Podcasts about Phantom power

The Tragically Hip On Shuffle - Live Stream: Looking For A Place To HappenA Halifax 2015 live cut, a 40-person Off Ramp show in 1991, and a panel that pulls the deep American Hipstory out of "Fully Completely."Episode OverviewThis week on The Tragically Hip On Shuffle, host jD spins 'Looking For A Place To Happen' - track two from the 1992 Chris Tsangarides-produced "Fully Completely." It is the sequencer's burden to live between 'Courage' and 'At The Hundredth Meridian,' and the panel is here to figure out what it's hauling.The roundtable is a North American one this time. Dave from Montreal joins jD alongside two lifelong friends and bandmates, Greg from Tacoma and Chris from Seattle, who have been playing music together since 1981 and watching The Tragically Hip every chance they got. Greg's first Hip show was a 40-person night at The Off Ramp in 1991, opening for The Sundays, where Gord opened 'Looking For A Place To Happen' with a frogman-for-the-cops story instead of a killer-whale-tank one. Chris saw The Hip up close at the Under The Rail and watched Gord catch a flying beer mid-line without missing a beat.The conversation runs deep. The panel reads the song as a great Canadian travelogue working on multiple levels at once - the Jacques Cartier exterior, the interior landscape of a songwriter and a touring band looking for places to happen, and the foreshadowing of what would later become Gord's most public work around indigenous rights. There is talk of bootleg pre-shows, the legendary monologues that never made the record, the 'plaintive plaintive whale' outro that lives only in old recordings, and the beautiful curse of being the eleventh-best song on a record this good.The opener question this week was favourite last song on a Hip album. Dave goes with 'Emperor Penguin' from "Phantom Power" - heard on Saint Laurent at midnight after grabbing a tape from Sam The Record Man, and only ever heard live once, in Quebec City on the We Are The Same tour. Chris picks 'The Wherewithal' from "Live Between Us," recorded at Cobo Arena in Detroit, where he could throw a rock and hit Windsor as a kid. Greg represents the Northwest with 'Goodnight Josephine' from "In Between Evolution," recorded in his rainy hometown.Songs come up for a reason.Quick Facts: Looking For A Place To HappenAlbum: "Fully Completely" (1992)Track: 2 of 12Producer: Chris TsangaridesFirst live performance: February 4, 1991Last live performance: October 15, 2015TTHTop40 Countdown ranking: #35 (of 169 tracks)Live version featured on the stream: Halifax, 2015 (Fully And Completely tour)PanelistsDave from Montreal A Tragically Hip fan since the band came calling on much music. Quebec City regular, lifelong Stones fan, and the writer of a viral 2016 National Post piece on The Hip's final tour. Find him on Instagram and Bluesky as dave.kaufman (spelled like Andy), and read his work at therover.ca, including a feature on Buffalo's Strictly Hip and Quebec City's francophone tribute band, Gracefully Hip.Greg from Tacoma Lifelong Pacific Northwest musician and one half of Hades Market alongside his wife Liz. The band is named after his grandparents' grocery store in Mud Bay, Olympia. Find Hades Market on all the streaming services.Chris from Seattle Singer, songwriter, and guitarist with Seattle band Loud Flowers, who released two new EPs in April plus a 2024 full-length. Previously fronted Shadow Band The Civilians, which featured Steve Nieve from Elvis Costello's band. Visit loudflowers.band.Resources & ReferencesHipbase: hipbase.comThe Hip Museum: thehipmuseum.comThis Is Our Life: thisisourlife.caSetlist.fm: setlist.fmThe Tragically Hip Archive: archive.thehip.comThe Hip Compendium: compendium.tthpods.comTimestamps00:00 - Welcome to The Tragically Hip On Shuffle live stream02:24 - Meet the panel: Dave from Montreal, Greg from Tacoma, Chris from Seattle06:18 - Tale of the tape: 'Looking For A Place To Happen,' "Fully Completely," Chris Tsangarides07:47 - Listening session: Halifax 2015 live version13:39 - The plaintive whale outro and the dual lead vocal with Gord Sinclair14:41 - Greg's compliment for jD and the eight-show podcast network16:14 - Favourite last song on an album: Dave picks 'Emperor Penguin'18:50 - Chris picks 'The Wherewithal' from "Live Between Us" at Cobo Arena24:35 - Greg picks 'Goodnight Josephine' from "World Container"25:39 - First impressions of 'Looking For A Place To Happen'29:46 - Dave on the burden of living between 'Courage' and 'Hundredth Meridian'33:43 - Greg's 1991 Off Ramp show and the frogman-for-the-cops monologue36:32 - Bootleg memories and the porter-on-a-steamship monologue37:50 - The double suicide cassette and Gord as improviser40:40 - The eye contact, the ebb and flow, and being in the show45:43 - The exploration reading: a band becoming a great touring band47:38 - Putting Down, indigenous Canada, and reading Gord in retrospect49:38 - The notebook, the four coloured pens, and the Rosetta Stone51:08 - Dave's Quebec City night with Gord at the bar55:00 - Songs that grow with you, eight years of podcasts, and the headroom in The Hip's catalogue1:02:38 - Next week's shuffle: 'Game Day' from "Trouble At The Henhouse"1:03:33 - Plugs: Dave Kaufman, Hades Market, Loud FlowersComing UpNext week, the shuffle machine spins 'Let's Stay Engaged' from "Trouble At The Henhouse." Cast a vote in the community group, and come hang in the chat live next Wednesday.Stay ConnectedFacebook Community: community.tthpods.comInstagram: instagram.com/tthpodsYouTube: youtube.com/@tthpodsTickets & Events: tickets.tthpods.comThe Hip Compendium: compendium.tthpods.comGet Yer LetterHip news, album anniversaries, episode recaps, and early previews delivered every month. Subscribe and get a free copy of The Complete Hip Discography v6.0.Subscribe: subscribe.tthpods.com#TheTragicallyHip #TTHOnShuffle #FullyCompletely #GordDownie #CanadianRock #TragicallyHipPodcastThe Tragically Hip On Shuffle is part of The Tragically Hip Podcast Series - Est. 2018. New episodes every Wednesday at 8 PM ET, live on YouTube.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Fully & Completely: Redux Man Machine PoemThe last record. "Man Machine Poem" arrived in June 2016 wrapped in the worst news imaginable - and somehow it was still everything. Episode Summary: jD and Greg LeGros sit under a pear tree - bees and all - for the final entry in Fully & Completely's full Tragically Hip discography run. The album in question is "Man Machine Poem", the Hip's fourteenth and last studio record, released June 17th, 2016. Produced by Kevin Drew and Dave Hamelin, it arrived weeks after the band announced Gord Downie's glioblastoma diagnosis - though almost everything on it was written before that news broke. What jD and Greg dig into here is not just a final album. It's a listen to a band that sounds revitalized. That sounds, somehow, free. Track by track they work through all ten songs - 'Man', 'In a World Possessed by the Human Mind', 'What Blue', 'In Sarnia', 'Here, in the Dark', 'Great Soul', 'Tired as Fuck', 'Hot Mic', 'Ocean Next', and 'Machine' - unpacking the lyrical weight, the production choices, the thematic through lines, and the heartbreak of knowing this was the last one. There's also conversation about the musical landscape of 2016 - "Blackstar", "Blonde", "A Moon Shaped Pool", "We Got It from Here" - and the news, announced in the episode, that a new Gord Downie solo double album was coming. A heavy, funny, essential listen. “This is the most complete and well-written and natural sounding that they've sounded since ‘Phantom Power'. You could not ask for more.” - Greg LeGros What They Covered Track 1 - 'Man' • Psychedelic opener. Gord's vocal sounds ageless. jD hears the melody of 'Machine' hiding in the first 30 seconds - a bookend hiding in plain sight. Track 2 - 'In a World Possessed by the Human Mind' • Written about Laura Downie's illness. Greg reads it three ways simultaneously - personal, political, about the post-truth media cycle. 'Exciting over fair.' It lands every time. Track 3 - 'What Blue' • Greg cracks the code mid-episode: those eyes in the grey of everything falling apart. A marriage ending, quietly, inside a great song. Track 4 - 'In Sarnia' Fully & Completely: Redux Man Machine Poem tthpods.com 2 • Originally titled 'Insomnia'. Greg's go-to on the album. jD calls the guitar intro and vocal entry 'spectacular.' A love song to sleeplessness, or to a city, or to both. Track 5 - 'Here, in the Dark' • Seasonal affective disorder as a rock song. The last lyric - 'Me, I'm as happy as my least-happy kid' - hits like a gut punch. Both of them feel it. Track 6 - 'Great Soul' • Jammy and psychedelic and soaring. Greg reads the lyric run - 'I want to enchant you, I want you to enchant my days' - like a poem, and it sounds stunning that way. Track 7 - 'Tired as Fuck' • The campfire song that isn't. Tragic and hopeful at the same time. Greg's favourite line on the whole record: 'Tired as fuck, I want to stop so much, I almost don't want to stop.' Track 8 - 'Hot Mic' • Big, ballsy, stompy. Possible commentary on celebrity, patriotism, or Canada overhearing the wreck next door. Probably all three. Track 9 - 'Ocean Next' • Sounds recorded underwater. Feels like moving. Transition and mournfulness, wrapped in something that sounds straight off 'Day for Night'. Track 10 - 'Machine' • The album closes funky and light. The groove catches you off guard after everything that came before. 'I'm a real machine. It follows.' A stadium-sized song that most people only heard in arenas. Stadium-sized, Greg says. He's right. Also In This Episode The context of 2016: jD and Greg run through the musical landscape - David Bowie's "Blackstar", Frank Ocean's "Blonde", Beyoncé's "Lemonade", Radiohead's "A Moon Shaped Pool", A Tribe Called Quest's "We Got It from Here". A year of established artists making career-best work. The Hip fit right in. Greg's daughter was born in January 2016. He heard the news about Gord standing in a coffee shop with her in a stroller. He heard 'Tired as Fuck' that same afternoon. "A mixture of emotions" doesn't cover it. Album lore: the record was almost called "Dougie Stardust". When David Bowie passed away, they changed the title. The original cover would have stayed the same. jD notes he cannot imagine this collection of songs under that name. Gord Downie solo news: announced during the recording of this episode - a new double album, "Away Is Mine", ten songs in electric and acoustic versions. Josh Finlayson asked for the acoustic takes as a memento. Gord was recording this in July 2017 - three months before he passed. "Getting the shit done for us. Colossal output." Fully & Completely: Redux Man Machine Poem tthpods.com 3 Sports: 2016 Stanley Cup (Penguins over Sharks, Metallica sang the anthem), Grey Cup upset (Ottawa over Calgary in OT), Kyle Lowry at Momofuku, salt-and-vinegar chips, a bootleg DVD incident that nearly ended a marriage before it started. SEO Keywords (Platform Use) Primary: The Tragically Hip, Gord Downie, Man Machine Poem album, Tragically Hip Podcast, The Tragically Hip Podcast Series, Canadian rock podcast Secondary: Fully & Completely Redux, Man Machine Poem review, Tragically Hip discography, Gord Downie legacy, Tragically Hip 2016 album, Kevin Drew, Dave Hamelin Long-tail: Man Machine Poem track by track, Tired as Fuck Tragically Hip, In Sarnia Tragically Hip, what is Man Machine Poem about, Gord Downie final album Away Is Mine (Platform Format) Fully & Completely: Redux - Man Machine Poem Meta description (150–160 characters): jD and Greg LeGros go track by track through 'Man Machine Poem' - the Tragically Hip's final album, released June 2016, produced by Kevin Drew and Dave Hamelin. • Listen to the full episode at home.tthpods.com • Subscribe to