Podcast appearances and mentions of Roy Orbison

If you were watching cable TV around midday at the turn of the millennium, there's a good chance you saw a commercial for a compilation CD called Monster Ballads. It promised you more than two hours of musical cheese—some of the most over-the-top, cornball, leather-clad romantic jams ever to grace the charts, from “Heaven” to “High Enough,” “Carrie” to “Amanda.”There's another, more common term for these rockin' romancers: power ballads. And while this TV ad suggested the power ballad was perfected in the '80s—preferably sung by a dude in spandex, with long, flowing locks—its roots go back decades earlier. Acts as seemingly mild as Roy Orbison, Harry Nilsson and even the Carpenters were pivotal to the way these mega-devotionals evolved. R&B divas would turn power vocals into an athletic sport, alongside hair-metal howlers. Eventually, power ballads colonized the charts in the '80s, the '90s and beyond.Maybe they're cheesy, cringeworthy and melodramatic—but power ballads have proven remarkably enduring, with even 21st-century Zoomer stars like Olivia Rodrigo offering their own variations. So, join Chris Molanphy as he brings on the heartbreak, finds thorns on every rose, explores feelings we can't fight anymore and celebrates pop fans' greatest love of all: the power ballad.Podcast production by Kevin BendisNeed to set up your Slate Plus feed? If you subscribed through Slate.com, check out our FAQ at slate.com/podcastfaqs for easy instructions. Members subscribed via Apple Podcasts get automatic access—no setup required. Hosted on Acast. See acast.com/privacy for more information.

If you were watching cable TV around midday at the turn of the millennium, there's a good chance you saw a commercial for a compilation CD called Monster Ballads. It promised you more than two hours of musical cheese—some of the most over-the-top, cornball, leather-clad romantic jams ever to grace the charts, from “Heaven” to “High Enough,” “Carrie” to “Amanda.”There's another, more common term for these rockin' romancers: power ballads. And while this TV ad suggested the power ballad was perfected in the '80s—preferably sung by a dude in spandex, with long, flowing locks—its roots go back decades earlier. Acts as seemingly mild as Roy Orbison, Harry Nilsson and even the Carpenters were pivotal to the way these mega-devotionals evolved. R&B divas would turn power vocals into an athletic sport, alongside hair-metal howlers. Eventually, power ballads colonized the charts in the '80s, the '90s and beyond.Maybe they're cheesy, cringeworthy and melodramatic—but power ballads have proven remarkably enduring, with even 21st-century Zoomer stars like Olivia Rodrigo offering their own variations. So, join Chris Molanphy as he brings on the heartbreak, finds thorns on every rose, explores feelings we can't fight anymore and celebrates pop fans' greatest love of all: the power ballad.Podcast production by Kevin Bendis Hosted on Acast. See acast.com/privacy for more information.

If you were watching cable TV around midday at the turn of the millennium, there's a good chance you saw a commercial for a compilation CD called Monster Ballads. It promised you more than two hours of musical cheese—some of the most over-the-top, cornball, leather-clad romantic jams ever to grace the charts, from “Heaven” to “High Enough,” “Carrie” to “Amanda.”There's another, more common term for these rockin' romancers: power ballads. And while this TV ad suggested the power ballad was perfected in the '80s—preferably sung by a dude in spandex, with long, flowing locks—its roots go back decades earlier. Acts as seemingly mild as Roy Orbison, Harry Nilsson and even the Carpenters were pivotal to the way these mega-devotionals evolved. R&B divas would turn power vocals into an athletic sport, alongside hair-metal howlers. Eventually, power ballads colonized the charts in the '80s, the '90s and beyond.Maybe they're cheesy, cringeworthy and melodramatic—but power ballads have proven remarkably enduring, with even 21st-century Zoomer stars like Olivia Rodrigo offering their own variations. So, join Chris Molanphy as he brings on the heartbreak, finds thorns on every rose, explores feelings we can't fight anymore and celebrates pop fans' greatest love of all: the power ballad.Podcast production by Kevin Bendis Hosted on Acast. See acast.com/privacy for more information.

Craig joins Luke to detail the up's and down's of the legendary Roy OrbisonSee omnystudio.com/listener for privacy information.

(Celebrating 80yrs of unrivaled community radio!) We at WKXL's NH Unscripted present to the NH Arts Community our latest episode of Wayback Machine Monday and we've gone from crying (see the previous Wayback Monday) to dreaming baby!!!!! The Lovin' Spoonful, Elvis Presley, Roy Orbison, The Mama's & Papa's, The Everly Brothers, and so many more are all dreaming.(WKXL's NH Unscripted airs M/W/F at 9am 1450AM/130.9FM, 101.9FM and is streaming on Apple music, Spotify, etc)

