Podcast appearances and mentions of Robert Christgau

Len and Beave scratch their heads at Robert Christgau's A+ grade for the 1976 album "Have Moicy". But he is the Dean of American music critics, so he just knows more, right? Plus "I Recommend", Len reads the New Yorker and provides his insights, Beave reviews the new Beach Bunny LP, undiscovered Top 40 hits (it's a bit of a desert right now), and all the Chicago/Cleveland/Knicks mockery sports talk you can handle! Tune in now.

Robert Thomas Christgau (/ˈkrɪstɡaʊ/ KRIST-gow; born April 18, 1942) is an American music journalist and essayist. Among the most influential music critics,[1][2] he began his career in the late 1960s as one of the earliest professional rock critics and later became an early proponent of musical movements such as hip hop, riot grrrl, and the import of African popular music in the West.[2] He was the chief music critic and senior editor for The Village Voice for 37 years, during which time he created and oversaw the annual Pazz & Jop critics poll. He has also covered popular music for Esquire, Creem, Newsday, Playboy, Rolling Stone, Billboard, NPR, Blender, and MSN Music; he was a visiting arts teacher at New York University.[3] CNN senior writer Jamie Allen has called Christgau "the E. F. Hutton of the music world—when he talks, people listen."[4]Christgau is best known for his terse, letter-graded capsule album reviews, composed in a concentrated, fragmented prose style featuring layered clauses, caustic wit, one-liner jokes, political digressions, and allusions ranging from common knowledge to the esoteric.[5] His writing is often informed by leftist politics (particularly feminism[6] and secular humanism). He has generally favored song-oriented musical forms and qualities of wit and formal rigor, as well as musicianship from uncommon sources.[7]Originally published in his "Consumer Guide" columns during his tenure at The Village Voice from 1969 to 2006, the reviews were collected in book form across three decade-ending volumes–Christgau's Record Guide: Rock Albums of the Seventies (1981), Christgau's Record Guide: The '80s (1990), and Christgau's Consumer Guide: Albums of the '90s (2000).[3] Multiple collections of his essays have been published in book form,[3] and a website published in his name since 2001 has freely hosted most of his work.In 2006, the Voice dismissed Christgau after the paper's acquisition by New Times Media. He continued to write reviews in the "Consumer Guide" format for MSN Music, Cuepoint, and Noisey (Vice's music section) where they were published in his "Expert Witness" column[8] until July 2019.[9] In September of the same year, he launched a paid-subscription newsletter called And It Don't Stop, published on the email-newsletter platform Substack and featuring a monthly "Consumer Guide" column, among other writings.[10]PICTURE: By Joe Mabel - This image has been extracted from another file, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=79881980

Beave forgets to listen to all of Ashanti's top 40 hits as part of his assigned podcast duties, drawing her ire and scorn. We also go through the NBA playoffs and the start of the MLB season. Len contracts a mild but growing case of Cubs Fever("I'm ordering my World Series tickets"), while calling for Billy Donovan's dismissal. Beave tries not to fret about the #1 seeded Cleveland Cavaliers. Plus Len and Beave predict the first round of the NBA playoffs and who they think will advance. Plus "I Recommend", Robert Christgau's A+ albums (Live/Dead is the album this week), and Len goes through highlights of the most recent New Yorker issue he has read. Tune in!

We talk the NCAA national championship games for men's and women's basketball on the latest Jagbags. Plus we talk the start of the MLB season, NBA playoff preview, Robert Christgau's review of Gogol Bordello's album Super Taranta, and Greil Marcus' latest book on Bob Dylan. Plus Len tears up the dance clubs of Chicagoland with "Mr. Washing Machine", talks a little Rosanne Cash, and Nile Rodgers' latest interview in Spin Magazine. It's a true grab bag of a recap episode -- tune in!

We talk March Madness and go through our thoughts on who will win this year's tournament. "THE STORIES ARE HERE ALREADY!!" Len cries with glee. In particular, we focus on Illinois (and its new lease on life coach Brad Underwood), who has a chance to advance to at least the Sweet Sixteen. Plus NBA, "I Recommend", Robert Christgau's A+ Albums, Beave's 2025 Album Review, Len's progress on reading the New Yorker, and Recently Discovered Top 40 Hits, where we talk a little April Wine. Tune in!

Send us a message, so we know what you're thinking!In case you hadn't noticed, we love a good cover version! This episode, we're looking at covers - staples, covers from strange sources, and some songs that have had a LOT of covers, including a bunch of covers of Bowie's “Heroes”. Our Album You Must Hear before You Die is “Is This It?” by The Strokes. This punk/Britpop-influenced album got rave reviews on release in 2001 from Rolling Stone, The Village Voice, and New Musical Express.  We're not convinced.  In Knockin' on Heaven's Door, we mourn the loss of Wayne Osmond (of the Osmond Brothers), Chad Morgan, the Aussie country great, and Peter Yarrow, of Peter, Paul and Mary.  We hope they get to sing a rousing chorus of “Puff the Magic Dragon together.  As usual, there's heaps of fun.  Enjoy!! Playlist (all the songs and artists referenced in the episode) Playlist – “Heroes” covers  References:  Heroes, REM, Leonard Cohen, “Suzanne”, “Hallelujah", Bob Dylan, “All along the Watchtower”, "If Not for You”, Olivia Newton-John, Johnny Cash, American Recordings, “All the Young Dudes”, Mott the Hoople, Ian Hunter, XTC, White Music, “This is Pop”, Devo, “(I can't get no) Satisfaction”, Zoot, “Eleanor Rigby”, Rick Springfield, Howard Gable, Alison Durbin, 801, “Tomorrow Never Knows”, ” 801 Live, "You Really Got Me”, Ministry, “Lay Lady Lay”, Al Jourgenson, “Heartbreak Hotel”, Elvis Presley, John Cale, June 1, 1974, Slow Dazzle, Fragments of a Rainy Season, Nirvana, "The Man Who Sold The World", “Unplugged”, Mick Ronson, Linda Ronstadt, “Different Drum”, Stone Ponies, Mike Nesmith, “You're No Good”, “Poor Poor Pitiful Me”, Cowboy Junkies, “Sweet Jane”, Fine Young Cannibals, “Suspicious Minds”, Talking Heads, “Take Me to The River”, Elvis Costello, “(What's So Funny ‘Bout) Peace, Love, And Understanding”, George Benson, “On Broadway”, Mia Dyson, “The Passenger”, Siouxsie & The Banshees, Sara Blasko, “Flame Trees”, “Goodbye Yellow Brick Road”, Reg Livermore, “Celluloid Heroes”, The Kinks, Peter Gabriel, Scratch My Back, I'll Scratch Yours, Motorhead, David Hasselhoff, Blondie, Oasis, Nico, Moby (with Mindy Jones), Phillip Glass, “Superman”, Lifes Rich Pageant, “There She Goes Again”, “Pale Blue Eyes”, “First we take Manhattan”,  

THE HEART OF ROCK ‘N' ROLL—There's a saying about the Velvet Underground's first album: it didn't sell a lot of copies but everyone who bought it went on to form a band. Not everyone who read Creem went on to form a band, but almost everyone who ever wrote about rock music in a significant way has a connection to Creem. Founded in Detroit in 1969 by Barry Kramer, Creem was a finger in the eye to the more established Rolling Stone. Creem called itself “America's Only Rock ‘n' Roll Magazine” and its cheeky irreverence matched its devotion to its infamous street cred. Punk, new wave, heavy metal, alternative, indie were all championed at Creem.Writers and editors who worked for Creem read like a who's who of industry legends: Lester Bangs. Dave Marsh. Robert Christgau. Greil Marcus. Patti Smith. Cameron Crowe. Jann Uhelszki. Penny Valentine. And on and on and on.The magazine stopped publishing in 1989 a few years after Barry's death. A documentary about Creem's heyday in 2020 helped lead to a resurrected media brand, founded by JJ Kramer, Barry's son, and launched in 2022. The copy on the first issue's cover: “Rock is Dead. So is Print.”Totally typical Creem-assed fuckery. And still totally rock n roll, man. Print Is Dead (Long Live Print!) is a production of Magazeum LLC ©2021–2025

Beave and Len talk the end of the NFL season, as well as preview potential playoff matchups. They also discuss the white-hot Cleveland Cavaliers, who have won 31 out of their first 35 games. They talk college hoops, Len's forgiveness of Brad Underwood, and the gauntlet that is the Big Ten basketball schedule. Beave reviews "Nosferatu" and Len reviews "A Complete Unknown", "The Penguin", "Fallout", and "Mr .& Mrs. Smith". They discuss Robert Christgau's latest A+ album, "Two Sevens Clash", by Culture. Plus undiscovered Top 40 hits and the Carpenters put out a 2024 Christmas album! JAGBAGS!

Beave pronounces the new Cure album as one of their very best, and a surefire "Top 10" ranking for the year. Len eats a delicious peanut butter nutella cupcake while Beave sulks with his green beans. Beave and Len bemoan the latest losses by the Chicago Bears (to the Packers at the end of the game) and the Cleveland Browns (to New Orleans). Beave celebrates the Cleveland Cavaliers' blazing hot start. College basketball is underway and Jagbags star Matthew Nicholson warms up with mashed potatoes and green beans (!!). Plus "I Recommend", Robert Christgau's A+ Albums, and the Top 40 catalog of Air Supply and Akon. Join the witty banter!

THE HEART OF ROCK 'N' ROLL IS STILL BEATING—There's a saying about the Velvet Underground's first album: it didn't sell a lot of copies but everyone who bought it went on to form a band. Not everyone who read Creem went on to form a band, but almost everyone who ever wrote about rock music in a significant way has a connection to Creem. Founded in Detroit in 1969 by Barry Kramer, Creem was a finger in the eye to the more established Rolling Stone. Creem called itself “America's Only Rock ‘n' Roll Magazine” and its cheeky irreverence matched its devotion to its infamous street cred. Punk, new wave, heavy metal, alternative, indie were all championed at Creem.Writers and editors who worked for Creem read like a who's who of industry legends: Lester Bangs. Dave Marsh. Robert Christgau. Greil Marcus. Patti Smith. Cameron Crowe. Jann Uhelszki. Penny Valentine. And on and on and on.The magazine stopped publishing in 1989 a few years after Barry's death. A documentary about Creem's heyday in 2020 helped lead to a resurrected media brand, founded by JJ Kramer, Barry's son, and launched in 2022. The copy on the first issue's cover: “Rock is Dead. So is Print.”Totally typical Creem-assed fuckery. And still totally rock n roll, man. ©2024 The Full-Bleed Podcast is a production of Magazeum LLC. Visit magazeum.co for more information.

We have a great recap episode in store for you! The Bears and Browns both lose while the Chiefs stay as the last unbeaten team in football. The Cavs stay as the last unbeaten team in basketball. Plus "I Recommend", Robert Christgau's A+ albums, Beave's 2024 album review, and undiscovered Top 40 hits! TUNE IN!!

In the latest recap episode, Beave and Len talk the pulse-pounding WNBA Finals between New York and Minnesota. Has there ever been a better one? Plus Len celebrates the suddenly powerful Chicago Bears as they steamroll the Jaguars in London. Yankees go up 2-0 on the Guardians, while Beave frets helplessly. Beave recommends "Monsters: The Menendez Brothers" on Netflix. Len tries to catch up on all the New Yorker articles. Beave and Len review Arcade Fire's "Neon Bible", which received an A+ rating from Robert Christgau. And much much more!

Our record-breaking partnership faces a fresh set of spin bowlers on the rock and roll pitch but rifles a few shots over the pavilion roof, among them … … the time Elvis let his daughter ride her pony through the house. … when Moon Zappa (10) found naked hippies making candles in the garden. … “Can you get that? It might be someone important.” The Queen when her mobile rang. … Billy Joel's daily commute to work by helicopter. … John Peel, Elton John, Robert Christgau … who's listened to the most music in the history of the planet? … “Choice is a tax, a penalty”: the faint sense of nausea you get from Netflix' fathomless sense of abundance. … how Elvis became a hillbilly with an unlimited budget. … are ChatGPT's music recommendations actually quite useful? We test the Beatles, Joni Mitchell and Miles Davis. … “what kind of a genius doesn't have medical insurance?” … old WW2 movies v the new Netflix series? There's only one winner … … plus Abba, Steampacket, Steeleye Span and Humble Pie: supergroups that worked.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Our record-breaking partnership faces a fresh set of spin bowlers on the rock and roll pitch but rifles a few shots over the pavilion roof, among them … … the time Elvis let his daughter ride her pony through the house. … when Moon Zappa (10) found naked hippies making candles in the garden. … “Can you get that? It might be someone important.” The Queen when her mobile rang. … Billy Joel's daily commute to work by helicopter. … John Peel, Elton John, Robert Christgau … who's listened to the most music in the history of the planet? … “Choice is a tax, a penalty”: the faint sense of nausea you get from Netflix' fathomless sense of abundance. … how Elvis became a hillbilly with an unlimited budget. … are ChatGPT's music recommendations actually quite useful? We test the Beatles, Joni Mitchell and Miles Davis. … “what kind of a genius doesn't have medical insurance?” … old WW2 movies v the new Netflix series? There's only one winner … … plus Abba, Steampacket, Steeleye Span and Humble Pie: supergroups that worked.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Our record-breaking partnership faces a fresh set of spin bowlers on the rock and roll pitch but rifles a few shots over the pavilion roof, among them … … the time Elvis let his daughter ride her pony through the house. … when Moon Zappa (10) found naked hippies making candles in the garden. … “Can you get that? It might be someone important.” The Queen when her mobile rang. … Billy Joel's daily commute to work by helicopter. … John Peel, Elton John, Robert Christgau … who's listened to the most music in the history of the planet? … “Choice is a tax, a penalty”: the faint sense of nausea you get from Netflix' fathomless sense of abundance. … how Elvis became a hillbilly with an unlimited budget. … are ChatGPT's music recommendations actually quite useful? We test the Beatles, Joni Mitchell and Miles Davis. … “what kind of a genius doesn't have medical insurance?” … old WW2 movies v the new Netflix series? There's only one winner … … plus Abba, Steampacket, Steeleye Span and Humble Pie: supergroups that worked.Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Len and Beave do another SPEED RECAP for you. Len is on the cusp of entering the Top Ten of his all-time favorite albums. They go through five more albums, which leads to discussion of the dean of American music critic Robert Christgau's word choices of "fatuous" and "middling". The NFL season kicks off with a Bears and Chiefs win and a terrible Browns loss. MLB winds down as the Guardians sweep the Sox (who have lost 27 of their last 28 home games). Len watches Kyle Hendricks in twilight, as he faces the Dodgers. TUNE IN FOR ELECTRIC DISCUSSION!