Yer Letter - the monthly newsletter from jD - at subscribe.tthpods.com • Join the community at community.tthpods.com Closing "Man Machine Poem" arrived in the worst possible context and still managed to be exactly what it needed to be. jD and Greg land there, eventually, after all the bees and all the detours and all the gut-punch lyrics. The final Hip album deserved a final Fully & Completely episode that matched its weight. This one does. Fully & Completely is part of The Tragically Hip Podcast Series. Subscribe, share, rate, and review at home.tthpods.com. Email: jd@tthpods.comAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Eight songs. One vinyl pressing so rare most fans have never held it. And a song that — based on all available evidence — was played live maybe three times before The Hip quietly let it go. jD, Joe from Toronto, Andy from St. Thomas, and Justin from Bridport dug into the self-titled EP and found something they weren't expecting.Episode Summary'I'm a Werewolf Baby' clocks in at number 140 out of 169 songs in the TTH Podcast Series community poll. And yet. Pull it up right now and try not to move. You can't. You will fail. That's the thing about this song — it doesn't care where it ranks. It just rips.The song comes from the self-titled Tragically Hip EP, released in the Kingston area in late 1987 and distributed more widely in 1988. It was produced by Red Ryder guitarist Ken Greer. Lyrics by Gord Downie. Music by Robbie, Johnny, and Gord Sinclair. That songwriting credit breakdown — individual, named, specific — is one of the things that makes the EP a genuinely interesting document. That, and the fact that it pre-dates Paul Langlois on guitar. He played shaker on this one. And during the breakdown, apparently, Gord picked him up and carried him around the stage. So there's that.Based on what setlist.fm and Hipbase can confirm, the song was performed live only three known times — debuting in 1987 at the Alma Combo in Toronto and last appearing April 11, 1990 at the Spectrum in Montreal. Why did they stop? The panel had opinions. Some of it comes down to New Orleans Is Sinking absorbing the sonic real estate. Some of it comes down to werewolves being out of fashion by 1990. Some of it, jD suspects, is that they just didn't love it anymore — and when your setlist is building toward "Nautical Disaster" and "Fifty-Mission Cap," this one starts to look like the eight-crayon box sitting beside the 128-count set with the built-in sharpener.What the panel kept coming back to is the foreshadowing. The howl in this song, Andy from St. Thomas points out, is the same howl Gord would use between songs on the 2016 Man Machine Poem Tour — the final tour — with the mic pressed to his belly button. Nearly thirty years apart. Same sound. The embryo and the elegy.Justin from Bridport came in having re-watched the docuseries specifically to prepare. He surfaced the detail that the song predates Paul's addition to the band — this was a holdover from the Davis Manning era, a relic that got dusted off and recorded because they needed one more song. That reframe matters. This wasn't a proud showcase. It was a polished demo. It was the bar band phase. It was fresh-out-of-high-school energy — and Johnny Fay was literally still a teenager when they tracked it.Joe from Toronto, frontman of Forever Hip, put it plainly: the lyrics read like Paul Stanley wrote them. Which is not an insult, actually. It's just that from Gord Downie, knowing what came after, it reads like a deal with the devil got made sometime between this and "Locked in the Trunk of a Car." The growth from 1987 to 1989 is almost impossible to reconcile when you hear them back to back. Justin confirmed it — his algorithm served him 'I'm a Werewolf Baby' and then, immediately after, 'Blow at High Dough' from "Up to Here." Same band. Two years later. How.Community poll results from the Facebook group (approaching 5,000 members - now there's a number): 58% love this tune, 26% tolerate it, 11% skip it, and 5% had never heard it before tonight. That 5% number surprised everyone. It probably shouldn't. If you came to The Hip through "Phantom Power," this EP is a different country.Next week on The Tragically Hip On Shuffle: 'The Luxury' from "Road Apples." Three new panelists. One random song. Same deal.The GuestsJoe from Toronto is the frontman of Forever Hip, the Tragically Hip tribute band playing live at An Evening for Sara J - April 11 at the Firkin on Yonge. This is his second appearance on The Tragically Hip On Shuffle.Andy from St. Thomas is a lifelong Hip fan making his first appearance on the show. He came prepared, he admitted the EP was one he'd slept on, and his insight about Gord's 2016 howl being traceable all the way back to this song was the best moment of the night. He's a good dad. His daughter knew the Blue Album better than he did.Justin from Bridport - the only Bridport in America, and a returning panelist working his way toward the five-timers sash. He re-watched the full Hip docuseries this week specifically to prep for this episode. It showed.Resources & Referencessetlist.fm - setlist and live performance data for 'I'm a Werewolf Baby'Hipbase - discography and catalogue reference. Thank you to Lance Robinson and the Hipbase team.The Tragically Hip Archive - for live recordings referenced in discussionThe Tragically Hip Reddit community - Rico Borrega's song-by-song breakdowns of the full catalogue are worth your time. jD avoids reading them before recording. You shouldn't have to.An Evening for Sara J - April 11, Firkin on YongeHip fans in Toronto - this is the one. Live episode recording with Patrick Downie. Forever Hip on stage. Six Hip concert posters and a numbered Richard Beland fine art print of Chris Cornell up for raffle. All for a great cause. Tickets at tickets.tthpods.com.ConnectFacebook community: community.tthpods.com | Instagram: @tthpods | YouTube: youtube.com/@tthpods | Email: tthpodcastseries@gmail.com#TheTragicallyHip #TTHOnShuffle #TheHip #GordDownie #TragicallyHip #UpToHereAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Tragically Hip On Shuffle - Live Stream: Train OvernightThis week on The Tragically Hip On Shuffle, jD pulls 'Train Overnight' from "Music @ Work" - the twelfth track on the eighth album, a deep cut that earned exactly zero votes in the TTHTop40 fan-sourced countdown, landing in the company of only four other songs in The Hip's entire catalogue with the same distinction. 'Luv, sic,' 'Goodnight Josephine,' 'Sherpa,' and 'Are We Family.' That's the list. Five songs. Out of everything they ever recorded.The panel doesn't agree on what to make of 'Train Overnight.' And that's exactly what makes this episode worth an hour of your time.Kirk from Chino is the only panelist who saw it live - twice, in San Francisco and LA on the same tour. He noticed seven people on stage his first time seeing The Hip. A keyboard player, a female vocalist who occasionally played percussion. That was his frame of reference for what this band was. Greg from Tacoma - who first heard The Hip on the same Seattle radio station that broke Nirvana, spent two years thinking the song was NRBQ, then proceeded to do guerrilla marketing for the band across the Pacific Northwest for the better part of a decade - brings the long-distance devotion that makes American Hip fans a particular breed of formidable. Mike from Toronto was there from the very beginning. Jake Gold handed him a wristband at a Day for Night-era surprise show at the Horseshoe. Queen and Spadina. Nine in the morning. 300 people that night. He asks the question the whole panel keeps circling back to: if 'Train Overnight' had been on the first record, would The Hip have been The Hip?The conversation moves through Gord's lyrical genius - specifically the line about apologizing like an old dictator might, which Greg calls one of those Gordism nuggets just buried in the song - through the bass work of Gord Sinclair (part McCartney, part Geezer Butler, all chug), through what it meant to be an American doing guerrilla marketing for a band most of your country had never heard of, and through the generational divide the Shuffle keeps surfacing: "Music @ Work" as exit point for one wave of fans and as entry point for another. Kirk came in through this record. Mike came in at the Horseshoe in '87. Greg found them in 1989. Same band. Three completely different doors.Greg puts the whole arc into something sharp near the end: Day for Night as the blue period, the hangover after the nineties. Trouble at the Henhouse as the rosy-fingered dawn coming up the next morning. Phantom Power as the bright of day. And "Music @ Work" as a prism - every colour at once. The first record where they had 5,000 crayons instead of 64. You've got to love it.Next week on The Tragically Hip On Shuffle: 'I'm a Werewolf Baby.'GuestsKirk from Chino - A returning Shuffle panelist and musician, Kirk came to The Hip through the later catalogue and has been going back to the beginning ever since. He saw 'Train Overnight' live twice on the same tour - San Francisco and LA. He's a co-host on Discovering Downie and plays in a cover band called The Darryls (his name is Larry). He has a solo album in the works and a debut live performance booked in San Diego, May 2. Follow him at Kirk Lane Music on Facebook and Instagram.Mike from Toronto - A first-timer on the Shuffle and a lifelong Hip fan who was there from the very beginning - the Horseshoe, the Alma Combo in '87, a Day for Night-era surprise show where Jake Gold gave him the wristband. His go-to record is "Day for Night." He listens to every album start to finish on long drives. He also recommends Ryan Davis Roadhouse Band - playing the Horseshoe in June.Greg from Tacoma - Another first-timer, Greg has been a Hip devotee since he heard them on the radio in 1989 - or thought he did, until he spent two years believing the song was NRBQ. His go-to record is "In Between Evolution," and Tacoma is name-checked in the 'Tacoma Narrows Bridge' lyric, which he notes with appropriate pride. He put a record out at 60. He is in the Tacoma, Washington area and has a crew of five who all attend Hip shows and all play in bands at least partially influenced by The Hip.Links & ResourcesSubmit to podList 7 - covers from The Tragically Hip EP through Day for Night: podlist.tthpods.comAn Evening for Sara J - Saturday, April 11, Firkin on Yonge, Toronto: tickets.tthpods.comDiscovering Downie (referenced by Kirk): available on all podcast platformsKirk Lane Music: Facebook and Instagram https://hadeesmarket.bandcamp.com/album/missives-at-the-turnhttps://www.youtube.com/@HadeesMarketTimestamps00:00 - Pre-show promo: Joe from Forever Hip on An Evening for Sara J 01:37 - jD opens The Tragically Hip On Shuffle 02:27 - Introducing Kirk from Chino, Mike from Toronto, Greg from Tacoma 04:32 - Go-to Hip records: "Live Between Us," "In Between Evolution," "Day for Night" 09:05 - Mike's Horseshoe stories - from '87 to the Day for Night surprise show 12:26 - The reveal: tonight's song is 'Train Overnight' from "Music @ Work" 16:32 - Panel reacts after listening 17:02 - Greg on the Gordism nugget - apologizing like an old dictator might 23:51 - Mike: was "Music @ Work" a chapter closing or a door opening? 27:40 - The zero-votes revelation: only five songs in the entire catalogue 31:52 - Kirk saw it live. Twice. San Francisco and LA. 32:04 - jD on Paul Sinclair's bass line sounding like a chugging train 32:15 - Greg: McCartney, Geezer Butler, all over the song 34:01 - Kirk on guerrilla marketing for The Hip in California 37:00 - Mike: the only time he saw The Hip in the US was New York, 2012, NHL lockout 48:16 - Greg: the colour palette theory - 64 crayons to 5,000 49:55 - jD calls shuffle for next week 54:10 - Next week: 'I'm a Werewolf Baby'