Staci Miller, founder of Gen UX Consulting, shares her winding path from fashion design and psychology to human factors engineering in MedTech. Staci explains what human factors is—through stories from World War II aviation and modern healthcare—and why the FDA now mandates usability work to reduce catastrophic use errors. She breaks down formative versus summative/validation studies, the role of risk documentation (URRA/UFMEA), and why founders should think about usability as early as they think about risk. Staci also opens up about the challenge of starting a second business after losing her first in 2008, how she built Gen UX from $0, and the leadership lessons behind year-over-year growth.   Guest links: https://www.genuxconsulting.com/ | https://www.linkedin.com/company/gen-ux-consulting/  Charity supported: Feeding America Interested in being a guest on the show or have feedback to share? Email us at theleadingdifference@velentium.com.  PRODUCTION CREDITS Host & Editor: Lindsey Dinneen Producer: Velentium Medical   EPISODE TRANSCRIPT Episode 081 - Staci Miller [00:00:00] Lindsey Dinneen: Hi, I'm Lindsey and I'm talking with MedTech industry leaders on how they change lives for a better world. [00:00:09] Diane Bouis: The inventions and technologies are fascinating and so are the people who work with them. [00:00:15] Frank Jaskulke: There was a period of time where I realized, fundamentally, my job was to go hang out with really smart people that are saving lives and then do work that would help them save more lives. [00:00:28] Diane Bouis: I got into the business to save lives and it is incredibly motivating to work with people who are in that same business, saving or improving lives. [00:00:38] Duane Mancini: What better industry than where I get to wake up every day and just save people's lives. [00:00:42] Lindsey Dinneen: These are extraordinary people doing extraordinary work, and this is The Leading Difference. Hello, and welcome back to another episode of The Leading Difference podcast. I'm your host, Lindsey, and today I'm delighted to welcome as my guest, Staci Miller. Staci is the founder at Gen UX Consulting. Her expertise is in applying user-focused research to develop innovative solutions, and it's essential to the growth of any technology organization. As a detail-oriented and tenacious executive in human factors engineering and UX design, she has a proven record of elevating the end user experience and achieving targeted client outcomes. She has created innovative medtech and big tech solutions through a comprehensive user-centered development process, leveraging artificial intelligence and industry agnostic design tools to optimize products and services. In her current role with Gen UX, she's a key leader facilitating strategic company growth plans and service offerings while managing the capacity and workflow of the UX HF design team. Well, Staci, welcome to the show. I'm so excited to talk with you today. [00:01:49] Staci Miller: Me too. I've been looking forward to it all week, so I'm very excited to be here. And I don't know what the day has in store. I, I know that there was like a, a, a kit that you sent out and I didn't read it on purpose, so everything's gonna be organic. [00:02:03] Lindsey Dinneen: Perfect. Those are my favorite conversations anyway, so I'll take it and run. Some people I know really love to have the questions ahead of time, and others are just like, "Yeah, I don't want to know. I'm just gonna go off the cuff. Here we go." So, brilliant. All right, well, let's start, if you don't mind, by sharing a little bit about yourself, your background, and what led you to medtech. [00:02:24] Staci Miller: That is, those are my favorite questions. So, I have a background in fashion design, psychology. I spent most of my classes in cognitive psych, but it wasn't like a difference of degree, it was just psychology. And then I have a master's degree in human factors and ergonomics. So I went the psychology route and the design route. That's kind of my background. So when I graduated my master's degree, through my master's program, I was able to intern for both years and one was in tech, big tech. I interviewed and landed a, great one year long internship at Samsung, which was actually supposed to be just three months, and I stayed there for a full year. So they kept me through my whole, my whole semester, which is something they don't normally do, which was really fun. I mostly just said, "Hey, can I stay here for the year?" And they're like, "Great, no problem. Sure. We'll figure it out like that seems like a good option. We like you, you like us. Cool. We'll do that." And my second internship was in medical device at a company called Interface and Analysis. My, that was actually my internship. My second one was at Samsung, so I got to really look in like I, I guess you got the curtain. If you think about Wonderland and Oz and the curtain and being able to pull back the curtain between both industries, what did I like better? I ended up liking medical better, mostly because the research was more structured and not necessarily conversations about, "Yeah, so how do you feel about that? Did you like it?" Like to me, that's not really. What I would consider the best opportunity to gain data. Data to me, like there has to be like a clear objective as to what you're doing, the whys behind it, and what do you wanna learn. And I found that in, when I worked with engineers in medtech, they definitely had things that they wanted to learn, whereas in tech, they just had so much money. They were like, "Yeah, let's just see what people think about this." And I'm. Okay. And then when I would be really structured and I was working with people who didn't have backgrounds in research, had very strong, very good backgrounds in design, like legitimately awesome, they were leading the research and they were missing the boat. So the narratives started to be focused on the N of one. This one person said this really interesting thing, so let's base our whole design off of what they said. And I'm like, "Dude, wait a second. Wait a second. All of them said this thing about the design though, and like we have four or five data points about when you ask this question." They're like, "Yeah, but that's not interesting." And I was like, "Okay, keep my mouth shut. I got it. Move on." Like from that moment forward, I, it wasn't like "Staci, don't talk, it was more like this is how we design based on the narratives that we've learned how to, how to research on." And so it wasn't as I would say-- it wasn't considering the actual 360 view of the user. It was considering the really cool thing that happened this one time that was like totally an outlier. And it happened consistently when I was working in big tech. So I was like, uh, medtech, probably more my speed. And then my first job was at Abbott. [00:05:39] Lindsey Dinneen: Nice. [00:05:40] Staci Miller: And I ended up there. Yeah, [00:05:41] Lindsey Dinneen: Okay, great. Well. [00:05:42] Staci Miller: Cool. [00:05:43] Lindsey Dinneen: Lots of questions based on this incredible background. I want to go back a little bit. So fashion design, was this something that you grew up thinking, "Oh, this is what I wanna do and be okay?" Right. All right, so... [00:05:57] Staci Miller: it's all I ever wanted and I did that. So... [00:06:00] Lindsey Dinneen: Yeah. [00:06:02] Staci Miller: That's a, that's a great question. I think that my interest in fashion peaked around when I was 12 years old and during the time, Cindy Crawford and Naomi Campbell, and I was so fascinated by how beautiful these women were. And, and fashion was a thing in the nineties. There was like a lot of Dolce and Gabana around, and I loved it. And I couldn't wait to get my new print of Vogue every, every season. I loved Harper's Bizarre, and I would just pull pictures out of these models and what they were wearing. And then I would start you know, freehanding stuff and things like that. And I think a lot of people do that when they're really interested in clothing and things like that. And if you really think about it, fashion is art that people wear. So I was very attracted to that part of it. And it's all I wanted to do. So after high school, I went to FIDM and studied fashion design. And right outta FIDM, I started my first company in fashion design, and I was a clothing manufacturer, and we had 500 open doors in the United States and in Canada, and I was hoping to expand, but unfortunately 2008 hit and they hit it hard and fast and I lost most of my managing capital in the year that I think was my tipping point. So it was the, the year that I finally got a lot of traction and had a lot of repeat business and a lot of new business as well. And a lot of those new businesses just refused orders. Just from the east coast to the west, and it was just tons of money out that wasn't gonna come in. So there was really no way to, make that work after that, like I lost literally all the money I had in my business in like the span of, I would say three, four weeks. It was just mortifyingly scary. But I was young and people who are young are resilient and they move on and they find a new dream. And it took me a minute, like I didn't really know what the french toast I was gonna do. And I was like, well, I was still planning on staying in fashion and long, short, I was offered a job to do and run production for a one, a different company. So make sure that their goods were produced on time. Deal with the, the timing of all the orders, making sure the product line. So it was basically operations for manufacturing. And I was super excited about the job and I moved back to my parents' house at the time because things were just that tight financially for me. My parents were like, "Yeah, just, you know, come back, we'll figure it out." And I remember saying to my mom and dad, I'm like, "If this job falls through, do you mind if I just go back to school and stay here?" And they both started to laugh at me like, "Your job is fine, but if the sure why, why not?" And they, they thought it was crazy. And then I ended up back in school. So, they were like, "Whoa, that was really insane," 'cause that was in the end of 2008, starting 2009. And so the company rescinded their offer and they were really like, so sad about it, but they went to a market to sell their clothes and they got zero orders that year or something like close to that. So it was just, it was just a really intense time in the fashion industry and I was looking for jobs and I wasn't getting anywhere. So I only had an AA, and at the time that really didn't matter, but I went back to school and I'm like, "If I'm going back to school this late in age, I'm getting a master's degree." I had no idea what I was gonna get a master's degree in. I was like. I like clothes and design. We'll figure it out from there like that. And I was like, "Well, maybe I'll be..." this is crazy. But I was thinking about being a lawyer, like a property law lawyer. So, because when you are a designer in clothing, people can just knock you off. And you've seen that happen like pretty much everywhere. And people can just take advantage of your intellectual property and never pay you for it if they change enough of it. And so I was like, "You know, this would be something I'd probably be good at." So I went back to school thinking I was gonna go into that type of law. I took psychology courses and I took philosophy courses. And philosophy courses really do lean you, get you thinking very specifically about law. That's what philosophy was basically geared towards anyways. And you take these psychology courses and they're about people and how people process information, how people behave based on their behavior and things like that. So I thought the combination would be really good. Well, I ended up not liking, I did like philosophy, but philosophy's "let's think about thinking about it." And psychology is-- which is great. It's great, but psychology is like more applicable when you're interacting with others. And I found it super fascinating. And then I got really into like cognitive psychology and I'm like, "What the french toast am I gonna do with this? I can't do anything with cognitive psychology. Like I need to make money. I'm a grownup. This isn't ah, I'm gonna study underwater basket weaving and come out and go work in communications at Fox." Like I had to have an actual plan. So in my college at the time, there were these classes and they were like introductory to what you can do with your degrees. And that's literally where I found human factors. And there weren't very many schools that did it, but I was taking most of my classes at that point in cognitive psychology, which is how people process information, not their feeling based stuff. Like I didn't wanna have conversations with people about their feelings. Get that off of me. Like that's not, that's not my jam. I'm like, "Sorry, you're sad, but I'm not sad and I don't wanna be sad, so I'm gonna keep, keep going." And I'm like, "How am I gonna work this into my, you know, I love design, I wanna keep that in my background, and how am I gonna, what am I gonna do?" And so the study of human factors really is the intersection of design and research, and how people interact with said products based on the design. And you get to research that. And I'm like, "Sold. Good. I'm, I can do this. This is like this, I didn't even know this thing existed." This is crazy good. And I never looked back. [00:11:49] Lindsey Dinneen: Yeah. [00:11:50] Staci Miller: I got into a master's program the next year. I, and because I was in that specific program in San Jose State, that's why it was so easy for me to work for Samsung because it was in my backyard. And that's why it was easy for me to work for Interface Analysis because Tony was the owner of that company. Tony, he was my professor. So he just was like hiring people and I, I answered his response and I was like, "Hey, I, I'm looking for something." Do you like, he didn't say it was his company. He said, "I have a friend looking" and I'm, you know, like when I know I need to make some money, I'm gonna try to hustle up and make some money. So I'm like, "Hey, I'm open to that." He's like, "Why don't you come by my office and we'll talk?" And I was like, "That's weird." He said It was for some other, I'm like, "Sure, no problem." So I go to his office and he offered me an internship right then and there 'cause it was for me. "I just wanted to see who would respond," 'cause you are the only person that responded. I'm like, "Guess you're gonna hire me then." [00:12:37] Lindsey Dinneen: Amazing. All right. That's great. Thank you so much for that background. And it is so interesting how sometimes our paths are very, very windy to get to where we end up being and we Yeah, exactly. What, what ends up being a really good fit. But, so can you explain a little bit more about human factors, especially, maybe to help folks who have maybe some misconceptions or don't fully understand what it is just in general, but then also relate it specifically to medtech and why it's so important within the medtech industry? [00:13:11] Staci Miller: I can give you a story that probably would do both. So human factors was, was actually founded pretty recently in our timeline of psychology and understanding people. In World War II, there were a whole bunch of fighter pilots ejecting themselves from planes that caused, even in World War II, millions of dollars to produce and nobody could figure out what the problem was. They checked the planes. The planes were operating correctly. They did psychology, like psychological backgrounds on the people who are fighter pilots. I mean, they have to, to get into the military and to fly those planes, you have to be pretty good under pressure. They interviewed them, they were fine. They didn't have any breakdown of stress, and it wasn't happening on a small scale. This was happening on quite a large scale. So they, again, they went, they're like, "Okay, okay." Well, the military went back and " Well, it has to be the plane." So they looked through the plane, wasn't the plane, talk to the people, wasn't the people. So then the psychologist started to ask questions. They're like, "Well, if you're saying that it's not the person's emotional state and you're saying it's not the plane, well then what happened? Something had to happen. Something changed. What changed?" It turned out that the engineers had moved the throttle button with the ejection button in the planes. [00:14:31] Lindsey Dinneen: Oh. [00:14:31] Staci Miller: So the pilots were originally trained to hit the throttle button on the certain side that the throttle button was in the cockpit. So instead of hitting the throttle, because that was their original training, they hit the ejection button. So they ejected themselves out of the planes, which is why human factors was born. Those little changes that people don't understand about human beings. So when we learn something for the first time, because like even if you think about being a kid or being a baby, or learning a really tough lesson, right? You remember that lesson. And so what happens is that's your default setting. "This is the lesson I've learned. This is how I react." Now for that lesson, it doesn't matter if it's like an emotional exchange or if it's a physical one. So because they were taught where the, the pilots were taught specifically where the throttle was in the first place when they were under attack and they were in a high cognitive loaded space, they went back to their original training. [00:15:30] Lindsey Dinneen: Mm-hmm. [00:15:32] Staci Miller: And then the engineers were like, "Well, we told them. We told them." So, so, because they didn't wanna take the blame, right? Nobody wanted to take the blame ruining millions of dollars of planes. So this same type of thing happens in the medical industry. I mean, you can see it pretty easily, right? So you're trained on System X. There's an update, a 510K release to it. The system works differently. Errors are made, people are hurt. [00:15:57] Lindsey Dinneen: Mm-hmm. [00:15:58] Staci Miller: That's how it translates to medical. So aviation was a really big part of human factors and it still is to this day. Like NASA used to hire quite a few of my classmates. And I know that Boeing and a lot of those other, even BMW hire people that do what I do for a living and test the responses during drive time. And if you think about it, if you look at a Tesla versus a BMW, those are very different driving experiences. Like I had to relearn how to drive a Tesla, right? And like it has a one pedal situation. So now when I get into regular cars, I'm like, "Wait, what? What am I doing? What? What kind of car is this? Like how do I drive this thing again?" I know that sounds silly, but it, it's true 'cause you kind of just get used to the thing that you have. And that's exactly why human factors is prevalent in medical device or in aviation or in, you know, like any kind of like navigation systems. The reason the FDA mandated it is because a lot of products were coming to market and there was a very large influx of critical catastrophic errors in hospitals. People were suffering consequences of bad interfaces or lack of instructions on products. I know that there were a lot of intravenous medications given that weren't supposed to be IV medications in like in certain-- yes, you're supposed to inject it, but not. Intravenously and those charged caused people to perish. So that's when the FDA stepped in and said, "Okay, we were asking you as a favor to do these usability studies, but now officially they're part of your risk requirements and they're part of your requirements to get to market." And I think that happened about the time I graduated grad school, around that time. So about 15, 16 years ago. [00:17:50] Lindsey Dinneen: Okay. Yeah. Well that's a fascinating story, and I'm sorry that that is the impetus for the results that we have today, but also how incredible that that is something that's being prioritized and mandated now. And I'm wondering too, when a startup company is developing their technology, how soon should they be thinking about human factors, usability, UX/UI. [00:18:17] Staci Miller: As fast as they're thinking about risk. if you're already thinking about risk at phase zero, that's when you should be thinking about usability and UI and interactions based on user processes, because that's when this kind of conversation really needs to start with regulatory, with your team, with the engineers. So even if you don't have a human factors engineer on staff, like you can find a company that can give you like some fractional support, just, you know, to talk to and to understand what their, what, what their responsibilities are, and what their requirements are to get to market. I have found that a lot of founders don't think that it's a requirement. And I, and I'm really not sure why, but that's been happening a lot lately. [00:18:59] Lindsey Dinneen: Yeah. So because it's a requirement, because you should be thinking about it from the get go, what are some things that you've seen work really well in terms of, putting together this kind of this testing and whatnot versus things that might seem like they could work. Like perhaps somebody feels that they could maybe do some of this testing themselves. You know, just, just things that maybe people who aren't really familiar with all the regulations would perhaps do, and that could cause problems down the road. [00:19:32] Staci Miller: So there's a, these are all really great questions and let's, let's unpack the idea of research, right? So some people think that research is finding out if somebody is happy about a product and would use it, like product market fit, right? Some people do marketing for that, and I can, that's the type of research that is not technically human factors, but it is something that Gen UX can do, right? So it's just research. I, I call it like insert white meat or insert protein. We can do the research, right? So when it comes down to it, there's, I would say that research is split into two buckets, which is UX/UI, which is very popular and people understand that, which is a formative in the FDA guidance and then validation slash summative. So the validation studies are very clean cut. So I'll explain those first. And they are to validate that the user can use the system in its environments safely. So the alpha for that is the user is successful at using this product and the uses, uses and use environments correctly and safely. And this is all based on your risk documentation from your URRA or your UFMEA. Some people use ADFMEA, which is based on design, and I suggest that they don't use that because that focuses more on the system than it does on the user. And the FDA has really cracked down on that. So if you are a founder and you think you can get just one system, ADFMEA, you are probably already starting off on the wrong foot. Make sure you have your own usability. Because human factors work really focuses on two things in the medical industry. One, it focuses on helping develop the device while breaking down risks. So