Podcasts about Stills

After three weeks of Authors in August, the authors step aside and Rule Breaker listeners take the conversation somewhere new. A middle-school teacher wrestles with what happens when the measurements meant to improve education begin defining it instead. A father investing for his daughters wonders whether “Add Up, Don't Double Down” applies to index funds. There are Rule Breaker songs, Spiffy Pops shared between old friends, and, near episode end, the Fool who originated Pet Perks returns with an audio reminder that some of life's most valuable moments can be hiding inside the everyday hassles we're tempted to hurry through. Host: David GardnerProducer: Bart Shannon Ken's full playlist: For failing to become an active financial investor: * Cast Your Fate to the Wind (George Winston) For letting your winners run high: * Along for the Ride (Mates of State) * All Time High (Rita Coolidge) For brand new investors: * Any Dream Will Do (Donny Osmond) * Come and Get It (Badfinger) * Don't Be Afraid (Boston) * Enjoy Yourself (The Jacksons) * Faith (George Michael) * Follow that Dream (Elvis Presley) * Go Your Own Way (Fleetwood Mac) Watching investments compound and grow: * Chain Reaction (Diana Ross) * Celebration (Kool and the Gang) * Hitch a Ride (Boston) * More Today than Yesterday (Spiral Staircase) For spiffy pops: * Breakout (Swing Out Sister) * Feels So Good (Chuck Mangione) * Can't Help Falling in Love (Elvis Presley) * Do It Again (Steely Dan) * Glad All Over (Dave Clark Five) * Happy (The Carpenters) Paying capital gains tax: * Don't Fear the Reaper (Blue Öyster Cult) When a stock doubles: * Double Lovin' (The Osmonds) Selling stocks: * Breaking Up is Hard to Do (Neil Sedaka) Inevitable market downturns: * Don't Go Breaking My Heart (Elton John and Kiki Dee) * Don't Worry, Baby (The Beach Boys) * Hold On (Wilson Phillips) * I'm Still Standing (Elton John) * It's All Right (Gerry and the Pacemakers) * It's Gonna Be Okay (Piano Guys and Cliff Richard) * Let's Hang On (The Four Seasons) When deciding to buy a new stock: * How Will I Know? (Whitney Houston) Investing in thirds: * Just a Little Bit (Robbie Nevil) Before you figure out your sleep number: * (Last Night) I Didn't Get to Sleep at All (The Fifth Dimension) * If You Can't Sleep (She & Him) Putting all your money in only one stock: * Brink of Disaster (Lesley Gore) Investing for the long-term: * Carry On (Crosby, Stills, Nash, and Young) Retiring after a successful investing career: * Cake by the Ocean (DNCE) * Fun, Fun, Fun (The Beach Boys) RBI's optimistic attitude: Life is Good (Ringo Starr) Learn more about your ad choices. Visit megaphone.fm/adchoices

In the 1960s, a new musical revolution emerged from Laurel Canyon, California. Bands like The Beach Boys, The Doors, and Crosby, Stills & Nash sang hit songs protesting the Vietnam War. However, while these tunes spoke to war protesting "hippies," some believe that they were created by the very people they spoke out against: the US government. Help us reach 10k followers on Instagram! @⁠theconspiracypod⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Carley's guide to Laurel CanyonHistory starts around 30minsWe chat the messy history of Crosby, Stills, Nash, & Young among other things!!!!!Send us an email, and we might read it on the pod!!!! girlhistorians@gmail.comGIRL HISTORIANS MERCH

“ 3 Days of Peace and Music. » Le 15 août 1969, dans une prairie de Bethel, à 100 kilomètres de Woodstock, un festival de musique va marquer l'histoire. On attendait 50 000 personnes, il en viendra 450 000. Jimi Hendrix, Janis Joplin, Santana, The Who, Crosby, Stills, Nash and Young… 32 artistes enflamment un public venu célébrer trois jours de paix et de musique. Météo désastreuse, pénurie de nourriture, chaos logistique, l'armée américaine mobilisée pour assurer le ravitaillement : Woodstock sera malgré tout qualifié d'« accident de société le plus réussi des sixties ». Un mythe que les éditions suivantes ne parviendront jamais à reproduirePour plus d'histoires, d'interviews et d'actualités de SBS French, explorez notre collection de podcasts ici >>https://www.sbs.com.au/language/french/fr/collection/featured-podcasts

Twitter: @podgaverock Insta: @podgaverock Special Guest Host: Dave Binck Crosby, Stills, and Nash “Helplessly Hoping” from the 1969 album "Crosby, Stills, and Nash" released on Atlantic. Written by Stephen Stills and produced by Paul Rothchild.  Personel: Stephen Stills – lyrics, lead vocals, harmony vocals, acoustic guitar David Crosby – lead vocals, harmony vocals Graham Nash – lead vocals, harmony vocals Cover: Performed by Josh Bond and Neal Marsh Intro Music: "Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton. Other Artists Mentioned: Rage Against the Machine “Killing in the Name” Janis Joplin “Me and Bobby McGee” Blind Melon “Change” The Kingsman “Louis Louis” Dire Straits “Money for Nothing” The Allman Brothers Band Jimi Hendrix Stevie Nicks “Wild Heart” REO Speedwagon Gary Richrath The Strokes Phish Smashing Pumpkins Wolfman Jack's “Midnight Special” The Guess Who “American Woman” Pink Floyd The Beatles Rolling Stones Neil Young “Helpless” The Everly Brothers The Louvin Brothers Louis CK Judy Collins CSN “Suite: Judy Blue Eyes” CSN “Deja Vu” Buffalo Springfield The Byrds The Hollies The Jordanaires Elvis “Blue Christmas” The Doors Janis Joplin “Pearl” The Paul Butterfield Blues Band Michael Jackson  “We Are the World” CSN “Marrakesh Express” CSN “Wooden Ships” Fleet Foxes Jim Croce “Time in a Bottle” The Mamas and the Papas The Eagles “Seven Bridges Road” Simon and Garfunkel Head and the Heart Dr Dog Dawes The Local Natives The Beatles “Yesterday” The Everly Brothers The Platters “Only You” The Temptations Little River Band The Marshall Tucker Band The Carter Family The Jamestown Revival TheologyDad Richie Havens The Rainbow Girls The Last of Us

What if the most important photographs taken on a film set aren't of the actors, but of the people behind the camera? This week, Josh Calder sits down with veteran Unit Stills Photographer Jon Platt, whose career has taken him from Second AC and Focus Puller to Camera Operator and, eventually, behind the stills camera. Across nearly four decades, Jon has worked alongside some of the industry's great filmmakers on productions including Black Robe, Strictly Ballroom and Fly Away Home. He shares stories from a life on set, what a Unit Stills Photographer is really looking for, and why understanding crew, timing and set etiquette can be just as important as knowing where to put the camera. We also explore Jon's book, Observations on Set: A Love Letter to the Crews and Craft Behind the Camera, a photographic celebration of the people who make the movies happen. This podcast is powered by Sony technology. Sponsored by Panavision. Produced, hosted and edited by Josh Calder.

Greg and Dan talk with musician Barry Cloyd about his upcoming performance, For What It's Worth: A Tribute to Stephen Stills in Song & Story, happening August 22 from 6:30-8:30 p.m. at the Contemporary Art Center of Peoria. He shares details about the show and how he'll celebrate Stephen Stills' influential career through a combination of live music and storytelling. He also discusses his own artwork, previews some of the songs audiences will hear, and shares what makes Stills' music and legacy worth celebrating. Advance tickets and reservations are available through 309Tix.See omnystudio.com/listener for privacy information.

Send us Fan MailOriginally from Colorado, Aubree Estrella is a professional stills photographer/filmmaker with an emphasis in the music industry. Photographing cover images for publications such as NME Music, Guitar, touring with artists such as UPSAHL, xAmbassadors, and shooting both still and motion for Plague Vendor's two latest singles, Aubree has been creating visually stunning work while working with some very powerful musical acts. In today's episode, we dive into Aubree's early years in Colorado, playing soccer at a high level, sustaining an injury and being thankful she got hurt so we did not have to play anymore, how and why she moved to Los Angeles, CA, how photography entered her life, working within the music industry, being a woman in a mostly male dominated industry, battling mental health issues, finding her sobriety, the struggles of social media as a creative, clients wanting you to shoot both photo and motion for one price, and so much more.This was such a wonderful conversation about the ebbs and flows of the creative lifestyle within the music industry, the BS that is social media, and all the stuff in between. I hope all enjoy and please be sure to view her work. It is absolutely gorgeous! Follow Aubree Estrella on Instagram: https://www.instagram.com/aubreeestrella/View Aubree's Portfolio: https://www.aubreeestrella.com/Follow The Failed Experiment on Instagram: https://www.instagram.com/_thefailedexperiment/Support the the Failed Experiment: https://account.venmo.com/u/kylecowlingFollow Kyle Cowling on Instagram: https://www.instagram.com/kylecowling/Support the show