The Tragically Hip On Shuffle - Live Stream: 'Vapour Trails'Episode Date: March 19, 2026Panel: Ryan from Toronto • Patrick from Toronto • Adam from TampaIntroThere's nothing uglier than a man hitting his stride - and there's nothing better than a panel that doesn't agree on what that line even means.This week on The Tragically Hip On Shuffle, jD pulled ‘Vapour Trails' from “Phantom Power” - track eight of twelve from The Tragically Hip's sixth studio record, produced by Steve Berlin, recorded at The Bathhouse in Bath, Ontario, and released July 14, 1998. It was a promo CD single that never got a video. It ranked #72 on the TTHTop40 Countdown. And for a song that lives in the shadow of ‘Bobcaygeon' and ‘Poets' on the same record, it had absolutely no problem holding its own for an hour of live discussion.So there's that.About This Episode‘Vapour Trails' is a road song. Or a loneliness song. Or a song about Gord watching Mexican farmworkers from a highway somewhere in rural Ontario and being moved enough to write it down. It might be all three at once - which is, of course, exactly how Gord Downie worked.jD is joined this week by Ryan from Toronto - a first-timer on the show and a veteran podcaster whose ear for music analysis makes itself known immediately - alongside returning panelists Patrick from Toronto and Adam from Tampa, both of whom came loaded with research, opinions, and very strong feelings about the back half of the “Phantom Power” discography.What followed was one of those conversations that starts with bass and drums and ends somewhere near ephemeral, the Canadian spelling of vapour, and whether Rob Baker was playing a Rickenbacker. Coming UpNext week on The Tragically Hip On Shuffle, jD hits shuffle again - and this time it landed on ‘Train Overnight.' Three new panelists. Wednesday night. 8 PM. You know the drill.An Evening for Sara JBefore you go - An Evening for Sara J is happening Saturday, April 11, 2026 at Firkin on Yonge, 207 Yonge Street, Toronto. Doors at 7:30 PM, live podcast at 8, Forever Hip takes the stage at 9.Sara is one of our own, and this whole night is for her. There's a live podcast with Patrick Downie, a 50/50 draw, a raffle, and every dollar raised goes to Sara's GoFundMe. Go to tickets.tthpods.com to get yers now!Early Bird tickets are $20 - and they won't last. After March 25, it's $25 general admission or $30 at the door.Stay ConnectedFacebook Community: community.tthpods.comInstagram: instagram.com/tthpodsYouTube: youtube.com/@tthpodsEmail: jd@tthpods.comGet Yer LetterWant Hip news, album anniversaries, episode recaps, fundraising updates, and early previews delivered straight to your inbox every month? Subscribe to Yer Letter - the official community newsletter of The Tragically Hip Podcast Series. When you sign up, you'll also get a free copy of The Complete Hip Discography v6.0 - every studio album, every solo record, every side project across all five members of the band.Subscribe here: subscribe.tthpods.comThe Tragically Hip On Shuffle is part of The Tragically Hip Podcast Series - Est. 2018. New episodes every Wednesday at 8 PM ET, live on YouTube and Facebook!Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This episode was a fun one to experience and put together. I had been seeing various Sea Shanty content pop up, starting with a Profs and Pints event in Baltimore, a Shanty night at my buddies club Phantom Power in Millersville, pa and figured I could marry them up into an episode. Dr. Jessica Floyd […]

FULLY & COMPLETELY: REDUX"In Violet Light" - The Tragically HipEpisode Show Notes——————————————————————————————————Fully & Completely: Redux | "In Violet Light" - The Tragically Hip (2002)——————————————————————————————————Hey, it's jD here.Some albums don't just meet you where you are - they find you exactly when you need them. **"In Violet Light" is that record.** Released in June 2002, it's the one that pulled jD hard back into The Tragically Hip after a stretch of distance. And if you listen closely, it makes total sense why. This isn't a band trying to hold on - it's a band that has let go of every obligation and is just making music for themselves. **The result is one of the most quietly assured records of The Hip's entire career.**This week on Fully & Completely: redux, jD and Greg LeGros go track by track through "In Violet Light" - the eighth studio album from The Tragically Hip, recorded in the Bahamas with legendary producer Hugh Padham - and make the case that this record has no business being this good, this far into a career.——————————————————————————————————EPISODE OVERVIEW"In Violet Light" landed in a 2002 music landscape that included Coldplay's "A Rush of Blood to the Head," Queens of the Stone Age's "Songs for the Deaf," Beck's "Sea Change," and Broken Social Scene's "You Forgot It in People." The indie pop explosion was just beginning to blow the roof off Canadian music. The Hip were eight albums deep, the mainstream had largely written them off, and **they responded by making one of their best records.** No fat. No filler. Eleven tracks of lean, confident, beautiful rock and roll.The album was recorded at Compass Point Studios in the Bahamas - the same studio where AC/DC recorded "Back in Black" and Bob Marley cut some of his most enduring work - with Hugh Padham, the producer behind the gated drum sound that defined the 1980s (Phil Collins' "In the Air Tonight," Sting's solo catalogue, The Police's "Synchronicity"). **jD and Greg break down why that combination - this band, this producer, this place - produced something genuinely special.**——————————————————————————————————TRACK BY TRACK HIGHLIGHTS**'Are You Ready to Love'** - The opener sets the whole album's thesis. jD hears the first verse as a direct response to the critics and mainstream fans who had written The Hip off. **"They're pulling the plug. They've got our whole dug." And then - the chorus arrives like a shrug and a fist at the same time: are you ready for love?** A great rock and roll song that doubles as a mission statement.**'Use It Up'** - Built on a lyric attributed to the booklet of a Raymond Carver collection, this is a track about seizing everything, wasting nothing, and making music for the love of it. Greg hears Radiohead's "OK Computer" in the verses and the Georgia Satellites in the chorus - **and somehow The Tragically Hip pull both of those things off in the same song.** A slow burn that rewards headphones.**'The Darkest One'** - jD turns up whatever he's listening to every single time this song starts. **"The wild are strong and the strong are the darkest ones - and you're the darkest one."** Greg calls it a safe place. A song about freedom of expression, comfort, and the strange intimacy of being fully understood. Don't let the Trailer Park Boys video fool you - this song could have broken them wide open.**'It's a Good Life If You Don't Weaken'** - The centrepiece. The lead single. **Both jD and Greg pick this as their track of the record - the first time in the history of Fully & Completely that hosts have landed on the same song.** Named for a Canadian graphic novel by Seth and a phrase used by band staffer Molly Lorimer to describe life on the road, it's a song about mortality, aging, and the strange grace that comes when you stop fighting. Death is swirling all around it - and it's still one of the most uplifting things The Tragically Hip ever made.**'Silver Jet'** - The one that changes gears just right. Greg connects this song personally to the empty skies over the Danforth in the days after 9/11, and the feeling of the first plane cutting back through the silence. **A song about hope, fear, and the things that pull your gaze forward.** The wolves of Northumberland. An archipelago. A green star. Only Gord.**'Throwing Off Glass'** - Companion piece to 'Trick Rider' from "Phantom Power" - if that song is about his son, this one is about his daughter. A slow builder that rewards patience. **A soundscape that would fit comfortably on "Coke Machine Glow."****'All Tore Up'** - A great drinking rock and roll song. Dottie the bluegrass singer. Open concept. Getting a little happening with old friends. **No one else writes a lyric like this and makes it fit inside a song this well.** Turn it up.**'Leave'** - A waltz in 3/4 time. Beautiful backup vocals. A late-night phone call at three in the morning. **"You better be dying." And they were.** An emotional gut-punch that doubles as a permission slip - to leave a job, a relationship, a place that no longer fits.**'The Dire Wolf'** - A pseudo-history lesson disguised as a rock song. Tallulah Bankhead and Canada Lee, stars of Hitchcock's "The Lifeboat." Ann Harvey of Isle of Morts, Newfoundland, who rescued 163 shipwrecked souls in 1828. A poem called "Sea Surface Full of Clouds" by Wallace Stevens. **Greg pulls all of this from memory. It's an entire university lecture wrapped in six minutes of music that absolutely slaps.****'The Dark Canuck'** - The closer. Possibly the longest Tragically Hip song ever recorded at six and a half minutes. A time signature change halfway through. **Canadian soldiers as peacekeepers. Apple, Zippo, and Metronome as record labels. Jaws at the drive-in. The Dark Canuck playing second on the double bill.** Nobody at the drive-in is staying for it. And that's sort of the whole point.——————————————————————————————————WHY THIS EPISODE MATTERSThis is the album that brought jD back to The Hip in earnest - **the record that cracked open the second half of his relationship with this band.** It's also the episode where he and Greg pick the same song for the first time. And it's the one where jD, partway through discussing 'Leave,' pauses to talk about his mother. **Listen for that moment. It's what this podcast is for.**"In Violet Light" is a masterpiece with no business being this good eight albums in. And this episode earns every minute of its runtime.So there's that.——————————————————————————————————SOURCES & CREDITS• HipMuseum.com• This Is Our Life: The Tragically Hip in the 1990s (Michael Barclay)• "It's a Good Life If You Don't Weaken" - graphic novel by Seth• "Sea Surface Full of Clouds" - poem by Wallace Stevens• Ann Harvey of Isle of Morts, Newfoundland - historical record• Compass Point Studios, Nassau, Bahamas - production history• Raymond Carver - attributed quote in "Use It Up"——————————————————————————————————CONNECT WITH THE SHOW• Facebook: facebook.com/groups/tthpods• Instagram: @tthpods• YouTube: youtube.com/@tthpods• Email: tthpodcastseries@gmail.comThe Tragically Hip Podcast Series - Est. 2018#TheTragicallyHip #TheHip #InVioletLight #FullyCompletely #GordDownie #TragicallyHip #CanadianRock——————————————————————————————————Support this podcast at — https://redcircle.com/tthtop40/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Fully & Completely: redux – Music @ Work Guest: Rob Johannes

