Podcast appearances and mentions of Tori Amos

DEFENDANT: Tori Amos EVIDENCE: Cloud Watcher California Red Blend SCENE OF THE CRIME: "The Finest Vineyards in California"  -- Hey friend — welcome to the chaos: we opened a grocery-store red called Cloud Watcher (hello, green-pepper nose and dark-plum cocoa vibes), wrestled over a billion points in Corrections Corner, and brought our dog Hermes along to supervise. We sip, we sigh, and we trade childhood-cloud stories while debating whether cloud-watching is relaxing or suspiciously boring.    Then things get deliciously melodic because our “defendant” today is Tori Amos. We peel back her origin story — piano prodigy at Peabody, early L.A. band experiments, exile to the UK, and the piano-driven masterpiece Little Earthquakes — and run through highlights from Choirgirl Hotel to Boys for Pele, Night of Hunters and beyond. There's talk of kazoo deep cuts, mood rings, curly hair aesthetics, and why Tori's lyrics made us fall in love with poetry all over again.   Of course we couldn't resist a game: a twelve-question cross-examination where we read lyrics and guessed whether they were Tori or Not-Tori. There were surprises (Fiona Apple, Tracy Chapman, The Cranberries), triumphant wins, a couple of tequila—I mean wine—sips for wrong answers, and a lot of nostalgic 90s energy. You'll hear about favorite songs (Crucify gets a special shout), concert memories, and how husband, Fact Checker and our little group fit into the Tori fandom saga.   Gossip alert: we dive into the messy 90s drama — Trent Reznor, Courtney Love, and the career fallout that left some fans scribbling love and hate in equal measure. We don't shy away from the heavy stuff either: there's a frank moment about trauma, loss, and how those themes weave through Tori's music.   Between parenthetical jokes about Publix ads, soup-watching disasters, and a recurring helicopter/hematite-cloud dream, this episode is equal parts nerdy music-nerd history and cozy chat over a $10 bottle that punches way above its price. We also bouquet in a little wanderlust — Cornwall homes, haunted castles, and the dream of living like older, well-rested rich people with perfect towels and fireplaces in every room.   So pour a glass, settle in, and listen for the lyric-guessing triumphs, the wardrobe nostalgia (yep, we reunited with our high-school T-shirts), and the way Tori's songs keep looping back into our weird little lives. If you're a Tori obsessive, an accidental listener, or just here to find out whether that wine is worth a splurge — welcome, you're home.

Trusting the process is a really important way to free yourself, and the film, to discover what it is.Viridiana Lieberman is an award-winning documentary filmmaker. She recently edited the Netflix sensation The Perfect Neighbor.In this interview we talk:* Viri's love of the film Contact* Immersion as the core goal in her filmmaking* Her editing tools and workflow* Film school reflections* The philosophy and process behind The Perfect Neighbor — crafting a fully immersive, evidence-only narrative and syncing all audio to its original image.* Her thoughts on notes and collaboration* Techniques for seeing a cut with fresh eyesYou can see all of Viri's credits on her IMD page here.Thanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI-generated transcript of our conversation. Don't come for me.BEN: Viri, thank you so much for joining us today.VIRI: Oh, thank you for having me. I'm excited to be here.BEN: And I always like to start with a fun question. So senior year of high school, what music were you listening to?VIRI: Oh my goodness. Well, I'm class of 2000, so I mean. I don't even know how to answer this question because I listen to everything.I'm like one of those people I was raving, so I had techno in my system. I have a lot of like, um. The, like, everything from Baby Ann to Tsta. Like, there was like, there was a lot, um, Oak and like Paul Oak and Full, there was like techno. Okay. Then there was folk music because I loved, so Ani DeFranco was the soundtrack of my life, you know, and I was listening to Tori Amos and all that.Okay. And then there's like weird things that slip in, like fuel, you know, like whatever. Who was staying? I don't remember when they came out. But the point is there was like all these intersections, whether I was raving or I was at Warp Tour or I was like at Lili Fair, all of those things were happening in my music taste and whenever I get to hear those songs and like that, that back late nineties, um, rolling into the Ox.Yeah.BEN: I love the Venn diagram of techno and folk music.VIRI: Yeah.BEN: Yeah. What, are you a fan of the film inside Lou and Davis?VIRI: Uh, yes. Yes. I need to watch it again. I watched it once and now you're saying it, and I'm like writing it on my to-dos,BEN: but yes, it, it, the first time I saw it. I saw in the East Village, actually in the theater, and I just, I'm a Cohen Brothers fan, but I didn't love it.Mm-hmm. But it, it stayed on my mind and yeah. Now I probably rewatch it once a year. It might, yeah. In my, in my, on my list, it might be their best film. It's so good. Oh,VIRI: now I'm gonna, I'm putting it on my, I'm literally writing it on my, um, post-it to watch it.BEN: I'mVIRI: always looking for things to watch in the evening.BEN: What, what are some of the docs that kind of lit your flame, that really turned you on?VIRI: Uh, this is one of those questions that I, full transparency, get very embarrassed about because I actually did not have a path of documentary set for me from my film Loving Passion. I mean, when I graduated film school, the one thing I knew I didn't wanna do was documentary, which is hilarious now.Hilarious. My parents laugh about it regularly. Um. Because I had not had a good documentary education. I mean, no one had shown me docs that felt immersive and cinematic. I mean, I had seen docs that were smart, you know, that, but, but they felt, for me, they didn't feel as emotional. They felt sterile. Like there were just, I had seen the most cliched, basic, ignorant read of doc.And so I, you know, I dreamed of making space epics and giant studio films. Contact was my favorite movie. I so like there was everything that about, you know, when I was in film school, you know, I was going to see those movies and I was just chasing that high, that sensory high, that cinematic experience.And I didn't realize that documentaries could be. So it's not, you know, ever since then have I seen docs that I think are incredible. Sure. But when I think about my origin tale, I think I was always chasing a pretty. Not classic, but you know, familiar cinematic lens of the time that I was raised in. But it was fiction.It was fiction movies. And I think when I found Docs, you know, when I was, the very long story short of that is I was looking for a job and had a friend who made docs and I was like, put me in coach, you know, as an editor. And she was like, you've never cut a documentary before. I love you. Uh, but not today.But no, she hired me as an archival producer and then I worked my way up and I said, no, okay, blah, blah, blah. So that path showed me, like I started working on documentaries, seeing more documentaries, and then I was always chasing that cinema high, which by the way, documentaries do incredibly, you know, and have for many decades.But I hadn't met them yet. And I think that really informs. What I love to do in Docs, you know, I mean, I think like I, there's a lot that I like to, but one thing that is very important to me is creating that journey, creating this, you know, following the emotion, creating big moments, you know, that can really consume us.And it's not just about, I mean, not that there are films that are important to me, just about arguments and unpacking and education. At the same time, we have the opportunity to do so much more as storytellers and docs and we are doing it anyway. So that's, that's, you know, when, it's funny, when light my fire, I immediately think of all the fiction films I love and not docs, which I feel ashamed about.‘cause now I know, you know, I know so many incredible documentary filmmakers that light my fire. Um, but my, my impulse is still in the fiction world.BEN: Used a word that it's such an important word, which is immersion. And I, I first saw you speak, um, a week or two ago at the doc NYC Pro panel for editors, documentary editors about the perfect neighbor, which I wanna talk about in a bit because talk about a completely immersive experience.But thank you first, uh, contact, what, what is it about contact that you responded to?VIRI: Oh my goodness. I, well, I watched it growing up. I mean, with my dad, we're both sci-fi people. Like he got me into that. I mean, we're both, I mean he, you know, I was raised by him so clearly it stuck around contact for me. I think even to this day is still my favorite movie.And it, even though I'm kind of a style nut now, and it's, and it feels classic in its approach, but. There's something about all the layers at play in that film. Like there is this crazy big journey, but it's also engaging in a really smart conversation, right? Between science and faith and some of the greatest lines from that film.Are lines that you can say to yourself on the daily basis to remind yourself of like, where we are, what we're doing, why we're doing it, even down to the most basic, you know, funny, I thought the world was what we make it, you know, it's like all of these lines from contact that stick with me when he says, you know, um, did you love your father?Prove it. You know, it's like, what? What is proof? You know? So there were so many. Moments in that film. And for me, you know, climbing into that vessel and traveling through space and when she's floating and she sees the galaxy and she says they should have sent a poet, you know, and you're thinking about like the layers of this experience and how the aliens spoilers, um, you know, show up and talk to her in that conversation herself.Anyways, it's one of those. For me, kind of love letters to the human race and earth and what makes us tick and the complexity of identity all in this incredible journey that feels so. Big yet is boiled down to Jody Foster's very personal narrative, right? Like, it's like all, it just checks so many boxes and still feels like a spectacle.And so the balance, uh, you know, I, I do feel my instincts normally are to zoom in and feel incredibly personal. And I love kind of small stories that represent so much and that film in so many ways does that, and all the other things too. So I'm like, how did we get there? But I really, I can't, I don't know what it is.I can't shake that film. It's not, you know, there's a lot of films that have informed, you know, things I love and take me out to the fringe and take me to the mainstream and, you know, on my candy and, you know, all those things. And yet that, that film checks all the boxes for me.BEN: I remember seeing it in the theaters and you know everything you said.Plus you have a master filmmaker at the absolute top Oh god. Of his class. Oh my,VIRI: yes,BEN: yes. I mean, that mirror shot. Know, know, I mean, my jaw was on the ground because this is like, right, right. As CGI is started. Yes. So, I mean, I'm sure you've seen the behind the scenes of how theyVIRI: Yeah.BEN: Incredible.VIRI: Years.Years. We would be sitting around talking about how no one could figure out how he did it for years. Anybody I met who saw contact would be like, but how did they do the mirror shot? Like I nobody had kind of, yeah. Anyways, it was incredible. And you know, it's, and I,BEN: I saw, I saw it just with some civilians, right?Like the mirror shot. They're like, what are you talking about? The what? Huh?VIRI: Oh, it's so funny you bring that up because right now, you know, I went a friend, I have a friend who's a super fan of Wicked. We went for Wicked for Good, and there is a sequence in that film where they do the mirror jot over and over and over.It's like the, it's like the. Special device of that. It feels that way. That it's like the special scene with Glenda and her song. And someone next to me was sitting there and I heard him under his breath go,wow.Like he was really having a cinematic. And I wanted to lean over and be like, watch contact, like, like the first time.I saw it was there and now it's like people have, you know, unlocked it and are utilizing it. But it was, so, I mean, also, let's talk about the opening sequence of contact for a second. Phenomenal. Because I, I don't think I design, I've ever seen anything in cinema in my life like that. I if for anybody who's listening to this, even if you don't wanna watch the entire movie, which of course I'm obviously pitching you to do.Watch the opening. Like it, it's an incredible experience and it holds up and it's like when, yeah. Talk about attention to detail and the love of sound design and the visuals, but the patience. You wanna talk about trusting an audience, sitting in a theater and that silence Ah, yeah. Heaven film heaven.BEN: I mean, that's.That's one of the beautiful things that cinema does in, in the theater. Right. It just, you're in, you're immersed in this case, you know, pulling away from earth through outer space at however many, you know, hundreds of millions of miles an hour. You can't get that anywhere else. Yeah. That feeling,VIRI: that film is like all the greatest hits reel of.Storytelling gems. It's like the adventure, the love, the, you know, the, the complicated kind of smart dialogue that we can all understand what it's saying, but it's, but it's doing it through the experience of the story, you know, and then someone kind of knocks it outta the park without one quote where you gasp and it's really a phenomenal.Thing. Yeah. I, I've never, I haven't talked about contact as much in ages. Thank you for this.BEN: It's a great movie. It's there, and there were, there were two other moments in that movie, again when I saw it, where it's just like, this is a, a master storyteller. One is, yeah. When they're first like trying to decode the image.Mm-hmm. And you see a swastika.VIRI: Yeah. Oh yeah. And you're like,BEN: what the, what the f**k? That was like a total left turn. Right. But it's, it's, and I think it's, it's from the book, but it's like the movie is, it's, it's, you know, it's asking these questions and then you're like totally locked in, not expecting.You know, anything from World War II to be a part of this. And of course in the movie the, go ahead.VIRI: Yeah, no, I was gonna say, but the seed of thatBEN: is in the first shot,VIRI: scientifically educating. Oh yes. Well, the sensory experience, I mean, you're like, your heart stops and you get full Bo chills and then you're scared and you know, you're thinking a lot of things.And then when you realize the science of it, like the first thing that was broadcast, like that type of understanding the stakes of our history in a space narrative. And, you know, it, it just, there's so much. You know, unfurling in your mind. Yeah. In that moment that is both baked in from your lived experiences and what you know about the world, and also unlocking, so what's possible and what stakes have already been outside of this fiction, right?Mm-hmm. Outside of the book, outside of the telling of this, the reality of what has already happened in the facts of it. Yeah. It's really amazing.BEN: And the other moment we're just, and now, you know, being a filmmaker, you look back and I'm sure this is, it falls neatly and at the end of the second act. But when Tom scars, you know, getting ready to go up on the thing and then there's that terrorist incident or whatever, and the whole thing just collapses, the whole, um, sphere collapses and you just like, wait, what?Is that what's gonna happen now?VIRI: Yeah, like a hundred million dollars in it. It does too. It just like clink pun. Yeah. Everything.BEN: Yeah.VIRI: Think they'll never build it again. I mean, you just can't see what's coming after that and how it went down, who it happened to. I mean, that's the magic of that film, like in the best films.Are the ones where every scene, every character, it has so much going into it. Like if somebody paused the film there and said, wait, what's happening? And you had to explain it to them, it would take the entire movie to do it, you know, which you're like, that's, we're in it. Yeah. Anyway, so that's a great moment too, where I didn't, and I remember when they reveal spoilers again, uh, that there's another one, but when he is zooming in, you know, and you're like, oh, you know, it just, it's, yeah.Love it. It's wonderful. Now, I'm gonna watch that tonight too. IBEN: know, I, I haven't probably, I probably haven't watched that movie in 10 years, but now I gotta watch it again.VIRI: Yeah.BEN: Um, okay, so let's talk doc editing. Yes. What, um, I always like to, I heard a quote once that something about when, when critics get together, they talk meaning, and when artists get together, they talk paint.So let's talk paint for a second. What do you edit on?VIRI: I cut mainly on Avid and Premier. I, I do think of myself as more of an avid lady, but there's been a lot of probably the films that have done the most. I cut on Premier, and by that I mean like, it's interesting that I always assume Avid is my standard yet that most of the things that I love most, I cut on Premiere right now.I, I toggle between them both multiple projects on both, on both, um, programs and they're great. I love them equal for different reasons. I'm aBEN: big fan of Avid. I think it gets kind of a, a bad rap. Um, what, what are the benefits of AVID versus pr? I've never used Premier, but I was a big final cut seven person.So everybody has said that. Premier kind of emulates Final cut. Seven.VIRI: I never made a past seven. It's funny, I recently heard people are cutting on Final Cut Pro again, which A adds off. But I really, because I thought that ship had sailed when they went away from seven. So with, I will say like the top line things for me, you know, AVID forces you to control every single thing you're doing, which I actually think it can feel hindering and intimidating to some folks, but actually is highly liberating once you learn how to use it, which is great.It's also wonderful for. Networks. I mean, you can send a bin as a couple kilobyte. Like the idea that the shared workflow, when I've been on series or features with folks, it's unbeatable. Uh, you know, it can be cumbersome in like getting everything in there and stuff like that and all, and, but, but it kind of forces you to set up yourself for success, for online, for getting everything out.So, and there's a lot of good things. So then on conversely Premier. It's amazing ‘cause you can hit the ground running. You just drag everything in and you go. The challenge of course is like getting it out. Sometimes that's when you kind of hit the snaps. But I am impressed when I'm working with multiple frame rates, frame sizes, archival for many decades that I can just bring it into Premier and go and just start cutting.And you know, also it has a lot of intuitive nature with other Adobe Pro, you know, uh, applications and all of this, which is great. There's a lot of shortcuts. I mean, they're getting real. Slick with a lot of their new features, which I have barely met. I'm like an archival, I'm like a ancient picture editor lady from the past, like people always teach me things.They're just like, you know, you could just, and I'm like, what? But I, so I guess I, you know, I don't have all the tech guru inside talk on that, but I think that when I'm doing short form, it does feel like it's always premier long form. Always seems to avid. Team stuff feels avid, you know, feature, low budge features where they're just trying to like make ends meet.Feel Premier, and I think there's an enormous accessibility with Premier in that regard. But I still feel like Avid is a studios, I mean, a, a studio, well, who knows? I'm cut in the studios. But an industry standard in a lot of ways it still feels that way.BEN: Yeah, for sure. How did you get into editing?VIRI: I went to film school and while I was there, I really like, we did everything.You know, we learned how to shoot, we learned everything. Something about editing was really thrilling to me. I, I loved the puzzle of it, you know, I loved putting pieces together. We did these little funny exercises where we would take a movie and cut our own trailer and, you know, or they'd give us all the same footage and we cut our scene from it and.Itwas really incredible to see how different all those scenes were, and I loved finding ways to multipurpose footage, make an entire tone feel differently. You know, like if we're cutting a scene about a bank robbery, like how do you all of a sudden make it feel, you know, like romantic, you know, or whatever.It's like how do we kind of play with genre and tone and how much you can reinvent stuff, but it was really structure and shifting things anyways, it really, I was drawn to it and I had fun editing my things and helping other people edit it. I did always dream of directing, which I am doing now and I'm excited about, but I realized that my way in with editing was like learning how to do a story in that way, and it will always be my language.I think even as I direct or write or anything, I'm really imagining it as if I'm cutting it, and that could change every day, but like when I'm out shooting. I always feel like it's my superpower because when I'm filming it's like I know what I have and how I'll use it and I can change that every hour.But the idea of kind of knowing when you've got it or what it could be and having that reinvented is really incredible. So got into edit. So left film school. And then thought and loved editing, but wasn't like, I'm gonna be an editor. I was still very much on a very over, you know what? I guess I would say like, oh, I was gonna say Overhead, broad bird's eye.I was like, no, I'm gonna go make movies and then I'll direct ‘em and onward, but work, you know, worked in post houses, overnights, all that stuff and PA and try made my own crappy movies and you know, did a lot of that stuff and. It kept coming back to edit. I mean, I kept coming back to like assistant jobs and cutting, cutting, cutting, cutting, and it just felt like something that I had a skill for, but I didn't know what my voice was in that.Like I didn't, it took me a long time to realize I could have a voice as an editor, which was so dumb, and I think I wasted so much time thinking that like I was only search, you know, like that. I didn't have that to bring. That editing was just about. Taking someone else's vision. You know, I'm not a set of hands like I'm an artist as well.I think we all are as editors and I was very grateful that not, not too long into, you know, when I found the doc path and I went, okay, I think this is where I, I can rock this and I'm pretty excited about it. I ended up working with a small collection of directors who all. Respected that collaboration.Like they were excited for what I do and what I bring to it and felt, it made me feel like we were peers working together, which was my fantasy with how film works. And I feel like isn't always the constant, but I've been spoiled and now it's what I expect and what I want to create for others. And you know, I hope there's more of us out there.So it's interesting because my path to editing. Was like such a, a practical one and an emotional one, and an ego one, and a, you know, it's like, it's like all these things that have led me to where I am and the perfect neighbor is such a culmination of all of that. For sure.BEN: Yeah. And, and I want to get into it, uh, first the eternal question.Yeah. Film school worth it or not worth it?VIRI: I mean, listen, I. We'll share this. I think I've shared this before, but relevant to the fact I'll share it because I think we can all learn from each other's stories. I did not want to go to college. Okay? I wanted to go straight to la. I was like, I'm going to Hollywood.I wanted to make movies ever since I was a kid. This is what I'm gonna do, period. I come from a family of teachers. All of my parents are teachers. My parents divorced. I have my stepparent is teacher, like everybody's a teacher. And they were like, no. And not just a teacher. My mom and my dad are college professors, so they were like college, college, college.I sabotaged my SATs. I did not take them. I did not want to go to college. I was like, I am going to Los Angeles. Anyways, uh, my parents applied for me. To an accredited arts college that, and they were like, it's a three year try semester. You'll shoot on film, you can do your, you know, and they submitted my work from high school when I was in TV production or whatever.Anyways, they got me into this little college, and when I look back, I know that that experience was really incredible. I mean, while I was there, I was counting the days to leave, but I know that it gave me not only the foundation of. You know, learning, like, I mean, we were learning film at the time. I don't know what it's like now, but like we, you know, I learned all the different mediums, which was great on a vocational level, you know, but on top of that, they're just throwing cans of film at us and we're making all the mistakes we need to make to get where we need to get.And the other thing that's happening is there's also like the liberal arts, this is really, sounds like a teacher's kid, what I'm about to say. But like, there's also just the level of education To be smarter and learn more about the world, to inform your work doesn't mean that you can't. You can't skip college and just go out there and find your, and learn what you wanna learn in the stories that you journey out to tell.So I feel really torn on this answer because half of me is like. No, you don't need college. Like just go out and make stuff and learn what you wanna learn. And then the other half of me have to acknowledge that, like, I think there was a foundation built in that experience, in that transitional time of like semi-structure, semi independence, you know, like all the things that come with college.It's worth it, but it's expensive as heck. And I certainly, by the time I graduated, film wasn't even a thing and I had to learn digital out in the world. And. I think you can work on a film set and learn a hell of a lot more than you'll ever learn in a classroom. And at the same time, I really love learning.So, you know, my, I think I, my parents were right, they know it ‘cause I went back to grad school, so that was a shock for them. But I think, but yeah, so I, I get, what I would say is, it really is case, this is such a cop out of an answer, case by case basis. Ask yourself, you know, if you need that time and if you, if you aren't gonna go.You need to put in the work. You have to really like go out, go on those sets, work your tail off, seek out the books, read the stuff, you know, and no one's gonna hand you anything. And my stories are a hell of a lot, I think smarter and eloquent because of the education I had. Yeah.BEN: So you shuttle on, what was the school, by the way?VIRI: Well, it was called the, it was called the International Fine Arts College. It no longer exists because Art Institute bought it. It's now called the Miami International University of Art and Design, and they bought it the year I graduated. So I went to this tiny little arts college, uh, but graduated from this AI university, which my parents were like, okay.Um, but we were, it was a tiny little college owned by this man who would invite all of us over to his mansion for brunch every year. I mean, it was very strange, but cool. And it was mainly known for, I think fashion design and interior design. So the film kids, we all kind of had, it was an urban campus in Miami and we were all like kind of in a wado building on the side, and it was just kind of a really funky, misfit feeling thing that I thought was, now when I look back, I think was like super cool.I mean, they threw cans of film at us from the very first semester. There was no like, okay, be here for two years and earn your opportunity. We were making stuff right away and all of our teachers. All of our professors were people who were working in the field, like they were ones who were, you know, writing.They had written films and fun fact of the day, my, my cinematography professor was Sam Beam from Iron and Wine. If anybody knows Iron and Wine, like there's like, there's like we, we had crazy teachers that we now realize were people who were just probably trying to pay their bills while they were on their journey, and then they broke out and did their thing after we were done.BEN: Okay, so shooting on film. Yeah. What, um, was it 16 or 35? 16. And then how are you doing sound? No, notVIRI: 35, 16. Yeah. I mean, we had sound on Dax, you know, like we were recording all the mm-hmm. Oh, when we did the film. Yeah, yeah. Separate. Yeah, yeah, yeah. We did the Yeah. Syncs soundBEN: into a We did a,VIRI: yeah, we did, we did one.We shot on a Bolex, I think, if I remember it right. It did like a tiny, that probably was eight, you know? But the point is we did that on. The flatbed. After that, we would digitize and we would cut on media 100, which was like this. It was, I think it was called the, I'm pretty sure it was called Media 100.It was like this before avid, you know. A more archaic editing digital program that, so we did the one, the one cut and splice version of our, our tiny little films. And then we weren't on kind of beautiful steam backs or anything. It was like, you know, it was much, yeah, smaller. But we had, but you know, we raced in the changing tents and we did, you know, we did a lot of film, love and fun.And I will tell you for your own amusement that we were on set once with somebody making their short. The girl at the AC just grabbed, grabbed the film, what's, oh my God, I can't even believe I'm forgetting the name of it. But, um, whatever the top of the camera grabbed it and thought she had unlocked it, like unhinged it and just pulled it out after all the film just come spooling out on set.And we were like, everybody just froze and we were just standing there. It was like a bad sketch comedy, like we're all just standing there in silence with like, just like rolling out of the camera. I, I'll never forget it.BEN: Nightmare. Nightmare. I, you know, you said something earlier about when you're shooting your own stuff.Being an editor is a little bit of a superpower because you know, oh, I'm gonna need this, I'm gonna need that. And, and for me it's similar. It's especially similar. Like, oh, we didn't get this. I need to get an insert of this ‘cause I know I'm probably gonna want that. I also feel like, you know, I came up, um, to instill photography, 35 millimeter photography, and then when I got into filmmaking it was, um, digital, uh, mini DV tape.So, but I feel like the, um, the structure of having this, you know, you only have 36 shots in a still camera, so you've gotta be sure that that carried over even to my shooting on digital, of being meticulous about setting up the shot, knowing what I need. Whereas, you know, younger people who have just been shooting digital their whole lives that just shoot everything and we'll figure it out later.Yeah. Do do you, do you feel you had that Advant an advantage? Yes. Or sitting on film gave you some advantages?VIRI: I totally, yes. I also am a firm believer and lover of intention. Like I don't this whole, like we could just snap a shot and then punch in and we'll, whatever. Like it was my worst nightmare when people started talking about.We'll shoot scenes and something, it was like eight K, so we can navigate the frame. And I was like, wait, you're not gonna move the camera again. Like, it just, it was terrifying. So, and we passed that, but now the AI stuff is getting dicey, but the, I think that you. I, I am pretty romantic about the hands-on, I like books with paper, you know, like, I like the can, the cinematographer to capture, even if it's digital.And those benefits of the digital for me is like, yes, letting it roll, but it's not about cheating frames, you know, like it's about, it's about the accessibility of being able to capture things longer, or the technology to move smoother. These are good things. But it's not about, you know, simplifying the frame in something that we need to, that is still an art form.Like that's a craft. That's a craft. And you could argue that what we choose, you know, photographers, the choice they make in Photoshop is the new version of that is very different. Like my friends who are dps, you know, there's always like glasses the game, right? The lenses are the game. It's like, it's not about filters In posts, that was always our nightmare, right?The old fix it and post everybody's got their version of their comic strip that says Fix it and post with everything exploding. It's like, no, that's not what this is about. And so, I mean, I, I think I'll always be. Trying to, in my brain fight the good fight for the craftiness of it all because I'm so in love with everything.I miss film. I'm sad. I miss that time. I mean, I think I, it still exists and hopefully someday I'll have the opportunity that somebody will fund something that I'm a part of that is film. And at the same time there's somewhere in between that still feels like it's honoring that freshness. And, and then now there's like the, yeah, the new generation.It's, you know, my kids don't understand that I have like. Hand them a disposable camera. We'll get them sometimes for fun and they will also like click away. I mean, the good thing you have to wind it so they can't, they can't ruin it right away, but they'll kind of can't fathom that idea. And um, and I love that, where you're like, we only get 24 shots.Yeah, it's veryBEN: cool. So you said you felt the perfect neighbor, kind of, that was the culmination of all your different skills in the craft of editing. Can you talk a little bit about that?VIRI: Yes. I think that I spent, I think all the films, it's like every film that I've had the privilege of being a part of, I have taken something like, there's like some tool that was added to the tool belt.Maybe it had to do with like structure or style or a specific build to a quote or, or a device or a mechanism in the film, whatever it is. It was the why of why that felt right. That would kind of be the tool in the tool belt. It wouldn't just be like, oh, I learned how to use this new toy. It was like, no, no.There's some kind of storytelling, experience, technique, emotion that I felt that Now I'm like, okay, how do I add that in to everything I do? And I want every film to feel specific and serve what it's doing. But I think a lot of that sent me in a direction of really always approaching a project. Trying to meet it for like the, the work that only it can do.You know, it's like, it's not about comps. It's not about saying like, oh, we're making a film that's like, fill in the blank. I'm like, how do we plug and play the elements we have into that? It's like, no, what are the elements we have and how do we work with them? And that's something I fought for a lot on all the films I've been a part of.Um, and by that I mean fight for it. I just mean reminding everybody always in the room that we can trust the audience, you know, that we can. That, that we should follow the materials what, and work with what we have first, and then figure out what could be missing and not kind of IME immediately project what we think it needs to be, or it should be.It's like, no, let's discover what it is and then that way we will we'll appreciate. Not only what we're doing in the process, but ultimately we don't even realize what it can do for what it is if we've never seen it before, which is thrilling. And a lot of those have been a part of, there have been pockets of being able to do that.And then usually near the end there's a little bit of math thing that happens. You know, folks come in the room and they're trying to, you know, but what if, and then, but other people did. Okay, so all you get these notes and you kind of reel it in a little bit and you find a delicate balance with the perfect neighbor.When Gita came to me and we realized, you know, we made that in a vacuum like that was we, we made that film independently. Very little money, like tiny, tiny little family of the crew. It was just me and her, you know, like when we were kind of cutting it together and then, and then there's obviously producers to kind of help and build that platform and, and give great feedback along the way.But it allowed us to take huge creative risks in a really exciting way. And I hate that I even have to use the word risks because it sounds like, but, but I do, because I think that the industry is pushing against, you know, sometimes the spec specificity of things, uh, in fear of. Not knowing how it will be received.And I fantasize about all of us being able to just watch something and seeing how we feel about it and not kind of needing to know what it is before we see it. So, okay, here comes the perfect neighbor. GTA says to me early on, like, I think. I think it can be told through all these materials, and I was like, it will be told through like I was determined and I held us very strict to it.I mean, as we kind of developed the story and hit some challenges, it was like, this is the fun. Let's problem solve this. Let's figure out what it means. But that also came within the container of all this to kind of trust the audience stuff that I've been trying to repeat to myself as a mantra so I don't fall into the trappings that I'm watching so much work do.With this one, we knew it was gonna be this raw approach and by composing it completely of the evidence, it would ideally be this kind of undeniable way to tell the story, which I realized was only possible because of the wealth of material we had for this tracked so much time that, you know, took the journey.It did, but at the same time, honoring that that's all we needed to make it happen. So all those tools, I think it was like. A mixed bag of things that I found that were effective, things that I've been frustrated by in my process. Things that I felt radical about with, you know, that I've been like trying to scream in, into the void and nobody's listening.You know, it's like all of that because I, you know, I think I've said this many times. The perfect neighbor was not my full-time job. I was on another film that couldn't have been more different. So I think in a, in a real deep seated, subconscious way, it was in conversation with that. Me trying to go as far away from that as possible and in understanding what could be possible, um, with this film.So yeah, it's, it's interesting. It's like all the tools from the films, but it was also like where I was in my life, what had happened to me, you know, and all of those. And by that I mean in a process level, you know, working in film, uh, and that and yes, and the values and ethics that I honor and wanna stick to and protect in the.Personal lens and all of that. So I think, I think it, it, it was a culmination of many things, but in that approach that people feel that has resonated that I'm most proud of, you know, and what I brought to the film, I think that that is definitely, like, I don't think I could have cut this film the way I did at any other time before, you know, I think I needed all of those experiences to get here.BEN: Oh, there's so much there and, and there's something kind of the. The first part of what you were saying, I've had this experience, I'm curious if you've had this experience. I sort of try to prepare filmmakers to be open to this, that when you're working with something, especially Doc, I think Yeah. More so Doc, at a certain point the project is gonna start telling you what it wants to be if you, if you're open to it.Yes. Um, but it's such a. Sometimes I call it the spooky process. Like it's such a ephemeral thing to say, right? Like, ‘cause you know, the other half of editing is just very technical. Um, but this is like, there's, there's this thing that's gonna happen where it's gonna start talking to you. Do you have that experience?VIRI: Yes. Oh, yes. I've also been a part of films that, you know, they set it out to make it about one person. And once we watched all the footage, it is about somebody else. I mean, there's, you know, those things where you kind of have to meet the spooky part, you know, in, in kind of honoring that concept that you're bringing up is really that when a film is done, I can't remember cutting it.Like, I don't, I mean, I remember it and I remember if you ask me why I did something, I'll tell you. I mean, I'm very, I am super. Precious to a fault about an obsessive. So like you could pause any film I've been a part of and I'll tell you exactly why I used that shot and what, you know, I can do that. But the instinct to like just grab and go when I'm just cutting and I'm flowing.Yeah, that's from something else. I don't know what that is. I mean, I don't. People tell me that I'm very fast, which is, I don't know if that's a good or a bad thing, but I think it really comes from knowing that the job is to make choices and you can always go back and try different things, but this choose your own adventure novel is like just going, and I kind of always laugh about when I look back and I'm like, whoa, have that happen.Like, you know, like I don't even. And I have my own versions of imposter syndrome where I refill mens and I'm like, oh, got away with that one. Um, or every time a new project begins, I'm like, do I have any magic left in the tank? Um, but, but trusting the process, you know, to what you're socking about is a really important way to free yourself and the film to.Discover what it is. I think nowadays because of the algorithm and the, you know, I mean, it's changing right now, so we'll see where, how it recalibrates. But for a, for a while, over these past years, the expectations have, it's like shifted where they come before the film is like, it's like you create your decks and your sizzles and you write out your movie and you, and there is no time for discovery.And when it happens. It's like undeniable that you needed to break it because it's like you keep hitting the same impasse and you can't solve it and then you're like, oh, that's because we have to step outta the map. But I fear that many works have suffered, you know, that they have like followed the map and missed an opportunity.And so, you know, and for me as an editor, it's always kinda a red flag when someone's like, and here's the written edit. I'm like, what? Now let's watch the footage. I wanna know where There's always intention when you set up, but as people always say, the edit is kind of the last. The last step of the storytelling process.‘cause so much can change there. So there is, you know, there it will reveal itself. I do get nerdy about that. I think a film knows what it is. I remember when I was shooting my first film called Born to Play, that film, we were. At the championship, you know, the team was not, thought that they were gonna win the whole thing.We're at the championship and someone leaned over to me and they said, you know, it's funny when a story knows it's being filmed. And I was like, ah. I think about that all the time because now I think about that in the edit bay. I'm like, okay, you tell me, you know, what do you wanna do? And then you kind of like, you match frame back to something and all of a sudden you've opened a portal and you're in like a whole new theme.It's very cool. You put, you know, you put down a different. A different music temp, music track, and all of a sudden you're making a new movie. I mean, it's incredible. It's like, it really is real world magic. It's so much fun. Yeah,BEN: it is. It's a blast. The, so, uh, I saw you at the panel at Doc NYC and then I went that night or the next night and watched Perfect Neighbor blew me away, and you said something on the panel that then blew me away again when I thought about it, which is.I think, correct me if I'm wrong, all of the audio is syncedVIRI: Yeah. To the footage.BEN: That, to me is the big, huge, courageous decision you made.VIRI: I feel like I haven't said that enough. I don't know if folks understand, and it's mainly for the edit of that night, like the, I mean, it's all, it's, it's all that, but it was important.That the, that the sound would be synced to the shock that you're seeing. So when you're hearing a cop, you know, a police officer say, medics, we need medics. If we're in a dashboard cam, that's when it was, you know, echoing from the dashboard. Like that's what, so anything you're hearing is synced. When you hear something coming off from the per when they're walking by and you hear someone yelling something, you know, it's like all of that.I mean, that was me getting really strict about the idea that we were presenting this footage for what it was, you know, that it was the evidence that you are watching, as you know, for lack of a better term, unbiased, objectively as possible. You know, we're presenting this for what it is. I, of course, I have to cut down these calls.I am making choices like that. That is happening. We are, we are. Composing a narrative, you know, there, uh, that stuff is happening. But to create, but to know that what you're hearing, I'm not applying a different value to the frame on, on a very practical syn sound way. You know, it's like I'm not gonna reappropriate frames.Of course, in the grand scheme of the narrative flow with the emotions, you know, the genre play of this horror type film, and there's a lot happening, but anything you were hearing, you know, came from that frame. Yeah.BEN: That's amazing. How did you organize the footage and the files initially?VIRI: Well, Gita always likes to laugh ‘cause she is, she calls herself my first ae, which is true.I had no a, you know, I had, she was, she had gotten all that material, you know, she didn't get that material to make a film. They had originally, this is a family friend who died and when this all happened, they went down and gathered this material to make a case, to make sure that Susan didn't get out. To make sure this was not forgotten.You know, to be able to utilize. Protect the family. And so there was, at first it was kind of just gathering that. And then once she got it, she realized that it spanned two years, you know, I mean, she, she popped, she was an editor for many, many years, an incredible editor. She popped it into a system, strung it all out, sunk up a lot of it to see what was there, and realized like, there's something here.And that's when she called me. So she had organized it, you know, by date, you know, and that, that originally. Strung out a lot of it. And then, so when I came in, it was just kind of like this giant collection of stuff, like folders with the nine one calls. How long was the strung out? Well, I didn't know this.Well, I mean, we have about 30 hours of content. It wasn't one string out, you know, it was like there were the call, all the calls, and then the 9 1 1 calls, the dash cams. The ring cams. Okay. Excuse me. The canvassing interviews, audio only content. So many, many. Was about 30 hours of content, which honestly, as most of us editors know, is not actually a lot I've cut.You know, it's usually, we have tons more than that. I mean, I, I've cut decades worth of material and thousands of hours, you know, but 30 hours of this type of material is very specific, you know, that's a, that's its own challenge. So, so yeah. So the first, so it was organized. It was just organized by call.Interview, you know, some naming conventions in there. Some things we had to sync up. You know, the 9 1 1 calls would overlap. You could hear it in the nine one one call center. You would hear someone, one person who called in, and then you'd hear in the background, like the conversation of another call. It's in the film.There's one moment where you can hear they're going as fast as they can, like from over, from a different. So there was so much overlap. So there was some syncing that we kind of had to do by ear, by signals, by, you know, and there's some time coding on the, on the cameras, but that would go off, which was strange.They weren't always perfect. So, but that, that challenge unto itself would help us kind of really screen the footage to a finite detail, right. To like, have, to really understand where everybody is and what they're doing when,BEN: yeah. You talked about kind of at the end, you know, different people come in, there's, you know, maybe you need to reach a certain length or so on and so forth.How do you, um, handle notes? What's your advice to young filmmakers as far as navigating that process? Great question.VIRI: I am someone who, when I was a kid, I had trouble with authority. I wasn't like a total rebel. I think I was like a really goody goody too. She was borderline. I mean, I had my moments, but growing up in, in a journey, an artistic journey that requires you to kind of fall in love with getting critiques and honing things and working in teams.And I had some growing pains for a long time with notes. I mean, my impulse was always, no. A note would come and I'd go, no, excuse me. Go to bed, wake up. And then I would find my way in and that would be great. That bed marinating time has now gone away, thank goodness. And I have realized that. Not all notes, but some notes have really changed the trajectory of a project in the most powerful waves.And it doesn't always the, to me, what I always like to tell folks is it's, the notes aren't really the issues. It's what? It's the solutions people offer. You know? It's like you can bring up what you're having an issue with. It's when people kind of are like, you know what I would do? Or you know what you think you should do, or you could do this.You're like, you don't have to listen to that stuff. I mean, you can. You can if you have the power to filter it. Some of us do, some of us don't. I've worked with people who. Take all the notes. Notes and I have to, we have to, I kind of have to help filter and then I've worked with people who can very quickly go need that, don't need that need, that, don't need that.Hear that, don't know how to deal with that yet. You know, like if, like, we can kind of go through it. So one piece of advice I would say is number one, you don't have to take all the notes and that's, that's, that's an honoring my little veary. Wants to stand by the vision, you know, and and fight for instincts.Okay. But the second thing is the old classic. It's the note behind the note. It's really trying to understand where that note's coming from. Who gave it what they're looking for? You know, like is that, is it a preference note or is it a fact? You know, like is it something that's really structurally a problem?Is it something that's really about that moment in the film? Or is it because of all the events that led to that moment that it's not doing the work you think it should? You know, the, the value is a complete piece. So what I really love about notes now is I get excited for the feedback and then I get really excited about trying to decipher.What they mean, not just taking them as like my to-do list. That's not, you know, that's not the best way to approach it. It's really to get excited about getting to actually hear feedback from an audience member. Now, don't get me wrong, an audience member is usually. A producer in the beginning, and they have, they may have their own agenda, and that's something to know too.And maybe their agenda can influence the film in an important direction for the work that they and we all wanted to do. Or it can help at least discern where their notes are coming from. And then we can find our own emotional or higher level way to get into solving that note. But, you know, there's still, I still get notes that make me mad.I still get notes where I get sad that I don't think anybody was really. Watching it or understanding it, you know, there's always a thought, you know, that happens too. And to be able to read those notes and still find that like one kernel in there, or be able to read them and say, no kernels. But, but, but by doing that, you're now creating the conviction of what you're doing, right?Like what to do and what not to do. Carrie, equal value, you know, so you can read all these notes and go, oh, okay, so I am doing this niche thing, but I believe in it and. And I'm gonna stand by it. Or like, this one person got it and these five didn't. And I know that the rules should be like majority rules, but that one person, I wanna figure out why they got it so that I can try to get these, you know, you get what I'm saying?So I, I've grown, it took a long time for me to get where I am and I still have moments where I'm bracing, you know, where I like to scroll to see how many notes there are before I even read them. You know, like dumb things that I feel like such a kid about. But we're human. You know, we're so vulnerable.Doing this work is you're so naked and you're trying and you get so excited. And I fall in love with everything. I edit so furiously and at every stage of the process, like my first cut, I'm like, this is the movie. Like I love this so much. And then, you know, by the 10th root polling experience. I'm like, this is the movie.I love it so much. You know, so it's, it's painful, but at the same time it's like highly liberating and I've gotten a lot more flowy with it, which was needed. I would, I would encourage everybody to learn how to really enjoy being malleable with it, because that's when you find the sweet spot. It's actually not like knowing everything right away, exactly what it's supposed to be.It's like being able to know what the heart of it is. And then get really excited about how collaborative what we do is. And, and then you do things you would've never imagined. You would've never imagined, um, or you couldn't have done alone, you know, which is really cool. ‘cause then you get to learn a lot more about yourself.BEN: Yeah. And I think what you said of sort of being able to separate the idea of, okay, something maybe isn't clicking there, versus whatever solution this person's offering. Nine times outta 10 is not gonna be helpful, but, but the first part is very helpful that maybe I'm missing something or maybe what I want to connect is not connecting.VIRI: And don't take it personally. Yeah. Don't ever take it personally. I, I think that's something that like, we're all here to try to make the best movie we can.BEN: Exactly.VIRI: You know? Yeah. And I'm not gonna pretend there aren't a couple sticklers out there, like there's a couple little wrenches in the engine, but, but we will, we all know who they are when we're on the project, and we will bind together to protect from that.But at the same time, yeah, it's, yeah. You get it, you get it. Yeah. But it's really, it's an important part of our process and I, it took me a while to learn that.BEN: Last question. So you talked about kind of getting to this cut and this cut and this cut. One of the most important parts of editing, I think is especially when, when you've been working on a project for a long time, is being able to try and see it with fresh eyes.And of course the, one of the ways to do that is to just leave it alone for three weeks or a month or however long and then come back to it. But sometimes we don't have that luxury. I remember Walter Merch reading in his book that sometimes he would run the film upside down just to, mm-hmm. You know, re re redo it the way his brain is watching it.Do you have any tips and tricks for seeing a cut with fresh eyes? OhVIRI: yeah. I mean, I mean, other than stepping away from it, of course we all, you know, with this film in particular, I was able to do that because I was doing other films too. But I, one good one I always love is take all the music out. Just watch the film without music.It's really a fascinating thing. I also really like quiet films, so like I tend to all of a sudden realize like, what is absolutely necessary with the music, but, but it, it really, people get reliant on it, um, to do the work. And you'd be pleasantly surprised that it can inform and reinvent a scene to kind of watch it without, and you can, it's not about taking it out forever, it's just the exercise of watching what the film is actually doing in its raw form, which is great.Switching that out. I mean, I can, you know, there's other, washing it upside down, I feel like. Yeah, I mean like there's a lot of tricks we can trick our trick, our brain. You can do, you could also, I. I think, I mean, I've had times where I've watched things out of order, I guess. Like where I kind of like go and I watch the end and then I click to the middle and then I go back to the top, you know?And I'm seeing, like, I'm trying to see if they're all connecting, like, because I'm really obsessed with how things begin and how they end. I think the middle is highly important, but it really, s**t tells you, what are we doing here? Like what are we set up and where are we ending? And then like, what is the most effective.Journey to get there. And so there is a way of also kind of trying to pinpoint the pillars of the film and just watching those moments and not kind, and then kind of reverse engineering the whole piece back out. Yeah, those are a couple of tricks, but more than anything, it's sometimes just to go watch something else.If you can't step away from the project for a couple of weeks, maybe watch something, you could, I mean, you can watch something comparable in a way. That tonally or thematically feels in conversation with it to just kind of then come back and feel like there's a conversation happening between your piece and that piece.The other thing you could do is watch something so. Far different, right? Like, even if you like, don't like, I don't know what I'm suggesting, you'd have to, it would bend on the project, but there's another world where like you're like, all right, I'm gonna go off and watch some kind of crazy thrill ride and then come back to my slow burn portrait, you know, and, and just, just to fresh the pal a little bit, you know?I was like that. It's like fueling the tanks. We should be watching a lot of stuff anyways, but. That can happen too, so you don't, you also get to click off for a second because I think we can get, sometimes it's really good to stay in it at all times, but sometimes you can lose the force for the, you can't see it anymore.You're in the weeds. You're too close to it. So how do we kind of shake it loose? Feedback sessions, by the way, are a part, is a part of that because I think that when you sit in the back of the room and you watch other people watch the film, you're forced to watch it as another person. It's like the whole thing.So, and I, I tend to watch people's body language more than, I'm not watching the film. I'm like watching for when people shift. Yeah, yeah. I'm watching when people are like coughing or, you know, or when they, yeah. Whatever. You get it. Yeah. Yeah. That, that, soBEN: that is the most helpful part for me is at a certain point I'll bring in a couple friends and I'll just say, just want you to watch this, and I'm gonna ask you a couple questions afterwards.But 95% of what I need is just sitting there. Watching them and you said exactly. Watching their body language.VIRI: Yeah. Oh man. I mean, this was shoulder, shoulder shooks. There's, and you can tell the difference, you can tell the difference between someone's in an uncomfortable chair and someone's like, it's like whenever you can sense it if you're ever in a theater and you can start to sense, like when they, when they reset the day, like whenever we can all, we all kind of as a community are like, oh, this is my moment.To like get comfortable and go get a bite of popcorn. It's like there's tells, so some of those are intentional and then some are not. Right? I mean, if this is, it goes deeper than the, will they laugh at this or will they be scared at this moment? It really is about captivating them and feeling like when you've, when you've lost it,BEN: for sure.Yeah. Very. This has been fantastic. Oh my God, how fun.VIRI: I talked about things here with you that I've haven't talked, I mean, contact so deeply, but even film school, I feel like I don't know if that's out there anywhere. So that was fun. Thank you.BEN: Love it. Love it. That, that that's, you know, that's what I hope for these interviews that we get to things that, that haven't been talked about in other places.And I always love to just go in, you know, wherever the trail leads in this case. Yeah. With, uh, with Jody Foster and Math McConaughey and, uh, I mean, go see it. Everybody met this. Yeah. Uh, and for people who are interested in your work, where can they find you?VIRI: I mean, I don't update my website enough. I just go to IMDB.Look me up on IMDB. All my work is there. I think, you know, in a list, I've worked on a lot of films that are on HBO and I've worked on a lot of films and now, you know, obviously the perfect neighbor's on Netflix right now, it's having an incredible moment where I think the world is engaging with it. In powerful ways beyond our dreams.So if you watch it now, I bet everybody can kind of have really fascinating conversations, but my work is all out, you know, the sports stuff born to play. I think it's on peacock right now. I mean, I feel like, yeah, I love the scope that I've had the privilege of working on, and I hope it keeps growing. Who knows.Maybe I'll make my space movie someday. We'll see. But in the meantime, yeah, head over and see this, the list of credits and anything that anybody watches, I love to engage about. So they're all, I feel that they're all doing veryBEN: different work. I love it. Thank you so much.VIRI: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

Hello, everyone! Welcome back to Hits 21, the show that's taking a look back at every single UK #1 hit..You can follow us on Twitter: https://twitter.com/Hits21UKYou can email us: hits21podcast@gmail.comHITS 21 DOES NOT OWN THE RIGHTS TO ANY MUSIC USED IN THE EPISODES. USAGE OF ALL MUSIC USED IN THIS PODCAST FALLS UNDER SECTION 30(1) OF THE COPYRIGHT ACT 1988

"Smells Like Teen Spirit" de Nirvana repris par Tori Amos, The Bad Plus, Paul Anka, Malia J., Shaka Ponk et Patti SmithHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Les classiques du jour : - The Strokes "Last Nite" - Tina Turner "The Best" - Sex Pistols "Anarchy in the UK" Les nouveautés du jour : - Sam Fender "I'm Always On Stage" - The Fray "Songs I'd Rather Not Sing" Le journal de la musique : - Julien Doré lance une tournée nord-américaine - Queen envisage un concert en hologrammes - Elton John annoncé au Rock in Rio 2026 La cover : "Smells Like Teen Spirit" de Nirvana repris par Tori Amos, The Bad Plus, Paul Anka, Malia J., Shaka Ponk et Patti Smith Le live du jour : Louise Attaque "Ton Invitation" (Live 2023) Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

My Music with Graham Coath — Anna May (not Anime!)This week Graham sits down with Anna May — Connecticut-born, sometimes-San Diego-based singer–songwriter — for a wide-ranging conversation about voice, vulnerability and finding your lane when you don't fit neatly into one genre. Anna grew up on a diet of female storytellers (Natalie Merchant, Tori Amos, Alanis Morissette), 90s alt, dad's country (The Mavericks, Dwight Yoakam) and a childhood of jazz rooms—and it all threads through her work.She talks candidly about writing lyrics first (often as poems), letting the voice improvise live so no song lands the same way twice, and recording one-take magic with engineer Steve Rizzo in Rhode Island. We touch on k.d. lang (“Constant Craving”, “The Air That I Breathe”), unexpected covers (yes, Ozzy Osbourne), social media's darker edges, boundaries, and how a bruising breakup became a healing body of songs. There's even a New England vs California detour, a Billy Bragg nod, and a Groove Armada truth bomb: “If everybody looked the same, we'd get tired of looking at each other.”

Born and raised in the Blue Ridge Mountains, Kayla Renee Jones is singer songwriter currently based out of Roanoke Virginia. With a diverse cover selection ranging from the Goo Goo Dolls and Pearl Jam, to Etta James and Billy Joel, her emotive and brutally honest voice captures audiences. Her main influences include Jeff Buckley, Elliott Smith, Phoebe Bridgers, Radiohead, Cocteau Twins, Fiona Apple, and Tori Amos.With the help of other local artists, Kayla has played at many local venues such as Sweet Donkey, Twin Creeks Brewery, and Brady's Distillery. When she isn't performing or writing, Kayla Renee spends her free time baking or reading.

My Music with Graham Coath — Featuring Kelsey KleinIn this episode of My Music, Graham Coath sits down with singer-songwriter Kelsey Klein, a captivating artist bringing the piano back to centre stage.They explore why Kelsey chose the piano as her creative heartbeat, how her upbringing shaped her sound, and what it means to balance emotional depth with everyday life. From early memories of her mother playing lullabies at the keys to discovering Tori Amos and finding her own artistic voice, Kelsey's story is filled with warmth, honesty, and insight.The two dive deep into the beauty of “messy” humanity, creativity in an age of AI, and how vulnerability fuels true art. Plus, Kelsey opens up about love, structure, and the people who hold space for her intensity and creativity.It's a heartfelt and inspiring conversation about art, connection, and staying true to your inner voice in a digital world.

Nueva entrega de Música de Contrabando , semanario de actualidad musical (09/10/2025)Entrevistas:- Rozalén. Desde que salió ‘El Abrazo' la incansable Rozalén no ha parado de girar; su papel en Chavela, un podcast...El reconocimiento internacional le espera en Las Vegas, y a partir del 31 de diciembre dice que va a bajar el telón por tiempo indefinido.- Un buen día con Los Planetas. Hace 31 años que Los Planetas tocaron en la 2º edición del Indie Pop de Bullas, organizado por las hermanas Espín de Iluminados. Miel de Moscas ha organizado este evento donde Los Planetas han elegido el cartel. J. Ángel Gómez nos cuenta la última hora del evento, y los planes de futuro. - Alec López. Desde la publicación de su EP Butterfly, Alec López se ha convertido en uno de los nombres más prometedores de la escena murciana. Ahora lanza Fvckstar con un sonido crudo y una burla descarnada de las estrellas del rock.Noticias: Primal Scream recuperan XTRMNTR en directo por su 25 aniversario. Adiós a Chris Dreja, miembro fundador de The Yardbirds. Bonehead abandona temporalmente la gira de Oasis. Se reedita en formato físico el primer single de Stone Roses ‘So young'/ ‘Tell me'. Se publica en nuestro país un nuevo libro sobre Pearl Jam. Se publica el disco tributo ‘Yo fui un Fresón Rebelde adolescente'. BIME Bilbao desvela su programación completa. Se reedita Mingus At Monterey. Tori Amos anuncia nuevo disco, In times of dragons, una historia metafórica sobre la lucha por la democracia. ‘Plena pausa' de J llega al streaming. Novedades:The Waterboys, Gorillaz, Scorpions, Ruth (Lorenzo), Taylor Swift, Natalia Lafourcade, The Charlatans, Jazzy, Say She She, The Mountain Goats, Bon Iver, Micah P Hinson, Carlos Vudú y El Clan Jukebox, Fernando Rubio, Lael Neale, Bonaerense, Runo Plum, The Last Dinner Party, Bar Italia, Sophie Ellis-Bextor, Grande Amore, Lisasinson, Corte!, Pedro Navarro, Sueño Xanadú, Pieles Sebastian, Niña Polaca, Los Chivatos, Juventude, Dani Fernández y Yarea, Marinita Precaria, Ángel CalvoAgenda de conciertos:Lordi, Funambulista, Hermosa Fest, La Casa Azul, Nacha Pop, Jazzazza (Pia Tedesco, Jerry Bergonzi Quartet ), Boria, Pleyel, Queridos Camaradas, La Navaja (Salvar Doñana) , Un buen día con Los Planetas (Iluminados, Los Punsetes, Perro, Las Petunias), The Fuzztones...

"THE WORLD'S A STAGE, WITH NO ENCORE" SUNG BY KYLIE WILLOW rockraymond productions © Copyright rockraymondproductions.com All Rights Reserved. Lyrics:   Verse 1  I wake to sirens in my spine,  Coffee cold, dreams in decline.  Rent's a prayer I whisper thin,  While the world spins gold for someone else's sin.    Pre-Chorus  I wear my rage like a velvet coat,  Stitched with silence, stitched with smoke.  They sell salvation in neon light,  But I've got bruises that don't feel right.    Chorus  Concrete veins,  Running through my skin.  I smile like a weapon,  Just to fit in.  This city feeds  On what I won't show—  But I bleed in rhythm  They'll never know.    Verse 2  My phone's a mirror I can't escape,  Scrolling through lives I'll never shape.  They say “be grateful,” they say “be kind,”  But kindness don't pay when you're losing your mind.    Bridge  I scream in lowercase,  Cry in code.  My heart's a glitch  In their perfect mold.  I'm not broken—  I'm just awake.  And that's a risk they'll never take.    Final Chorus  Concrete veins,  Running through my skin.  I smile like a weapon,  Just to fit in.  This world's a stage  With no encore—  But I'll burn the script  And write much more. Support us on PayPal!

I'll bet you don't have 8 Grammy's. Very few people do. Our guest this week is one of the chosen few. Producer Kevin Killen has been one of the best in his field since first coming up under the tutelage of Steve Lillywhite on U2's War album. From there the list of collaborators includes David Byrne, Elvis Costello, Los Lobos, Howard Jones, Lindsey Buckingham, Kate Bush, Shawn Colvin, Tori Amos, Mr. Mister and many more. One year he won Grammys for working with David Bowie, Shakira and Yo-Yo Ma. Talk about diversity! We're so fortunate he gave us some of his time this week!  The Hustle Podcast | creating podcasts | Patreon

"Isn't Life Strange" New Cover Single By Kylie Willow Written by John Lodge Originally recorded by The Moody Blues CapSha Productions © Copyright shashoandthecaptainproductions.com All Rights Reserved. LYRICS: Isn't life strange? A turn of the page Can read like before Can we ask for more? Each day passes by How hard man will try? The sea will not wait You know it makes me want to cry, cry, cry Wished I could be in your heart To be one with your love Wished I could be in your eyes Looking back, there you were and here we are Isn't love strange? A word we arrange With no thought or care Maker of despair Each breath that we breathe With love we must weave To make us as one You know it makes me want to cry, cry, cry Wished I could be in your heart To be one with your love Wished I could be in your eyes Looking back, there you were and here we are Isn't life strange? A turn of the page A book without light Unless with love we write To throw it away To lose just a day The quicksand of time You know it makes me want to cry, cry, cry Wished I could be in your heart To be one with your love Wished I could be in your eyes Looking back, there you were Wished I could be in your heart To be one with your love Wished I could be in your eyes Looking back, there you were Wished I could be in your heart To be one with your love Wished I could be in your eyes Looking back, there you were Wished I could be in your heart To be one with your love Wished I could be in your eyes Looking back, there you were Support us on PayPal!

Warrior 1 ~ Angels (A Musically Punctuated Conversation with Tori Amos 18 November 2003 - London, ENG)

National Tooth Fairy day.  Entertainment from 2012.  Year 565 1st sightning of Loch Ness monster, First airraid in history, Cruise control invented.  Todays birthdays - John Lee Hooker, Valerie Harper, Ron Donte, Cindy Williams, Holly Dunn, Collin Raye, Roland Orzabal, Tori Amos, Ty Burrell, Layne Staley, Kristin Wiig.Intro - God did good - Dianna Corcoran   https://www.diannacorcoran.com/ Tooth Fairy Song - Patty ShuklaCall me maybe - Carly Rae JepsonAngel eyes - Love & TheftBirthdays - 50 Cent   https://www.50cent.com/ Boogie Chillin - John Lee HookerSugar sugar - The ArchiesLavern & Shirley TV themeYou really had me going - Holly DunnMy kind of girl - Collin RayeEverbody wants to rule the world - Tears For FearsA sort of fairy tale - Tori AmosNo Excuses - Alice in ChainsExit - 90'sville - Derryl Perry    https://www.derrylperry.com/countryundergroundradio.comHistory & Factoids webpage

Efrain, David and Chrissy are back with two new players to keep drafting their way to the Dark Side of the Sun. Joining them are guests Shea (@shea.alyssa) and Max (@servinglamb) for Round Two of our multi-round game. Sure to be as cut throat as the last round, tune in for all the steals and deals as we add new categories and new rules. Plus you'll find out who from Round One was crowned the winner and will be joining us in our Tournament of Champions. If you'd like to participate and draft your own Team of Tori Tunes, email us at songsoftoriamos@gmail.com. Find all the playlists and vote for your favorites at www.songsoftoriamos.com/draft

Campus Indie Pop Rock, une émission de Radio Campus Tours, un lundi sur deux de 20h à 21h. Voici le podcast et la playlist de l'émission 100 % Live du 11 Août 2025 : Tori Amos – Climb (Live 2024) The National – Eucalyptus (Live in Rome) TORRES – New Skin (Live) Peter Gabriel – […] L'article Campus Indie Pop Rock – 11 août 2025 – Summer Playlist Live est apparu en premier sur Radio Campus Tours - 99.5 FM.

We're doing things a bit differently as we welcome our very first guest for a very special episode, where we'll attempt to scratch the surface of Tori's complicated relationship with the media over the past three decades. We'll explore not only how she's been represented (and misrepresented) by an often unforgiving and unflattering press, but also the ways in which Tori's intuition and perceptiveness allowed her to have the upper hand, talking circles around and discomfiting her inquisitors, and making clear that she wouldn't back down from her ideals or be silenced by patriarchal standards -  way before it was cool or safe or, let's be frank, not potentially career-ending to do so. Helping us to tackle this red-hot topic is a written and literal voice many of our listeners will be familiar with, both from the at once provocative and positively silly podcast Pot Psychology and his writing in The New York Times, Pitchfork, The Washington Post, Spin, Jezebel, and Gawker, among other publications. He also co-authors Slate's sex advice column How to Do It. A true raconteur and renaissance man - Rich Juzwiak! Rich's latter day playlist made with love by Joey, Kristen, and MattRecent Pitchfork reassessment of Boys for Pele (2025)Q Magazine “Hips. Lips. Tits. Power." (1994)Rolling Stone review of Boys for Pele (1996)Rolling Stone cover story (1998)Tori on Roseanne's talk show (1998)Tori on Rosie O'Donnell (1999)Tori on the Daily Show (1999)Tori on The View (1999)Rolling Stone Beekeeper review (2004)Stylus reviewTHR Full Oscar Songwriters Roundtable featuring Tori Amos, Justin Timberlake, John Legend, Alicia Keys, Sting (2016) Rick Beato interview (2024)

On today's all new episode of the cast, we look at the plethora of female singer-songwriters that dominated on the Billboard Modern Rock Tracks back in the day, and talk about at how their influence paved the way for future singer-songwriters to set the tone and edge for what was to come down the road. We discuss at how Sarah McLachlan got her start on the chart, and how she spearheaded the female revolution with the creation of the Lilith Fair in the late 90's that ushered in a renaissance and a breath of creative fresh air that dominated for most of the 90's. We mention other artists including Natalie Merchant, Fiona Apple, Tori Amos, Alanis Morissette, and even Sheryl Crow who dominated in a big way on this chart before she crossed over and had success on the pop chart. We also talk about the shifting tides of music, and how radio programmers instituted sexist policies that eliminated all female singer-songwriters from alternative radio for most of the late 90's and all of the 2000's before slowly coming back in the 2010's. I also play you a lsong from Boston's Til' Tuesday and their huge hit "Voices Carry".

Barry and Abigail reflect on our favorite albums from our first 100 episodes and sample Passion Tea Lemon Days from Swamp Head Brewery in Gainesville, Florida; Wandering Albatross from Tripping Animals Brewing in Doral, Florida; and Dole Whip from Invasive Species Brewing in Fort Lauderdale, Florida.We chose today's featured breweries by important episodes in the Pops on Hops lore.Musique Marécageuse (The Procession & Swamp Head Brewery)See also: Bonus: A Dozen Updates (The Procession Reunion Special)Tripping Walruses (The Beatles & Tripping Animals Brewing Co.)Little Species (Talking Heads and Invasive Species Brewing)The lovely people who left us shout-outs are Jon Carroll, Matt Carlson, Nick Martino, and Jack Cornell, all of them dear friends of the pod and members of our Multiple Guest Club.We were among the first to hear Jon's new LP, Can't Afford Not To. Jon is also a touring band member with Mary Chapin Carpenter this summer and fall. Purchase tickets here!Matty continues to publish daily on his incredible multimedia project, What Am I Making. He also has big plans for this fall: he and fellow Stick Around Jeffery Gower are embarking on a tour from Michigan to the Keys and back! Later, he and The Wild Honey Collective will be recording a new record in front of a live audience.Nick asked us to promote The Party Band on Instagram, Facebook, Spotify, and Bandcamp.Jack, along with his band Terry Anderson & The Olympic Ass-Kickin Team, released Got to Be Strong in 2024. He is currently working with Terry Anderson on a new album!Barry's favorite albums (and favorite song from each album) were:Musique Magnifique by The Procession (MTV Song [No Relation])RKS by Rainbow Kitten Surprise (Goodnight Chicago)Off to the Races by Jukebox the Ghost (Diane)Consolers of the Lonely by The Raconteurs (You Don't Understand Me)Crash Kings by Crash Kings (Raincoat)…and his least favorite album was Andy Grammer by Andy Grammer (his least favorite song from that album was Build Me a Girl).Abigail's favorite albums (and favorite song from each album) were:Uh-Oh by David Byrne (Hanging Upside Down)Bellybutton by Jellyfish (Now She Knows She's Wrong)Electro-Shock Blues by Eels (Efils' God)Graceland by Paul Simon (The Boy in the Bubble)God Shuffled His Feet by Crash Test Dummies (Afternoons & Coffeespoons)…and her least favorite album was Little Earthquakes by Tori Amos (her least favorite song from that album was China).Listen to a playlist of (most of) our favorite songs shared today!Up next… Shooting Rubberbands at the Stars by Edie Brickell & New BohemiansJingles are by our friend Pete Coe.Visit Anosmia Awareness for more information on Barry's condition.Follow Barry or Abigail on Untappd to see what we're drinking when we're not on mic!Leave us a rating or a review on Apple Podcasts or Spotify!Facebook | Instagram | Bluesky | YouTube | Substack | Website | Email us | Virtual Jukebox | Beer Media Group

It's Two Wick Tuesday and this week, Selena chats with Sarah Brown aka @AffluentDetritus on Instagram and her blog.  Their conversation touches on a ton of hot topics: Chanel's Vamp, Laura Ashley, Tori Amos, lipstick of the 90s, The Body Shop, Sarah's little friend "soapey," Instagram, capitalism, and more! Tune in to find out which candle brand literally made Sarah vomit. Please subscribe, rate, and review, candleheads! (Music: bensound.com)

Escucha el episodio con Alfonso Cardenal, Mario Tornero, Toni Castarnado y Lucía Taboada

If you were dating money, what would your relationship be like? The answer to that question says a lot about your ability to build wealth, no matter how much money you start with. In this episode, your host, Deb Drummond, and wealth expert Amanda Taylor shine a light on the negative stories around money and how you can drop money beliefs and habits that are holding you back. By the end of this conversation you will see that you CAN create long-term wealth and abundance. Listen in, get educated and take charge of your financial future.Website: https://expandyourempire.orgMusic mentioned in this episode: “Little Earthquakes” by Tori Amos

It is a privilege to welcome singer-songwriter Michael Lazar to The Jake's Take with Jacob Elyachar Podcast.  Michael is a Miami-based singer-songwriter whose music blends pop, theater, and poetry into something deeply personal. His critically acclaimed debut album, 51/49, chronicled an 18-year journey through grief, reinvention, and healing – an autobiographical song cycle born from Michael's move to New York City to study musical theatre at NYU, his countless Broadway auditions, and even a devastating apartment fire.   His latest extended play, Daydreaming, is scheduled for release on July 25, 2025. The title track combines wistful piano melodies with atmospheric synths while capturing the emotional pull of imagined love.The full EP expands on the themes introduced in the single, offering a cohesive six-song journey through longing, hope, and personal transformation. From the golden-hour shimmer of “Magic Hour” to the pulsing ache of “Want Me Back,” Lazar crafts a pastel-toned sonic world grounded in vulnerability. The EP also features a reimagined version of “Can't Help Falling in Love,” a tender reflection in “By My Side,” and concludes with “Life of the Butterfly,” a poetic meditation on growth and letting go.All six tracks were written, performed, and produced by Lazar. The EP was mastered by Michael Banks of UEFO, whose previous work on Lazar's 2021 debut album, 51/49, helped establish the warmth and emotional clarity that have become hallmarks of his sound.  On this episode of The Jake's Take with Jacob Elyachar Podcast, Michael Lazar spoke about Daydreaming's recording process, performing alongside future Avengers actor Chris Evans and Scott Evans, during his childhood. He also explained why he declares Britney Spears, Jewel, and Tori Amos make up his trifecta of inspiration.Become a supporter of this podcast: https://www.spreaker.com/podcast/jake-s-take-with-jacob-elyachar--4112003/support.

In this episode, we ponder what it means for a Tori Amos song to be “underrated.” Is “underrated” in this context even something definable? Or is it ultimately subjective and personal to the individual listener? Is a song underrated because Tori rarely or never performs it? Or is it a song that's been played so many times that we've taken it for granted and can no longer hear the genius and the grit that went into its creation? Or perhaps it lives on a latter-day Tori record that's less celebrated, less heard by the general public? In the spirit of our wildly successful – and a touch controversial – Best of Tori Amos episode, we bring to you The 20 Most Underrated Tori Songs. We repeated our very scientific method of each crafting individual lists of what we believe to be Tori's most underrated tracks – from proper albums only; no bsides, no soundtracks, no covers, no seasonal music - tallying each song's respective points and then ranking the ranking them in ascending order. The result is a playlist that spans many - but not all - of Tori's records, chock full of gags, goops, gogs, and go-figures. Given how underrated we likely all agree Tori is in the broader history of contemporary music, this very episode may be the definition of a fool's errand. Regardless, in the spirit of the woman we call Tori once calling herself an “ant fucker,” we are Introverted but willing to discuss Tori Amos' most underrated songs.Playlists:20 Most Underrated Songs JVKKMM

The Industry Relations Podcast is now available on your favorite podcast player! Overview In this special episode of Industry Relations, Rob and Greg take a break from real estate to talk about one of their shared passions: music. They explore the most transformative artists and bands across genres from the 70s through today. Their conversation dives deep into the cultural impact of acts like Nirvana, Depeche Mode, NWA, and Metallica, and whether artists like Kanye West, Jay-Z, or Eminem changed the landscape or simply excelled within it. Key Takeaways What Makes an Artist Transformative – Rob and Greg define “transformative” as artists who changed culture or shifted their genre's direction. Rock, Pop, and Hair Metal – From The Police and Joy Division to Motley Crue and Metallica, they debate which bands truly left a mark. New Wave and Synth Pop – A back-and-forth on whether bands like Depeche Mode, Erasure, and Eurythmics defined the New Wave era. The Rise of Hip-Hop – Analysis of Public Enemy, NWA, and Biggie's role in changing rap's tone—from political to gangsta to materialistic. Female Singers and Torch Artists – Greg shares his appreciation for female vocalists, from Tori Amos and Natalie Merchant to Billie Holiday and Aretha Franklin. Jazz, EDM, and Modern Music – A look at how genres like jazz and electronica evolved—and why Rob thinks music hasn't really changed since the 2000s. Cultural Identity and Music in High School – Reflections on how music once defined high school social groups and why today's digital world may be missing that connection.   Connect with Rob and Greg Rob's Website  Greg's Website    Watch us on YouTube   Our Sponsors: Cotality  Notorious VIP The Giant Steps Job Board    Production and Editing Services by Sunbound Studios  

mélange azimut pour public épicurien....

In this week's episode, I sat down with the lovely Yemaya Kimmel to discuss milky oats (Avena sativa). Yemaya is not only a wonderful herbalist, but as you'll see in this episode, she's also an amazing singer! She shared so many deep insights about the benefits of milky oats – an herb that most people these days could probably benefit from – plus a beautiful song to cap off the episode.Yemaya mentioned during our chat that she enjoys naming tincture formulas after songs (and I may have had a little too much fun coming up with Tori Amos-inspired tincture names with her). Her Oh Happy Day blend is intended to help bring more joy into your life – and I'm so glad she shared this lovely formula with us! You can find your beautifully-illustrated recipe card for Oh Happy Day here.By the end of this episode, you'll know:► Why milky oats might be the herb we ALL need right now► The difference between milky oats, oat straw, and dried oat tops► How best to harvest and prepare milky oats to get the most potent medicine► How to choose other herbs to formulate along with milky oats, depending on your specific needs► A surprising way that milky oats can benefit people recovering from addiction► and so much more…For those of you who don't know her, Yemaya Kimmel is a clinical herbalist based in Humboldt County, California, with over 25 years of experience working with healing plants. She has a special focus on supporting women over 40, especially those navigating stress, burnout, and chronic health challenges that can come with aging. Yemaya offers one-on-one herbal wellness consultations both in person in Eureka and online, where she collaborates with clients to craft personalized herbal protocols that reflect each person's unique story. Her greatest passion is helping people feel empowered to care for themselves with the support of plant medicine.I'm thrilled to share our conversation with you today!----Get full show notes and more information at: herbswithrosaleepodcast.comFor more behind-the-scenes of this podcast, follow @rosaleedelaforet on Instagram!Working successfully with herbs requires three essential skills. Get introduced to them by taking my free herbal jumpstart course when you sign up for my newsletter.If you enjoy the Herbs with Rosalee podcast, we could use your support! Please consider leaving a 5-star rating and review and sharing the show with someone who needs to hear it!On the podcast, we explore the many ways plants heal, as food, as medicine, and through nature connection. Each week, I focus on a single seasonal plant and share trusted herbal knowledge so that you can get the best results when using herbs for your health.Learn more about Herbs with Rosalee at herbswithrosalee.com.----Rosalee is an herbalist and author of the bestselling book Alchemy of Herbs: Transform Everyday Ingredients Into Foods & Remedies That Heal and co-author of the bestselling book Wild Remedies: How to Forage Healing

3:00:41 – Frank in New Jersey, plus the Other Side. Topics include: False alarms, drill, inch cigar, the ancient incense, rolltop desk and nosering shopping dream, chipmunks, lapis lazuli, New Cover Concept, car alarm, soap opera effect, helicopter, Here in Heck relinked, “fine water”, Modelo Chelada Especial, Tori Amos on Rick and Morty, feud, riots, Cockburn’s Special […]

3:00:41 – Frank in New Jersey, plus the Other Side. Topics include: False alarms, drill, inch cigar, the ancient incense, rolltop desk and nosering shopping dream, chipmunks, lapis lazuli, New Cover Concept, car alarm, soap opera effect, helicopter, Here in Heck relinked, “fine water”, Modelo Chelada Especial, Tori Amos on Rick and Morty, feud, riots, Cockburn’s Special […]

My Music Podcast with Graham Coath — Featuring Lilia AshaIn this special episode of My Music Podcast, host Graham Coath meets the astonishingly talented Lilia Asha, a 13-year-old singer-songwriter who's already making waves with her heartfelt debut single "Rae". Broadcasting all the way from Shanghai — with roots in both South Africa and the UK — Lilia shares her early journey into music, songwriting inspirations, and how supportive parents and a love of sad songs have shaped her artistic path so far.We talk about the music that moves her — from Lana Del Rey and Taylor Swift to Tori Amos and Joni Mitchell — and why emotional honesty, creative expression, and a bit of sparkle (but not too much!) matter to her as she develops her own sound and style.Expect laughs, thoughtful insights, and plenty of future-star energy as Lilia discusses middle school life, the power of storytelling through song, and why she'd love to tour Europe one day. Oh, and she may just be starting plans for the Pink Hat Podcast…✨ Highlights include:Why "Rae" isn't about a person, but a type of personLilia's dream songwriting session with Taylor SwiftThe importance of vocal rest (and glitter… in moderation)What musicals, photography, and Harry Styles have to do with it allHit play, then go stream Rae, add it to your playlist, and join us in supporting a young artist with big ideas and an even bigger heart.

Shane talks Tori Amos and Bjork in Season 12, Episode 1.TORI AMOS ALBUM REVIEW:Ocean to Ocean (2021)BJORK ALBUM REVIEW:Debut (1993)See Shane's full ratings by visiting patreon.com/RatedRadio

Thanks to the overwhelmingly positive response from the last episode, Efrain and David begin the game anew with new categories and a permanent new Song Draft co-host, Chrissy Olsen! Joining them are guests Alexander (@alexanderlegersmall) and Axel (@potagedujour) for what is only Round One of a multi-round game. If you'd like to participate and draft your own Team of Tori Tunes, email us at songsoftoriamos@gmail.com

Mardi soir dans RTL2 Pop-Rock Station", Marjorie Hache ouvre l'émission avec Ghost et leur titre "Lachryma", avant un détour par Alice Cooper et l'anniversaire de la sortie de "The Freewheelin' Bob Dylan". On y entend "Girl from the North Country", emblématique du virage folk de Dylan. La soirée alterne nouveautés et classiques avec "Bottom Of A Bottle" de Julien Baker & Torres, "Foundations" de Kate Nash, puis "In Daylight", nouvel extrait hypnotique de "Mad", l'album de la semaine signé Sparks. On découvre aussi The Waterboys, Viagra Boys et une reprise étonnante de "Solsbury Hill" de Peter Gabriel par Lou Reed. La deuxième heure met à l'honneur Gorillaz, Fleetwood Mac, Mitski, Jimi Hendrix, puis Herman Dune et son titre "Odysseús", inspiré de son exil temporaire à Montréal. Pour conclure : Tori Amos, Arctic Monkeys et "Help Yourself" de Death In Vegas. Ghost - Lachryma Alice Cooper - School's Out Bob Dylan & Johnny Cash - Girl From The North Country The Beach Boys - Kokomo Julien Baker & Torres - Bottom Of A Bottle The Kingsmen - Louie Louie Kate Nash - Foundations Sparks - In Daylight AC/DC - Let Me Put My Love Into You The Waterboys - The Tourist (Feat. Barny Fletcher & Sugarfoot) Mano Negra - Soledad Viagra Boys - The Bog Body Lou Reed - Solsbury Hill Mitski - Washing Machine Heart Gorillaz - Clint Eastwood Oracle Sisters - Marseille Jimi Hendrix - All Along The Watchtower Eagles Of Death Metal - I Want You So Hard (Boy's Bad News) Fleetwood Mac - Silver Springs (Live) Anthrax & Public Enemy - Bring The Noise Pain - Party In My Head Herman Dune - Odysseus The Doors - People Are Strange Tori Amos - Cornflake Girl Arctic Monkeys - Do I Wanna Know Death In Vegas - Help Yourself Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

The Daily Quiz - Music Today's Questions: Question 1: Which English-American psychedelic rock band released the song 'Purple Haze'? Question 2: Which English rock band released the song 'A Hard Day's Night'? Question 3: The iconic song 'Thriller' was released by which musician? Question 4: Which band was co-founded by 'Pete Townshend'? Question 5: The song 'Smells Like Teen Spirit' had a well-known cover by Tori Amos, but who recorded the original? Question 6: Which American EDM Duo released the song 'Don't Let Me Down'? Question 7: Which English rock band released the studio album 'Absolution'? Question 8: Which American music duo released the studio album 'Bridge over Troubled Water'? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of In the Key of Q, Dan Hall speaks with Ben McGarvey, who performs as Minute Taker. Ben's music is characterized by a signature blend of retro synth-pop, haunting piano melodies, and emotionally charged lyrics that explore the depth of human experience.Episode SummaryBen opens up about the origins of his stage name "Minute Taker" – a reference to his former day job that created an ironic contrast with his artistic identity. He describes it as "simultaneously mundane and otherworldly," reflecting the dual nature of his creative life.The conversation traverses Ben's musical evolution from a teenager in the 90s who was drawn to 80s synth music to his current work creating atmospheric, emotionally resonant songs. Ben reflects on how living in rural Shropshire as a young gay man shaped his relationship with music as a form of escape and self-expression.Throughout the episode, Ben courageously discusses his experiences with depression and how this has informed the melancholic quality of his music. Rather than viewing this melancholia as something negative, he explores how it can be "so beautiful" and serves as a connective tissue between artist and listener.Key Moments02:59 - Ben discusses his musical influences growing up, including Kate Bush, Pet Shop Boys, Tori Amos, and PJ Harvey07:47 - Reflections on growing up as a gay child in rural Britain during the Section 28 era09:35 - Ben shares his early songwriting experiences and how music became a form of escape16:46 - Discussion about representation and the importance of addressing songs explicitly to men22:46 - Ben speaks candidly about his experiences with depression and how it manifests24:44 - The evolution of Ben's work into audiovisual projects, including his concept album exploring gay men's lives throughout history28:32 - Details about his upcoming album "The Oblivion," inspired by Blade Runner and 80s sounds34:20 - Information about Ben's subscription service for fans to access exclusive musicGuest BioBen McGarvey is a Manchester-based musician who performs under the name Minute Taker. His work blends retro synth sounds with piano and emotional lyrics to create atmospheric, often melancholic music. Beyond traditional albums, Ben has expanded into audiovisual projects that explore LGBTQ+ experiences throughout history. His most recent album "Wolf Hours" included an accompanying visual narrative, and he's currently finishing his new album "The Oblivion."Gateway TrackBen recommends "Lead You Home," the opening track from his album "Wolf Hours," as the perfect introduction to his music. The song encapsulates his recent musical direction with its melancholic, synthy, and atmospheric qualities while remaining catchy. The accompanying music video alternates between scenes set in the 1980s and 1918, telling the story of two World War I soldiers.Gateway TrackMinute Taker website.In the Key of Q celebrates queer musicians and their stories. Find us on Twitter, Instagram, or email us at intheKeyofQ@gmail.com.Theme music by Paul Leonidou at Unstoppable Monsters.

Ash Soan is one of the most sought after session drummers in Britain, who has worked with the likes of Adele, Taylor Swift, Seal, Billy Idol, Tate McRae and so many more. Ash's 5th gig was Woodstock '94 with the band, Del Amitri and then went on to support Van Halen (which was my first concert) and Bon Jovi. Recently, Ash has been touring with Snow Patrol and Tori Amos. Ash has also been collaborating with Ariel Posen and are releasing their self-titled album together- available now on Bandcamp. Ash came through my hotel in London to meet up with me on his way to Heathrow to fly out to Abu Dhabi for a show with Snow Patrol. From the lobby of my hotel, in this convo we go in on how Ash achieves his legendary drum tone, how he created his unique studio "The Windmill," and more. I remember Ash for being one of the first to start using high quality audio on Instagram in his VF15 videos and it's inspiring to watch him continue to play and work on his sound. We are On The Go! Here's my conversation with Ash Soan. (00:00) INTRO (01:34) ASH'S EARLY STUDIO VIDEOS, MICS, PROTOOLS (06:16) VIC FIRTH 15 INSTAGRAM VIDEOS (07:59) JEFF LORBER (08:52) SNOW PATROL, ARIEL POSEN (12:23) WOODSTOCK 1994, RED HOT CHILLI PEPPERS, VAN HALEN, BON JOVI (13:47) TOURING, LA (15:02) WINDMILL STUDIO, DRUM TONE ‘Go with Elmo Lovano' is a weekly podcast where Elmo interviews creatives and entrepreneurs in music on HOW they push forward every day, got where they are in their careers, manage their personal lives, and share lessons learned and their most important insights. Please SUBSCRIBE / FOLLOW this podcast to catch new episodes as soon as they drop! Your likes, comments and shares are much appreciated! Listen to the audio form of this podcast wherever you get your podcasts: https://elmolovano.komi.io/ Follow Ash: https://www.instagram.com/ashsoan/ Support Ash Soan & Ariel Posen on Bandcamp: https://ashsoanandarielposen.bandcamp.com/album/self-titled Follow Go With Elmo: https://www.instagram.com/gowithelmo/ https://www.tiktok.com/@gowithelmo https://x.com/gowithelmopod Follow Elmo Lovano: https://Instagram.com/elmolovano https://x.com/elmolovano

Our old pal Danny Haloosim, AKA KCHUNG radio's DJ Danny Halo joins us to talk all sorts of shit about all kinds of crap! Including George Santos, the assassination of Pope Francis, Sinbad, Tori Amos, and MANY 90's one hit wonders. 

We invite our friend Chrissy Olsen into the Drive All Night studios to compete against us for the best Tori Song Team. Who wins? You decide. Companion playlists are hosted on our Spotify https://open.spotify.com/user/thesidewaysociety?si=a98de262d17f4be9

To all of our Tori Amos fans out there, we're doubly sorry because this is our best podcast about Tori Amos and the 233rd greatest album of all time, Little Earthquakes.    Before we get to the music, we're popping a wheelie on the zeitgeist and covering Beverly Hills 90210, Meghan Markle's homage to Big Bopper, and the price of Cadbury eggs. Then we're heading to Legoland for a celebrity sighting and to Dodger Stadium for some Dodger Dogs, which will cause all you bunheads to jettison this episode altogether.    At (63:00), we take a brief musical detour to talk about Tori Amos's 1992 album, Little Earthquakes. We discuss Tori's musical insubordination, piano skills, and MTV unplugged performance.    Next week, we're heading into the void and becoming the best Black Sabbath podcast when we discuss the 1971 heavy metal album Master of Reality.

This week's episode will have you feeling like a stranger in a strange land when you listen to the best podcast about John Coltrane and the 232nd greatest album of all time, Giant Steps.   Before we get to the music, we'll help you get hella full with some pancake preparation tips straight from a random grocery store clerk. We also enjoy some record store zen featuring new and used albums. Then we provide some travel tips for all of you heading to Ireland and Costa Rica...passport, pants, and electrolytes....you may want to write that down.    Then, at (55:00), we turn this taco truck into a Ferrari and become the best jazz podcast by breaking down John Coltrane's seminal jazz album. We discuss Coltrane's devotion to jazz music, chord changes, and the fastest songs of all time.    Next week's episode is certain to include many previous things when we become the best Tori Amos podcast and cover her debut studio album, Little Earthquakes.

Will Westercauw chats with Johnny (guitarist from the band Dig) about scandalous rumors, working at Tower Records, Clear Channel censorship, and the modern rock hits of March 1994. Songs under discussion include: Crash Test Dummies - "Mmm Mmm Mmm Mmm" Tori Amos - "God" Alice In Chains - "No Excuses" Dig - "Believe" Season 7 (1994) Spotify Playlist: https://open.spotify.com/playlist/19V29Sq8PhdbMVyODJyUz6

Don Johnson talks role in 'Doctor Odyssey'; Latest efforts to get the Menendez brothers out of jail; Tori Amos talks new children's book Learn more about your ad choices. Visit podcastchoices.com/adchoices

Don Johnson talks role in 'Doctor Odyssey'; Latest efforts to get the Menendez brothers out of jail; Tori Amos talks new children's book Learn more about your ad choices. Visit podcastchoices.com/adchoices

Charlie joins Caitlin to cover 2017's Revenge, by director Coralie Fargeat, who gave us The Substance in 2024. We talk about Fargeat's unique style, which combines realism with hyper-stylized elements, her body horror trends, and her feminist themes. We also talk about the controversy around rape revenge as a narrative structure. It's a movie we both really enjoy. Tangents include: animal vomit (aww), Faulkner, espanol, Mary Vincent, 2025 horror, names, Casey Anthony, theaters, icebreaker fun facts, ice cream toppings, Tori Amos albums, and horror duo BFFs. 

Recently, I had the honor of being the moderator for the 8x Grammy-nominated musical genius Tori Amos to promote her gorgeous new children's book Tori and the Muses. I have to say this was one of the best experiences I've ever had. I was super nervous before the show, but the moment Tori and I walked on stage together, I felt completely at home and we had a fun, heartfelt and inspiring conversation. I am grateful for how open she was and how comfortable she made me feel onstage and off.  To all of her fans - she is exactly as kind and magical as you could imagine her to be. A special thank you to Anderson's Bookshop, my husband Patrick, my friend Matt, John Witherspoon and of course the sensational Tori Amos. I will treasure this night forever. Oh, and if you have a young reader in your life, get them a copy of Tori and the Muses! To see the video version of this interview or any of our other interviews, head over to aspoonfulofpaolo.com or our YouTube channel. Thanks for listening and enjoy the show!INSTAGRAM https://instagram.com/PaoloPrestaTHREADS https://www.threads.net/@paoloprestaFACEBOOK http://www.facebook.com/spoonfulofpaoloTIKTOK: https://www.tiktok.com/@paolo.prestaTWITTER https://twitter.com/PaoloPrestaWATCH ALL OF OUR CELEBRITY INTERVIEWS AT http://www.aspoonfulofpaolo.com

Tonight, we'll read an excerpt from Charles Dickens “Great Expectations” where young Pip visits the mysterious Miss Havisham at her decaying mansion. There he meets Estella, a beautiful but scornful girl who treat him with cold disdain, making him painfully aware of his lower social status. Miss Havisham, frozen in time since being jilted at the altar, encourages Estella to toy with Pip's emotions. This encounter leaves Pip deeply ashamed of his humble background, planting the seed of his desire to become a gentleman. Miss Havisham's tragic and eerie presence has left a lasting impact on literature, film television and music. She appears in Havisham by Carol Ann Duffy, which reimagines her bitter longing, and influences characters like Norma Desmond in Sunset Boulevard and Bertha Mason in Jane Eyre. Artists like Tori Amos and Florence and The Machine reference her ghostly figure in music, while The Simpsons parody her infamous heartbreak and decay, solidifying her as a timeless gothic archetype. — read by 'N' — Sign up for Snoozecast+ to get expanded, ad-free access by going to snoozecast.com/plus! Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textStep into a world of melodies and memories as we explore the musical journey of Misty Boyce. In our latest episode, Misty, a multi-talented artist, shares her evolving relationship with music, childhood memories, and the creative influences that have shaped her remarkable artistry. We dive into her New Mexican roots, where the enchanting cultures of Las Cruces sparked her passion for music from a young age. Armed with vivid anecdotes, Misty vividly recounts her obsession with Mariah Carey's "Someday," revealing how it fueled her dreams of becoming a singer. As she recalls the poignant transitions of her youth, we learn how iconic soundtracks—like that of "Romeo and Juliet" and the album "OK Computer" by Radiohead—served as soundscapes for her emotional awakening and creative exploration.Throughout this conversation, Misty candidly discusses her struggles with confidence onstage and her transformative journey toward embracing her voice. She also sheds light on her artistic process and the delicate balance of simplicity and complexity in her songwriting. Plus, listeners are treated to insights about community support and the undeniable bond that music creates among artists and fans. In the heart of this discussion, we get a glimpse into her current work and hear a snippet of her heartwarming track "Goodbye July." As the episode comes to a close, we reflect on the powerful role of music in our lives—not just as a form of expression but as a vessel for human connection. Tune in, absorb the inspiration, and discover the beauty of music in every beat and lyric. Be sure to subscribe, share, and join us as we continue to celebrate the stories that make music so profoundly impactful!Check out Misty: LinktreeInstagramFollow My Pop Five: @mypopfive on all platforms We'll see you next time. But until then, what's your Pop Five?

MUSIC The Offspring and Jimmy Eat World are teaming up for a summer tour .   Jelly sat down for an interview with "CMT" and talked about how excited he is for the huge tour with Post Malone later this year.    The Grand Ole Opry is turning 100, and they just made a small-but-significant change for the anniversary.   Tori Amos children's book Tori and the Muses publishes.   RIP: Carl Thomas Dean, Dolly Parton's ultra-private husband, has died at the age of 82 TV The "Handmaid's Tale" sequel series -- Hulu‘s The Testaments has found its lead star. Lucy Halliday will star in the series, as Daisy:  one of three protagonists   Tonight on TV: President Trump delivers a joint address to Congress, airing live on the major networks and news channels.   Jasveen Sangha and Dr. Salvador Plasencia trial for supplying Matthew Perry with those fatal drugs scheduled to begin in Argentina.   MOVING ON INTO MOVIE NEWS: The Academy Awards were viewed by 18.1 million people on Sunday night (down by seven percent from last year.) After Hollywood's biggest night out at the Oscars McDonalds is dropping some celebrity tea! There's still no word how Gene Hackman and his wife Betsy Arakawa died.  But someone posed an interesting theory.  And that someone is Dr. Michael Baden, a world-famous forensic pathologist AND FINALLY "Forbes" has released its list of the Highest Paid Actors of 2024.    AND THAT IS YOUR CRAP ON CELEBRITIES!   Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams - Check out King Scott's Linktr.ee/kingscottrules + band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz Learn more about your ad choices. Visit podcastchoices.com/adchoices

MUSICThe Offspring and Jimmy Eat World are teaming upfor a summer tour . Jelly sat down for aninterview with "CMT" and talked about how excited he is for the hugetour with Post Malone later this year.   The Grand Ole Opry is turning 100, and they just made a small-but-significantchange for the anniversary.  Tori Amos children's book Tori and the Muses publishes. RIP: Carl Thomas Dean,Dolly Parton's ultra-private husband, has died at the age of 82TVThe "Handmaid'sTale" sequel series -- Hulu‘s The Testaments has found its lead star. Lucy Hallidaywill star in the series, as Daisy:  one of three protagonists Tonight on TV: PresidentTrump delivers a joint addressto Congress, airing live on the major networks and news channels. Jasveen Sangha and Dr. Salvador Plasencia trialfor supplying Matthew Perry with those fatal drugs scheduled to begin inArgentina. MOVING ON INTO MOVIENEWS:The Academy Awards wereviewed by 18.1 million people on Sunday night (down by seven percent from lastyear.) After Hollywood's biggest night out at the Oscars McDonalds is dropping some celebrity tea!There's still no wordhow Gene Hackman and his wife Betsy Arakawa died.  Butsomeone posed an interesting theory.  And that someone is Dr. MichaelBaden, a world-famous forensic pathologistAND FINALLY"Forbes" has released its list of the Highest Paid Actors of 2024.   AND THAT IS YOUR CRAP ON CELEBRITIES! Follow us @RizzShow @MoonValjeanHere @KingScottRules @LernVsRadio @IamRafeWilliams - Check out King Scott's Linktr.ee/kingscottrules + band @FreeThe2SG and Check out Moon's bands GREEK FIRE @GreekFire GOLDFINGER @GoldfingerMusic THE TEENAGE DIRTBAGS @TheTeenageDbags and Lern's band @LaneNarrows http://www.1057thepoint.com/Rizz Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In honor of Valentine's Day, we're answering your burning questions about love, sex, and dating juggalos. Listen at your own risk!