Mark, Lou and Perry listen to and discuss REM playing "Radio Free Europe" also a talk on music critic Robert Christgau plus random relish topics also drummer Jim Keltner plus music trivia and the power of songs featuring Hank Williams "Jambalaya"also the the songwriting team of Roger Cook & Roger Greenaway and much more fun !!

Although the latest recap episode features MLB, WNBA recaps, plus "I Recommend", Beave's New Album Review, and Len's Favorite 500 Albums, we spend the majority of time arguing The Boys, and ranking the main characters in show from worst to first. Which characters are strongest? The weakest? Who is the moral center? Who has the most interesting arc? And which character is your favorite and least favorite? We talk them all in the latest recap. TUNE IN!

Progressive Rock reached its zenith during the early 1970s, a period often celebrated as the genre's golden age. This era of Prog Rock has inspired intense opinions—both positive and negative—that rival those of any other rock movement or genre throughout music history. Fans of Progressive Rock are known for their passionate dedication. On the flip side, critics, including renowned voices like Lester Bangs, Robert Christgau, and Robert Hilburn, were notoriously dismissive of Progressive Rock. Despite their often harsh criticisms, we believe that time has proven them wrong. Our perspective has evolved, and we now view the best of 70s Progressive Rock as a genre with substantial depth and intellectual substance. The music from this era isn't just enjoyable; it's some of the most significant work of the 20th century. Not all Prog Rock from this period hit the mark—there were certainly moments of excessive self-indulgence. However, the Prog bands and songs that have stood the test of time are truly exceptional and worth celebrating. Producer and Host: Christian Swain Head Writer: Richard Evans Sound Designer: Jerry Danielsen RockNRollArchaeology.com RNRA on Patreon RNRA on TeePublic Learn more about your ad choices. Visit megaphone.fm/adchoices

We reverse the order a bit for the latest recap episode. Len starts off the podcast with five of his favorite 500 albums of all time. Chappell Roan sets a Lollapalooza attendance record, and Beave delivers his long-awaited review of her album "The Rise and Fall of a Midwest Princess". We talk MLB and focus on the White Sox's historic 21-game losing streak. We talk Olympics before devolving into a discussion of the 3-on-3 hoops trend. Tune in for a quick and wacky recap!

Grammy nominated artist Steve Forbert, best known for the classic "Romeo's Tune," is a true American musical treasure, a fact underscored by his newest album Daylight Savings Time, to be released on September 6, 2024 via Blue Rose Music. Like all his recordings of new songs, it's saturated with what renowned rock journalist Robert Christgau discerned as his "omnivorously observant" songwriting, marked by Steve's gift for finding the more profound meaning and magic within the spectrum of everyday moments of human existence and the character of the world around us as well as his abundant melodic and poetic enchantment."Like Warren Zevon, Gram Parsons, Bob Dylan, Tom Petty, and Bruce Springsteen, Steve Forbert has left his unmistakable imprint on the landscape of American music," says American Songwriter. Like these esteemed creative souls, his work is marked by distinctive qualities all its own and speaks genuinely to his listeners.   Daylight Savings Time is Forbert's 21st album and third release helmed by producer/engineer Steve Greenwell (Joss Stone, Gavin DeGraw); it's essential tracks cut old-school style at Greenwell's studio in Asbury Park, NJ, where Steve now resides. Learn more about Steve Forbert at https://www.steveforbert.comHost Lee Zimmerman is a freelance music writer whose articles have appeared in several leading music industry publications. Lee is a former promotions representative for ABC and Capital Records and director of communications for various CBS affiliated television stations. Lee recently authored the book "Thirty Years Behind The Glass" about legendary producer and engineer Jim Gains.Podcast producer/cohost Billy Hubbard is an Americana Singer/Songwriter and former Regional Director of A&R for a Grammy winning company. Billy is a signed artist with Spectra Music Group  and co-founder of the iconic venue "The Station" in East TN. Billy's new album was released by Spectra Records 10/2023 on all major outlets! Learn more about Billy at http://www.BillyHubbard.com Send us a Text Message.Support the Show.If you'd like to support My Backstage Pass you can make a donation to Billy & Lee's coffee fund at this link https://www.buymeacoffee.com/MyBackstagePassMy Backstage Pass is sponsored by The Alternate Root Magazine! Please subscribe to their newsletter, read the latest music reviews and check out their weekly Top Ten songs at this link http://www.thealternateroot.com

We predicted SP's new guitarist, but I was too slow putting the episode up. We do a deep dive on rock criticism via Robert Christgau. Angel Olsen Dreams Cover: https://www.youtube.com/watch?v=5W6R5IDDIyE Christgau article: https://www.robertchristgau.com/xg/rock/radiohead-03.php

On the latest recap episode, an unspeakable incident occurs ON THE AIR as Beave completely mischaracterizes the category of soft drink for Len's beloved Mr. Pibb. Shock, consternation, horror....all the emotions pass through Len and you can hear them all in his voice. Beave survives (barely) and the guys go on to discuss the week in NBA action, featuring the Cavs coming back to earth and Bulls continuing their Jekyll-and-Hyde ways. College hoops: Illinois rebounds from the bad Penn State loss to defeat Iowa and Minnesota! Beave recommends the documentary "Radical Wolfe", on Netflix. Len recommends the new album "Little Rope" by Sleater-Kinney. And more album reviews as well! TUNE IN!

"The plus is because Pete Townshend likes it. (...) Beware the forthcoming hype. This is ersatz shit." -Robert Christgau in his D+ review of King Crimson's debut album "In The Court of the Crimson King" "A statue has never been erected in honor of a critic." -Jean Sibelius Me and the theater kids agree. This is prog rock.

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.  

Doug has long been a fan of Frank Zappa's music, yet we've never spent an episode discussing it. In our irregular series looking at individual albums, we look at Zappa's best-selling record, the 1979 Sheik Yerbouti. Help support The Next Track by making regular donations via Patreon (https://www.patreon.com/thenexttrack). We're ad-free and self-sustaining so your support is what keeps us going. Thanks! ‌Show notes: Frank Zappa: Sheik Yerbouti (https://www.zappa.com/releases-archive/sheik-yerbouti/#/) Episode #268: Miles Davis, Bitches Brew (https://www.thenexttrack.com/273) Robert Christgau on Sheik Yerbouti (https://www.robertchristgau.com/get_album.php?id=8200) Zappa (https://www.thezappamovie.com) (documentary) Our next tracks: Genesis: Wind and Wuthering (https://amzn.to/3tX6IyQ) Frank Zappa: Sheik Yerbouti (https://amzn.to/3HnsMFS) "> If you like the show, please subscribe in iTunes (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast.

A podcast may not last all day, but we sure do let it roll. Take it Away is proud to present the third and final installment of our analysis and review of George Harrison's solo masterpiece All Things Must Pass -- and to start we turn our attention to the oft-overlooked instrumental spotlight known as Apple Jam. George Harrison and some principal players from the 18 lyrical contributions to All Things Must Pass use this full third disc to unleash 29 minutes worth of musical prowess, virtuosity, and improvisational ability unseen anywhere else in Beatles or solo Beatles canon. All this, plus album reception, legacy, and some words from Robert Christgau in the grand finale to our look back at one of the great statements in rock and roll.Support this show http://supporter.acast.com/takeitaway. Hosted on Acast. See acast.com/privacy for more information.

If you're above a certain age, you recall when the world of music reviewing existed beyond the print pantheon of Robert Christgau, David Fricke, and Greil Marcus. In other words, reviewing music was an actual job, and almost every newspaper or magazine had someone who did that. Gorman's gateway to music examination began as a music writer for his hometown rag, The Waterbury Republican, in Waterbury, Connecticut. Very quickly, Bechard set about blazing the creative path that has led him from “The Brass City” of Waterbury to the flashy world of Hollywood, to editorial vices of the New York City Publishing world, and eventually to independent narrative and documentary filmmaking. Gorman has made a name for himself in the world of documentaries with the blog Too Loud proclaiming: “What makes Gorman Bechard's documentaries work is that he takes these high falutin film concepts and uses them for film documentaries. While Bechard is an obvious fan of his subject, he shows them as is, and doesn't try to show them glossed over or hyped up." Gorman stopped by to chat with Keith about all his music documentaries. Pull up a chair! LINKS Gorman Bechard on Wiki What Were We Thinking Films The Replacements Archers of Loaf Grant Hart Husker Du Lydia Loveless Sarah Shook & the Disarmers Jay Bennett Wilco Powder Ridge Documentary  

Beave and Len talk through the results of the 90s bracket, and critique the final choices left in the bracket. The Denver Nuggets win the 2023 NBA Finals, while Len and Beave follow along with delight. The Cubs and Guardians continue to yo-yo through the season while their fans go along for the ride. Also, f*ck the Yankees and Cardinals. Beave recommends "The Maltese Falcon", while Len thanks Ron-Ron for introducing him to Coke Move. Beave demands that Ron-Ron get a raise! Plus, Rolling Stone Top 500, Len's Favorite 500 (under the watchful eye of Robert Christgau), and finally, LANE CALL! GO SEE IT!

In this episode we invite esteemed author RJ Smith to tell us about his career, his adopted Los Angeles, and his new biography of Chuck Berry.We start in Detroit, where RJ was raised on a diet of AM radio, the Stooges and Creem magazine, then follow him to New York and his decade of writing for the Village Voice. He talks about the impact of Lester Bangs and Robert Christgau before explaining why he followed the Voice's executive editor Kit Rachlis to California and the L.A. Weekly. We hear how he became fascinated by the pre-rock history of African-American L.A. and how that led to the publication of The Great Black Way (2008). His fourth book, Chuck Berry: An American Life, gives us the opportunity to discuss the problematic brilliance of St. Louis's "Black bard of white teen angst", a half-century after the creepy novelty comedy of 'My Ding-a-Ling' gave the Black-rock pioneer a No. 1 hit on both sides of the Atlantic.We return to our L.A. theme to hear clips from a 1991 audio interview in which Tracy "Ice-T" Marrow talks to Andy Gill about the birth of gangsta rap and his thrash-metal side project Body Count. RJ recalls his own writing about West Coast hip hop before we say a sad goodbye to the great Wilko Johnson and hear the-then Dr. Feelgood guitarist speaking to Mick Gold in 1975.Mark quotes from some of the pieces he's added to the RBP library, including interviews with Long John Baldry and Olivia Newton-John, after which Jasper wraps matters up with remarks on articles about Deadmau5 and Asian Dub Foundation.Many thanks to special guest RJ Smith. Chuck Berry: An American Life is published by Omnibus in the UK and Hachette in the US and is available now from all good bookshops.Pieces discussed: Chuck Berry, Chuck Berrier, Chuck Berriest, Interview with RJ Smith, Charles Brown, N.W.A., Ice-T audio, Dr. Feelgood, Wilko Johnson, Rab Noakes, Long John Baldry, Free, Captain Beefheart, B. Bumble and the Stingers, Simon and Garfunkel, Olivia Newton-John, Deadmau5 and Asian Dub Foundation.

In this episode we invite esteemed author RJ Smith to tell us about his career, his adopted Los Angeles, and his new biography of Chuck Berry.We start in Detroit, where RJ was raised on a diet of AM radio, the Stooges and Creem magazine, then follow him to New York and his decade of writing for the Village Voice. He talks about the impact of Lester Bangs and Robert Christgau before explaining why he followed the Voice's executive editor Kit Rachlis to California and the L.A. Weekly. We hear how he became fascinated by the pre-rock history of African-American L.A. and how that led to the publication of The Great Black Way (2008). His fourth book, Chuck Berry: An American Life, gives us the opportunity to discuss the problematic brilliance of St. Louis's "Black bard of white teen angst", a half-century after the creepy novelty comedy of 'My Ding-a-Ling' gave the Black-rock pioneer a No. 1 hit on both sides of the Atlantic.We return to our L.A. theme to hear clips from a 1991 audio interview in which Tracy "Ice-T" Marrow talks to Andy Gill about the birth of gangsta rap and his thrash-metal side project Body Count. RJ recalls his own writing about West Coast hip hop before we say a sad goodbye to the great Wilko Johnson and hear the-then Dr. Feelgood guitarist speaking to Mick Gold in 1975.Mark quotes from some of the pieces he's added to the RBP library, including interviews with Long John Baldry and Olivia Newton-John, after which Jasper wraps matters up with remarks on articles about Deadmau5 and Asian Dub Foundation.Many thanks to special guest RJ Smith. Chuck Berry: An American Life is published by Omnibus in the UK and Hachette in the US and is available now from all good bookshops.Pieces discussed: Chuck Berry, Chuck Berrier, Chuck Berriest, Interview with RJ Smith, Charles Brown, N.W.A., Ice-T audio, Dr. Feelgood, Wilko Johnson, Rab Noakes, Long John Baldry, Free, Captain Beefheart, B. Bumble and the Stingers, Simon and Garfunkel, Olivia Newton-John, Deadmau5 and Asian Dub Foundation.

