Podcasts about rolling thunder review

This is an excerpt from a patrons-only episode. To hear the full thing and dozens more episodes on topics ranging from Walter Gibbons to Glam Rock, visit patreon.com/LoveMessagePod.In this patrons episode we conclude our two-parter on Bob Dylan, dragging him from where we left off last time in 1966 all the way up to the freewheeling year of 1977. Through a glut of albums we hear about John Hammond, spirituality, gnosis, religious iconography, St Augustine, Joe Hill and The Band. Dylan meets the Panthers, who don't think much of him, he gets married and divorced, sets out on the road with the Rolling Thunder Review, and lights up the silver screen. Tim and Jeremy consider the Grain of his voice, the reception history of his mid-70s output, and leave him smiling as the happy hippy uncle we wish he'd became.Tracklist:Bob Dylan - As I Went Out One Morning Bob Dylan - Lay, Lady, Lay Bob Dylan - George Jackson Bob Dylan - Knockin' on Heaven's Door Bob Dylan - Meet Me in the Morning Bob Dylan - Tangled Up in Blue Bob Dylan, The Band - This Wheel's on Fire Bob Dylan - Isis 

Scarlet Rivera is the iconic violinist from Bob Dylan's Desire album, a pioneer of the electric violin and a member of the legendary Rolling Thunder Review tour in 1976. This episode is the first long form conversation with Scarlet focusing on her unique relationship with Bob and fateful entry into rock and roll history. LOVE IS THE AUTHOR PODCAST: hosted and produced by Jaymee Carpenter.  SCARLET WEB: www.scarletriveramusic.com LITA WEBSITE: www.loveistheauthor.com SPONSORS: RAUM GOODS (www.raumgoods.com) INDIAN LODGE ROAD (www.indianlodgeroad.com) GUAYAKI YERBA MATÉ (www.guayaki.com) $UPPORT THE SHOW: www.patreon.com/loveistheauthorpodcast INSTAGRAM:  @scarletriveramusic / @loveistheauthor / @unconventionalgardener CONTACT: jaymee@loveistheauthor.com

Recorded on Sunday, October 6, 2024 we talk about Alana's experience with cancer the documentaries, the Rolling Thunder Review, and All Things Must Pass, and more.

Rob Stoner is an All-Star musician who played on Don McLean's mega-hit “American Pie”, one of the most influential songs of the rock era. He also toured with Bob Dylan on his Rolling Thunder Review. He's worked with a Who's Who of artists including Chuck Berry, Joni Mitchell, Carlos Santana, Robert Gordon and Link Wray.My featured song is “I'm Falling Off Of The World” from the album East Side Sessions by my band Project Grand Slam. Spotify link. ---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“MILES BEHIND”, Robert's first album, was recorded in 1994 but was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------‘THE SINGLES PROJECT” is Robert's new EP, featuring five of his new songs. The songs speak to the ups and downs of life. From the blissful, joyous “Saturday Morning” to the darker commentary of “Like Never Before” and “The Ship”. “This is Robert at his most vulnerable” (Pop Icon Magazine)Reviews: “Amazing!” (Top Buzz Magazine)“Magical…A Sonic Tour De Force!” (IndiePulse Music)“Fabulously Enticing!” (Pop Icon Magazine)“A Home Run!” (Hollywood Digest) Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Rob:www.robstoner.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Phil and David present the first set of some of their greatest musical hits with guests from Sheryl Crow on singing with The Rolling Stones to Jimmy Jam growing up with Prince to T Bone Burnett on touring with Bob Dylan on the Rolling Thunder Review to Keanu Reeves on his rock & roll childhood to Micky Dolenz on life with The Monkees to Henry Winkler on The Fonz meeting three of the four Beatles to Paul Reubens sharing Pee Wee Herman's meetings with Little Richard, among other legends.. All this and so many more rocking "Lunch" classics. And that's only our first set! To learn more about building community through food and "Somebody Feed the People," visit the Philanthropy page at philrosenthalworld.com.

Puede que, Cecilia, que estuvo hablando todo el tiempo del Canto Rodado,  De la canción que la tocas y te congelas, esa puede ser alguien con el nombre De una canción de J. Sabina, que decía era pobre.  La otra noche te esperé bajo la lluvia Milei horas, y esas deben ser al menos 11 Hasta que se hizo lunes de madrugada Cierto que tenías un cohete en el pantalón  Y no era dinamita eso que sostenías peluca, era un tic toc, Algo menos fría que la otra noche, cuando me dijiste estás mojado,  Y no te quiero sos un relajo, andá a ver qué hace hasta el diez con tu ministerio No era si te estabas sintiendo siniestro, era solo adiós a Evita y el domingo. Vos decís que no los conocías, te va ir mejor así,  Otro estreno, el segundo, esas encuestas no saben nada de un galgo, loco, mojado, jodete, por la expresión que más usamos.  ########## Ayer no hacía frío cuando me encontré con ella, estaba del otro lado de la rambla, saludó desde lejos y creo me dio a entender que cruzaba a saludarme y ver qué pasaba con nuestra conversación, puede que número cuatro en parques, si puedo incluir la vez que me tomaste tú la de Concepción con Fe la foto, la noche después del concierto en el Royal Albert Hall.  De ahora en más, puede ser que solo vaya a los conciertos a los que alguien me invite, hice mover las ruedas algunas veces para poder llegar a otros conciertos. En los días en los que vivo no me sobra plata para ninguna entrada de nada, además tengo compromisos a los que acudir cada noche, en el piso 10 de un bar en un techo en un hotel en alguna parte de los pocitos  A mi amigo le dije que nos volvíamos a ver, y que bueno estaría que mueva sus pasteles, pinceles y pinturas antes que esperar a RICE DAY. Por el registro vuelvo a pasar cuando son más de las 3 y media de la tarde, casi las cuatro, eso depende de si frenamos antes en la plaza de la z que tiene rejas y una circunvalación con el nombre de un romance en un disco de Dylan. No quiero imaginar la gira de Mona haciendo la segunda gira en la que agrega las canciones de la Rolling Thunder Review. Mañana aparece el de las iniciales en el teatro de verano Fin de la cuenta regresiva, para tú nunca vas a vivir con gente como uno.

