terza parte tornerà con noi Rosangela Catalano autrice de “Psicostregoneria: storia di una strega moderna”. Psicostregoneria:un viaggio che parte da un sogno rivelatore e procede attraverso ordini segreti, sorellanze e congreghe, per accompagnare il lettore nei meandri di un contesto che non distingue piú il normale dal paranormale. Un metodo innovativo dalle radici antichissime; l’autrice lo racconta mediante gli incontri daimonici che hanno segnato la sua ricerca durata dieci anni, coadiuvata da un maestro esoterista, uno psicanalista e diverse donne che, per quanto incredibile possa sembrare, sono streghe vere della nostra epocaLE RUBRICHE DI BORDER NIGHTSTorneranno anche le nostre rubriche: la ruota libera con Paolo Franceschetti, la campana dello zio Tom con Tom Bosco, la biblioteca di Barbara Marchand, la scheda del Maestro Di Dietrologia, Pnl for English con Paola Iacobini.

Ventinovesima puntata della stagione 2019-2020 di Border Nights – La notte ai confini in diretta dalle 22 su Web Radio Network e poi in podcast su Spreaker, YouTube, Spotify, Itunes. Ospiti della puntata il prof. Marianno Franzini per parlare di ozonoterapia e Covid-19, Aldo Nove e Rosangela Catalano. Ad aprire la puntata la consueta copertina di Pietro Ratto.L’OZONOTERAPIA: PROF. MARIANNO FRANZINIMarianno FranziniPrimo ospite della serata sarà il prof. Marianno Franzini, Docente a.c. di Ossigeno Ozono Terapia Università di Pavia, per parlare di ozonoterapia e Covid-19. Diversi ospedali anche in Italia stanno utilizzando l’ossigeno ozono terapia per curare i malati e interrompere il contagio del Covid-19. Al Policlinico di Roma il prof. Francesco Pugliese, dopo aver avuto il parere favorevole del Comitato etico, ha annunciato l’avvio della terapia all’ozono, con un protocollo che – secondo quanto riportato da fonti giornalistiche – prevede l’ozonizzazione di 200 millilitri di sangue che poi viene reinfuso su 50 pazienti trovati positivi al virus. All’Ospedale di Udine il dott. Amato De Monte, direttore del dipartimento di anestesia e rianimazione del Santa Maria della Misericordia, racconta che, su 36 pazienti positivi al Covid-19 trattati con ossigeno ozono terapia, 35 sono stati dimessi ed uno è entrato in terapia intensiva. «All’inizio la pericolosità del virus Covid-19 è stata sottovalutata. Sono state adottate misure per contenerlo limitando i contatti, moltiplicando i ventilatori polmonari e aumentando i posti letto per la terapia intensiva. Ma ora è giunto il momento di andare ad aggredire il virus per disattivarlo. Possiamo farlo con l’Ossigeno Ozono Terapia», afferma il prof. Marianno Franzini, presidente internazionale della Società Scientifica di Ossigeno Ozono Terapia (SIOOT).Insieme al prof. Luigi Valdenassi, presidente nazionale della SIOOT, Franzini sta raccogliendo e analizzando i dati provenienti dai 20 ospedali che attualmente, in Italia, stanno curando le persone colpite dal Covid-19 secondo il protocollo medico di ozonoterapia formulato dalla SIOOT. Ieri sono arrivati i dati relativi a 46 pazienti, ricoverati in 6 ospedali diversi, che sono stati curati con 5 sedute di Ossigeno Ozono Terapia. Analizzando i parametri risulta che l’ossigeno ozono è altamente efficace. C’è un miglioramento rapido ed evidente in tutti i pazienti trattati. Aldo NoveTRA POESIA E REALTA’: ALDO NOVESecondo ospite della serata sarà il poeta e scrittore Aldo Nove, con cui cercheremo di afferrare questo difficile presente. Nel 1996, dopo la laurea in filosofia morale, scrive Woobinda e altre storie senza lieto fine, edito da Castelvecchi e ripubblicato da Einaudi