Rockshow episode 169 Jerry Lee Lewis The show was scheduled for December but because of the recent death of Jerry Lee Lewis we moved it up the schedule. So watch and celebrate the the life of Jerry Lee Lewis and thank you for subscribing. Jerry Lee Lewis (September 29, 1935 – October 28, 2022) was an American singer, songwriter and pianist. Nicknamed "the Killer", he was described as "rock and roll's first great wild man and one of the most influential pianists of the 20th century". A pioneer of rock and roll and rockabilly music, Lewis made his first recordings in 1952 at Cosimo Matassa's J&M Studio in New Orleans, Louisiana, and early recordings in 1956 at Sun Records in Memphis, Tennessee. "Crazy Arms" sold 300,000 copies in the South, and his 1957 hit "Whole Lotta Shakin' Goin' On" shot Lewis to fame worldwide. He followed this with the major hits "Great Balls of Fire", "Breathless", and "High School Confidential". His rock and roll career faltered in the wake of his marriage to Myra Gale Brown, his 13-year-old cousin once removed. Lewis had a dozen gold records in rock and country. He won four Grammy awards, including a Grammy Lifetime Achievement Award and two Grammy Hall of Fame Awards.Lewis was inducted into the Rock and Roll Hall of Fame in 1986 and his pioneering contribution to the genre was recognized by the Rockabilly Hall of Fame. He was also a member of the inaugural class inducted into the Memphis Music Hall of Fame. He was inducted into the Country Music Hall of Fame in 2022. In 1989, his life was chronicled in the movie Great Balls of Fire, starring Dennis Quaid. In 2003, Rolling Stone listed his box set All Killer, No Filler: The Anthology at number 242 on their list of "500 Greatest Albums of All Time". In 2004, they ranked him No. 24 on their list of the 100 Greatest Artists of All Time. Lewis was the last surviving member of Sun Records' Million Dollar Quartet and the album Class of '55, which also included Johnny Cash, Carl Perkins, Roy Orbison, and Elvis Presley. Music critic Robert Christgau said of Lewis: "His drive, his timing, his offhand vocal power, his unmistakable boogie-plus piano, and his absolute confidence in the face of the void make Jerry Lee the quintessential rock and roller." https://jerryleelewis.com/ https://m.facebook.com/JerryLeeLewis/ https://www.rollingstone.com/music/music-news/jerry-lee-lewis-dead-obituary-1234616945/amp/ https://open.spotify.com/artist/2zyz0VJqrDXeFDIyrfVXSo https://www.instagram.com/jerryleelewisthekiller/?hl=en https://m.youtube.com/watch?v=4bB5xL577r4&autoplay=1 https://twitter.com/jerryleelewis?lang=en @Jerryleelewis @Greatballsoffire @Thekiller @breathless @sunrecord @pianoplayer @rockabilly #Jerryleelewis #greatballsoffire #rockabilly #rocknroll #piano #sunrecord Please follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.com https://linktr.ee/RobRossi Get your T-shirt at https://www.prowrestlingtees.com/gettinglumpedup And https://www.bonfire.com/store/getting-lumped-up/ https://app.hashtag.expert/?fpr=roberto-rossi80 https://dc2bfnt-peyeewd4slt50d2x1b.hop.clickbank.net Subscribe to the channel and hit the like button This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://itunes.apple.com/us/podcast/getting-lumped-up-with-rob-rossi/id1448899708 https://open.spotify.com/show/00ZWLZaYqQlJji1QSoEz7a https://www.patreon.com/Gettinglumpedup --- Support this podcast: https://anchor.fm/rob-rossi/support

Making a Scene Presents an Interview with Kirby HeardSince the November 2019 release of her first solo project, “Mama's Biscuits”, Kirby Heard has become known for songs that take listeners on journeys through yesteryear and memories of home. Often introspective, inquisitive, and witty, these are songs with an authentic voice and perspective. Chris Spector (Midwest Record) called it ‘delightful, meaty songwriting that could only come from the heart and does a great job of opening your ears. “Mama's Biscuits" also earned an A- from Robert Christgau, “Dean of American Music Critics” and author of the online music newsletter “And It Don't Stop”, and ranked #26 on his Dean's List 2020.

In episode 57 I talk to Courtney Marie Andrews about Lucinda Williams, an American singer, songwriter, and musician. She recorded her first two albums: Ramblin' on My Mind (1979) and Happy Woman Blues (1980), in a traditional country and blues style that received critical praise but little public or radio attention. In 1988, she released her third album, Lucinda Williams, to widespread critical acclaim. Widely regarded as "an Americana classic", the album also features "Passionate Kisses", a song later recorded by Mary Chapin Carpenter for her 1992 album Come On Come On, which garnered Williams her first Grammy Award for Best Country Song in 1994. Known for working slowly, Williams' fourth album; Sweet Old World, appeared four years later in 1992. Sweet Old World was met with further critical acclaim, and was voted the 11th best album of 1992 in The Village Voice's Pazz & Jop, an annual poll of prominent music critics. Robert Christgau, the poll's creator, ranked it 6th on his own year-end list, later writing that the album, as well as Lucinda Williams, were "gorgeous, flawless, brilliant".

Beave celebrates the Guardians' Central Division title all weekend long at LiqrBox, while Len lauds the mound work of Cubs pitcher Adrian Sampson, better known as The Litigator. Beave and Len dream of a Guardians/Cardinals World Series. Beave also celebrates the Browns' dismantling of evil Pittsburgh, while Len confidently predicts the Bears' impending playoff appearance. Beave reviews "Confess, Fletch" and the Showtime documentary "The Kings". Len gives thumbs up to the new Marvel offering, "She-Hulk: Attorney At Law". Plus reviews of albums by the Police, Neil Young, AC/DC, and DAFT PUNK! Watch us put Robert Christgau to shame!!

Brian and Murdock attempt to understand the complicated relationship American music fans often have with a certain set of 70's hitmakers. SHOW NOTES: Songs used in this episode: Eagles - “I Can't Tell You Why,” “The Best of My Love”; Scott Stapp “Marlins Will Soar” https://en.wikipedia.org/wiki/Eagles_(band) Klosterman essay on The Eagles: https://ew.com/article/2013/06/20/book-excerpt-chuck-klosterman/ https://groovyhistory.com/eagles https://en.wikipedia.org/wiki/Glyn_Johns_discography https://en.wikipedia.org/wiki/Eagles_(album) The Cameron Crowe 1975 Rolling Stone piece: http://www.theuncool.com/journalism/rs196-the-eagles/ Excerpt from the Felder book: https://web.archive.org/web/20080718172259/http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article2638985.ece https://www.billboard.com/music/rock/eagles-hatred-explainer-defense-glenn-frey-6851078/ https://en.wikipedia.org/wiki/Laurel_Canyon,_Los_Angeles https://en.wikipedia.org/wiki/Desperado_(Eagles_album) https://www.theringer.com/music/2021/5/5/22420083/the-eagles-glen-frey-don-henley-50-years http://www.robertchristgau.com/xg/bk-aow/eagles.php Big Lebowski scene: https://www.youtube.com/watch?v=-JlmvtAHhnc https://rocknyc.live/don-henley-ejects-a-fan-from-a-show-for-shouting-don-felders-name.html https://www.loudersound.com/features/life-in-the-fast-lane-the-turbulent-tale-of-the-eagles https://decider.com/2016/12/02/history-of-the-eagles-documentary-netflix/

Freedy Johnston's Can You Fly album landed on a number of 1992 best-of lists, with legendary music critic Robert Christgau calling it "a perfect album” and penning the following about the record: “Contained, mature, realistic in philosophy and aesthetic, its every song a model of open-ended lyrical detail and lithe, sly melodicism, it's a flat-out monument of singer-songwriterdom--up there with Randy Newman's 12 Songs, Joni Mitchell's For the Roses, and other such prepunk artifacts.” Not too shabby. But the peak of Johnston's fame came with the 1995 single “Bad Reputation” from the follow-album, This Perfect World, produced by Butch Vig (Nirvana, Garbage, Smashing Pumpkins, Sonic Youth, et al). Johnston has been out there slogging it out ever since, releasing an ongoing career's worth of albums filled with incisive songs delivered in his trademark reedy tenor voice. Johnston first joined us on Independent's Day for episode #62 in December of 2012, and he was kind enough to return just in time for the release of his brand-new album, Back On the Road to You (Forty Below Records - 9/9/22). Joe and Freedy had a wide-ranging discussion that ranged from the making his new album, the perils of social media in a divided society, and how eager he is to get back on the road to play shows after being sidelined by the Covid-19 pandemic. He also treated us to three exclusive live performances of “There Goes a Brooklyn Girl,” “Somewhere Love,” and “Tryin' to Move On” - three new gems from Back On the Road to You.

In this episode Barry and Mike discuss the idea of Techno-Fatalism as it pertains to Robert Christgau's response to the Ted Gioia article from The Atlantic where Gioia posited that the streaming of old music was killing new music. As both Barry and Mike are lovers of music (though not all of it "good"), this one has a bit of a personal feel to it. As such, there are new terms coined, ideas for t-shirts, and maybe* a bit of optimism. This was a fun episode. We think you'll enjoy it.

Hey, welcome to WASTOIDS With  Jaan Uhelszki of the legendary CREEM Magazine. Founded in Detroit in 1969, CREEM covered rock & roll irreverently and with a wickedly funny style. It closed up shop in 1989, but 30 years later, a new documentary film, 2019's CREEM: America's Only Rock 'n' Roll Magazine, helped to reignite interest in the publication, and now, CREEM has returned in full force over at CREEM.com. Not only is the site home to a remarkable archive—featuring stories by Lester Bangs, Cameron Crowe, Patti Smith, Greil Marcus, Lisa Robinson, Susan Whitall, Dave Marsh, Robert Christgau, our guest Jaan, and so many others—it's also home to brand new features, interviews, articles, and music recommendations. We launched WASTOIDS last year for a lot of reasons, but one of the main ones is that it feels increasingly like music fans are looking for original and fun places to discover new music. CREEM was one of our primary inspirations. Uhelszki joins us for stories about the pot-fueled “cult of CREEM,” her role in its return, seeing Big Star live, and that time she got up on stage with KISS in full regalia. Thanks for listening. Call 1-877-WASTOIDS. 

Wide Open Spaces by The Chicks Click here to join our Discord! (https://discord.gg/5vpqXaS) We typically livestream the recordings around 8:30pm Pacific Time on Wednesdays. Learnin' Links: album cover (https://t2.genius.com/unsafe/300x300/https%3A%2F%2Fimages.genius.com%2F4a001fd7a57078f2945c71869939073d.1000x1000x1.jpg) Robert Christgau review (http://www.robertchristgau.com/get_artist.php?name=dixie+chicks) lebensraum (https://en.wikipedia.org/wiki/Lebensraum) John Wayne slowly murdered by the US government (https://podcasts.apple.com/us/podcast/part-one-john-wayne-a-dude-who-sucked/id1373812661?i=1000558725028) Was Rumi gay? (https://qspirit.net/rumi-same-sex-love/) breakup pov trend on TikTok (https://www.tiktok.com/music/original-sound-7068240326192204550) Listen along to Wide Open Spaces here! (https://open.spotify.com/album/11Rni6y5dnNo6NRVuxltIj) You can support us in several ways: Kick us a few bux on Patreon! (https://www.patreon.com/boxset) By becoming a supporting member, you'll gain access to special bonus episodes, including a weekly mini-show, What's in the Box Weekly! Buy T-shirts, sweatshirts, and more at our merch page! (https://boxset.threadless.com/)

RockerMike and Rob discuss Billion Dollar Babies is the sixth studio album by American rock band Alice Cooper, released on February 25, 1973 by Warner Bros. Records.The album became the best selling Alice Cooper record at the time of its release, hit number one on the album charts in both the United States and the United Kingdom, and went on to be certified platinum by the Recording Industry Association of America. The album has been retrospectively praised by such critics as Robert Christgau, Greg Prato of AllMusic, and Jason Thompson of PopMatters, but The Rolling Stone Album Guide (2004) gave the album only two and a half stars. Songs were recorded in both the state of Connecticut and London, England. Lyrics cover topics and themes such as necrophilia, dental fear, horror, and sexual harassment. At 40 minutes and 51 seconds, it is the longest studio album the band has ever released; this does not count any of Cooper's solo albums. https://alicecooper.com/ https://www.loudersound.com/features/the-scandalous-story-of-alice-coopers-billion-dollar-babies https://m.facebook.com/ https://nightswithalicecooper.com/ https://open.spotify.com/artist/3EhbVgyfGd7HkpsagwL9GS https://mobile.twitter.com/alicecooper https://www.instagram.com/alicecooper/?hl=en https://music.apple.com/us/artist/alice-cooper/393703 Park Dental Care 12419 101st Ave South Richmond Hill Queens (718) 847-3800 https://www.718DENTISTS.com https://lynyrdskynyrd.com/ https://m.facebook.com/LynyrdSkynyrd https://open.spotify.com/artist/4MVyzYMgTwdP7Z49wAZHx0 https://www.rockhall.com/inductees/lynyrd-skynyrd https://www.rollingstone.com/feature/remembering-lynyrd-skynyrds-deadly-1977-plane-crash-2-195371/amp/ https://mobile.twitter.com/skynyrd?lang=en https://www.instagram.com/skynyrd/?hl=en #musicvideo #musicstudio #musiclover #musiclife #musicindustry #musiclovers #musiccover #musician#Alicecooper #musicproducer #musicproduction #musicians #musicislife #musicartist #musicphotography #musicvideos #Music #drummer #Guitar @drummers @spotify @twitter @Alicecooper #grammy @grammy @AlicecooperBilliondollarbabies #Billiondollarbabies @Billiondollarbabies Please follow us on Youtube,Facebook,Instagram,Twitter,Patreon and at www.gettinglumpedup.com https://linktr.ee/RobRossi Get your T-shirt at https://www.prowrestlingtees.com/gettinglumpedup And https://www.bonfire.com/store/getting-lumped-up/ https://app.hashtag.expert/?fpr=roberto-rossi80 https://dc2bfnt-peyeewd4slt50d2x1b.hop.clickbank.net Subscribe to the channel and hit the like button This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/rob-rossi/support https://itunes.apple.com/us/podcast/getting-lumped-up-with-rob-rossi/id1448899708 https://open.spotify.com/show/00ZWLZaYqQlJji1QSoEz7a https://www.patreon.com/Gettinglumpedup --- Support this podcast: https://anchor.fm/rob-rossi/support

There was a time in the mid- to late-20th century when arts critics held serious power in swaying the consumption habits of the general public. Film and music were two realms in the popular press where this was particularly notable, with critics such as Pauline Kael and Roger Ebert for film or Lester Bangs and Robert Christgau for music writing reviews and essays in publications that many believed could “make or break a career.” Then as the early 21st century saw the internet unleash a tidal wave of content, where value is measured by clicks, criticism morphed from an elite field of intellectual exploration by a small number of knowledgeable experts to a democratic phenomenon where analysis is aggregated and averaged, and the lines seem blurred between true expertise and the random opinions of the masses. In this episode of Bevel, I sit down with Ian Chodikoff for a wide-ranging conversation about the state of architecture criticism in the popular media, and touch on topics such as what it looked like in the age of Kael, Ebert and Bangs; whether the internet has democratized or diluted criticism; what is working now with the discipline, what is not, and what it has to do to not only survive but be relevant. Ultimately, as the profession of criticism continues to evolve and journalists struggle to find a place, we examine whether there is a future for professional architecture criticism. Ian Chodikoff is an architect and leader in the culture of placemaking whose career includes teaching, writing, exhibitions and research. He regularly consults with municipalities, real estate developers and various cultural organizations. Ian was a former Executive Director for the Royal Architectural Institute of Canada and editor for Canadian Architect magazine. He is a Board member of two associations, one of which provides affordable housing. Ian is currently guiding communications and business development for a Toronto architecture firm.