A live recording from The Big Romance about a 2008 Sub Pop-released classic album of the 2000s. Listen on Apple | Android | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Podlink Step into a world of misty melodies and cavernous echoes with Seattle band Fleet Foxes' landmark debut – a defining record of the late-2000s indie folk revival. Led by Robin Pecknold, the album blends the lush, pastoral harmonies of the 1960s with a haunting baroque-pop sensibility and lyrical themes rooted in nature, tradition, and introspection. Like the Bruegel painting on its cover, every track reveals a dense, beautiful world that evokes a timeless – almost mythic Americana sound. This podcast episode is a live recording from our listening party in The Big Romance in April, with guest journalist and Fleet Foxes fan Aoife Barry. Our next Listening Party is Smashing Pumpkins later this month and it's sold out. Listen Closely: Fleet Foxes – Fleet Foxes (2008) A Nialler9 listening party, hosted by Niall Byrne with guest Aoife Barry. Before the album Niall: Hello everyone, how are you? Welcome to the Listen Closely album listening party. I'm Niall, and this is Aoife Barry. Aoife: Hello. Niall: We're here tonight because Aoife picked this album, as she has before. You picked Jeff Buckley last year. Aoife: Yeah, and we ended up doing three of them. Niall: We did, we went to Cork. We did two here and then we went to Cork to talk about Jeff Buckley. And you were at the My Bloody Valentine listening party last year as well, back in October. Aoife: It must have been October, yeah. Niall: Well, obviously we're here for a very different album tonight: Fleet Foxes by Fleet Foxes, from 2008. As you heard there, we played a bit of the Sun Giant EP by the band, which came out a few months before this album, because we want to give the album its full due. They're a little different, and we'll talk about that. But yeah, you picked the record. Aoife: I did. I obviously must like it. And it's such an incredible record. Is there anybody here who hasn't heard it? That's really exciting, if so. I'm excited for you to hear it. You got a sneak peek there of what the vibe is going to be. I picked it because I love this record, but I also had a funny story about how I first heard them. Back in 2008, when this record came out, I'd read about this band called Fleet Foxes in a music magazine. I don't even think I'd heard a song yet, this is back in the day. And I was on holidays in Berlin, and in the tiny little hostel we were staying in, they had a sign up on the wall: "Who's playing tonight? Fleet Foxes, Café Zapata." I said to my boyfriend, "I think that's a band I read about in the magazine, will we go see them?" And he was like, "Grand." So we went, and they were unbelievable. It was so good. Beach House were supporting them. So it was 2008 smacking you in the face. Niall: Come on. Aoife: And I took photos, which I found. I have photos. Artifacts. One is terrible, the other one's not so terrible, taken on one of those little Canon digital cameras. And I still have the ticket, I kept the ticket, I'm one of those hoarders who keeps all their gig tickets. But it was so good: the venue they played in had a dragon that breathed fire out every fifteen minutes. Niall: So they'd be playing and this dragon… Aoife: I'm not even exaggerating. Fire would just shoot out of this mechanical dragon. It was so Berlin. And Fleet Foxes were so stunning, and Beach House were so stunning. I love Crosby, Stills, Nash & Young, I love all those harmony vibes, I wish I was born in the seventies, sadly I was not. So I fell in love with them immediately, and I've been a big fan ever since. Although I'll say I probably dipped a little bit around the Crack-Up era, their third album, but then I saw them when Shore came out, their most recent album, and fell right back in love with them. Niall: We're going to talk about all the albums that come afterwards, but we'll start with this one, because this is presumably your favourite, or one of them. Aoife: Shore is up there as well for me, but yeah. Niall: So what was it about Fleet Foxes at the time? For context: in 2008 there was quite a lot of this kind of music around. We previously did Bon Iver's For Emma, Forever Ago as a listening party, and the funny thing, which I only found out when we did this, is that they have the same origin story in a way. Both songwriters went to a cabin in the woods to pour their heart out and write the songs. Aoife: I think Justin Vernon just got there first in terms of the marketing. Niall: So they must have pulled back on talking about it too much, because it's basically the same thing. They never really talked about Robin Pecknold's writing process in those terms. Aoife: For Emma was such a massive moment, everybody was obsessed with this guy who broke up with a girl and went to a cabin and wrote a record about it. It was the ur indie-folk album. Niall: What was really appealing about Fleet Foxes is that they were so young, between about twenty-two and twenty-seven, and Robin Pecknold was twenty-one when he wrote the record. Which is frankly offensive, you shouldn't be allowed to be so talented at twenty-one. Aoife: I know. And they were clearly these people from Seattle, which we associate with grunge, and then it becomes this place where they're bringing out all the pastoral, outdoorsy, mountain-and-sea vibes of the Washington area. They're obviously really influenced by the seventies too, by Crosby, Stills, Nash & Young, by Laurel Canyon, but also by Appalachian folk. There's a real purity to what they're doing. The harmonies are unbelievable, there's even a bit of a gospel feeling. So these young guys made this album that was being called an iconic American record on release. The Guardian called it a landmark American album, something like that. And that's special, because you don't get that many records immediately being called landmark. Niall: It was a very exciting time for music around then. I actually brought some records. We mentioned Beach House and Teen Dream earlier, that's a bit later, 2010. I wanted to do a listening party for that at some point, that'd be good craic. Around that time you had Animal Collective and Panda Bear, Person Pitch was right there, that was the apex for that very experimental scene. A few years later we had Sufjan, our very first listening party. And Bon Iver, of course. There's also stuff like Neutral Milk Hotel very much of that vibe. Aoife: I've noticed people covering Neutral Milk Hotel more now. Niall: I think when we got to it, it was on its second go-round, and now it's getting a third, which is great. It's a great record. So, the band were from Seattle, they had a bit of the scruffy flannel-shirt look, but obviously didn't sound like that. The album was written in the woods, in the cabin, brought to the band, and recorded with Phil Ek. Aoife: Who did a lot of stuff with Built to Spill. Niall: Yeah, and he worked with The Shins, and Modest Mouse, a really long history. Aoife: Are The Shins from Seattle as well? Niall: I think they might be. Band of Horses is another one. So they recorded it themselves with Phil Ek, paid for it all themselves, and then the local major independent label Sub Pop came calling. Obviously known for a lot of grunge traditionally, but they'd clearly been releasing this kind of music around then too, The Shins had been on the label for a few years, Band of Horses. When it came to it, they signed to Sub Pop. Apparently there was a bidding war. Aoife: They'd become quite popular on MySpace. Anybody remember MySpace? Every time I do one of these I feel older and older, mentioning the top eight, the randomers you'd put in your top eight. Word could spread quite quickly once you got popular on MySpace. Niall: What I thought was really interesting, that I discovered when I was researching, is that recording the album was actually a total pain for them. They didn't have much money, so they ended up recording a lot of it in their houses, or in Robin Pecknold's family home. And he re-did all the vocals right before they mastered the record, because he'd been sick during the initial sessions and his voice wasn't in great shape. They recorded it all in one go, scrapped that, did another version, and kept moving the running order around. I'm always fascinated by albums where the creation was a total pain and they had no idea it would even work out. Robin Pecknold actually said, "I hope nobody cares about this album, because I just want to move on to the next one." And then it becomes this iconic record. Aoife: Isn't every artist sick of their album by the time it's done? You're like, "my paintings." Yeah. Niall: 2008 was an interesting time for it to land. The album draws on the Beach Boys and Brian Wilson, Crosby, Stills, Nash & Young, Nick Drake, Simon & Garfunkel, Fairport Convention, Judee Sill, very much old-timey or sixties folk and pastoral stuff. And in 2008 there's a financial crash. The album was worked on before that, but it was released into that environment, and a lot of this music seemed to catch. When things go bad, we retreat, we dream, we listen to music that's maybe the opposite of what we're feeling. There was a gentleness, an unhurriedness to it that resonated. Aoife: Grizzly Bear is another band from that time. When Jay-Z and Beyoncé went to see Grizzly Bear in Brooklyn, that was kind of where all the indie music peaked. Niall: And the other part of it, which I was involved in, was the MP3 blogs, that's where you'd hear this music. Especially the American and Canadian stuff, no one was promoting it over here yet, so you'd be months ahead. You'd hear Fleet Foxes in these MP3 formats. That was a mad period, it showed how the internet could collapse geography, a song could spread really quickly on the blogs. And in an American context, this came out post-Bush, with the Obama era coming in, a more hopeful tone. You had the Lehman Brothers crash, these global pressures, and then these hopeful times too. It's interesting to wonder whether these albums are a reaction to it, or whether they appeal to us because we want nice, happy things. I feel like Fleet Foxes have so much emotional depth: there's yearning, sadness, hope, nostalgia. Aoife: I loved Yellow House by Grizzly Bear, their first record, a complex, complicated, almost jazzy thing that sounded beautiful but had a lot going on. We weren't going for simplistic music, but we wanted music that gave us depth and beauty. Is art a solution to the world collapsing? Niall: We could be answering that in 2026. We live in a cursed timeline, as I keep saying. That's all I'm going to say. But what else happened in 2008 in the wider circle of music? Portishead returned with Third. TV on the Radio released Dear Science. MGMT released Oracular Spectacular, 'Kids' and all that. Cut Copy released In Ghost Colours, Indie Sleaze night on Saturday, folks, come on. Kanye put out 808s & Heartbreak, that was November that year. Rihanna was at the peak of her powers. Aoife: Katy Perry appeared that year. And 'American Boy'. Niall: 'American Boy', still one of the best pop songs, fire. Iron & Wine was the other one I forgot to mention. So it was a really vibrant, varied year. As you heard, there's the Sun Giant EP too. Aoife: The thing about that is it came out before the album, but was recorded after. The album was done, in the bag. Niall: They decided to go into the studio and record Sun Giant, a collection of songs intended to sell on tour. It ended up being quite popular, and for a lot of people it was their first time discovering Fleet Foxes. Aoife: It wasn't like The Coronas' 'San Diego Song', their summer-holiday anthem, or anything like that. But it came out before the album, and then the album arrives. Niall: So what was the reaction at the time? Was it immediate? Aoife: Things happened really quickly. In January that year they got all the MySpace attention, and by June the album was coming out. Really, really quick. There was so much chatter about them, which is partly why I'd seen the name, and a music blog like yours would have seen it too, and known they were one of the big bands. In a way that's harder now. Niall: These days you see bands like Geese getting a lot of attention because they use companies that help them go viral. You didn't really have that then. Now you'd dress yourself up in some gimmick, polka dots, whatever, and go viral all over the internet for it. I couldn't imagine these lads doing that. Aoife: No. But maybe in a way they were cosplaying living in the forest, on the Puget Sound. Niall: Anyway, when the album came out, people loved them, and it really hit it off. Because they sound so seventies, your parents would love the records and you'd love the records. There's almost a lullaby quality to the folk stuff too. The music is applicable to anybody of any generation, and there's something lovely about nostalgic music that reminds you of a better time. To finish on that point: I think there's something very mysterious about Fleet Foxes, they feel out of time. They're these young, scruffy lads with the beards, but there's a mystery to them. They didn't come across as the hipster end of things, they weren't leaning into anything. They were presented as the kind of band that wouldn't have had phones, would have lived off-grid, which is funny because they were a MySpace band. They're the most un-MySpace band you can imagine. Surprise people, do something a bit different, don't be exactly what people want you to be, and they'll love you for it. And then your songs are unbelievable too, soaring and stunning. Can we talk for a second about the cover? It's an original painting from 1559 by Pieter Bruegel the Elder, Netherlandish Proverbs. It depicts a densely populated Flemish village scene illustrating 126 folk proverbs. There's a lot there. Some on this side are cut off, but for example, this woman here, she's putting the blue cloak on her husband, meaning she deceives him. This guy is casting roses before swine, wasting effort on the unworthy. And right at the top there's a man running through a field with his arse on fire, chasing pigs, "he who eats fire craps sparks," do not be surprised at the outcome if you attempt a dangerous venture. There are 126 of those. Aoife: The interesting thing is that the band managed to get permission to use it. Really unusual to be allowed use it as commercial artwork. Niall: And apparently the museum that holds the artwork were delighted. A lot of stars aligned for them. It's an iconic cover because it's so different from what anybody else was doing, clearly of a particular period, and it has that Where's Wally quality. I have a quote about it. Robin said: "We were trying to figure out what we wanted to do, and my brother had been working some stuff out, when I saw this Bruegel painting in a book my girlfriend had. I liked that it had a really intriguing meaning, there's a story to each little scene, which felt fitting for the record. It was dense but unified, not a collage. It has a Where's Waldo quality, something you could look at for a long time on a vinyl sleeve and keep finding new little things. It was very easy to get the museum in Berlin that has it to say yes, they were super excited the band wanted to use it, and put it in their newsletter. When you open it up, on the inside there's a Paisley pattern traced from the back of a book that Skyler's mum got me. We wanted two very different feelings." So, what to look out for when we press play very shortly? Aoife: When I was going back to this, I had it in my head that every song was one of these big songs, because there are so many big moments. But actually there are two tracks