nel 1998 con il titolo Superwoobinda. Nel 1999, dopo che l’autore lascia l’editore Castelvecchi, quest’ultimo pubblica Route 66 a firma Aldo Dieci, presentando il libro come scritto dall’ultima release più aggiornata del software Aldo. Dietro lo pseudonimo Aldo Dieci si nascondono gli scrittori Nicola Lagioia e Andrea Piva. Con il racconto Il mondo dell’amore, pubblicato nell’antologia Gioventù cannibale (Einaudi 1996) viene collocato dalla stampa nella famiglia di genere pulp dei cosiddetti “Cannibali”, che annovera, tra gli altri, Niccolò Ammaniti. Ha pubblicato due raccolte di poesia con lo pseudonimo Antonello Satta Centanin, in cui ha unito i cognomi della madre e del padre, e un libro di poesie ispirate a celebri brani rock dal titolo Nelle galassie oggi come oggi. Covers (con Tiziano Scarpa e Raul Montanari). L’uscita di Amore mio infinito, nel 2000, segna una svolta intimista ed esistenzialista che lo allontana dalla letteratura “cannibale”. Nel 2006, il cantautore Bugo scriverà una canzone intitolata “Amore mio infinito”, tributo al libro di Nove, il quale comparirà nel videoclip omonimo girato nel 2006. Aldo collaborerà ancora con Bugo nel 2008 per la stesura della canzone “Balliamo un altro mese”, che entrerà nel disco di Bugo intitolato Contatti. Negli anni successivi Nove si interessa alle questioni sociali legate al precariato e alla flessibilità: nel 2005 oltre a pubblicare un curioso omaggio a Fabrizio De André, Lo scandalo della bellezza (No Reply, 2005), è coautore (con Alessandro Gilioli) del testo teatrale Servizi & Servitori: la vita, al tempo del lavoro a tempo; l’anno seguente pubblica Mi chiamo Roberta, ho 40 anni, guadagno 250 euro al mese (Einaudi Stile Libero, 2006) con cui vince il Premio “Stephen Dedalus”. Nel 2006 dà vita, con la TEA, alla collana di narrativa Neon, con opere di Sara Falli (Vita di Saragaia), Giovanna Giolla, Alessandro Scotti e Ciro Ascione. Nel 2010 pubblica “La vita oscena”, testo autobiografico che ripercorre la sua vita dall’infanzia all’età adulta. Nel 2012 pubblica “Giancarlo Bigazzi, il geniaccio della canzone italiana” (Bompiani). Edoardo Sanguineti lo inserisce, insieme a Tiziano Scarpa e a Giuseppe Caliceti, nel suo Atlante del Novecento Italiano, ponendoli a chiusa del “secolo delle avanguardie” della letteratura italiana. Tra le altre cose, è stato testimonial del noto marchio Hogan per il quale ha scritto lo slogan “Versi che calzano a pennello”. La pubblicità appare nel retrocopertina di tutti i volumi Bompiani InVersi, collana di poesia diretta da Aldo Nove e Elisabetta Sgarbi fra gli anni Novanta e i primi anni Duemila.STORIA DI UNA STREGA MODERNA: ROSANGELA CATALANORosangela CatalanoNella terza parte tornerà con noi Rosangela Catalano autrice de “Psicostregoneria: storia di una strega moderna”. Psicostregoneria:un viaggio che parte da un sogno rivelatore e procede attraverso ordini segreti, sorellanze e congreghe, per accompagnare il lettore nei meandri di un contesto che non distingue piú il normale dal paranormale. Un metodo innovativo dalle radici antichissime; l’autrice lo racconta mediante gli incontri daimonici che hanno segnato la sua ricerca durata dieci anni, coadiuvata da un maestro esoterista, uno psicanalista e diverse donne che, per quanto incredibile possa sembrare, sono streghe vere della nostra epocaLE RUBRICHE DI BORDER NIGHTSTorneranno anche le nostre rubriche: la ruota libera con Paolo Franceschetti, la campana dello zio Tom con Tom Bosco, la biblioteca di Barbara Marchand, la scheda del Maestro Di Dietrologia, Pnl for English con Paola Iacobini.