Dr. Allison Bumsted joins Phoebe and Daphne to discuss how rock journalism in the 1970s re-shaped Paul McCartney's critical reputation for the next three decades (and beyond).  Also discussed in this episode: authenticity, gatekeeping, rock aesthetics and rhetoric, hyper-masculinity and the inherent inclusivity of pop.   SOURCES Paul McCartney interviewed on Radio Luxembourg May 12, 1973 Something About the Beatles, “Critiquing the Critics” Episodes 176a and 176b A Women's History of the Beatles, Christine Feldman-Barrett (2021) The Beatles and the Historians, Erin Torkelson-Weber (2016) Truant Boy: Art, Authenticity and Paul McCartney, Martin Shough (2017) Faking It: The Quest for Authenticity in Popular Music, Yuval Taylor and Hugh Barker (2007) “Main Lines, Blood Feasts, and Bad Taste: A Lester Bangs Reader,” Lester Bangs (2003) “Physical Graffiti” review by Jim Miller, Rolling Stone (March 27, 1975) John Landau reviews RAM, (July 8, 1971) Wildlife review by John Mendelssohn, Rolling Stone (Jan 20, 1972) Sgt. Pepper's Lonely Hearts Club Band, written by Allen Evans, NME (May 20, 1967) “The Jefferson Airplane and the San Francisco Sound,” Ralph J Gleason (1969) “Just Two Superstars from Middle Rock,” NY Times (Aug 3, 1975) “Imagine” review by Ben Gerson (Oct 28, 1971) “The Former Beatle Gets Personal” Paul Gambincini, Rolling Stone (Jan 31, 1974) “Records: Paul McCartney and Wings” Band on the Run review by Dave Downing, Let it Rock (1974) Band on the Run review, Jon Landau (1974) “Paul and Linda McCartney: Bionic couple serves it your way” Lester Bangs, Creem: 34–39 and 72–73 (1976) “Yesterday, Today and Paul” Rolling Stone, Ben Fong-Torres (June 17 1976)  "Paul McCartney & Wings" Rolling Stone page 14; Paul Gambaccini (June 21 1973)  Life Magazine (November 7, 1969) “Man of the Year” Rolling Stone, Jann Wenner (February 7, 1970) “Sound effects: Youth, Leisure, and the Politics of Rock ‘n' Roll” Simon Frith. New York: Pantheon Books (197.) "Rod Stewart's Holiday Turkey: Blondes Have More Fun Review" Rolling Stone, Janet Maslin (Feb 8, 1979) "Every Picture Tells a Story" Review Rolling Stone, John Mendelsohn (July 8, 1971)   OTHER WRITERS MENTIONED Pete Wiley, Robert Christgau, Matt Brennan, Holly Tessler, Leonard Feather, Leroy Jones, Barbara Gardner, Nat Hentoff, Simon Frith, Jim DeRogatis    ALLISON'S LINKS My social (Inast and Twitter @Allison Bumsted) Website: www.allisonbumsted.com (I update it with what's happening) Book Link: https://link.springer.com/book/10.1007/978-3-030-85543-7 Chapter Link:: https://link.springer.com/chapter/10.1007/978-3-030-85543-7_5 (ask your local library to get a hold of the book!)   PLAYLIST The Mess (live at the Hague) WINGS Band on the Run PAUL McCARTNEY & WINGS Wildlife WINGS Too Many People PAUL & LINDA MCCARTNEY I Am Your Singer WINGS Uncle Albert/Admiral Halsey PAUL & LINDA MCCARTNEY Mama's Little Girl PAUL MCCARTNEY & WINGS Let Me Roll it PAUL MCCARTNEY & WINGS Rockshow WINGS

During the summer of 1976, Cory Daye‘s voice wafted through the bamboo forests of New York's Fire Island like an intoxicating fragrance. As the lead vocalist and co-founder of Dr. Buzzard's Original Savannah Band, she beckoned the island's dwellers to untold pleasures while the group's self-titled debut stirred dancers into sweaty, salty abandon. Boardwalks seldom pulsed with such a bewitching beat.Fire Island was worlds away from the South Bronx where Daye first met composer/arranger Stony Browder, Jr. (guitar/piano) and his brother, lyricist August Darnell (bass). Drummer Mickey Sevilla and vibe master “Sugar Coated” Andy Hernandez (aka Coati Mundi) helped crystallize the group's musical aesthetic, which had morphed from R&B into a blend of big band, soul, Latin, jazz, dance, and pop. Produced by Four Seasons tunesmith Sandy Linzer, Dr. Buzzard's Original Savannah Band (1976) brought the grandeur of swing-era bandstands to the discotheque, melding wry social commentary with classic Hollywood romanticism. “Everybody's favorite album is Dr. Buzzard's Original Savannah Band on RCA,” critic Vince Aletti wrote in his “Disco File” column for Record World. “It's this summer's major surprise hit not only because three cuts are eminently danceable (‘Sour and Sweet', ‘Cherchez La Femme', and ‘I'll Play the Fool'), but because the group's fabulously eclectic sound — drawing on several decades of American pop music from big band jazz to doo-wop soul to sophisticated disco, full of sly musical quotes — is so fresh and appealing” (7 August 1976).Aletti would later declare Dr. Buzzard's Original Savannah Band the “Most Essential Disco Album of 1976”, while the Los Angeles Times named Savannah Band “the hottest disco act in the country” (26 November 1976). Even Aletti's peers in the rock press cheered the group's arrival. “It's a pleasure to admit that their music is a fresh pop hybrid with its own rhythmic integrity, and that its sophistication is a lot brighter and more lively than most of the organic bullshit making it to the rock stage in the mid-'70s,” Robert Christgau noted in the Village Voice.Rolling Stone published its own rave review of Savannah Band's debut. “The highest moments introduce a genuinely surrealistic disco whose adventurous use of bitonality and electronic sound effects stands in absolute contrast to the recent disco market's cynical prefabrication of oldies,” wrote Stephen Holden. “‘I'll Play the Fool', ‘Cherchez La Femme', and especially ‘Sour and Sweet', are group originals that literally explode the genre with their brittle scintillating audacity” (23 September 1976).With a sound that signaled disco's penchant for innovation, Dr. Buzzard's Original Savannah Band supplanted the Bee Gees' “You Should Be Dancing” from number one on Billboard‘s “National Disco Action Top 30” in October 1976. A month later, “Cherchez La Femme” debuted on the Hot 100 where it would peak at #27 and introduce one of the era's most indelible opening lines — “Tommy Mottola lives on the road” — to the airwaves. The album itself was certified gold and earned the group a GRAMMY nomination for “Best New Artist”.In '79 Cory Daye released her solo album, “Cory and Me”. Rolling Stone, November '79 - Cory delivers a vocal performance that's direct and elusive, girlishly simple and musically sophisticated, sexy without being huff-and-puffy.   When Daye makes her entrance in any song, it's like the sun breaking through a bank of dark clouds. Paired again with producer-extraordinaire Sandy Linzer, singles “Single Again”, “A Wiggle and A Giggle” and the thumping “Pow Wow” will Listen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”

Bleached hair, spiky tattoos, a lot of swears… this is the dangerous world of Robert Christgau's favorite band of all time, Sugar Ray. If you're gonna make a bad album, make it as interesting as this one!

What IS a cover version?  Why do artists cover other artists' songs?  Who has had the most songs covered?  Has there ever been a cover version better than the original?  Mick and the Phatman talk about these and other pressing issues to kick off Season 2 with a bang!   References:  COVID immunity, Crowded House, “Woodface”, “1001 Albums You Must Hear before You Die”, Robert Dimery, “Here Come the Warm Jets”, Brian Eno, Chris Thomas, Robert Christgau, Oblique Strategies, “Baby's on Fire”, Carole King, Lou Reed, Clive Palmer, Twisted Sister, “We're not gonna take it”,  “Paradise City”, Guns'n'Roses, AC/DC, TripleJ Hottest 100, The Wiggles, Bruce Springsteen, “Blinded by the Light”, Manfred Mann's Earth Band, Bob Dylan, Jimi Hendrix, “All along the Watchtower”, Jimmy Barnes, “Ship Song”, Nick Cave, Joe Cocker, The Beatles, “She came in through the bathroom window”, “With a little help from my friends”, “Hallelujah”, Leonard Cohen, John Cale, “Hurt”, Trent Reznor/Nine Inch Nails, Johnny Cash, Prince, “Heartbreak Hotel”, “Under the Covers”, Susanna Hoffs & Matthew Sweet, Bowie, “Pin Ups”, Warren Zevon, Hindu Love Gods 100 Best Covers of All TimeMusic is Love Richard ClaptonYouTube Links The Mike Flowers Pops -  Wonderwall (Official Video) Other References Details about Beatles covers Podcast:Coverville by Brian Ibbott   

In this episode we finally admit Robert Christgau has a good take. I mean how can you not berate this album? It's Hendrix! The near perfect amalgamation of rock, blues, funk and soul in one of the most creative and audibly stunning pieces of modern music ever, it's “Are You Experienced?”!

Swedish supergroup ABBA is releasing their first album in forty years, making this the perfect time for Nate and Charlie to investigate what makes their music so beloved and reviled in equal measure. For every ABBA stan, there's a hater lurking, like legendary pop critic Robert Christgau, who once said of the group: “We have met the enemy, and they are them.” That suspicion was earned through ABBA's musical catchiness and lyrical earnestness, but regardless of how you feel about their music, their compositional acumen cannot be denied. The longevity of their songs is testament to that musical brilliance. So after breaking down the vocal contrast, musical maximalism, and studio wizardry used to concoct world-beating hits like “Super Trouper,” “Mamma Mia,” and “Dancing Queen,” Nate and Charlie turn their ears to the band's latest singles, “Don't Shut Me Down” and “I Still Have Faith in You,” to determine whether the newest releases represent a return to classic form or a departure into new sonic realms. Songs Discussed ABBA - Super Trouper, Mamma Mia, Dancing Queen, Don't Shut Me Down, I Still Have Faith in You Learn more about your ad choices. Visit podcastchoices.com/adchoices

Episode Three is a deep exploration of John's inner conflicts—his lasting trauma over the Beatles breakup, his susceptibility to Yoko's continuing mind games, and potentially lingering aftereffects of his nightmarish therapy at the hands of Arthur Janov.  Primal Scream Therapy is a topic which usually slides under the radar of Beatles discourse—until now.  AKOM believes it was catastrophic to John's psyche and the Lennon/McCartney relationship.  Ultimately, John chooses not to revive his partnership with Paul McCartney in New Orleans. How does this alter the course of their renewed relationship?  And how does John's eventual descent into paranoia and superstition alter both his feelings for and perception of Paul? TW: Psychological abuse, homophobia --- SOURCES Loving John, MAY PANG (1983) John Lennon interview w/ Alan Freeman (January, 1975) May Pang, The Beatles' Biggest Secrets BBC doc (2004) Linda McCartney: A Portrait DANNY FIELDS (2001) “Arthur Janov, 93, Dies; Psychologist Caught World's Attention With ‘Primal Scream'” by Margalit Fox, NEW YORK TIMES (Oct 2, 2017) “On Homosexuality as a Normal Variant of Human Sexuality” (Sunday, January 8, 2012) “On Becoming Homosexual. Is it Becoming?” (Saturday, May 23, 2009) John & Yoko interview, w/ McCabe and Schonfeld (Sept 9, 1971)  John & Yoko Interview w/ Howard Smith, (January 23, 1972) Robert Christgau, Village Voice: Living without The Beatles. (September, 1971) Art Garfunkel, Beatles Stories doc (2011) Francis Schoenberger, SPIN MAGAZINE (1975) Letter 204 to Rick Sklar dated July 1975, The John Lennon Letters (2012) Home cassette, recorded for Vin Scelsa at WNEW-FM (Autumn, 1975) Interview w/ Elliot Mintz (January 1, 1976)  Klaus Voormann, c/o Memories of John Lennon. (2005) The Beatles (afterword) by Hunter Davies (re-issued version from 1985) John Lennon: The Life by Philip Norman (2008) Man on the Run TOM DOYLE (2013) John Lennon w/ Bob Harris for The Old Grey Whistle Test BBC, (April 18, 1975) Paul McCartney w/ Jay Cocks for Time: McCartney comes back. (May 31st, 1976) Lennon Remembers, Rolling Stone (1970) The Primal Center for Treatment, Training and Research “About John Lennon” (2008) Last Days of John Lennon, FRED SEAMAN (1990) John Lennon interview w/ Barbara Graustark, NEWSWEEK (September 1980) Dakota Days, JOHN GREEN (1983) Paul McCartney, The Adam Buxton Podcast, episode 144 (2020) The Love You Make, Peter Brown (1983) The Beatles Roundup Interview, Theatre Royal, Glasgow, (April 30, 1964)  Paul McCartney Reddit chat (December 2020) Jack Douglas to Ben Yakas, Gothamist (July 19, 2016) John Lennon, Interview for Playboy (1980) Jimmy Carter on The Late Show w/ Stephen Colbert (March 31, 2018) PLAYLIST Helen Wheels WINGS Tennessee (demo) JOHN LENNON Letting Go WINGS Bridge on the River Suite WINGS San Ferry Ann WINGS Let Em In WINGS Love JOHN LENNON Beware My Love WINGS Call Me Back Again (live) WINGS

For Izaiah's B-day episode we take a look at the greatest new wave group's seminal senior album that blurs the lines between punk, funk, dance, afrobeat, drone and whatever Joy Division was doing so much that they are barely visible! And we do namedrop Kermit in this one for obvious reasons and Radiohead for not too obvious reasons at first. It's wacky, it's wild and it's an album we pray Robert Christgau likes. Let's look at Talking Heads' "Remain In Light"!