Did you miss Taylor Swift's The Eras Tour or Beyoncé's Renaissance World Tour? Fear not Swifties and fans of Queen Bey as they both have concert films due out soon. Concert films are nothing new. Since "Woodstock" in 1970 — and even some earlier films that The Beatles did as they slowed and stopped touring — films have captured important festivals and tours, and provided insight into bands as well as the fans during specific time periods. And even acclaimed directors have gotten into the act. Martin Scorsese has directed some of the most notable concert and musician biopics of all-time when not busy with gritty dramas. Crank up the volume as co-hosts Bruce Miller and Terry Lipshetz talk about their favorite concert films of all time, discuss the marketing genius that is Taylor Swift, and share additional stories and thoughts as well.  Where to watch "Taylor Swift: The Eras Tour" in theaters Oct. 13 "Renaissance: A Film By Beyoncé" in theaters Dec. 1 "Woodstock" (1970) "One Direction: This Is Us" (2013) "The Last Waltz" (1978) "No Direction Home: Bob Dylan" (2005) "George Harrison: Living in the Material World" (2011) "Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese" (2019) "Michael Jackson's This Is It" (2009) "Diana Ross" Live in Central Park" (1983) "The Song Remains the Same" (1976) "Led Zeppelin: Celebration Day" (2012) "A Hard Day's Night" (1964) "Help!" (1965) "Gimme Shelter" (1970) "Les Misérables 25th Anniversary Concert at the O2" (2010) "Springsteen on Broadway" (2018) "U2: Rattle and Hum" (1988) "Medusa: Dare to Be Truthful" (1991) "Hamilton" (2020) "1991: The Year Punk Broke" (1992) Contact us! We want to hear from you! Email questions to podcasts@lee.net and we'll answer your question on a future episode! About the show Streamed & Screened is a podcast about movies and TV hosted by Bruce Miller, a longtime entertainment reporter who is now the editor of the Sioux City Journal in Iowa and Terry Lipshetz, a senior producer for Lee Enterprises based in Madison, Wisconsin. Episode transcript Note: The following transcript was created by Headliner and may contain misspellings and other inaccuracies as it was generated automatically: Terry Lipshetz: Welcome, everyone, to another episode of Streamed and Screened an entertainment podcast about movies and TV from Lee Enterprises. I'm Terry Lipshetz, a senior producer at Lee and co host of the program with our band leader Bruce Miller, editor of the Sioux City Journal and a longtime entertainment reporter. So if you're John Lennon, does that. Bruce Miller: Make me Ringo? No Paul McCartney. Oh, I'mccartney you get to be the big one. Why not go for the good one, right? Terry Lipshetz: Exactly. Taylor Swift's concert film is coming out next week Terry Lipshetz: So music. Taylor this is the week. Bruce Miller: This is the week. Did you know this? If you were a Swiftie, you would know these kinds of things, and that is that Taylor Swift's movie is coming out in the next week, and it's based on her era's tour. What I like to look at this as those of us who couldn't afford or get tickets to her tour will be able to see it without having to really bust a hump. Terry Lipshetz: That's the best part to me about concert films is that it's a great way to get you to the show, if you can't get to the show, because sometimes some of these tour stops and, I mean, you're in Iowa, so for you, how often does I mean, you'll get shows. Sure, come to Iowa, but not something this big, right? Bruce Miller: Yeah. Terry Lipshetz: You got to travel. You got to go to Chicago or, Minneapolis. Bruce Miller: I had friends tell me they spent $12,000 to see Taylor Swift. Terry Lipshetz: Holy cow. Bruce Miller: $12,000. Someday this will sound like I'm, absurd thinking that that's a lot of money, but in this day, it's a lot of money. It factors in the price of the tickets, the cost of getting there, the hotel room you have to have. I mean, it's like, I don't know that there's anybody on this earth that I would spend $12,000 to see. Terry Lipshetz: I don't have that kind of spending cash. Bruce Miller: But knowing that it is coming out on film, on DVD, I'm sure eventually all those kinds of things, it's an opportunity for all of us to enjoy whatever it was that was put out there and then maybe be even a little more critical about what they saw. Because I think they were all caught up in the enthusiasm of the moment. So I don't know. Maybe it isn't that good. Maybe 44 songs is too many. Who knows? Terry Lipshetz: It sounds like, from what I've heard, it's a really good show. I've seen a lot of clips of it. If you like Taylor Swift, I think it's definitely a show you want to see. I keep hearing 44 songs, but it's not like she performs them in full. There are some snippets here and there, and she kind of goes through the eras. No word if there is ranch dressing involved. Did you hear about no, no. So she's dating or at least seeing Travis Kelsey from the Kansas. You can't escape. Bruce Miller: Right. Terry Lipshetz: So every little thing she does now gets dissected, and on social media. They were looking when she was at the Chiefs game in her luxury suite, somebody spotted a picture of her with a chicken finger on a plate with what appeared to be ketchup and then a white substance that was labeled as seemingly ranch. Seemingly ranch. So ranch dressing companies, are like, running with it. Taylor eats ranch dressing. Bruce Miller: Who knew that she had such clout? Right. Terry Lipshetz: Right. It's crazy. Bruce Miller: Anything she does when she was here, she did play here way back in the early, early days when she was considered a country artist, if you dare say that. And, the thing I found most amazing about her is that she didn't do her t shirt in one style. She did the look of it in like five different colors. So these fans would want all five of them. And I thought that is a brilliant marketing decision by somebody that you weren't just getting the tour shirt, you were getting all of them. Because, if I'm going to get one, I got to have them all. What color do I pick? How do I pick? What am I going to do? So marketing genius. I think she's far more skilled at selling herself than she is at anything else. And that is not a diss. That means that she is just a genius at it. She should be teaching this at Harvard. Terry Lipshetz: Well, you know, with me, I'm, a record collector because you've seen my music collection and stuff in the background. Taylor. It extends to releasing physical media. So with the, album, actually, all of her recent albums, she'll release it on vinyl on a standard black edition. Limited. Limited, but well, the black is always that's standard. You can get that anytime you want. But then there is a different colored version that you can buy at Target. And then you can buy four different versions with four different album covers on four different colors through her website. And she puts them up at these intervals, like for the next 48 hours, only you can buy this one. And then it goes away. And then people freak out because they're like, you're making me buy it multiple times and you're charging me shipping multiple times. Why can't you just put it all up? But people will do that. I've seen people on social media sharing out. She's only got it's not like she's got 35 albums. She's got a solid catalog of a dozen different albums or so. But each one has like five or six or ten variants. Like you could literally have a, ah, collection of 200 Taylor Swift records. And it's just like a dozen albums. Bruce Miller: At this point, which is kind of unreal. That is crazy. Terry Lipshetz: And people buy like Taylor's army. They will buy it. And it's like, as I said, I'm a record collector. I do have multiple copies of certain albums, but it's less about like, I need a black version and I need a green version and a red version. It's like I've got the original pressing, an early pressing of Born to Run by Bruce Springsteen. I have a Japanese copy. I have a UK copy. They're pressed in different places, so the sound might be a little bit different. Bruce Miller: Are they unplayed? Do you keep them so that nobody touches them? Terry Lipshetz: No, I play them. And that's a little bit of the difference with some of the Taylor Swift fans is they might play one copy, but then they've got 13 that sit on a shelf or they hang on a wall or something. Bruce Miller: That could end up being the Beanie Babies of our era. It's going to be, should I say eras? Terry Lipshetz: eras. yes, Beanie Babies of our so. But yeah, like shameless self promotion. Beyoncé's film drops after the end of her tour Terry Lipshetz: Bruce, if you do want to check me out on social media, my Instagram handle is at vinyl underscore Terry. And you can just see what music I'm listening to. Bruce Miller: I will look. That's great. Check it out. The Beehive is also or the Beehive, I should say, is going to have its film in. Know, she's once she sees what Taylor does, she's got to do one better. Terry Lipshetz: well, and her strategy is a little different. So with Taylor, she's a little bit on hiatus at the moment. She's taking a small break in her tour. Right. Well, she goes I think in another month she heads down to South America. She's going to do like, Argentina and all that. So her film is going to drop October 13, I believe. And then, with Queen Bey, her tour is over. So she's going to drop hers on, I believe it's December 1 and it's going to air in theaters on Thursdays, Fridays, Saturdays, and Sundays for about four weeks. So it's going to be like a limited run month of December. But her tour is done. So it's not like right. You either saw it and want to relive the moment or you missed it and here's your opportunity. Whereas with Taylor, this is just kind of just another opportunity to see her. And then you can fly off to South America or you can wait for her to circle back in North America next summer. Bruce Miller: We've got to spend $12,000 and follow her around. Terry Lipshetz: Yeah. Bruce Miller: And then go to all the, Chiefs games to make sure that we see that in case she happens to wave to the audience from the skybox. You know how it is. Well, I must tell you, I have followed these kinds of films for know going Back to Woodstock was probably the first good concert ish film because it did give you a sense of it and made me glad I never went there because I don't think I could have withstood Mud and all that kind of whatever crap was invited. I was in California one summer and I was invited. I think it was summer. It either was summer or January, but it was the, preview of, One Direction's film. One Direction had a film called this Is US. I think it is. This is us. Terry Lipshetz: Okay? Bruce Miller: And they were having this sneak in the Grove, which is a kind of upscale shopping center in Los Angeles, okay? And somehow the word got out that this was going on and all these little girls who were fans of One Direction gathered there. They were outside this theater like you couldn't believe. It was like the scene in Frankenstein where the villagers are going to storm the castle because they want in. And they had heard that One Direction was going to be there. That they were going to turn up for, this screening that they weren't invited to that they couldn't get into. And so I'm sitting in the theater, right? And we get the manager of the theater looking just really whipped and he says, whatever you do, do not leave your seat. If you leave your seat and you leave the theater, you will not get your seat back. Because if somehow they break in and they start sitting in the seats where there aren't people, we can't kick them out, huh? We have no way of doing it. So please do not leave your seat. And we heard people pounding at the door outside and this made news. You'll find if you want to go back and look it up, pounding at the door, insistent that Harry Styles was in there somewhere and we were keeping them from meeting him. It was unlike any situation I've ever been in that's, a preview of anything. Was the movie okay? I have no clue. I was worried that I was going to be beaten by a twelve year old at some point because I was in there sitting and watching this movie that meant so much to them. Terry Lipshetz: But they weren't well, they, didn't show up, right? Bruce Miller: They were out there, but the cops came and the cops kept them and got them out of the theater. So they were not in the theater at all. And then when we walked out, you could see that there was like you who was in there? Who was in there with you? Did you see Niall? Was he in there with were the kids were real questioning. I thought they could kill people. I think they really could kill people. Terry Lipshetz: They probably could if you're determined. If you're determined. Bruce Miller: And so then I said, oh, it was wonderful. You've got to see this film. It's just so yeah, yeah. Scorsese directed a documentary about Bob Dylan's 1975 concert tour Terry Lipshetz: Woodstock, though. That's probably the first concert film I had ever seen. It was actually one I'm trying to think when my dad let me see it because it's a know, there's some language in it, there's some drug use in it, there's definitely some nudity in it. And it may have even been the first movie I had seen with nudity. But it's really a fascinating look at what went on. I think my dad always had a real connection with it too, because he bought tickets with friends to Woodstock. Yeah, he didn't get to it. He got stuck on the New York State throughway and eventually had to turn around because they