if you have mitigations and your system's designed a certain way to avoid a risk, that's very important, and that's really also usability testing. And I can explain this in two ways. I've worked at Meta, I've worked at Samsung, I've worked at a lot of different big tech companies, and I've worked at a lot of medtech companies. So I think that people think that human factors is different than user research, and they're right. Human factors is much harder than user research. And you really actually need a background in research methods and an understanding of how the application of research works. Formatives can be used for two reasons. One, to support the need of the product in use and to check how people are actually using the system in real life. So sometimes people are really good at thinking-- so engineers are amazing at building systems, right? I can't do what they can do. I'm not gonna pretend like I can. What I can do is help them build it for their end user, because a lot of the times engineers think very differently than the average human being. They're much more educated. Schooling for engineering is extremely difficult. A lot of it's mathematical computations, understanding actual physical properties of things in their environments and how that they work, right? So those are the things that engineers think about all day long. That's fine. I think about the user all day long. So you can create a system that an engineer thinks that is fine, but then the user is " I don't really know how to use this. What are you talking about?" Right? And so that's what user research informatives avoid. They avoid, they break down risk and they are able to help form the product. So those, those user research studies, like before, let's say phase zero to phase four in a market cycle, if phase five is market release, are for those things. And then as you get later in the cycle, you wanna do more rigid research, that's really breaking down the risk and really focusing on the user interactions within the system and med device. And making sure that they're assessing the risk based on your user, but they're very specific to the user interactions that are critical tasks and higher. Or things that lead up to the critical test and come away. So like you have to be able to do the steps before, do the thing that's really hard to do, that could hurt somebody and then make sure coming away from them you don't cause any harm either. That's the best way to look at these types of tests. And we do the exact same thing in validation for systems. So, in software you test to see if the software can do the thing that it's supposed to do. When you check that box, the software does the thing and it did it, and we're good to go. You do the same thing with mechanical engineering. The system has this, this range of motion here and this range of motion here, and it doesn't deviate from plus X to plus Y and therefore the system does what it's supposed to say. So you're verifying and validating that the system does what the system is planned to do. It's really no different in users, it's just that you're dealing with human beings and it's not, it doesn't work the same way, right? Because like people are variables no matter what. And that was really long worded. So there's like tons of different research to do, but if you don't do your summative and you don't do your risk documentation, you're not getting to, you're not gonna get to market approval. Just, there's no way. [00:24:34] Lindsey Dinneen: Yeah. Thank you. Yeah, that is incredibly helpful insight. And you know, so I wanna go back to, you had this company before, right? So you had already built a business and it was thriving, and then unfortunately life intervened a little bit. When you went to start Gen UX, did you have moments... [00:24:57] Staci Miller: Of PTSD? [00:24:58] Lindsey Dinneen: Of, yeah. [00:25:01] Staci Miller: Yes. [00:25:01] Lindsey Dinneen: Yeah. [00:25:02] Staci Miller: Yeah. I had major PTSD. Like I, so the concept of Gen UX was a play on words like, so I'm a Gen Xer, no biggie, but like I think that every Gen Xers, millennials, I feel like both of our generations very much identify with our generation. And I thought it would be kind of a fun play on words to identify to people that are also Gen Xers that, yeah, we do UX work and we're Gen UX, as a Generation X, like it was very important, right? So I kind of came up with that idea, thought it was cute. But at the time I was working for Meta, and Meta had been doing quite a bit of layoffs at the time. Nothing wrong with that, that happens with every company. But I have survived in Medtronic and Abbott and all these other companies. I had survived so many rounds of layoffs. I'm like, "One day my number is gonna be, it's just, it's just gonna happen." So, we started at Meta internally, really like they, they were very open and honest with people. They're like, "This is when this is gonna happen. We are gonna lay off more people. This is when this round is gonna happen. We're gonna lay off more people, and then this is the final round and this is when we're gonna lay off these people." So each of our groups of things like, so it was like engineers, lawyers, researchers. Like we, we had timelines that we knew if, if it was gonna happen, this is when it was gonna happen, this would be the day. [00:26:17] Lindsey Dinneen: Yeah. [00:26:17] Staci Miller: So I started to really think about what that meant, and I'm like, "Okay, well I'm not gonna start looking for jobs right away because I want my severance package." I definitely wanted that 'cause I, and then I wanted a break if I could have it. So I was like, okay. I, in between working at I was working at EDA as a contractor and that was super fun. Like I had my own time kind of, and I enjoyed the work and I got put on other projects whenever they needed me. And it was like, but I was constantly on a project, so I'm like, "I, maybe I'll go into doing IC work by myself" and I'm like, "No, I can't make enough. If I'm gonna do this, I'm gonna build something." And then I'm like, well, I started to talk to my friends every single one of my friends, including Interface Analysis' owner, Tony Andre was like, "Start your own business, Staci. Start your own consulting firm, just do it. Don't even look back. Just do it. People will end up coming to you because you know how to do this." He's like, he's it's, "You know, the first years they are what they are and everybody knows what that looks like. It's, it's rough. You have, it's like a mental game. You're like, I am gonna do this. And you just have to be consistent and can continue down your path. And more and more people will show up." And that's been true every year. But that's how GenX was started. And yes, there was this whole trepidation about, "Am I gonna make it? Am I gonna make it through this?" And I was like, "You know what, Stac, you're starting in a recession in your, in your industry. If you can get it done, if you can get two years in and be successful, you're fine." I'm in year three. [00:27:50] Lindsey Dinneen: Yeah! [00:27:51] Staci Miller: Yeah, I mean, year three, woohoo. And we're increasing 50% year over year in year three, and I started it with $0. So, and I'm not, I'm not saying like a hundred to 50, like $50 to a hundred, we're, we're talking a couple hundred thousand dollars here, a couple hundred thousand there. But it's modest and I do expect that growth, and I do expect that to continue. And the other thing I think about is becoming very malleable in, in your spaces, like what's working for you and what doesn't work for you. But I feel like that's kind of off topic from what you asked. But yeah, I had PTSD gave myself at least two years and I'm like, "I can do anything for two years. If it doesn't work out, you know, like I have everything that I have and I can go back into corporate if I need to." And I really, I really was tripping, like just to be nineties about it, I was tripping. Like I was really like, "You know, I don't know." And my husband was like. He was my biggest cheerleader. He was like, "You've gotta do this. He's you're gonna, you're gonna be able to do this. You have something that I don't have. You're really great at networking people like you." I'm like, "Do they really like what?" And he's, " No, people like being around you. You make friends easy and people really do enjoy being around you and they like know that you're smart and you're gonna be able to do this." So, that's how this all started. And yes, I was really freaked out when I first started, but every day when I had bad days, I'm like, "Everything always works itself out." [00:29:14] Lindsey Dinneen: Yeah. [00:29:14] Staci Miller: "Have you ever not been in a situation where everything works itself out?" "No. No." So I'm like, "Well, if I, if it doesn't, I'll get a new dream, but I don't-- once you hit this, this year, like year three and you know you're still growing, you don't have to get a new dream, you just keep going and you're like, this dream is happening. I'm gonna keep it going." [00:29:34] Lindsey Dinneen: Yeah. What was it like building a team? Did you start off as a one-woman show, or did you have support at the beginning? How did that work? [00:29:43] Staci Miller: So at first, actually my designer's father was working with me and he called me out of the blue and he's " Hey. I have this client, she doesn't have any human factors person working with her, but I know that she needs it and do you wanna talk to her? I know you're not working at Meta," because I put on my, oh. LinkedIn profile Open to Work. So he called me like within two days, like seriously, like people started to call me and that was when I was already like, "I'm gonna do my own thing. I'm just gonna do my own thing." So the universe just brought me a gift, right? And I met this first client and I started to work with her, and at first everything was super cool. The first year it was great, and I really liked working with her, but she also needed a couple of other things. She needed an IFU and she needed design quality assurance. I'm like, "Check, check. I can get both those things done." So I called my friend Maria, "Hey, do you wanna work with me? She's " Hey. Yeah, totally." Because we had already worked together and we knew each other pretty well. So it wasn't like it was difficult to make that connection. And, and she knows my personality. I know her personality, and I know we both work extremely hard and we have that in common. So I wasn't, never, would I be worried about Maria. And then I found I wasn't, I didn't even have a designer yet on staff. And I found someone who used to do instructions for use for a different company I worked for. I called him like, "Hey, can you do this?" He's " Yeah, yeah." So I got all that done for this other client. I'm like, "I can do this. I can do this. I can, I can find people." I know so many intelligent people who love what they do and have a fire for it every day. And then the evolution started to happen. And then I asked someone to work with me to do sales, and then they said, "Yes." And then we started to pitch people that I was friends with and knew, and sometimes they said yes, and sometimes they said no. I think the first year, I think I pitched over like $4 million in business and I got 20,000. No, I got, I got 80,000, something like that. Something, something small and I'm like, "Why am I pitching so much? This is like taking so much time outta my day," that I found someone to work with me. His name was Adam and I still actually work with Adam and he, but he's a big picture guy and he started to work with me a little bit and help me like navigate through some things. Even to this day, we talk and he's not fully, fully, fully on onboarded, but if, if some. Of the clients that he lands do come on board, he will be back on board and he will be working with me again. And then I had a salesperson this last year and I realized just I needed more of a hunter-gatherer. So like we're just going in a different direction, right? So I had that, and then last year my goal was to bring my designer Maddie on full-time. And I was able to do that too. So everything that I've kind of just said, "I'm gonna do this this year, I've been able to do this year." And I'm not taking this lightly. Like I have a board of directors, which are people who are, have different perspectives on finance because that's my weakest link, I would say. A professor at UCLA, his name's Sean Pat, also a good friend of mine. He's on my board. And my brother-in-law and my nephew, who is new in his life and on his journey, is on my board as well, and I kind of wanted him on my board so he can see what it looks like to be an entrepreneur and see what growth looks like year over year because he is already working for companies. He's, he's like 25, I think, and he's already being groomed to be in upper management. He's got upper management written all over him as like the, as like people would say in like cute little circles. And then my my brother-in-law, he is one of the CFOs at Mayo Clinic, so these are people who have some in medical, some in finance, some in finance, in medical, just helping me like grow. I throw things past them and they help, you know, make decisions for the year. And they tell me like, they give me feedback and, and work through things that I'm doing and what they think is right, what they don't think is right. And sometimes I listen, sometimes I don't. You know, like... [00:33:28] Lindsey Dinneen: Well, yeah. [00:33:29] Staci Miller: Just really depends like where I'm at and what I wanna do and where we wanna grow. [00:33:34] Lindsey Dinneen: Yeah. Excellent. Okay. So I'm curious, especially within medtech specifically, are there moments that really stand out to you as just affirming, "Oh my goodness, I am in the right place at the right time." [00:33:49] Staci Miller: Things keep happening, so, every time I speak, like I, I spoke at Project Medtech, people bombarded me. They're like, "We wanna work with you. We wanna work with you. We should talk, we should talk." Anytime I go to a symposium I walk away with two or three leads. People coming up to me, "Oh, do you do this thing? We should really talk. We should really talk." So, just being in the situation like that kind of tells me that I'm in the right direction. And the other thing is we're growing year over year. If you take a 10,000 foot view of where I was year one versus year three now, very, very different. Extremely different. And like I said, I do have, I do have other consultants that work with me. I don't want you to think it's just like a two person shop. It's not, there's other consultants that work with me but they're as needed. They're not full employees, which I think is really helpful in a situation like this. If you're a founder starting up from scratch and you're not, you don't have, I'm not trying to get angel investors. I'm not trying to get people to push money into my company. I am building it literally from zero to whatever it is that I make. And so that, that's a, what I would call like a slow burn of, you have to build your foundation, you have to manage to the capital that you do have, and then you, then you go to the next level and you do the same thing and then you do the same thing. And there's a lot of consistency with the business now, and I see a lot of people targeting me for that consistency. And as, as we are growing, like people are engaging with us on a different level, which is exciting to see. That's always exciting. [00:35:20] Lindsey Dinneen: Yes. [00:35:20] Staci Miller: That's kind of how I know. Yeah. [00:35:23] Lindsey Dinneen: I love that. Awesome. Okay, so pivoting the conversation a little bit just for fun. [00:35:28] Staci Miller: Cool. [00:35:30] Lindsey Dinneen: Imagine that you were to be offered a million dollars to teach a masterclass on anything you want. Could be within your industry, but it doesn't have to be. What would you choose to teach? [00:35:40] Staci Miller: That's a great question. I love, I think it's very important when you do what you do for a living to have something that isn't that for yourself. So I, there's very specific ways as to how I unwind at the end of the day. One of those things is cooking. I would totally do a masterclass in being a home chef. Like I'm, I'm not even a chef like that. I've never gone to culinary school, but I absolutely, I make my own breads. I make chutney sometimes when, when I want some. I would do a masterclass on-- I'm not Gordon Ramsey. I'm not Thomas Keller. Here's what it looks like to be a home cook. And here's the, the five things that you actually need. And this is what you should learn how to make first. Like I remember the first time I was trying to make pasta or something, I boiled the water to death. There was no water left in the pond. Like I didn't even know what I was doing. I, maybe I walked away from it, I don't know, but I destroyed the pot. My mom's " What were you doing?" I was like, "Making pasta." And she's " What, what, what happened? You ruined the pot." I'm like, "I'm not, I just did it wrong." So I would probably do a masterclass in how to just take that first step learning how to make your own food, right? And talk about food 'cause I like food. There you go. That's what I would do. [00:36:52] Lindsey Dinneen: Love it. I love food and I love talking about it. So, that sounds like a great class. [00:36:58] Staci Miller: I would do, I would totally do it. [00:36:59] Lindsey Dinneen: Okay, and then how do you wish to be remembered after you leave this world? [00:37:07] Staci Miller: This might be dating me, but Roy Orbison who wrote the song, "Pretty Woman" that was also in the movie, "Pretty Woman" wrote that he "just wanted to be remembered." And I thought that was really interesting. And I think that everybody knows that song knows that it's the guy like, I don't know if you know like the artist, but I think even to this day, that song, generationally, people know that song. I don't know how I wanna be remembered, but this is how I wanna impact the world. So it's kind of like that, but kind of not. I believe that knowledge transfer is the most powerful thing that we have amongst generations. And I want the next generation to be better than me, which is probably, in my opinion, I'm kind of kind of strict about this, probably a tall order, 'cause I'm like very picky. But, I have mentored and, and taught people my craft, and I want them to be better than me so they can mentor people and be better at this craft. So if I leave one mark on this world, it's that I have taught somebody what I know how to do and I expect them to do it better than me. And I don't mentor just anybody. So if I'm mentoring you is, and I'm putting all this energy into you, you better, you better bring it. And the people that I have worked with and have mentored are doing extremely well in their careers, and that's, that's kind of a thing that I like about, like what we do and how I do it. So I don't know if I would be specifically remembered for that, but I do know that it would move our industry forward and that makes me happy. [00:38:39] Lindsey Dinneen: I love that. That's a beautiful legacy. All right, and then final question. What is one I know, what is one thing that makes you smile every time you see or think about it? [00:38:52] Staci Miller: When I see what I'm building or, or how I'm building it in the future and I really go deep within my, my consciousness about this is what I'm gonna do next. This is how I'm gonna do it. This is what makes me feel really alive. I get so excited. I get like goosebumps. I start smiling. I, I'm a big-- I don't know if you do this, Lindsey, but I do this-- I kind of dance around a little bit. Like I dance when I'm making food, I dance and most people dunno that about me. But I, but my closest friends I remember I was working with this one guy and he looks at me, he's " Do you ever stop dancing?" I'm like, "Nope. Nope, Nope. Gotta dance." So all that stuff like starts to happen. And I just get really excited about the things that I'm trying to build, what I'm trying to master in my own world, what I'm trying to create. And that's what gives me like so much excitement. And then a number two would be my cats, because they're ridiculous and I love them and they give me so much love and they make me smile all the time too. [00:39:52] Lindsey Dinneen: Oh yes, those are great answers. I love that so much. It is exciting to see. Dreams come true. I can totally understand that answer of getting the, the excitement, the tingles, and then yeah, I, yeah, I, I obviously relate to dancing around all the time, and especially like celebratory dances. They're, my celebratory dances are the goofiest, most ridiculous things you've ever seen, but I'm happy! So. [00:40:20] Staci Miller: As long as you're happy, that's all that really matters, right? Like that vibe that you're putting out there and the happiness and the giddiness, like the things that I'm building in my mind, like they haven't happened yet, but I'm dancing like they have, you know, because I hope that they do. Like there you go. And I think that's important. I love it. [00:40:35] Lindsey Dinneen: True embodiment of the vision. I love it. Well, well, Staci, this has been a great conversation. Thank you so much for your insights and your stories, and we are so honored to be making a donation on your behalf today to Feeding America, which works to end hunger in the United States by partnering with food banks, food pantries, and local food programs to bring food to people facing hunger, and also they advocate for policies that create long term solutions to hunger. So thank you so much for choosing that charity to support. And gosh, I just wish you the most continued success as you work to change lives for a better world. [00:41:15] Staci Miller: Thank you, thank you. It was so much fun being with you today. I appreciate this and it was so much fun to talk about. And yeah, I can't wait to see you in the next couple weeks too. So we'll see each other soon. [00:41:26] Lindsey Dinneen: Yay! Sounds good. Well, thanks again and have the best rest of your day. [00:41:32] Dan Purvis: The Leading Difference is brought to you by Velentium Medical. Velentium Medical is a full service CDMO, serving medtech clients worldwide to securely design, manufacture, and test class two and class three medical devices. Velentium Medical's four units include research and development-- pairing electronic and mechanical design, embedded firmware, mobile app development, and cloud systems with the human factor studies and systems engineering necessary to streamline medical device regulatory approval; contract manufacturing-- building medical products at the prototype, clinical, and commercial levels in the US, as well as in low cost regions in 1345 certified and FDA registered Class VII clean rooms; cybersecurity-- generating the 12 cybersecurity design artifacts required for FDA submission; and automated test systems, assuring that every device produced is exactly the same as the device that was approved. Visit VelentiumMedical.com to explore how we can work together to change lives for a better world.