With the ubiquity of fanzines, blogs and podcasts in the 21st century, anyone can publish their critiques on any form of the arts (including your humble hosts of this very show). For better or worse, we don't have to limit ourselves to the opinions of those who claim to “know better”. There was a time, though, where we'd have to rely on information and analysis about music from the writers at publications like NME, RAM, Juke, Rolling Stone or any number of music magazines.Welcome to episode 87 of See Hear Podcast.In 1969 in that most rock and roll of cities Detroit, publisher Barry Kramer and founding editor Tony Reay created Creem magazine. Unlike, the recently founded Rolling Stone which portrayed rock music as a serious artform, Creem was taking the piss out of popular culture – very much in line with counter culture values. It featured writers who would be gain fame and infamy like Lester Bangs, Dave Marsh, Cameron Crowe, Robert Christgau and Greil Marcus among many others who obviously loved the music being created but without being held hostage to its creators. The writers showed no fear no favour in how they wrote about bands. MC5 and Rolling Stones, “Exile On Main Street” received less than favourable reviews to start with, something that seems unfathomable now.We're proud to welcome to the show, documentarian Scott Crawford to discuss his latest film, “Creem: America's Only Rock and Roll Magazine”. He had access to many of the surviving key players from the magazine's 20 year run and has come up with a fascinating look at how Creem was different from its competitors and why it was so beloved of many musicians. There's a gem of a story involving Lester Bangs, Dave Marsh, a typewriter and a dog. Wanna know more? Tune in.Our huge thanks to Scott for being such a great conversationalist and for allowing us to spend time with him to talk about a truly interesting part of rock history. We at See Hear highly recommend you watch this film....here's a number of ways you can stream it. (Depending on where you are, you may need a VPN). https://www.creemmovie.com/watch-at-home/Scott also has a great podcast called Spoke which you can check out here: https://www.listennotes.com/podcasts/spoke-scott-crawford-0zTir9pbt-A/If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, please tell your friends to tune in anyway.See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com. The list of new shows is always increasing.Send us feedback via email at seehearpodcast@gmail.comJoin the Facebook group at http://facebook.com/groups/seehearpodcastCheck out the Instagram page at www.instagram.com/seehearpodcast/?hl=enYou can download the show by searching for See Hear on whatever podcast app you favour.

With the ubiquity of fanzines, blogs and podcasts in the 21st century, anyone can publish their critiques on any form of the arts (including your humble hosts of this very show). For better or worse, we don't have to limit ourselves to the opinions of those who claim to “know better”. There was a time, though, where we'd have to rely on information and analysis about music from the writers at publications like NME, RAM, Juke, Rolling Stone or any number of music magazines. Welcome to episode 87 of See Hear Podcast. In 1969 in that most rock and roll of cities Detroit, publisher Barry Kramer and founding editor Tony Reay created Creem magazine. Unlike, the recently founded Rolling Stone which portrayed rock music as a serious artform, Creem was taking the piss out of popular culture – very much in line with counter culture values. It featured writers who would be gain fame and infamy like Lester Bangs, Dave Marsh, Cameron Crowe, Robert Christgau and Greil Marcus among many others who obviously loved the music being created but without being held hostage to its creators. The writers showed no fear no favour in how they wrote about bands. MC5 and Rolling Stones, “Exile On Main Street” received less than favourable reviews to start with, something that seems unfathomable now. We're proud to welcome to the show, documentarian Scott Crawford to discuss his latest film, “Creem: America's Only Rock and Roll Magazine”. He had access to many of the surviving key players from the magazine's 20 year run and has come up with a fascinating look at how Creem was different from its competitors and why it was so beloved of many musicians. There's a gem of a story involving Lester Bangs, Dave Marsh, a typewriter and a dog. Wanna know more? Tune in. Our huge thanks to Scott for being such a great conversationalist and for allowing us to spend time with him to talk about a truly interesting part of rock history. We at See Hear highly recommend you watch this film....here's a number of ways you can stream it. (Depending on where you are, you may need a VPN). https://www.creemmovie.com/watch-at-home/ Scott also has a great podcast called Spoke which you can check out here: https://www.listennotes.com/podcasts/spoke-scott-crawford-0zTir9pbt-A/ If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, please tell your friends to tune in anyway. See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com. The list of new shows is always increasing. Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast Check out the Instagram page at www.instagram.com/seehearpodcast/?hl=en You can download the show by searching for See Hear on whatever podcast app you favour. Learn more about your ad choices. Visit megaphone.fm/adchoices

With the ubiquity of fanzines, blogs and podcasts in the 21st century, anyone can publish their critiques on any form of the arts (including your humble hosts of this very show). For better or worse, we don't have to limit ourselves to the opinions of those who claim to “know better”. There was a time, though, where we'd have to rely on information and analysis about music from the writers at publications like NME, RAM, Juke, Rolling Stone or any number of music magazines.Welcome to episode 87 of See Hear Podcast.In 1969 in that most rock and roll of cities Detroit, publisher Barry Kramer and founding editor Tony Reay created Creem magazine. Unlike, the recently founded Rolling Stone which portrayed rock music as a serious artform, Creem was taking the piss out of popular culture – very much in line with counter culture values. It featured writers who would be gain fame and infamy like Lester Bangs, Dave Marsh, Cameron Crowe, Robert Christgau and Greil Marcus among many others who obviously loved the music being created but without being held hostage to its creators. The writers showed no fear no favour in how they wrote about bands. MC5 and Rolling Stones, “Exile On Main Street” received less than favourable reviews to start with, something that seems unfathomable now.We're proud to welcome to the show, documentarian Scott Crawford to discuss his latest film, “Creem: America's Only Rock and Roll Magazine”. He had access to many of the surviving key players from the magazine's 20 year run and has come up with a fascinating look at how Creem was different from its competitors and why it was so beloved of many musicians. There's a gem of a story involving Lester Bangs, Dave Marsh, a typewriter and a dog. Wanna know more? Tune in.Our huge thanks to Scott for being such a great conversationalist and for allowing us to spend time with him to talk about a truly interesting part of rock history. We at See Hear highly recommend you watch this film....here's a number of ways you can stream it. (Depending on where you are, you may need a VPN). https://www.creemmovie.com/watch-at-home/Scott also has a great podcast called Spoke which you can check out here: https://www.listennotes.com/podcasts/spoke-scott-crawford-0zTir9pbt-A/If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, please tell your friends to tune in anyway.See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com. The list of new shows is always increasing.Send us feedback via email at seehearpodcast@gmail.comJoin the Facebook group at http://facebook.com/groups/seehearpodcastCheck out the Instagram page at www.instagram.com/seehearpodcast/?hl=enYou can download the show by searching for See Hear on whatever podcast app you favour.

With the ubiquity of fanzines, blogs and podcasts in the 21st century, anyone can publish their critiques on any form of the arts (including your humble hosts of this very show). For better or worse, we don't have to limit ourselves to the opinions of those who claim to “know better”. There was a time, though, where we'd have to rely on information and analysis about music from the writers at publications like NME, RAM, Juke, Rolling Stone or any number of music magazines. Welcome to episode 87 of See Hear Podcast. In 1969 in that most rock and roll of cities Detroit, publisher Barry Kramer and founding editor Tony Reay created Creem magazine. Unlike, the recently founded Rolling Stone which portrayed rock music as a serious artform, Creem was taking the piss out of popular culture – very much in line with counter culture values. It featured writers who would be gain fame and infamy like Lester Bangs, Dave Marsh, Cameron Crowe, Robert Christgau and Greil Marcus among many others who obviously loved the music being created but without being held hostage to its creators. The writers showed no fear no favour in how they wrote about bands. MC5 and Rolling Stones, “Exile On Main Street” received less than favourable reviews to start with, something that seems unfathomable now. We're proud to welcome to the show, documentarian Scott Crawford to discuss his latest film, “Creem: America's Only Rock and Roll Magazine”. He had access to many of the surviving key players from the magazine's 20 year run and has come up with a fascinating look at how Creem was different from its competitors and why it was so beloved of many musicians. There's a gem of a story involving Lester Bangs, Dave Marsh, a typewriter and a dog. Wanna know more? Tune in. Our huge thanks to Scott for being such a great conversationalist and for allowing us to spend time with him to talk about a truly interesting part of rock history. We at See Hear highly recommend you watch this film....here's a number of ways you can stream it. (Depending on where you are, you may need a VPN). https://www.creemmovie.com/watch-at-home/ Scott also has a great podcast called Spoke which you can check out here: https://www.listennotes.com/podcasts/spoke-scott-crawford-0zTir9pbt-A/ If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, please tell your friends to tune in anyway. See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com. The list of new shows is always increasing. Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast Check out the Instagram page at www.instagram.com/seehearpodcast/?hl=en You can download the show by searching for See Hear on whatever podcast app you favour. Learn more about your ad choices. Visit megaphone.fm/adchoices

Our theme this week comes from Robert Christgau, who can turn a phrase better than any other music critic. (The) Dismemberment Plan’s Emergency & I is all nervy energy, jittery mood swings, and mid-20s panic. It’s also an album Matt and Tim like quite a lot. For replacements, Matt offers two albums even closer to his heart in Motion City Soundtrack’s I Am the Movie and Los Campesinos! No Blues. We talk ennui and existentialism and freaking the f*** out, then Tim does some fun math to make a choice.

The Band releases an album called The Band. How pretentious could this be? Not enough for "dean" of rock "criticism" Robert Christgau, apparently, as he approves of this album over a particular one that's highly regarded a timeless classic. Do we think it's deserved? Also we find out the Property Brothers are Canadians. Fun!

It's obviously not just the film industry that's having trouble during the pandemic; the music industry's working bands have found their main revenue stream of touring currently not an option for this last year. On this episode is Laura Colwell and Stephen Salisbury of the Austin, TX band Sun June, who, between their dreamy “regret pop” and self-directed videos, have a foot in both industries. Here we discuss:- these two Bay Area concert docs of the late '60s;- Janis Joplin and Otis Redding's iconic performances in the former;- the snuff film aspects of the latter;- the forced-mythologized bookending of both;- their cameramen directors D.A. Pennebaker and the Maysles Bros;- and other contributors such as Shelter's co-director and -editor Charlotte Zwerin.Also:- How Sun June literally started out in an editing room;- what their working band entails now with members across multiple cities;- rock critic Robert Christgau's clear-eyed essay “Anatomy of a Love Festival”;- what Albert Maysles told me when I interviewed him in 2000;- how wildly different the industry was financially between now and 1967;- and what techniques these docs can have for a modern band making their own videos and controlling their own image.Colwell, along with being lead singer and keyboard player for Sun June, works in the film industry and has edited features and docs, including Also Starring Austin, about the city's history on film. Salisbury, Sun June's guitarist, also worked in the film industry on films such as Knight of Cups, Song to Song, and the doc Becoming Leslie. He is currently in the graduate program studying microbiology at the University of North Carolina. They both also write songs for the band.Sun June's sophomore album, Somewhere, was just released via Run For Cover and Keeled Scales. You can find out more at the band's website, such as where to stream live performances and, when bands can do so again, tour dates. Checking out their videos page is also highly recommended, too.Monterey Pop and Gimme Shelter are both, respectively, streaming on HBO Max and both, respectively, physically on the Criterion Collection.

In 1997, Robert Sarazin Blake dropped out of college and hit the road. The folk music of his father's house had combined with the DIY punk ethos of the day and produced his first album, ‘Another Irrelevant Year.' For two decades, Blake toured across the US, Canada, Ireland, Germany, and beyond performing concerts to small groups of people in small rooms. In 2017, Blake released his 11th album ‘Recitative,' which earned an A- from The Dean of American Rock Critics, Robert Christgau, who writes, “Chants that riff on the titles WORK, COUPLES, and SINGLE WOMEN are as instantly indelible as the Springsteen, Weill, Reed, and Van Morrison lifts woven in.”Blake's latest release, ‘Ukrainian Phone Call,' features Canada's beat-boxing harmonica poet, C.R. Avery, who drives the band into discord as Blake sings the news of presidential corruption.— From Robert's websiteFacebook: https://www.facebook.com/robertsarazinblakeInstagram: https://www.instagram.com/robertsarazinblake/YouTube: https://www.youtube.com/channel/UCBKsWkKe33Hrh3TQPJdMN_AWebsite: https://robertsarazinblake.com/homeSpotify: https://open.spotify.com/artist/7w1cIWvRkIH85psvV9zUFg?si=PXPOFAYQRgKWnxBnaE-ysw

Robert Christgau in 1974 referred to this album as "a waste". However! Given time, commonsense, two ears, and a 2001 re-release on David Burn's record label; Shuggie Otis' Inspiration Information finally gets the attention and respect it deserves. Self-produced, almost exclusively self-tracked, borrowing from funk, psych, soul, and lounge; this album stands as testament to Shug's singular vision.

We're giving the gift of greatest hits this month and this week Lorin bares his soul and presents the gift of his favorite band Sloan and their singles collection, A Sides Win. Is Sloan a band for everyone on the show, or are they “just fine”? What does Robert Christgau think of Lorin's favorite band? Does Sloan have any good music videos? And what band really makes Jenny go off the handle? Listen and find out!Also in this episode:-Who's Getting Chainsed-Who's in those DMs with a surprising Songmeanings dot com connection?-The Rule of 7-Hoobastank feedbackRate and review Roach Koach on iTunes! We'd appreciate it! Questions about the show? Have album recommendations? Just want to say hi? We'd love to hear from you! Contact the show @RoachKoach on Twitter, Roach Koach on Facebook , Roach Koach on Instagram, or send an email to RoachKoachPodcast at Gmail.

This week on the Roach Koach Podcast is the start of Greatest Hits month, and Matt is kicking it off with Ministry and their “Greatest Fits”. Get your goggles and leather boots and buckle up everything. We talk all about the history of Ministry, pulling directly from Al Jourgenson's memoir. We share our memories of the 90's, visits to City Club, and so much more. As well, we read Robert Christgau's takes on Ministry, eulogize local alt rock radio station 89X, and in Who's Tweeting, take on one letter writer's Ultimate Nu-Metal Challenge. Rate and review Roach Koach on iTunes! We'd appreciate it! Questions about the show? Have album recommendations? Just want to say hi? We'd love to hear from you! Contact the show @RoachKoach on Twitter, Roach Koach on Facebook , Roach Koach on Instagram, or send an email to RoachKoachPodcast at Gmail.

We continue our conversation with Mark Messerly, a key player in the Cincinnati music scene. In this episode, he talks about the genius of his Wussy bandmates Chuck Cleaver and Lisa Walker, and pays tribute to John Erhardt, who passed away earlier this year. We also talk about his tour blogging (Robert Christgau loves it and we do too!), his day job as a music teacher... and Superchunk.