left a little too late on whatever day it was. And by that time it was crazy. People had stormed the grounds. It had become a free concert. And he was angry. So he did what any other person who bought a ticket tickets? No, he sent it back and got a refund. And he regrets it. he regretted it for the rest of his life because he wished he could have had that ticket stub of like, I actually bought a ticket and I couldn't get there. But yeah, it was all of his favorite bands were playing. It's an incredible thing. So I think he always wanted us to, my siblings to really feel that connection with him, with Woodstock. But it's a fascinating film too, because Woodstock, up until that movie, was just a financial disaster. And it took that movie to kind of help them break even, basically. Bruce Miller: Well, and it showed you how acts that they weren't counting on turned out to be the stars really made their fortunes for them. Whereas other ones that they were counting on, it's like, well, not so sure here. This is not necessarily the star. Terry Lipshetz: Yeah. And you know who, not a director of the film, but one of the film editors of it. Do you know what famous, director Scorsese was? One of his earliest, works was as a film editor on Woodstock. Bruce Miller: See what happens see what happens when you're available and you can get to that place. Terry Lipshetz: Right. Bruce Miller: Only but he wouldn't have gotten a t shirt because he probably weren't selling any. Terry Lipshetz: yeah, but Marty, and we know Martin Scorsese by Marty because we're. Bruce Miller: He'S one of our pals, right, right. Terry Lipshetz: But he's got a long history in doing movies, documentaries, know musicians. He directed The Last Waltz, which was the final concert of the Band. He did, ah, no Direction Home, which was the documentary about the early life of Bob Dylan. They captured him leaving Minnesota and then going to New York and kind of rising through the folk scene. And then it kind of ended, when he plugged in. He did a documentary on, George Harrison. did you ever see the one he did called, Rolling Thunder Review a Bob Dylan Story. Do you remember that one? Bruce Miller: No. Terry Lipshetz: So he directed this and it was the most bizarre thing. So it's based on Dylan's concert tour during I think it was 1975, it was a transitional stage in Dylan's career. But he went out with this huge group of people. It was like 20 people on stage. It was almost like a circus dylan painted his face. He had like white makeup on every night and wore a big hat. And it captures a lot of those performances. But the film that Scorsese did was almost part fiction because it plays into the myth that is Dylan. And it talks like, I think Sharon Stone was in it and she talks about how she was a groupie during but she wasn't, she wasn't on the tour with Dylan at all. But they added in, for whatever reason, different moments of fiction to what was actually supposed to be a documentary of his tour of the mid seventy s. So it's kind of a crazy oh, my crazy thing. Yeah. Bruce Miller: One that I am fascinated by is the Michael Jackson one. Supposed to be about his last concert tour. And they kind of created it into that tour. I mean, if you were there, you would see all of the numbers that they were planning to do, but you realize in the course of that somewhere, there was no way he was going to be able to produce this every night. He couldn't. He didn't have the energy, he didn't have the stamina. I mean, it was fascinating when they did each number, but you'd think somebody's got to go get some oxygen at some point because it's just way too much. And it's telling because it shows how talented he was, but also how old he was. And the idea that you can do that maybe past your prime is unreal. But if you haven't seen that one, please watch it because it's unbelievable. Terry Lipshetz: This is it, right? Yeah. And that came out in 2009. I remember watching that one and it was really fascinating because it took you inside of the prep for the tour. But it was also really sad too, because you were seeing his decline basically too at the time. Obviously, in retrospect, when you see it, you're like, well, okay, that makes sense. But at the time you probably didn't even realize that he was nearing the end of his life. Bruce Miller: Right? Well, I think it's one of those things where he thought, too, I'm not going to do it. I'm not going to be able to do this. This isn't going to happen. Instead of doing it once and doing it for film it and then you never have to do it again, why know, right. Do you remember when HBO was real big about doing these live, specials? And there was a Diana Ross one live from Central Park, and it started to rain, and it was like the worst rain ever. And not as bad as the one they've had recently, but it was bad so that the people were like, well, she just kept on going. She was the bunny and wouldn't let it up and come on, everybody, sing with me. And it's like, wow, this is real. But I think they like that document of their time because it is a way to mark certain hallmarks of their career. And then also it's a way for fans to say, you know what, she or he really was that good. Terry Lipshetz: Yeah, I won't watch every concert documentary out there. But if it's a musician that I at least either like or respect, I like to check it out. Because it's always a good time capsule to kind of see what happens. Led Zeppelin's concert films bookend two eras Terry Lipshetz: An interesting one for me is, The Song Remains the Same, the documentary concert film, about the, Led Zeppelins tour from 1973, where they filmed it at Madison Square Garden. And here is that band at, really the height of their popularity, right? It's middle of their career. Things are crazy. And it captures the moment. And that came out in 76. And then years, years later, they did another concert film. And it's called Celebration Day. And that came out in 2012. Now, this is after John Bonham had died. And after John Bonham died, the band broke up. And they swore, we're never getting back together. And there were little things here and there, like Robert Plant and Jimmy Page did a side project together. But they never really went back out. I think they had that one off, like at Live Aid, where they came together and played. But they never again really did any sort of tour or anything. They swore we're never going to reunite. But then they ended up doing, a benefit concert at the Two Arena in London. And it was just a one off. And they said, we're going to do it. We're doing this benefit. It's for one of their early managers or promoters. So that's the only reason we're going to do it. And it's sold out in minutes. And the cool thing about it, though, is that they brought in Jason Bonham, who is John Bonham's son, to play on drums. And I always thought it was cool watching that concert. Know, you knew that this is know, you're not going to be able to see them again. They're never going to get back again. But they opened it up with the song Good, Times, Bad Times. And it was very much like a drum driven song. So we're going to open it up. We're going to let Jason Bonham kind of take center stage in honor of his dad kind of thing. And then they kind of tore through like 16 songs after that. So it was a really nice moment. And there's a band that kind of had two ends of the spectrum. Like one at the height of craziness in the we're like grandparents now. But this is us. We're going to get back to one more time. We're going to honor a friend of ours and do it one more time. And I thought that was pretty cool. Bruce Miller: Well, and we look at the Beatles really did concert films too. They just did them more like music videos, right, with all of their kind of help and you name it, Let It Be, all that kind of stuff. Had a moment. They never really sat it down and did, something that we're seeing a lot of, but so we still have that kind of record of their time on earth. The Rolling Stones, however, had, give me shelter. Terry Lipshetz: And do you? Bruce Miller: That was like, wow, yeah, those times. I don't know that I would have been eager to go to those concerts at the time. But in retrospect, as an older person with more hopefully smarts about what I'm doing, I can appreciate it much more than I would have at the time. I would have been worried about getting out. Are we getting out time? Ah, is the parking going to be bad? Do I have to worry about all that? You know what I mean? Now it's a lot of fun to watch it, and especially when they're still performing. I'm sure every move they make now when they're in concert is photographed somewhere, somehow. We didn't have social media back in the day, so everybody wasn't holding a phone up and, recording it. They were just appreciating what it was at the time. Terry Lipshetz: The Beatles, it's an interesting example because they had several movies that are still popular to this know, like A Hard Day's Night, and there were concert elements within the film, but it was more of a traditional film. But it captured Beetlemania, ah, at the height of Beetlemania. So if you weren't there in the experience, Beetlemania, even though it's kind of a light hearted film, you still got the essence of it. And then you got some of the goofiness with help and all that. But it's really a shame with them because they stopped touring in the mid 60s because they couldn't hear themselves. And if you ever get a chance, I have like a bootleg DVD of their Shay Stadium concert. And it's the craziest thing. It's like a 25 minutes concert. I mean, that's all their concerts were back there. They would do 20 songs in 25 minutes and then they were done. Bruce Miller: Wow. I've been to the theater, the Ed Sullivan Theater, where they did their big performance on television, the first one. And the place is small. It's really small. And I remember seeing people in the balcony, like they were jumping up and down and were so excited that they thought it was going to come down. And you realize, wow, we were really kind of duped back in the day thinking that it was just this huge Madison Square Garden kind of experience. And it was just a small you know, the cameras made it look like it was much bigger than it actually was. Terry Lipshetz: If you ever get a chance in New York City, you take the NBC Studios tour and they usually will take you to a couple different sets, including it's like they always do Saturday Night Live, and then they'll give you like, one or two. And I remember when I took the tour one time we went to the Saturday Night Live set, and you're just kind of blown away because you realize you actually can't see some of if you're in that studio audience. Because of the way they have to arrange the floor. They might be filming part of it off to the side where the audience can't actually see it. And you have to watch it on monitors. You just see where they come out for the monologue and you see where the band performs. But then some of the other configurations are all over the place. And then we also went out to, I think it was Conan O'Brien's when he was still it was before he the Tonight Show, and he had that late, night program. And I remember going there and we saw the Max Weinberg drum kit sitting out there and Conan's desk. But it's tiny. It's a tiny little. Bruce Miller: Sneaky. Yes. Bruce Miller: you mentioned Saturday night. I was lucky enough to have been there during the early years. I saw an episode that, I don't know if you remember any of these things, but there was a dance that Gilda Radner and Steve Martin did and they were, like, going all around the whole area and they came near me, and I was able to get on camera at some point with them. So if you ever have access to that, go back and look. But it was fascinating because you could not see all of the skits. There could be a skit right down below you, but, you can't lean in and look at that. And so you'd basically get to see a couple and that's about it. But, the flurry of activity that's going on between the skits is just amazing. And then the sound is really good for, the guest artist, whoever is singing that week or whatever. It's really good. a couple of times I've gotten to go to Saturday Night Live. It's like the most impossible ticket to get because, at best, you're going to get a rehearsal ticket at this point because they do a rehearsal before they do the final show, right? And, somehow they'll let people in there. But you really need to know somebody if you're going to go to the actual show itself. So put that on a bucket list. It's really worth it. Bruce Miller: You had mentioned back a little bit earlier about the two this huge venue in London, and, every year, it seems they're rerunning this on PBS. And that's the Les Miz anniversary special. And it's just unbelievable. I love the show. Les Miz arabla. As a musical, it's wonderful. But this they combined a whole bunch of old stars, people who had been in it before, made this kind of masterful thing. And then you saw these people walking up the aisles of this show and it was like, oh my God, I can't believe this. And those are those once in a lifetime experiences that somehow need to be captured on film. But The Two is a place where they all play at some point. Look at all the things they did when Prince Charles and, when Queen Elizabeth had her anniversary. You name it, they did something there. And it's a place I'd love to go to just to see what it's like in person. Terry Lipshetz: Yeah, that would be a fun one. And then you think about entertainment