330. No Reply - The BeatlesRelated links for 330. No Reply - The Beatles: Reply to this episode on ykyz: https://ykyz.com/p/e234c4ea24d028d3372cb1dcd3bc2928304adfa1 Music and Peace microcast: https://ykyz.com/c/microcast?&username=musicandpeace

Welcome to February & Session 6! Despite being a little under the weather, your host, Wacko Zacho, catches you up on his week, shares some tips on limiting social media usage, reads poetry from NYC poet, Frank O'Hara, talks about a visit from a falcon, and gives you his recipe for vegan ham and eggs. Music from Nick Drake. Enjoi!

Waiting to hear back from an ex can be one of the most stressful feelings during a breakup. This episode is about when an ex hasn't replied. Get Craig's help personally: https://www.askcraig.net/take-action/ Get Margaret's help: https://www.askcraig.net/margaret-1/ Craig's workbook series: https://www.askcraig.net/workbooks-1/ --- Support this podcast: https://anchor.fm/coach-craig-kenneth/support

Our guest today is an Iowa Actress, Director, writer, Hairstylist and makeup artist. She made her first big appearance in the short film "No Reply" and since then starred in multiple films such as "Bedside", "Breathless", and "Waste of Time" and the web series "Saving Grace" just to name a few. She is also the writer, director, producer and star of "white Flash" Ladies and Gentlemen our guest today is Amanda Bean. https://www.instagram.com/indieactressgirl/?hl=en --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Have you ever sent an sms, a Whatsapp or a FB Messenger and been dealt the harsh blow of the 'seen' no reply. Sally and Jay discuss this in detail and ponder why society has gotten to this stage. Naturally this leads to ghosting and an interconnecting story of getting pregnant at the same time as other friends who are 'trying' to get pregnant also. The dilemmas of life on our first episode of True Colours. --- Send in a voice message: https://anchor.fm/truecolours/message

Download here Here it is, another episode Mike has been dreading. It seems like only yesterday Joe subjected Mike to Invisible Touch, and now it is time for Abacab. Thank you Bob for another great production job! An Abacab video from the tour. Genesis on Abacab. No Reply at All Keep It Dark Dodo/Lurker live Man On The Corner Dodo/Lurker/Submarine/Naminamu Alan Hewitt's book about Steve. Buy Phil's autobiography! Here is Mike Rutherford's book. Armando Gallo's book about early Genesis. This one is older, but is considered definitive. Genesis: Chapter and Verse, a book authorized by the band. David Weigel's new book about progressive rock. Steve Hackett's website.

Every once in a while...we'll throw in random hi-jinx, hilarious outtakes and other such kookiness that didn't make the original cut. This is a prime example. (And a PG13 story...content.) Y'all ever sent a text to the wrong person? How about in a group text? One of those texts that, as soon as you hit send and realized the mistake...it made you sick? Our buddy Clint did.

Czasami firmy używają automatycznych emaili z adresów no-reply w procesach rekrutacyjnych. To bardzo zła praktyka. --- Send in a voice message: https://anchor.fm/gosia-i-jerzy/message

In this episode of The Disrupted Faith Podcast, we continue the conversation of how does the church navigates accusations of sexual misconduct and other similar situations in light of where we are as a culture surrounding these things. We also hear from former victims of sexual assault. Take a listen and join the conversation let us know your thoughts. Email us or hit us on any of the socials below. (Get Your Free Audiobook) Audible Book Recommendation: The Seven Principles for Making Marriage Work, By: John Gottman Ph.D., Nan Silver https://www.audible.com/disruptedfaith Contact Us: Email: @disruptedfaithpodcast@gmail.com  Instagram: @disruptedfaithpodcast Twitter: @disruptedfaith Facebook: Disrupted Faith Podcast Join the conversation with #disruptedfaith

In this episode of The Disrupted Faith Podcast, we look at the difficult topic of how does the church navigates accusations of sexual misconduct and other similar situations in light of where we are as a culture surrounding these things. Take a listen and join the conversation let us know your thoughts. Email us or hit us on any of the socials below.   (Get Your Free Audiobook) https://www.audible.com/disruptedfaith Contact Us: Email: @disruptedfaithpodcast@gmail.com  Instagram: @disruptedfaithpodcast Twitter: @disruptedfaith Facebook: Disrupted Faith Podcast Join the conversation with #disruptedfaith

Today on The River Turntable: Genesis' "No Reply At All" off of Abacab.

Grammy winner Tony Banks is the co-founder and keyboardist of Genesis, which helped define prog rock in the ‘70s with lead singer Peter Gabriel and emerged as a pop powerhouse in the ‘80s after drummer Phil Collins took over the lead vocalist role. Banks and Mike Rutherford were the only two musicians who were members of the band throughout Genesis’ entire history from the late 1960s through the early 2000s. He is a co-writer of Genesis classics, including “The Knife,” “The Musical Box,” “Supper’s Ready,” “Firth of Fifth,” “Follow You Follow Me,” “No Reply at All,” “That’s All,” “Invisible Touch,” “Throwing it All Away,” “Land of Confusion,” “Tonight Tonight Tonight,” “In Too Deep,” “No Son of Mine,” “I Can’t Dance,” and “Hold On My Heart.”     In addition to releasing five solo albums, Banks began scoring films in the late 1970s, including a British horror movie called The Shout, a science fiction film entitled Starship, and Quicksilver, staring Kevin Bacon. It was his work on the Faye Dunaway film The Wicked Lady that first exposed Banks to working with an orchestra, reigniting his long time love for classical music. In 2004 he released Seven: A Suite for Orchestra, which featured the London Philharmonic and marked the start of a series of classical albums. The most recent is simply titled Five.   As a member of Genesis, Banks has sold over 21 million albums in the US alone. He received a Prog God Award at the Progressive Music Awards in 2015, and was named among MusicRadar’s “greatest keyboard players of all time” in 2011. He was inducted into the Rock and Roll Hall of Fame alongside Genesis bandmates Peter Gabriel, Phil Collins, Steve Hackett, and Mike Rutherford in 2010.