Chosen by Justin, Only the Lonely arrived in 1991 as a gentler, more bittersweet John Candy vehicle than the broad comedy many audiences might have expected. Written and directed by Chris Columbus and produced by John Hughes and Hunt Lowry, the film brought together Candy, Maureen O'Hara, Ally Sheedy, Anthony Quinn, James Belushi and Kevin Dunn for a Chicago-set romantic comedy-drama with a softer heart than its VHS-era packaging probably suggested. A widely reported production budget is not readily available, but the film earned around $21.8 million domestically after opening wide through 20th Century Fox in May 1991.The production leaned heavily into real Chicago texture, with principal photography beginning on 1 October 1990 and running until 22 December 1990. Locations included North Avenue Beach, the Pump Room, St. John Cantius Church, Greektown and Comiskey Park, with additional interiors built at Chicago Metropolitan Studios. Reception was mixed-to-positive in the period, with particular praise for the performances, and the film has since picked up a modest legacy as one of John Candy's more tender, underrated leading roles: less “falling through furniture,” more “quietly breaking your heart while still making you laugh.”Trailer Guy SynopsisIn a city of crowded bars, roaring trains and overbearing family dinners, one Chicago cop is about to face the most terrifying case of his career: falling in love.Danny Muldoon is loyal, dependable, kind-hearted… and still very much under the command of his mother. But when he meets Theresa, a shy funeral home worker with a quiet charm, Danny sees the possibility of a life beyond guilt, duty and being emotionally handcuffed to the family sofa.Fun FactsOnly the Lonely was Maureen O'Hara's first feature film appearance in roughly two decades, bringing a classic Hollywood presence into a very early-90s comedy-drama.Chris Columbus reportedly wrote the role of Rose with Maureen O'Hara in mind, which is ambitious casting energy of the highest order.The film's title comes from Roy Orbison's famous song “Only the Lonely,” giving the movie an instant dose of old-school melancholy before anyone even says a word.John Candy plays a romantic lead here, which makes the film stand apart from many of his broader comic roles of the 1980s and early 1990s.The cast includes both Macaulay Culkin and Kieran Culkin in small roles, because apparently the early 90s had a legal requirement that at least one Culkin appear somewhere near a John Hughes production.Maurice Jarre, the Oscar-winning composer behind classics such as Lawrence of Arabia and Doctor Zhivago, provided the score.The film was shot in the same general Chicago orbit as several John Hughes-associated productions, helping give it that familiar neighbourhood feel rather than a glossy studio rom-com sheen.Anthony Quinn appears as Nick, the persistent neighbour with eyes for Rose, adding some old-school screen charisma to the film's family chaos.The story has often been compared to Marty, the 1955 romantic drama about a lonely bachelor trying to find love while dealing with family pressure.Support the ShowIf you enjoy the show and would like to support us, we have a Patreon ⁠⁠⁠here⁠⁠⁠.If you're listening on Apple Podcasts or Spotify, leaving us a 5-star review (and a short comment) really helps more people discover the show. It's quick, free, and makes a huge difference.Referral links also help out the show if you were going to sign up:⁠⁠⁠NordVPN⁠⁠⁠⁠⁠⁠NordPass⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thevhsstrikesback@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/vhsstrikesback⁠⁠⁠⁠⁠⁠⁠⁠⁠