I really enjoyed this opportunity to speak with Mack Hagood, author of Hush: Media and Sonic Self-Control, to explore how we use sound to manage our minds, moods, and modern lives. From white noise apps and noise-cancelling headphones to tinnitus and sound therapy, Mack helped me understand the complex relationship between media, technology, and the human need to tune in (or out). We discuss the surprising cultural history behind everyday sonic tools — from the 1964 Sleep-Mate sound conditioner to Irv Teibel's visionary Environments recordings, to Dr. Amar Gopal Bose's 1978 flight epiphany that led to noise-cancelling headphones. Mack reflected on teaching “The Smartphone in Society,” and concerns with both social media and streaming platforms. Towards the end of this conversation he explained why started his podcast Phantom Power and how his childhood in New Orleans eventually led him to the new field of sound scholarship. Complete Show Notes with all the links! Timestamps:(00:00) Intro(02:34) life as a guitarist, Pinetop (05:47) tinnitus(15:32) first white noise machine Sleep Mate(22:54) Hush: Sonic Media and Sonic Self-Control, Irv Teibel environments series(30:36) Bose noise-cancelling headphones (35:30) Edison Realism test, how our listening is culturally conditioned (41:03) other linked episodes and ways to support this series(41:47) soundscapes, R. Murray Schafer, field recordings(45:14) podcast Phantom Power(49:02) Walkmans, consumption of music, white noise apps(52:14) The Smartphone in Society, social media(59:08) why Mack got into podcasting as a sound scholar, Liz Pelley, problems with Spotify(01:08:07) how he became a sound scholar

The Sound Chaser Progressive Rock Podcast is on the air. On the show this time I have new music from Enigmatic Sound Machines and Krakhouse, another great mix of styles from around the world and across the decades, and, of course, the Symphonic Zone. All that, plus news of tours and releases on Sound Chaser. Playlist1. Pär Lindh Project - The Premonition, from Live in Iceland2. Kansas - Down the Road, from Song for America3. Rick Wakeman - Rock Pursuit, from Phantom of the Opera (aka Phantom Power)4. Brady Arnold - No Name I, from Chaos in Development5. Enigmatic Sound Machines - In Perfect Silence, from Imperfect Silence6. Boris S.G - System 2019, from System 20197. Logic Gate - Biomorph, from From the Silence8. Al Stewart - Broadway Hotel, from Year of the Cat9. Blackgirls - Talk, from Happy10. Bon - I Dance Alone, from To the BoneTHE SYMPHONIC ZONE11. Peter Hammill - (This Side of) The Looking Glass, from The Love Songs12. Curved Air - Jumbo, from Second Album13. Rocket Scientists - The Fall of Icarus, from Brutal Architecture14. Fleesh - The Lamia, from Here It Comes Again15. Les Penning with Robert Reed - Argiers, from Return to Penrhos16. Reegonetti Band - Dance of the Invisible, from Exploring the Unknown17. Anthony Phillips & Harry Williamson - Gypsy Suite Movement IV: The Crystal Ball, from Gypsy Suite18. The Samurai of Prog - Searching for the Fear, from The White Snake and Other Grimm Tales19. Great Wide Nothing - The View from Olympus, from The View from OlympusLEAVING THE SYMPHONIC ZONE20. Djam Karet - No Man's Land, from New Dark Age21. Djam Karet - Eclipse of Faith, from New Dark Age22. Djam Karet - Web of Medea, from New Dark Age23. Djam Karet - Demon Train, from New Dark Age24. Djam Karet - All Clear, from New Dark Age25. Djam Karet - Raising Orpheus, from New Dark Age26. Djam Karet - Kali's Indifference, from New Dark Age27. Djam Karet - Alone with the River Man, from New Dark Age28. Djam Karet - Going Home, from New Dark Age29. Djam Karet - Eulogy, from New Dark Age30. Krakhouse - Married to Mayo, from Bastards of Prog31. Gong - Part 32 Floating Anarchy, from Greasy Truckers Live at Dingwall's Dancehall [compilation]32. Accordo dei Contrari - Così respirano gli incendi del tempo, from UR-33. Porcupine Tree - Normal, from Nil Recurring

IntroWhat happens when you bond so hard with The Hip that they feel like your chosen family? This week, I'm joined by John Paul from Toronto—a lifelong fan who's seen it all, from camping trips at Guelph Lake to getting kicked out of the Phoenix. We dig deep into Song 12 on the countdown and talk about the powerful, personal connections that make this band more than just music.Episode SummaryWe cover the full arc of John Paul's fandom—from hearing those first singles on Toronto radio to buying Day for Nighton CD, obsessing over Phantom Power, and falling in love with the band's live energy. We also swap stories about unforgettable Hip shows, camping mischief, and the heartbreak of being booted out before the third song.About the GuestJohn Paul is the quintessential Toronto Hip fan: thoughtful, passionate, and a little self-deprecating. He first fell for the band thanks to classic singles and videos on MuchMusic (shout out to Gord in the Bruins sweater), and over time found himself pulled in deeper with every album.He's been to half a dozen Hip gigs (plus a solo Gord show), but his fandom is built just as much on introspection—how the band offered him a sense of family, safety, and permission to see the world through Gord's strange and beautiful eyes.Why It MattersThis episode isn't just about Song 12. It's about how The Tragically Hip can be an anchor in your life. How they can make you feel at home, even when you're homesick in Korea. How they become a mirror for your values, your memories, and your sense of who you want to be in the world.It's also about the messy side of fandom: the near-religious devotion, the gigs that changed you, the ones you missed, the ones you got kicked out of while pleading your case like a lawyer on fire.If you've ever felt like The Hip knew you before you even knew yourself, this one's going to hit close to home.ClosingHuge thanks to John Paul from Toronto for bringing so much honesty, humour, and raw fandom to this week's episode.If this week's track sparks a memory for you, share it with us! Drop a voice memo, send an email, or jump into the Facebook group and start a debate about your Top 10.We'll be back next Monday with Song 11 on the countdown. Don't miss it.So there's that.Connect with Us

IntroWhat happens when a song sits at the strange intersection of post-hardcore drumming, Gord's ghostly poetry, and full-on studio alchemy? This week, I'm joined by Vish from Edmonton—longtime Hip-head, writer, broadcaster, and host of Kreative Kontrol—to wrestle with what makes this entry in the Top Forty so haunting and so essential.Episode OverviewWe dig into the power of The Hip's studio experimentation, Vish's personal memories of the band, and why this song stands out even among the weirdest, most ambitious corners of Phantom Power.About the GuestVish Khanna is a staple in Canadian music media. He's a writer, interviewer, and the voice behind the Kreative Kontrol podcast. But beyond the mic, he's a lifelong Hip fan who's seen it all—from the Kumbaya Festival broadcast live on MuchMusic to the raw power of Another Roadside Attraction at 15 years old.Vish shares deeply personal stories of meeting Gord Downie in tiny clubs, trading emails, and even jamming on stage with members of the Country of Miracles at Hillside. This isn't just fandom—it's a lifelong relationship with the music, the people, and the community they built.ClosingHuge thanks to Vish for his time, his honesty, and his endless Hip-lore. If this track hits you in the gut like it does for us, share your own Hipstory. Leave us a voice memo, send an email, or come argue your rankings in the Facebook group.We'll be back next Monday with Song 13 on the countdown—don't miss it.So there's that.Connect with Us

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming.  Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear. In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Haygood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power. We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman.  This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director. If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281. Sources for This Episode Anderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023. Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022. Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023.  Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023. Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019. Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019. Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017. Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming. Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear.In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Haygood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power.We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman. This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director.If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281.Sources for This EpisodeAnderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023.Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022.Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023. Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023.Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019.Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019.Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017.Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming.  Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear. In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Haygood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power. We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman.  This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director. If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281. Sources for This Episode Anderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023. Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022. Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023.  Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023. Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019. Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019. Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017. Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming. Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear.In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Hagood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power.We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman. This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director.If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281.Sources for This EpisodeAnderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023.Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022.Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023. Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023.Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019.Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019.Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017.Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming.  Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear. In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Haygood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power. We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman.  This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director. If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281. Sources for This Episode Anderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023. Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022. Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023.  Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023. Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019. Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019. Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017. Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming. Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear.In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Hagood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power.We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman. This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director.If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281.Sources for This EpisodeAnderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023.Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022.Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023. Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023.Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019.Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019.Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017.Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming. Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear.In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Haygood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power.We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman. This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director.If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281.Sources for This EpisodeAnderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023.Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022.Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023. Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023.Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019.Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019.Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017.Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming. Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear.In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Hagood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power.We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman. This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director.If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281.Sources for This EpisodeAnderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023.Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022.Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023. Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023.Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019.Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019.Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017.Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Hosted on Acast. See acast.com/privacy for more information.