that are pretty much acoustic, so it's interesting to notice how they go from the big sound to the small. And for me they're a real emotion-and-feeling band, so notice how you feel listening to it. I always feel this swell of emotion with Fleet Foxes, I was walking down the road listening to Shore and I was like, my God. So lean back and feel into the emotions they're bringing you. And listen to the lyrics if you can make them out, because they're so out of time, all about pack horses and this amazing imagery. Robin Pecknold said he didn't write about a lot of personal stuff because he didn't have enough life experience yet, so instead he wrote these beautifully poetic narratives about pastoral and rural life. So I'd say the lyrics and the feelings are the two things. Niall: Track two, 'White Winter Hymnal', is probably the biggest one, watch out for that. And a few other people thanked and cited as influences, for some extra context: Brian Wilson, Joanna Newsom, Bob Dylan, Noah Lennox and all the lads from Animal Collective, Levon Helm and Robbie Robertson of The Band, Blitzen Trapper, who they toured with at the time and who were bigger than them then. For some reason Joni Mitchell and Neil Young are listed together, which is fair enough. Marvin Gaye, Damien Jurado, Paul Simon and John Lennon listed together. Townes Van Zandt, a legend. Vashti Bunyan, and Van Morrison. There's a nice quote from Robin Pecknold I'll read afterwards. Let's just open it up and listen. I'll play it at full volume, it's about thirty-nine minutes, two sides. Close your eyes, whatever you want to do, vibe away in your own way. [The album plays: Fleet Foxes – Fleet Foxes, 39 minutes.] After the album Niall: It's quite an economical album, isn't it? It doesn't stick around long, thirty-nine minutes. Aoife: I like an economical album. It's also one of the first fairly short records we've done here. Niall: That's part of why I was thinking about Sun Giant in that context too. I'm going to read a bit from the liner notes, because for an album that's very much about feelings, with only a few direct songs, some of what's written here is interesting: "My first memory has always been of me and my mom on a cold grey day down at some beach in Washington, along the Puget Sound somewhere near Seattle. I would be around two or three years old, and we were with a friend of mine from the neighbourhood and his mom, walking among the driftwood looking for crabs. Even now I can remember the smell and temperature of the air, the feeling of the sand and the swaying tall grass. I can even remember looking over at my friend and how his face looked when he smiled back at me. Another memory I'll sometimes recall as my first is dressing up in the dead of summer as Jack London, with tennis rackets on my feet and wearing my dad's hiking pack, after seeing Disney's terrible version of White Fang. Or the memory of stealing my neighbour's Big Wheel and riding it halfway down the block before getting caught and having to turn around defeated. Or wearing a fireman's outfit while washing my parents' car, or eating an orange popsicle from the ice cream truck. These have always been some of my most distinct and persistent memories of childhood. So it came as a disappointment when, one day as a teenager, I opened up a photo album and found pictures of each and every one of these memories. I didn't have a single memory that didn't belong to, or somehow grow from, those pictures my parents had. I guess I've seen all these photographs at some point, forgotten they were just photographs, and over time made them into my most tangible memories. That's scary to me in a way. This leads me to something weird about the power music has: its transportability. Any time I hear a song or record that meant a lot to me at a certain moment, I'm instantly taken back to that place in full detail. Whenever I hear 'Feel Flows' by the Beach Boys, I'm taken straight to the back of my parents' car on the way to my grandparents' place, with Surf's Up in my Walkman and the Cascade Mountains going by in the window. Any song off Radiohead's Kid A brings back the airport near Seattle, from when we were on the way to Colorado for a wedding and Kid A was the only record I brought or wanted to bring. 'Crayon Angels' by Judee Sill is the whole winter of last year. And Brian Wilson's solo version of 'Surf's Up' takes me back to driving my parents' car around town alone at sixteen, windows down at night. I can't ascribe exact memories to songs by The Microphones, Joni Mitchell, Built to Spill, Dungen, Harry Nilsson and so many others, and it's a form of recall I can actually trust, there's no visual element to complicate things, no chance of a planted memory that wasn't actually supposed to be there. Maybe I should be concerned that I'm alone in almost all of these memories, but I guess I was just a private kid, and music was a private experience for me. Music activates a certain mental freedom in a way nothing else can, and that is so empowering. You can call it escapism if you like, but I see it as connecting to a deeper human feeling than the one found in the day-to-day world." Aoife: That's lovely. It's a nice addendum. And he was only twenty-one. Niall: For some reason it's signed "Warren Gamaliel Bancroft Winnipeg Harding," Warren G. Harding being the 29th president of the United States. I don't know why, he thought it was funny. Dated April 6th, 2008, Chicago, Illinois. So, any particular highlights, anything that stood out? Aoife: I was reminded how much I love 'Blue Ridge Mountains', the second-to-last song. I just love those four- and five-part harmonies so much. There's something that really gets me about beautiful harmonies stacked on each other that sound so natural. My dad was really into Neil Young and all of that era, my mum's really into Simon & Garfunkel, so I feel like I came out of the womb going, this is the music I love. Niall: There was another one I meant to mention. Aoife: I'm really bad at remembering song names, which isn't great for an arts journalist. They go in one ear and out the other. Niall: 'He Doesn't Know Why'. Aoife: That was it. I always forget the name of that one, and it's an absolute banger. It's quite a direct song, the last one on the first side. Niall: He mentions his brother Sean in 'Blue Ridge Mountains', which is interesting. And Oliver James is his younger brother, that's the last song. Aoife: His sister is Aja, after the Steely Dan album. The parents were really into them. Niall: It holds up so well. The harmonies and vocals sound incredible, there are those beautiful little flourishes, a flute on one of the tracks, the guitar is stunning, lovely little bass lines. I love the way Robin Pecknold and the band hear music. There's a really good Song Exploder episode with him talking about a song from Crack-Up, and the way he thinks about translating his thoughts and emotions into music is so illuminating. He has a beautiful melodic flow that's really similar to the flow of water and nature. There are so many nature references, it's almost parody there are so many. Aoife: You could do a Portlandia sketch about it. "Power of nature, man." "Come down from the mountain, you've been gone too long." Niall: In terms of the line-up: alongside Robin Pecknold on vocals there was Skyler Skjelset on lead guitar, his best friend from Nathan Hale High School, later joined by Casey Wescott, Christian Wargo on bass, and Nicholas Peterson on drums, who left after this album. Aoife: And who came in as the drummer? Niall: A man who's been a main character in one of these listening parties himself: Josh Tillman, Father John Misty, played drums with them. Aoife: For how long? Niall: Only a year or two, pretty short. As I said, main character, he was making his own record. Any Father John Misty fans? He writes really good songs and he's handsome, so we all love him, but he's also a bit of a pain, and he didn't get on very well with Robin Pecknold, which isn't surprising. When I was looking back at the Pitchfork interview they did in 2008, a few months after the album came out, it was a big joint interview with Robin and Josh Tillman, and Tillman is answering the questions at the start. That's confidence. Do you want to hear a quote from what Robin Pecknold said? I've written it in my little notebook, so old-school, that's the only way I remember these things. In a 2020 Reddit AMA, Pecknold said that on that tour, the Helplessness Blues tour, Tillman was supposed to bring out his own record, but his label said he could only release it after the tour. So he was on tour thinking, "I want to bring out my own record, I'm tired of Fleet Foxes." Pecknold said he "had to endure being around a lot of substance abuse, sabotaged shows, general ill treatment and shit-talking, all while paying him for songs he didn't have anything to do with. It sucked." And then Tillman left the band. Whereas in that Pitchfork interview he'd said, "I love playing in this band, these are all my friends, I'm having the best time, I'm sorry if that's a corny quote, but that's the best thing about this experience right now." Aoife: So he was lying through his teeth. I think he's the kind of person who really has to be a solo artist, too iconic a personality. You wouldn't want to wrangle him out of bed to get to the next show. Niall: Too big a price. You mentioned Pitchfork, the album was number one on their end-of-year list in 2008, and they listed Sun Giant alongside it, breaking the traditional conventions of end-of-year lists. What they said was: listing Fleet Foxes' debut album and EP together may be awkward, but it just feels right, they're two sides of a coin that equally express the band's mastery, "a catch-all Americana that takes a wide slice of our popular music spectrum and pulls it through a reverse prism to create a gorgeous and focused sound of the band's own. The threads of Brian Wilson's coastal pop, Appalachian folk, modern indie rock, Grateful Dead jams and other influences are masterfully synthesised in the band's harmonies." Robin Pecknold's sense of dynamics, they said, flows like a river, wild and free but logical, filling what needs to be filled and moving on. I swear I didn't rip that off Pitchfork, I came up with something similar on my own. Aoife: Very good. Niall: It was Uncut's album of the year too. But more than anything, and this is a strange accolade, the album was ranked number 36 on Rolling Stone's list of the greatest stoner albums. Aoife: I don't think Robin Pecknold was a stoner. It doesn't really fit. He's a reader. Niall: So what came after? Helplessness Blues, which is really difficult to say, in 2011, then Crack-Up in 2017, then Shore in 2020. Big long gaps, some personnel changes. And Robin Pecknold, as we've established, is a very literary guy, he went to Columbia to do an undergrad in English literature, because he'd left high school early and gone to a community college, and he really wanted that college experience. So that was part of the break. He's also had difficult times, he's spoken about mental health issues and suicidal ideation, many tough experiences that contributed to the gaps too. They haven't released anything since 2020, and he does a lot of cover events. There are two live records. He's actually playing a gig tonight, I think, where he covers Judee Sill. Any Judee Sill fans? Aoife: Oh my gosh, she's amazing. Nobody ever knows Judee Sill. If you listen to anything, listen to Heart Food, it's iconic. He loves her, mentions her on this record. She's the one who does 'The Kiss', people might have seen her perform it on the Old Grey Whistle Test, it's on YouTube. She had a really tragic life. Niall: One of those I've been meaning to listen to properly for years. She only has two records, so it's easy to get into. There's a documentary about her as well, which I haven't seen. Aoife: She's one of those ill-fated seventies musicians, really religious imagery, did a lot of drugs, really interesting. Niall: Did you get to see them again after your first foray in Berlin? Aoife: I saw them when they toured, though it's really bad when you can't remember what you were doing in the 2010s. Niall: Did anybody see them at that Dublin gig, the outdoor one in 2022? Wasn't it amazing. They've played here a fair bit: Vicar Street in 2008, Electric Picnic 2009, The Marquee in Cork 2011, the Iveagh Gardens in 2017. I don't know if I've missed any, maybe you can tell me. So if you were to pick, is there any further listening or reading you'd suggest to somebody, not necessarily Fleet Foxes? Aoife: Some of it is obvious. As I said, I'd definitely check out Judee Sill, because if you really like Fleet Foxes you'd really vibe with her. And he mentions Harry Nilsson, also unbelievable, more well known than Judee Sill, did the cover of 'Everybody's Talkin''. I'd also mention a guy people would have known at one point but isn't very well known now: Richard Swift. He sadly passed away a couple of years ago. He was friends with Robin Pecknold, a hugely talented musician who struggled with addiction. He has an amazing double album from around 2005 or 2006 that's brilliant, and a record called The Hex, which is referenced on 'Sunblind' on Shore, that's the song where Robin name-checks a lot of musicians he loves, like Elliott Smith, David Berman and Richard Swift. It's such a beautiful record for finding new people to listen to, and it's lovely to hear a musician pay tribute to musicians he loves. The imagery is him talking about this beautiful day where he'll go for a swim and listen to all these beautiful bands, an ecstatic kind of song. So check out all of those records, but Richard Swift deserves more fans, and The Hex is really, really good. Niall: Good shout. What we'll do now is play a tune, and then maybe give Sun Giant another go if you want to stick around. Our next listening party is on the 27th of May, and it's an indie-rock album very close to my heart: Broken Social Scene's You Forgot It in People. I've been wanting to do this one on record for a long time. They're playing here later in the year, but I want to give this record its flowers, it's incredible. My niece has just turned seventeen and I bought her a copy, because it's an anthemic record for a seventeen-year-old. I can't believe that band are still going, which is kind of mad, but it's hard to underline what Broken Social Scene meant to a certain segment of indie. Aoife: And there's four hundred of them on stage. They're from Canada, and we were all like, my God, these people are the best. Niall: For me it's the MP3 times again, we'll talk about this next month. I heard about them through the music blogs, and then I got to see them in the Button Factory, which was the Temple Bar Music Centre at the time. It was one of the first things I ever wrote about, back in 2005. A transcendental experience. Aoife: They're so good live. Niall: I once DJ'd in Galway after one of their gigs, and one of the members of the band, I'll leave him nameless, came over and turned off the decks while I was DJing. Aoife: On purpose? Niall: He was that drunk. I can't remember what I was playing, but I was like, great, DJing after Broken Social Scene and then a band member ruins it. I don't think he liked it. No, I think he was just really drunk and thought it was funny. Thumbs down to him. In a way it's surprising a man like that has managed to persist in a band with so many members. Anyway, I digress. We'll talk about it next month, May 27th. Aoife: I cannot wait. I've been listening to it a lot lately again, it's fantastic. Niall: Thank you for being here. Let's play a bit of this and see what happens. Thanks for being here, appreciate it.