Number 3 of our 5 most popular podcasts of 2017 Keyboard legend Benmont Tench (Tom Petty and the Heartbreakers, Mudcrutch) returns to the show as Beatles Month rolls on. Benmont unpacks the multi-layered genius of Beatles for Sale opening track ‘No Reply', explores why the Beatles R'n'B roots are at the heart of their greatness, recalls how his first exposure to the band scared him as a kid, why the Heartbreakers avoided playing Beatles covers, wonders about his friend Ryan Adams' recent discovery of the Beatles albums and talks about his relationship with Ringo Starr across 20+ years of playing on each other's records. My Favorite Album is a podcast unpacking the great works of pop music. Each episode features a different songwriter or musician discussing their favorite album of all time - their history with it, the making of the album, individual songs and the album's influence on their own music. Jeremy Dylan is a filmmaker, journalist and photographer from Sydney, Australia who has worked in the music industry since 2007. He directed the the feature music documentary Jim Lauderdale: The King of Broken Hearts (out now!) and the feature film Benjamin Sniddlegrass and the Cauldron of Penguins, in addition to many commercials and music videos. If you've got any feedback or suggestions, drop us a line at myfavoritealbumpodcast@gmail.com.

On the TFT Podcast, we listen to and discuss dueling breakup albums: The Dirty Projectors’ self-titled release and Amber Coffman’s “City of No Reply.” Episode 265: Orca, Please originally appeared on Overthinking It, the site subjecting the popular culture to a level of scrutiny it probably doesn't deserve. [Latest Posts | Podcast (iTunes Link)]

The first episode of the Blood God Gaming podcast! In this episode, join John, Scott, Rob, Nile, Drake, and guest Eric as we look back at 7th edition Warhammer 40,000! Our Facebook page can be found here: https://www.facebook.com/bloodgodgamingmaryland/ Transition track was made by No Reply, the track can be found here: https://soundcloud.com/no-reply-oficial/no-reply-all-star-smash-mouth

"No Reply", una canción que "Era la primera historia contada y cantada por Los Beatles" según...

"No Reply", una canción que "Era la primera historia contada y cantada por Los Beatles" según...

Varias canciones llevan "aplausos" que animan, en Eight Days a Week, I Want To Hold Your Hand, No Reply y más.¿Ya te habías dado cuenta?

Varias canciones llevan "aplausos" que animan, en Eight Days a Week, I Want To Hold Your Hand, No Reply y más.¿Ya te habías dado cuenta?

I nearly died when we talked about "No Reply!" See acast.com/privacy for privacy and opt-out information.

Jerry Zahorchak served as the Pennsylvania Secretary of Education under Governor Rendell and has successfully led multiple school districts as Superintendent. Throughout his career he's held key leadership positions including principal, strategic planning coordinator, federal programs director, teacher, and football coach.Show Notes Sights & Sounds of Marketing: "No Reply at All" by Genesis Recommendation: making definitions for public relations, targeting, and target markets. Ed Rendell and the Punxsutawney Phil event Walter Cronkite final show listed here Learn more about Patrick M. Lencioni, click here.Contact InformationJerry Zahorchak can be reached at:Jerryz8551@yahoo.comTwitter: Jerryz8551LinkedIn: Jerry Zahorchak

John Lennon Exlored:#2 Join Paul Smith and Steve Champagne as they set their fun-loving, free-wheeling sights on the primarily Lennon Beatles songs "No Reply" and "I'm A Loser". Unrepentantly "John is my favorite Beatle", Paul and Steve will address the vocals, the music, the lyrics, and anything loosely associated therewith in a manner possibly best described as somewhere between laughing, crying, and "being condemned to eternal damnation for such blatantly obvious idolatry". High school and long time friend John Bard shows up to complete the John, Paul and Why didn't my mom call me George Steve Champagne. 

In this episode, you will learn new question patterns and how to give yes and no reply.

The first recorded session of No reply ('Take 0') has a more Rock & Roll feel to it than take 1 and the released versions. Unfortunatley, the take 0 is incomplete, and the vocals are not quite OK at some places. So, the BDJ engineers set to have the best of both worlds, and combiend the instruments from take 0 with the vocals take 0. NB: The intro is from the actual take 0.

The Heavy Metal thunder suits No Reply remarkably well.