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming.  Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear. In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Haygood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power. We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman.  This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director. If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281. Sources for This Episode Anderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023. Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022. Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023.  Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023. Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019. Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019. Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017. Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

White noise has a very precise technical definition, but people use the term loosely, to describe all sorts of washes of sound—synthetic hums, or natural sounds like a rainstorm or crashing waves—that can be used to mask other sounds. Twenty years ago, if you'd told someone white noise was a regular part of your life, they would have found that unusual. Nowadays, it's likely they use it themselves or know someone who does. The global white noise business is valued at $1.3 billion; TikTok is full of people trumpeting its powers; and Spotify users alone listen to three million hours of it daily. Far more of these sounds already exist than any one person could need—or use. And yet, more keep coming.  Looking out at this uncanny ocean of seemingly indistinguishable noises, we wanted to see if it was possible to put a human face on it; to understand why there is so much of it, and what motivates the people trying to soothe our desperate ears with sounds you're not really supposed to hear. In this episode, you'll hear from Elan Ullendorff, who writes the illuminating Substack Escape the Algorithm; Stéphane Pigeon, founder of myNoise; Brandon Reed, who runs Dwellspring; and Mack Haygood, author of Hush: Media and Sonic Self-Control and host of the podcast Phantom Power. We'd also like to thank Dan Berlau, Sarah Anderson, and Ashley Carman.  This episode was written by Katie Shepherd, Evan Chung, and Willa Paskin. It was produced by Katie Shepherd. We produce Decoder Ring with Max Freedman, and Evan is also our supervising producer. Merritt Jacob is Senior Technical Director. If you have any cultural mysteries you want us to decode, please email us at DecoderRing@slate.com, or leave a message on our hotline at 347-460-7281. Sources for This Episode Anderson, Sarah. The Lost Art of Silence: Reconnecting to the Power and Beauty of Quiet, Shambhala Publications, 2023. Blum, Dani. “Can Brown Noise Turn Off Your Brain?” New York Times, Sep. 23, 2022. Carman, Ashley. “Spotify Looked to Ban White Noise Podcasts to Become More Profitable,” Bloomberg, Aug. 17, 2023.  Carman, Ashley. “Spotify to Cut Back Promotional Spending on White Noise Podcasts,” Bloomberg, Sep. 1, 2023. Hagood, Mack. Hush: Media and Sonic Self-Control, Duke University Press, 2019. Pickens, Thomas A., Sara P. Khan, and Daniel J. Berlau. “White noise as a possible therapeutic option for children with ADHD,” Complementary Therapies in Medicine, Feb. 2019. Riva, Michele Augusto, Vincenzo Cimino, and Stefano Sanchirico. “Gian Lorenzo Bernini's 17th century white noise machine,” The Lancet Neurology, Oct. 2017. Want more Decoder Ring? Subscribe to Slate Plus to unlock exclusive bonus episodes. Plus, you'll access ad-free listening across all your favorite Slate podcasts. Subscribe now on Apple Podcasts by clicking “Try Free” at the top of the Decoder Ring show page. Or, visit slate.com/decoderplus to get access wherever you listen. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Tragically Hip Top Forty Countdown: Song 20 — Neil from Arroyo GrandeHey, it's jD, and this week I'm joined by a die-hard hockey fan and Hip convert who hails from California. Meet Neil from Arroyo Grande, the west coast wizard of late-night YouTube rabbit holes and deep-cut reverence.Neil didn't grow up with The Hip in his backyard. He had to find them — through hockey, through Trailer Park Boys, through a fascination with Canadian culture that led him down a road paved with Gretzky, Jericho, and yes… Gord.We talk about getting into the band via Yer Favourites, chasing context across albums and eras, and how discovering The Hip opened the door to new perspectives on art, identity, and memory. He shares what it's like being an American Hip fan (“Wait, they're not on the radio here?”), and how Phantom Power, Man Machine Poem, and some Gordon Edgar Downie solo magic helped him through hard times — and made the music his own.From WWE finishers to vapor trails to songs that hit like Shakespearean tragedy, this one's for the late bloomers, the lyric heads, and anyone who ever found themselves singing along to a song they didn't fully understand… until they really did.

Your devices might be “off,” but they're still burning energy. Here's a cheap fix to cut your bill. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today we share a podcast episode on the visual epistemology of astronomy by our friends at The World According to Sound. What kind of knowledge do we really gain when we look at images from space? Longtime listeners to this show will remember The World According to Sound. As we referred to them two years ago, WATS is a team of two rogue audionauts who rebelled against the NPR mothership: Chris Hoff and Sam Harnett. Tired of sound playing second fiddle to narrative on NPR, they launched a micro podcast that held one unique sound under the microscope for 90 seconds each episode. Later, WATS became much more ambitious, producing live sonic odysseys in 8-channel surround sound and live online sound journeys during the pandemic. Since then, Harnett and Hoff have embarked on another project. For the past couple of years, they have been partnering with different universities to translate humanities research into compelling sound-designed narrative podcasts. The first season of Ways of Knowing was produced in partnership with the University of Washington and it focused on different analytical methods and disciplines in the humanities, from close reading, deconstruction, and translational analysis, to black studies, material culture, and disability studies. The second season just wrapped up. It's called Cosmic Visions and it's produced in collaboration with Johns Hopkins University and that's what we'll hear an episode from today. Just this week, they dropped the last episode of season two and now the entire series is available on The World According to Sound website. We wanted to draw your attention to this series because turning humanities research and sound art into a sonic narrative experience was the original mission of Phantom Power. We know that many of you are interested in this area of humanities podcasting as well, so if you're not already a fan of Chris and Sam's work, check it out. We also wanted to share this particular episode because it also provides one answer to a tricky question: How do you do a sonic explication of something that is entirely visual?   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today we share a podcast episode on the visual epistemology of astronomy by our friends at The World According to Sound. What kind of knowledge do we really gain when we look at images from space? Longtime listeners to this show will remember The World According to Sound. As we referred to them two years ago, WATS is a team of two rogue audionauts who rebelled against the NPR mothership: Chris Hoff and Sam Harnett. Tired of sound playing second fiddle to narrative on NPR, they launched a micro podcast that held one unique sound under the microscope for 90 seconds each episode. Later, WATS became much more ambitious, producing live sonic odysseys in 8-channel surround sound and live online sound journeys during the pandemic. Since then, Harnett and Hoff have embarked on another project. For the past couple of years, they have been partnering with different universities to translate humanities research into compelling sound-designed narrative podcasts. The first season of Ways of Knowing was produced in partnership with the University of Washington and it focused on different analytical methods and disciplines in the humanities, from close reading, deconstruction, and translational analysis, to black studies, material culture, and disability studies. The second season just wrapped up. It's called Cosmic Visions and it's produced in collaboration with Johns Hopkins University and that's what we'll hear an episode from today. Just this week, they dropped the last episode of season two and now the entire series is available on The World According to Sound website. We wanted to draw your attention to this series because turning humanities research and sound art into a sonic narrative experience was the original mission of Phantom Power. We know that many of you are interested in this area of humanities podcasting as well, so if you're not already a fan of Chris and Sam's work, check it out. We also wanted to share this particular episode because it also provides one answer to a tricky question: How do you do a sonic explication of something that is entirely visual?   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Today we share a podcast episode on the visual epistemology of astronomy by our friends at The World According to Sound. What kind of knowledge do we really gain when we look at images from space? Longtime listeners to this show will remember The World According to Sound. As we referred to them two years ago, WATS is a team of two rogue audionauts who rebelled against the NPR mothership: Chris Hoff and Sam Harnett. Tired of sound playing second fiddle to narrative on NPR, they launched a micro podcast that held one unique sound under the microscope for 90 seconds each episode. Later, WATS became much more ambitious, producing live sonic odysseys in 8-channel surround sound and live online sound journeys during the pandemic. Since then, Harnett and Hoff have embarked on another project. For the past couple of years, they have been partnering with different universities to translate humanities research into compelling sound-designed narrative podcasts. The first season of Ways of Knowing was produced in partnership with the University of Washington and it focused on different analytical methods and disciplines in the humanities, from close reading, deconstruction, and translational analysis, to black studies, material culture, and disability studies. The second season just wrapped up. It's called Cosmic Visions and it's produced in collaboration with Johns Hopkins University and that's what we'll hear an episode from today. Just this week, they dropped the last episode of season two and now the entire series is available on The World According to Sound website. We wanted to draw your attention to this series because turning humanities research and sound art into a sonic narrative experience was the original mission of Phantom Power. We know that many of you are interested in this area of humanities podcasting as well, so if you're not already a fan of Chris and Sam's work, check it out. We also wanted to share this particular episode because it also provides one answer to a tricky question: How do you do a sonic explication of something that is entirely visual?   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

Brian Harnetty's recent record, Words and Silences, takes voice recordings made by the famed American Trappist monk Thomas Merton and sets them within Harnetty's musical compositions. The meditative and revealing result has been lauded by critics in The Wire, MOJO, and Aquarium Drunkard.  In this episode, we share a Phantom Power exclusive: a brand new narrative piece that Brian created about the making of his record. “Words and Silences: The Thomas Merton Hermitage Tapes” is much more than a behind-the-scenes look at Brian's process. Harnetty's audio diary is its own moving meditation on Merton, solitude, sound, media, and the self.  This is the second piece that Brian has shared with Phantom Power–you may remember his Forest Listening Rooms episode. Like that episode, this is something special. We highly recommend taking a walk in the woods or finding a quiet space to listen to this beautiful meditation. And after we listen, Mack talks to Brian about what we've heard.  (And, of course, we'll have a longer version of the interview and our What's Good segment for our Patrons.) Who was Thomas Merton? Thomas Merton was an author, mystic, poet, and comparative religion scholar who lived from 1915 to 1968. It's hard to imagine a spiritual superstar quite like Merton appearing in America today. His first book, 1948's “The Seven Storey Mountain,” became a best-seller and led to a flood of young men applying to join Catholic monasteries.  Merton had a major influence on spaces such as the progressive Catholic church Mack grew up going to. He was outward facing, committed to leftist causes, and fascinated by other religions, but at the same time, he retreated from his fame into his hermitage in KY. In The New Yorker, Alan Jacobs called him “perhaps the proper patron saint of our information-saturated age, of we who live and move and have our being in social media, and then, desperate for peace and rest, withdraw into privacy and silence, only to return.” Brian Harnetty Brian Harnetty is an interdisciplinary sound artist who uses listening to foster social change. He is known for his recording projects with archives, socially engaged sound works, sound and video installations, live performances, and writings. His interdisciplinary approach has been compared to “working like a novelist…breathing new life into old chunks of sound by radically recontextualizing them” (Clive Bell, The Wire). Brian is currently a Faculty Fellow at Ohio State University's Global Arts and Humanities Discovery Theme (2022-23), Harnetty is a two-time recipient of the MAP Fund Grant (2021, 2020), and received the A Blade of Grass Fellowship for Socially Engaged Art in Contemplative Practices (2018) and the Creative Capital Performing Arts Award (2016). He has also twice received MOJO Magazine's “Underground Album of the Year” (2019, 2013). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Just in time for Black History Month, we share an episode we've been excitedly working on for a number of months now. Ethnomusicologist Maya Cunningham brings us “The Sound World of Harriet Tubman.” Maya Cunningham is an activist and jazz singer currently completing a Ph.D. at the University of Massachusetts, Amherst, in Afro-American studies with a concentration in ethnomusicology.  We first came across Maya's work last year as part of The Harriet Tubman Bicentennial Project, an online initiative from Ms. magazine honoring the 200th anniversary of Harriet Tubman's birth in 1822. It's a remarkable package that adds many dimensions of understanding of the underground railroad conductor and feminist icon: Her experience of disability due to a blow to the head by a white overseer; her creation of a home for the aged; her love of the natural world; and much more. And to us, the richest of these essays was Maya's the “Sound World of Harriet Tubman,” which used field recordings, historical research, and ethnomusicological research to explore the roles of sound and music, and voice in Tubman's life and leadership. The piece included a Spotify playlist so you could listen as you read.  Today, we're thrilled to bring you what we hope will be an even more immersive experience: Maya Cunningham reading her essay, and thanks to the editing and mixing skills of Phantom Power producer Ravi Krishnaswami, her field recordings and playlist selections are mixed into the story.  And just a quick note, you're going to hear about the American Christian revival known as the Second Great Awakening, which stirred both Black and white people from the late 1700s to the mid-1800s. You'll also hear about the Invisible Church, where enslaved African Americans were able to worship secretly and autonomously and through the singing of folk spirituals, which differed greatly from white religious music at the time, but would go on to influence not only gospel music but pretty much every form of popular music we know today. If you want to learn more about this history, a great place to start is a book edited by two professors Mack studied with at Indiana University, Drs. Mellonee V. Burnim and Portia K. Maultsby. It's called African American Music: An Introduction.  And today, we share our Patrons-only segment, “What's Good,” in our main feed. Maya will recommend something good to read, listen to, and do.  Today's musical selections and soundscapes are by Maya Cunningham. The show was mixed and edited by Ravi Krishnaswami. The Harriet Tubman image was created by Maddie Haynes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Just in time for Black History Month, we share an episode we've been excitedly working on for a number of months now. Ethnomusicologist Maya Cunningham brings us “The Sound World of Harriet Tubman.” Maya Cunningham is an activist and jazz singer currently completing a Ph.D. at the University of Massachusetts, Amherst, in Afro-American studies with a concentration in ethnomusicology.  We first came across Maya's work last year as part of The Harriet Tubman Bicentennial Project, an online initiative from Ms. magazine honoring the 200th anniversary of Harriet Tubman's birth in 1822. It's a remarkable package that adds many dimensions of understanding of the underground railroad conductor and feminist icon: Her experience of disability due to a blow to the head by a white overseer; her creation of a home for the aged; her love of the natural world; and much more. And to us, the richest of these essays was Maya's the “Sound World of Harriet Tubman,” which used field recordings, historical research, and ethnomusicological research to explore the roles of sound and music, and voice in Tubman's life and leadership. The piece included a Spotify playlist so you could listen as you read.  Today, we're thrilled to bring you what we hope will be an even more immersive experience: Maya Cunningham reading her essay, and thanks to the editing and mixing skills of Phantom Power producer Ravi Krishnaswami, her field recordings and playlist selections are mixed into the story.  And just a quick note, you're going to hear about the American Christian revival known as the Second Great Awakening, which stirred both Black and white people from the late 1700s to the mid-1800s. You'll also hear about the Invisible Church, where enslaved African Americans were able to worship secretly and autonomously and through the singing of folk spirituals, which differed greatly from white religious music at the time, but would go on to influence not only gospel music but pretty much every form of popular music we know today. If you want to learn more about this history, a great place to start is a book edited by two professors Mack studied with at Indiana University, Drs. Mellonee V. Burnim and Portia K. Maultsby. It's called African American Music: An Introduction.  And today, we share our Patrons-only segment, “What's Good,” in our main feed. Maya will recommend something good to read, listen to, and do.  Today's musical selections and soundscapes are by Maya Cunningham. The show was mixed and edited by Ravi Krishnaswami. The Harriet Tubman image was created by Maddie Haynes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Just in time for Black History Month, we share an episode we've been excitedly working on for a number of months now. Ethnomusicologist Maya Cunningham brings us “The Sound World of Harriet Tubman.” Maya Cunningham is an activist and jazz singer currently completing a Ph.D. at the University of Massachusetts, Amherst, in Afro-American studies with a concentration in ethnomusicology.  We first came across Maya's work last year as part of The Harriet Tubman Bicentennial Project, an online initiative from Ms. magazine honoring the 200th anniversary of Harriet Tubman's birth in 1822. It's a remarkable package that adds many dimensions of understanding of the underground railroad conductor and feminist icon: Her experience of disability due to a blow to the head by a white overseer; her creation of a home for the aged; her love of the natural world; and much more. And to us, the richest of these essays was Maya's the “Sound World of Harriet Tubman,” which used field recordings, historical research, and ethnomusicological research to explore the roles of sound and music, and voice in Tubman's life and leadership. The piece included a Spotify playlist so you could listen as you read.  Today, we're thrilled to bring you what we hope will be an even more immersive experience: Maya Cunningham reading her essay, and thanks to the editing and mixing skills of Phantom Power producer Ravi Krishnaswami, her field recordings and playlist selections are mixed into the story.  And just a quick note, you're going to hear about the American Christian revival known as the Second Great Awakening, which stirred both Black and white people from the late 1700s to the mid-1800s. You'll also hear about the Invisible Church, where enslaved African Americans were able to worship secretly and autonomously and through the singing of folk spirituals, which differed greatly from white religious music at the time, but would go on to influence not only gospel music but pretty much every form of popular music we know today. If you want to learn more about this history, a great place to start is a book edited by two professors Mack studied with at Indiana University, Drs. Mellonee V. Burnim and Portia K. Maultsby. It's called African American Music: An Introduction.  And today, we share our Patrons-only segment, “What's Good,” in our main feed. Maya will recommend something good to read, listen to, and do.  Today's musical selections and soundscapes are by Maya Cunningham. The show was mixed and edited by Ravi Krishnaswami. The Harriet Tubman image was created by Maddie Haynes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Just in time for Black History Month, we share an episode we've been excitedly working on for a number of months now. Ethnomusicologist Maya Cunningham brings us “The Sound World of Harriet Tubman.” Maya Cunningham is an activist and jazz singer currently completing a Ph.D. at the University of Massachusetts, Amherst, in Afro-American studies with a concentration in ethnomusicology.  We first came across Maya's work last year as part of The Harriet Tubman Bicentennial Project, an online initiative from Ms. magazine honoring the 200th anniversary of Harriet Tubman's birth in 1822. It's a remarkable package that adds many dimensions of understanding of the underground railroad conductor and feminist icon: Her experience of disability due to a blow to the head by a white overseer; her creation of a home for the aged; her love of the natural world; and much more. And to us, the richest of these essays was Maya's the “Sound World of Harriet Tubman,” which used field recordings, historical research, and ethnomusicological research to explore the roles of sound and music, and voice in Tubman's life and leadership. The piece included a Spotify playlist so you could listen as you read.  Today, we're thrilled to bring you what we hope will be an even more immersive experience: Maya Cunningham reading her essay, and thanks to the editing and mixing skills of Phantom Power producer Ravi Krishnaswami, her field recordings and playlist selections are mixed into the story.  And just a quick note, you're going to hear about the American Christian revival known as the Second Great Awakening, which stirred both Black and white people from the late 1700s to the mid-1800s. You'll also hear about the Invisible Church, where enslaved African Americans were able to worship secretly and autonomously and through the singing of folk spirituals, which differed greatly from white religious music at the time, but would go on to influence not only gospel music but pretty much every form of popular music we know today. If you want to learn more about this history, a great place to start is a book edited by two professors Mack studied with at Indiana University, Drs. Mellonee V. Burnim and Portia K. Maultsby. It's called African American Music: An Introduction.  And today, we share our Patrons-only segment, “What's Good,” in our main feed. Maya will recommend something good to read, listen to, and do.  Today's musical selections and soundscapes are by Maya Cunningham. The show was mixed and edited by Ravi Krishnaswami. The Harriet Tubman image was created by Maddie Haynes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Just in time for Black History Month, we share an episode we've been excitedly working on for a number of months now. Ethnomusicologist Maya Cunningham brings us “The Sound World of Harriet Tubman.” Maya Cunningham is an activist and jazz singer currently completing a Ph.D. at the University of Massachusetts, Amherst, in Afro-American studies with a concentration in ethnomusicology.  We first came across Maya's work last year as part of The Harriet Tubman Bicentennial Project, an online initiative from Ms. magazine honoring the 200th anniversary of Harriet Tubman's birth in 1822. It's a remarkable package that adds many dimensions of understanding of the underground railroad conductor and feminist icon: Her experience of disability due to a blow to the head by a white overseer; her creation of a home for the aged; her love of the natural world; and much more. And to us, the richest of these essays was Maya's the “Sound World of Harriet Tubman,” which used field recordings, historical research, and ethnomusicological research to explore the roles of sound and music, and voice in Tubman's life and leadership. The piece included a Spotify playlist so you could listen as you read.  Today, we're thrilled to bring you what we hope will be an even more immersive experience: Maya Cunningham reading her essay, and thanks to the editing and mixing skills of Phantom Power producer Ravi Krishnaswami, her field recordings and playlist selections are mixed into the story.  And just a quick note, you're going to hear about the American Christian revival known as the Second Great Awakening, which stirred both Black and white people from the late 1700s to the mid-1800s. You'll also hear about the Invisible Church, where enslaved African Americans were able to worship secretly and autonomously and through the singing of folk spirituals, which differed greatly from white religious music at the time, but would go on to influence not only gospel music but pretty much every form of popular music we know today. If you want to learn more about this history, a great place to start is a book edited by two professors Mack studied with at Indiana University, Drs. Mellonee V. Burnim and Portia K. Maultsby. It's called African American Music: An Introduction.  And today, we share our Patrons-only segment, “What's Good,” in our main feed. Maya will recommend something good to read, listen to, and do.  Today's musical selections and soundscapes are by Maya Cunningham. The show was mixed and edited by Ravi Krishnaswami. The Harriet Tubman image was created by Maddie Haynes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

The Shortwave Collective describe themselves as “an international feminist group using the radio spectrum as artistic material.” I was first intrigued by their piece Receive-Transmit-Receive, an exquisite corpse of audio, in which members each contributed their own recordings of sounds from across the radio spectrum. But what really affected me was their ongoing public education project of teaching people to make their own no-power, low-budget radios called open-wave receivers. They've held radio-making workshops in Portugal, France, and the UK and they've published a how-to in Make magazine. I wanted to talk to the Shortwave Collective because they are presenting a radically different vision of what radio is and can be. Radio's history can be thought of as an extended expression of military, political, commercial, and cultural dominance. But the Collective embraces play, experimentation, failure, community, and open listening in their feminist radio practice. So, let's talk to the Shortwave Collective and see if we can rethink radio–what it's for and what it can do.   And in the second half of the show, we'll hear an audio documentary in which the Shortwave Collective teaches you how to make your own open-wave receiver. Special thanks for appearing on the show to Shortwave Collective members Lisa Hall, ​Alyssa Moxley, Georgia Muenster, and Maria Papadomanolaki. The other Collective members are Sally A. Applin, Kate Donovan, Brigitte Hart, and Hannah Kemp-Welch.  Today's show was written and edited by Mack Hagood with technical assistance from Craig Eley. Today's music is by Graeme Gibson with additional sound design elements by Cris Cheek and Shortwave Collective. Phantom Power's production team includes Craig Eley, Ravi Krishnaswami, and Amy Skjerseth. Our Production Coordinator and transcriber is Jason Meggyesy.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This summer, sound artist and “guerrilla academic” Ben Coleman got in touch to say how much he enjoys Phantom Power. He also suggested we check out another podcast he's into called Love is the Message.  We're glad we did! Love is the Message: Music, Dance & Counterculture is a fantastic show from Tim Lawrence and Jeremy Gilbert, both of them authors, academics, DJs and audiophile dance party organisers. I recognized Tim Lawrence's name from his great book on Arthur Russell. Jeremy Gilbert is Professor of Cultural and Political Theory at the University of East London and a prolific author. Tim and Jeremy have been longtime collaborators and when the clubs closed and universities cut faculty hours due to covid, they started podcasting.  The way I'd describe their show is, imagine the amazing college class you never got to take where you learn about the intersections of global dance music and radical politics, from the 1960s to today. They do shows on disco, Motown, reggae, tropicalia, funk, you name it with a strong cultural studies perspective. And I think the episode we're going to hear today is a perfect example of their approach—it's ostensibly an episode about Fela Kuti, but it's also terrific seminar on the Black Atlantic and the political history of Nigeria.  So thanks, Ben, for the recommendation. Thanks, Tim and Jem for sharing the pod with me and doing this episode swap. And thanks everyone for listening. Talk next month! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This summer, sound artist and “guerrilla academic” Ben Coleman got in touch to say how much he enjoys Phantom Power. He also suggested we check out another podcast he's into called Love is the Message.  We're glad we did! Love is the Message: Music, Dance & Counterculture is a fantastic show from Tim Lawrence and Jeremy Gilbert, both of them authors, academics, DJs and audiophile dance party organisers. I recognized Tim Lawrence's name from his great book on Arthur Russell. Jeremy Gilbert is Professor of Cultural and Political Theory at the University of East London and a prolific author. Tim and Jeremy have been longtime collaborators and when the clubs closed and universities cut faculty hours due to covid, they started podcasting.  The way I'd describe their show is, imagine the amazing college class you never got to take where you learn about the intersections of global dance music and radical politics, from the 1960s to today. They do shows on disco, Motown, reggae, tropicalia, funk, you name it with a strong cultural studies perspective. And I think the episode we're going to hear today is a perfect example of their approach—it's ostensibly an episode about Fela Kuti, but it's also terrific seminar on the Black Atlantic and the political history of Nigeria.  So thanks, Ben, for the recommendation. Thanks, Tim and Jem for sharing the pod with me and doing this episode swap. And thanks everyone for listening. Talk next month! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

Jonathan Sterne is one of the most influential scholars working on sound and listening. His 2003 book, The Audible Past: Cultural Origins of Sound Reproduction, had a formative influence on the then-nascent field of sound studies. His 2012 book, MP3: The Meaning of a Format, was both a fascinating cultural history and a deep meditation on the purpose of compression technology in capitalism. Today, Sterne talks to Phantom Power about his new book, Diminished Faculties: A Political Phenomenology of Impairment (Duke UP 2022). Specifically, he tells the story of the “Dork-o-phone,” a vocal amplifier he wears to give talks or communicate in loud spaces. Jonathan explains why he wears the Dork-o-phone, what it's taught him about voice, technology, and disability, and how his experience informs Diminished Faculties' “phenomenology of impairment.” This is the third and final part of our series, Voices. Although you don't need to listen to the other episodes first to enjoy this one, here are the links to part one and part two. All of this episode's sound art and music are performed by Jonathan Sterne and/or groups he appears in: Cancerscapes: Recordings made during Sterne's thyroid cancer treatment Volte: An instrumental post rock band The Buddha Curtain: solo electronic music Jonathan Sterne is Professor and James McGill Chair in Culture and Technology at McGill University. He does research in sound studies; media theory and historiography; science and technology studies; new media; disability studies; music; and cultural studies. You can read Jonathan Sterne's cancer diaries at https://www.cancerscapes.ca. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Robert Arzola is a freelance composer and music supervisor for Phantom Power based in the Atlanta, GA metropolitan area. After injury interrupted his plans of being a classical performer, Robert pivoted to composing. As a freelance composer, Robert has scored feature films for Reel One Entertainment, Lifetime, Lionsgate, and Feifer Worldwide along with the video game Tactical Breach Wizards. Robert has landed numerous placements in trailers as a composer, sound designer, and editor. As the music supervisor for Phantom Power, Robert helped release multiple albums and has helped Phantom Power acquire placements for various major campaigns. He is also a contributor for the YouTube channel, The Samplelist, where he does overviews of sample libraries. Today we talk about his career, his pivot to composing, and we do a deep dive into his score for the game Tactical Breach Wizards. https://robertarzola.com/

In part two of our three-part series “Voices,” we feature an exciting new voice in the world of sound studies, Stacey Copeland.  In part one last month, we examined the role voices play in professional sports and unpacked some of the understandings of ability and masculinity that inform the sound of the quarterback's voice in the NFL. Copeland's audio documentary, “This is the Sound of My Voice,” examines another group of professionals—women broadcasters and podcasters, who struggle with sonic sexism from male colleagues, audiences, and sometimes, even themselves. The documentary was originally presented on radio in three parts, but Stacey graciously edited a shorter version for this episode of Phantom Power. Stacey Copeland is a media producer and Joseph-Armand Bombardier (CGS) Ph.D. candidate at Simon Fraser University's School of Communication in Vancouver, Canada. She received her Master of Arts from the Ryerson York joint Communication and Culture graduate program where she studied with a focus on radio production, sound studies, media culture and gender studies. She completed her Bachelor of Arts in Radio and Television Arts from Ryerson University with a minor in English and a specialization in audio production for radio, music and film. It was during her Master's work that Copeland co-founded FemRadio, a Toronto, Canada based feminist community radio collective. Currently, she is the supervising producer at Amplify Podcast Network, a collaborative project dedicated to reimagining the sound of scholarship. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This episode, we take you behind the scenes of Phantom Power. Producer/host Mack Hagood was invited by Dario Llinares and Lori Beckstead to be a guest on their show, The Podcast Studies Podcast. As you may or may not know, there are a lot of academics out there not only making podcast themselves but also studying podcasts and podcasting as a genre and an industry–and Dario and Lori are in that camp. Their podcast is a tremendous resource for those who want to understand this emerging academic field. In the interview, Dario prompted Mack to go pretty deep into the production of Phantom Power, exploring the techniques and philosophy behind the show, as well as the potential Mack sees for podcasting as a format for generating scholarly knowledge. And after the interview, Lori had some intriguing comments about what counts as “original scholarship” when we do it in sound. So, as we prepare our 2022 season of Phantom Power, we thought we'd share this discussion of how our sonic sausage gets made. And we'll be back next month with a new original episode! Things we talk about in this episode: Hush: Media and Sonic Self-Control by Mack Hagood (Duke, 2019) “Emotional Rescue” by Mack Hagood (Real Life, December 3, 2020) “The Scholarly Podcast: Form and Function in Audio Academia” by Mack Hagood in Saving New Sounds: Podcast Preservation and Historiography, Jeremy Wade Morris and Eric Hoyt, Eds (University of Michigan Press, 2021). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Road to the Top 40 - Episode 7Welcome to The Road to the Top 40! I'm jD, your host, here with Episode 7 as we continue counting down The Tragically Hip's most beloved songs, based on fan-selected ballots. In this episode, we're exploring songs 139 through 135, featuring tracks from iconic albums like Fully Completely, Day for Night, Phantom Power, and Man Machine Poem.This series is a celebration of Canadian rock music and The Tragically Hip's 40-year legacy. Every Monday, Wednesday, and Friday, join us as we revisit TTH classics and hidden gems, with fresh insights and stories from the fan community. Get ready for the Tragically Hip Top 40 Countdown launch on January 6th, 2025, where we'll reveal the top 40 songs one by one, each week, joined by special guests.Connect with us and join the conversation:• Instagram, Twitter: @tthtop40• Website: dewvre.com/tthtop40• Email: tthtop40@gmail.com• Facebook Group: facebook.com/groups/tthtop40Thank you for tuning in, and let's keep celebrating the music and legacy of The Tragically Hip on The Road to the Top 40!Support this podcast at — https://redcircle.com/tthtop40/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The World According to Sound is the brainchild of two rogue audionauts who rebelled against the NPR mothership: Chris Hoff and Sam Harnett. It began as a micro podcast that held one unique sound under the microscope for 90 seconds each episode. Then it became something much more ambitious: a live sonic Odyssey in 8-channel surround sound. Starting January, Harnett and Hoff bring their realtime soundtrips direct to your home headphones via the internet in their winter listening series. We are sure that Phantom Power listeners will love this experience. And right now, you can buy tickets for 25% off with the promo code phantompower25. (As a public university employee, I should probably note that I am not receiving financial compensation through this promo code. –Mack) In this episode, host Mack Hagood talks to Harnett and Hoff about why they grew frustrated with working in public radio and how they now assemble sonic experiences that don't impose a fixed narrative on their listeners. We also listen to some fantastic excerpts from their upcoming listening series. We also briefly discuss a sound art classic, I am sitting in a room by Alvin Lucier. You can hear Lucier perform the piece in this video from an MIT symposium in 2014. Shortly after our interview, Lucier passed away at the age of 90. May he Rest In Peace. Today's show was written and edited by Mack Hagood. Music by Graeme Gibson. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Road to the Top 40 - Episode 1Welcome to the first episode of The Road to the Top 40! I'm jD, your host, and I couldn't be more excited to take you along as we kick off the countdown of the Tragically Hip's top songs, leading up to the ultimate Tragically Hip Top 40 Countdown.In this episode, we start with songs 169 through 165, including rare and beloved tracks from Phantom Power and We Are the Same. Each Monday, Wednesday, and Friday, we'll be releasing five new songs, moving closer to the top of this iconic list of Top TTH songs that fans like you helped create.This podcast is for fans of The Tragically Hip and anyone who loves Canadian rock music. Dive into Canadian music history with us, hear the stories behind the songs, and celebrate the 40-year legacy of one of Canada's most influential bands.Be sure to subscribe so you're ready for January 6th, 2025, when we'll start counting down the Top 40, one song per week. Each episode will feature a superfan sharing their TTH origin story and helping break down the song of the week. We're also looking forward to wrapping up the countdown with a fundraising event for the ALS Society of Canada in October 2025.Follow us on socials and join the community: • Instagram, Twitter: @tthtop40 • Website: dewvre.com/tthtop40 • Email: tthtop40@gmail.com • Facebook Group: facebook.com/groups/tthtop40Thanks for joining us on The Road to the Top 40 – let's keep flying the flag!Support this podcast at — https://redcircle.com/tthtop40/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

What can sound technologies tell us about our relationship to media as a whole? This is one of the central questions in the research of Phantom Power‘s host, Mack Hagood. To find its answer, he studies devices that get little attention from media scholars: noise-cancelling headphones, white noise machines, apps that make nature sounds, tinnitus maskers–even musical pillows. The story these media tell is rather different from the standard narrative, in which media are conveyors of information and entertainment. In his book Hush: Media and Sonic Self-Control, Mack argues that media are the way we control how–and how much–we let the world affect us. On Phantom Power, Mack has always focused on presenting the ideas of other scholars and sound artists. However, during our summer break we thought we'd share a piece by Mack that appeared in another podcast, the audio edition of Real Life, a razor-sharp magazine on digital culture. “Emotional Rescue” begins with the odd example of pillow-based audio technology to make the point that media are really about something more intimate than information: The cozy conflation of content and comfort… is not a recent digital development. Nor is it, I would argue, a quirky edge case of media use. In fact, this is what media are: tools for altering how the body feels and what it perceives, controlling our relationship to others and the world, enveloping ourselves, and even disappearing ourselves. Misunderstanding the true nature of our media use isn't merely of academic concern–it has had disastrous effects on our politics and social cohesion. The article was written for the Real Life website, then subsequently dropped in podcast form. Writing for the eye is quite different from writing for the ear, but podcast producer and narrator Britney Gil is amazing at elucidating written prose for the listener. If you listen to nonfiction audiobooks and/or want to hear a great narrator reading insightful takes on digital life, be sure to subscribe to Real Life: Audio Edition.  “Emotional Rescue” by Mack Hagood. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today's guest, Kate Carr, is an accomplished sound artist and field recordist whose recent work grapples with issues of communication and longing—themes we can all relate to in the Covid era.  In part one of the show, we mark Phantom Power's three-year anniversary and 25th episode. Mack does a little thinking out loud about the different kinds of audio work that we've featured over the past three years. The terminology and practices for audio work always seem to be in flux—and people can have completely different terms for similar kinds of work. Mack imagines a spectrum of sound work, from more materialist genres like musique concrete to more conceptual or idealist genres like the audiobook, which emphasize meaning over form. In the end, the spectrum eats its own tail—the material is always conceptual and the conceptual is always material. Sound is always both resonance and meaning and the two can never be completely teased apart. Signal and noise are one.  In part two, we meet Kate Carr, an artist the critic Matthew Blackwell describes as a “sound essayist.” Since she began it in 2010, Kate Carr's work as a musician and field recordist has taken her around the world, from her native Australia to a doctoral program at University of the Arts London. She's been featured in The New York Times, The New Yorker, The Wire, and Pitchfork. She also runs the field recording label Flaming Pines.  Since slightly before the pandemic, the theme of communication at a distance—always implicit in field recording—has taken center stage in her work. We examine three such pieces by Kate Carr. Each one explores how sound helps us communicate at a distance and how it comforts us in moments of loneliness: “Contact”—a meditation on sonic connection through radio, morse code, and digital technology. “Where to Begin”—a study of love letter writing, which Carr says has profound similarities with field recording. “For Some Odd Reason”—an exploration of the kinds of noise we came to miss during social distancing and the mediated ways we've tried to add it back.  Together, these three pieces—one from before the pandemic, one from its beginning, and one from its interminable middle—explore how earnestly we try to connect across distance—and how heightened these attempts have become over the past year. Huge thanks to our co-producer on this episode, Matthew Blackwell. He is a Visiting Assistant Professor of English at the University of Iowa and a freelance music writer. He writes and edits Tusk Is Better Than Rumours, a newsletter that covers the discographies of experimental musicians.  He is also a contributor to Tone Glow, a newsletter featuring interviews with experimental musicians.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today, Phantom Power‘s Amy Skjerseth brings us the story of perhaps the most famous vocal performance artist and avant-garde musician whose actual work probably doesn't get the attention it deserves: Yoko Ono. Collaborator with the Fluxus group in the early 60s, creator of performances such as Cut Piece and her Bed In with John Lennon in the late 1960s, director of experimental films such as 1970's Fly, and recording artist of experimental pop albums such as that Fly's soundtrack… Despite this large body of work, her most famous role was that of wife to that guy in that band—a performance that made her the target of misogynous and racist criticism that persists to this day. As Amy points out, much of this criticism centered on the sound of Yoko Ono's voice. Of course, as we've explored on this show before, listening to the other with a racist or sexist ear is nothing new. But in Ono's case, this prejudicial listening is compounded by the fact that, years before the emergence of punk rock, she was pushing the boundaries of acceptable vocal expression for anyone, let alone a woman—moaning, wailing, chortling, and screaming. The vast majority of listeners immediately dismissed these sounds as a punchline. On today's show, we're going to actually listen. What is the purpose and meaning and effect of Ono's vocal artistry? We're exploring it in her recorded work, in her feminist and pacifist political agenda, and most of all, in her film Fly, in which she uses her voice to destroy boundaries between sound and touch, human and animal, self and other.  This episode includes elements from an audio essay Amy published at [in]Transition: Journal of Videographic Film & Moving Image Studies. Music by Yoko Ono, John Lennon, John Cage, Tanya Tagaq, and Graeme Gibson, as well as “Crickets, Birds, Summer Ambient” by Nikodemus Christian. You can hear most of the music again on this Phantom Power Spotify Playlist. You can hear Yoko Ono's Twitter response to Trump (November 11, 2016) here.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

What would happen if you took red state rural voters on a walk into the woods with left-wing environmental activists and experimental music fans? Our guest this episode knows the answer. BRIAN HARNETTY is a composer and an interdisciplinary artist using sound and listening to foster social change.  While Brian studied composition at the Royal Academy of Music, London, one of his teachers, Michael Finnissy, suggested he look for musical inspiration in his home state of Ohio. Brian took that advice and the result has been eight internationally acclaimed albums. Brian's music combines archival recordings of interviews and singing—often from the Berea College Appalachian Sound Archives—with his original compositions. For the past decade, Brian has focused on the myth, history, ecology, and economy of Shawnee, a small Appalachian town in Ohio. His 2019 album Shawnee, Ohio was praised by the BBC, the Wire, and named 2019 Underground Album of the Year by MOJO. The album engages with the social and environmental impacts felt by the town and nearby Wayne National Forest in their long history with extractive industries from timber to coal mining to fracking.  But Brian doesn't just document Shawnee's narrative—he intervenes in it. He's an environmental activist of a gentle kind, one who gets area residents of different political stripes to walk in the woods together to listen—to one another and to the forest. All in service of protecting and healing the land. In this episode, we are  thrilled to present an audio documentary that Brian Harnetty has produced for Phantom Power about this quietly radical experiment, called Forest Listening Rooms. And afterwards I'll speak to Brian about his project.  Learn more: Visit Brian Harnetty's studio in Ohio. Check out his Bandcamp page. Visit his website.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network