destinations now, too, with The Sphere in Las Vegas with U Two and U Two, because U Two is such a visual band that they're able to utilize the interior. I mean, that's just amazing. It's just a giant Led screen, basically. But they had a concert film as well. I don't know. Do you remember Ratle and Hum? Bruce Miller: Oh, yes, I think we got them. And get it free. If you had like, some Apple product, they gave it to you. Terry Lipshetz: I don't know, you might have, but no, I think that might be something else. But Ratle and the Hum came out in, I think it was 1988. And it was a combination, album. It was like a live album that came out after The Joshua Tree. And it also had a companion film that went with it. The companion film. Some people love it, some people hate it. I don't know if there's very many people that are kind of like in the middle on this one. It's really bizarre. So on one hand, you get a lot of performances from the Joshua Tree tour, which is really at that know, they had a few earlier albums that did were critically acclaimed, but they didn't necessarily explode commercially. But The Joshua Tree exploded commercially and they had huge hits. So they documented parts of this tour and they shot a lot of it in black and white. But then near the end, they went into color. But then they had these intermittent weird side journeys where they went to Graceland and they talked about their love for Elvis and they met with BB. King and they did this. And it was just kind of a strange document of the time. I would have been happier with. Just give me 25 songs of a straight YouTube concert. If you got to take a few performances from a few different shows, so be it. But, I don't know. I could probably have done without the side commentary. Yeah, exactly. Because I love you two and I've seen them in concert and I have all their albums. But Bono has a certain way about them, I guess is a way of saying it. And it's just like they're a little bit too over the top sometimes, even for me. I think Rattle and Hum really, it sums up that time, at least, even though. Bruce Miller: All those little pop stars. Anna Montana, right? bieber had one. I think it was 3D. Katy Perry, you name them, they all get these movies at some point. And it's somebody saying, you know, here's how we can make the budget on that tour. That didn't go so well. We'll put out a movie, and then we'll make up the difference that we lost in, know, having that big set piece that you had. There was a great mockumentary about Madonna's tour. Remember how Madonna had the cone bra and all that? And Julie Brown. Not the Julie Brown that you remember from MTB, but a different Julie Brown who was a comedian, did her spoof of was. So I think she called herself Medusa or something. Terry Lipshetz: Okay. Yeah. Bruce Miller: But if you ever get to see that, it is such a hoot. It makes fun of these in the best way. The best way. And Madonna had to have loved it. And she's another one who should look at those things and say, I'm glad I have this document. I really am. Because I don't know that her tours now are as iconic as they should be. Gaga she has done things. She's done films or specials, but I don't know that she's done one of these kind of big movie things that would have told all or showed all or whatever. And maybe she's ripe for one. Terry Lipshetz: Maybe. You know which one I really like, too. And this was an opportunity because I couldn't get to New York, and I'm a huge Springsteen fan. And then this is like my other Broadway. Yeah. In my other shameless self promotion, I have another Instagram account called at Bruce Springsteen Collection, where I document all of the Springsteen albums in my collection. And I'm not just talking about the regular stuff. I've got some things that were not officially released that I show off on this thing. Bruce Miller: But does Bruce know? Terry Lipshetz: He knows this stuff is out there. Bruce Miller: Okay. Terry Lipshetz: but, yeah, no, I'm a huge hardcore. I've seen him in concert 1314 times at this point. Bruce Miller: Why didn't you go to the Broadway show? Come on. Terry Lipshetz: Yeah, I mean, I really wanted to, but the cost for tickets, I got to travel from the Midwest to the city. Yeah, it's an expensive show. So, when Netflix made the deal to air, know, one of the performances of Spring Scene on Broadway, it was a really good opportunity. And I would have loved to have gone to the Walter Kerr Theater to see it live. But I think in this type of setting, the way they filmed it, you felt like you were right there. Terry Lipshetz: It was a very well done documentary, know, whatever you want to call it. it captured the know, it was kind of like, with Hamilton, because if you couldn't see the original cast, you at least got to see it on Apple TV. And I think that was a good second opportunity. And I think that's what this is. Bruce Miller: I told you my story about Hamilton, right? That I was determined to see Hamilton no matter what. Terry Lipshetz: No, I don't think I heard this one. Bruce Miller: Oh, do you mind if I go ahead. Story. The thing about me is I have to see the original cast. I have to see the original actor in a Broadway show or I don't feel like if it's a big thing sure. And I knew that Hamilton was going to be a big thing even before Hamilton was a spark on anybody's radar. And then it got out there and I thought, I've got to go, but when am I going and how do I get tickets? And it was like this whole thing where I couldn't get the tickets. The tickets were just outrageous. And I decided I was going to go on StubHub. And so StubHub I went on, and it was like, 1000 something for the tickets, and am I going to spend $1,000? And then I start rationalizing all these things. Well, life is short. You're not going to be around that much longer. You want to see it, you should go. The original cast was breaking up after that. I was rationalizing. Terry Lipshetz: Right. You played it out, like, 15 steps and you're like, I'm on board. Bruce Miller: And it got down to the point where it was $777. Terry Lipshetz: Oh, you got to do it. Bruce Miller: And I did it. I jumped. And then I was at a hotel and we had to add, you know, how this thing is where you print out the tickets, but you're not really sure about all this, and you think, oh, they're going to take money to the cleaners and I'm going to lose $700, and it's going to be just the worst, right? Terry Lipshetz: Yes. Bruce Miller: And so I went to the business office at the hotel and they said, yeah, these are pretty good. You should be all right. You shouldn't have a problem. But if I were you, I'd get to the theater early, because if somebody sold this ticket twice, which could happen, you won't be the one who gets in. It'll go the one who got in before you. I made a beeline to that theater as fast as I could. And when I heard that M of the ticket, it was like, yes. So I get to my seat, and the seat was really good. And I'm talking to the people next to me. And there was a family from Los Angeles who came because the daughter had been listening to the album all along and wanted to see this. Right. This was her goal. And they gave up going to any other shows. They weren't going to any kind of theme parks. They weren't doing anything but Hamilton. And they spent $10,000. And they were sitting next to me. And we talked to people, like, in the row before us. They spent nothing. Somebody handed them tickets at the theater. So there were all these kind of stories that were going around among the people, and you felt lucky. You felt like, I have won the lottery. I am here. And then you hear and you think, this is, like, the most unbelievable experience I've ever been in my life. It was everything. And then a little bit more. And I'll tell you an, intermission. I ran to the merchandise table and bought $200 worth of crap just because I wanted to prove that I had been to Hamilton, right? So it was my thing. And I realized, you know what? It was money well spent. It was really money well spent. Now, when I saw the Apple version of or I mean, the Disney version, disney plus version of, Hamilton, it was perfect. It lived up to all of the things that I remember, because after that cast, the original cast left. I did go see it again, and it did not live up to the hype. But having seen the original cast and then seeing the original cast do the filmed version of Was, if you want to know how good it was, watch that. It was very good. And I think they did a great job of capturing that whole moment. But, yeah, that's cool. My Hamilton story. So for the next year after that, I got more Hamilton crap from people because they said, well, you're the one that really likes Hamilton, don't you? Here's a hamilton. Whatever. But I had talked to Lin Manuel Miranda before he was even writing it. He was on a TV series as, like, a third stringer. And I said, well, what are you working on? Because he had done some other stuff for the theater. And that if you know anything about me, I'm just a hardcore theater person. I live for that. And he said, well, I'm working on a little thing I call the Hamilton mixtape. It's a show about Alexander Hamilton, but it's done with rapid hip hop and that kind of stuff. He says, we'll see where it goes. And I'll look where it went. Terry Lipshetz: We'll see where it goes. It may pan out. Who knows? Bruce Miller: It's a fascinating story. And then to even take it further, while he was doing Hamilton, he was writing the songs for Moana. He would do zoom calls with the directors of Moana, who one of them happens to be from Sioux City. And he would tell me about how yeah, he'd come after before they start the show or during an intermission or whatever, and they would like, work well, this song needs to be this, and this song needs to be that. Okay, I'll work on it, and I'll get you another one. And then he'd go out and do the show. Terry Lipshetz: That's crazy. Bruce Miller: Yeah, it's weird, but there's your $0.02 worth on those kind of direct to the screen versions. Bruce Miller: But you know what? I think these are ways for all of us to enjoy entertainment that we maybe don't have the access to. Terry Lipshetz: Absolutely. Bruce Miller: It's an affordable way and you still get all the bells and whistles. And even if you had a bad seat at the show itself, if you did go, here's a way to see things that maybe you didn't see. Terry Lipshetz: Yeah, and it's a cool way too, because it captures the moment of the time. So if you're like me, who I'm in my later forty s and I was born after Woodstock. I can see what m people of my parents age looked like and acted like ah, as youngsters and realized that some of the things that they yelled at me for, they were doing them also back in. Bruce Miller: As someone who was around, I will tell you they were just as bad, if not worse than we see kids today. Terry Lipshetz: Yeah, exactly. And then I look back at something like 1991, the film The Year Punk Broke, which looks at bands like Sonic Youth and Nirvana when they exploded in the early ninety s. And I watched those and I'm like, oh, did I really dress that way in high school? Yeah. Oh man. Bruce Miller: No, it's fascinating. I was talking to a college student today, and she was doing a project for one of her design classes. And she says, I am going back to the I'm trying to kind of conjure all those things that were big in the some of these things that you're coming up with weren't in the little careful, because I don't remember this stuff. And I remember the 70s like nobody. Terry Lipshetz: You do. Yeah, you absolutely remember them. So again, we've got October 13, Taylor Swift's, the Era's tour film, coming out. Beyonce has her film coming out in December. And check out some of these films that we talked about opportunities like Woodstock, Ratle and lot of like Scorsese has done a lot of if you're into like like you know, he's got a lot of things besides, the gangster films. He loves music and it plays into all of his films and he's done quite a few, so a lot of good things. And he's got a new movie coming up and then we have another episode coming out next week. You have an interview with that, right? Bruce Miller: With Goosebumps? Yeah. Get ready. We're getting closer to Halloween and they've rebooted Goosebumps. They had a series where they would do a different book for each episode. Now they've created a kind of a mashup where they put the characters together and they're telling stories from four or five different books in the course of a season. And you'll get a chance to hear the producers talk about why they did what they did with this. And it's a little more adult than you may remember the Goosebumps book being. So look for that. That's next week when we come back on Streamed and Screened. Terry Lipshetz: Sounds good. So we'll talk about Goosebumps and we'll talk about maybe some other family friendly ish kind of Halloween things that we can dive into if you must. Bruce Miller: If you're not we're talking about saw. Terry Lipshetz: I will tap out. If we're talking horror movies, I am tapping out before we get started. We won't do saw. None of that stuff. I like to get a solid night's sleep, Bruce. I don't need horror things flashing through my head. That stuff's scary. I don't like scary things. Bruce Miller: Yeah, we'll play the Springsteen white noise machine, and you'll be able to go to sleep. Terry Lipshetz: Sounds good. All right. We'll be back again next week with another episode of Streamed and Screened.See omnystudio.com/listener for privacy information.