On this week's episode of Out and About, Mae Gilliland of ArtsPartners of Central Illinois talks with Barry Cloyd about For What It's Worth: A Tribute to Stephen Stills in Song & Story, coming Aug. 22 to the Contemporary Art Center of Peoria. Blending live music with storytelling, the multimedia performance traces Stills' career through Buffalo Springfield, Crosby, Stills, Nash & Young and his solo work.

Kimmer, Pete, and Flounder dive into music memories, birthdays, and the search for a forgotten Crosby, Stills & Nash song before finding “Wasted on the Way.” Plus, the Jones Act debate, Michigan politics, a wild Hawaii beach confrontation, listener calls, Rainy Day Theater fallout, and classic Kimmer Show detours.

Refer a friend to the Society and earn £50 in vouchers: UK: https://smws.io/wm8 EU: https://smws.io/gzj Join the Society for £100 a year and your first bottle, worth £70, is on us: UK: https://smws.io/3gu EU: https://smws.io/mp1 Explore the August Outturn: UK: https://smws.com/outturn EU: https://smws.eu/outturn Tune in to the August Outturn podcast as Calum and Duncan uncover some of the best gems being released this month. After sampling a dram produced from abnormally large stills, the pair discover the perfect introduction to peat and unveil the ultimate flight from our new Creators Collection, The Elgin Marvels - two icons from Speyside.

Send us Fan MailHailing from San Diego, CA, Ryan Fudger is a professional stills photographer, owner/founder of OUR BMX, and podcast host of UNCLICKED. Prior to starting OUR BMX and UNCLICKED, Fudger spent 18-years as the associate editor and then managing editor of the iconic TransWorld RIDE BMX magazine title.In today's episode, Fudger dives into his early years in San Diego, CA; growing up with his best friend and BMX legend, Gary Young, how BMX entered his life, picking up a camera, the opportunity to join RIDE, living out of his car, the toll this line of work takes on your personal relationships, the day RIDE was shut down, how OUR BMX came to fruition, and so much more.Beyond stoked to hit 50 episodes and also have episode 50 be with such an important individual within the world of BMX, Ryan Fudger. I hope all enjoy. Thank you, Fudger, for making the time to come on the podcast and share your journey! Follow OUR BMX on Instagram: https://www.instagram.com/bmxFollow UNLICKED on Instagram: https://www.instagram.com/unclickedpodcastVisit OUR BMX's Web site: https://ourbmx.comFollow Ryan Fudger on Instagram: https://www.instagram.com/fyanrudgerFollow The Failed Experiment on Instagram: https://www.instagram.com/_thefailedexperiment/Support the the Failed Experiment: https://account.venmo.com/u/kylecowlingFollow Kyle Cowling on Instagram: https://www.instagram.com/kylecowling/Support the show

NEW FOR AUGUST 1, 2026 Nothing beats a stack of platters on the table . . . Stacked and Racked- The Best Radio You Have Never Heard Vol. 537 1. Mr. Hate - The Tubes 2. Spirits In The Material World / Fragile (live) - Sting 3. Communication Breakdown (live) - Led Zeppelin w/ Ron Wood 4. Come Together (live) - John Lennon 5. Suicide Blonde - INXS 6. Tamacun (live) - Rodrigo y Gabriela 7. Hold Out Your Hand / You By My Side - Chris Squire 8. The Light Dies Down On Broadway / Riding The Scree (live) - Genesis 9. Racing In A (live) - Steve Hackett 10. One By One - Peter Gabriel 11. Between The Tick and The Tock / Working In Line - After Hours - Mike Rutherford 12. Suite: Judy Blue Eyes (early) - Crosby, Stills and Nash 13. It's A Shame About Ray - The Lemonheads 14. Up To Me (live) - Jethro Tull 15. Brooklands - Big Big Train 16. Moment Of Truth - Red Clay Strays 17. I Just Wasn't Made For These Times - The Beach Boys 18. The Crystal Ship - The Doors 19. Michelle (early) - The Beatles The Best Radio You Have Never Heard. Stacked to the ceiling with the best music. Accept No Substitute. Click to leave comments on the Facebook page.

For the full, ad-free, 39-minute podcast, either subscribe to Discograffiti's Patreon at the Private Tier or higher, or just grab the episode as a one-off at the same link: https://www.patreon.com/discograffiti Purchase the full Graham Nash series at a discount: https://www.patreon.com/collection/1635660 Discograffiti is the deep-dive podcast for music obsessives.  In this episode, Graham Nash goes track for track on his second solo classic, Wild Tales, made during a Crosby, Stills, Nash, & Young hiatus several months before their legendary 1974 stadium tour. Discograffiti's Wild Tales: The Graham Nash Interview Series tackles every last release Graham ever had a hand in creating, including CSN/Y, C&N, and his solo career, detailing a history almost too wild to be believed.  Here are just a few of the many things that Graham discusses with Discograffiti in this podcast: The completely nuts true story behind the title track; The overt Neil Young influence that's all over this record; What happened to Graham's father when he was a child, and how it changed his life; What Graham did for his Mom when he experienced his first flush of success; The only song on the record that features CSNY; The emotionally intense conversation with Barbra Streisand that inspired Graham's classic “Another Sleep Song”; And an in-depth deep dive on every song off Graham's classic sophomore solo LP, Wild Tales. CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon:  https://www.patreon.com/discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti Order the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): https://www.patreon.com/discograffiti/shop/197404 Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzak Order the METAL MACHINE MUZAK Double Vinyl + Digital package: https://www.patreon.com/discograffiti/shop/169954 Merch Shop: https://discograffitipod.myspreadshop.com/all Venmo Dave A Tip: @David-Gebroe Web site: http://discograffiti.com/   CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe There is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.   If you're already a member, please comment below about your experience.   https://www.patreon.com/discograffiti

This week Rob is joined by guest presenter Simon. The theme revolves around films of concerts and music festivals. Starting off is The Cure from their concert film The Cure In Orange featuring their big hit Close To Me. Probably the most lauded concert film was The Band's: The Last Waltz. A highlight was their version of The Night They Drove Old Dixie Down. The film of the famous pop festival Woodstock showcased Neil Young's introduction into Crosby, Stills, Nash and Young for their epic Suite :Judy Blue Eyes. The Aussie answer to Woodstock was the Sunbury Pop Festival in the early seventies. Very few female singers took part. One exception was Aussie troubadour Margaret Roadknight with her sardonic Girls In Our Town. Finally Elvis made a comeback film for television in 1968 which featured many of his hits including One Night.   Playlist Close To Me – The Cure Gimme Shelter – Rolling Stones Suite: Judy Blue Eyes – Crosby, Stills, Nash & Young Jealous Guy – Roxy Music Girls in Our Town – Margaret Roadknight Space Captain – Joe Cocker Slippery People – Talking Heads Cabaret – Liza Minnelli The Night They Drove Old Dixie Down – The Band One Night – Elvis Presley Old Landmark – Aretha Franklin To re-live previous episodes, visit joy.org.au/yesterdayoncemore ENJOY! Don’t forget to tune into JOY 94.9 next Sunday at 5pm for another most enjoyable episode of Yesterday Once More. JOY 94.9 – Out.Loud.Proud – Your Voice – Your Radio Station Support JOY, support this podcast, donate, become a valued member:  https://www.joy.org.au/support joy For Support visit: joy.org.au/Support Your opinion is highly valued.  Please feel free to share your thoughts and suggestions.  Your feedback helps us to improve your listening experience.  Thank you in advance for your time and contribution The post Concerts and Music Festivals appeared first on Yesterday Once More.