(WKXL is celebrating 80yrs of fan loved community radio!) On today's WKXl NH Unscripted Memorial Day Wayback Machine, we are looking at some popular songs from the 1960's that are all about one thing. Hopefully it won't make you cry too much! I mean, come on! The Vietnam War, protests, the assassinations of John and Bobby Kennedy and Martin Luther King Jr., forced bussing, etc. You'd be crying too! And into that mix we drop Roy Orbison, the Everly Brothers, Smokey Robinson, Ray Charles, Brenda Lee and, oh yeah, a couple more!!

Ah vous aimez cette chanson, hein, ça vous rappelle un film, Sailor et Lula, et si pas, vous y êtes instantanément, dans l'Amérique profonde, celle de la Route 66 et des grands espaces. C'est vrai, hein, on la voit, la grosse cylindrée décapotable et la route rectiligne, les restoroutes plantés au milieu de nulle part, écrasés par une chaleur sèche, avec trois pelés et deux tondus attablés à l'intérieur. Ça fout un spleen pas possible mais c'est beau.Comme la musique de Chris Isaak. Ah c'est vrai qu'il est beau ! Avec sa belle gueule bien coiffée style années 50 et ses pochettes qui font autant penser à Elvis Presley qu'à James Dean, il incarne une certaine Amérique, en total décalage avec les années 80 au milieu desquelles il débarque dans nos vies. Et qui lui vaut à la fin de la décennie d'être élu parmi les gars les plus sexys au monde.Chris Isaak, c'est le musicien qui tombe au mauvais moment. En pleine époque synthés et batteries électroniques, lui, il débarque avec des chansons qui sentent les motels perdus, les néons, les Cadillac qui ont trop roulé et les amours qui tournent mal au milieu de la nuit. Ça doit être ça qui a tant plus à un David Lynch qui vient de fasciner le monde avec son film Blue Velvet.La musique de Chris Isaak, c'est du rock avec une pincée de country, de surf, et de rockabilly ralenti façon Roy Orbison. Alors pourquoi il a tant marché à la fin des années 80 et dans les années 90 : probablement à cause de l'immense solitude élégante qu'il dégage. On dirait qu'il a tiré toute son inspiration dans le Heartbreak Hotel d'Elvis Presley, et qu'il s'est arrêté là, avec sa guitare, sur un parking vide.Et puis il y a sa voix, qui passe du murmure au grand vertige romantique dans la même phrase. Une voix de cinéma. Exactement. Une voix qui éveille en nous l'image d'un type très bien sapé en train de se faire lourder sous un panneau “Vacancy”. Alors il remonte dans sa grosse V6 et disparaît vers l'horizon. C'est vrai qu'on connaît tous plusieurs de ses chansons. Qu'elles soient restées collées à un bout de notre vie ou pas, la guitare qui s'accorde à sa voix lancinante a le goût d'une bande son, d'une compile Rockmantique, voilà sans doute pourquoi il était unique. Le plus fou est qu'à l'époque, on ne l'a pas étiqueté rétro, il s'est inscrit naturellement dans le paysage, le Chris Isaak.Et plus fou encore, on n'a jamais vraiment su qui il était. On n'a pas creusé le sujet. Ce n'était ni Prince, ni Madonna, question vie privée/publique et marketing. Et même si la nouvelle génération le connaît plus à cause de la vidéo du baiser forcé devant les caméras de télé à Cameron Diaz, Chris Isaak reste aussi mystérieux que les personnages qu'il incarne dans ses chansons, et toutes ses associations au cinéma dans des films marquants comme True Romance, le chef d'oeuvre de Tony Scott, et bien sûr, les films de David Lynch.

Matt Maher steps into the BlurryCon 3 spotlight and connects dots most people never see. The Grammy-nominated artist behind "Lord I Need You" reveals the story behind his fascinating life and the blurry thread running through it all. From a charismatic grandmother in Newfoundland who prayed in tongues and warned him about fairies to holding a stone from the cave of St. Michael the Archangel and watching a room flood with unexplainable white light. Matt connects creativity, consecrated land, and the thin veil between heaven and earth. Matt walks through the story of writing his song "Only Good Will Grow" on his first night in a house next to Johnny Cash's old Hendersonville property. Cash told a grieving Roy Orbison that only good would grow on that land. When the families lost ownership, everything died. When a Catholic priest came and blessed the ground, everything came back. Matt talks about how Diana Pasulka's research confirmed what he always felt as a songwriter. Songs arrive like downloads from somewhere beyond the veil. He lands on the connection between sound and light on the same spectrum and delivers a line that will stay with you. When God said, "Let there be light," the Logos was moving so fast that it turned into the visible spectrum. A sunset is a song. He talks about quantum retrocausality, how forgiveness might not be a metaphor, and the blood of Jesus might actually move backward through time. Matt makes a compelling case that the Christian life was always meant to be blurry and that wonder is not the enemy of responsibility. Want to listen to this episode and a catalog of more than 100+ other members-only episodes? Check out the vibrant community, extra episodes, and amazing perks of being a Blurry Creatures member at ⁠⁠⁠⁠⁠⁠⁠https://blurrycreatures.com/pages/members⁠⁠⁠⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Mike The Intern talks with Rodney Justo about ARS, playing with Roy Orbison, and having Pink Floyd open for his band!See omnystudio.com/listener for privacy information.

Tonight on America at Night with McGraw Milhaven: Music biographer Jeff Apter joins the show to discuss his new book “Roy Orbison: King of Hearts,” exploring the life, music, and lasting legacy of one of rock and roll's most distinctive voices. Apter shares stories from Orbison's career, the personal struggles behind the music, and how his influence continues to shape artists today. Rep. Kevin Kiley (I-CA) joins the program to discuss signing a discharge petition to force a House vote on the Ukraine Support Act, explaining what the move means for Congress, U.S. foreign policy, and the ongoing debate in Washington over aid to Ukraine. Plus, Bill Clevlen, founder of Bill on the Road, joins the show for the weekly travel segment, sharing travel tips, destination ideas, and stories from his latest adventures across the country. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Devo's Mark Mothersbaugh and Gerald Casale join Diallo & LUXXURY to break down their classic new-wave hit “Whip It.” They discuss the band's origins at Kent State, share the surprising influences on the song from Roy Orbison to Thomas Pynchon, and break down that iconic music video. Learn more about your ad choices. Visit megaphone.fm/adchoices

Así sonaba mayo de 1966. Singles que alcanzaron su puesto más alto en el Billboard Hot 100 de EEUU hace 60 años.(Foto del podcast por Henry Diltz; The Mamas and The Papas)Playlist;(sintonía) THE BRASS RING feat PHIL BODNER “The Phoenix love theme (Senza fine)” (top 32)THE MAMAS and THE PAPAS “Monday monday” (top 1)PERCY SLEDGE “When a man loves a woman” (top 1)BOB DYLAN “Rainy day women #12 & 35” (top 2)BOB LIND “Remember the rain” (top 64)JIMMY SMITH “Got my mojo workin’ (part 1)” (top 51)KO KO TAYLOR “Wang dang doodle” (top 58)STEVIE WONDER “Nothing's too good for my baby” (top 20)THE SUPREMES “Love is like an itching in my heart” (top 9)THE KINKS “Till the end of the day” (top 50)THE DAVE CLARK FIVE “Try to hard” (top 12)THE YARDBIRDS “Shapes of things” (top 11)THE BYRDS “Eight miles high” (top 14)PAUL REVERE and THE RAIDERS feat MARKS LINDSAY “Kicks” (top 4)THE SHADOWS OF KNIGHT “Gloria” (top 10)ROY ORBISON “Twinkle toes” (top 39)NANCY SINATRA “How does that grab you, darlin'?” (top 7)THE BEACH BOYS “Sloop John B.” (top 3)THE WALKER BROS. “The sun ain’t gonna shine anymore” (top 13)Escuchar audio

Roy Orbison ile eşi arasında geçen bir konuşmadan doğan ve 7 milyonluk satış rakamıyla sanatçının en büyük hiti haline gelen şarkının hikâyesi.

National English Muffin day. Entertainment from 2007. Coca Cola changed its recipe, 1st video loaded onto You Tube, Hillbilly used for first time, Ottoman Empire ended. Todays birthdays - William Shakespeare, James Buchanan. Shirley Temple, Roy Orbison, Lee Majors, Sandra Dee, Herve Villechaize, Joyce DeWitt, Valerie Bertinelli, George Lopez, Taio Cruz. Howar Cossell died.Intro - God did good - Dianna Corcoran   https://diannacorcoran.com/ English Muffin - Parry GrippGive it to me - Timbaland  Nelly Furtado   Justin TimberlakeWasted - Carrie UnderwoodBirthdays - In da club - 50 Cent      http://50cent.com/Good ship lollipop - Shirley TemplePretty Woman - Roy OrbisonSix Million Dollar Mant TV themeDynamite - Taio CruzHistory & Factoids about today Playlist on SpotifyHistory & Factoids about today webpagecooolmedia.comcountryundergroundradio.com

Dizem que parte do sucesso do filme se deve ao título ser quase igual a uma canção do artista Roy Orbison - ficou logo no ouvido. E as novelas portuguesas passaram a usar o mesmo truque!See omnystudio.com/listener for privacy information.

Singles que alcanzaron su puesto más alto en el Billboard Hot 100 de EEUU en este mismo mes de hace 60 años. Precisamente un 5 de marzo de 1966 llegó al número 1 el que se convertiría en el disco más vendido del año, permaneciendo en la cima durante cinco semanas consecutivas. Un canto patriótico y militar a favor de las fuerzas enviadas a Vietnam e interpretado por el Sargento Barry Sadler de los Boinas Verdes.Playlist;(sintonía) THE MARKETTS “Batman theme” (top 17)SSGT BARRY SADLER “The ballad of the green berets” (top 1)THE ROLLING STONES “19th nervous breakdown” (top 2)THE BEATLES “Nowhere man” (top 3)THE MAMAS and THE PAPAS “California dreamin’” (top 4)THE TURTLES “You baby” (top 20)SIMON and GARFUNKEL “Homeward bound” (top 5)THE NEW COLONY SIX “I confess” (top 80)BOBBY FULLER FOUR “I fought the law” (top 9)THE FIVE AMERICANS “I see the light” (top 26)THE DAVE CLARK FIVE “At the scene” (top 18)THE SPENCER DAVIS GROUP “Keep on runnin’” (top 76)THE SHEEP “Hide and seek” (top 58)ROY ORBISON “Breakin' up is breakin' my heart” (top 31)SIR DOUGLAS QUINTET “The rains came” (top 31)THE SHANGRI-LAS “Long live our love” (top 33)SONNY and CHER “What now my love” (top 14)DEON JACKSON “Love makes the world go round” (top 11)GOOGIE RENÉ COMBO “Smokey Joe's La La" (top 77)DEAN MARTIN “Somewhere there’s a someone” (top 32)Escuchar audio

Today we are discussing the 1990 romantic comedy Pretty Woman! We debate whether this movie is a step forward or backward for feminism, its class systems, meaningful apologies, retail revenge, happy endings, charm, & more! Plus, Seinfeld, the Mandela Effect, The Little Mermaid, The Princess Diaries, & Audrey Hepburn! This episode was originally released on September 5, 2022 I Love This You Should Too is hosted by Samantha and Indy Randhawa Pretty Woman is a 1990 American romantic comedy film directed by Garry Marshall, from a screenplay by J. F. Lawton. The film stars Richard Gere and Julia Roberts, and features Héctor Elizondo, Ralph Bellamy (in his final performance), Laura San Giacomo, and Jason Alexander in supporting roles. The film's story centers on down-on-her-luck Hollywood prostitute Vivian Ward and wealthy businessman Edward Lewis. Vivian is hired to be Edward's escort for several business and social functions, and their relationship develops over the course of her week-long stay with him. The film's title Pretty Woman is based on the 1964 song "Oh, Pretty Woman" by Roy Orbison. It is the first film on-screen collaboration between Gere and Roberts; their second film, Runaway Bride, was released in 1999. Originally intended to be a dark cautionary tale about class and prostitution in Los Angeles, the film was re-conceived as a romantic comedy with a large budget. It was widely successful at the box office and was the third-highest-grossing film of 1990. The film saw the highest number of ticket sales in the US ever for a romantic comedy,[2] with Box Office Mojo listing it as the number-one romantic comedy by the highest estimated domestic tickets sold. Feminist Film Theory and Pretty Woman by Mari Ruti: https://books.google.ca/books?id=zzDSDAAAQBAJ&dq=pretty+woman&source=gbs_navlinks_s