The Total Trash Podcast is a music discussion podcast with Ben and Kelly, two indieheads once lost on the internet, now paired up for some high octane rambling attempts at coherence and critical thought. This cast, we discuss what listening to noise rock is like, the merits of keeping two vinyl copies and how Lester Bangs is better than Robert Christgau. No bias in this summary. None whatsoever. If it's good, you're welcome, if it's bad, it's Total Trash. Ben's Shit: thefriedneckbones.net/ atwoodmagazine.com/author/ben-niesen/ twitter.com/BenJamsToo www.instagram.com/BenJamsToo/ Kelly's Shit: www.instagram.com/lilmeowmix/ Other Links: Julia Stiles lays it down: https://www.youtube.com/watch?v=bLlj_GeKniA Unsolved Mysteries and Creepy Faces: https://www.youtube.com/watch?v=3qNkzYgqeS0

The Embarrassment & Big Dipper special with Bill Goffrier in conversation with David Eastaugh Although some people considered the band punk rock, the band itself liked to describe themselves as "Blister Pop." The Village Voice's long-time chief music critic, Robert Christgau, called them a "great lost American band."[1] Along with bands like Get Smart!, and the Mortal Micronotz, the Embarrassment were prominent in the Lawrence punk scene of the early '80s and they would regularly play at venues like the Lawrence Opera House (now called "Liberty Hall") and the Off The Wall Hall (later called "Cogburn's", now called "The Bottleneck"). The Embarrassment stopped performing when two of the members moved to Boston. Giessmann drummed for The Del Fuegos, and Goffrier formed the band Big Dipper with former members of the Volcano Suns. Several of The Embarrassment's unreleased songs were recorded by Big Dipper, including "Faith Healer," which was later covered by Japanese all-girl group Shonen Knife. The "Embos," as fans call them, have played several reunion concerts in the years since, the latest being in August 2008, when they played an acoustic show in Wichita.  

Buckley fans are split on this album but we aren't. There are plenty of  soul/ funk albums that would seem to be more appropriate than another Tim Buckley album that want's to be a Blaxploitation soundtrack. but that is what the book has.  "Tim Buckley: Greetings from L.A. (Warner Bros., 1972) Perverse as it may seem, Buckley's mannered, androgynous moan has real erotic appeal for some, and here it turns a trick. This is rock pornography if anything is, complete with whips, foot fetishes, meat racks, and salacious gasps, and while I wouldn't call the band hard-core, it definitely fills the groove." - Robert Christgau

Albums and All That, Starting with the letter A as in Alpha, and some that begin with the letter B as in Bravo From At Home with Their Hits (The Partridge Family) to Barry Lyndon (Music from the soundtrack to) The Partridge Family [01:12] "I Think I Love You" At Home with Their Greatest Hits Bell 1107 1972 Whoops. Don't know how this one slipped through the cracks, but I'm glad I caught it. Be-Bop Deluxe [04:05] "Adventures in a Yorkshire Landscape" Axe Victim Harvest 11689 1974 From the debut Be-Bop Deluxe. Very Bowie derived, but cool things throughout. The B-52's [07:40] "Downtown" The B-52's Warner Bros. BSK 3355 1979 Reached number 59 on the Top 200. Wonderful pop junk, to borrow a phrase from Robert Christgau, here with the band borrowing from Petula Clark. Lunachicks [10:35] "Cookie Core" Babysitters on Acid Blast First BFFP 52 1990 I mean really, who doesn't love cookies? I always loved seeing them live (https://youtu.be/20G3XW03ofY) back in my NYC days. One of the best was when they played with L7 at CBGBs shortly after my 22nd birthday. Camarata conducting the Kingsway Symphony Orchestra and Chorus [13:56] "Toccata and Fugue in D Minor" Bach Spectacular London Records SPC 21078 1972 In Phase 4 Stereo! Quadrophonic, you ask? Nope... just using 10 channels, and eventually 20 channels, with "extreme" stereo mixing. Saar Chamber Orchestra [23:22] "Contrapunctus 14 - Harpsichord" Bach: Art of the Fugue Musical Heritage Society MHS 657/658 Budget Bach from the Musical Heritage Society. Arthur Loesser [26:55] "No. 1: Prelude and Fugue in C Major, BWV 846" Well-Tempered Clavier, Books I & II The Cleveland Institute of Music CRC 2001 Turns out Cleveland does more than rock. AC/DC [31:09] "Shoot to Thrill" Back in Black Atlantic SD 16018 1980 Got this album for my 12th birthday. I was told many times by my mother to turn it down. Mission accomplished. Presumably a 25x Platinum album. Shift those units! The O'Jays [36:28] "Love Train" Back Stabbers Philadelphia International Records KZ 31712 Gotta go with this hit in these times. Gong Kebyar, Sebatu [39:32] "Gilak" Bali: Gamelan Music from Sebatu Archiv Produktion 2533 130 1972 According to the liner notes, this is an ancient ritual temple dance performed by warriors before a fight. John Coltrane Quartet [47:05] "You Don't Know What Love Is" Ballads Impulse! A-32 1963 (1974 reissue) A classic from the American songbook, written for an Abbott and Costello flick "Keep Em Flying" from 1941. Of course, it took Miles Davis to make it a jazz standard, and Coltrane and co to take it to the next level. The Three O'Clock [52:19] "Sorry" Baroque Hoedown Frontier FLP 1010 1982 From the frontlines of the Paisley Underground, we'll go with The Three O'Clock's cover of The Easy Beats "Sorry", because of course Angus and Malcolm Young's older brother George co-wrote "Sorry" (https://youtu.be/1o4k9nC3CL0). How's that for a callback. The Munich Bach-Orchestra [54:41] "Concerto for Two Harpsichords and Orchestra in C-Minor" Music from the soundtrack of Barry Lyndon Warner Bros. K56189 1975 One of the finest films to be shot by candlelight. And hey, another call back: Bach + Harpsichord. We're killing it! Music behind the DJ: "Inspector Clouseau's Theme" by Henry Mancini

For our 12th episode, Jon and Harrison are listening to someone else's recommendation...what?! At the request of listener Billy Callis (through the magic of our Play Disc Request Lottery!), today we discuss King Crimson's debut album, In The Court Of The Crimson King. Over the course of an hour, join us as we: Discuss the little observed fact that Kanye West listens to King Crimson Hear Jon's impersonations of Casey Kasem, Sir Patrick Stewart, and (after a fashion) Kanye West Talk about the virtues and vices of flute solos Marvel at the gall of someone showing up to a job interview without any of the requested qualifications Experience Harrison's shock upon discovering Robert Christgau's evaluation of King Crimson Have a brief discussion to talk about who the best drummer of all time is Wax poetic about the slowly disappearing art of the album, and Harrison maybe comes around a little bit on vinyl Listen to Harrison learn what a mellotron is in real time Elucidate a slight tension between Jon and Harrison and how they critically approach music Entertain Harrison whining about people who Oppenheimer and Nietzsche Get into a brief argument about whether or not each note needs to justify its existence and whether or not you can miss an absence of something Discuss our key track, while Harrison does a bit of metagaming Preview our next episode Come join us for an hour of thoughtful and good-humored commentary, and we'll catch you on the B-side! Find Billy Callis on Instagram at https://www.instagram.com/BillyCallis/ And find Billy's band Nailhouse at https://www.instagram.com/Nailhouse__ The spreadsheet Request Lottery picks and their associated numbers can be seen here: https://docs.google.com/spreadsheets/d/1xOiYNZduLxz7L2CtNUPK1YOu63ni2XTWpcy1cdB6EQw/edit?usp=sharing You can get your request on this list by donating to our Patreon account at the $5 level or above. Support us on Patreon! https://www.patreon.com/PlayDiscPodcast Follow us on Facebook! https://www.facebook.com/PlayDiscPodcast/ Follow us on Twitter! https://twitter.com/PlayDiscPodcast Email us at playdiscpodcast@gmail.com This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.

New York City writer Adam Bulger returns to American Rambler to discuss the recent death of legendary Rush drummer and lyricist Neil Peart. He also talks about the band's back catalogue. Rush has always existed somewhere between contemptuous critics and adoring fans. Robert Christgau once called the Canadian trio "the most obnoxious band currently making a killing on the zonked teen circuit." Rolling Stone has written of Rush's "preconceptual roots as dull, perennially second-billed metal plotzers." Rush did not join the Rock and Roll Hall of Fame until 2013, 14 years after the band was first eligible. Rush, nevertheless, is a staple of classic rock radio with such songs as "Tom Sawyer," "Limelight," "Spirit of the Radio," "Time Stand Still," and "Closer to the Heart." Love them or hate them, they are on the soundtrack of late 20th century American suburban life. But should you like them? Mr. Bulger takes a deep dive into Rush, learning to appreciate the band as a listener and a guitar player. He recommends the Netflix doc Beyond the Lighted Stage to get a better sense of the band's history and music. Was the nerdy Neil Peart a rock god? Rush might live forever on your FM dial, but can they make Ayn Rand interesting? Also, in the wake of the recent white supremacy/NRA rally in Richmond, Colin and Adam talk about gun control for 20 minutes. If you want to get to skip to Rush, it starts around the 30 minute mark.

Gestur þáttarins að þessu sinni Kolbrún Halldórsdóttir leikstjóri, fyrrverandi þingmaður og ráðherra með meiru. Hún mætir með uppáhalds ROKKplötuna sína klukkan 21.00 Plata þáttarins er Master of Reality, þriðja plata Black Sabbath í tilefni af Black Friday - svörtum föstudegi. Platan kom út 21. Júlí 1971 og er talin ein af hornsteinum Doom metal, stoner rokksins og Sludge metalsins. Hún var tekin upp í Island studios frá febrúar til apríl 1971. Upptökustjóri var Rodger Bain sem hafði líka stjórnað upptökum á fyrri plötunum tveimur, en þetta var síðasta platan sem hann gerði með þeim þar sem gítarleikarinn Tony Iommi tók yfir upptökustjórnina á næstu plötum. Platan hefur í dag selst í rúmum tveimur milljónum eintaka í Bandaríkjunum einum og hún var fyrsta og eina plata Sabbath sem náði inn á topp 10 á bandaríska vinsældalistanum í 42 ár, eða þar til platan 13 kom út 2013. 13 er nítjánda plata Black Sabbath. Platan náði fimmta sæti í Bretlandi og því áttunda í Bandaríkjunum, en þrátt fyrir að seljast vel fékk hún ekki allstaðar góða dóma á sínum tíma. Robert Christgau gaf plötunni vonda einkunn í Village Voice og Lester Bangs skrifaði í Rolling Stone að platan væri mónótónísk og síðri en platan á undan, en textarnir væru reyndar aðeins skárri og opinberuðu betur en áður hvað þessi hljómsveit stæði fyrir. Óskalagasíminn verður opnaður (5687-123) um kl. 20 og A+B er svo að þessu sinni með The Beatles. Þetta var svo spilað: Vintage Caravan - On the run Pink Street Boys - Út á dansgólf (Skórnir eru alelda) Smasming Pumpkins - Today Dimma - Þögn Rolling Stones - Monkey man Kula Shaker - Grateful when you?re dead (Jerry was there) Supergrass - Pumping on your stereo VINUR ÞÁTTARINS Fleetwood Mac - Oh well (part one) SÍMATÍMI AC/DC - Let there be rock Sálin Hans Jóns Míns - Óður (óskalag) Black Sabbath - Sweet leaf (plata þáttarins) Ham - Haf trú (óskalag) Big Thief - Not Humble Pie - As safe as yesterday is (óskalag) Él - Ekkert plan Black Sabbath - Children of the grave (plata þáttarins) GESTUR FÜZZ - KOLBRÚN HALLDÓRSDÓTTIR Smithereens - Blood and roses KOLLA II Nina Hagen - Wie leben KOLLA III Nina Hagen - Wir leben immer Black Sabbath - Solitude (plata þáttarins) A+B The Beatles - Something (A) The Beatles - Come together (A) Steve Winwood - Dear mr. fantasy (óskalag)

Gestur þáttarins að þessu sinni Kolbrún Halldórsdóttir leikstjóri, fyrrverandi þingmaður og ráðherra með meiru. Hún mætir með uppáhalds ROKKplötuna sína klukkan 21.00 Plata þáttarins er Master of Reality, þriðja plata Black Sabbath í tilefni af Black Friday - svörtum föstudegi. Platan kom út 21. Júlí 1971 og er talin ein af hornsteinum Doom metal, stoner rokksins og Sludge metalsins. Hún var tekin upp í Island studios frá febrúar til apríl 1971. Upptökustjóri var Rodger Bain sem hafði líka stjórnað upptökum á fyrri plötunum tveimur, en þetta var síðasta platan sem hann gerði með þeim þar sem gítarleikarinn Tony Iommi tók yfir upptökustjórnina á næstu plötum. Platan hefur í dag selst í rúmum tveimur milljónum eintaka í Bandaríkjunum einum og hún var fyrsta og eina plata Sabbath sem náði inn á topp 10 á bandaríska vinsældalistanum í 42 ár, eða þar til platan 13 kom út 2013. 13 er nítjánda plata Black Sabbath. Platan náði fimmta sæti í Bretlandi og því áttunda í Bandaríkjunum, en þrátt fyrir að seljast vel fékk hún ekki allstaðar góða dóma á sínum tíma. Robert Christgau gaf plötunni vonda einkunn í Village Voice og Lester Bangs skrifaði í Rolling Stone að platan væri mónótónísk og síðri en platan á undan, en textarnir væru reyndar aðeins skárri og opinberuðu betur en áður hvað þessi hljómsveit stæði fyrir. Óskalagasíminn verður opnaður (5687-123) um kl. 20 og A+B er svo að þessu sinni með The Beatles. Þetta var svo spilað: Vintage Caravan - On the run Pink Street Boys - Út á dansgólf (Skórnir eru alelda) Smasming Pumpkins - Today Dimma - Þögn Rolling Stones - Monkey man Kula Shaker - Grateful when you?re dead (Jerry was there) Supergrass - Pumping on your stereo VINUR ÞÁTTARINS Fleetwood Mac - Oh well (part one) SÍMATÍMI AC/DC - Let there be rock Sálin Hans Jóns Míns - Óður (óskalag) Black Sabbath - Sweet leaf (plata þáttarins) Ham - Haf trú (óskalag) Big Thief - Not Humble Pie - As safe as yesterday is (óskalag) Él - Ekkert plan Black Sabbath - Children of the grave (plata þáttarins) GESTUR FÜZZ - KOLBRÚN HALLDÓRSDÓTTIR Smithereens - Blood and roses KOLLA II Nina Hagen - Wie leben KOLLA III Nina Hagen - Wir leben immer Black Sabbath - Solitude (plata þáttarins) A+B The Beatles - Something (A) The Beatles - Come together (A) Steve Winwood - Dear mr. fantasy (óskalag)

Gestur þáttarins að þessu sinni Kolbrún Halldórsdóttir leikstjóri, fyrrverandi þingmaður og ráðherra með meiru. Hún mætir með uppáhalds ROKKplötuna sína klukkan 21.00 Plata þáttarins er Master of Reality, þriðja plata Black Sabbath í tilefni af Black Friday - svörtum föstudegi. Platan kom út 21. Júlí 1971 og er talin ein af hornsteinum Doom metal, stoner rokksins og Sludge metalsins. Hún var tekin upp í Island studios frá febrúar til apríl 1971. Upptökustjóri var Rodger Bain sem hafði líka stjórnað upptökum á fyrri plötunum tveimur, en þetta var síðasta platan sem hann gerði með þeim þar sem gítarleikarinn Tony Iommi tók yfir upptökustjórnina á næstu plötum. Platan hefur í dag selst í rúmum tveimur milljónum eintaka í Bandaríkjunum einum og hún var fyrsta og eina plata Sabbath sem náði inn á topp 10 á bandaríska vinsældalistanum í 42 ár, eða þar til platan 13 kom út 2013. 13 er nítjánda plata Black Sabbath. Platan náði fimmta sæti í Bretlandi og því áttunda í Bandaríkjunum, en þrátt fyrir að seljast vel fékk hún ekki allstaðar góða dóma á sínum tíma. Robert Christgau gaf plötunni vonda einkunn í Village Voice og Lester Bangs skrifaði í Rolling Stone að platan væri mónótónísk og síðri en platan á undan, en textarnir væru reyndar aðeins skárri og opinberuðu betur en áður hvað þessi hljómsveit stæði fyrir. Óskalagasíminn verður opnaður (5687-123) um kl. 20 og A+B er svo að þessu sinni með The Beatles. Þetta var svo spilað: Vintage Caravan - On the run Pink Street Boys - Út á dansgólf (Skórnir eru alelda) Smasming Pumpkins - Today Dimma - Þögn Rolling Stones - Monkey man Kula Shaker - Grateful when you?re dead (Jerry was there) Supergrass - Pumping on your stereo VINUR ÞÁTTARINS Fleetwood Mac - Oh well (part one) SÍMATÍMI AC/DC - Let there be rock Sálin Hans Jóns Míns - Óður (óskalag) Black Sabbath - Sweet leaf (plata þáttarins) Ham - Haf trú (óskalag) Big Thief - Not Humble Pie - As safe as yesterday is (óskalag) Él - Ekkert plan Black Sabbath - Children of the grave (plata þáttarins) GESTUR FÜZZ - KOLBRÚN HALLDÓRSDÓTTIR Smithereens - Blood and roses KOLLA II Nina Hagen - Wie leben KOLLA III Nina Hagen - Wir leben immer Black Sabbath - Solitude (plata þáttarins) A+B The Beatles - Something (A) The Beatles - Come together (A) Steve Winwood - Dear mr. fantasy (óskalag)

In this episode, Robert and host Nate Wilcox discuss the role of criticism in popular music, the concept of semi-popular music, YouTube vs Spotify, blackface minstrelsy and more.This show is part of Pantheon Podcasts.

In this episode, Robert and host Nate Wilcox discuss the role of criticism in popular music, the concept of semi-popular music, YouTube vs Spotify, blackface minstrelsy and more.This show is part of Pantheon Podcasts.

In this episode, Robert and host Nate Wilcox discuss the role of criticism in popular music, the concept of semi-popular music, YouTube vs Spotify, blackface minstrelsy and more. This show is part of Pantheon Podcasts.

In this episode, Robert and host Nate Wilcox discuss the role of criticism in popular music, the concept of semi-popular music, YouTube vs Spotify, blackface minstrelsy and more. This show is part of Pantheon Podcasts.

Daniel breaks out the wheels of steel to lead our discussion of DJ Shadow's 1996 debut opus Endtroducing...whilst Erich busts out the trip hop for Portishead's 1995 smash, Dummy. And the digressions! We got Joan Armatrading, Sheena's "Sugar Walls," Robert Christgau's ladyhating, Soho's "Hippychick," and revisit the Billy Joel Philosophical Logic Statement Regarding Glass Houses. Daniel pulls a stunt for his mid-year kicker pick, and it will leave you here green but wise.

Pixar's latest sequel, Toy Story 4, is here - did it need to exist? We've got thoughts. And following up on last week's discussion of the worst summers for movies, we name our favorite years. Also discussed: John Wick 3, Her Smell, Big Little Lies, Rook, City on the Hill, Baby Driver, Wig, Echo in the Canyon, Lil Nas X, Robert Christgau, Los Espookys, Sleater-Kinney, One Day at a Time