En este episodio exploramos Late for the Sky, el clásico álbum de Jackson Browne lanzado en 1974, una obra profunda sobre el amor, la pérdida y el paso del tiempo. También aprovechamos para hablar de Laurel Canyon, el barrio de Los Ángeles donde, durante los años 60 y 70, convivieron y colaboraron artistas como Browne, Joni Mitchell, The Eagles y Crosby, Stills & Nash, creando una escena basada en la cercanía humana y el intercambio constante de ideas. A partir de ahí reflexionamos sobre cómo ha cambiado la creatividad artística hasta hoy, de una época de convivencia y experimentación colectiva a una industria mucho más acelerada, individual y condicionada por algoritmos y redes sociales.

From the Archives - Playlist for The Everything Show 11/14/2020Girls Against Boys / Cash MachineRoxy Music / The Main ThingPuscifer / BedlamiteKurt Vile / PearlsWalking Blues / Keb' Mo'Bob Dylan / Subterranean Homesick BluesJesse Cook / Byzantium UndergroundMassive Attack / Dissolved GirlFontaines D.C. / Televised MindDavid Gilmour (feat. David Crosby & Graham Nash) / Shine On You Crazy DiamondMarshall Crenshaw / My Back PagesRufus Wainright / Oh What a WorldJohn Wright / La Salle St After HoursJoni Mitchell / At LastBlack Pistol Fire / Speak of the DevilTame Impala / BorderlineThe Searchers / Needles and PinsThe Coffin Daggers / Ringo Mura KaraRaffy Bushman / First ManMolchat Doma / Ответа Нет/Otveta NetThe Runaways / Dead End JusticeAlabama Shakes / Don't Wanna FightThe Jimi Hendrix Experience / Manic DepressionMeg Myers / DesireOh Sees / Nite ExpoBruce Springsteen / Letter To YouWooden Shjips / EclipseDonna Missal / How Does It FeelThree Days Grace / Somebody That I Used to KnowThe Everly Brothers / When Will I Be LovedThe White Stripes / The Hardest Button to ButtonA Perfect Circle / JudithCrosby, Stills, Nash & Young / Wooden ShipsShocking Blue / Love BuzzRoxy Music / Virginia Plain

Send us Fan MailOriginally from Ohio, Mike Vizer is a professional stills photographer and content creator within the world of action sports with an emphasis on both amateur motocross and professional Supercross and motocross racing. In today's episode, Vizer shares his story of growing up in small-town Ohio, getting a scholarship for wrestling, burnout from school, a life changing accident that left him unable to walk, his battle regain feeling and walk again, photography, seizures, the struggles of feeling valued in a creative field, rebuilding relationships, and more. I cannot begin to thank Vizer enough for spending the time to come on and share his journey, being so transparent and, hopefully, inspiring others chasing their dreams, too. Thank you, Vizer. Follow Mike Vizer on Instagram: https://www.instagram.com/mikevizerphotoFollow The Failed Experiment on Instagram: https://www.instagram.com/_thefailedexperiment/Support the the Failed Experiment: https://account.venmo.com/u/kylecowlingFollow The Failed Experiment on YouTube: https://www.youtube.com/@_TFEFollow Kyle Cowling on Instagram: https://www.instagram.com/kylecowling/Support the show

I am honored to connect with Dr. Sharon Stills today. She is a graduate of naturopathic medical school with extensive training in European biological medicine, bioidentical hormone replacement, and anti-aging therapies. In our conversation today, we explore terrain-based medicine and strategies to support women in perimenopause and beyond. We talk extensively about gut health, the estroblome, the microbiome, how European biological medicine views these as terrain, disruptive factors, and why they matter for women in midlife. We also examine the influence of the lymphatic system and how castor oil packs support it, bioidentical hormones as a lifelong tool rather than a temporary fix, and why menopause is a sacred second act in women's lives. Dr. Stills is thoughtful, insightful, and grounded, and I know you will enjoy this conversation with her as much as I did recording it. IN THIS EPISODE, YOU WILL LEARN: How European biological medicine emphasizes the extracellular matrix (terrain) rather than focusing only on individual cells or mitochondria How declining hormones during menopause often expose longstanding yet previously hidden aspects of women's health Dr. Stills shares what she did to prepare herself for menopause in the preceding years  Dr. Stills encourages women to create meaningful challenges or experiences to mark their major life transitions How limiting beliefs about aging can influence how you experience midlife and beyond Factors that could influence the health of your terrain How supplements can play an important role, but work best alongside lifestyle habits, mindfulness, and supporting your body's natural healing processes Why Dr. Stills considers the lymphatic system an overlooked contributor to hormone balance, and some practical ways to support healthy lymphatic flow How simple daily habits often have a greater impact on your health than wellness gadgets The value of bioidentical hormones, and why hormone therapy should be individualized rather than one-size-fits-all Bio: Dr. Sharon Stills Dr. Sharon Stills, a licensed Naturopathic Medical Doctor and graduate of The Sonoran University (2001), has spent over two decades transforming women's health, with a special focus on guiding women through perimenopause and menopause. Creator of the pioneering RED Hot Sexy Meno(pause) Program and host of the annual Mastering Your Meno(pause) Transition summit, she combines her expertise in European Biological Medicine, pro-aging therapies, and Bio-identical Hormone Replacement to help women rediscover vitality with natural methods. A respected voice in her field, Dr. Stills has lectured internationally at the Paracelsus Academy in Switzerland, contributed to Women's Health Network, and served on the boards of the Bio-Regulatory Medicine Institute and UCLA's Archive of Healing. She recently opened the Lasting Wellness Center in Scottsdale, AZ—alongside her son, Dr. Ben Stills—offering advanced diagnostic and therapeutic care for chronic illness and women's health. Connect with Cynthia Thurlow   Follow on X, Instagram & LinkedIn Check out Cynthia's website. Submit your questions to support@cynthiathurlow.com  Join other like-minded women in a supportive, nurturing community: The Midlife Pause/Cynthia Thurlow.  Purchase Cynthia's book, The Menopause Gut. Cynthia's Intermittent Fasting Transformation Book The Midlife Pause Supplement Line Connect with Dr. Sharon Stills On her website

Send us Fan MailSupport the showThanks for listening!  Follow us on https://twitter.com/NEWDAYGOSPELRA2You can email us newdayofhopepodcast@gmail.comhttps://newdayofhopepodcast.buzzsprout.com/Phone: 470-929-5526

This week we're doing a deep dive into one of the most influential super groups of all time. Crosby, Stills, Nash and (sometimes) Young were pioneers of folk rock who paved the way for everyone from Tom Petty to Waxahatchee. Their prolific output includes so many timeless classics and iconic anthems that we barely scratched the surface here. This week's picks "Long Time Gone" by Crosby, Stills & Nash "Our House" by Crosby, Stills, Nash & Young "Love The One You're With" by Stephen Stills Related Links "Love The One You're With" by Luther Vandross The Playlist No Repeat Playlist on Spotify No Repeat Playlist on Apple Music B-Sides Unofficial B-Sides Playlist Support the Show No Repeat on Patreon Join our Discord Email us: norepeatpod[at]gmail[dot]com Follow Us Follow Tyler on Instagram Follow Shaun on Instagram Follow Taylor on Instagram

Episode 103!This episode talks about the seeds your parents planted in your love for music!All the music you grew up on.Taken from the 'Music Seeds' Facebook page. You can participate each week, by posting your suggestions.This weeks musical artists:The BeatlesCarole KingJames TaylorFleetwood MacElvis PresleyJohnny CashNeil DiamondHerb AlbertBilly JoelMeat LoafThe EaglesMotownMusicalsClassic CountryJapanese BalladsSock HopClassicalDance MusicCat StevensJohn DenverJohn MellencampBob SegerBruce SpringsteenBB KingCreedence Clearwater RevivalCrosby, Stills, and NashElton JohnLed ZeppelinJimi HendrixThe WhoThe DoorsBoz ScaggsStevie WonderPeter FramptonPatsy ClineHank WilliamsLoretta LynnDolly PartonLady GagaThe Temptations CoastersThe PlattersJerry Lee LewisVan Halen ScorpionsDef LeppardAlan JacksonGarth BrooksTrisha Yearwood Reba McEntireBlack SabbathJackson BrowneRobin TrowerJoe SatrianiAllman BrothersThe CarpentersAnd So Much More......Thank you for all your suggestions, and thank you for listening.You can get a hold of us through:Email at:ozomatfan87@gmail.comSocial Media:Facebook@MusicMadeSeeds"Music Seeds"johnny0520@snapchatInstagram is musicmadeusjohnnySupport is on Patreon= https://www.patreon.com/bePatron?u=48542707Please subscribe wherever you get podcasts ★ Support this podcast on Patreon ★

The Washington Roundtable will return next Friday. To commemorate two hundred and fifty years of the American experiment, the hosts of The New Yorker's Critics at Large podcast, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz, present an American playlist. On this special episode, the hosts hear from listeners regarding the songs that best encapsulate their feelings about the U.S. today—and offer some tracks of their own. The resulting compilation reflects the country's turbulent history, its uncertain present, and, crucially, listeners' hopes for its future. “What we think of as nation-building—at least if you care about art, that's not where the real action is,” Cunningham says. “The action is in our creative response to the circumstances that we're given. And that's what music is all about.”  Listen to a playlist of songs from this episode here. Featured tracks: “Kids in America,” by Kim Wilde “Miss America,” by David Byrne “All-American Bitch,” by Olivia Rodrigo “Django Jane,” by Janelle Monáe “Help Save the Youth of America,” by Billy Bragg “Almost Cut My Hair,” by Crosby, Stills, Nash & Young “Free Fallin',” by Tom Petty “America,” by Simon & Garfunkel “Battle Hymn of the Republic,” covered by Joan Baez “Sleep Now in the Fire,” by Rage Against the Machine “Your Flag Decal Won't Get You Into Heaven Anymore,” by John Prine “Compared to What,” by Roberta Flack “Ohio/Machine Gun,” by The Isley Brothers “Bob Dylan's 115th Dream,” by Bob Dylan “Wild Goose Chase,” covered by Nora Brown “That's Life,” covered by James Brown “Billy The Kid Suite,” by Aaron Copland “A Change Is Gonna Come,” by Sam Cooke New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, to commemorate two hundred and fifty years of the American experiment, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz present an American playlist. On this special episode, the hosts hear from listeners regarding the songs that best encapsulate their feelings about the U.S. today—and offer some tracks of their own. The resulting compilation reflects the country's turbulent history, its uncertain present, and, crucially, listeners' hopes for its future. “What we think of as nation-building—at least if you care about art, that's not where the real action is,” Cunningham says. “The action is in our creative response to the circumstances that we're given. And that's what music is all about.”  Listen to a playlist of songs from this episode here. Featured tracks: “Kids in America,” by Kim Wilde“Miss America,” by David Byrne“All-American Bitch,” by Olivia Rodrigo“Django Jane,” by Janelle Monáe“Help Save the Youth of America,” by Billy Bragg“Almost Cut My Hair,” by Crosby, Stills, Nash & Young“Free Fallin',” by Tom Petty“America,” by Simon & Garfunkel“Battle Hymn of the Republic,” covered by Joan Baez“Sleep Now in the Fire,” by Rage Against the Machine“Your Flag Decal Won't Get You Into Heaven Anymore,” by John Prine“Compared to What,” by Roberta Flack“Ohio/Machine Gun,” by The Isley Brothers“Bob Dylan's 115th Dream,” by Bob Dylan“Wild Goose Chase,” covered by Nora Brown“That's Life,” covered by James Brown“Billy The Kid Suite,” by Aaron Copland“A Change Is Gonna Come,” by Sam Cooke New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Send us Fan MailTanner Yeager is a professional stills photographer based out of Globe, Arizona, who spent his career in the motocross industry before finding his way into the music and NASCAR industries. Tanner has worked for clients such as Red Bull, ABC, Sony Music, Fender, The Walt Disney Company, Universal Music Group, and individuals such as Eli Tomas, Ken Roczen,  Colton Haaker, the late Kyle Busch, Jake Owen, Jelly Roll, Midland, Keith Urban, Tommy Ash, and more. In today's episode, Tanner dives into his story of finding photographing, cutting his teeth with INSIDERMX, transitioning from Supercross and motocross to Endurocross, how he found himself in the music and NASCAR industries, being undervalued as a creative, the frustrations with social media and the creative marketplace as a whole, mental health, and much more. Tanner has some wonderful insights, stories, and perspectives from his own experiences crafting images that is beneficial for anyone in the creative space to keep in mind as they navigate their career. I hope all enjoy! Follow Tanner Yeager on Instagram: https://www.instagram.com/TANNERYEAGERPHOTOView More of Tanner's Work: https://www.tanneryeager.com/Follow The Failed Experiment on Instagram: https://www.instagram.com/_thefailedexperiment/Support the the Failed Experiment: https://account.venmo.com/u/kylecowlingFollow The Failed Experiment on YouTube: https://www.youtube.com/@_TFEFollow Kyle Cowling on Instagram: https://www.instagram.com/kylecowling/Support the show

Send us Fan MailOriginally from Connecticut, Cole Beach is a professional stills photographer, filmmaker, and podcast producer based in Salt Lake City, UT. Working with clients such as Triumph Racing North America, American Honda Motor Co., Fox, 100%, Red Bull, and more, Cole has created some absolutely stunning imagery for clients and motorsports fans alike. In today's episode, Cole talks about his early years growing up in Connecticut, how he was first introduced to the camera, working with FELD Entertainment and traveling to his first-ever Supercross race to shoot, imposter syndrome, the passion not always worth the end result, shooting The Met Gala for Jett Lawrence, battling with his mental health, The AC/JB Show and much more. This was a great conversation with a lot of wonderful insights into Cole's journey, the ebbs and flows of the creative lifestyle, and more. I hope all enjoy and thank you Cole for such a wonderful conversation. Follow Cole Beach on Instagram: https://www.instagram.com/colebeachphotoView More of Cole's Work: https://www.colebeachphotography.com/Follow The Failed Experiment on Instagram: https://www.instagram.com/_thefailedexperiment/Support the the Failed Experiment: https://account.venmo.com/u/kylecowlingFollow The Failed Experiment on YouTube: https://www.youtube.com/@_TFEFollow Kyle Cowling on Instagram: https://www.instagram.com/kylecowling/Support the show

June 22, 2026

Start Artist Song Time Album Year 0:00:00 Kansas Questions Of My Childhood 3:20 Leftoverture 1976 0:04:22 Chicago Questions 67 & 68 4:47 Chicago Transit Authority 1969 0:09:40 Different Light The Answer 3:41 Binary Suns (Part 1: Operant Condition) 2020 0:13:44 Jadis Questions Without Answers 4:52 More Questions Than Answers 2024 0:18:48 Dream Theater The Answer Lies Within 5:23 Octavarium 2005 0:24:57 Graham Parker & The Rumour Hey Lord, Don’t Ask Me Questions 5:32 The Parkerilla (Reissued 1984) 1978 0:30:32 Camel No Easy Answer 2:46 The Single Factor (2023 Remaster) 1982 0:33:49 Focus Answers? Questions! Questions? Answers! Pt. 2 (Live At The Rainbow) 4:50 Live At The Rainbow 1973 0:39:03 Manfred Mann’s Earth Band Questions 3:50 The Roaring Silence 1976 0:43:21 The Alan Parsons Project Don’t Answer Me 3:59 Ammonia Avenue (2014 Remaster) 1984 0:47:49 Elton John Love’s Got A Lot To Answer For 4:58 The Big Picture 1997 0:53:10 Depeche Mode A Question of Time 4:12 Black Celebration 1986 0:57:36 Beach Boys I Know There’s An Answer 3:03 Pet Sounds 1966 1:01:03 The Moody Blues Question 5:43 A Question of Balance 1970 1:07:14 Elton John Answer In The Sky 3:57 Peachtree Road 2004 1:11:32 New Model Army Stupid Questions 3:18 Thunder And Consolation 1989 1:15:11 Howard Jones Always Asking Questions 3:33 The Best Of Howard Jones 1993 1:19:14 Shadow Gallery Questions At Hand 6:42 Shadow Gallery 1992 1:26:35 Spock’s Beard Dreaming In The Age Of Answers 4:44 Spock’s Beard 2017 1:31:36 Tom Robinson Band Don’t Take No For An Answer 4:33 Power In The Darkness 1978 1:31:42 K’mono Answers in the Glass 7:57 Mind Out of Mind 2023 1:32:03 Tom Robinson Band Don’t Take No For An Answer 4:33 Power In The Darkness 1978 1:36:49 K’mono Answers in the Glass 7:57 Mind Out of Mind 2023 1:45:11 Levellers I Have No Answers 3:44 A Weapon Called The Word 1990 1:49:10 Crosby, Stills, Nash & Young Carry On/Questions 4:16 Déjà Vu 1970 1:54:17 Moonrise The Answer 5:23 Travel Within 2019 1:59:57 Uriah Heep Question 5:27 Sonic Origami 1998 2:05:33 Mostly Autumn Answer the Question 4:46 Passengers (remaster) 2003 2:10:44 Sylvan Questions 6:59 Posthumous Silence 2006 2:17:56 Steve Vai Answers 2:56 Passion And Warfare 1990 2:21:10 De Dannan The Call and The Answer 3:43 Song For Ireland 1983 2:25:27 The Madrigal Project A Question Of Wait And Matter 5:38 11th Hour 2024 2:31:26 Lynyrd Skynyrd Don’t Ask Me No Questions 3:22 Second Helping (1997 Remaster) 1974 2:35:17 Druckfarben An Answer Dreaming 6:57 Second Sound 2014 2:43:17 Comedy Of Errors The Answer 9:53 Fanfare & Fantasy 2013 2:53:10 Eloy The Answer 9:38 Ocean II 2014

Episode No. 763 is a summer clips episode featuring artist Jes Fan. The Yale University Art Gallery is presenting "Jes Fan: Unbounded" through June 28. The exhibition spotlights how Fan makes sculptures that combine elegant abstract forms with an experimental and innovative approach to materials. Fan's sculptures often explore the porousness of identity, and incorporate living matter, such hormones, and fluids, such as glass. Fan's work has been exhibited in the 2024 Whitney Biennial, the 2022 Venice Biennale, the 2021 New Museum Triennial at the New Museum, New York, the MIT List Visual Arts Center, the Contemporary Arts Center, Cincinnati, and more. As mentioned on the program: Stills from Fan's 2023 video Palimpsest. Byung-Chul Han's book Saving Beauty. For more images, see Episode No. 658.