Bird on AmericanaFest, Accidental Filmmaking, and Storytelling Through Music | Curious Goldfish PodcastHost Jason English welcomes Janie, who performs as Bird, to the Curious Goldfish Podcast in Nashville during AmericanaFest. Bird, half Irish and half English, grew up in London, is based in Italy, and is increasingly working in the U.S. after receiving an O-1 visa. She discusses Irish storytelling roots, her classical cello training from age six, learning drums at 11, and influences ranging from Jacqueline du Pré to Led Zeppelin and Bob Dylan that shaped her Americana sound. Bird explains the origin of her stage name, her “accidental filmmaker” path after a cinematic album stalled during COVID, and her short films “Wider Than the Sky” and “You Found a Friend in Elvis,” inspired by a Roy Orbison story. She outlines festival strategy, upcoming full-length film plans, two EPs (“Heads or Tales” and “Strange as Folk”) and a vinyl release, touring via Café Nero, and performs “The Tides” solo on cello for the first time.00:00 Irish Storytelling Roots00:55 Podcast Welcome and Guest Intro02:56 Meeting at AmericanaFest03:35 AmericanaFest Buzz and US Plans04:44 Why the Name Bird07:22 Accidental Filmmaker Origin09:12 Elvis and Roy Orbison Mystery11:15 Festival Strategy and No Money12:45 Third Film Tease and Timeline14:13 Back to Music Classical Beginnings15:13 Drums and Rock Influences15:56 Irish Storytelling Roots17:24 Albums and Genre Evolution17:52 Heads or Tales EP18:28 Why Two EPs19:17 Folk Horror Inspiration21:17 Lockdown Demos in Italy22:27 Touring and Future Plans25:19 Curiosity and Connection27:58 The Tides Closing Song

This week's Mixtape Rewind takes us back to Season 3 when we first thought of the idea that would become our podcast, The Battle.What happens when two totally different songs share the exact same title? We built a “battle mix” to find out—pairing heavyweights and outliers across genres and decades—then we argue, analyze, and crown winners. From Go to Get Back, each round reveals how a single word can split into protest anthems, breakup arias, dance‑floor bliss, or guitar‑driven chaos.We kick off with Blink‑182 and The Black Keys on Go, weighing a bold tonal shift against a signature groove. Eurythmics steamroll Charles & Eddie on Would I Lie To You with brass, bite, and Annie Lennox's powerhouse vocal. True Love sparks a values debate: Angels & Airwaves deliver a soaring, cinematic build while Coldplay's “lie if you must” line clashes with the title. Roy Orbison's You Got It proves timeless compared to a New Kids on the Block time capsule. Then it's Growing Pains, as Alessia Cara's present‑tense anxiety meets Ludacris's reflective narrative—two coming‑of‑age angles, one title.The center of the card gets fiery. Green Day's Holiday channels mid‑2000s protest energy against Madonna's disco‑pop celebration. Rihanna's Take A Bow serves velvet‑gloved dismissal, while Muse opens an album with a synth‑rock chill that lingers. Tupac and The Beach Boys both claim I Get Around, one with effortless charisma and the other with historic chart significance. Foo Fighters' Run slams with near‑metal intensity, outpacing Snow Patrol's slow‑burn. Happy pits NF's candid mental‑health lens against Pharrell's pure joy machine—two roads to one feeling. And our main event, Get Back, throws Ludacris's peak hit‑maker energy against The Beatles' cultural gravity and complicated context. https://music.apple.com/us/playlist/same-name-different-songs-mix/pl.u-JPAZEoJTLd7Y15jhttps://open.spotify.com/playlist/1sCtai2Hujfbv9kZD0qnU9?si=779125752f4c4f3f     Go by The Black KeysGo by blink-182Would I Lie To You? By Charles & EddieWould I Lie To You? by Eurythmics, Annie Lennox,Dave StewartTrue Love by Angels & AirwavesTrue Love by ColdplayYou Got It (The Right Stuff) by New Kids On The BlockYou Got It by Roy OrbisonGrowing Pains by LudacrisGrowing Pains by Alessia CaraHoliday by Green DayHoliday by MadonnaTake A Bow by RihannaTake a Bow by MuseI Get Around by 2PacI Get Around by The Beach BoysRun by Snow PatrolRun by Foo FightersSummertime by DJ Jazzy Jeff & Fresh PrinceSummertime by Kenny ChesneyHAPPY by NFHappy by Pharrell WilliamsGet Back by LudacrisGet Back by The BeatlesGo to My.SuperAwesomeMix.com and start using our new app on any device - mobile or laptop.  Copy and paste a link to your playlist then turn it into an old school mixtape in minutes!  Support the showVisit us at https://www.superawesomemix.com to learn more about our app, our merchandise, our cards, and more!

Brent Maher joins me on the show today to talk about his incredible career as a producer, engineer and songwriter. This is Part 1 of our conversation, and part 2 will come out a week from today.Brent is one of the few 1st generation of Nashville recording studio icons still active and working in town. Some of his extensive credits including recording “Proud Mary” for Ike & Tina Turner, “Dance to the Music” by Sly & The Family Stone and “Age of Aquarius” by the 5th dimension, not to mention producing every Judds record. His career began at Fred Foster Sound, which was the studio built by Sam Phillips. He learned and worked for years as an assistant to Bill Porter, one of the greatest engineers of all time. From the early 60's, they were working on albums for Roy Orbison, The Everly Brothers, Chet Atkins and many more. Brent followed Porter to Las Vegas, where they set up shop and that's where Brent started his producing and songwriting career, with the first song he ever wrote being recorded by Ike & Tina. Brent eventually moved back to Nashville, where he found the Judds, produced all of their huge records and redefined country music in the 80's. He was instrumental in bringing the recording scene to Berry Hill, where he helped design and build Creative Workshop and what eventually became Blackbird Studios. Brent continues to work at his studio in Berry Hill today with artists like Rob Ickes & Trey Hensley, Taj Mahal, as well as his latest project “Night of the Orphan Train” - which is a musical novel. We get into all of these facets of his stunning career in this 2-part episode.Enjoy my conversation with Brent Maher!This season is brought to you by our main sponsors Larivée Guitars, Audeze, Izotope, FabFilter, and Chase Bliss. Hosted on Acast. See acast.com/privacy for more information.

Andrew steps in for Ray to take us to the Wayback Machine! On todays show we play hits from Ray Stevens, The Irish Rovers, Roy Orbison, and many more!

Send a textTim is joined by filmmaker Chris Purcell to explore Please Please Me. They examine its transformation from a Roy Orbison-style ballad into an urgent pop classic, George Martin's crucial early guidance, the song's groundbreaking harmonies and driving rhythm, and how it marked the true beginning of Beatlemania.They also discuss Chris's new feature documentary Evolver 62, featuring Mark Lewisohn, which tells the blow-by-blow story of the Beatles' pivotal year through rare artefacts and on-location storytelling.Guest linksEvolver 62 – Amazon UK: https://amzn.to/4bP7bGSEvolver 62 – Amazon US: https://amzn.to/4pXf4gLEvolver 62 – Apple TV (US): https://apple.co/46m6L7xEvolver 62 – Google Play (US): https://bit.ly/4qsUXHyEvolver 62 – Fandango at Home (US): https://bit.ly/45SSvTuEvolver 62 – DVD (US): https://bit.ly/3Zap37FRight Angle Films: https://www.rightanglefilms.co.uk/Liverpool West Productions: https://liverpoolwestproductions.com/Follow My Favourite Beatles SongBluesky: https://bsky.app/profile/myfavebeatles.bsky.social Facebook: https://www.facebook.com/MyFavouriteBeatlesSong Instagram: https://www.instagram.com/myfavouritebeatlessong X (Twitter): https://twitter.com/myfavebeatlesOriginal music by Joe Kane Logo design by Mark Cunningham

You may have noticed a trend on social media the past few years of people praising something as "absolute cinema." Wrestling seems to be no different, as internet cinephiles are quick to scream "absolute cinema" at Roman Reigns staring at Jey Uso or Seth Rollins making a face. On this episode, Andrew and returning guest Paul Wedding will discuss some actual cinema, namely songs from movies. They could be songs made specifically for the movie's soundtrack, songs that are just in the movie and come from somewhere else, or film score. Artists played include Aimee Mann, Quincy Jones, Townes Van Zandt, Moby, Motörhead, Carly Simon, Roy Orbison, Geto Boys, and many more. Grab some popcorn and put your cellphones on silent, we're going to the movies!Theme song: "Hemispheres" by Silent PartnerBluesky: @MusicoftheMat / @justandrewAll VOW podcasts, articles, previews, and reviews: VoicesofWrestling.comJoin the VOW Discord to discuss Music of the Mat and other shows/topics: VoicesofWrestling.com/DiscordDonate to Music of the Mat and other VOW podcasts: VoicesofWrestling.com/DonateAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Michael Eames might be the smartest person I know in the music industry. We've been friends for 15 or 20 years, and I'm always amazed by his insights, depth of understanding, and wisdom. I feel enriched each time we speak about all things music industry-related, and this interview lives up to that promise. Read his bio, and I think you'll see why you shouldn't miss what he's got to say about AI and the music industry… Michael Eames is a trained composer, songwriter, and pianist with experience in film scoring who studied music at Cornell University and UCLA Extension; Michael also secured a minor in Business Management from Cornell. As President of PEN, Michael oversees all aspects of the operation, as well as focuses on pitching the catalogue to all media and business development. Michael was chosen to serve (along with four other independent music publishers and five songwriters) on the Unclaimed Royalties Oversight Committee (UROC) of The Mechanical Licensing Collective (MLC) that will commence blanket mechanical licensing of the digital services in the U.S. as of January 1, 2021. Prior to starting his publishing company, Michael oversaw the international activities and film & television department of Don Williams Music Group, where he was responsible for song catalogues such as Jimi Hendrix, Chicago, and Roy Orbison, among numerous others. He also worked previously for Brian Wilson of The Beach Boys and the management and music supervision firms The Derek Power Co and Seth Kaplan Entertainment.

Wir haben ihn bereits Anfang des Jahres zum Sounds! Artist to Watch 2026 ausgerufen – jetzt darf er im exklusiven Sounds!-Interview selbst erzählen, wie und warum er sein Glück in Los Angeles gefunden hat: Tyler Ballgame, die Reinkarnation von Roy Orbison mit ganz viel 70er-Jahre-California-Touch. «For the First Time, Again» ist das neue Sounds! Album der Woche: Wir haben Vinyl und CDs zu verschenken – jeden Abend bis und mit Freitag!

Monique Cassells joins Jan-Willem to chat about “Rock Around the Jukebox”, a tribute to legends from the 1950s and 1960s, including Bill Haley and the Comets, Elvis Presley, Chubby Checker, the Beatles, the Everly Brothers, the Platters, Cliff Richard, the Beach Boys, Roy Orbison, Buddy Holly, Little Richard and more. 1 February 16h00 Tickets cost: R200 / R180 Bookings: https://www.dramafactory.co.za/whatson Groups of 4 R160 - WhatsApp 0732152290

A news update (all best wishes to Lonnie Pena and family), some chat about "rethinking" the Fest for Beatles Fans, which leads into Marv and I chatting about some more of George Harrison's guest appearances from the eighties and into the early nineties. 