Extra thanks to our episode 60 (!!) guest Ellie Lloyd, Executive Creative Director at Glow, who joined us amidst a tropical storm that was falling on top of her Los Angeles home. But the connection holds out and we get a special look at her extensive career in advertising with a focus on promoting for hit movies and television series like The Last Jedi, The Rolling Thunder Review, Mayans, The Chilling Adventures of Sabrina, Legion, Ready Player One and more. She brings us insights on building fandoms, why "nothing moves as fast as TV," and managing mental health while in such a demanding industry. Episode Links:Ellie Lloyd dot comEllie talks mental health with Ad AgeThanks for ad'ing a little Bad to your day ;) now follow us on Twitter dammit More Links: Pod SiteBrian's BookEric's InstagramAmelia's Book

Nous recevons deux musiciennes, compositrices et interprètes, Kyrie Kristmanson pour l'album Floralia et Dom La Nena pour Léon, album instrumental du nom de son violoncelle. Un peu de Canada et de Brésil à Paris. (Rediffusion) Notre première invitée est Kyrie Kristmanson pour la sortie de l'album Floralia.Kyrie Kristmanson est une aventurière des musiques qui aime naviguer entre le folk nord- américain et la lointaine mémoire du Moyen-Âge européen. Son premier album, Origin of Stars, s'inspire des vibrations des paysages canadiens qui l'ont vus grandir. Récompensé aux Canadian Folk Music Awards, l'album est sorti mondialement chez NØ FØRMAT!/Universal France en 2010. Elle saisit les spectateurs du Printemps de Bourges et elle séduit Emily Loizeau qui l'invite à assurer ses premières parties. La tournée qui suivra l'amènera à travers l'Asie et l'Europe jusqu'au sud de la France où, intriguée par l'histoire portée par les pierres, elle visite les ruines des châteaux médiévaux. Ces vestiges l'inciteront à retracer le répertoire lacunaire des premières compositrices : les trobairitz. Après avoir complété une thèse à leur sujet à La Sorbonne, c'est en prenant la liberté de s'approprier ces poèmes d'amour qu'elle compose un second opus : Modern Ruin. Arrangé pour quatuor à cordes et voix par Clément Ducol, son hommage à ces compositrices méconnues est sorti chez Naïve en février 2015. Fascinée également par les découvertes de la physique quantique, Kyrie s'est ensuite interrogée sur l'hypothèse d'une tradition musicale venue d'un monde parallèle. Le résultat de ce questionnement est l'album Lady Lightly, un folk-cosmique qui semblerait avoir voyagé des années-lumière à travers des cieux stellaires. Enregistré dans une aile abandonnée du Château de Versailles et réalisé par Saint Michel, la tournée se fait aux côtés d'Étienne Klein, philosophe des sciences. Kyrie Kristmanson ne cesse d'explorer et d'expérimenter avec sa guitare et ses chansons habitées par de très anciennes et très puissantes énergies.Personnalité excentrique à l'univers singulier, l'aventurière canadienne Kyrie Kristmanson est une artiste folk-pop baroque dont l'univers musical s'inscrit dans la famille des grandes chanteuses insolites telles que Kate Bush ou plus récemment Jeanne Added, avec qui elle a partagé la scène.Après avoir sillonné les scènes de France et au-delà avec ses précédents albums —du Printemps de Bourges aux Primeurs de Massy, en passant par les Folles Journées de Nantes— Kyrie Kristmanson nous dévoile Floralia, un cycle de chansons dédié à Flora, déesse de la nature et de la féminité. À travers des mélodies folk éthérées ainsi qu'un lyrisme sensuel et mystique, l'artiste nous propose un spectacle verdoyant éclairé à la bougie : un manifeste d'une sensualité et poésie inédites.Floralia s'assemble tel un bouquet de fleurs baroque où la country s'entremêle librement à la musique traditionnelle japonaise ou encore à une sorte de folk dylanesque à l'ère du Rolling Thunder Review. Pendant trente-trois minutes, la chanteuse-compositrice-guitariste nous propose une promenade concise mais foisonnante à travers son univers kaléidoscopique. Enregistré la nuit entre les murs quasi-millénaires de l'Abbaye de Noirlac, Floralia nous fait entendre l'écho hanté de la réverb naturelle des pierres et le souffle des bandes qui semblent sur le point de nous livrer le secret de leur mystère. En effet, la chanteuse nous révèle : « Je voulais que Floralia sonne comme un album découvert dans le grenier d'une maison abandonnée, comme la musique d'une ère révolue ou d'une civilisation oubliée… ». Des berceuses aux doux parfums du passé, oui, mais celles qui rêvent d'utopies futures.Titres interprétés au grand studio- Hummingbird Heart Live RFI- Le Jardin, extrait de l'album Floralia- Night's Refrain, solo de Kyrie K. Live RFI. Line up : Kyrie Kristmanson, chant, guitare ; Anne Berry, chant, alto ; Mathilde Vrech, chant, violon.Son : Mathias Taylor & Benoît Letirant. ► Album Floralia (Iki Records 2023) Puis nous recevons la violoncelliste Dom la Nena, à l'occasion de la sortie de Léon.Après l'excellent Tempo en 2021 encensé par la critique et qui a su autant toucher Iggy Pop que Britney Spears, Dom La Nena est de retour avec un nouvel et quatrième album solo intitulé Leon, d'après le doux surnom de son violoncelle. Un écrin instrumental, intime, hanté et transcendantal. Une déclaration d'amour à son complice de toujours, un retour aux sources d'une grande sensibilité.Leon est un véritable chef-d'œuvre de musique de chambre composé dans une quête de simplicité, d'émotion et de beauté, ne répondant qu'à l'intuition, l'improvisation et à une seule contrainte : composer uniquement avec et pour le violoncelle. Un exercice inédit pour Dom La Nena qui renoue avec son instrument, reprenant le cours de leur dialogue intérieur. La compositrice se recentre sur son son, sa matière, ses textures, ses nuances, sa capacité à créer des mondes et à les habiter. Enfin, le soliste, c'est lui.Motifs répétitifs, orchestrations épurées, bourdons tenus comme un om̐… Dom La Nena déploie une approche minimale très proche du mantra, dont elle connaît par cœur le principe actif en répétant chaque jour les mêmes exercices lorsqu'elle travaille son instrument. Un état d'oubli de soi, de concentration, d'apaisement, d'instant présent pur. Leon apporte à l'oreille sa musique, mais aussi une collection d'histoires, un monde en soi, peuplé de textures soignées, de voix spectrales et de silences contemplatifs.De disque en disque, Dom La Nena a reçu les plus beaux éloges de la presse internationale comme The Wall Street Journal (« Un jeune Brian Wilson »), The New Yorker (« Chacune de ses chansons est sacrée »), BBC (« Brillant et beau»), NPR (« Une musique à la fois douce et envoûtante ») ou encore The Guardian (« Un enchantement »).Elle a chanté à propos du temps, de ses rêves et de ses peurs, sous la forme de ritournelles tendres et poétiques, toujours appuyées par son violoncelle. Du besoin de se renouveler, du plaisir de revenir à la source, du désir de rendre grâce à son plus fidèle compagnon… Aujourd'hui, naît Leon.Un disque conçu et enregistré seule, en deux mois, à domicile, avec un seul micro — avant d'être mixé par Noah Georgeson, connu pour ses collaborations avec Rodrigo Amarante ou Devendra Banhart.Titres interprétés au grand studio- Last Day, Live RFI- Universo, extrait de l'album Léon voir le clip avec le quatuor Momentum- Dulac, Live RFI. Line Up : Dom la Nena, violoncelle.Son : Jérémie Besset.► Album Leon (Sabia/ Big Wax/Alter K 2023).

Host David Altrogge sits down with producer Margaret Bodde and editor/director David Tedeschi.  Together they make documentaries with the legendary Martin Scorcese. Their credits include The Rolling Thunder Review, Pretend It's a City, and George Harrison: Living In a Material World. A special thanks to Caleb J. Murphy (https://calebjmurphy.com/) and Musicbed (http://share.mscbd.fm/daltrogge) for the great tunes. School of Doc is a Production of Vinegar Hill (https://vinegarhill.film/)  

Rising from the ashes of The Rolling Thunder Review came the Alpha Band (Steven Soles, David Mansfield, and T-Bone Burnett.) This program is a FolkScene live performance and interview from 10-23-77. Hosted by Howard Larman. Engineered and produced by Peter Cutler. ©FolkScene. It is cool to share FolkScene recordings with your friends, but the reproduction of our programs for commercial purposes is illegal. FolkScene airs on Sunday evenings from 6 to 8 p.m.(PDT) at KPFK 90.7 Los Angeles and online at www.kpfk.org.

Against The Grain is a new song and has yet to be “officially” released.  The recorded version for the album is actually a bit different than what I do here.  One evening in NYC, I was waiting to take the stage and had no idea what I should start with.  It needed to be a song I connected with personally but also upbeat enough to properly meet the listeners where they were at.  Typically, an audience is more riled up at the top of a show having just come in from their busy lives.  The lead off songs need to meet them and direct them where to go.  At the time, I wasn't feeling inspired by any of my upbeat tunes and couldn't get the lyrics of a new song I was working on out of my head.  The problem was that the new song, Against The Grain, had a unique droning tempo that wouldn't hold up on a solo guitar.  It sounds great with a band but when played solo had a little too much slack in the rope.  So I began playing the song with this tempo to help cut out the musical fat and showcase the lyrics more.  It gave the song a 60s, Dylan-esc protest type vibe.  I actually based the strumming pattern off of Dylan's version of Love Minus Zero / No Limit from his Rolling Thunder Review tour.  Waiting to take the stage, I gave the song a facelift and found the tempo treatment served the lyrics really well and injected the energy needed to start the night off.  And just like that, an alternative version to a song that had yet to be released and barely played live … was born.  Something about the way the chords roll creates a nice bed for the lyrics to lay upon.  It feels really good to play.  I feel confident and strong in this song.  When I set up to record this batch of video sessions I was really struggling with entering into the music. I felt off and rudderless.  Just at that moment, I remembered this version of the song and gave it a try.  From the very first strum I was recalibrated, comfortable and dialed-in.  Sometimes all you need is the right song.  

On this episode, we're joined by returning guest, singer-songwriter Brent Mason! He joins us to talk about his 11th Annual Bob Dylan Birthday Bash being held this Saturday, May 8th at Saint John's Imperial Theatre (and can be streamed from anywhere!)We talk about the history of the event and how it's evolved throughout the years. We also dive into what makes a good Dylan cover and the kinds of fans he attracts. Brent and Cherise also share their favourite Dylan concert memories. They also share their thoughts on Bob's latest album, Rough and Rowdy Ways and the Rolling Thunder Review film.Blood on the Tracks, Whiskey, Radio, Shakespeare, and so much on this episode of Strange Grooves! Tickets (both in-person and streaming) can be purchased via The Imperial Theatre website.★ Support this podcast on Patreon ★

Steven Keene says his songwriting routine has never resembled work. To the contrary, he's always written in the moment and as inspiration strikes. Yet he's had a consistent and prolific songwriting career. Steven grew up in Brooklyn New York, and honed his skills in the Greenwich Village scene of the late 80s, early 90s alongside Beck and other noteworthies. The day we spoke, he had a new single out. That single was called “Cause I Can't Have You.” Since then, the full album “Them & Us” has been released. Steven toured regularly for years, but in 2019 decided to focus on writing and recording. He says he's had the pleasure and good fortune of doing so with players who have worked with the likes of Lenny Kravitz, Bon Jovi, and Springsteen. He told me that Dylan his #1 influence. Steven has actually played with a few of members of Dylan's Rolling Thunder Review tour and backing band. I had to ask Steven about playing at CBGB. He did not disappoint, sharing stories of gigs at there and The Bottom Line in the 90's, alongside Beck. We talk about his songwriting methods and routines, as well as his sentiments on the state of music amidst the pandemic. Yet Steven is thrilled to be recording and like all of us, he looks forward to a time when the music business has reshaped itself. Please enjoy… Visit UnstarvingMusician.com for related links, episode transcript and more.

Steven Keene says his songwriting routine has never resembled work. To the contrary, he's always written in the moment and as inspiration strikes. Yet he's had a consistent and prolific songwriting career. Steven grew up in Brooklyn New York, and honed his skills in the Greenwich Village scene of the late 80s, early 90s alongside Beck and other noteworthies. The day we spoke, he had a new single out. That single was called “Cause I Can't Have You.” Since then, the full album “Them & Us” has been released. Steven toured regularly for years, but in 2019 decided to focus on writing and recording. He says he's had the pleasure and good fortune of doing so with players who have worked with the likes of Lenny Kravitz, Bon Jovi, and Springsteen. He told me that Dylan his #1 influence. Steven has actually played with a few of members of Dylan's Rolling Thunder Review tour and backing band. I had to ask Steven about playing at CBGB. He did not disappoint, sharing stories of gigs at there and The Bottom Line in the 90's, alongside Beck. We talk about his songwriting methods and routines, as well as his sentiments on the state of music amidst the pandemic. Yet Steven is thrilled to be recording and like all of us, he looks forward to a time when the music business has reshaped itself. Please enjoy… Visit UnstarvingMusician.com for related links, episode transcript and more.

Tune in to the sweet sounds of Ronee Blakley as we revisit “Song of the Wild West.” Ronee Blakley (Nashville, Bob Dylan’s Rolling Thunder Review) stars as washed-up country music darling Patsy Maynard. This week Mark swaps his trademark baseball cap for a cowboy hat and we discover that while Jonathon isn’t big on drinking he’s surprisingly okay with gambling. SUPPORT US ON PATREON: https://www.patreon.com/highwaytoheavenrevisited QUESTIONS AND OPINIONS ------------------------- Call the Hotline to Heaven: 612-356-2495 Email: highwaytoheavenrevisited@gmail.com Website: https://www.highwaytoheavenrevisited.com FOLLOW US ELSEWHERE ------------------------- Instagram: https://www.instagram.com/highwaytoheavenrevisited Facebook: https://fb.me/HighwayToHeavenRevisited YouTube: https://www.youtube.com/channel/UCX33CQUcYBFpY2x193g_Miw SoundCloud: https://soundcloud.com/ch3tv PRODUCTION CREDIT ------------------------- Host: Rachel Mayer: https://www.instagram.com/rachaelmayerart Host: Joel Lueders: https://www.instagram.com/joelmakesthings Moderator & Editor: Sam Heyn: https://vimeo.com/samheyn Recorded at CH3TV Studios in beautiful Minneapolis, Minnesota, 2020. MUSIC CREDIT ------------------------- Title Theme: Brian Just Artist Link: https://www.brianjust.com

In the final episode of season 10, we look back over 2019 with film highlights we wanted to discuss again. This is not a ranking or a best of, merely a celebration of the year in film and our personal choices of the work we think should be seen and discussed. Here's a list of all the films on our agenda: Ad Astra; Amazing Grace; Apollo 13; Atlantics; Bait; Burning; Capernaum; Dolemite is My Name; Hale County This Morning, This Evening; Happy as Lazzaro; Her Smell; High Flying Bird; High Life; If Beale Street Could Talk; The Irishman; Knife and Heart; Madeline's Madeline; Rolling Thunder Review; Three Faces; Transit. We very much appreciate the loyalty of our audience throughout the year. It is one of the key motivators for doing on the show the way we do as we continue to grow. As you probably know, one of the issues for independent podcasts, which don't have 'stars' and the automatic audience that brings, is visibility and discoverability. We hope you continue to find value in the show and we really appreciate it when you share and recommend our episodes on social media: Twitter: @Cinematologists; Facebook: https://www.facebook.com/cinematologists/?ref=bookmarks; Instagram: https://www.instagram.com/thecinematologists/ If you ever have time to review the podcast on your podcast player of choice, this also helps with expanding the audience. For those who want to go a stage further please consider signing up for our Patreon membership: https://www.patreon.com/cinematologists. It is only $2.50 per month and you get our monthly newsletter along with bonus content and extended interviews with our guests. We are committed to keeping the show ad-free and this small support really helps with running costs and production improvements that we are always looking to make. All the best for 2020 and thank you for your continued support. Lots of love, Dario and Neil. You can also listen to The Cinematologists here: iTunes: https://itunes.apple.com/gb/podcast/the-cinematologists-podcast/id981479854?mt=2 Our Website: www.cinematologists.com PlayerFM: https://player.fm/series/series-2416725 Spotify: https://open.spotify.com/show/0RjNz8XDkLdbKZuj9Pktyh Patreon: https://www.patreon.com/cinematologists

An onstage conversation with this master filmmaker about his extraordinary documentary work. Raging Bull, Taxi Driver, Goodfellas, Alice Doesn’t Live Here Anymore… to name but a few. The films of Martin Scorsese are astounding. As is his effort to preserve and save the history and heritage of American cinema through The Film Foundation. Martin Scorsese is a Keeper. A steward of American and global cinema.  One of our heroes and inspirations. Beloved for his epic fiction features, Martin Scorsese’s non-fiction films are also some of his best work. Whether depicting tales of American life, illuminating the history of cinema, or capturing the exuberant spirit of contemporary music, his documentaries are insightful and often playful, revealing his curiosity and passion. And then there are his documentaries. His non-fiction films, starting with Italianamerican, a portrait of his own parents and family. The Last Waltz, Rolling Stones Shine a Light, Living in the Material World, his ode to George Harrison, My Voyage to Italy, Il Mio Viaggio a Italia, and his most recent documentary, but not quite documentary, Bob Dylan’s Rolling Thunder Review. The San Francisco Film Society invited Mr. Scorsese to San Francisco to honor his non-fiction film work and premier his latest feature, The Irishman. We were so taken with Scorsese’s onstage interview with Rachel Rosen, Director of Programming for the Festival, that we asked The Festival if we could share it on the Kitchen Sisters Present podcast. They were kind enough to say yes. Thanks to The San Francisco Film Society, to Rachel Rosen, and most of all to Martin Scorsese, film master and film keeper. The Kitchen Sisters Present is part of PRX’s Radiotopia, a network of some of the most creative independent producers and podcasts out there. Make your mark. Go to radiotopia.fm to donate today.

On this week's Functional Nerds podcast, Patrick and John discuss everything from Disney+ to Echo in the Canyon, and beyond. We start with an intense look at… MUSICAL GEAR! Specifically, guitars and amplifiers and software, which leads us into the Echo in the Canyon documentary, The Byrds, Buffalo Springfield, Rickenbackers, the Rolling Thunder Review, the […] The post Episode 424-Just Us and The Rickenbacker appeared first on The Functional Nerds.

Rolling Thunder Review, on the release of Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese

This week Jim catered a wedding! Darrell went drinking with devil and met Nichole Kidman (one of those things are true), and Donny's a robot!!!. Lots of letterkenny jokes! emails! news! what we've watched! and more explanation points!!!!! Reef Break, Grand Hotel, The Stand, Hobbs and Shaw, Chambers, Martin Charles Scorsese, Leonardo DiCaprio, Max Landis, Carrie Fisher, The Boys red band trailer, Bad Robot, Warner bros streaming, GLOW, Young Justice, Umbrella Academy, All Elite wrestling, Looney Toons shorts, Lobo spinoff, Game of Thrones goes to Comic Con, The InBetween, Grownish, Lettermen conversation with Kanye West, Rolling Thunder Review, Fleabag, Bathtubs over broadway, Big Little Lies, euphoria, get tickets to Donny's show in NYC https://greenwichvillagecomedyclub.com/ follow Donny on Instagram @Donnysalvocomedy You can follow us on twitter : @NothingsOn123 http://www.stitcher.com/ https://taylornetworkofpodcasts.com xtremecomedyct.weebly.com oldmagicgaming.com This podcast is part of the TaylorNetwork which is a home to many great podcasts all available on taylornetwork feed on Spotify, Itunes, stitcher radio and also google play

This week Jim catered a wedding! Darrell went drinking with devil and met Nichole Kidman (one of those things are true), and Donny's a robot!!!. Lots of letterkenny jokes! emails! news! what we've watched! and more explanation points!!!!! Reef Break, Grand Hotel, The Stand, Hobbs and Shaw, Chambers, Martin Charles Scorsese, Leonardo DiCaprio, Max Landis, Carrie Fisher, The Boys red band trailer, Bad Robot, Warner bros streaming, GLOW, Young Justice, Umbrella Academy, All Elite wrestling, Looney Toons shorts, Lobo spinoff, Game of Thrones goes to Comic Con, The InBetween, Grownish, Lettermen conversation with Kanye West, Rolling Thunder Review, Fleabag, Bathtubs over broadway, Big Little Lies, euphoria, get tickets to Donny's show in NYC https://greenwichvillagecomedyclub.com/ follow Donny on Instagram @Donnysalvocomedy You can follow us on twitter : @NothingsOn123 http://www.stitcher.com/ https://taylornetworkofpodcasts.com xtremecomedyct.weebly.com oldmagicgaming.com This podcast is part of the TaylorNetwork which is a home to many great podcasts all available on taylornetwork feed on Spotify, Itunes, stitcher radio and also google play

Gestir síðasta Lestarklefans í bili eru Torfi Tulinius, prófessor í íslenskum miðaldafræðum við Háskóla Íslands, Sóley Stefánsdóttir, tónlistarkona, og Eva María Jónsdóttir kynningarstjóri og sjónvarpskona. Þau ætla að ræða um myndlistarsýninguna Leiðréttingar sem nú er í Hverfigalleríi en þar sýnir Sigurður Árni Sigurðsson verk sín, heimildarmyndina Rolling Thunder Review sem fjallar um goðsagnakennt tónleikaferðalag Bobs Dylan um miðjan áttunda áratuginn og upplifun sína af tónleikum á tónlistarhátíðinni Reykjavík Midsummer Music sem fram fór í Hörpu um síðustu helgi undir listrænni stjórn Víkings Heiðars Ólafsssonar. Umsjón að þessu sinni: Guðni Tómasson.

Gestir síðasta Lestarklefans í bili eru Torfi Tulinius, prófessor í íslenskum miðaldafræðum við Háskóla Íslands, Sóley Stefánsdóttir, tónlistarkona, og Eva María Jónsdóttir kynningarstjóri og sjónvarpskona. Þau ætla að ræða um myndlistarsýninguna Leiðréttingar sem nú er í Hverfigalleríi en þar sýnir Sigurður Árni Sigurðsson verk sín, heimildarmyndina Rolling Thunder Review sem fjallar um goðsagnakennt tónleikaferðalag Bobs Dylan um miðjan áttunda áratuginn og upplifun sína af tónleikum á tónlistarhátíðinni Reykjavík Midsummer Music sem fram fór í Hörpu um síðustu helgi undir listrænni stjórn Víkings Heiðars Ólafsssonar. Umsjón að þessu sinni: Guðni Tómasson.

Teresa Lee joins Nick and Will to discuss Murder Mystery, Jessica Jones, Rolling Thunder Review, Trinkets, Awake: The Million Dollar Game, Jinn, Charite at War, The Alcasser Murders, Unite 42, Life Overtakes Me, & DJ Cinderella. More on our Patreon and the Recently Added Netflix Recommendations Facebook Group. @recently__added on Twitter and Instagram.  

PART ONE Scott and Paul reveal their pick for the "other" greatest songwriter of all time to complete the list of 100 they introduced on the last episode. And they remind listeners how to enter the contest to win an autographed Lamont Dozier CD.  PART TWO - 5:14 mark The guys reveal their new favorite game of combining two artist names to create music you wouldn't want to hear. R. Kelly Clarkson? Jars of Clay Aiken? Days of the New Kids on the Block? Come on, you know you want to go down this rabbit hole with us... PART THREE - 13:45 Want to create professional demos of your original songs? We can help! PART FOUR - 15:23 Scott and Paul call up the always-interesting Kinky Friedman, who reveals the identity of the person he believes deserves credit for starting country music's outlaw movement; what Waylon Jennings said when he saw Kinky walking down the street with his laundry; how he ended up receiving the Male Chauvinist Pig of the Year Award from the National Organization for Women; the way Nelson Mandela embraced one of his songs; the advice Willie Nelson gave him that changed his life; the reason he writes about Jesus so much; and why he says you've got to be miserable to write great songs. ABOUT KINKY FRIEDMAN Always provocative and often insightful, singer, songwriter, novelist, humorist, and politician Kinky Friedman, along with his band the Texas Jewboys, brought the spirit of Lenny Bruce to country music. Called the Frank Zappa of country, Friedman raised eyebrows with politically incorrect fare such as “Get Your Biscuits in the Oven and Your Buns in the Bed,” “Homo Erectus,” “They Ain’t Makin’ Jews Like Jesus Anymore,” and “Asshole From El Paso.” Self-stylized as a profane Will Rogers, Kinky’s persona as a cigar-chomping raconteur often overshadowed his considerable skills as a songwriting craftsman. From the sharp social commentary of “We Reserve the Right to Refuse Service to You” to strictly serious fare such as “Rapid City, South Dakota,” “Dear Abbie,” and “Lady Yesterday,” his knack for keen observation and tightly constructed songs attracted the attention of admirers such as Billy Joe Shaver, Willie Nelson, Eric Clapton, and Bob Dylan, who invited Kinky and the Texas Jewboys to join his legendary Rolling Thunder Review tour. Dylan once said, “I don’t understand music. I understand Lightnin’ Hopkins. I understand Lead Belly, John Lee Hooker, Woody Guthrie and Kinky Friedman.” Friedman eventually set songwriting aside and built a reputation as a celebrated mystery novelist. He went on to become a columnist for publications such as Rolling Stone and Texas Monthly and has published a long list of fiction and non-fiction books. He even ran for Governor of Texas in 2006 under the campaign slogan “Why the hell not,” eventually coming in fourth with nearly a half million votes.  In 2018, Kinky the songwriter returned with his first album of new original material in nearly four decades. Circus of Life spotlights the chops of a master songwriter who never lost his touch.

In Texas, everything is larger than life, and that includes Kinky Friedman, the cigar-smoking, self-proclaimed Jewish cowboy, who first got noticed with his debut album, Sold American from 1973. He toured with Dylan’s Rolling Thunder Review, and he’s even been on stage at the Grand Ole Opry. He’s a songwriter, satirist, author, politician, entrepreneur, and animal lover. Yet, it’s been an eternity since Friedman released a new album (Reagan was in his first term).Well now’s as good a time as any for The Loneliest Man I Ever Met, featuring some Friedman originals, plus his take on songs by Dylan, Johnny Cash & Warren Zevon. There’s even a duet with Willie Nelson. We talk with Friedman about smokin’ with Willie, running for Governor of Texas, and who he thinks would be the perfect ticket for the 2016 Presidential Election. Warning – mature content

My guest this week is the superb fiddle player, steel guitarist, sideman  and composer David Mansfield. At age 18, David joined Bob Dylan's band for four years, starting with the legendary touring spectacle "Rolling Thunder Revue". He recorded three albums with Dylan and appears on numerous compilations and live albums, including "Biograph" and "Bob Dylan Live 1975 The Bootleg Series Vol. 5". David went on to form The Alpha Band along with fellow Rolling Thunder Review members T-Bone Burnett and Steve Soles. He later produced the soundtrack for numerous films including "Heaven's Gate" and "Year of the Dragon".  Enjoy my conversation with David Mansfield, and please subscribe to the podcast for free on iTunes!

Today's Guest: Larry Ratso Sloman, author or co-author of celebrity memoirs from Howard Stern, Abbie Hoffman, Anthony Kiedis, Phil Esposito, Mike Tyson, and a biography of Harry Houdini   Order by clicking the DVD cover above! Larry 'Ratso' Sloman, co-author of Howard Stern's 'Private Parts' Writing the biography of a well-known person in pop culture is an assignment fraught with trap doors, two-way mirrors, and shackles. Some writers even disdain their subjects. Others hopelessly suck up to the person, if living, in hopes of winning their favor. Journalists working the genre, however, are usually after something more. They took on the life of an individual because they believe -- through professional research and interviews -- that they can add more color or depth to what’s known about the figure’s public and private lives. Today’s Mr. Media guest, Larry “Ratso” Sloman, has trod the path of biography and ghostwritten autobiographies a number of times in his career. He wrote Steal This Dream about the life of 1960s dissident Abbie Hoffman. He helped Howard Stern pen his life story in two memorable books, Private Parts and Miss America. When Anthony Kiedis of the Red Hot Chili Peppers needed someone to help tell his story, Kiedis turned to Sloman. The book many people remember Sloman best for, however, may well be his chronicle of Bob Dylan’s remarkable 1975 Rolling Thunder Review concert tour, On the Road with Bob Dylan. That is also where he earned his unusual nickname, which I’m told he wears with pride like a badge of courage. Sloman’s latest book, written with William Kalush is The Secret Life of Houdini, the Making of America’s First Superhero. Larry "Ratso" Sloman Website • Twitter • Wikipedia • IMDB • Order Horward Stern's Private Parts from Amazon.com BOB ANDELMAN/Mr. MEDIA: Houdini is a fast read, thanks to the focus on storytelling and the wealth of incredible detail that you and your partner uncovered about the magician and the man. Can you tell us a little bit about how the book came about and the style in which it’s written? LARRY "RATSO" SLOMAN: I first got interested in magic when I co-authored or ghostwrote -- David Blaine’s memoir, Mysterious Stranger. It was a hybrid book. That book was part reminiscence about his various stunts and being encased in ice and being buried underground. It was also part teaching you how to do some magical effects, and it was also a kind of history of magic. For the history part, David said, “You have to go work with Kalush, because he produced all my shows, and he’s got the most amazing magic library in the world.” So we spent a lot of time at Kalush’s library, the Conjuring Arts Research Center. We did all this research, and we did a chapter on Houdini in the David Blaine book. That was my first exposure to reading about Houdini. I read all the extant biographies of Houdini at the time, and I remember sitting around with Kalush and saying, “You know, it’s really strange. I mean, there are all these gaps in Houdini’s story, and he makes strange career choices. I think there’s more to this than meets the eye.” And Kalush says, “I agree.” And the more we looked into it, the more we said, “It’s time to take a fresh look at Houdini,” and that’s the genesis of The Secret Life of Houdini. ANDELMAN: What about the storytelling? What I really like about the book is that every page is almost a separate anecdote in some ways in that you’re always storytelling. It’s not so much analysis, which some people expect in biography, but it’s storytelling, which is what I expect, and I really like that. Order 'Undisputed Truth' by Mike Tyson with Larry Ratso Sloman, available from Amazon.com in print or as an ebook by clicking on the book cover above! SLOMAN: It’s funny the way we wrote this book. In a way, we almost wanted to do a celebrity biography of Houdini akin to the ones I had written with Howard Stern and people like that. We wanted it to be accessible; we wanted it to be anecdote driven. There was a professor at NYU, Silverman, who had done an exhaustive biography, which kind of laid out a lot of the facts, and yet it really didn’t. The story wasn’t driven by these anecdotes, and to us, that seemed the best way to capture Houdini. He’s such an incredibly complex guy. ANDELMAN: You did a tremendous amount of research in terms of organizing stuff that was arcane and seemingly unconnected. SLOMAN: Thanks to what we lovingly called, “Ask Alexander.” It was based on Alexander the Mentalist, and what we did was create a huge, huge database. We scanned in every known Houdini book, all the magic magazines that Kalush had in his collection, all the letters, and all the scrapbooks, and made them text searchable. The book could have taken 25 years to write if we weren’t able to really have that instant access. This research project was over two years. So at the beginning of research, you may come across a name. A year and a half later, you may come across that name again and say, “Wow, I think this guy has something to do with…” Well, we just put the name into the database, and boom, in five seconds, we had every hit on that name. It was a tremendous expedient. I think it’s really the first Houdini biography of the digital age, and we were able to collate all this incredibly diverse material. ANDELMAN: Now, a lot of writers -- and Doris Kerns Goodwin comes to mind -- have been in trouble the last couple years with issues of plagiarism. I’m not saying that you did this, but my question is, when you scan in material like that, how do you avoid that? I mean, Doris’ comment was, “It was inadvertent that I used material from another source,” but when you go to this digital type of system and you scan in all this stuff, it would seem like the situation is ripe for that kind of abuse SLOMAN: Our book is full of citations. We very liberally use Houdini’s own writings. We use letters that he had written. I don’t think the problem so much is plagiarizing anything, because the analysis that we did was almost separate from the writing process. We overlaid the analysis onto the writing, and the analysis was basically between me and Kalush, who was the magic expert. So if there was a question of how Houdini did something and we wanted to reveal that, and a lot of times we didn’t reveal that, obviously. But there were times where we did reveal some of his methods, and that was overlaid after the main narrative had been written already. ANDELMAN: Will the way that you used technology to research this biography affect the way you do it in the future? SLOMAN: Absolutely. I mean, I think there’s no other way to do it. It’s so overwhelming to have that amount of material, but when you have it in a way that’s manageable and that literally you can do searches in microseconds … All the major newspapers now have their entire archives in databases. We were able to find out a lot about John Wilkie, who was the head of the Secret Service and whom nobody really knew anything about. We were able to find out his connections to the world of magic through an article in the Washington Post in 1908, because of this new technology. It is certainly an incredible boon. I’m sure we would never have been able to find those articles if not for that. ANDELMAN: I think one of the most controversial revelations in the book is Houdini as a spy. SLOMAN: It’s funny. It was controversial at first. The magic world is very insular, so a lot of these guys were saying, “We don’t know about this, so therefore it can’t be true.” But when you get a guy like the former head of the CIA, John McLaughlin, who reads the book and says, “Yeah, I’ll write an introduction to your book,” and says in the introduction, “This is absolutely plausible to me.” So I don’t think you could have anybody better vouching for your theory than the former head of the CIA. ANDELMAN: Absolutely. Well, it’s a great read, and I hope it’s doing well, and I hope more people will read it. Order by clicking the book cover above! SLOMAN: Well, it’s doing well, and in fact, the latest wave of unbelievable press and attention has been the whole exhumation thing, and that was based on our research. It was one of these serendipitous things. Two years ago, I attended the annual Houdini séance that Sid Radner, a Houdini scholar and collector, puts on every year. That year, it was in Las Vegas, because he was also auctioning off a lot of Houdini material. At the séance, there was the great-granddaughter of Margery, the world’s most famous medium at the time, who was Houdini’s adversary in the last years of his life. I approached her. It turns out she lives in Long Island not too far from where I have a weekend place, so I said, “Could I come and interview you?” figuring that there may be some great family anecdotes about Margery and Houdini, and she said, “Sure.” And I go to visit her and her husband, and they make me a nice dinner, and we have a great interview, and at the end of the interview, I said, “You wouldn’t happen to have like some letters or any kind of documents laying around?” She said, “Oh yeah, come on.” And she takes me into a spare bedroom, and she opens up the closet door, and the entire closet is filled with boxes and boxes of correspondence, including correspondence with Arthur Conan Doyle, Sir Oliver Lodge, all the leading luminaries of the spiritualism movement. It’s got over thirty scrapbooks of Margery that were amassed by her husband, and nobody had seen this material for 80 years except for her and her mother. My jaw dropped. I wound up spending the next two weeks over there every day. She was such a doll, she even helped me carry the material to the local store to Xerox it. Those thousands of pages were then put into the Alexander, made text searchable. From that material, we developed the most compelling part of the book to me, which was the last few years of his life and how the battle with the spiritualists may have ended with Houdini’s dea