Summer is unofficially upon us. Hot boy summer, some say.Two hot boys and one hot girlie summer, even. Lickers Jay & Deon check in with Super-Secret-Special-Friend Jess to see (and hear) what she has been f#@%ing with, sonically speaking. It's good clean fun in the sun, ya dang bums! Check out Jess's production of Mr. Burns: A Post Electric PlaySonic contributions to this bonus episode twenty-nine of Lightnin' Licks Radio were made by: Prince Paul, De La Soul, Brothers Johnson, Zack Braff, Natilie Portman, POSPOTUS. Rashan Roland Kirk, L.L. Cool J, R.E.M., Jay Dilla, The Pharcyde, Main Source, Boogie Down Productions, Vince Guaraldi. The 45 King, DJ Kool, Kool & the Gang, Newcleus, Kevin McCaffrey. Space. Jewel, Mackeeper. Hole, Coutney Love, Melissa Auf De Mor, Billy Corgan, Smashing Pumpkins, Yoko Ono, David Porter, Puff and Big, Blind Melon, Young Marvel Giants. Helado Negro. Peaches and Herb, Charles Fox, Jessica McQuarter, Anne Washburn, Michael Friedman, Bernard Herrmann & Elmer Bernstein. Halsey, Lido. Hemlocke Springs, Doechii, Ian James, Joey Hamhock, Banser. Starship, Jefferson Starship, Jefferson Airplane, Grace Slick, Elvin Bishop. Some spacey smooth Japanese psych loops courtesy of Portal Records, XTC, Exile. National Wake, N.W.A., Slick Rick, Wilson Picket, Funkadelic, The Winstons, Vampire Weekend, Dan Deacon, Aldo Nova, Elvis Costello, Deon's wife Shannon, Jan Hammer. The Police. Nas, Large Professor, 3rd Bass, MC Search, N.O.R.E., Pete Rock, DJ Premier, James Brown & The J.B.'s. More Japanese psych loops, Sting, The Isley Brothers, Ice Cube, DJ Pooh. Crosby, Stills & Nash, The Staple Singers, Parliament, LBJ, good brother Abraham (Jefferson), and AI Steve Inskeep.Get your vinyl records and vintage wares here. Freedom. Know it while you have it. Get involved.SPOTIFY PLAYLIST OF FEATURED ARTISTSHEAR THE FULL MIXTAPE ON SOUNDCLOUD

Episode 676 also includes an E.W. Poetic Piece titled, “Sky Gazer.” Our music this go round is provided by these wonderful artists: Thelonious Monk, Crosby, Stills, Nash & Young, Branford Marsalis and Terence Blanchard. Commercial Free, Small Batch Radio Crafted in the West Mountains of Northeastern Pennsylvania... Heard All Over The World. Tell Your Friends and Neighbors.

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Summer is now unofficially upon us. Hot boy summer, some may say. Two hot old boys and one hot girlie summer, even. Lightning Lickers Jay & Deon check in with Super-Special-Secret-Friend Jess to see (and hear) what she has been f#@%ing with, sonically speaking. It's good clean fun in the sun, ya dang bums! Check out Jess's production of Mr. Burns: A Post Electric PlaySonic contributions to this bonus episode number twenty-nine of Lightnin' Licks Radio podcast were made by: Prince Paul, De La Soul, Brothers Johnson, Zach Braff, Natalie Portman, POSPOTUS. R.E.M., Jay Dilla, The Pharcyde, Vince Guaraldi. The 45 King, DJ Kool, Kool & the Gang, Newcleus, Kevin McCaffrey. Space. Jewel, Mackeeper. Hole, Coutney Love, Melissa Auf Dee Mor and Billy Corgan on The Magnificent Others podcast, Smashing Pumpkins, Yoko Ono, David Porter, Puff & Big, Blind Melon, Young Marvel Giants. Helado Negro. Peaches & Herb, Charles Fox, Jessica McQuarter, Anne Washburn, Michael Friedman, Bernard Herrmann & Elmer Bernstein. Halsey, Lido. Hemlocke Springs, Doechii, Ian James, Joey Hamhock, Banser. Starship, Jefferson Starship, Jefferson Airplane, Grace Slick, Elvin Bishop. Some spacey smooth Japanese psych loops courtesy of Portal Records, XTC, Exile. National Wake, N.W.A., Wilson Picket, Funkadelic, The Winstons, Vampire Weekend, Dan Deacon, Aldo Nova, Elvis Costello, Deon's wife Shannon, Jan Hammer. The Police. NAS, Large Professor, 3rd Bass, MC Search and N.O.R.E. on Drink Champs podcast, Pete Rock, DJ Premier. James Brown, more Japanese psych loops, Sting, The Isley Brothers, Ice Cube, DJ Pooh. Crosby, Stills & Nash, The Staple Singers, Parliament, Cheech & Chong, Rakim, Aphex Twin, LBJ & good brother Abraham (Jefferson).You can't make then share mixtapes anymore. It's totally cool that artificial intellegence has been fed all music ever recorded to train itself to suck the life out of all art everwhere. Sharing mixtapes, though...very bad. Very, very bad.Hear the uninterrupted Jay-curated mixtape here. Stream a playlist of featured artists on Spotify here. Get your vinyl records and vintage wares here. Freedom. Know it while you have it. Get involved.JAY is f#@%ing with Space, Hole, XTC, and The Police.DEON has been into Mackeeper, Helado Negro, National Wake, and Nas.JESS has Halsey, Hemlocke Springs, and Jefferson Starship in heavy rotation.

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MyMusic Podcast – Graham Coath Talks To Kelli BlanchettIn this deeply honest and thoughtful episode of MyMusic, Graham Coath sits down with singer-songwriter Kelli Blanchett for a conversation that moves far beyond music itself.From singing karaoke in her grandparents' pub as a child to becoming part of Self Esteem's live and recording world, Kelli shares the winding, emotional and often unpredictable journey that shaped her as both a musician and a person.The conversation explores creativity, neurodiversity, emotional processing, chronic illness, touring, songwriting and the changing realities of trying to build a music career in 2026.Kelli talks candidly about:Growing up in a musical familyLearning guitar and discovering her own voiceWhy singing and playing guitar came naturally to herThe emotional intensity of her twentiesHow ADHD and emotional processing influence the way she experiences life and writes songsBecoming part of Self Esteem's musical worldLiving with chronic illness and how it changed her relationship with musicCreating her melancholic, folk-tinged new EPThe realities of algorithms, streaming and modern music promotionWhy building genuine community matters more than shouting into the void onlineThe difference between London audiences and audiences in smaller towns and coastal venuesHer love of artists like Laura Marling, Waxahatchee, Gillian Welch and Crosby, Stills, Nash & YoungThere are also brilliant side conversations about:Tiny Desk sessionsWhy harmony singing creates goosebumpsWhy emotional people often cope calmly in crisesFolk venues by the seaThe death of grassroots venuesWhy music discovery feels so strange in the streaming eraAt the heart of the episode is a bigger discussion about connection.Not just how artists find audiences, but how people find meaning, belonging and spaces where their work actually lands with people who genuinely care.Kelli's warmth, humour and openness make this one of the most emotionally rich MyMusic conversations to date.Listeners can also hear tracks from Kelli's latest EP directly through Spotify alongside the episode.A conversation about music, vulnerability, community and finding your place creatively in a noisy world.

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The Promoter 101 Podcast featuring Iconic Booking Agent Jonny Podell who has working with a with a legendary talent line up that includes: Allman Brothers Band, Cyndi Lauper, Erasure, Peter Gabriel, Rosie O'Donnell, Yaz, Teddy Pendergrass, George Harrison, Crosby, Stills, Nash & Young and David Blaine. Hosted By: Works Entertainments' Luke Pierce + Emporium Presents' Dan Steinberg Direct Link: https://tinyurl.com/5n94myyy Email Dan + Luke: steiny@promoter101.net Amazon: https://is.gd/cgLbBp Facebook: https://www.facebook.com/promoter101 Google Music: https://is.gd/onEmSt iHeartRadio: https://www.iheart.com/podcast/promoter101-29260148/ Instagram: https://www.instagram.com/steinypromoter101/ itunes: https://itunes.apple.com/us/podcast/promoter101/id1163910658?mt=2 LinkedIn‬: https://www.linkedin.com/company/promoter101 Soundcloud: https://soundcloud.com/promoter101 Spotify: https://is.gd/T5SPEC‬ Spreaker: https://www.spreaker.com/user/promoter101 Website: http://www.promoter101.net/ YouTube: https://www.youtube.com/promoter101

The Wonderful World of Wine (WWW) Episode 314 Hosts Kim Simone and Mark Lenzi exploring all things wine with you! From Prescriptions to Stills with GlenPharmer Distillery In this episode of The Wonderful World of Wine (WWW), hosts Kim and Mark sit down with Beth and Patrick Downing, the visionary owners of Franklin, Massachusetts' own GlenPharmer Distillery. It's a fascinating look at how a professional background in pharmacy provided the perfect scientific foundation for transitioning into the world of craft spirits and hospitality. We dive deep into their incredible journey, from the initial concept to navigating the unprecedented challenge of launching a distillery and restaurant just as a global pandemic was beginning. Patrick and Beth share how they managed to make such a monumental feat sound easy. Inside the Episode: A Nod to Franklin History: We explore the storied past of the building that GlenPharmer calls home and its unique historical connection to the town's hat-making industry. Science in the Glass: Learn about the distillery's seasonal focus on both its restaurant menu and its innovative cocktail program. Patrick shares some "science of the cocktail" tips that you can use at home. Award-Winning Spirits: We discuss their lineup of acclaimed products and reveal the surprising production capacity of this local powerhouse. The Business of Spirits: From the nuances of serving laws in the distillery versus their event space to the complexities of distribution and shipping. The "Geeky" Details: We get into the nitty-gritty of the industry, discussing everything from distillery taxes to the mystery of the "Angel's Share." Whether you are a Franklin local or a spirits enthusiast, you will love the story of grit, science, and community behind GlenPharmer. Learn More: GlenPharmer Distillery: www.glenpharmer.com The Wonderful World of Wine: www.thewww.wine Cheers, Kim and Mark