Hidy, friends and neighbors. Good to be partnering up with Claude on another podcasting project! This episode is about a song whose title vaguely sounds like the result of a chemical spill, but which is actually a classic piece of rockabilly. John Fogerty and his brother Tom were natives of Northern California, and their family vacations often were to a cabin in Yolo County, just west of Sacramento. That cabin was next to both a lake and a creek, and the Fogerty boys would play in and around that creek during vacations. And yes, you’ve guessed it, the water there did have a greenish tint because of algae and other natural phenomena.  Coincidentally, Green River was John’s favorite flavor of soda pop as well (though I’m not sure I would drink anything with that name these days). Fast forward a few years to the mid 1960s, and John and Tom, along with their buddies Stu Cook and Doug Clifford, are in a local band called the Golliwogs. They picked a new name in January 1968, shortly after they got their record contract, and were thereafter known as Creedence Clearwater Revival. They followed the natural route of local gigs, then national tours, and then record releases. The song titles are familiar: Susie Q, Bad Moon Rising, Born on the Bayou, Proud Mary (which Claude covered on an episode of How Good It Is a while back, and then the song that hearkened back to John’s salad days at that creek in Yolo County.   Give it a listen to see how Roy Orbison rubbed off on the boys from El Cerrito, and how the song fits into the overall CCR legacy. Click here for a transcript of this episode.  Click here to become a Patron of the show.

What happens when a classically trained cellist becomes an Americana soul-seeker and an award-winning director? In this episode, we sit down with Janie Price, the creative force known as BIRD, to explore a career that defies categorization. From her early days picking up the cello at age six to her recent acclaim from legends like Johnny Marr and Roy Orbison Jr., BIRD's journey is one of relentless creative curiosity. We go behind the scenes of her stunning new single, "The Film," a track that began in a rented room in Italy during the 2020 lockdown and traveled all the way to Nashville to be finished by Americana's finest musicians. The 5-Year Song: Why "The Film" needed half a decade to age like a fine wine before it was ready for the world. Music as DNA: Growing up with the cello and how a classical foundation paved the way for pop hits and indie anthems. The Director's Chair: The transition from songwriting to filmmaking, including her award-winning short Wider Than The Sky and her upcoming Roy Orbison documentary. The Nashville Connection: Collaborating with Jay DeMarcus (Rascal Flatts) and Ilya Toshinsky to find the perfect "Strange as Folk" sound. Global Empathy: How living between London and Tuscany shapes her perspective as a storyteller. Whether you're a fan of cinematic folk, a filmmaker in the making, or just love a deep dive into the creative process, this conversation with BIRD is a masterclass in staying true to your artistic vision. __ Love the show? Leave us a review on Apple Podcasts and subscribe so you never miss an episode. Follow Jrodconcerts Media: @jrodconcertsmedia ___ Support the Show: Try Cheerios Protein! https://www.cheerios.com/shop-protein-bundle Learn more about your ad choices. Visit megaphone.fm/adchoices

Bluegrass-folk trio Damn Tall Buildings released their latest album The Universe Is Hungry this fall. We sit down with Avery Ballotta to talk about growing up in Montana, early musical influences, and how a love for music—and the fiddle—started at a young age. We dive deep into the inspiration behind the album, recording process, and the band's commitment to staying truly independent—self-producing, self-managing, and even running their own music school in Brooklyn.Avery shares stories from studying at Berklee College of Music, meeting bandmates Max Capistran and Sasha Dubyk, and how the group's journey began with busking on the streets of Boston before evolving into a decade-long partnership rooted in friendship, craftsmanship, and creative freedom. He also talks about touring with the U.S. State Department, performing bluegrass during cultural exchanges in Ethiopia and Saudi Arabia, and reimagining Roy Orbison's “Blue Bayou” through a bluegrass lens. Plus, we discuss the band's one-microphone live setup, how they decide vocal leads without a frontman, favorite songs to perform on stage, unforgettable moments from 2025, and what fans can expect from Damn Tall Buildings in 2026.Jonathan's Drinking: McKenzie Straight Bourbon Whiskey

Maggie & John C. Reilly discuss “What's Not to Love?” Mister Romantic's debut album out now on Eternal Magic Recordings is a collection of beloved songs from the American Songbook reimagined by Reilly and his Grammy-winning band. “What's Not To Love?” was recorded in 2024 in Los Angeles at Nest Recorders and was co-produced by Reilly and Davíd Garza. In addition to Garza on piano and guitar, the band also includes Gabe Witcher on violin, Sebastian Steinberg on bass, and Charles De Castro on accordion and cornet.  CREATED BY JOHN C. REILLY“I looked at our weary world a few years ago and tried to think of a way I could spread love and empathy. I decided the most fun way to do that was through performing and singing and telling people I love them…so the emotional vaudeville show Mister Romantic was born, out of both hope and despair.”From studying theater as a kid growing up in Chicago, to amateur clowning as a teen and studying acting at The Theatre School at DePaul University, to his Oscar-nominated role starring in the film adaptation of Chicago and beloved performance starring in Walk Hard: The Dewey Cox Story, to his TONY-nominated performance in Sam Shepard's True West, and more, theater and music have been pillars of John's career. What's Not To Love? is a collection of gorgeous renditions of songs from the Great American Songbook backed by a band of multiple GRAMMY®-winners. On lead single “Dream” Reilly delivers a gentle, dreamy sea-side cover of the 1944 Johnny Mercer song, which has previously been recorded by Frank Sinatra and Roy Orbison.The album was recorded in 2024 in Los Angeles at Nest Recorders and was co-produced by Reilly and Davíd Garza (Fiona Apple, Sharon Van Etten). In addition to Garza on piano and guitar, the band also includes Gabe Witcher on violin (Punch Brothers, Rosanne Cash), Sebastian Steinberg on bass (Fiona Apple, Phoebe Bridgers), and Charles De Castro on accordion and cornet (Keb' Mo'). The 13 tracks include a pair of Irving Berlin songs, a trio of Tom Waits songs and many songs made famous by Louis Armstrong, Frank Sinatra, Jo Stafford and more. Reilly and this special band reimagine and re-embrace these beloved tunes and bring them again to another generation.About the Live Show:Prepare to be captivated by the incomparable John C. Reilly in Mister Romantic, a vaudeville show that has already garnered critical acclaim and captured the public's imagination. The New York Times calls the show "wryly funny, sometimes tender and sad, but always sincere" and Vanity Fair describes it as “fiercely funny” and says "John C. Reilly is one hell of a singer." Mister Romantic asks you to open your heart to the love all around you and marks a new chapter in Reilly's acclaimed career. Source: https://www.misterromantic.com/Source: https://www.steppenwolf.org/tickets--events/seasons-/2025-26/mister-romantic/Source: https://www.misterromantic.com/musicHost Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Send us a textSupport the show@profileswithmaggielepique@maggielepique

January 2026 opens with an extraordinary astrological landscape — one that invites reflection, choice, and conscious participation.In this episode, we explore a rare continuation of out-of-bounds planetary activity, with the Moon, Mercury, Venus, and Mars all operating beyond their usual limits in the opening days of the year. When planets go out of bounds, they behave with fewer internal restraints, offering powerful opportunities to act, create, decide, and respond in new ways — if we're paying attention.You'll hear about: What out-of-bounds planets mean in astrology, and how to work with them intentionally How Mercury, Venus, and Mars out of bounds in Capricorn may challenge habits, plans, and self-control Why Cardinal signs (Aries, Cancer, Libra, Capricorn) are especially activated this month Emotional intelligence as a resource while the Moon repeatedly goes out of bounds in Cancer How different Cardinal signs may experience these energies internally and relationally January also carries the final phase of the Saturn–Neptune conjunction in Pisces, a long transit associated with disillusionment, endings, grief, realism, and the reshaping of dreams. As Neptune prepares to leave Pisces for the last time in our lifetime, this episode reflects on what it means to allow something to dissolve — and how acceptance can quietly prepare the ground for a new foundation.Along the way, we draw inspiration from music and myth, including reflections on Roy Orbison, whose Saturn–Neptune signature speaks poignantly to the tension between dreams and reality.This forecast also covers: A powerful run of stelliums from Capricorn into Aquarius A rare six-planet, double-sign stellium around January 19 How to work with intense concentrations of planetary energy through focus and leadership A brief but meaningful opposition to Jupiter, highlighting themes of polarization, excess, and negotiation The shift from Capricorn's managerial intelligence to Aquarius' visionary design This episode is best enjoyed as a contemplative listen — whether you're reflecting on your own chart, navigating change in your life, or simply tuning into the larger collective moment as we cross fully into 2026.To explore these themes further, you're invited to join upcoming conversations and webinars featured on the Astrology University events calendar.Take care of yourself, stay connected to what matters, and remember: astrology doesn't tell us what will happen — it helps us understand how to meet what's happening with greater awareness, choice, and compassion.

Roy Orbison was a West Texas boy with an operatic voice. He was drawn to the guitar at age six. His monumental global career successes were matched by extraordinary personal tragedies. Jeff Slate is the co-author of the book The Authorized Roy Orbison.

Ett specialprogram med julvärden Lena Nordlund. Från Roy Orbison till Stevie Wonder julmusik som speglar samhällsfrågor och önskan om ett bättre år. Lyssna på alla avsnitt i Sveriges Radios app. Julmusik är mer än bjällror och glittrande melodier. I det här specialprogrammet möter Lena Nordlund Magnus Carlson från Weeping Willows, en artist som tar högtiden på allvar och ser musiken som en spegel av både glädje och sorg. Samtalet rör sig från klassiska ballader med stråkar till punkens råa realism och vidare till låtar med starka samhällsbudskap. Här finns Roy Orbisons enda julsång, Frank Sinatras stämningsfulla klassiker och Stevie Wonders vision om fred under Vietnamkrigets dagar. Julen är en tid av kontraster – förväntan och fest blandas med ensamhet och eftertanke. Därför blir de mest minnesvärda jullåtarna ofta de som bär på ett stråk av melankoli och hopp. Programmet utforskar varför sentimentala toner och allvarliga texter fortsätter att beröra, och hur julmusik kan bli en plats för både tradition och reflektion.Programledare: Lena Nordlundlena.nordlund@sr.se

ChatGPT 5.1 says: “In this hard-hitting and hilariously honest episode of Randumb Thoughts, host Darren O'Neill tackles a wild mix of music legend tributes, live-performance controversies, skyrocketing electricity bills, social-media crackdowns, and a pair of unbelievable delivery-driver nightmares that could only happen in modern America. The show opens with a heartfelt look back at Raul Malo, the powerhouse vocalist of The Mavericks, whose passing leaves a void in the country-Americana world that no AI-generated voice could ever touch. Darren dives into Malo's remarkable vocal range, musical roots, and decades-long impact — a must-hear segment for fans of Roy Orbison, classic country, roots music, and real live performance. From there, things heat up as Darren breaks down the viral debate ignited by Dave Grohl:Is Taylor Swift actually singing at her concerts? Using audio analysis, machine-learning vocal isolation, and multiple tour recordings, Darren unpacks whether the world's biggest pop star is delivering a truly “live” experience — or a tightly-controlled, choreographed illusion. If you're into music production, audio engineering, live-show authenticity, or pop-culture controversies, this section is pure gold. Then the show jolts into the real world with a deep dive into why electricity bills are exploding across the United States, especially in Democrat-run states. Darren unpacks new data, state-level energy mandates, and the high-cost consequences of “green policy theater.” A must-listen for anyone frustrated by their rising utility costs or interested in energy policy, cost-of-living issues, and political accountability. And just when you think the insanity peaks… Darren drops two outrageous delivery-driver stories involving Jewel-Osco, Uber, Lou Malnati's, ID checks gone wrong, and frozen pizza that wasn't supposed to be frozen. If you enjoy real-life fails, consumer-service trainwrecks, and the absurdity of the gig-economy, you'll be laughing and shaking your head at the same time. Finally, Darren wraps up with a value-for-value thanks, holiday updates, and a reminder to appreciate every moment — especially the ones the algorithm can't steal from us.” Thanks for listening! EXECUTIVE PRODUCERS:Mark KodraEricPPTHANK YOU FOR SUPPORTING THE SHOW! PLEASE SUPPORT RANDUMB THOUGHTS!TRY INCOGNI: https://incogni.cello.so/KpYfMWSF57i SUBSCRIBE / DONATE: http://randumbthoughts.com/donatePATREON: https://patreon.com/randumbthoughts CHECK OUT MY OTHER SHOWS: PLANET RAGE: https://planetrage.showUNRELENTING: https://unrelenting.showGRUMPY OLD BENS: http://grumpyoldbens.com Thank you for listening to Randumb Thoughts! Please, tell a friend!

Nate Wilcox and Ed Ward continue their discussion of Ed's ⁠⁠⁠⁠⁠⁠⁠"History of Rock & Roll 1920-1963⁠⁠⁠⁠ "⁠⁠⁠⁠ with the first of two shows discussing 1963. This week we'll be talking about how Berry Gordy perfected his Motown assembly line, Phil Spector and the wrecking crew, Roy Orbison's operatic dramas, Patsy Cline's final year, and how James Brown finally seized control of his career and became the Godfather of Soul. GO TO THE LET IT ROLL SUBSTACK TO HEAR THE FULL EPISODE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ -- The final 15 minutes of this episode are exclusively for paying subscribers to the Let It Roll Substack. Also subscribe to the LET IT ROLL EXTRA feed on Apple, Spotify or your preferred podcast service to access the full episodes via your preferred podcast outlet. We've got all 350+ episodes listed, organized by mini-series, genre, era, co-host, guest and more. Please consider becoming a paid subscriber to support the show. Thanks! Email ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letitrollpodcast@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on Twitter.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Let It Roll is proud to be part of ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pantheon Podcast⁠s⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

In this week's mixtape rewind, we go back a couple of years to when Matt and Sam did a deep dive into music supergroups.Imagine loading a playlist where legends keep walking through the door. That's the ride we built as we dive into supergroups that actually deliver, from the crunch of Audioslave and the finesse of Cream to the indie cohesion of Boygenius and the pure joy of the Traveling Wilburys. We chase the central mystery behind these collaborations: when distinct sounds collide, what holds, what changes, and why does it matter?We start with the gravitational pull of great voices. Chris Cornell gives Audioslave immediate identity while Tom Morello adds that unmistakable edge, and Maynard James Keenan turns A Perfect Circle into a masterclass in mood without copying Tool. Then we test chemistry in the engine room: Chickenfoot fires up old-school rock craftsmanship, and Them Crooked Vultures stretch grooves into cinematic builds powered by Dave Grohl, Josh Homme, and John Paul Jones. For a genre swerve, Mount Westmore brings bass and swagger with Snoop, Too Short, E-40, and Ice Cube trading bars like it's a victory lap.Contrast keeps the mix alive. Wild Flag threads surfy drums with indie bite, and Boygenius shows how three solo voices can trade lead without crowding the song. Prophets of Rage fuse protest and power, pulling rap and rock tight around a sharp social focus, while The Highwaymen remind us that sometimes the most classic move—four giants trading verses—still lands hardest. And to cap it all, the Traveling Wilburys prove that when Bob Dylan, George Harrison, Jeff Lynne, Roy Orbison, and Tom Petty decide to have fun, the hooks practically write themselves.Be Yourself by AudioslaveBig Subwoofer by MOUNT WESTMOREWhite Room by CreamDown the Drain by ChickenfootElephants by Them Crooked VulturesRomance by WILD FLAGPassive by A Perfect CircleBruised by The BensLiving on the 110 by Prophets of RageHighwayman by HighwaymanSatanist by boygeniusWilbury Twist by The Traveling Wilburys Support the showVisit us at https://www.superawesomemix.com to learn more about our app, our merchandise, our cards, and more!

Register your feedback here. Always good to hear from you!Every year it seems I have more and more to be thankful for, and it's high time I said so on the podcast. this week I'll tell you which Hebrew word brings joy to my heart and why; the particular genre of book that piquest my interest the most and where I find them; the reason Roy Orbison and Brian Wilson are better musicians than your favorite current chart-topper ever will be alive; and why two players at the table are better than one -- and maybe even better than four.Check out Hal on YouTube at https://www.youtube.com/@halhammons9705Hal Hammons serves as preacher and shepherd for the Lakewoods Drive church of Christ in Georgetown, Texas. He is the host of the Citizen of Heaven podcast. You are encouraged to seek him and the Lakewoods Drive church through Facebook and other social media. Lakewoods Drive is an autonomous group of Christians dedicated to praising God, teaching the gospel to all who will hear, training Christians in righteousness, and serving our God and one another faithfully. We believe the Bible is God's word, that Jesus died on the cross for our sins, that heaven is our home, and that we have work to do here while we wait. Regular topics of discussion and conversation include: Christians, Jesus, obedience, faith, grace, baptism, New Testament, Old Testament, authority, gospel, fellowship, justice, mercy, faithfulness, forgiveness, Twenty Pages a Week, Bible reading, heaven, hell, virtues, character, denominations, submission, service, character, COVID-19, assembly, Lord's Supper, online, social media, YouTube, Facebook.

Billy Fury, Brian Poole and the Tremeloes and another "could it be anything other than a posthumous record" from Jim Reeves. Decent, but not overly strong material from Roy Orbison and Marianne Faithful. Thankfully, there's the Animals and DC5 to hold up the higher end of the spectrum! #madeonzencastr. Support this podcast at the $6/month level on patreon to get extra content! Also, Create your own podcast today! #madeonzencastr

Send us a textIntro song: Oh, Pretty WomanSong 1: Go Go GoSong 2: Only the LonelySong 3: Mean Little MamaSong 4: You Got ItSong 5: She's a Mystery to MeOutro song: Handle With Care

Join Kari and Joe as they cover some soundtrack songs of the 80s, including two versions of a theme to a cult classic that was originally going to star Debbie Gibson, the demo version of what would become one of the biggest soundtrack songs of the decade and a collaboration between Roy Orbison and... Glenn Danzig??!!?? Yes, it's as weird as it sounds.Send us a text

Hamas hostages, Trump and autocracy, and the strangely quiet shutdown — we tackle all three. Why Trump's blunt style played in the Middle East, whether “competitive authoritarianism” really fits his second-term instincts and enablers, and who's taking the fall for Obamacare-premium brinkmanship. Plus: goat-grinders (pointless rebrands at Max and Apple TV, Crowder's vest-and-glass cosplay, and the humbling age math of Roy Orbison, the Skipper, and the Golden Girls). Produced by Corey Wara Production Coordinator Ashley Khan Email us at ⁠⁠⁠⁠thegist@mikepesca.com⁠⁠⁠⁠ To advertise on the show, contact ⁠⁠⁠⁠ad-sales@libsyn.com⁠⁠⁠⁠ or visit ⁠⁠⁠⁠https://advertising.libsyn.com/TheGist⁠⁠⁠⁠ Subscribe to The Gist: ⁠⁠⁠⁠https://subscribe.mikepesca.com/⁠⁠⁠⁠ Subscribe to The Gist Youtube Page: ⁠⁠⁠⁠https://www.youtube.com/channel/UC4_bh0wHgk2YfpKf4rg40_g⁠⁠⁠⁠ Subscribe to The Gist Instagram Page: ⁠⁠⁠⁠GIST INSTAGRAM⁠⁠⁠⁠ Follow The Gist List at: ⁠⁠⁠⁠Pesca⁠⁠⁠⁠ ⁠⁠⁠⁠Profundities | Mike Pesca | Substack⁠⁠⁠⁠

This week, I sit down with Chase and Laura from Sun Records — yes, the Sun Records. The birthplace of rock & roll, where Elvis, Johnny Cash, and Roy Orbison first got their start. Presented by LANDR - Click here for an EXCLUSIVE subscription discount: http://landr.com/otherrecordlabels We talk about what it means to protect and evolve a label that helped invent modern music. How do you stay true to Sam Phillips' “perfect imperfection” while still making new records in 2025? This episode is part music history, part masterclass in legacy label management — and 100% inspiring for anyone running or dreaming of running their own label. --- LABELMATES - Our Fall 2025, 6-week Labelmates Sessions start on October 21st. Tuesdays at 4:30PM Eastern. Grab your spot here: http://otherrecordlabels.com/register

All week we're revisiting archival interviews with key figures in early rock and roll, rockabilly and R&B. Sam Phillips discovered Elvis Presley and produced his first records, which many consider Elvis' best. He also founded Sun Records and launched the careers of Jerry Lee Lewis, Roy Orbison, Charlie Rich and Johnny Cash. Cash is one of the most influential figures in country music. His collaboration with producer Rick Rubin, starting in the late 1990s, transformed Cash's image and gained him a new, young audience. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

US strikes Iran nuclear sites, Karen Read jurors speak, Antonio Brown's never coming back, Meghan Markle “sells out”, Chip Carey flag flub, and Corey Feldman's new Beatles-esque song. Antonio Brown never has and never will take any accountability, but his Twitter can make us laugh sometimes. Jim's Picks from last week are catching hell. Operation Midnight Hammer bombed the hell out of Iran nuclear facilities. Whoopi Goldberg has Iran's back. Sunny Hostin defends them as well. Americans tend to not want any involvement. Selena Gomez is still sad about ICE raids. MAGA Vice is destined to be a hit. Karen Read's acquittal still muffs Drew. Jurors are speaking out now about their belief that the cops conspired to frame her. The Call Sam Chopper Shop is back! Some 80-year-old man took a wrong turn in Rome and drove down the Spanish Steps. Justin Baldoni has the texts between Taylor Swift and Blake Lively. Meghan Markle remains the most insufferable woman on the Earth. She dropped some more jam and wine recently that sold out immediately. Tyler Perry may be on the down low as he's accused of financial misconduct. Lizzo is not as fat as she used to be thanks to Ozempic. Drew's still not over Brian Wilson and introduces us to Blondie Chaplin. Glenn Danzig gets some love from Drew. He was homies with Roy Orbison. Marc saw Jack White at the Detroit Tigers game. Chip Caray made an error in the broadcast booth. The New York Mets went full pride and started losing games. Fat Joe was allegedly a sexual deviant… 4,000 times. The Diddy case should be wrapping up soon. JorDon Hudson posts a thirst trap. Bill Belichick is a sweaty mess. Bill's ex HATES JorDon. Sports: Shedeur Sanders is a dangerous driver. Henry Ruggs is sorry and wants to play in the NFL again. Tyreek Hill has found a new woman to knock up. We check out some high school cheerleaders and their 9/11 tribute. Michelle Obama hate Barack so much she never wanted a son. Dean Torrence, of Dead Man's Curve fame, is complicit in Frank Sinatra Jr's kidnapping. There was an attempted mass shooting in Wayne today. A baby Black Bear gets his lid blown off (in a good way). If you'd like to help support the show… consider subscribing to our YouTube Channel, Facebook, Instagram and Twitter (Drew Lane, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon).