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2 episodes with Rip It Up
2 episodes with Rip It Up
2 episodes with Rip It Up
2 episodes with Rip It Up
A (relatively) in-depth analysis of the single Rip It Up by Orange Juice (as well as some other general stuff) in just under thirty minutes.After releasing a series of singles on the independent Postcard label, the debut album by Orange Juice 'You Can't Hide Your Love Forever', was realeased by Polydor in February 1982. The album received mixed reviews. Retrospectively, however, it is often regarded as a classic of the era and a key influence on the C86 generation. The group's second album 'Rip It Up', issued in November 1982 featured the single of the same name, which reached number 8 on the UK Singles Chart in February 1983. Referencing both Chic and the Buzzcocks, the record galvanised Orange Juice's reputation as one of the brightest bands in the 'new pop' scene. In this episode I am in discussion with Dr. Andrew Webber.I do hope you enjoy this episode.Mathew Woodallhttps://buymeacoffee.com/lownoiseWhy buy me a coffee?Low Noise is proudly ad-free. If you would like to to say thank you for any of the content you have enjoyed (and help support the continuation of creating more), the above link provides a way to make a small donation of your choice (I also function on coffee!).Feel free to leave a note with your donation to let me know what you enjoy about the podcast or any topics you would like me to discuss in the future.
Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Kung Fu Dancing by Carl Douglas (1974)Song 1: I Ain't Going Nowhere by Tito Jackson (2016)Song 2: Shut Up and Drive by Rihanna (2007)Song 3: Heartbreak Anniversary by Giveon (2020)Song 4: Camel Walk by Southern Culture on the Skids (1995)Song 5: Strange Magic by Electric Light Orchestra (1975)Song 6: Shoop by Salt-n-Pepa (1993)Song 7: Whole Wide World by Wreckless Eric (1977)Song 8: Rip It Up by Little Richard (1956)Song 9: I Need a Dollar by Aloe Blacc (2010)Song 10: Wild Thing by Sam Kinison (1988)
Kleines «aber»: Alle im Titel genannten Artists haben heute neue... Singles veröffentlicht und retten uns damit einen ziemlich schwachen «New Music Friday» – zumindest wenn wir auf die eher uninspirierende Liste der neuen Alben blicken. (Ist heute in den USA Feiertag und niemand hat uns was gesagt?) Zudem in der letzten Stunde der heutigen Sendung: 10 Jahre «To Pimp a Butterfly» von Kendrick Lamar. Wir würdigen dem Rap-Jazz-Meisterwerk von King Kenny eine ganze Stunde. +++ PLAYLIST +++ · 22:47 – MORTAL MAN von KENDRICK LAMAR · 22:41 – I von KENDRICK LAMAR · 22:36 – THE BLACKER THE BERRY von KENDRICK LAMAR · 22:31 – HOW MUCH DOES A DOLLAR COST von KENDRICK LAMAR · 22:28 – ALRIGHT von KENDRICK LAMAR · 22:21 – THESE WALLS von KENDRICK LAMAR FEAT. BILAL & ANNA WISE & SNOOP DOGG · 22:17 – KING KUNTA von KENDRICK LAMAR · 22:12 – WESLEY'S THEORY von KENDRICK LAMAR FEAT. GEORGE CLINTON & THUNDERCAT · 21:56 – JUST von RADIOHEAD · 21:51 – RUN IT von CLIPPING. · 21:47 – NOT LIKE US von KENDRICK LAMAR · 21:42 – GOOD CREDIT von PLAYBOI CARTI · 21:40 – HOT MATCH von SOPHIA KENNEDY · 21:36 – RODEO von SOPHIA KENNEDY · 21:33 – LIBRETTO von THROWING MUSES · 21:29 – DRUGSTORE DRASTIC von THROWING MUSES · 21:27 – SEX, DRUGS & EXISTENTIAL DREAD von CHLOE QISHA · 21:23 – GURBET von ÖZDEMIR ERDOĞAN · 21:18 – COOL HAND von DERYA YILDIRIM & GRUP ŞIMŞEK · 21:13 – RAAT KI RANI von AROOJ AFTAB & KHRUANGBIN · 21:09 – THREE FROM TWO von KHRUANGBIN · 21:06 – ÎLE D'OGOZ von LEOPARDO · 20:56 – PUMPING ON YOUR STEREO von SUPERGRASS · 20:53 – ELEVEN SENT (THIS TIME) von COURTING · 20:49 – I WAS RIGHT von HAMILTON LEITHAUSER · 20:45 – OFF THE BEACH von HAMILTON LEITHAUSER · 20:40 – WORLD AWAY von ÉTIENNE DE CRECY FEAT. ALEXIS TAYLOR · 20:34 – AND I WAS A BOY FROM SCHOOL von HOT CHIP · 20:31 – DIARY von COOTIE CATCHER · 20:28 – IF ONLY I COULD WAIT von BON IVER FEAT. DANIELLE HAIM · 20:24 – RELATIONSHIPS von HAIM · 20:18 – RIP IT UP von ORANGE JUICE · 20:15 – THE HEART IS A FOOLISH LITTLE THING von EDWYN COLLINS · 20:11 – A GIRL LIKE YOU von EDWYN COLLINS · 20:07 – THE GIVER von CHAPPELL ROAN
This week, Scott is joined by Dr. Richard Wiseman, a psychologist renowned for his work on magic, illusion, deception, luck, and self-development. As the UK's only Professor of the Public Understanding of Psychology at the University of Hertfordshire, Dr. Wiseman has published over 100 academic papers and authored bestselling books such as The Luck Factor, Paranormality, Quirkology, and Rip It Up. Dr. Wiseman’s research bridges science and everyday life, offering insights into success, well-being, and the quirks of human perception. In this episode Scott and Dr. Wiseman explore the fascinating psychology behind magic, and his attempts to scientifically study what appears to be psychic phenomenon. We also discuss the secrets of self-transformation. See omnystudio.com/listener for privacy information.
Di Katz-Shachar is a Master Fitness Trainer, entrepreneur, author, and speaker with nearly 20 years of experience transforming lives through holistic wellness. As the founder of Bodyholic and author of Rip It Up. For Good: Your Guide to the Best Shape of Your Life... Minus the Stress, she inspires individuals to achieve their fitness goals while finding balance and peace.Living in Israel, Di balances life as a CEO, mother, and wife amidst the challenges of a turbulent region, drawing strength from community and resilience. Her journey is a testament to overcoming adversity, spreading a message of wellness for the mind, body, and soul, and finding light even in dark times.
Today on Rip It Up we are joined by Gráinne Gillett who became an internet renovation sensation in 2022 when she took on a seriously rundown Victorian cottage in Dublin, documenting every step of the transformation and getting very hands-on in the process. With a keen eye for interiors and an impressive DIY skill set, Gráinne has inspired countless people to take on their own renovation projects. Support the showFollow us on Instagram - Jenny is @workerscottage and Kate is @victorianrathmines
Frank discusses the assassination of Martin Luther King Jr. on MLK Day. He then sits down with Russel Edwards and Dr. Tim Sampson to discuss their findings on the true identity of Jack the Ripper. Russell Edwards is a longtime Jack the Ripper researcher, who bought a shawl worn by one of Jack the Ripper's victims and Dr. Tim Sampson, a barrister who is featured in the Mail Online, the Daily Telegraph and the Metro. Learn more about your ad choices. Visit megaphone.fm/adchoices
We're rebroadcasting another episode from the Resources Radio archive while the team is on a break through the rest of December. This week's episode is a throwback to the final installment of a three-part series that celebrated the 70th anniversary of Resources for the Future (RFF), back in 2022. We'll return with new episodes in the new year; in the meantime, enjoy this one and poke around the archive at Resources.org for more topics you might be interested in. In this week's episode rerun, host Daniel Raimi looks toward the future of RFF, as seen through the eyes of the organization's talented and dedicated research analysts and associates. RFF's research analysts gather and analyze data, review published studies, help write papers and reports, and do it all with dedication and enthusiasm. They're an essential part of the organization's research. In this episode, Raimi talks with RFF Research Analysts Emily Joiner, Sophie Pesek, Nicholas Roy, and Steven Witkin, along with Senior Research Associate and Geographic Information Systems Coordinator Alexandra Thompson. While these young scholars share how they first got interested in environmental economics, they mostly focus on the future by lending insights about the topics they think RFF scholars will be working on in 20 or 30 years—and what role they see for themselves in that future. References and recommendations: “70 Years of RFF: A Day in the Life at Resources for the Future, with RFF Staff” Resources Radio podcast episode; https://www.resources.org/resources-radio/70-years-of-rff-a-day-in-the-life-at-resources-for-the-future-with-rff-staff/ “70 Years of RFF: The Legacy of Resources for the Future, with Ray Kopp and Kerry Smith” Resources Radio podcast episode; https://www.resources.org/resources-radio/70-years-of-rff-the-legacy-of-resources-for-the-future-with-ray-kopp-and-kerry-smith/ “Chesapeake” by James A. Michener; https://www.penguinrandomhouse.com/books/114052/chesapeake-by-james-a-michener/ “Alaska” by James A. Michener; https://www.penguinrandomhouse.com/books/114041/alaska-by-james-a-michener/ “Hawaii” by James A. Michener; https://www.penguinrandomhouse.com/books/114063/hawaii-by-james-a-michener/ “Caribbean” by James A. Michener; https://www.penguinrandomhouse.com/books/114048/caribbean-by-james-a-michener/ “Under a White Sky: The Nature of the Future” by Elizabeth Kolbert; https://www.penguinrandomhouse.com/books/617060/under-a-white-sky-by-elizabeth-kolbert/ “The Age of Revolution: 1789–1848” by Eric Hobsbawm; https://www.penguinrandomhouse.com/books/80964/the-age-of-revolution-1749-1848-by-eric-hobsbawm/ “Rip It Up and Start Again” by Simon Reynolds; https://www.penguinrandomhouse.com/books/291130/rip-it-up-and-start-again-by-simon-reynolds/ “A Sand County Almanac” by Aldo Leopold; https://en.wikipedia.org/wiki/A_Sand_County_Almanac “Severance” television series; https://www.imdb.com/title/tt11280740/
Dan Rolinson and John Townley discuss another set of your Aston Villa questions after the draw against Crystal Palace. Who takes our next penalty? Why can't we defend? What's Youri Tielemans' best position?
Gwendolyn Dolske and Rudy Salo welcome back Philosophy Professors Joshua Heter and Richard Greene to discuss their book Post Punk and Philosophy. Rip It Up and Think Again. What exactly is post punk rock? How does the shift in the music genre make us think about culture, emotions, and politics? What philosophical texts lend insight to the meaning and significance of the music? What music is giving us pause to reflect on philosophy? Get your copy of this wonderful collection of essays: Post Punk and Philosophy. Get more content and support the pod: https://www.patreon.com/GoodIsInTheDetails Take Gwendolyn's course: How To Create Your Podcast. https://www.goodisinthedetails.com Thank you to our partner for this episode: https://studioqueenhair.com
Kate and Jenny are excited to bring you a very special guest - award winning Australian architect Georgina Wilson, founder of Georgina Wilson Associates and Ask an Architect. Get ready for an absolute goldmine episode, chock-a-block with renovation revelations, and check out askanarchitect.co for more.For this episode, we are very proud to be sponsored by Floretry. Floretry crafts contemporary floral designs that evoke a connection to the Irish landscape. With a commitment to sustainability, Floretry uses Irish grown flowers to create unique floral styling for weddings, TV, film, and events. If you are planning a wedding, get in touch at floretry.ie and quote "Rip It Up" for a 20 percent discount on their wedding packages.Support the Show.Follow us on Instagram - Jenny is @workerscottage and Kate is @victorianrathmines
Hadde det ikke vært godt å være blant "de heldige"? De som tilsynelatende alt går bra for, der dører åpnes, mulighetene er mange og lønnforhøyninger og gode tilbud kommer regelmessig. Akkurat dette har Prof Richard Wiseman, en britisk psykolog ved University of Hertfordshire - gjennomført omfattende forskning på gjennom flere tiår: Hva som gjør folk heldige og hvordan man kan øke sin egen lykke? Hans arbeid innenfor dette feltet strekker seg tilbake til 1990-tallet og har fortsatt frem til i dag. Han har publisert flere bøker, forskningsartikler og populærvitenskapelige artikler om emnet og har vært en ledende stemme innen positiv psykologi og selvutvikling. Vi snakker om noen konkrete tips som kan bidra til å øke følelsen av lykke og gjøre deg heldigere: 1. Ha en positiv holdning 2. Vær åpen for nye muligheter og vær nysgjerrig 3. Følg intuisjonen din 4. Vær observant og årvåken 5. Lær av motgang Richard Wisemans forskning viser at det å være heldig ikke nødvendigvis handler om flaks, men om å adoptere en bestemt holdning og atferd som kan tiltrekke positive hendelser og muligheter. Kanskje blir du inspirert til å teste ut noe av dette i sommer? Og andre ting vi snakker om i podcasten er boken vår - som kan hjelpe deg stresse helt ned. Trenger du en god massør, kan du sjekke ut Monika ved Squeeze på Ski - eller oppsøke henne i Askim: https://agaton.no/hjem-1 Bøker av Wiseman som er verdt å lese om du liker det vi snakker om: "The Luck Factor" "Quirkology" "59 Seconds" "Rip It Up" "Paranormality" "Night School" Og med det sier vi takk for oss noen uker og riktig god sommer. VI er tilbake medio august.
Hosts Jim DeRogatis and Greg Kot talk with director Lisa Cortés about her documentary, "Little Richard: I Am Everything." The film is full of electrifying live footage of the rock and roll architect throughout his career. They also talk with Professor Timothy McKenry about his research into why people listen to less new music as they age. --Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops--Featured Songs:Little Richard, "A Whole Lotta Shakin' Goin' On," Little Richard Is Back (And There's a Whole Lotta Shakin' Goin' On!), Vee-Jay, 1964The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Capitol, 1967Little Richard, "Tutti Frutti," Here's Little Richard, Specialty, 1957Little Richard, "Keep a Knockin'," Little Richard, Specialty, 1958Led Zeppelin, "Rock and Roll," Led Zeppelin IV, Atlantic, 1971Little Richard, "It's Real," The King of Gospel Singers, Mercury, 1961Little Richard, "Rip It Up," Here's Little Richard, Specialty, 1957Angélica Garcia, "Color De Dolor," Gemelo, Partisan, 2024See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Join me in this week's Author Diary as I gear up for the exciting launch of "Guild of Assassins," dive into some captivating reading, and continue my work on ongoing projects.
If you take a moment to rate your ability to express love to others, what would you give yourself? (1 being the worst - 10 being the best ) Whether you're a 2, 8, 1 or 10 we all have room to grow! In the month of February we are going to learn a few "Love Lessons" that we are sure will improve every relationship you have.
In this episode Jeremy and Tim are joined by writer, historian, and friend of the show Simon Reynolds to discuss British musical trends of the 1970s and his life as a music journalist. Simon is arguably the most important music critic writing today, having penned seminal books on post-punk, electronic dance music, feminist rock and much more. In this interview he mostly talks about his most recent book, ‘Shock and Awe: Glam Rock and Its Legacy, from the Seventies to the Twenty-First Century', sharing stories from his childhood interest in the decadent world of Glam. The three discuss how so many artists came to aestheticise a rejection of suburbia, the purply gauze of Top of the Pops, and thinking the Situationists were a band. They unpick how Punk is imagined and historicised versus how it was experienced, how Simon came to reappraise the 60s against a hostile critical culture, and consider the role of the music press historically and today. For patrons, our extended edition also includes a discussion around Simon's 2011 book ‘Retromania: Pop Culture's Addiction to its Own Past'. Tim, Jeremy and Simon recount the particular conjuncture from which the book arose, tease out its key theses, and apply those to contemporary music culture. Simon Reynolds is the author of ‘Blissed Out: The Raptures of Rock', ‘The Sex Revolts: Gender, Rebellion and Rock 'N' Roll' with Joy Press, ‘Energy Flash: A Journey Through Rave Music and Dance Culture', ‘Rip It Up and Start Again: Postpunk 1978–1984', ‘Bring The Noise: 20 Years of Writing About Hip Rock and Hip-Hop', ‘Retromania: Pop Culture's Addiction to Its Own Past' and ‘Shock and Awe: Glam Rock and Its Legacy, from the Seventies to the Twenty-First Century'. His next book, ‘Futuromania: Electronic Dreams from Moroder to Migos' is forthcoming. Tracklist: Scott Joplin - The Entertainer Ian Dury & the Blockheads - Plaistow Patricia The Rezillos - Top Of The Pops The Specials - Ghost Town Led Zeppelin - Whole Lotta Love
Murray Cammick, then editor of music mag Rip It Up, was there when the very first Big Day Out exploded into Mt Smart Stadium in 1994.
What's your most loved and least favorite song on Little Richard's debut album, 1957's Here's Little Richard?! We finally delve into the 1950s by talking about the oldest album we've ranked yet. Adam repeatedly circles back to himself, talking about his short European tour with the red-hot Little Richards and interviews two of its main creators: Sparkle Gail Higgins, longtime London/NY/California vintage clothing queen and Heartbreakers road manager who named her San Diego store the Girl Can't Help It and her friend Robert Lopez (El Vez), who started the wild allstar act to play at her store. Listen at WeWillRankYouPod.com, Apple, Spotify and your favorite piano store. Follow us and weigh in with your favorites on Facebook, Instagram & Threads and Twitter @wewillrankyoupod . Architect of Rock and Roll, Attitude, A-WOOOOOOO, a-wop-bop-a-loo-mop-a-lop-bam-boom, Baby, the beat, the beat, the beat, the Beatles, Pat Boone, Can't Believe You Wanna Leave, choreography, El Vez, energy, the Girl Can't Help It, Good Golly Miss Molly, the Heartbreakers, Sparkle Gail Higgins, Benny Hill, Jenny, Jenny, Little Adam, Little Richard, Little Robert, the Little Richards, Long Tall Sally, Robert Lopez, Lucille, Dean Martin, Paul McCartney, Miss Ann, my band, my band, my band, Oh Why?, Richard Penniman, piano, Elvis Presley, Ready Teddy, Rip It Up, rock and roll, Rubber Duckie, saxophone solo, She's Got It, shut up, Slippin' and Slidin', Trio, True, Fine Mama, Tutti Frutti, 1957. US: http://www.WeWillRankYouPod.com wewillrankyoupod@gmail.comhttp://www.facebook.com/WeWillRankYouPodhttp://www.instagram.com/WeWillRankYouPodhttps://www.threads.net/@WeWillRankYouPod http://www.twitter.com/WeWillRankYouPo http://www.YourOlderBrother.com (Sam's music page) http://www.YerDoinGreat.com (Adam's music page)https://open.spotify.com/user/dancecarbuzz (Dan's playlists)
For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the second part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on "With a Little Help From My Friends" by Joe Cocker. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in the first chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. The International Submarine Band's only album can be bought from Bandcamp. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin, a brief warning – this episode contains brief mentions of suicide, alcoholism, abortion, and heroin addiction, and a brief excerpt of chanting of a Nazi slogan. If you find those subjects upsetting, you may want to read the transcript rather than listen. As we heard in the last part, in October 1967 Roger McGuinn and Chris Hillman fired David Crosby from the Byrds. It was only many years later, in a conversation with the group's ex-manager Jim Dickson, that Crosby realised that they didn't actually have a legal right to fire him -- the Byrds had no partnership agreement, and according to Dickson given that the original group had been Crosby, McGuinn, and Gene Clark, it would have been possible for Crosby and McGuinn to fire Hillman, but not for McGuinn and Hillman to fire Crosby. But Crosby was unaware of this at the time, and accepted a pay-off, with which he bought a boat and sailed to Florida, where saw a Canadian singer-songwriter performing live: [Excerpt: Joni Mitchell, "Both Sides Now (live Ann Arbor, MI, 27/10/67)"] We'll find out what happened when David Crosby brought Joni Mitchell back to California in a future story... With Crosby gone, the group had a major problem. They were known for two things -- their jangly twelve-string guitar and their soaring harmonies. They still had the twelve-string, even in their new slimmed-down trio format, but they only had two of their four vocalists -- and while McGuinn had sung lead on most of their hits, the sound of the Byrds' harmony had been defined by Crosby on the high harmonies and Gene Clark's baritone. There was an obvious solution available, of course, and they took it. Gene Clark had quit the Byrds in large part because of his conflicts with David Crosby, and had remained friendly with the others. Clark's solo album had featured Chris Hillman and Michael Clarke, and had been produced by Gary Usher who was now producing the Byrds' records, and it had been a flop and he was at a loose end. After recording the Gene Clark with the Gosdin Brothers album, Clark had started work with Curt Boettcher, a singer-songwriter-producer who had produced hits for Tommy Roe and the Association, and who was currently working with Gary Usher. Boettcher produced two tracks for Clark, but they went unreleased: [Excerpt: Gene Clark, "Only Colombe"] That had been intended as the start of sessions for an album, but Clark had been dropped by Columbia rather than getting to record a second album. He had put together a touring band with guitarist Clarence White, bass player John York, and session drummer "Fast" Eddie Hoh, but hadn't played many gigs, and while he'd been demoing songs for a possible second solo album he didn't have a record deal to use them on. Chisa Records, a label co-owned by Larry Spector, Peter Fonda, and Hugh Masekela, had put out some promo copies of one track, "Yesterday, Am I Right", but hadn't released it properly: [Excerpt: Gene Clark, "Yesterday, Am I Right"] Clark, like the Byrds, had left Dickson and Tickner's management organisation and signed with Larry Spector, and Spector was wanting to make the most of his artists -- and things were very different for the Byrds now. Clark had had three main problems with being in the Byrds -- ego clashes with David Crosby, the stresses of being a pop star with a screaming teenage fanbase, and his fear of flying. Clark had really wanted to have the same kind of role in the Byrds that Brian Wilson had with the Beach Boys -- appear on the records, write songs, do TV appearances, maybe play local club gigs, but not go on tour playing to screaming fans. But now David Crosby was out of the group and there were no screaming fans any more -- the Byrds weren't having the kind of pop hits they'd had a few years earlier and were now playing to the hippie audience. Clark promised that with everything else being different, he could cope with the idea of flying -- if necessary he'd just take tranquilisers or get so drunk he passed out. So Gene Clark rejoined the Byrds. According to some sources he sang on their next single, "Goin' Back," though I don't hear his voice in the mix: [Excerpt: The Byrds, "Goin' Back"] According to McGuinn, Clark was also an uncredited co-writer on one song on the album they were recording, "Get to You". But before sessions had gone very far, the group went on tour. They appeared on the Smothers Brothers TV show, miming their new single and "Mr. Spaceman", and Clark seemed in good spirits, but on the tour of the Midwest that followed, according to their road manager of the time, Clark was terrified, singing flat and playing badly, and his guitar and vocal mic were left out of the mix. And then it came time to get on a plane, and Clark's old fears came back, and he refused to fly from Minneapolis to New York with the rest of the group, instead getting a train back to LA. And that was the end of Clark's second stint in the Byrds. For the moment, the Byrds decided they were going to continue as a trio on stage and a duo in the studio -- though Michael Clarke did make an occasional return to the sessions as they progressed. But of course, McGuinn and Hillman couldn't record an album entirely by themselves. They did have several tracks in a semi-completed state still featuring Crosby, but they needed people to fill his vocal and instrumental roles on the remaining tracks. For the vocals, Usher brought in his friend and collaborator Curt Boettcher, with whom he was also working at the time in a band called Sagittarius: [Excerpt: Sagittarius, "Another Time"] Boettcher was a skilled harmony vocalist -- according to Usher, he was one of the few vocal arrangers that Brian Wilson looked up to, and Jerry Yester had said of the Modern Folk Quartet that “the only vocals that competed with us back then was Curt Boettcher's group” -- and he was more than capable of filling Crosby's vocal gap, but there was never any real camaraderie between him and the Byrds. He particularly disliked McGuinn, who he said "was just such a poker face. He never let you know where you stood. There was never any lightness," and he said of the sessions as a whole "I was really thrilled to be working with The Byrds, and, at the same time, I was glad when it was all over. There was just no fun, and they were such weird guys to work with. They really freaked me out!" Someone else who Usher brought in, who seems to have made a better impression, was Red Rhodes: [Excerpt: Red Rhodes, "Red's Ride"] Rhodes was a pedal steel player, and one of the few people to make a career on the instrument outside pure country music, which is the genre with which the instrument is usually identified. Rhodes was a country player, but he was the country pedal steel player of choice for musicians from the pop and folk-rock worlds. He worked with Usher and Boettcher on albums by Sagittarius and the Millennium, and played on records by Cass Elliot, Carole King, the Beach Boys, and the Carpenters, among many others -- though he would be best known for his longstanding association with Michael Nesmith of the Monkees, playing on most of Nesmith's recordings from 1968 through 1992. Someone else who was associated with the Monkees was Moog player Paul Beaver, who we talked about in the episode on "Hey Jude", and who had recently played on the Monkees' Pisces, Aquarius, Capricorn & Jones, Ltd album: [Excerpt: The Monkees, "Star Collector"] And the fourth person brought in to help the group out was someone who was already familiar to them. Clarence White was, like Red Rhodes, from the country world -- he'd started out in a bluegrass group called the Kentucky Colonels: [Excerpt: The Kentucky Colonels, "Clinch Mountain Backstep"] But White had gone electric and formed one of the first country-rock bands, a group named Nashville West, as well as becoming a popular session player. He had already played on a couple of tracks on Younger Than Yesterday, as well as playing with Hillman and Michael Clarke on Gene Clark's album with the Gosdin Brothers and being part of Clark's touring band with John York and "Fast" Eddie Hoh. The album that the group put together with these session players was a triumph of sequencing and production. Usher had recently been keen on the idea of crossfading tracks into each other, as the Beatles had on Sgt Pepper, and had done the same on the two Chad and Jeremy albums he produced. By clever crossfading and mixing, Usher managed to create something that had the feel of being a continuous piece, despite being the product of several very different creative minds, with Usher's pop sensibility and arrangement ideas being the glue that held everything together. McGuinn was interested in sonic experimentation. He, more than any of the others, seems to have been the one who was most pushing for them to use the Moog, and he continued his interest in science fiction, with a song, "Space Odyssey", inspired by the Arthur C. Clarke short story "The Sentinel", which was also the inspiration for the then-forthcoming film 2001: A Space Odyssey: [Excerpt: The Byrds, "Space Odyssey"] Then there was Chris Hillman, who was coming up with country material like "Old John Robertson": [Excerpt: The Byrds, "Old John Robertson"] And finally there was David Crosby. Even though he'd been fired from the group, both McGuinn and Hillman didn't see any problem with using the songs he had already contributed. Three of the album's eleven songs are compositions that are primarily by Crosby, though they're all co-credited to either Hillman or both Hillman and McGuinn. Two of those songs are largely unchanged from Crosby's original vision, just finished off by the rest of the group after his departure, but one song is rather different: [Excerpt: The Byrds, "Draft Morning"] "Draft Morning" was a song that was important to Crosby, and was about his -- and the group's -- feelings about the draft and the ongoing Vietnam War. It was a song that had meant a lot to him, and he'd been part of the recording for the backing track. But when it came to doing the final vocals, McGuinn and Hillman had a problem -- they couldn't remember all the words to the song, and obviously there was no way they were going to get Crosby to give them the original lyrics. So they rewrote it, coming up with new lyrics where they couldn't remember the originals: [Excerpt: The Byrds, "Draft Morning"] But there was one other contribution to the track that was very distinctively the work of Usher. Gary Usher had a predilection at this point for putting musique concrete sections in otherwise straightforward pop songs. He'd done it with "Fakin' It" by Simon and Garfunkel, on which he did uncredited production work, and did it so often that it became something of a signature of records on Columbia in 1967 and 68, even being copied by his friend Jim Guercio on "Susan" by the Buckinghams. Usher had done this, in particular, on the first two singles by Sagittarius, his project with Curt Boettcher. In particular, the second Sagittarius single, "Hotel Indiscreet", had had a very jarring section (and a warning here, this contains some brief chanting of a Nazi slogan): [Excerpt: Sagittarius, "Hotel Indiscreet"] That was the work of a comedy group that Usher had discovered and signed to Columbia. The Firesign Theatre were so named because, like Usher, they were all interested in astrology, and they were all "fire signs". Usher was working on their first album, Waiting For The Electrician or Someone Like Him, at the same time as he was working on the Byrds album: [Excerpt: The Firesign Theatre, "W.C. Fields Forever"] And he decided to bring in the Firesigns to contribute to "Draft Morning": [Excerpt: The Byrds, "Draft Morning"] Crosby was, understandably, apoplectic when he heard the released version of "Draft Morning". As far as Hillman and McGuinn were concerned, it was always a Byrds song, and just because Crosby had left the band didn't mean they couldn't use material he'd written for the Byrds. Crosby took a different view, saying later "It was one of the sleaziest things they ever did. I had an entire song finished. They just casually rewrote it and decided to take half the credit. How's that? Without even asking me. I had a finished song, entirely mine. I left. They did the song anyway. They rewrote it and put it in their names. And mine was better. They just took it because they didn't have enough songs." What didn't help was that the publicity around the album, titled The Notorious Byrd Brothers minimised Crosby's contributions. Crosby is on five of the eleven tracks -- as he said later, "I'm all over that album, they just didn't give me credit. I played, I sang, I wrote, I even played bass on one track, and they tried to make out that I wasn't even on it, that they could be that good without me." But the album, like earlier Byrds albums, didn't have credits saying who played what, and the cover only featured McGuinn, Hillman, and Michael Clarke in the photo -- along with a horse, which Crosby took as another insult, as representing him. Though as McGuinn said, "If we had intended to do that, we would have turned the horse around". Even though Michael Clarke was featured on the cover, and even owned the horse that took Crosby's place, by the time the album came out he too had been fired. Unlike Crosby, he went quietly and didn't even ask for any money. According to McGuinn, he was increasingly uninterested in being in the band -- suffering from depression, and missing the teenage girls who had been the group's fans a year or two earlier. He gladly stopped being a Byrd, and went off to work in a hotel instead. In his place came Hillman's cousin, Kevin Kelley, fresh out of a band called the Rising Sons: [Excerpt: The Rising Sons, "Take a Giant Step"] We've mentioned the Rising Sons briefly in some previous episodes, but they were one of the earliest LA folk-rock bands, and had been tipped to go on to greater things -- and indeed, many of them did, though not as part of the Rising Sons. Jesse Lee Kincaid, the least well-known of the band, only went on to release a couple of singles and never had much success, but his songs were picked up by other acts -- his "Baby You Come Rollin' 'Cross My Mind" was a minor hit for the Peppermint Trolley Company: [Excerpt: The Peppermint Trolley Company, "Baby You Come Rollin' 'Cross My Mind"] And Harry Nilsson recorded Kincaid's "She Sang Hymns Out of Tune": [Excerpt: Harry Nilsson, "She Sang Hymns Out of Tune"] But Kincaid was the least successful of the band members, and most of the other members are going to come up in future episodes of the podcast -- bass player Gary Marker played for a while with Captain Beefheart and the Magic Band, lead singer Taj Mahal is one of the most respected blues singers of the last sixty years, original drummer Ed Cassidy went on to form the progressive rock band Spirit, and lead guitarist Ry Cooder went on to become one of the most important guitarists in rock music. Kelley had been the last to join the Rising Sons, replacing Cassidy but he was in the band by the time they released their one single, a version of Rev. Gary Davis' "Candy Man" produced by Terry Melcher, with Kincaid on lead vocals: [Excerpt: The Rising Sons, "Candy Man"] That hadn't been a success, and the group's attempt at a follow-up, the Goffin and King song "Take a Giant Step", which we heard earlier, was blocked from release by Columbia as being too druggy -- though there were no complaints when the Monkees released their version as the B-side to "Last Train to Clarksville". The Rising Sons, despite being hugely popular as a live act, fell apart without ever releasing a second single. According to Marker, Mahal realised that he would be better off as a solo artist, but also Columbia didn't know how to market a white group with a Black lead vocalist (leading to Kincaid singing lead on their one released single, and producer Terry Melcher trying to get Mahal to sing more like a white singer on "Take a Giant Step"), and some in the band thought that Terry Melcher was deliberately trying to sink their career because they refused to sign to his publishing company. After the band split up, Marker and Kelley had formed a band called Fusion, which Byrds biographer Johnny Rogan describes as being a jazz-fusion band, presumably because of their name. Listening to the one album the group recorded, it is in fact more blues-rock, very like the music Marker made with the Rising Sons and Captain Beefheart. But Kelley's not on that album, because before it was recorded he was approached by his cousin Chris Hillman and asked to join the Byrds. At the time, Fusion were doing so badly that Kelley had to work a day job in a clothes shop, so he was eager to join a band with a string of hits who were just about to conclude a lucrative renegotiation of their record contract -- a renegotiation which may have played a part in McGuinn and Hillman firing Crosby and Clarke, as they were now the only members on the new contracts. The choice of Kelley made a lot of sense. He was mostly just chosen because he was someone they knew and they needed a drummer in a hurry -- they needed someone new to promote The Notorious Byrd Brothers and didn't have time to go through a laborious process of audtioning, and so just choosing Hillman's cousin made sense, but Kelley also had a very strong, high voice, and so he could fill in the harmony parts that Crosby had sung, stopping the new power-trio version of the band from being *too* thin-sounding in comparison to the five-man band they'd been not that much earlier. The Notorious Byrd Brothers was not a commercial success -- it didn't even make the top forty in the US, though it did in the UK -- to the presumed chagrin of Columbia, who'd just paid a substantial amount of money for this band who were getting less successful by the day. But it was, though, a gigantic critical success, and is generally regarded as the group's creative pinnacle. Robert Christgau, for example, talked about how LA rather than San Francisco was where the truly interesting music was coming from, and gave guarded praise to Captain Beefheart, Van Dyke Parks, and the Fifth Dimension (the vocal group, not the Byrds album) but talked about three albums as being truly great -- the Beach Boys' Wild Honey, Love's Forever Changes, and The Notorious Byrd Brothers. (He also, incidentally, talked about how the two songs that Crosby's new discovery Joni Mitchell had contributed to a Judy Collins album were much better than most folk music, and how he could hardly wait for her first album to come out). And that, more or less, was the critical consensus about The Notorious Byrd Brothers -- that it was, in Christgau's words "simply the best album the Byrds have ever recorded" and that "Gone are the weak--usually folky--tracks that have always flawed their work." McGuinn, though, thought that the album wasn't yet what he wanted. He had become particularly excited by the potentials of the Moog synthesiser -- an instrument that Gary Usher also loved -- during the recording of the album, and had spent a lot of time experimenting with it, coming up with tracks like the then-unreleased "Moog Raga": [Excerpt: The Byrds, "Moog Raga"] And McGuinn had a concept for the next Byrds album -- a concept he was very excited about. It was going to be nothing less than a grand sweeping history of American popular music. It was going to be a double album -- the new contract said that they should deliver two albums a year to Columbia, so a double album made sense -- and it would start with Appalachian folk music, go through country, jazz, and R&B, through the folk-rock music the Byrds had previously been known for, and into Moog experimentation. But to do this, the Byrds needed a keyboard player. Not only would a keyboard player help them fill out their thin onstage sound, if they got a jazz keyboardist, then they could cover the jazz material in McGuinn's concept album idea as well. So they went out and looked for a jazz piano player, and happily Larry Spector was managing one. Or at least, Larry Spector was managing someone who *said* he was a jazz pianist. But Gram Parsons said he was a lot of things... [Excerpt: Gram Parsons, "Brass Buttons (1965 version)"] Gram Parsons was someone who had come from a background of unimaginable privilege. His maternal grandfather was the owner of a Florida citrus fruit and real-estate empire so big that his mansion was right in the centre of what was then Florida's biggest theme park -- built on land he owned. As a teenager, Parsons had had a whole wing of his parents' house to himself, and had had servants to look after his every need, and as an adult he had a trust fund that paid him a hundred thousand dollars a year -- which in 1968 dollars would be equivalent to a little under nine hundred thousand in today's money. Two events in his childhood had profoundly shaped the life of young Gram. The first was in February 1956, when he went to see a new singer who he'd heard on the radio, and who according to the local newspaper had just recorded a new song called "Heartburn Motel". Parsons had tried to persuade his friends that this new singer was about to become a big star -- one of his friends had said "I'll wait til he becomes famous!" As it turned out, the day Parsons and the couple of friends he did manage to persuade to go with him saw Elvis Presley was also the day that "Heartbreak Hotel" entered the Billboard charts at number sixty-eight. But even at this point, Elvis was an obvious star and the headliner of the show. Young Gram was enthralled -- but in retrospect he was more impressed by the other acts he saw on the bill. That was an all-star line-up of country musicians, including Mother Maybelle and the Carter Sisters, and especially the Louvin Brothers, arguably the greatest country music vocal duo of all time: [Excerpt: The Louvin Brothers, "The Christian Life"] Young Gram remained mostly a fan of rockabilly music rather than country, and would remain so for another decade or so, but a seed had been planted. The other event, much more tragic, was the death of his father. Both Parsons' parents were functioning alcoholics, and both by all accounts were unfaithful to each other, and their marriage was starting to break down. Gram's father was also, by many accounts, dealing with what we would now call post-traumatic stress disorder from his time serving in the second world war. On December the twenty-third 1958, Gram's father died of a self-inflicted gunshot wound. Everyone involved seems sure it was suicide, but it was officially recorded as natural causes because of the family's wealth and prominence in the local community. Gram's Christmas present from his parents that year was a reel-to-reel tape recorder, and according to some stories I've read his father had left a last message on a tape in the recorder, but by the time the authorities got to hear it, it had been erased apart from the phrase "I love you, Gram." After that Gram's mother's drinking got even worse, but in most ways his life still seemed charmed, and the descriptions of him as a teenager are about what you'd expect from someone who was troubled, with a predisposition to addiction, but who was also unbelievably wealthy, good-looking, charming, and talented. And the talent was definitely there. One thing everyone is agreed on is that from a very young age Gram Parsons took his music seriously and was determined to make a career as a musician. Keith Richards later said of him "Of the musicians I know personally (although Otis Redding, who I didn't know, fits this too), the two who had an attitude towards music that was the same as mine were Gram Parsons and John Lennon. And that was: whatever bag the business wants to put you in is immaterial; that's just a selling point, a tool that makes it easier. You're going to get chowed into this pocket or that pocket because it makes it easier for them to make charts up and figure out who's selling. But Gram and John were really pure musicians. All they liked was music, and then they got thrown into the game." That's not the impression many other people have of Parsons, who is almost uniformly described as an incessant self-promoter, and who from his teens onwards would regularly plant fake stories about himself in the local press, usually some variant of him having been signed to RCA records. Most people seem to think that image was more important to him than anything. In his teens, he started playing in a series of garage bands around Florida and Georgia, the two states in which he was brought up. One of his early bands was largely created by poaching the rhythm section who were then playing with Kent Lavoie, who later became famous as Lobo and had hits like "Me and You and a Dog Named Boo". Lavoie apparently held a grudge -- decades later he would still say that Parsons couldn't sing or play or write. Another musician on the scene with whom Parsons associated was Bobby Braddock, who would later go on to co-write songs like "D-I-V-O-R-C-E" for Tammy Wynette, and the song "He Stopped Loving Her Today", often considered the greatest country song ever written, for George Jones: [Excerpt: George Jones, "He Stopped Loving Her Today"] Jones would soon become one of Parsons' musical idols, but at this time he was still more interested in being Elvis or Little Richard. We're lucky enough to have a 1962 live recording of one of his garage bands, the Legends -- the band that featured the bass player and drummer he'd poached from Lobo. They made an appearance on a local TV show and a friend with a tape recorder recorded it off the TV and decades later posted it online. Of the four songs in that performance, two are R&B covers -- Little Richard's "Rip It Up" and Ray Charles' "What'd I Say?", and a third is the old Western Swing classic "Guitar Boogie Shuffle". But the interesting thing about the version of "Rip it Up" is that it's sung in an Everly Brothers style harmony, and the fourth song is a recording of the Everlys' "Let It Be Me". The Everlys were, of course, hugely influenced by the Louvin Brothers, who had so impressed young Gram six years earlier, and in this performance you can hear for the first time the hints of the style that Parsons would make his own a few years later: [Excerpt: Gram Parsons and the Legends, "Let it Be Me"] Incidentally, the other guitarist in the Legends, Jim Stafford, also went on to a successful musical career, having a top five hit in the seventies with "Spiders & Snakes": [Excerpt: Jim Stafford, "Spiders & Snakes"] Soon after that TV performance though, like many musicians of his generation, Parsons decided to give up on rock and roll, and instead to join a folk group. The group he joined, The Shilos, were a trio who were particularly influenced by the Journeymen, John Phillips' folk group before he formed the Mamas and the Papas, which we talked about in the episode on "San Francisco". At various times the group expanded with the addition of some female singers, trying to capture something of the sound of the New Chrisy Minstrels. In 1964, with the band members still in school, the Shilos decided to make a trip to Greenwich Village and see if they could make the big time as folk-music stars. They met up with John Phillips, and Parsons stayed with John and Michelle Phillips in their home in New York -- this was around the time the two of them were writing "California Dreamin'". Phillips got the Shilos an audition with Albert Grossman, who seemed eager to sign them until he realised they were still schoolchildren just on a break. The group were, though, impressive enough that he was interested, and we have some recordings of them from a year later which show that they were surprisingly good for a bunch of teenagers: [Excerpt: The Shilos, "The Bells of Rhymney"] Other than Phillips, the other major connection that Parsons made in New York was the folk singer Fred Neil, who we've talked about occasionally before. Neil was one of the great songwriters of the Greenwich Village scene, and many of his songs became successful for others -- his "Dolphins" was recorded by Tim Buckley, most famously his "Everybody's Talkin'" was a hit for Harry Nilsson, and he wrote "Another Side of This Life" which became something of a standard -- it was recorded by the Animals and the Lovin' Spoonful, and Jefferson Airplane, as well as recording the song, included it in their regular setlists, including at Monterey: [Excerpt: Jefferson Airplane, "The Other Side of This Life (live at Monterey)"] According to at least one biographer, though, Neil had another, more pernicious, influence on Parsons -- he may well have been the one who introduced Parsons to heroin, though several of Parsons' friends from the time said he wasn't yet using hard drugs. By spring 1965, Parsons was starting to rethink his commitment to folk music, particularly after "Mr. Tambourine Man" became a hit. He talked with the other members about their need to embrace the changes in music that Dylan and the Byrds were bringing about, but at the same time he was still interested enough in acoustic music that when he was given the job of arranging the music for his high school graduation, the group he booked were the Dillards. That graduation day was another day that would change Parsons' life -- as it was the day his mother died, of alcohol-induced liver failure. Parsons was meant to go on to Harvard, but first he went back to Greenwich Village for the summer, where he hung out with Fred Neil and Dave Van Ronk (and started using heroin regularly). He went to see the Beatles at Shea Stadium, and he was neighbours with Stephen Stills and Richie Furay -- the three of them talked about forming a band together before Stills moved West. And on a brief trip back home to Florida between Greenwich Village and Harvard, Parsons spoke with his old friend Jim Stafford, who made a suggestion to him -- instead of trying to do folk music, which was clearly falling out of fashion, why not try to do *country* music but with long hair like the Beatles? He could be a country Beatle. It would be an interesting gimmick. Parsons was only at Harvard for one semester before flunking out, but it was there that he was fully reintroduced to country music, and in particular to three artists who would influence him more than any others. He'd already been vaguely aware of Buck Owens, whose "Act Naturally" had recently been covered by the Beatles: [Excerpt: Buck Owens, "Act Naturally"] But it was at Harvard that he gained a deeper appreciation of Owens. Owens was the biggest star of what had become known as the Bakersfield Sound, a style of country music that emphasised a stripped-down electric band lineup with Telecaster guitars, a heavy drumbeat, and a clean sound. It came from the same honky-tonk and Western Swing roots as the rockabilly music that Parsons had grown up on, and it appealed to him instinctively. In particular, Parsons was fascinated by the fact that Owens' latest album had a cover version of a Drifters song on it -- and then he got even more interested when Ray Charles put out his third album of country songs and included a version of Owens' "Together Again": [Excerpt: Ray Charles, "Together Again"] This suggested to Parsons that country music and the R&B he'd been playing previously might not quite be so far apart as he'd thought. At Harvard, Parsons was also introduced to the work of another Bakersfield musician, who like Owens was produced by Ken Nelson, who also produced the Louvin Brothers' records, and who we heard about in previous episodes as he produced Gene Vincent and Wanda Jackson. Merle Haggard had only had one big hit at the time, "(My Friends Are Gonna Be) Strangers": [Excerpt: Merle Haggard, "(My Friends are Gonna Be) Strangers"] But he was about to start a huge run of country hits that would see every single he released for the next twelve years make the country top ten, most of them making number one. Haggard would be one of the biggest stars in country music, but he was also to be arguably the country musician with the biggest influence on rock music since Johnny Cash, and his songs would soon start to be covered by everyone from the Grateful Dead to the Everly Brothers to the Beach Boys. And the third artist that Parsons was introduced to was someone who, in most popular narratives of country music, is set up in opposition to Haggard and Owens, because they were representatives of the Bakersfield Sound while he was the epitome of the Nashville Sound to which the Bakersfield Sound is placed in opposition, George Jones. But of course anyone with ears will notice huge similarities in the vocal styles of Jones, Haggard, and Owens: [Excerpt: George Jones, "The Race is On"] Owens, Haggard, and Jones are all somewhat outside the scope of this series, but are seriously important musicians in country music. I would urge anyone who's interested in them to check out Tyler Mahan Coe's podcast Cocaine and Rhinestones, season one of which has episodes on Haggard and Owens, as well as on the Louvin Brothers who I also mentioned earlier, and season two of which is entirely devoted to Jones. When he dropped out of Harvard after one semester, Parsons was still mostly under the thrall of the Greenwich Village folkies -- there's a recording of him made over Christmas 1965 that includes his version of "Another Side of This Life": [Excerpt: Gram Parsons, "Another Side of This Life"] But he was encouraged to go further in the country direction by John Nuese (and I hope that's the correct pronunciation – I haven't been able to find any recordings mentioning his name), who had introduced him to this music and who also played guitar. Parsons, Neuse, bass player Ian Dunlop and drummer Mickey Gauvin formed a band that was originally called Gram Parsons and the Like. They soon changed their name though, inspired by an Our Gang short in which the gang became a band: [Excerpt: Our Gang, "Mike Fright"] Shortening the name slightly, they became the International Submarine Band. Parsons rented them a house in New York, and they got a contract with Goldstar Records, and released a couple of singles. The first of them, "The Russians are Coming, The Russians are Coming" was a cover of the theme to a comedy film that came out around that time, and is not especially interesting: [Excerpt: The International Submarine Band, "The Russians are Coming, The Russians are Coming"] The second single is more interesting. "Sum Up Broke" is a song by Parsons and Neuse, and shows a lot of influence from the Byrds: [Excerpt: The international Submarine Band, "Sum Up Broke"] While in New York with the International Submarine Band, Parsons made another friend in the music business. Barry Tashian was the lead singer of a band called the Remains, who had put out a couple of singles: [Excerpt: The Remains, "Why Do I Cry?"] The Remains are now best known for having been on the bill on the Beatles' last ever tour, including playing as support on their last ever show at Candlestick Park, but they split up before their first album came out. After spending most of 1966 in New York, Parsons decided that he needed to move the International Submarine Band out to LA. There were two reasons for this. The first was his friend Brandon DeWilde, an actor who had been a child star in the fifties -- it's him at the end of Shane -- who was thinking of pursuing a musical career. DeWilde was still making TV appearances, but he was also a singer -- John Nuese said that DeWilde sang harmony with Parsons better than anyone except Emmylou Harris -- and he had recorded some demos with the International Submarine Band backing him, like this version of Buck Owens' "Together Again": [Excerpt: Brandon DeWilde, "Together Again"] DeWilde had told Parsons he could get the group some work in films. DeWilde made good on that promise to an extent -- he got the group a cameo in The Trip, a film we've talked about in several other episodes, which was being directed by Roger Corman, the director who worked a lot with David Crosby's father, and was coming out from American International Pictures, the company that put out the beach party films -- but while the group were filmed performing one of their own songs, in the final film their music was overdubbed by the Electric Flag. The Trip starred Peter Fonda, another member of the circle of people around David Crosby, and another son of privilege, who at this point was better known for being Henry Fonda's son than for his own film appearances. Like DeWilde, Fonda wanted to become a pop star, and he had been impressed by Parsons, and asked if he could record Parsons' song "November Nights". Parsons agreed, and the result was released on Chisa Records, the label we talked about earlier that had put out promos of Gene Clark, in a performance produced by Hugh Masekela: [Excerpt: Peter Fonda, "November Nights"] The other reason the group moved West though was that Parsons had fallen in love with David Crosby's girlfriend, Nancy Ross, who soon became pregnant with his daughter -- much to Parsons' disappointment, she refused to have an abortion. Parsons bought the International Submarine Band a house in LA to rehearse in, and moved in separately with Nancy. The group started playing all the hottest clubs around LA, supporting bands like Love and the Peanut Butter Conspiracy, but they weren't sounding great, partly because Parsons was more interested in hanging round with celebrities than rehearsing -- the rest of the band had to work for a living, and so took their live performances more seriously than he did, while he was spending time catching up with his old folk friends like John Phillips and Fred Neil, as well as getting deeper into drugs and, like seemingly every musician in 1967, Scientology, though he only dabbled in the latter. The group were also, though, starting to split along musical lines. Dunlop and Gauvin wanted to play R&B and garage rock, while Parsons and Nuese wanted to play country music. And there was a third issue -- which record label should they go with? There were two labels interested in them, neither of them particularly appealing. The offer that Dunlop in particular wanted to go with was from, of all people, Jay Ward Records: [Excerpt: A Salute to Moosylvania] Jay Ward was the producer and writer of Rocky & Bullwinkle, Peabody & Sherman, Dudley Do-Right and other cartoons, and had set up a record company, which as far as I've been able to tell had only released one record, and that five years earlier (we just heard a snippet of it). But in the mid-sixties several cartoon companies were getting into the record business -- we'll hear more about that when we get to song 186 -- and Ward's company apparently wanted to sign the International Submarine Band, and were basically offering to throw money at them. Parsons, on the other hand, wanted to go with Lee Hazlewood International. This was a new label set up by someone we've only talked about in passing, but who was very influential on the LA music scene, Lee Hazlewood. Hazlewood had got his start producing country hits like Sanford Clark's "The Fool": [Excerpt: Sanford Clark, "The Fool"] He'd then moved on to collaborating with Lester Sill, producing a series of hits for Duane Eddy, whose unique guitar sound Hazlewood helped come up with: [Excerpt: Duane Eddy, "Rebel Rouser"] After splitting off from Sill, who had gone off to work with Phil Spector, who had been learning some production techniques from Hazlewood, Hazlewood had gone to work for Reprise records, where he had a career in a rather odd niche, producing hit records for the children of Rat Pack stars. He'd produced Dino, Desi, and Billy, who consisted of future Beach Boys sideman Billy Hinsche plus Desi Arnaz Jr and Dean Martin Jr: [Excerpt: Dino, Desi, and Billy, "I'm a Fool"] He'd also produced Dean Martin's daughter Deana: [Excerpt: Deana Martin, "Baby I See You"] and rather more successfully he'd written and produced a series of hits for Nancy Sinatra, starting with "These Boots are Made for Walkin'": [Excerpt: Nancy Sinatra, "These Boots are Made for Walkin'"] Hazlewood had also moved into singing himself. He'd released a few tracks on his own, but his career as a performer hadn't really kicked into gear until he'd started writing duets for Nancy Sinatra. She apparently fell in love with his demos and insisted on having him sing them with her in the studio, and so the two made a series of collaborations like the magnificently bizarre "Some Velvet Morning": [Excerpt: Lee Hazlewood and Nancy Sinatra, "Some Velvet Morning"] Hazlewood is now considered something of a cult artist, thanks largely to a string of magnificent orchestral country-pop solo albums he recorded, but at this point he was one of the hottest people in the music industry. He wasn't offering to produce the International Submarine Band himself -- that was going to be his partner, Suzi Jane Hokom -- but Parsons thought it was better to sign for less money to a label that was run by someone with a decade-long string of massive hit records than for more money to a label that had put out one record about a cartoon moose. So the group split up. Dunlop and Gauvin went off to form another band, with Barry Tashian -- and legend has it that one of the first times Gram Parsons visited the Byrds in the studio, he mentioned the name of that band, The Flying Burrito Brothers, and that was the inspiration for the Byrds titling their album The Notorious Byrd Brothers. Parsons and Nuese, on the other hand, formed a new lineup of The International Submarine Band, with bass player Chris Ethridge, drummer John Corneal, who Parsons had first played with in The Legends, and guitarist Bob Buchanan, a former member of the New Christy Minstrels who Parsons had been performing with as a duo after they'd met through Fred Neil. The International Submarine Band recorded an album, Safe At Home, which is now often called the first country-rock album -- though as we've said so often, there's no first anything. That album was a mixture of cover versions of songs by people like Johnny Cash and Merle Haggard: [Excerpt: The International Submarine Band, "I Must Be Somebody Else You've Known"] And Parsons originals, like "Do You Know How It Feels To Be Lonesome?", which he cowrote with Barry Goldberg of the Electric Flag: [Excerpt: The International Submarine Band, "Do You Know How It Feels To Be Lonesome?"] But the recording didn't go smoothly. In particular, Corneal realised he'd been hoodwinked. Parsons had told him, when persuading him to move West, that he'd be able to sing on the record and that some of his songs would be used. But while the record was credited to The International Submarine Band, everyone involved agrees that it was actually a Gram Parsons solo album by any other name -- he was in charge, he wouldn't let other members' songs on the record, and he didn't let Corneal sing as he'd promised. And then, before the album could be released, he was off. The Byrds wanted a jazz keyboard player, and Parsons could fake being one long enough to get the gig. The Byrds had got rid of one rich kid with a giant ego who wanted to take control of everything and thought his undeniable talent excused his attempts at dominating the group, and replaced him with another one -- who also happened to be signed to another record label. We'll see how well that worked out for them in two weeks' time.
Launched in June 1977 Rip It Up, was a free monthly music magazine, distributed through record shops nationwide. Now 13 years more years of Rip It Up, from 1986 to 1998, are able to be read online. Chris Bourke speaks to Jesse.
Great news for fans of music journalism 13 years' worth of editions of Rip It Up - spanning 1986 to 1998 - are now available to read in full, thanks to a project from AudioCulture and Papers Past. Murray Cammick is one of the creators of the magazine, and was editor for much of this period - He joins Nights to reminisce about the history of the publication.
In this episode, Milo and Kev are joined by Andy Milligan. Andy is a writer and actor, who is a decent musician as well. He shares some of his experiences with the Seeking Happiness Podcast. Find Andy at: Web: www.seekinghappiness.blog Instagram: @andymilligan77 Follow Milo and Kev on Instagram at: Milo Denison: @milodenison Kev Bamboo: @bmboo_creatives --- Support this podcast: https://podcasters.spotify.com/pod/show/unemployed-actor/support
Journalist Walter Marsh talks about his new book "Young Rupert: The Making of the Murdoch Empire." Walter and show host Gene Tunny discuss Rupert Murdoch's early years in Adelaide, South Australia and how they shaped his later career. From challenging established systems to becoming a globally influential media mogul, Murdoch's career has been highly controversial. Please get in touch with any questions, comments and suggestions by emailing us at contact@economicsexplored.com or sending a voice message via https://www.speakpipe.com/economicsexplored. About this episode's guest: Walter MarshWalter Marsh is a journalist based in Tarntanya/Adelaide with a background in history and culture. A former editor and staff writer at The Adelaide Review and Rip It Up, his writing has appeared in The Guardian, The Monthly, The Saturday Paper, and InDaily.What's covered in EP210Rupert Murdoch's career and the making of the Murdoch empire. (0:00)Rupert Murdoch's life and career. (3:09)The origins of Rupert Murdoch's media empire in Adelaide. (8:16)Newspaper circulation wars in Adelaide. (14:01)The business strategies of a successful entrepreneur. (20:28)A controversial murder case and its aftermath in Australia. (23:35)A historical libel trial involving Rupert Murdoch and his newspaper. (28:09)Media, power, and ethics in the Rupert Murdoch era. (33:20)Rupert Murdoch's legacy. (38:15)Links relevant to the conversationYou can purchase Young Rupert via Amazon:https://www.amazon.com.au/Young-Rupert-making-Murdoch-empire/dp/1761380044Author's website:https://waltermarsh.com.au/
After 12 long days, Shanghai is finally over, and it was won by Hubert Hurkacz over Andrey Rublev in the final. Catherine, David and Matt chat about both players and get stuck into all the other major talking points from the week, including Grigor Dimitrov's victory over Carlos Alcaraz. On the women's side, there's chat about a special victory for Jessica Pegula in Seoul, a thrilling final in Hong Kong which was won by Leylah Fernandez, and Zheng Qinwen's impressive run of form continuing in Zhengzhou, where she won the title and then did some karaoke. Elsewhere, there's news of the cancellation of the ATP event in Tel Aviv, the decision to keep Cincinnati in Cincinnati, a potential Holger Rune-Boris Becker partnership, and an update from Rafael Nadal about his fitness. BJK CUP FINALS: Some of the world's best tennis players will meet in Seville at the Billie Jean King Cup by Gainbridge Finals from 7-12 November. Tickets for the showpiece finale of the women's World Cup of Tennis are on sale now – book your place in the stands today! https://www.billiejeankingcup.com/en/finals/ticketsSEE US LIVE IN SHREWSBURY!Join us for The Tennis Podcast Live on Wednesday 18th October, at the WTA100 tournament in Shrewsbury, England. Tickets include food, you can watch the tennis, and then see us afterwards. A discount code is available for friends who want tickets. Email us at friends@tennispodcast.netVISIT THE AUSTRALIAN OPEN IN STYLE: The Tennis Podcast during the US Open was brought to you in association with AO Travel, who can take care of your flights, premium accommodation, tournament tickets and behind-the-scenes experiences. They can now offer access to the all-new AO Travel Lounge, which overlooks Rod Laver Arena and Grand Slam Oval and is exclusively available for AO Travel Guests. Check out what AO Travel has to offer.If you're a Friend of The Tennis Podcast, we can provide you with a $500AUD discount code, so just write to us at friends@tennispodcast.net to receive it. OUR LINKS:Become a Friend of the Tennis Podcast to help us to produce the show year-round, and receive exclusive access to bonus podcasts throughout 2023, including Tennis Re-Lived, listener questions pods, and Grand Slam review shows.Sign up to receive our Newsletter (daily at Slams and weekly the rest of the year, featuring Matt's Stat, mascot photos, predictions, and more)Follow us on TwitterFollow us on Instagram (@thetennispodcast)Subscribe to our YouTube channel.Check out our Shop Hosted on Acast. See acast.com/privacy for more information.
Join Chris on Triple M's latest gig review as we revisit Jet's monumental gig at Enmore Theatre. Celebrating the 20th anniversary of their platinum-selling debut album "Get Born", Jet rocked the Enmore Theatre with both new renditions and beloved classics. Relive the fervor and passion of tracks like "Are You Gonna Be My Girl", "Look What You've Done", and "Cold Hard Bitch", all while enjoying candid moments from the concert, including an unexpected crowd sing-along to DJ Otzi's “Hey Baby”. If you've ever found yourself reminiscing about the golden era of Aussie rock, this episode is a must-listen. Plus, hear our take on why Jet's timeless sound, influenced by legends and yet uniquely theirs, keeps their fanbase ever-growing.See omnystudio.com/listener for privacy information.
Freddie, Nyah and Bridie interview Walter Marsh, former student journalist and current author of Young Rupert: The Making of the Murdoch Empire, about the Murdoch media empire, Succession (the show and the concept) and media monopolies. Walter Marsh is a journalist based in Tarntanya / Adelaide with a background in history and culture. A former editor and staff writer at The Adelaide Review and Rip It Up, his writing has appeared in The Guardian, The Monthly, The Saturday Paper, and InDaily. Drawing on unpublished archival material and new reportage, Young Rupert pieces together a paper trail of succession, sedition, and power — and a fascinating time capsule of Australian media on the cusp of an extraordinary ascension. See omnystudio.com/listener for privacy information.
The team interviews Walter Marsh, former student radio participant and, more importantly, author of the freshly released book Young Rupert, about the Murdoch media empire. They discuss media monopolies and Succession as well. Then, they chat about the rise of the kazoo in Australian politics and segue seamlessly to a conversation about the Indigenous Voice to Parliament referendum. Walter Marsh is a journalist based in Tarntanya / Adelaide with a background in history and culture. A former editor and staff writer at The Adelaide Review and Rip It Up, his writing has appeared in The Guardian, The Monthly, The Saturday Paper, and InDaily. Drawing on unpublished archival material and new reportage, Young Rupert pieces together a paper trail of succession, sedition, and power — and a fascinating time capsule of Australian media on the cusp of an extraordinary ascension. Please let us know what you thought of the show on our socials, @synrepresent on Threads, Twitter/X and Instagram.See omnystudio.com/listener for privacy information.
Welcome along to Ep. 28 of Season 3 of The Football Pod - James O'Donoghue and Paddy Andrews talk Gaelic Football with Tommy Rooney every Monday. 00:00 - Paddy's West Clare Pub Crawl 05:00 - How Dublin and Kerry made their mark. 30:00 - Armagh blew it, as McManus and McCarthy star. 48:00 - Roadshow announcement - in Croke Park! 57:00 - Clifford magic, Cork fall short, Mayo's sorry end. Make sure you're subscribed to 'The Football Pod' podcast feed to get new episodes every Monday night, if you're an 'OTB GAA' subscriber you'll also catch us there. Tuesday night from 10pm, you can watch the pod on YouTube. You can follow us and contact the pod on Twitter/Instagram: @footballpod_gaa The Football Pod is brought to you in partnership with AIB - Proud sponsors of the GAA Senior Football Championship. Check out #TheToughest for more.
Welcome along to Ep. 28 of Season 3 of The Football Pod - James O'Donoghue and Paddy Andrews talk Gaelic Football with Tommy Rooney every Monday. 00:00 - Paddy's West Clare Pub Crawl 05:00 - How Dublin and Kerry made their mark. 30:00 - Armagh blew it, as McManus and McCarthy star. 48:00 - Roadshow announcement - in Croke Park! 57:00 - Clifford magic, Cork fall short, Mayo's sorry end. Make sure you're subscribed to 'The Football Pod' podcast feed to get new episodes every Monday night, if you're an 'OTB GAA' subscriber you'll also catch us there. Tuesday night from 10pm, you can watch the pod on YouTube. You can follow us and contact the pod on Twitter/Instagram: @footballpod_gaa The Football Pod is brought to you in partnership with AIB - Proud sponsors of the GAA Senior Football Championship. Check out #TheToughest for more.
Hosts Jim DeRogatis and Greg Kot talk with director Lisa Cortés about her documentary, "Little Richard: I Am Everything." The film is full of electrifying live footage of the rock and roll architect throughout his career. They also talk with Professor Timothy McKenry about his research into why people listen to less new music as they age. Join our Facebook Group: https://bit.ly/3sivr9T Become a member on Patreon: https://bit.ly/3slWZvc Sign up for our newsletter: https://bit.ly/3eEvRnG Make a donation via PayPal: https://bit.ly/3dmt9lU Send us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs: Little Richard, "A Whole Lotta Shakin' Goin' On," Little Richard Is Back (And There's a Whole Lotta Shakin' Goin' On!), Vee-Jay, 1964The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Capitol, 1967Little Richard, "Tutti Frutti," Here's Little Richard, Specialty, 1957Little Richard, "Keep a Knockin'," Little Richard, Specialty, 1958Led Zeppelin, "Rock and Roll," Led Zeppelin IV, Atlantic, 1971Little Richard, "It's Real," The King of Gospel Singers, Mercury, 1961Little Richard, "Rip It Up," Here's Little Richard, Specialty, 1957War, "The World Is a Ghetto," The World Is a Ghetto, United Artists, 1972Support The Show: https://www.patreon.com/soundopinionsSee omnystudio.com/listener for privacy information.
Az (@fplblackbox_az) and Mark (@ffscout_mark) are back to do a full season review and look ahead to GW 1... eeek. One manager will be happy after beating his big rival by 1 point, tune in to find out who is wearing the BlackBox crown! Learn more about your ad choices. Visit megaphone.fm/adchoices
Collette Guitart / @colletteguitart is a British Actor, Singer, and Dancer. She previously played Eleanor and understudied Anne Hathaway in the west end production of & Juliet. Her final performance was on the 25th March 2023. Theatre credits include: Dance captain/Understudy in Six (Arts, Lyric, and Vaudeville theatre) Swing in Bat Out of Hell (Dominion Theatre) Swing in Rip It Up 60s (Garrick Theatre) Dancer in Royal Variety Performance (London Palladium) Swing in Wonderland (UK Tour) Ensemble/cover Fate in 27 (Cockpit Theatre) https://builtforthestage.com/ - fill out the form and ask about our next fitness challenge! www.broadwaypodcastnetwork.com Learn more about your ad choices. Visit megaphone.fm/adchoices
Sensuality and lingerie have always gone hand in hand. But who is sexy underwear for? This week, fashion journalists Kate Finnigan (FT, British Vogue, The Gentlewoman) and Emily Cronin (Elle, Telegraph, Grazia) take a look at the fe/male gaze to ask how sexiness has changed and if underwear is ‘empowering' or something much more profound. Who are the next generation of underwear makers and wearers? And how does body positivity shake up the rule book? “We are essentially saying, screw the male gaze!” – Chelsea Mtada, founder of Nightstand Service “It used to be that when it came to lingerie, there was only one question that mattered; what does he think?” – Kate Finnigan “It's what we were born with, the best we can be is ourselves. That to me is sexy.” – Serena Rees, founder of Agent Provocateur and of Les Girls Les Boys Follow us on Instagram: https://www.instagram.com/hellogirls_pod/ Written and presented by Emily Cronin and Kate Finnigan. Produced by Kasia Tomasiewicz. Audio production and music composed by Jade Bailey. Music mix and production by GXL Music. Art direction by James Perrett. Image courtesy of Savage X Fenty. Lead Producer: Anne-Marie Luff. Group Editor: Andrew Harrison. Hello Girls is a Podmasters Production. Learn more about your ad choices. Visit podcastchoices.com/adchoices
David welcomes Andy McGowan and Ross Hutton to look back over the Scottish Cup Semi-Final. End of the road for the squad What Beale's future needs to look like B Team possibilities till season end Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode we welcome author and Guardian journalist Andy Beckett to RBP's Hammersmith HQ and ask him to discuss politics and pop from the late '70s to the present day. Andy talks about his first musical passions as a teenager in the early '80s, as well as about Rock Against Racism, Red Wedge and the politicised postpunk era in general. He recalls his first pieces for The Independent in the early '90s and explains how his broader interest in popular culture informs his perspective as an op-ed columnist and the author of When the Lights Went Out and Promised You a Miracle. In a week that saw Finland joining NATO and the indictment of Donald Trump, we ask what musicians can and can't do to change the world. The imminent new album from proto-Woke duo Everything But The Girl gives us an opportunity to address the enduring political ideals of Ben Watt and Tracey Thorn, plus we travel back to 1981 via clips from an audio interview with The Beat's David Steele and Ranking Roger, who talk to John Tobler about youth unemployment and the menace of nuclear weapons. After we've paid our respects to departed legends Seymour Stein and Ryuichi Sakamoto, Mark talks us through his new additions to the RBP library, including pieces about the Beatles' Sgt. Pepper, Joan Armatrading, Talking Heads and Sun Ra. Jasper then wraps up the episode with his thoughts on a 2002 live review of Queens of the Stone Age and a 2015 piece exploring the influence of Spaghetti Westerns on reggae. Many thanks to special guest Andy Beckett. Pieces discussed: Andy Beckett on Dylan, on Simon Reynolds' Rip It Up, on The Face, Everything But The Girl, Peter Paul and Mary, War Between the Generations, Enoch Clapton, Red Wedge, Where are the political pop stars?, The Beat audio, Ryuichi Sakamoto, Seymour Stein, Sgt. Pepper, Joan Armatrading, Talking Heads, Sun Ra, Queens of the Stone Age and dub spaghetti. Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode we welcome author and Guardian journalist Andy Beckett to RBP's Hammersmith HQ and ask him to discuss politics and pop from the late '70s to the present day. Andy talks about his first musical passions as a teenager in the early '80s, as well as about Rock Against Racism, Red Wedge and the politicised postpunk era in general. He recalls his first pieces for The Independent in the early '90s and explains how his broader interest in popular culture informs his perspective as an op-ed columnist and the author of When the Lights Went Out and Promised You a Miracle. In a week that saw Finland joining NATO and the indictment of Donald Trump, we ask what musicians can and can't do to change the world. The imminent new album from proto-Woke duo Everything But The Girl gives us an opportunity to address the enduring political ideals of Ben Watt and Tracey Thorn, plus we travel back to 1981 via clips from an audio interview with The Beat's David Steele and Ranking Roger, who talk to John Tobler about youth unemployment and the menace of nuclear weapons. After we've paid our respects to departed legends Seymour Stein and Ryuichi Sakamoto, Mark talks us through his new additions to the RBP library, including pieces about the Beatles' Sgt. Pepper, Joan Armatrading, Talking Heads and Sun Ra. Jasper then wraps up the episode with his thoughts on a 2002 live review of Queens of the Stone Age and a 2015 piece exploring the influence of Spaghetti Westerns on reggae. Many thanks to special guest Andy Beckett. Pieces discussed: Andy Beckett on Dylan, on Simon Reynolds' Rip It Up, on The Face, Everything But The Girl, Peter Paul and Mary, War Between the Generations, Enoch Clapton, Red Wedge, Where are the political pop stars?, The Beat audio, Ryuichi Sakamoto, Seymour Stein, Sgt. Pepper, Joan Armatrading, Talking Heads, Sun Ra, Queens of the Stone Age and dub spaghetti.
In November of 1982 Orange Juice released their sophomore outing. Lets talk Orange Juice, Rip It Up!
Teaching, Silly Verse & Becoming A PoetIn this episode of Rip it Up, Milo and Kev are joined by poet and teacher Ray Douglas. Ray tells us how he got into poetry and recites a few for us. He brings a fun new take on the game, "Ask An American." Follow Ray Instagram: @MrRayDouglas Follow Milo and Kev on Instagram at Milo Denison: @milodenison Kev Bamboo: @bmboo_creatives --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/unemployed-actor/support
In this episode of Rip it Up, Milo and Kev are joined by the amazing special effects makeup artist Rob Burman. Rob has worked on films such as The Thing, The Fly, Tremors and more. He is here to tell the story about how he got into FX work and what he is working on now. Follow Rob Instagram: @rob_burmans_lab Web: www.robburmanslaboratory.com Follow Milo and Kev on Instagram at Milo Denison: @milodenison Kev Bamboo: @bmboo_creatives --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/unemployed-actor/support
This week on Transmissions, a post-punk roundtable with Mark Stewart of The Pop Group, Stephen Mallinder of Cabaret Voltaire, Eric Random (The Buzzcocks, Nico). On Mark's latest album, VS, they team up for “Cast No Shadow,” which was made in response to the Simon Reynolds book Rip It Up and Start Again: Postpunk 1978–1984, and Nikolaos Katranis, Russell Craig Richardson, and Academy-award winner Leon Gast's forthcoming documentary of the same name. How did post-punk hit their respective places? What role did regionalism play in the music's development? These three join us for a freewheeling hour of discussion and deconstruction—talking about the VU, German cosmic music, black magic, and more. If you want to support Transmissions, check out Aquarium Drunkard's Patreon page. We're a part of the Talkhouse Podcast Network. Next week on the show, Craig Finn of the Hold Steady joins us to discuss his new record, A Legacy of Rentals, and his new podcast, That's How I Remember It. This Transmission is concluded.
In this episode of Rip it Up, The Helicopter Zombie from Dawn of the Dead, Jim Krut joins Milo and Kev. We discuss that film and his life as an actor. Jim also has family in the Ukraine, so we get serious for a bit, to discuss the impact the war is having on his family. Follow Jim at Facebook: @jim.krut Web: www.helizombie.com Follow Milo and Kev on Instagram at Milo Denison: @milodenison Kev Bamboo: @bmboo_creatives --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/unemployed-actor/support
Pat welcomes Thunder guitarist and songwriter Luke Morley to the Zoom Room to discuss the band's brand new album "Dopamine."See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
This week's episode is the final installment of a three-part series that celebrates the 70th anniversary of Resources for the Future (RFF). In this episode, host Daniel Raimi looks toward the future of RFF, as seen through the eyes of the organization's talented and dedicated research analysts and associates. RFF's research analysts gather and analyze data, review published studies, help write papers and reports, and do it all with dedication and enthusiasm. They're an essential part of the organization's research. In this episode, Raimi talks with RFF Research Analysts Emily Joiner, Sophie Pesek, Nicholas Roy, and Steven Witkin, along with Senior Research Associate and Geographic Information Systems Coordinator Alexandra Thompson. While these young scholars share how they first got interested in environmental economics, they mostly focus on the future by lending insights about the topics they think RFF scholars will be working on in 20 or 30 years—and what role they see for themselves in that future. References and recommendations: “Chesapeake” by James A. Michener; https://www.penguinrandomhouse.com/books/114052/chesapeake-by-james-a-michener/ “Alaska” by James A. Michener; https://www.penguinrandomhouse.com/books/114041/alaska-by-james-a-michener/ “Hawaii” by James A. Michener; https://www.penguinrandomhouse.com/books/114063/hawaii-by-james-a-michener/ “Caribbean” by James A. Michener; https://www.penguinrandomhouse.com/books/114048/caribbean-by-james-a-michener/ “Under a White Sky: The Nature of the Future” by Elizabeth Kolbert; https://www.penguinrandomhouse.com/books/617060/under-a-white-sky-by-elizabeth-kolbert/ “The Age of Revolution: 1789–1848” by Eric Hobsbawm; https://www.penguinrandomhouse.com/books/80964/the-age-of-revolution-1749-1848-by-eric-hobsbawm/ “Rip It Up and Start Again” by Simon Reynolds; https://www.penguinrandomhouse.com/books/291130/rip-it-up-and-start-again-by-simon-reynolds/ “A Sand County Almanac” by Aldo Leopold; https://www.aldoleopold.org/store/a-sand-county-almanac/ “Severance” television series; https://www.imdb.com/title/tt11280740/
We asked Adam Steiner, author of Into The Never: Nine Inch Nails And The Creation Of The Downward Spiral what his favorite music books might be. There's “a slightly weird one" Steiner describes as "dense and challenging” (Triptych: Three Studies of Manic Street Preachers' The Holy Bible): and an "easy” one (Rip It Up and Start Again) As for music documentaries, Joy Division and David Bowie, are highlighted. And his three favorite albums? Well…you might be surprised; Adam is a great interview. Tune in!
We asked Adam Steiner, author of Into The Never: Nine Inch Nails And The Creation Of The Downward Spiral what his favorite music books might be. There's “a slightly weird one" Steiner describes as "dense and challenging” (Triptych: Three Studies of Manic Street Preachers' The Holy Bible): and an "easy” one (Rip It Up and Start Again) As for music documentaries, Joy Division and David Bowie, are highlighted. And his three favorite albums? Well…you might be surprised; Adam is a great interview. Tune in! Learn more about your ad choices. Visit megaphone.fm/adchoices
We asked Adam Steiner, author of Into The Never: Nine Inch Nails And The Creation Of The Downward Spiral what his favorite music books might be. There's “a slightly weird one" Steiner describes as "dense and challenging” (Triptych: Three Studies of Manic Street Preachers' The Holy Bible): and an "easy” one (Rip It Up and Start Again) As for music documentaries, Joy Division and David Bowie, are highlighted. And his three favorite albums? Well…you might be surprised; Adam is a great interview. Tune in! Learn more about your ad choices. Visit megaphone.fm/adchoices
We asked Adam Steiner, author of Into The Never: Nine Inch Nails And The Creation Of The Downward Spiral what his favorite music books might be. There's “a slightly weird one" Steiner describes as "dense and challenging” (Triptych: Three Studies of Manic Street Preachers' The Holy Bible): and an "easy” one (Rip It Up and Start Again) As for music documentaries, Joy Division and David Bowie, are highlighted. And his three favorite albums? Well…you might be surprised; Adam is a great interview. Tune in!
The pandemic has changed the way we work and shop meaning a growing number of offices and retail outlets are empty. So, what do we do with them? Knock them down and start again or find a sustainable way to reuse them? The buzz word is ‘retrofit': redesigning and refurbishing an existing building. Elsie Owusu is an architect and, in this episode of Costing the Earth, she explores this current and contentious issue. It's usually cheaper to build new, so what can be done to encourage developers and architects to change their plans. She visits Selkirk House on Museum Street in London. Developers want to demolish this 1960s concrete tower-block and build something bigger in its place. Campaigners say that a vast amount of CO2 emissions would be saved it the building is retrofitted. Architect, Peter Fisher, takes Elsie to a 1950s, concrete, former print-works which is being refurbished. Just five years ago Peter says the decision would have been made to demolish but, times are changing, and by choosing retrofit CO2 emissions will be reduced by 50%. Smith Mordak takes a wider view of the debate, arguing that a cultural shift is needed across architecture and the associated disciplines. The automatic response to a design challenge of building new, or even building at all, should be rejected; there are more creative and greener ways of thinking to explore first. Contributors: Simon Alford of the Royal Institute of British Architects; Howard Crawshaw of the Knight Property Group; Jim Monahan of Save Museum Street; Simon Sturgis of Targeting Zero; Peter Fisher of Bennetts Associates; Smith Mordak of Buro Happold. Producer: Karen Gregor
The Lord gave me a vision of a map, and plan that had been written and drawn up, and then it began to be ripped to shreds! Let's rip up the plans of the enemy for 2022!
This is a bonus episode, part of Pledge Week 2021. Patreon backers get one of these with every episode of the main podcast. If you want to get those, and to support the podcast, please visit patreon.com/andrewhickey to sign up for a dollar a month or more. Click below for the transcript. This week's Patreon bonus episode is one that, for the longest time, I actually had scheduled as an episode of the main podcast, because the story of Jackie Shane is a fascinating one, and she was a major talent. Sadly, though, I just couldn't find a way to tie her in to the main narrative enough to justify her inclusion in the main podcast. But had I been able to, this would have been a much longer episode. So today, we're going to look at “Any Other Way” by Jackie Shane. [Excerpt: Jackie Shane, "Any Other Way"] Jackie Shane, who died last year, was never someone who had a huge amount of success, although she made a few TV appearances in the sixties. She didn't have the kind of connections to other performers that allow her to be fitted into the narrative, and that is in large part because she was the earliest prominent trans performer -- who came out as trans -- that I have been able to discover. This is not to say that she was the first trans performer -- I've talked in the main podcast about how Little Richard was almost certainly a closeted trans woman, and there was a whole history of drag in Black variety shows, especially, that often involved performers who we would now consider trans. Up until relatively recently, there was much less distinction between the identities that we now separate under the LGBT umbrella, and many trans women at the time would still think of themselves, or be thought of by others, as being gay men. But this isn't a podcast about identities, and they're also not something that I'm particularly expert in, being as I am a cis het white man. I merely mention this to explain why Shane was for a long time regarded publicly as a gay man, or a female impersonator, and it was only shortly before she died that she confirmed her gender publicly. That's not to say that she was ever closeted -- far from it -- but she was out of the spotlight for many decades, and those were the decades in which the labels we use for different LGBT+ identities changed. From a very early age, Jackie Shane did things her way, rather than the way the adults around her wanted. She was asked to join the choir at her church when she was eight, and agreed, but on condition that she didn't have to listen to anything the minister said, and that she wouldn't give any money to the collection. She also refused to join her school's track team, even though she was the best runner in the school, because she wasn't going to do anything just because of school spirit -- she wanted paying. She started out singing gospel music, and was particularly impressed by the phrasing and delivery of Ruth Davis, of the gospel group The Davis Sisters: [Excerpt: The Davis Sisters, "Twelve Gates to the City"] Her first musical performances were with a travelling preacher and con artist, who sang gospel songs -- she would hit metal chairs while he sang, adding percussion. She soon moved on to the drums, playing with an R&B trio who got their own local radio show, on which she would play drums standing up, while also singing. She also became friendly with Little Richard's band, the Upsetters, and later claimed to have shown Chuck Connors the drum pattern that was used for Richard's records "Rip It Up" and "Slippin' and Slidin'". That trio never made records on their own, but they would often back up other acts, like Lillian Offitt, who had a top ten R&B hit in 1957 with "I Miss You So", on which Shane played drums: [Excerpt: Lillian Offitt, "I Miss You So"] She became part of the house band for Excello Records, as well as performing regularly on the chitlin' circuit, but eventually she got tired of the bigotry in the Deep South and moved up to Canada, where they didn't have a context for her at all -- there were relatively few Black people at the time in Montreal, where she was based at first, or in Toronto where she later settled, and with no other context for a gospel-voiced Black trans woman a rumour went around that she was related to Little Richard. She started singing with a band led by a trumpeter called Frank Motley, who had played with Dizzy Gillespie, and whose big gimmick was playing two trumpets on stage at the same time, and she cut a few singles. Her first, a version of "Money", didn't do much at all: [Excerpt: Jackie Shane, "Money"] But her second was more interesting. The original version of "Any Other Way" was by William Bell, on Stax records: [Excerpt: William Bell, "Any Other Way"] Shane took the song and gave it a very different reading, especially on the line "Tell her that I'm happy, tell her that I'm gay": [Excerpt: Jackie Shane, "Any Other Way"] That became a local hit, and it later made the lower reaches of the Canadian national charts when it was reissued in the mid-sixties. Around this time, Shane also recorded a live album, which was released several years later, and which shows the power of her soul vocals: [Excerpt:Jackie Shane, "Barefootin' (Live)"] But while "Any Other Way" was a success, the follow-up "In My Tenement" wasn't, and Jackie was unhappy that she didn't get to pick her own material. She also missed out on other opportunities -- for example there was a possibility of a booking on the Ed Sullivan Show, which she missed out on because she refused to present as male for the performance. Eventually, she gave up on performing altogether, and moved back to Tennessee to look after her sick mother in the early seventies. She spent much of the next few decades trying to put her performing career behind her, refusing to talk to anyone about it until the middle of the last decade, when she started to be rediscovered by a new, larger, audience. A two-CD set of all her recordings came out in 2017, and there was talk of her making a return to the stage, but sadly she died last year, aged 78, before that became possible.
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