Here are once again with the fabulous Nerds for the weekly episode of hijinks and merriment. This week we look at topics that will hopefully entertain you, perhaps educate you, perchance even make you laugh. As usual we have our three Nerds, idiots, nutjobs, wackjobs, funny farm contenders, or as we like to say, your hosts. Bucky, Professor and the DJ. Bucky is our slightly older, kind of grumpy Nerd, who dislikes Mumble rappers, reality TV and generally stupidity. Professor our younger Nerd who likes gaming, long walks to the camp fire, and his Switch when on the bus. Last but not least, we have the DJ, the resident Droid that no one is looking for, who likes anime, games and laughing. First topic up this week is about some new illustrated novels, or omics, from the Firefly franchise. The DJ is challenged to finally watch the series to help him discover his inner Browncoat, will he be brave enough to walk down the street in a hat like that and show he aint afraid of nothing? We will find out, but by my pretty blue bonnet if he doesn’t we will aim to misbehave and cause mischief. Next up we look at the stress and traumatic conditions developers are suffering through to bring us new games. With reports of people developing PTSD, and hiding this fact so they can get jobs. This is seriously messed up, what these people are going through is downright wrong and needs to be looked at. Also Buck has a rant about the need to look after each other because he is sick and tired of morons putting profit before people. Last up Buck brings us an article about Rainbows. No, he hasn’t become a hippie or something drastic. He just felt we needed to take a moment and look around us and admire the simple things, you know, kind of like smell the roses and noticed the politicians as people (we think they are, but don’t hold us to that – Ed.). So we have 20 facts about rainbows and one of which is that the Greeks thought there were only three colours in the rainbow. We follow this with the usual look at the games we have been playing this week and give you a run down on them. Concluding with the episode with the regular Shout outs, remembrances, birthdays and events for the week that we all love. As always, take care of each other and stay hydrated.EPISODE NOTES:Firefly comics - https://comicbook.com/comics/2019/05/13/firefly-the-sting-joss-whedon-boom-studios/MK 11 & PTSD - https://www.kotaku.com.au/2019/05/id-have-these-extremely-graphic-dreams-what-its-like-to-work-on-ultra-violent-games-like-mortal-kombat-11/Rainbows - http://discovermagazine.com/2019/may/20-things-you-didnt-know-about--rainbowsGames currently playingProfessor – Cataclysm: Dark Days Ahead - https://cataclysmdda.org/ Buck – Monster Truck Drive - https://store.steampowered.com/app/847870/Monster_Truck_Drive/DJ – Dota 2 - https://store.steampowered.com/app/570/Dota_2/Other topics discussedChanges to Santa Clarita Diet- https://www.hollywoodreporter.com/live-feed/santa-clarita-diet-creator-explains-season-3-talks-season-4-1198429Ed Boon’s take on fatalities- https://www.businessinsider.com.au/mortal-kombat-creator-ed-boon-explains-how-new-fatalities-are-made-2019-3?r=US&IR=TFacebook content moderators having PTSD- https://futurism.com/the-byte/facebook-content-moderators-lawsuit-ptsdGrumpy Cat (internet personality)- https://en.wikipedia.org/wiki/Grumpy_CatAll Dogs gone to Heaven (1989 film)- https://en.wikipedia.org/wiki/All_Dogs_Go_to_HeavenLinguistic relativity and the colour naming- https://en.wikipedia.org/wiki/Linguistic_relativity_and_the_color_naming_debateChromatic aberration - https://en.wikipedia.org/wiki/Chromatic_aberrationPot of gold at the end of the rainbow- http://luckyireland.com/the-origin-of-a-pot-of-gold-at-the-end-of-the-rainbow/Minecraft Earth (mobile game)- https://www.minecraft.net/en-us/earthDota 2 New Character: Mars - Character bio - https://dota2.gamepedia.com/Mars- Mars’ character design - https://steamcdn-a.akamaihd.net/apps/dota2/images/mars/hero_mars93fd33s5.jpgShadow of the Colossus (2006 game)- https://en.wikipedia.org/wiki/Shadow_of_the_ColossusTrials Fusion (2014 game)- https://en.wikipedia.org/wiki/Trials_FusionStunt Car Arena (arcade game)- http://www.arcadespot.com/game/stunt-car-arena/Millionaire’s advice to young people – stop spending smashed avocados - https://www.theguardian.com/lifeandstyle/2017/may/15/australian-millionaire-millennials-avocado-toast-houseColorectal Cancer also known as colon cancer- https://en.wikipedia.org/wiki/Colorectal_cancerDiamond Jubilee of Elizabeth II- https://en.wikipedia.org/wiki/Diamond_Jubilee_of_Elizabeth_IIQueen Victoria- Bio - https://en.wikipedia.org/wiki/Queen_Victoria- Queen Victoria with her grandchildren and other guests - https://images.immediate.co.uk/volatile/sites/7/2018/01/Queen_victoria_family-fd7d69f.jpg?quality=90&resize=768,574Stevie Wonder catches microphone stand- https://www.youtube.com/watch?v=HUgngvsWLlECarrie Fisher roasts George Lucas- https://www.youtube.com/watch?v=lZ97s396kb0Mark Zuckerberg will eat meat he kills- https://www.huffingtonpost.com.au/2017/07/13/mark-zuckerberg-will-only-eat-meat-he-kills-himself_a_23027199/Apple loses money than the value of Facebook- https://www.businessinsider.com.au/apples-market-cap-falls-by-450-billion-more-than-the-value-of-facebook-2019-1?r=US&IR=TWalt Disney - Bio and urban myth on Walt’s body is frozen - https://simple.wikipedia.org/wiki/Walt_Disney- Human bones in Disneyland - https://collinsrace1.wordpress.com/2018/10/29/are-there-human-bones-at-disney-parks/Elvis Lives (That’s Not Canon Podcast)- https://thatsnotcanon.com/elvislivespodcastCaptain Jack Sparrow (Pirates of The Caribbean character)- https://pirates.fandom.com/wiki/Jack_SparrowHenry Sutton (Australian Inventor)- https://en.wikipedia.org/wiki/Henry_Sutton_(inventor) Shoutouts7 May 1999 - The Mummy opened and grossed $43 million in 3,210 theatres in the United States on its opening weekend. - https://en.wikipedia.org/wiki/The_Mummy_(1999_film)14 May 1796 - English country doctor Edward Jenner administers the first inoculation against smallpox, using cowpox pus, in Berkeley, Gloucestershire - https://en.wikipedia.org/wiki/Edward_JennerRemembrances11 May 2019 – Peggy Lipton, American actress, model, and singer. She was well-known through her role as flower child Julie Barnes in the counterculture television series The Mod Squad (1968–1973), for which she won the Golden Globe Award for Best Actress – Television Series Drama in 1970. Her fifty-year career in television, film, and stage included many roles, includingNorma Jennings in David Lynch'sTwin Peaks. Lipton was formerly married to the musician and producer Quincy Jones and was the mother of their two daughters, Rashida Jones and Kidada Jones. She died of colon cancer at 72 in Los Angeles,California. - https://en.wikipedia.org/wiki/Peggy_Lipton13 May 2019 – Doris Day, American actress, singer, and animal welfare activist. She began her career as a big band singer in 1939, achieving commercial success in 1945 with two No. 1 recordings, "Sentimental Journey" and "My Dreams Are Getting Better All the Time" with Les Brown & His Band of Renown. She left Brown to embark on a solo career and recorded more than 650 songs from 1947 to 1967. Day's film career began during the latter part of the classical Hollywood era with the film Romance on the High Seas, leading to a 20-year career as a motion picture actress. She starred in films of many genres, including musicals, comedies, and dramas. She played the title role in Calamity Jane and starred in Alfred Hitchcock's The Man Who Knew Too Much with James Stewart. Her best-known films are those in which she co-starred with Rock Hudson, chief among them 1959's Pillow Talk, for which she was nominated for the Academy Award for Best Actress. She also worked with James Garner on both Move Over, Darling (1963) and The Thrill of It All, and also starred with Clark Gable, Cary Grant, James Cagney, David Niven, Jack Lemmon, Frank Sinatra, Richard Widmark, Kirk Douglas, Lauren Bacall and Rod Taylor in various movies. After ending her film career in 1968, only briefly removed from the height of her popularity, she starred in the sitcom The Doris Day Show. Day became one of the biggest film stars in the early 1960s, and as of 2012 was one of eight performers to have been the top box-office earner in the United States four times. In 2011, she released her 29th studio album My Heart which contained new material and became a UK Top 10 album. She received the Grammy Lifetime Achievement Award and a Legend Award from the Society of Singers. In 1960, she was nominated for the Academy Award for Best Actress, and was given the Cecil B. DeMille Award for lifetime achievement in motion pictures in 1989. In 2004, she was awarded the Presidential Medal of Freedom; this was followed in 2011 by the Los Angeles Film Critics Association's Career Achievement Award. She died of pneumonia at 97 in Carmel Valley Village, California. - https://en.wikipedia.org/wiki/Doris_Day14 May 1919 - Henry John Heinz, German-American entrepreneur who founded the H. J. Heinz Company based in Pittsburgh,Pennsylvania. He was born in that city, the son of German immigrants from the Palatinate who came independently to the United States in the early 1840s. Heinz developed his business into a national company which made more than 60 food products; one of its first was tomato ketchup. He was influential for introducing high sanitary standards for food manufacturing. He also exercised a paternal relationship with his workers, providing health benefits, recreation facilities, and cultural amenities. His descendants carried on the business until fairly recently, selling their remaining holdings to the predecessor company of what is now Kraft Heinz. Heinz was the great-grandfather of former U.S. Senator H. John Heinz III of Pennsylvania. He died of pneumonia at 75 in Pittsburgh, Pennsylvania. - https://en.wikipedia.org/wiki/Henry_J._Heinz14 May 1998 - Frank Sinatra, American singer, actor and producer who was one of the most popular and influential musical artists of the 20th century. He is one of the best-selling music artists of all time, having sold more than 150 million records worldwide. Born to Italian immigrants in Hoboken, New Jersey, Sinatra began his musical career in the swing era with bandleaders Harry James and Tommy Dorsey. Sinatra found success as a solo artist after he signed with Columbia Records in 1943, becoming the idol of the "bobby soxers". He released his debut album, The Voice of Frank Sinatra, in 1946. Sinatra's professional career had stalled by the early 1950s, and he turned to Las Vegas, where he became one of its best known residency performers as part of the Rat Pack. His career was reborn in 1953 with the success of From Here to Eternity, with his performance subsequently winning an Academy Award and Golden Globe Award for Best Supporting Actor. Sinatra released several critically lauded albums, including In the Wee Small Hours, Songs for Swingin' Lovers!, Come Fly with Me, Only the Lonely and Nice 'n' Easy. Sinatra left Capitol in 1960 to start his own record label, Reprise Records, and released a string of successful albums. In 1965, he recorded the retrospective September of My Years and starred in the Emmy-winning television special Frank Sinatra: A Man and His Music. After releasing Sinatra at the Sands, recorded at the Sands Hotel and Casino in Vegas with frequent collaborator Count Basie in early 1966, the following year he recorded one of his most famous collaborations with Tom Jobim, the album Francis Albert Sinatra & Antonio Carlos Jobim. It was followed by 1968'sFrancis A. & Edward K. with Duke Ellington. Sinatra retired for the first time in 1971, but came out of retirement two years later and recorded several albums and resumed performing at Caesars Palace, and reached success in 1980 with "New York, New York". Using his Las Vegas shows as a home base, he toured both within the United States and internationally until shortly before his death in 1998. Sinatra forged a highly successful career as a film actor. After winning an Academy Award for From Here to Eternity, he starred in The Man with the Golden Arm, and received critical acclaim for his performance in The Manchurian Candidate. He appeared in various musicals such as On the Town, Guys and Dolls, High Society, and Pal Joey, winning another Golden Globe for the latter. Toward the end of his career, he became associated with playing detectives, including the title character in Tony Rome. Sinatra would later receive the Golden Globe Cecil B. DeMille Award in 1971. On television, The Frank Sinatra Show began on ABC in 1950, and he continued to make appearances on television throughout the 1950s and 1960s. Sinatra was also heavily involved with politics from the mid-1940s, and actively campaigned for presidents such as Harry S. Truman, John F. Kennedy and Ronald Reagan. In crime, the FBI investigated Sinatra and his alleged relationship with the Mafia. He was honored at the Kennedy Center Honors in 1983, was awarded the Presidential Medal of Freedom by Ronald Reagan in 1985, and the Congressional Gold Medal in 1997. Sinatra was also the recipient of eleven Grammy Awards, including the Grammy Trustees Award, Grammy Legend Award and the Grammy Lifetime Achievement Award. He was collectively included in Time magazine's compilation of the 20th century's 100 most influential people. After Sinatra's death, American music critic Robert Christgau called him "the greatest singer of the 20th century", and he continues to be seen as an iconic figure. He died of a heart attack at 82 in Los Angeles, California . - https://en.wikipedia.org/wiki/Frank_Sinatra14 May 2019 – Tim Conway, American comedic actor, writer, and director. He portrayed the inept Ensign Parker in the 1960s World War II situation comedy McHale's Navy, was a regular cast member on the 1970s variety and sketch comedy program The Carol Burnett Show, co-starred with Don Knotts in several films in the late 1970s and early 1980s, starred as the title character in the Dorf series of sports comedy films, and provided the voice of Barnacle Boy in the animated series SpongeBob SquarePants. He was particularly admired for his ability to depart from scripts with spontaneously improvised character details and dialogue, and he won six Primetime Emmy Awards during his career, four of which were awarded for The Carol Burnett Show, including one for writing. He died of normal pressure hydrocephalus at 85 in Los Angeles,California. - https://en.wikipedia.org/wiki/Tim_Conway15 May 2019 - Rick Bennett, voice actor, known for X-Men: The Animated Series (1992), Balance of Power (1996) and X-Men vs. Street Fighter (1996) mainly as Cain Marko also known as The Juggernaut. He passed away in Toronto - https://comicbook.com/tv-shows/2019/05/15/x-men-the-animated-series-juggernaut-voice-actor-passes-away/Bio - https://www.imdb.com/name/nm0072001/16 May 2019 – The Honourable Bob Hawke, Australian politician who served as the 23rd prime minister of Australia and Leader of the Labor Party from 1983 to 1991. Hawke served as Member of Parliament (MP) for Wills from 1980 to 1992 and was Labor's longest serving Prime Minister. Bob Hawke was born in Bordertown South Australia. The Hawke family then moved to Western Australia. He attended the University of Western Australia and then went on to Oxford University as a Rhodes Scholar. In 1956, Hawke joined the Australian Council of Trade Unions (ACTU) as a research officer. Having risen to become responsible for wage arbitration, he was elected ACTU President in 1969, where he achieved a high public profile. After a decade serving in that role, Hawke announced his intention to enter politics, and was subsequently elected to the House of Representatives as the Labor MP for Wills. Three years later, he led Labor to a landslide victory at the 1983 election and was sworn in as prime minister. He led Labor to victory three more times, in 1984, 1987 and 1990, making him the most electorally successful Labor Leader. The Hawke Government created Medicare and Landcare, brokered the Prices and Incomes Accord, established APEC, floated the Australian dollar, deregulated the financial sector, introduced the Family Assistance Scheme, announced "Advance Australia Fair" as the official national anthem, initiated superannuation pension schemes for all workers and oversaw passage of the Australia Act that removed all remaining jurisdiction by the United Kingdom from Australia. Hawke remains Labor's longest-serving prime minister, Australia's third-longest-serving Prime Minister and, until his death at the age of 89, Hawke was the oldest living former Australian Prime Minister. Hawke is the only Australian Prime Minister to be born in South Australia, and the only one raised and educated in Western Australia. He also held a world record for beer drinking; he downed 2 1⁄2 imperial pints (1.4 l)—equivalent to a yard of ale—from a sconce pot in 11 seconds as part of a college penalty. He died at 89 in Northbridge, New South Wales. - https://en.wikipedia.org/wiki/Bob_HawkeFamous Birthdays13 May 1950 - Stevie Wonder, American singer, songwriter, musician, record producer, and multi-instrumentalist. A child prodigy, Wonder is considered to be one of the most critically and commercially successful musical performers of the late 20th century. He signed with Motown's Tamla label at the age of 11 and continued performing and recording for Motown into the 2010s. He has been blind since shortly after his birth. Among Wonder's works are singles such as "Signed, Sealed, Delivered I'm Yours", "Superstition", "Sir Duke", "You Are the Sunshine of My Life", and "I Just Called to Say I Love You"; and albums such as Talking Book (1972), Innervisions (1973), and Songs in the Key of Life (1976). He has recorded more than 30 U.S. top-ten hits and received 25 Grammy Awards, one of the most-awarded male solo artists, and has sold more than 100 million records worldwide, making him one of the top 60 best-selling music artists. Wonder is also noted for his work as an activist for political causes, including his 1980 campaign to make Martin Luther King Jr.'s birthday a holiday in the United States. In 2009, Wonder was named a United Nations Messenger of Peace. In 2013, Billboard magazine released a list of the Billboard Hot 100 All-Time Top Artists to celebrate the US singles chart's 55th anniversary, with Wonder at number six. He was born in Saginaw, Michigan - https://en.wikipedia.org/wiki/Stevie_Wonder14 May 1944 – Geroge Lucas, American filmmaker and entrepreneur. Lucas is known for creating the Star Wars and Indiana Jones franchises and founding Lucasfilm,LucasArts and Industrial Light & Magic. He was the chairman and CEO of Lucasfilm before selling it to The Walt Disney Company in 2012. After graduating from the University of Southern California in 1967, Lucas co-founded American Zoetrope with filmmaker Francis Ford Coppola. Lucas wrote and directed THX 1138, based on his earlier student short Electronic Labyrinth: THX 1138 4EB, which was a critical success but a financial failure. His next work as a writer-director was the film American Graffiti, inspired by his youth in early 1960s Modesto, California, and produced through the newly founded Lucasfilm. The film was critically and commercially successful, and received five Academy Award nominations including Best Picture. Lucas' next film, the epic space opera Star Wars, had a troubled production but was a surprise hit, becoming the highest-grossing film at the time, winning six Academy Awards and sparking a cultural phenomenon. Lucas produced and cowrote the sequels The Empire Strikes Back and Return of the Jedi. With director Steven Spielberg, he created the Indiana Jones films Raiders of the Lost Ark, Temple of Doom, and The Last Crusade. He also produced and wrote a variety of films through Lucasfilm in the 1980s and 1990s and during this same period Lucas' LucasArts developed high-impact video games, including Maniac Mansion, The Secret of Monkey Island and Grim Fandango alongside many video games based on the Star Wars universe. In 1997, Lucas rereleased the Star Wars trilogy as part of a Special Edition, featuring several alterations; home media versions with further changes were released in 2004 and 2011. He returned to directing with the Star Wars prequel trilogy, comprising The Phantom Menace, Attack of the Clones, and Revenge of the Sith. He later collaborated on served as executive producer for the war film Red Tails and wrote the CGI film Strange Magic. Lucas is one of the American film industry's most financially successful filmmakers and has been nominated for four Academy Awards. His films are among the 100 highest-grossing movies at the North American box office, adjusted for ticket-price inflation. Lucas is considered a significant figure in the New Hollywood era. He was born in Modesto, California - https://en.wikipedia.org/wiki/George_Lucas14 May 1969 - Cate Blanchett, Australian actress and theatre director. She has received many accolades, including two Academy Awards, three Golden Globe Awards, and three BAFTA Awards. Time named her one of the 100 most influential people in the world in 2007, and in 2018, she was ranked among the highest-paid actresses in the world. After graduating from the National Institute of Dramatic Art, Blanchett began her acting career on the Australian stage, taking on roles in Electra in 1992 and Hamlet in 1994. She came to international attention for portraying Elizabeth I of England in the drama film Elizabeth, for which she won the BAFTA Award for Best Actress and earned her first nomination for the Academy Award for Best Actress. Her portrayal of Katharine Hepburn in the biographical drama The Aviator, earned her the Academy Award for Best Supporting Actress, and she won Best Actress for playing a neurotic divorcée in the black comedy-drama Blue Jasmine. Her other Oscar-nominated roles were in the dramas Notes on a Scandal, Elizabeth: The Golden Age, I'm Not There, and Carol. Blanchett's most commercially successful films include The Talented Mr. Ripley, Peter Jackson's The Lord of the Rings trilogy and The Hobbit trilogy, Babel, The Curious Case of Benjamin Button, Cinderella,Thor: Ragnarok, and Ocean's 8. From 2008 to 2013, Blanchett and her husband Andrew Upton served as the artistic directors of the Sydney Theatre Company. Some of her stage roles during this period were in revivals of A Streetcar Named Desire, Uncle Vanya, and The Maids. She made her Broadway debut in 2017 with The Present, for which she received a Tony Award nomination. Blanchett has been awarded the Centenary Medal by the Australian government, who made her a companion of the Order of Australia in 2017. She was appointed Chevalier of the Order of Arts and Letters by the French government in 2012. She has been presented with a Doctor of Letters from the University of New South Wales, University of Sydney, and Macquarie University. In 2015, she was honoured by the Museum of Modern Art and received the British Film Institute Fellowship. She was born in Ivanhoe, Victoria - https://en.wikipedia.org/wiki/Cate_Blanchett14 May 1984 – Mark Zuckerberg, American technology entrepreneur and philanthropist. He is known for co-founding and leading Facebook as its chairman and chief executive officer. Zuckerberg attended Harvard University, where he launched Facebook from his dormitory room on February 4, 2004, with college roommates Eduardo Saverin, Andrew McCollum, Dustin Moskovitz, and Chris Hughes. Originally launched to select college campuses, the site expanded rapidly and eventually beyond colleges, reaching one billion users by 2012. Zuckerberg took the company public in May 2012 with majority shares. His net worth is estimated to be $55.0 billion as of November 30, 2018, declining over the last year with Facebook stock. In 2007 at age 23 he became the world's youngest self-made billionaire. As of 2018, he is the only person under 50 in the Forbes ten richest people list, and the only one under 40 in the Top 20 Billionaires list. Since 2010, Time magazine has named Zuckerberg among the 100 wealthiest and most influential people in the world as a part of its Person of the Year award. In December 2016, Zuckerberg was ranked 10th on Forbes list of The World's Most Powerful People. He was born in White Plains, New York - https://en.wikipedia.org/wiki/Mark_ZuckerbergEvents of Interest 14 May 1986 - Netherlands Institute for War Documentation publishes Anne Frank's complete diary - https://www.onthisday.com/people/anne-frank15 May 1928 – Walt Disney character Mickey Mouse premieres in his first cartoon, "Plane Crazy". It was made as a silent film and given a test screening to a theater audience but failed to pick up a distributor. - https://en.wikipedia.org/wiki/Plane_Crazy15 May 2010 – Jessica Watson becomes the youngest person to sail, non-stop and unassisted around the world solo. Watson headed north-east crossing the equator in the Pacific Ocean before crossing the Atlantic and Indian Oceans. - https://en.wikipedia.org/wiki/Jessica_Watson16 May 1888 – Nikola Tesla delivers a lecture describing the equipment which will allow efficient generation and use of alternating currents to transmit electric power over long distances. His lecture caught the attention of George Westinghouse, the inventor who had launched the first AC power system near Boston and was Edison’s major competitor in the “Battle of the Currents.” - https://teslaresearch.jimdo.com/lectures-of-nikola-tesla/a-new-system-of-alternate-current-motors-and-transformers-1888/- https://www.history.com/topics/inventions/nikola-teslaIntroArtist – Goblins from MarsSong Title – Super Mario - Overworld Theme (GFM Trap Remix)Song Link - https://www.youtube.com/watch?v=-GNMe6kF0j0&index=4&list=PLHmTsVREU3Ar1AJWkimkl6Pux3R5PB-QJFollow us on Facebook - https://www.facebook.com/NerdsAmalgamated/Email - Nerds.Amalgamated@gmail.comTwitter - https://twitter.com/NAmalgamatedSpotify - https://open.spotify.com/show/6Nux69rftdBeeEXwD8GXrSiTunes - https://itunes.apple.com/au/podcast/top-shelf-nerds/id1347661094RSS - http://www.thatsnotcanonproductions.com/topshelfnerdspodcast?format=rss