Mark 4:35-41 - James Choi

Send us Fan MailCraig Fort stops by the show to discuss, music sobriety, inspiration and more. ***Lightning Stills isn't an album detailing the evils of alcohol. Instead, it's life stories while still in the moment. “I started this project as a way to keep me occupied and help me through getting sober,” vocalist/guitarist Craig Fort of Omaha's reigning outlaw country band explains.Aside from the obvious health benefits of quitting the sauce, his reason for quitting was far more personal. “Ultimately, I got sober for my family,” he confesses. “Once I had my first son, I started trying to stay away from the bar except for playing shows. My drinking stuck with me though and eventually took over. I realized I needed to get some help or my boys weren't gonna have a father anymore.”Though he has sworn off alcohol, the offending substance flows freely figuratively throughout the band's makeup. “The band name ‘Lightning Stills' is a character I created - a reference to white lightning moonshine stills,” Craig explains, about the eponymously named alter-ego, a rhinestone cowboy in the vein of Waylon Jennings and Johnny Paycheck. “Lightning Stills” alludes to the clear high proof, unaged corn whiskey that is made in a ‘moonshine' still. “When I first started, the ‘Lightning Stills' character was a bootlegger. I have some history of that in my family and that lifestyle appealed to me I guess. Even off the sauce I feel like I'm still trying to find the right potency for my brew,” he laughs.Lightning Stills is a venerated cast of Omaha musicians - a who's who of local artists of varying genres, all unified in a love for pure and unadulterated Outlaw Country. Originating in 2020, Craig (a hardcore, metal, and garage mainstay whose leads the post-rock mainstays Leafblower) first formulated the band with Omaha music icon and multi-instrumentalist Mike Friedman who had been playing country for decades. Pulling into their magnetic orbit a “good-timing odd bunch” that features guitarist Tom May, bassist Dan Maxwell, and drummer Javid Thunders, Lightning Stills was born. “We're a real sundry assortment,” he says. “Dan and I have been playing together in various projects for 15 years. The other fellas have played in folk, indie, garage, metal, etc. That's one thing that's always been nice in my experience about Omaha. You can have a bill with hip hop/metal/country, and everyone that comes out are friends and possibly play in other projects with each other as well.”Deciding it was time to record a full record after releasing a handful of tracks in 2020 and 2021, the self-titled debut started taking shape, and a caboodle of punk-infused Outlaw Country was born. “Coming from a small town, I grew up with the outlaws and ‘90s popular country that I couldn't escape,” he concludes. “My grandpa played in a country band. So in a sense, Lightning Stills is still just me playing music with my buds. We just aren't playing as loud.”****If you would like to contact the show Dauna@betertopodcast.comFollow us on Social MediaYouTube: https://www.youtube.com/channel/UCX0ETs2wpOHbCuhUNr0XFTw?view_as=subscriberInstagram: https://www.instagram.com/author_d.m.needom/Facebook: https://www.facebook.com/bettertopodcastwithdmneedomSupport the podcast here: https://www.patreon.com/bettertopodcastwithdmneedom©2026 Better To...Podcast with D. M.NeeSupport the show

This week MC Lars returns to the podcast to discuss the song MISSION STATEMENT which is Al's send up to the folk sounds of Crosby, Stills and Nash (but definitively NOT Young) ⁠⁠⁠⁠⁠⁠⁠⁠Join Our Patreon!⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy some Merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check our Website for Our Rankings⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow our Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our Facebook Group Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's episode of The Rizzuto Show is what happens when a funny podcast tries to stay on topic and immediately fails in the most entertaining way possible.We kick things off with one of the coolest human achievements ever—NASA's Artemis II crew traveling farther than anyone in history and giving us a real-life “dark side of the moon” moment that sounds like it belongs on a Pink Floyd album cover. It's emotional, it's historic… and naturally, we ruin the moment within minutes because that's what we do.From there, we launch directly into chaos. Howard Stern's household is apparently being described as a workplace nightmare involving a massive cat rescue operation—which raises the important question: how many cats is too many cats? (Spoiler: probably fewer than 900.)Then it's a full sprint through celebrity madness: Offset gets shot but survives, Brian Cox decides he's done being polite and starts verbally swinging at everyone in Hollywood, and a documentary lineup reminds us that Hulk Hogan somehow still has layers we haven't unpacked.We also get into music nostalgia with Crosby, Stills & Nash (and whether you can actually work out to it without your knees giving up), a $13,000 Pink Floyd vinyl that makes everyone question their life choices, and the rise of an AI-generated country singer who is somehow more productive than most humans.Somewhere in the middle of all this, we question the future of entertainment, the relevance of late-night TV, and whether podcasts are now the only way anyone becomes famous anymore—which is great news for us and terrible news for everyone else.It's a funny podcast episode packed with space, celebrity chaos, weird news, and just enough sarcasm to keep things grounded… barely.If you like your daily comedy show unpredictable, slightly unhinged, and full of “did they really just say that?” moments—welcome home. This funny podcast is exactly what your brain didn't ask for but absolutely needed.Follow The Rizzuto Show → linktr.ee/rizzshow for more from your favorite daily comedy show.Connect with The Rizzuto Show Comedy Podcast online → 1057thepoint.com/RizzShow.Hear The Rizz Show daily on the radio at 105.7 The Point | Hubbard Radio in St. Louis, MO.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Drop Dead, Gorgeous is back and better than ever! Danny Stillman joins the show to talk about crafting their music videos, war movies, Star Wars, expectations vs reality, and much more!EARGASM Use the code METALCORENERDS to save 10% off your order. Protect your hearing while still enjoying the music you love.Support Drop Dead, Gorgeous!Instagram | Facebook | Merch Store | Tickets for Upcoming Shows!Song of the Week: Of Virtue "The Art of Love"Check out the Metalcore Nerds Pull List Spotify PlaylistJoin the Metalcore Nerds Community:Discord | FB GroupFollow Metalcore Nerds on Social Media:Facebook | Instagram | Twitter | YouTube | TikTok

Host Jesse Jackson welcomes back college professor Maryanne Janosik to discuss Bruce Springsteen's newly released protest song, its rapid creative turnaround, and how it fits Springsteen's history of politically charged music and themes of Catholic social justice. They compare the song's naming of names to Crosby, Stills, Nash & Young's “Ohio,” speculate about political expression at the Grammys, and reflect on concerns about free speech, polarization, and the shrinking space for teaching controversial art and history. The conversation shifts to film awards, including disappointment that “Deliver Me From Nowhere” received no Oscar nominations, debate about biopic fatigue, and Maryanne's recommended under-the-radar films such as “Train Dreams,” Linklater's “Blue Moon” and “Nouvelle Vague,” “Sorry, Baby,” and the baseball film “Eefus,” plus praise for “Sinners” and “Fruitvale Station.” https://www.mjthemovies.com/ 00:00 Welcome Back Maryanne 00:33 Meet Maryanne Janosik 01:50 Bruce Drops New Protest Song 02:55 How Artists Create Fast 05:26 Protest Music Context 07:38 Catholic Imagination Social Justice 08:45 Teaching Songs of Protest 11:07 Grammys Politics and Censorship 13:30 Academic Freedom Under Pressure 17:13 Reviewing the New Song 20:36 Super Bowl Halftime Culture 23:44 Oscars and Springsteen Films 24:37 Box Office vs Oscars 25:35 Deliver Me From Nowhere 28:36 Biopic Fatigue Debate 30:26 Good vs Great Movies 32:24 Why Sinners Works 36:48 Michael B Jordan Rise 39:23 Under the Radar Picks 45:08 Catherine OHara Tribute 47:02 Wrap Up and Farewell Learn more about your ad choices. Visit megaphone.fm/adchoices

Host Jesse Jackson welcomes back college professor Maryanne Janosik to discuss Bruce Springsteen's newly released protest song, its rapid creative turnaround, and how it fits Springsteen's history of politically charged music and themes of Catholic social justice. They compare the song's naming of names to Crosby, Stills, Nash & Young's “Ohio,” speculate about political expression at the Grammys, and reflect on concerns about free speech, polarization, and the shrinking space for teaching controversial art and history. The conversation shifts to film awards, including disappointment that “Deliver Me From Nowhere” received no Oscar nominations, debate about biopic fatigue, and Maryanne's recommended under-the-radar films such as “Train Dreams,” Linklater's “Blue Moon” and “Nouvelle Vague,” “Sorry, Baby,” and the baseball film “Eefus,” plus praise for “Sinners” and “Fruitvale Station.” https://www.mjthemovies.com/ 00:00 Welcome Back Maryanne 00:33 Meet Maryanne Janosik 01:50 Bruce Drops New Protest Song 02:55 How Artists Create Fast 05:26 Protest Music Context 07:38 Catholic Imagination Social Justice 08:45 Teaching Songs of Protest 11:07 Grammys Politics and Censorship 13:30 Academic Freedom Under Pressure 17:13 Reviewing the New Song 20:36 Super Bowl Halftime Culture 23:44 Oscars and Springsteen Films 24:37 Box Office vs Oscars 25:35 Deliver Me From Nowhere 28:36 Biopic Fatigue Debate 30:26 Good vs Great Movies 32:24 Why Sinners Works 36:48 Michael B Jordan Rise 39:23 Under the Radar Picks 45:08 Catherine O'Hara Tribute 47:02 Wrap Up and Farewell Learn more about your ad choices. Visit megaphone.fm/adchoices

Recorded live at the 2026 Sundance Film Festival in Park City, this annual Director of Photography Roundtable features No Film School's GG Hawkins in conversation with cinematographers Lidia Nikonova, Sam Levy, and Maria Herrera. The group discusses their unconventional paths into cinematography—from orchestras and photojournalism to weddings and radio DJing—how they landed their Sundance projects, and why connection, rhythm, and trust matter more than flashy lookbooks. They also break down the tools they used to communicate vision, navigate long dialogue scenes, and adapt to technical and emotional challenges on set. In this episode, No Film School's GG Hawkins and guests discuss… Shooting at the 2026 Sundance Film Festival and hosting at the BraveMaker house Maria Herrera's transition from music to cinematography and operating handheld for emotionally intense performances Sam Levy's mentorship under Harris Savides and how that shaped his approach to narrative filmmaking Lidia Nikonova's journey from photojournalism and the Canon EOS 5D Mark II to AFI and shooting narrative features How each DP landed their Sundance projects through relationships, cold emails, and creative chemistry When to bring visual references to a director meeting—and when to just listen Using tools like Figma to build collaborative lookbooks and visual worlds Why dialogue rhythm and musicality influence cinematography choices Shooting on 35mm with an Arricam ST versus digital on the ARRI Alexa 35 Working with vintage Super Baltar lenses (famously used on The Godfather) for a modern crime thriller Referencing L'Argent by Robert Bresson for insert shots and cinematic economy How to approach 10+ page dialogue scenes without losing visual intention The value of shooting weddings and low-budget projects to build craft and confidence Advice for emerging cinematographers: show up early, trust your vision, and get your reps in Memorable Quotes: “This child will never play a musical instrument ever in her life.” “If you have good dialogues, it's like, okay, here's something.” “Just connect with her.” “Show up at least one hour early… and do not use your phone on set.” Guests: Lidia Nikonova Sam Levy Maria Herrera Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram