Podcasts about U2

Join Buzz Knight and Harry Jacobs, the Master of Music Mayhem, as they explore pivotal moments from the week of November 17th in rock history. This episode dives deep into Pink Floyd’s groundbreaking double album The Wall, released in the UK on November 17, 1979, examining Roger Waters’ creative vision, the band’s intense seven-studio recording sessions, and the controversial firing of keyboardist Richard Wright. Discover the bizarre Star Wars Holiday Special that aired once on CBS in 1978 and became an infamous stain on the franchise. Learn how guitarist Danny Whitten’s tragic 1978 heroin overdose inspired Neil Young’s haunting classic “The Needle and the Damage Done.” The hosts celebrate U2’s experimental Achtung Baby (1991), Led Zeppelin’s Houses of the Holy going 11x platinum, and The Who’s complex rock opera Quadrophenia (1973), which represented each band member’s personality across its four album sides. Plus: Michael Jackson’s game-changing Thriller video MTV premiere, The Beatles’ iconic White Album UK release (1968), Pearl Jam’s Vitalogy vinyl-first strategy, and an incredible story about young Jon Bon Jovi witnessing David Bowie and Freddie Mercury recording “Under Pressure.” Keywords: Pink Floyd The Wall, Roger Waters, David Gilmour, Quadrophenia, Beatles White Album, Thriller video, Achtung Baby, Led Zeppelin, Neil Young, music history podcast, classic rock, 1970s music, 1980s music, rock opera​​​​​​​​​​​​​​​​Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Andy eats a peanut butter cookie for dinner and talks about being tricked by a skeleton in a blonde wig, sugar writing all his novels, the Banh Mi Panini, his neighbor's dog taking Prozac, the passing of Jimmy Kimmel's bandleader, and Johnson Wen AKA Pyjama Man striking again. Then he sings along with Curtis Sliwa and plays a clip of Tracy Morgan singing a U2 song at the top of his lungs while waiting to board a plane. On Rachel's Chart Chat, Rachel from Des Moines shares listener stories of full-album concerts, follows Rage Against the Machine across the pond, and looks at a new singles collection from Christopher Cross. Follow Rachel on Last.fm here.

Join Buzz Knight and Harry Jacobs, the Master of Music Mayhem, as they explore pivotal moments from the week of November 17th in rock history. This episode dives deep into Pink Floyd’s groundbreaking double album The Wall, released in the UK on November 17, 1979, examining Roger Waters’ creative vision, the band’s intense seven-studio recording sessions, and the controversial firing of keyboardist Richard Wright. Discover the bizarre Star Wars Holiday Special that aired once on CBS in 1978 and became an infamous stain on the franchise. Learn how guitarist Danny Whitten’s tragic 1978 heroin overdose inspired Neil Young’s haunting classic “The Needle and the Damage Done.” The hosts celebrate U2’s experimental Achtung Baby (1991), Led Zeppelin’s Houses of the Holy going 11x platinum, and The Who’s complex rock opera Quadrophenia (1973), which represented each band member’s personality across its four album sides. Plus: Michael Jackson’s game-changing Thriller video MTV premiere, The Beatles’ iconic White Album UK release (1968), Pearl Jam’s Vitalogy vinyl-first strategy, and an incredible story about young Jon Bon Jovi witnessing David Bowie and Freddie Mercury recording “Under Pressure.” Keywords: Pink Floyd The Wall, Roger Waters, David Gilmour, Quadrophenia, Beatles White Album, Thriller video, Achtung Baby, Led Zeppelin, Neil Young, music history podcast, classic rock, 1970s music, 1980s music, rock opera​​​​​​​​​​​​​​​​Support the show: https://musicsavedme.net/See omnystudio.com/listener for privacy information.

Hoy 18 de noviembre en La Gran Travesía vais a poder escuchar a U2, Ben L´Oncle Soul, Genesis, INXS, Belle and Sebastian, Tesla... y muchos más. También recordaros que ya podéis comprar La gran travesía del rock, un libro interactivo. Jimi y Janis, dos periodistas musicales, vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del FPR. ✨ El libro ya está en diversas tiendas, Amazon, Fnac y también en La Montaña Mágica, por ejemplo https://www.amazon.es/GRAN-TRAVES%C3%8DA-DEL-ROCK-autoestopista/dp/8419924938 ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Contell Carles, Sergio Rodríguez Rojas, Javier, Jose Antonio Moral, Juanito, Octavio Oliva, Andreea Deea, Samuel Sánchez, Igor Gómez Tomás, Matías Ruiz Molina, Eduardo Villaverde Vidal, Víctor Fernández Martínez, Rami, Leo Giménez, Alberto Velasco, Poncho C, Francisco Quintana, Con, Tete García, Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Nacho, Javito, Alberto, Moy, Dani Pérez, Santi Oliva, Vicente DC, Leticia, JBSabe, Melomanic, Arturo Soriano, Gemma Codina, Raquel Jiménez, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, Joaquín, Horns Up, Victor Bravo, Fonune, Francisco González, Marcos Paris, Daniel A, Redneckman, Elliott SF, Sementalex, Miguel Angel Torres, Suibne, Noyatan, Iván Menéndez, Niksisley y a los mecenas anónimos.

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Chris Dalla Riva, author of the new book Uncharted Territory: What Numbers Tell Us about the Biggest Hit Songs and Ourselves. Chris is a fixture here at Numlock, we're big fans of his newsletter Can't Get Much Higher and have been eagerly waiting for this book, which tracks the history of music by coasting along the top of the Billboard Hot 100. The book can be found at Amazon and wherever books are sold, grab a copy!This interview has been condensed and edited. Chris Dalla Riva, it is great to have you back on. Especially great this week, because you are finally out with a book that I know you've been working on for a very long time, Uncharted Territory. Thanks for coming back on.Yeah, thrilled to be back, but also thrilled to have the book come out. The book publishing world is one of the only worlds left in the world that moves slow enough where you're waiting for so long for something to happen.You have guest-written for Numlock before; you have been a staple of the Sunday editions in the past. You are definitely familiar to the audience at this point because you are doing some of the best music data journalism out there. You've been working on this thing for, I feel like, as long as I've known you, and it is just great to have it come out finally, man.Yeah, actually, I met you because I was working on this project. I was trying to track down some data that you'd used at FiveThirtyEight, and you responded to my email with your phone number. You were like, “This is easier to explain over the phone.”Yeah, I remember I had scraped the radio for months at FiveThirtyEight just to see where it went, and you hit me up with that. I think that you focused some of your energies on the newsletter, and that's been so fun to follow, but this is truly what you've been working at. It is great to get you on finally to talk all about it.What would you describe this book as? How would you describe it, either to folks who might be familiar with your newsletter or unfamiliar with your newsletter, about what you're setting out to do with this particular project?The subtitle, I think, is helpful. It's What Numbers Tell Us About the Biggest Hit Songs and Ourselves. My typical pitch is that it's a data-driven history of popular music that I wrote as I spent years listening to every number one hit song in history. You get a balance of music history, data analysis, just random music chart shenanigans. I wrote it over such a very long period of time that you get a little bit of how my life was intersecting with this book over the years as I tried to get it published.I love the angle on the No.1s being a place to go with, because it gives you a pulse on what's popular at the time and not necessarily what's the most influential at the time. You can see there's a lot of stuff that hit number one at one point or another that have no musical legacy whatsoever, but nevertheless are still interesting. It's dipping your toe in the stream, right? You can see that a lot of things that we assume about how the music industry works weren't always the case.You wrote a little bit about the early transition from big bands to singers as the front-facing people in their operation. That was informed in no small part by what was performing on the charts, but also, I think, labor action, right?An under-discussed part of music history in the last 100 years is that when thinking of any band now or any musical artist, you almost certainly think of the front person being the singer. But if you go look back at big bands of the 1930s and 1940s, anyone whose name was attached to the band was often not a singer. Some that come to mind are Glenn Miller, the Glenn Miller band. Glenn Miller was a trombone player. Artie Shaw was a clarinet player. If none of these names are familiar to you, that's okay. But you can ask your grandparents.Why does this transition happen: suddenly, the lead singer is always getting top billing in a band? There are a bunch of things that contributed to this. One thing I talk about pretty extensively is just the advent of better microphones. If a voice cannot be heard over the roar of an orchestra or a big band, you need a choir of people to sing. It makes the singer less identifiable. As we get better amplification, better microphones, you can get a wider range of vocal styles. Those vocalists can now compete with the sound of a ton of instruments.At the same time, something you mentioned that I think is a fun bit of history is how music used to be much better organized. They had better labor organization, the same way that Hollywood has much better labor organization than music these days. There still exists a group called the American Federation of Musicians. For two years, they had a strike for a work stoppage, when no new music was being recorded. This was during World War II. You weren't allowed to strike during World War II.They were frowned upon very much, it seems, yes.Yes, even if you were a musician. People were like, “Come on, why are the musicians striking?” There's a lot of interesting history there. One of the weird loopholes was that singers could not join the American Federation of Musicians. Because of that, some labels would get around the strike by just recording acapella songs or songs with instruments that were not eligible to be membership because they weren't “serious” enough, like the harmonica. There were weird harmonica songs that were popular at this time. By the time the strike ended, by the time World War II ended, suddenly, singers had a much more prominent role because they were the only ones allowed to perform.There is tons of weird stuff about this strike. Like, labels backlogged tons of recordings because they knew the strike was coming. “White Christmas,” maybe the best-selling record of all time, was one of those backlogged recordings — recorded in July of 1942 and put out however many months later.That's fun. That's basically why Tom Cruise is in a union but Bad Bunny isn't?I guess so. Music and labor have a history that I'm not an expert on. For some reason, musicians have had a much more difficult time organizing. It seemed to be a little bit easier back when there were these big bands that needed to be rolled out to perform in movie theaters or local clubs. You needed a tuba player and a trombone player and a sax player. I guess it was easier for those musicians to organize. Whereas now, things are so scattered and productions can be super small, and you could record something in your bedroom. They never got that level of organization. I think it's actually hurt artists to some degree because they don't have the protections that the film industry does.Because you're able to just coast along at the top of the charts throughout basically the century, you're able to get lots of different interweaving stories of labor and also legal disputes/legal outcomes, as well as this technological evolution. What are some of the ways that technology has informed how the music that we listen to changes or evolves over time? Or even some of the litigation that we have seen over the course of the century of musical creation. It just seems like it's a really fun way to track some of these bigger trends that we don't even know are really trends.Yeah, totally. I think one of the key themes of the book is that musical evolution is often downstream from technological innovation, which has a nice little ring to it. But in general, there's this idea that creativity is being struck by the muse, and you create something. Whereas in reality, there are usually physical constraints or technological constraints that shape the art that we make. One of the most basic examples is the length of songs. From the '40s up till the early, mid-60s, the pop song sits around 2.5 to three minutes. The reason for this is that vinyl singles could literally not hold more sound without degrading, which is completely backwards from the idea that there was an artist who chose to write a 2.5-minute song.I was like, “Well, you had to work within the constraint.” Then technology gets better, singles start to get longer. During the disco era, they actually made bigger discs to put out these long dance mixes. The single sat around like 3.5 to 4.5 minutes for decades until about 10 years ago, when it started to shorten again. People typically point to music streaming for this reason, because artists are paid if a song is listened to for more than 30 seconds, so it's really just a volume game. If you have a 14 minute song that someone listens to one time, they get paid once. But if I listen to a two-minute song seven times (which is again, the same amount of time spent listening), I will be paid out seven times. There is this financial incentive to shorten songs.I don't think artists are sitting in the studio thinking about this constantly. But what I see, what I saw again and again, is that artists were rational beings to some degree and would work within the constraints that they were given. They would usually push against those constraints. That's where a lot of great art comes out of.Even new mediums are offering new opportunities. You wrote a little bit about MTV and how that really changed a lot of what was able to be successful at the time. You had new types of acts that were able to really start competing there, and other acts that just weren't. Do you wanna speak a little bit about like what video did?Yeah, video certainly changed the game. There were artists who had visual presences earlier. The Beatles had a very visual presence. I think part of their success is tied to the fact that television was becoming a thing, and mass media was really becoming a thing. However, we associate musicians with visuals so much these days. That really emerged in the 1980s, where you needed your visual concepts to be as strong, if not stronger than, your musical concepts. I think because of that, you start seeing some artists break through who I don't think are considered great musicians.I always sadly point to the song, “Hey Mickey” by Tony Basil. If it's your favorite song, sorry. I don't think it's a masterful musical creation, but it had this fun music video where she's dressed up as a cheerleader. A lot of that song's success was just the fact that MTV was willing to put that in heavy rotation because it was a fun video to watch. We live in the shadow of that era where visuals matter just as much as anything else.When you think about the most popular artists, outside of maybe a handful, you think of their visual concepts. You think of what Beyoncé looks like, what her videos are like, same with Taylor Swift, as much as you think about their music. That really reshaped our relationship with popular music. We expect to know what artists look like. It's odd to think about that; it really wasn't a thing decades before. You could be a fan of an artist and not really know what they look like. How would you know? Maybe you saw them in a magazine. Maybe you caught them on one television show. The idea that we have access to what everyone looks like is a pretty new phenomenon.That's fun. It's just so interesting to see how a simple change, whether it's today an algorithm or then a medium of distribution, can just have material impacts on the popularity of British synth music in America.Yeah, that's the perfect example. There's a great book called I Want My MTV, and it's an oral history of MTV. They talked to one of the founders. Early MTV would play, as you're saying, all these British new wave acts. Think A Flock of Seagulls, Duran Duran or even someone like U2. They asked the founder, “Why were you playing so many British artists on early MTV?” He was like, “For some reason, British artists happened to make music videos. And there were about 200 music videos in existence. We had to fill 24 hours of programming.” A Flock of Seagulls was gonna get played a bunch of times just because they happened to make music videos.It is a weird thing. Why would anyone make a music video if there was nowhere to really play them? I don't know why specifically the British had more videos, but there were occasional times where television shows might show a video.They do love that over there, like Top of the Pops. I can see why.Music and television have always been connected. You even think Saturday Night Live still has musical acts. Back then, say your label didn't wanna send you out to Britain to go on Top of the Pops. Maybe they would send a video of you instead. There were videos that would float around on these variety shows, and some early videos were just concert footage. It was like, it was a chicken or the egg thing. Once some people had success on MTV, everyone started producing videos. MTV somehow pulled off the miracle of convincing labels that they needed to make videos and that they needed to front the cost for that. Then they had to give MTV the video for free. I don't know how MTV managed to do that.Well, all of Gen X can't be wrong. If you do wanna get it out there, you do have to get it out there. One really fun recurring thing in the book — which again, like I really enjoyed. I think it's a phenomenal work. I think it's a great history. I'm telling stories that I learned in your book to everybody. It is a really fun read in that regard, I wanna say.I do love how you occasionally clock a genre that really only exists briefly. There's one that always goes around for like the strangest things to hit number one, like the Ballad of the Green Berets. I think like there's a Star Wars disco track that I definitely have on vinyl at home about that. You wrote a lot about like teen tragedy songs. What are some of the fascinating like brief trends that only made a small splash and that all of us have forgotten ever existed, but nevertheless achieve some measure of immortality?Yeah, the teen tragedy song is a good one. That actually inspired the writing of this whole book because I got 50 No. 1s, and I was like, “Why are there so many number ones about teenagers dying? That's a little weird.” And then I did a little digging and tried to piece together why that was. The teenage tragedy song, late '50s, early '60s, there are all of these songs about two teenagers in love, usually high schoolers. One tragically dies often in a car crash, and the other is very sad and maybe says that they'll reunite again one day in the afterlife. Some of the big ones are “Leader of the Pack” by the Shangri-Las and “Teen Angel” by Mark Dinning.It's a very weird blip in popular music history. I won't say it has cast a long shadow, but there are some occasional people who pull from that tradition. The craziest teen tragedy song ever was “Bat Outta Hell” by Meatloaf, in which Jim Steinman tried to write a nine-minute motorcycle crash song. I think that's a really interesting one.Disco: bizarre in the amount of people that made disco songs. I really came to like disco and the best disco music, I'm like, “These are the greatest sounds that have ever been recorded.” But it got so big and so popular that everyone felt the need to record disco songs.Not everything is “I Feel Love,” right?No, most things are not. It strikes me that this happened with disco, but has not happened with other genres. Frank Sinatra recorded disco songs. Basically, every television theme song got a disco remix. I Love Lucy had a disco remix. The Rocky theme song had a disco remix.What? I'm sorry, Frank Sinatra did a disco song? Is it good?It's not good. It's “Night and Day” over a disco beat. And it's not clear to me if they just remixed it or if he actually recut the vocal because I just cannot imagine him doing that. In the mid-60s, there was a nun who topped the charts, The Singing Nun with a song called “Dominique.” Of course, during the disco era, it was remixed as a disco song. There are examples of this where people went sort of disco. The Rolling Stones record “Miss You” and it has the disco beat, or Pink Floyd does “Another Brick in the Wall” or Queen does “Another One Bites the Dust.”Everyone was gonna give it a try. There was so much money being made in the disco world at the time. You can always find some artists you would never think would do a disco song probably tried. They probably gave it their best.That's great. It's just fun because the things that hit number one for a week don't necessarily have to be good. They just have to be popular for like a week. Even the construction of the Top 40 chart, which you get into in the book, isn't exactly science. A lot of times, it's a little bit of intuition. It's a lot of what's selling and what's selling where specifically. It is a little bit woo woo, right?Yeah, definitely. The goal of this chart is “What's the most popular song in America in a given week?” Back in the day, that meant what were people buying? What were people listening to on the radio? What were people spinning in jukeboxes? Today, most music is done on streaming. It's consumption-based, rather than sales-based. So the chart's the same in name only, but it's really measuring very different things. The equivalent would be if we knew after you purchased your copy of “I Feel Love,” how many times did you actually play it at home? You could have purchased it, went home and never played it again. Something like that would not register on the charts these days.I respect the people at Billboard because they have an impossible task. It's like “We're gonna take all the information and we're going to boil it down into choosing or measuring what the most popular song is.” It's an impossible task to some degree.I have watched the evolution of the chart, and I go back and forth on whether they have given up on actually trying to rank stuff or if they are just ranking things in a different way. I think that the apples-to-apples between the era stuff is just so hard to do.One thing I really enjoyed about your book, in particular, is that it's not a story of why these songs are the best. It's a story of why these songs were popular at the time, just dipping the toe into the river of human sound. One thing that I'll ask as you wrap: as you were going through these eras, who did you hear a lot more of than you thought? Who did you hear a lot less than you expected?I joked with some people that if you just looked at the top of the charts, the greatest rock band of the 1970s is either Grand Funk Railroad or Three Dog Night because they both had three number one hits, and many other bands in the classic rock canon have none. Led Zeppelin does not really exist on the pop chart, the singles chart. Led Zeppelin really only put out albums. The Eagles were also big during the '70s on the music charts. But Three Dog Night, they're the legends.There are tons of people that I didn't realize how much I would see of them. Someone like Lionel Richie and Phil Collins, of course, they're tremendously popular, but they were so popular. Phil Collins was popular at the height of the bald pop star era, which I think is a thing of the past. You had multiple bald men who were regularly topping the charts in the mid-80s. You see a ton of Phil Collins, more than I was expecting, even though I know he's very popular.Who don't you see a ton of? Sometimes you don't see people until a bit later in their careers. This is actually an interesting phenomenon. Artists do not score a number one hit during their most critically acclaimed period, and then a decade later, they do. For example, Cheap Trick. They have a number one hit, but it's at the end of the '80s song called “The Flame.” Whereas if you hear Cheap Trick on the radio, it's probably their live album from the 1970s. This is a phenomenon you see again and again. Some old timer will get their number one much later in their career. Tina Turner gets her number one when she's probably in her 40s. It's always interesting to see that.There are also some artists where I feel like there's a divergence between what their most popular songs are these days and what was topping the charts. Elton John is a good example there. “Benny and the Jets” was a number one hit, still a tremendously popular song. But he's got a lot of weird No. 1s that I don't think have as much street cred these days. He has a song called “Island Girl.” Did not age like fine wine. I don't even think he plays it live anymore because it's considered somewhat racially insensitive. But it was a No. 1 hit at the time. “Philadelphia Freedom” is another one by Elton John. I feel like when people think of the Elton John catalog, it's probably not the first song that comes to mind. But it was a No. 1 hit, huge smash. His cover of “Lucy in the Sky with Diamonds” was a No. 1. Elton John has been very popular throughout the decades, but I feel like the reasons he's been popular have changed.People have just gravitated towards different songs as time has gone on. You get distortions at the top of the charts. But I think, as you mentioned, it provides a good sample of what was actually popular. You have the good, the bad, and the ugly. Whereas if you look at some other sources, people are just gonna be like, “Oh, listen to these records. These are the best records.” In reality, the bad records are important, too.Yeah, bad records are great. They're at least interesting. I imagine also some of this process must have been missing out on a lot of interesting music because one song was just dominating the charts. Were there any songs in particular that come to mind that wooled the roost for potentially a little bit too long?Yeah, the quintessential example is the “Macarena” in the ‘90s.Oh, no!I think it was No. 1 for 13 weeks.Christ!There's a great clip of people at the Democratic National Convention and '96 dancing the “Macarena.” It's so bad. Yeah, so a very popular song. There are tons of stuff that gets stuck behind it. There's a great No.1 hit in the '90s called “I Love You Always Forever.” It's a very nice song by Donna Lewis. It's stuck at No. 2 because it just happened to be popular during the “Macarena's” very long run. YYour life's work, your greatest accomplishment, being stymied by the “Macarena” feels like a level of creative hell that I have never envisioned before.Yeah, there are other artists who got unlucky. Bruce Springsteen never performed a No. 1 hit. He wrote a No.1 hit for another artist. His closest was “Dancing in the Dark” got to No. 2, but that was also when Prince released “When Doves Cry,” so it's a tough, tough week. Bob Dylan, similar thing. He wrote a No. 1 hit, but he only ever got to No. 2. I think he got to No. 2 twice. Once, he got stuck behind “Help” by the Beatles, and another time he got stuck behind “Monday Monday” by the Mamas and the Papas.This is another thing when I talk about the charts. There could be many fewer units sold in a given week, or there could be many more units sold. There's a lot of luck involved if you're gonna go all the way to No. 1. You could be Bruce Springsteen: you release the biggest record of your life, and Prince also releases the biggest record of his life at the exact same time.Incredible. So again, I have read the book. I really, really like it. People are doubtlessly familiar with the newsletter at this point, but I am also a big fan and booster of that. But I guess I'll just throw it to you. Where can folks find the book, and where can folks find you?Yeah, you can find me, Chris Dalla Riva, basically on every social media platform under cdallarivamusic. I'm most active on TikTok and Instagram. The book, Uncharted Territory: What Numbers Tell Us About the Biggest Hit Songs and Ourselves, should be available from every major retailer online. Amazon, Barnes & Noble, Walmart, Booklist, all that good stuff. Not available physically in stores, so definitely order it online.Like I said, I spent years listening to every No. 1 hit in history, built a giant data set about all those songs and used that to write a data-driven history of popular music from 1958 to basically 2025. So go pick up a copy, buy one for your mother for Christmas. Or your father, I don't discriminate. Yeah, check it out. I'm hoping people enjoy it, and I'm really excited to finally get it out in the world. It's been a long, circuitous journey to get it published.It's a really fun read, and I wish it nothing but the best. And yeah, congrats, thanks for coming on.Yeah, thanks for having me.Edited by Crystal WangIf you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

Eventjes terug naar 17 oktober 1980… Een destijds onbekende band staat op het punt van zijn echte doorbraak en komt na optredens in de Melkweg in Amsterdam en Vera in Groningen, naar de Gigant in Apeldoorn. Het was voor het eerst dat deze band te horen en te zien is buiten de UK. Maar erg onder de indruk was men in Apeldoorn niet van het eerste geluid van U2… Lokale punk-types uit Arnhem en Deventer waren wel op de poster afgekomen. Maar toen U2 het livegeluid van ‘Boy' ten gehore bracht, bleek het een complete mismatch tussen Bono en de omgeving Apeldoorn. Er gaan zelfs verhalen rond over LP's van het debuutalbum van de legendarische band die na het concert als frisbees door de zaal vlogen… Vandaag in Spijkers met Koppen eren we het Apeldoornse poppodium GIGANT - Goede Ideeën Gaan Alsnog Nooit Teloor. Want naast een piepjonge U2 staan ook Simple Minds en Nirvana op het gigantische podum, maar toch hadden ze het zonder Herman Brood nooit overleefd... Nu, vijftig jaar later kunnen we door het boek ‘Gigantisch Luid en Tegendraads' allemaal meegenieten van drugs, bloed, zweet en tranen in een plaats waar niets te doen was. Schrijvers Jan Westerhof en Siwert Hoogenberg praten over die gouden dagen van poppodium Gigant.  Verder: * Alles over de stoelendans in de nieuwe Tweede Kamer * Waar in vredesnaam is Apie?? * En Pas op! Pieter Derks heeft zeker 100x een mening. Presentatie: Dolf Jansen en Willemijn Veenhoven Cabaret: Owen Schumacher, Aron Elstak, Kiki Schippers, Marcel Harteveld, Shariff Nasr. Column: Hans Sibbel Livemuziek: Waylon

Mark Van Buren gets you ready with Top 10 Thanksgiving Movies.  Juan Almanza from El Taco Rustico!!!  Top Cities for DUIs.  California College Students with less than middle school math skills.  Music Acts that no one can convince your are good. U2 is taking a whooping on our socials!  Only on the Live the Dream Media Network.

Send us a textHello, passionate cruisers! This is Paul and this week on The Joy of Cruising Podcast i am delighted to welcome back a special guest, my cohost Cheryl.As you know we are largely in the bucket list checking stage of our lives, and just got the opportunity to check one off. We recently traveled to Las Vegas. That's not the bucket list check I am referring to—we have been to Vegas a zillion times. An aside, we used to own a chain of video stores—memba them—and the annual conference and trade show of the Video Software Dealer's Association was held in Vegas and were can't miss events. What made this trip to Vegas a bucket list checking opportunity was the allure of the Sphere, the iconic spherically shaped venue built by the owners of the NY Knicks and Madison Square Garden. The Sphere, costing about 2.3 billion opened in 2023 with a 40-night residency by U2.Support the showSupport thejoyofcruisingpodcast https://www.buzzsprout.com/2113608/supporters/newSupport Me https://www.buymeacoffee.com/drpaulthContact Me https://www.thejoyofcruising.net/contact-me.htmlBook Cruises http://www.thejoyofvacation.com/US Orders (coupon code joyofcruisingpodcast)The Joy of Cruising https://bit.ly/TheJoyOfCruisingCruising Interrupted https://bit.ly/CruisingInterruptedThe Joy of Cruising Again https://bit.ly/TheJoyOfCruisingAgainIntl Orders via Amazon

S8E46 went out live from the TSORR Studio on Myoli Beach on 13 November 2025 at 19h00 on Rebel Rock Radio. We had plenty of rock and metal, as well as the usual features: Diabolical Challenge, Mutt Lange Commission, The Immortals, Magic Makeover, Twisted Triplets, and, of course, Rock and Metal Time Machine. The Running Order of Artists Featured: Vandenberg, Megadeth, Newsted, Lesley West, Smith/Kotzen, Elegant Weapons, Halestorm, Dio, Accept, Rammstein, Godsmack, Halloween, The Rolling Stones, Manowar, The Eagles, Jimi Hendrix, Motörhead, Saxon, Judas Priest, The Allman Brothers, U2, Sex Pistols, The Stranglers, Uriah Heep, Whitesnake, Rainbow, Deep Purple, Black Sabbath, Yungblud, Mammoth, The Band Feel, Rebel Road, Joe Bonamassa, Redshark, John Mellencamp.The Story of Rock and Roll. TSORR - Your one-stop shop for Rock

Im Wirtschaftstalk spricht Alexandra Reinagl (Geschäftsführerin der Wiener Linien) u.a. darüber, wie sich der öffentliche Verkehr in einer wachsenden Stadt weiterentwickelt, welche Rolle Digitalisierung, Diversität und Nachhaltigkeit für die Zukunft der Mobilität spielen und warum Baustellen zwar herausfordernd, aber notwendig sind. Außerdem erklärt sie, was hinter dem Motto "Team Öffi Liebe" steckt, wie Wien mit Projekten wie U2&U5 Maßstäbe setzt – und warum sie trotz Bauverzögerungen und steigender Anforderungen überzeugt ist, dass es mit den Wiener Linien auch künftig "heiter weiter" gehen wird. 

This week on The Garden Tarts:Side A: U2 news and new books!Side B: Hillary shares the story of an unexpected U2-fan encounterAnd questions for Bono over whiskey and cake!www.thegardentarts.comSUPPORT: www.patreon.com/thegardentarts AND www.buymeacoffee.com/thegardentartstwitter: @the_gardentartsinstagram: @the_gardentartswatch this ep on YouTube: @thegardentarts

In this episode of LEGENDS: Podcast by All Day Vinyl, host Scott Dudelson sits down with Steve Wynn — singer-songwriter and founding member of The Dream Syndicate — to celebrate the 40th anniversary deluxe edition of their sophmore album Medicine Show. Wynn revisits the band's origins in early-1980s Los Angeles, tracing how punk energy and the Paisley Underground scene shaped their sound and the band's first rehearsal at Dennis Duck's house in 1982, which set the creative direction leading to their classic debut The Days of Wine & Roses. The conversation dives deep into the making of Medicine Show after signing with A&M Records — from working with producer Sandy Pearlman and experimenting with slower, more dynamic arrangements to enduring five grueling months of recording that strained band relationships. Wynn reflects on the record's darker, Southern-Gothic-inspired lyrics born from life on the road. They also explore the band's major tours (opening for U2 and touring with R.E.M.), lineup changes, near breakups, and eventual reunions that produced new albums and a revitalized modern lineup. Wynn opens up about the long legal battle to reclaim the Medicine Show masters, the 35-year reversion process that made this reissue possible, and what fans can expect from the deluxe box set — including remasters, live shows, rehearsal tapes, and rarities. He also explains why the original album remains unavailable on streaming despite the reissue. Thank you for tuning in! If you enjoyed this episode, please subscribe, rate, and follow All Day Vinyl on Instagram and YouTube for more conversations with rock legends.

Les compartimos la historia de Sixteen Saltines de Jack White, segundo single extraído del álbum Blunderbuss, primer larga duración de White en primera persona, publicado el año 2012. Escucharemos el relato sobre el origen y grabación de la canción, su versión oficial, su cara B Love Is Blindness (cover de U2) y un vibrante bonus track. Presenta Ricardo Portman. Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com/ La Música del Arcón - FM 96.9 (Buenos Aires, Argentina) miércoles 18:00 (hora Arg.) Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Distancia Radio (Córdoba) jueves y sábados 19:00 Radio Free Rock (Cartagena) viernes 18:00. Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú) Onda Wantuki (Madrid) semanal

The lights drop in Atlanta and Paul McCartney steps into a room full of memory—and invention. We unpack how an icon in his eighties still delivers a two-hour-forty marathon by leaning on tight harmonies, a punchy horn section, and the kind of live tech that lets Being for the Benefit of Mr. Kite explode off a modern stage. The show's emotional peak arrives when Paul sings I've Got a Feeling with John via Get Back footage, a moment that proves technology can connect past and present without cheapening either one.From there we chase the thread of discovery. Remember when The Doors felt brand new again in 1980? A radio deep dive, Apocalypse Now, and a greatest hits record turned Hello, I Love You and Riders on the Storm into fresh obsessions for a new generation. We map that rush forward and backward: how L.A. Woman and Morrison Hotel still punch, how Mr. Mojo Risin' became every teenager's riddle. Along the way, we decode the stories behind The Rolling Stones' Get Off of My Cloud and Neil Diamond's Cracklin' Rosie, and how fame, loneliness, and late-night singalongs sneak into pop myth.Then we give American Beauty the close listen it deserves. From Box of Rain's tenderness to Ripple's campfire wisdom and Truckin's road-scarred grin, we talk sequencing, sunshine daydream codas, and the tradition behind I Know You Rider. We round out the tour with U2's Boy—lean, urgent, and still startling—and a Ramones reappraisal that finds great songs beneath Phil Spector's glossy wall. Through it all, one idea keeps returning: artists adapt, listeners evolve, and the best songs keep meeting us where we are.If that resonates, hit play, follow the show, and share it with a friend who loves live music and music history. Leave a review to tell us which song hit you differently this time—we'll feature our favorite takes on a future episode.Send us a one-way message. We can't answer you back directly, but it could be part of a future Music In My Shoes Mailbag!!!

Years before a free album made them the most unpopular popular band on the planet, U2 ran into the arms of America. In 1987, touring behind their blockbuster album The Joshua Tree, their songs became lightning rods for violence. They received death threats in the States and became targets of terrorists back in their native Ireland. But it was the song “Exit,” written from the POV of a killer, that was linked with pure evil. That song allegedly inspired a man to hop an overnight bus to Los Angeles, carrying a loaded .357 Magnum and a copy of The Joshua Tree, ready to do whatever it took to meet the women he was obsessed with. This episode contains themes that may be disturbing to some listeners, including descriptions of stalking. This episode was originally published on November 14, 2023. To see the full list of contributors, see the show notes at ⁠www.disgracelandpod.com⁠. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - ⁠GET THE NEWSLETTER⁠ Follow Jake and DISGRACELAND: ⁠Instagram⁠ ⁠YouTube⁠ ⁠X⁠ (formerly Twitter)  ⁠Facebook Fan Group⁠ ⁠TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

The United States may have an official day of gratitude every November with Thanksgiving, but for many of us, most every day could be a day of appreciation. A sincere "thank you" is rewarding for everyone: It feels good to say it and it feels good to hear it. However, appreciation can be complicated and "thank you" may come with a twist. Sometimes we're grateful (in hindsight, at least) for the lessons we've learned from difficult people. Sometimes we feel generalized happiness for family and/or friends. Sometimes we're just thankful to no one in particular that we're happy for no reason in particular. And of course sometimes expressions of gratitude are just a cover for dark feelings. In this episode of "How We Heard It" your hosts sift through an array of old and new songs that directly or indirectly express gratitude. Artists include Ariana Grande, Harry Styles, The Kinks, Sly and the Family Stone, The Beatles, Big Star, Natalie Merchant, Taylor Swift, Bob Hope, Elton John, Louis Armstrong, Rihanna, Gwen Stefani, The Beach Boys, Backstreet Boys, Alanis Morissette, James Taylor, Small Faces, Kool & the Gang, U2, Spice Girls, Boyz II Men and many more. Thanks for listening!

This episode is being published for the first time on Friday, November 7th. An episode of the same title was mistakenly published previously. The media blamed AC/DC for inspiring a serial killer. Rebecca Shaefer's murderer claimed inspiration from a U2 song. When the next incel murder happens, will we blame Morrissey? Radiohead? Or will we finally learn our lesson and treat the music as a mirror, and not a weapon? This topic, along with your voicemails, texts, and emails, and in the All Access portion, Jake and Zeth look into one of the weirdest social phenomena, “The My Way Killings,” where, for some reason, this mega Frank Sinatra hit has triggered numerous murders in the Philippines. You can become an All Access member and hear this and more exclusive content, along with ad-free listening of all Disgraceland episodes, by going to disgracelandpod.com and signing up via Patreon or Apple Podcasts. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

fWotD Episode 3108: Slug (song) Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Friday, 7 November 2025, is Slug (song)."Slug" is a song by Passengers, a side project of musician Brian Eno and rock band U2. It is the second track on Passengers' sole release, the 1995 experimental album Original Soundtracks 1. The track was originally titled "Seibu" and was almost left off the album before it was rediscovered later during the recording sessions. Though Eno made most of the creative decisions during the sessions, "Slug" was one of the few tracks that the members from U2 tried to craft themselves.Lyrically, it portrays the thoughts of a desolate soul with the confusion of romance and faith. As Eno and U2 were writing songs for fictional soundtracks, they tried to create a visual suggestion from the music that was more important than the story within the lyrics. In "Slug", the instrumentation is intended as visual music representing the lights turning on in a city at night. The group primarily drew inspiration for the song from U2's experiences in Tokyo at the conclusion of their Zoo TV Tour in 1993. "Slug" was praised as one of the best songs on the album by critics from various publications, both at the time of its release and in retrospective reviews.This recording reflects the Wikipedia text as of 00:31 UTC on Friday, 7 November 2025.For the full current version of the article, see Slug (song) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Aria.

The media blamed AC/DC for inspiring a serial killer. Rebecca Shaefer's murderer claimed inspiration from a U2 song. When the next incel murder happens, will we blame Morrissey? Radiohead? Or will we finally learn our lesson and treat the music as a mirror, and not as a weapon? This topic, along with your voicemails, texts, and emails, and in the All Access portion, Jake and Zeth look into one of the weirdest social phenomena, “The My Way Killings,” where, for some reason, this mega Frank Sinatra hit has triggered numerous murders in the Philippines. You can become an All Access member and hear this and more exclusive content, along with ad-free listening of all Disgraceland episodes, by going to disgracelandpod.com and signing up via Patreon or Apple Podcasts. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Dr. Jeff Spencer, an Olympian, author of multiple books, an award-winning chiropractor, a renowned glass artist, and a human performance coach, joins me on this episode. Jeff's client roster includes Lance Armstrong, Tiger Woods, the rock group U2, Richard Branson, and many others.

picture on a screen a pair of scissors adviser unease (at a trip thru the air) don't you just (heartbeat) ol man river ostia (the death of pasolini) an cat dubh food medicine energy how to destroy angels a deeper sea culture girl bestie mirror bells sobrio morra QQ0Q cubicle shell eklisia 1 into the glass maze the crack in space pt1 miljacka transmission4 dressed transition critique of poor reason nocturne time cycle attempted 1973 library womb of wyres god only knows moonbeam another night slow inquiry living for the citydent may claire's unnatural twin cellular chaos ezra turpentine gabbi fusco luis russell coil U2 beentjes, donovan and johnco seth guy sound inhaler eugenio sanna art electronix edu comelles jarod c balogh konstrukt peterbrotzmann, hseyin ertun and dogan dogusel burstbot coloepteron joo guimares and joo fillipe lezet and matthew sforcina chris silver deef stormhat chopin carlos ramirez cagey house gurdonark wolf asylum brian wilson lord huron camel A R Jones stevie wondermany voices of truthimage by Grok

This week Jeremy welcomes Bren Lukens of Modern Baseball for their first interview in eight years.  On this episode, Jeremy and Bren talk life updates, Florida, System of a Down, falling in love with singing, U2, bootleg shirts, MP3 trading, starting Modern Baseball, writing their album "Holy Ghost", early touring as a duo and transitioning into a full band, international touring, the last Modern Baseball show so far, and so much more!!! SUBSCRIBE TO THE PATREON for a bonus episode where Bren answered questions that were submitted by subscribers! FOLLOW THE SHOW ON INSTAGRAM / X

On today's Geezers of Gear, we're joined by Allen Branton, Emmy-winning lighting designer with a 50-year career spanning tours, TV, and live events. From MTV Unplugged and the Super Bowl Halftime Show to tours with U2, Diana Ross, and The Rolling Stones, Allen has lit some of the most iconic stages in entertainment history.Allen's work has earned multiple Primetime Emmy Awards and nominations, and he is co-author of Lighting Design Beyond Theatre: A Process for the Evolving Entertainment Industry. From tours to television specials and global events, Allen has shaped the visual language of modern live entertainment across every continent except Antarctica.This Epiosde is brought to you by ACME Lighting and Delicate Productions

On today's Geezers of Gear, we're joined by Allen Branton, Emmy-winning lighting designer with a 50-year career spanning tours, TV, and live events. From MTV Unplugged and the Super Bowl Halftime Show to tours with U2, Diana Ross, and The Rolling Stones, Allen has lit some of the most iconic stages in entertainment history.Allen's work has earned multiple Primetime Emmy Awards and nominations, and he is co-author of Lighting Design Beyond Theatre: A Process for the Evolving Entertainment Industry. From tours to television specials and global events, Allen has shaped the visual language of modern live entertainment across every continent except Antarctica.In this episode, lighting designer Alan Branton shares insights from his 50-year career in the entertainment industry, discussing his transition from touring to television lighting, the evolution of technology in lighting design, and the importance of layering light for televised performances. He reflects on the industry's changes, the need for collaboration, and his philosophy of authenticity in music performances. Branton's experiences with iconic artists and his thoughts on the future of live performances provide a comprehensive look at the art and science of lighting design. In this conversation, Allen Branton discusses the evolution of lighting design, particularly in live events and television. He reflects on his experiences with MTV Unplugged, the impact of technology on the industry, and the importance of audience engagement. Branton shares insights on mentorship, the future of live entertainment, and the significance of preparation in achieving successful lighting design. He emphasizes the need for more skilled professionals in the field and the value of passing knowledge to the next generation.This Episode is brought to you by ACME Lighting and Delicate Productions

Tijdens mijn show in Amsterdam sprak ik met niemand minder dan Anton Corbijn – fotograaf, regisseur en vormgever die dit jaar zeventig wordt en vijftig jaar in het vak viert. We praten over zijn nieuwe boek Corbijn, Anton, over zijn iconische portretten van U2, Bowie en de Rolling Stones, en over de manier waarop zijn stijl ontstond uit onvermogen om het anders te doen. Anton vertelt over mislukking als bron van inspiratie, de kracht van intuïtie en het belang van mysterie in een tijd waarin alles zichtbaar is. Veel luisterplezierEen eerlijk, inspirerend gesprek met een meester van het beeld.

Happy Halloween!!! On the October 31 edition of Music History Today podcast, we've got Queen, the Stooges, Kiss, & Lifehouse. Also, happy birthday to members of U2, Chic, the Beastie Boys, & Vanilla Ice.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

EPYSODE 59: "Kongos" by John Kongos. Guest: John Kongos. Additional commentary by Uncle Herff. This week we drop the needle on "Kongos", the 1972 cult-favourite album that fused glam rock, African rhythms, early sampling, and psychedelic textures long before such mashups became the norm. With exclusive commentary from John Kongos, we explore the bold studio experimentation behind tracks like “He's Gonna Step on You Again”, a UK Top 5 hit that famously used tape loops and tribal drums, influencing artists from Happy Mondays to U2. Kongos shares firsthand stories about working with producer Gus Dudgeon (Elton John), the intense sessions at Trident Studios, and how the album's futuristic sound puzzled critics but built a cult following that still grows today. This is a deep-dive into one of the most forward-thinking albums of the era...one that sounds as vital now as it did over 50 years ago. I hope you dig "Kongos" as much as I do. - Farmer John ===CONNECT & SUPPORT=== Transport yourself into the realm of grooviness by supporting us on Patreon using this link --> patreon.com/FarmerJohnMusic Use this link to follow us on Facebook --> https://www.facebook.com/farmerjohnmusic/ Use this link to follow us on Instagram --> https://www.instagram.com/vinylrelics/ Use this link to follow us on TikTok --> https://www.tiktok.com/@vinylrelicspodcast Use this link to follow us on BlueSky --> https://bsky.app/profile/farmerjohnmusic.bsky.social And find us on X @VinylRelicsPod Email me @ ⁠farmerjohnmusic@gmail.com⁠   ===THE MUSIC=== Songs used in this Epysode, in order of appearance. Here's a link to a Spotify playlist for all the tracks featured ( *denotes track is not available on Spotify): https://open.spotify.com/playlist/03Hc0ElOSr7zerfpLArswj?si=0c7745a5dafb4a61 WILLIE NILE "Vagabond Moon" TOMMY STEELE “Rock With The Caveman” CHET ATKINS “Mr. Sandman” ARTISTS AGAINST APARTHEID “Sun City” THE G-MEN “Campbell's Rock” *JOHNNY KONGOS & THE G-MEN “Cruel Sea” JOHNNY KONGOS & THE G-MEN “It's All Over Now” JOHNNY KONGOS “Little Boy Cryin'” JOHN T. KONGOS “I Love Mary” FLORIBUNDA ROSE “Linda Loves Linda” SCRUGG “Lavender Popcorn” DALIAH LAVI “Oh, wann kommst du?” JOHN KONGOS “Confusions About A Goldfish” JOHN KONGOS “Blood” JOHN KONGOS “Amendment To Confusions About A Goldfish” JOHN KONGOS “Seat By The Window” DAVID BOWIE “The Laughing Gnome” ELTON JOHN “Your Song” JOHN KONGOS "Tokoloshe Man" JOHN KONGOS "Jubilee Cloud" JOHN KONGOS "Gold" JOHN KONGOS "Lift Me From The Ground" JOHN KONGOS "Come On Down Jesus" JOHN KONGOS "I Would Have Had A Good Time" STEPHEN STILLS "Love The One You're With" JOHN KONGOS "Try To Touch Just One" RALPH McTELL "Streets Of London" JOHN KONGOS "Tomorrow I'll Go" JOHN KONGOS "He's Gonna Step On You Again" JOHN KONGOS “Higher Than God's Hat” *JOHN KONGOS “Ride The Lightning” JOHN KONGOS “I'm Dreaming” *JOHN KONGOS “Blind Date” THE HAPPY MONDAYS “Step On” JOHN KONGOS “Nature's Game” KONGOS “I Am Not Me” ??MYSTERY ARTIST?? Tune in next week to find out... NEWPORT ELECTRIC "If Wishes Were Horses" ^^ That's my band. This is shameless self-promotion!!   Learn more about your ad choices. Visit megaphone.fm/adchoices

This week's Mixtape Rewind takes you back to January 2022 when Matt and Sam gave you 12 new tracks from the latter part of 2021.  Sam is almost certain one song is Norwegian but later realizes it was actually French - you'll have to listen to find out what that's all about. (The perils of recording early in the morning).Nearly four years ago, we went from a posthumous Juice WRLD cut with Justin Bieber to a high-voltage rocker from Goodbye June, before swerving into Nas's compact masterclass and The Smile's angular warning shot from Thom Yorke and Jonny Greenwood.The middle of the journey softens without losing purpose. Save Face disguises a dark story in glittering pop-punk; Stromae returns with a beautiful, aching meditation on isolation; Nathaniel Rateliff & The Night Sweats bring blues rock warmth with a simple promise: I'm on your side. We keep that thread alive with Aurora's poetic electro-pop and a cinematic surprise—U2's Your Song Saved My Life from Sing 2—proof that film can spark songs meant to be felt by every age in the room.We land the plane with intimacy and legacy. JJ Wilde and Billy Raffoul trade lines like late-night confessions, Brian Wilson reminds us what a signature sound really means, and Broken Social Scene closes with a winter-walk tempo and a lyric about moving slowly through uncertainty. It's a mix built for replay and for sharing—equal parts adrenaline and reflection, discovery and comfort. Here's the mix available on our Super Awesome Mix app (requires Apple Music): https://app.superawesomemix.com/qdjkzrCDUd7y4sx68 Here's the mix on Spotify: https://open.spotify.com/playlist/6Qc8jOICb2quuMWO8XnrJy?si=d510dc3ff85e4430Wandered to LA by Juice WRLD & Justin BieberStep Aside by Goodbye June40-16 Building by NasYou Will Never Work In Television Again by The SmileGLITTER by Save FaceL'enfer by StromaeI'm On Your Side by Nathaniel Rateliff & The Night SweatsEverything Matters by AURORAYour Song Saved My Life by U2Let Me Go by JJ Wilde & Billy RaffoulRight Where I Belong by Brian Wilson & Jim JamesCurse Your Fail by Broken Social Scene Support the showVisit us at https://www.superawesomemix.com to learn more about our app, our merchandise, our cards, and more!

Ya se viene el Jalogüín y sale el nuevo éxito mundial: "Thriller" versión La Tigresa del Oriente; y en más historias macabronas, Enrique Guzman platica con la Sra Pinal todos los días. Nicolás Maduro se va contra U2, no es tan fan de su música la parecer. Y MoyMu23 nos cuenta de sus ídolos y de por qué no dejaron pasar a LazyBoy a una feria en Veracrú.

The Garden Tarts went to Tulsa, Oklahoma to see Bono & Edge accept the Woody Guthrie Prize on behalf of U2. Side A: All about usSide B: All about themAnd questions for Bono over whiskey and cake. www.thegardentarts.comSUPPORT: www.patreon.com/thegardentarts AND www.buymeacoffee.com/thegardentartstwitter: @the_gardentartsinstagram: @the_gardentartswatch this ep on YouTube: @thegardentarts

Las últimas noticias del Rock y los lanzamientos más importantes de la semana.

We are absolutely thrilled to welcome the incredible Iain Morrison today!  Iain has spent years working behind the scenes to help global superstars bring their spectacular shows to Australian audiences. Several years ago, he launched his company, The Imagination Collaborative. He joins us today to share his journey and insights from his remarkable career in the events industry. Iain's Journey  Iain built his career behind the scenes of the world's biggest concerts, working with global stars like Pink, the Foo Fighters, U2, Taylor Swift, and Adele. After decades of running large-scale productions and managing hundreds of people, he founded The Imagination Collaborative, a company that uses advanced digital technology to plan and visualize major events. His shift from being constantly on the road to leading a remote, tech-driven business reflects both the evolution of the events industry and his own desire for a balanced, meaningful lifestyle. Precision and Planning with Digital Technology Iain's company uses 3D modeling and digital twins to map out event infrastructure with extreme accuracy, reducing costs, saving labor, and improving efficiency, especially for large outdoor venues where terrains vary. Shifting from Onsite Chaos to Remote Work After years of managing massive productions, Iain now relies on digital connectivity, operating primarily from his home. While he appreciates the quiet and flexibility, he sometimes misses the high-energy, in-person collaboration of event sites. To stay connected, he plans to visit more live events this year and reconnect with the colleagues who have been part of his professional life for decades. Balancing Work and Lifestyle Iain designed his business around the life he chose to live, not the other way around. He and his wife have embraced remote work, even traveling across Australia in their caravan while managing operations. For them, success means sustainability, freedom, and presence rather than building the biggest company possible. Life Lessons and Priorities The sudden passing of a colleague prompted Iain to reassess his priorities. He realized that waiting to enjoy life after years of overwork is a dangerous gamble. He now focuses on being fully present, spending time with family —especially his new grandchild —and creating a business that supports a fulfilling life rather than consuming it. Defining Success on His Own Terms The Imagination Collaborative is thriving financially and creatively, but Iain measures his success by its alignment with his values. His goal for the next decade is to collaborate with people who are passionate about technology and purpose-driven event creation. For him, growth is secondary to quality of life, enjoyment, and meaningful relationships. Lessons from a Year of Growth Iain admits that the first year of running his company was exhausting due to global clients and time zone challenges. Yet it taught him valuable lessons about boundaries, clarity, and vision. He and his wife now focus on refining their goals and using what they have learned to make their second year more balanced and efficient. Technology and a Changing Industry Iain credits modern connectivity, particularly innovations like Starlink, for making his lifestyle possible. With advanced processing power, cloud rendering, and real-time visualization tools, remote collaboration has become seamless. Iain believes his generation has been fortunate to witness and adapt to technological revolutions that continually open new opportunities. The Future of The Imagination Collaborative Looking ahead, Iain intends to continue working with top venues and event teams worldwide, helping them visualize and deliver world-class experiences. His priority is helping the right people create the right events while maintaining integrity and staying true to his values of balance and authenticity. Bio: Iain Morrison Iain Morrison is the straight-talking CEO of The Imagination Collaborative and one of the most trusted voices in the global event industry. With over 35 years of experience leading large-scale productions, Iain is known for his humor, honesty, and no-nonsense insights on creativity, leadership, and burnout. Ranked in the Top 1% of LinkedIn creators worldwide, his posts reach thousands who appreciate his blend of real talk, empathy, and practical wisdom. Iain's influence spans brands like Adobe, Canva, and Zoom, making him a leading advocate for authentic, human-centered innovation in event management. Connect with Eric Rozenberg On LinkedIn Facebook Instagram Website Listen to The Business of Meetings podcast Subscribe to The Business of Meetings newsletter Connect with Iain Morrison On LinkedIn The Imagination Collaborative  

In this episode of the XS Noize Podcast, Mark Millar is joined by Moya Brennan — the unmistakable voice of Clannad, often hailed as the First Lady of Celtic Music. This year marks the 40th anniversary of Clannad's landmark 1985 album Macalla — a record that bridged ancient Celtic roots with modern pop and ambient textures. Produced by Steve Nye (Japan, David Sylvian) and recorded across Dublin, Surrey, and Switzerland, Macalla captured the moment when Irish music stepped confidently onto the global stage — featuring the iconic duet with Bono, In a Lifetime. In this conversation, Moya looks back on the creative and spiritual journey behind Macalla — from the evolving sound that carried Clannad from Donegal's Irish-speaking Gaeltacht region to worldwide acclaim, to the energy of recording during a golden era for Irish music, with U2 at Live Aid and the world discovering Celtic voices anew. She recalls the "lightning in a bottle" studio sessions with Bono and explores the deeper sense of faith, family, and identity that continues to echo through her work. "If Macalla helps someone feel something, even for a moment — that's what it was meant for." – Moya Brennan Moya also reflects on Clannad's role in reshaping how Irish music was seen around the world, and the blending of Gaelic language and modern production that became their signature sound. She discusses how her collaborations have taken her voice from folk stages to global dance floors — most famously with Chicane on Saltwater — and the enduring power of songs such as Closer to Your Heart, Buachaill Ón Éirne, Caisleán Óir, Almost Seems (Too Late to Turn), The Wild Cry, and Journey's End to connect generations. Listen to the full episode and join Moya Brennan as she reflects on 40 years of Macalla — the memories, the music, and the lasting echo of Clannad's legacy. About The XS Noize Podcast With over 250 episodes to its name, the XS Noize Podcast has become a trusted home for music's legends and trailblazers — a space where real conversations meet real stories. Hosted by Mark Millar, the show has welcomed an extraordinary lineup including Glen Matlock, Miles Kane, Matt Berninger, Saint Etienne, D:Ream, Gavin Rossdale, The Farm, Snow Patrol, John Lydon, Will Sergeant, Ocean Colour Scene, Gary Kemp, Doves, Gavin Friday, David Gray, Anton Newcombe, Peter Hook, Razorlight, Sananda Maitreya, James, Crowded House, Elbow, Cast, Kula Shaker, Shed Seven, Future Islands, Peter Frampton, Bernard Butler, Steven Wilson, Travis, New Order, The Killers, Tito Jackson, Simple Minds, The Divine Comedy, Shaun Ryder, Gary Numan, Sleaford Mods, and Michael Head — among many more. Explore the complete XS Noize Podcast archive here  

Burnie and Ashley discuss the World Series, Jonas Brothers, U2, Cam Skatebo, NY Giants, the precious resource of public attention, and thoughts about the Halo Campaign Evolved announcement.

What's your most loved and least favourite song on U2's 1987 album, the Joshua Tree? Dan decided to pick The Big One™ by the biggest 80s alt band we surprisingly haven't dedicated an episode to, despite being one of our favorites. Lots of fun opinions, concert tales and a surprise visit from famed Bono impersonator Pavel Sfera. Available at WeWillRankYouPod.com, Apple, Spotify, Youtube, Joshua Tree CA and everywhere else you get podcasts. Please tell us how YOU would rank tonight's tunes on Instagram, Facebook and Threads  @wewillrankyoupod !FILE UNDER/SPOILERS:America, Beck, Bono, buggin ya, Bullet the Blue Sky, Greg Carroll, Adam Clayton, Dublin, The Edge, Brian Eno, Exit, God complex, gospel, harmonica, I Still Haven't Found What I'm Looking For, In God's Country, Ireland, Island Records, Joshua Tree, Daniel Lanois, leather vest, Mothers of the Disappeared, Larry Mullen Jr., 91X, One Tree Hill, Passover, play the blues, ponytail, Rattle and Hum, Red Hill Mining Town, Running to Stand Still, Pavel Sfera, Slane Castle, stadiums, Sunday Bloody Sunday, Super Bowl, ticking guitars, Trip Through Your Wires, the Waterboys, Wembley Stadium, Where the Streets Have No Name, With or Without You, Zoo TV, 1987.US: http://www.WeWillRankYouPod.com wewillrankyoupod@gmail.comNEW! Host tips: Venmo @wewillrankyoupodhttp://www.facebook.com/WeWillRankYouPodhttp://www.instagram.com/WeWillRankYouPodhttps://www.threads.net/@WeWillRankYouPodhttp://www.YerDoinGreat.com (Adam's music page)https://open.spotify.com/user/dancecarbuzz (Dan's playlists)Pavel Sfera http://www.BonoDouble.com

In this special edition of Back to the 80s Radio, host Toscano steps out from behind the console and takes you on a deeply personal journey through the decade that defined him.It's the story of growing up in Southern California in the 1980s—the sounds, the streets, and the song that changed everything: U2's “Where the Streets Have No Name.” More than a memory, it's a look back at how music can shape a life, heal a heart, and ignite a purpose.This is one man's story of faith, family, and the soundtrack that made it all possible.Become a supporter of this podcast: https://www.spreaker.com/podcast/back-to-the-80s-radio--5883226/support.This episode of Back to the 80s Radio — The Streets That Shaped Me — was written, voiced, and produced by Toscano.Inspired by true events and featured in the upcoming book Life Goes On: The Lessons We Learned from 80s Music. For more stories, music, and memories that shaped a generation, visit fm80s.com or follow @back2theeightiesradio.

Adam talks with British musician and artist John Foxx, about a few of the pioneers of electronic music, forming the band Ultravox!, working with legendary producers Brian Eno (Bowie, Talking Heads, U2, Coldplay, etc.) and Conny Plank (Kraftwerk, NEU! Cluster, Harmonia, etc.), the relationship between art, music and comedy, his encounters with Keith Richards and performance artist Leigh Bowery, what he and Fall frontman Mark E Smith would talk about on their drinking sessions together and how his parents didn't screw him up.Conversation recorded face-to-face in London on 11 March, 2025List of the music clips used in this episode on Adam's website HEREADAM TALKS 90s TV AND PLAYS MUSIC @ LONDON LITERATURE FESTIVAL @ Royal Festival Hall, Sunday 26th October 2025, 7.30pmThanks to Séamus Murphy-Mitchell for production supportPodcast illustration by Helen GreenListen to Adam's album 'Buckle Up' Order Adam's book 'I Love You Byeee' Sign up for the newsletter on Adam's website (scroll down on homepage)RELATED LINKSMETAMATIC - SIGNED 45th ANNIVERSARY GREY VINYL - 2025 (BURNING SHED)JOHN FOXX - UNDERPASS - 1980 (YOUTUBE)ELECTRICITY AND GHOSTS The Visual Art of John Foxx - 2024WENDY CARLOS - VOCODER QUESTIONS (WENDY CARLOS WEBSITE)STRANGE JOURNEY: THE STORY OF ROCKY HORROR (TRAILER) - 2025 (YOUTUBE)LEIGH BOWERY - SOUTH OF WATFORD PT 1 - 1986 (YOUTUBE)LEIGH BOWERY - SOUTH OF WATFORD PT 2 - 1986 (YOUTUBE)LEIGH BOWERY - SOUTH OF WATFORD PT 3 - 1986 (YOUTUBE)MICHAEL CLARKE AND MARK E SMITH ON NEWSNIGHT - 2011 (YOUTUBE)THE DAMNED - NEW ROSE - 1977 (YOUTUBE)LEIGH BOWERY GIVES BIRTH AT WIGSTOCK - 1993 (YOUTUBE) Hosted on Acast. See acast.com/privacy for more information.

박물관마저 매력적인 도시, 더블린! 우리의 민속촌과 비슷한 느낌일까? ‘시골 생활 박물관'에서 아일랜드의 옛 정취를 느껴보고, ‘아이리쉬 락앤롤 뮤지엄'에서 U2의 발자취를 만나자. 그리고 로마 판테온 신전의 돔처럼 구멍이 뚫린 천장을 가진 ‘국립 고고학 박물관'과 아일랜드 독립투사들이 투옥 됐던 ‘킬메인햄 감옥'으로 하루 일정 마무리!

This episode of Pipeline Visionaries features an interview with Lauren Vaccarello, CMO of WEKA, a company building the foundation for enterprise and agentic AI. Lauren discusses her marketing philosophy: align every initiative with business goals, empower teams to experiment freely, and build category leadership through creativity and thought leadership. From the company's breakthrough collaboration with U2 at the Sphere to its irreverent “Introducing Neural Mesh” launch video, Lauren shows why modern marketing demands bold storytelling and a studio-like mindset.Key Takeaways:Creativity and speed are non-negotiable. Empower teams to ship ideas quickly and learn fast, don't get bogged down in creation by committee. Smart teams sell. Put your smartest people front and center to define the future of your industry.Tell stories that feel human. From rock-concert customer videos to funny launch trailers, authentic content creates the biggest impact.Anchor every idea to impact. If it doesn't tie back to the company's biggest goals, it's just noise.Quote: “ This amazing thing with being earlier in your career is, you don't know what you don't know. You think you can do everything and because you don't know this is how things are done, you just figure it out in a different way. And I see some of these earlier in career marketers and what they are able to accomplish because they don't have the hangups of the rest of us. The, well, this is hard and this takes a long time and you need approvals. Here they are using AI to just pump out really incredible work. They are thinking in ways that I just, I wish I was 22 and was like thinking like that. It's so inspiring and I think a challenge for many marketers who have more tenure and more experience.”Episode Timestamps: *(02:29) The Trust Tree: Serving as a tech partner at the Sphere *(32:56) The Playbook: Kill Creation by CommitteeSponsor:Pipeline Visionaries is brought to you by Qualified.com. Qualified helps you turn your website into a pipeline generation machine with PipelineAI. Engage and convert your most valuable website visitors with live chat, chatbots, meeting scheduling, intent data, and Piper, your AI SDR. Visit Qualified.com to learn more.Links:Connect with Ian on LinkedInConnect with Lauren on LinkedInLearn more about WEKALearn more about Caspian StudiosNeuralMesh™ by WEKA®: Storage Rewired for the AI Era: https://www.youtube.com/watch?v=23cVbsAIwSY Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Oklahoma City and Los Angles mark 1,000 days until the 2028 Olympics.Irish rock band U2 is getting honored tonight in Tulsa.We take a look at the future of the lesser prairie chicken.You can find the KOSU Daily wherever you get your podcasts, you can also subscribe, rate us and leave a comment.You can keep up to date on all the latest news throughout the day at KOSU.org and make sure to follow us on Facebook, Tik Tok and Instagram at KOSU Radio.This is The KOSU Daily, Oklahoma news, every weekday.

Bradley Morgan's U2: Until the End of the World (Gemini Books, 2025) celebrates fifty years of U2 with a career-spanning retrospective featuring more than 150 images that trace the band's journey from Dublin pubs to sold-out arena tours. Morgan delves into the history of U2, offering an intimate look at their formation and the evolution of their unique sound. From Boy and The Joshua Tree to Achtung Baby and beyond, the book captures how each album marked a creative turning point and cemented U2's place as musical pioneers. Through vivid photography and thoughtful storytelling, Morgan highlights the band's artistic growth and commitment to social activism. From Live Aid to Amnesty International, U2's impact on global causes is as significant as their musical legacy. Readers also gain a rare glimpse into the lives of Bono, The Edge, Adam Clayton, and Larry Mullen Jr., as individuals, collaborators, and lifelong friends behind one of the most influential bands in the world. A music journalist and media arts professional, Bradley Morgan is the director of CHIRP Radio 107.1 FM's music film festival, manages partnerships for the station, and serves on the associate board of the Art Institute of Chicago's Gene Siskel Film Center. He also interviews authors of music and pop culture books for the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Bradley Morgan's U2: Until the End of the World (Gemini Books, 2025) celebrates fifty years of U2 with a career-spanning retrospective featuring more than 150 images that trace the band's journey from Dublin pubs to sold-out arena tours. Morgan delves into the history of U2, offering an intimate look at their formation and the evolution of their unique sound. From Boy and The Joshua Tree to Achtung Baby and beyond, the book captures how each album marked a creative turning point and cemented U2's place as musical pioneers. Through vivid photography and thoughtful storytelling, Morgan highlights the band's artistic growth and commitment to social activism. From Live Aid to Amnesty International, U2's impact on global causes is as significant as their musical legacy. Readers also gain a rare glimpse into the lives of Bono, The Edge, Adam Clayton, and Larry Mullen Jr., as individuals, collaborators, and lifelong friends behind one of the most influential bands in the world. A music journalist and media arts professional, Bradley Morgan is the director of CHIRP Radio 107.1 FM's music film festival, manages partnerships for the station, and serves on the associate board of the Art Institute of Chicago's Gene Siskel Film Center. He also interviews authors of music and pop culture books for the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Bradley Morgan's U2: Until the End of the World (Gemini Books, 2025) celebrates fifty years of U2 with a career-spanning retrospective featuring more than 150 images that trace the band's journey from Dublin pubs to sold-out arena tours. Morgan delves into the history of U2, offering an intimate look at their formation and the evolution of their unique sound. From Boy and The Joshua Tree to Achtung Baby and beyond, the book captures how each album marked a creative turning point and cemented U2's place as musical pioneers. Through vivid photography and thoughtful storytelling, Morgan highlights the band's artistic growth and commitment to social activism. From Live Aid to Amnesty International, U2's impact on global causes is as significant as their musical legacy. Readers also gain a rare glimpse into the lives of Bono, The Edge, Adam Clayton, and Larry Mullen Jr., as individuals, collaborators, and lifelong friends behind one of the most influential bands in the world. A music journalist and media arts professional, Bradley Morgan is the director of CHIRP Radio 107.1 FM's music film festival, manages partnerships for the station, and serves on the associate board of the Art Institute of Chicago's Gene Siskel Film Center. He also interviews authors of music and pop culture books for the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Check out the Theology in the Raw Patreon community for bonus content, extra episodes, and discounted event tickets! Today's guest is my longtime friend Dr. Joel Willitts. On this episode, Joel shares his difficult journey navigating faith and life after being sexually abused by a family member in his youth. It's an incredibly raw conversation —if you're sensitive to these topics, please make sure to prepare yourself before listening.Joel is a Professor in the Biblical and Theological Studies Department at North Park University in Chicago, IL, where he's taught for over twenty years. His academic journey began at Liberty University (B.A. '92), followed by a Th.M. from Dallas Seminary ('00), and an M.Phil. ('02) and Ph.D. ('07) from Cambridge University. His intellectual curiosities are many, included the Jewish Context of the New Testament and Dietrich Bonhoeffer. He enjoys travel, running marathons, watching baseball (especially the Yankees!), listening to U2, and reading. He live in the suburbs of Chicago and has boy-girl twins who are freshmen at North Park University. He's been married to Karla for 33 years. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome to PTBN Pop's Video Jukebox Song of The Day! Every weekday will be featuring a live watch of a great and memorable music video. On today's episode, Andy Atherton is watching “Hold Me, Thrill Me, Kiss Me, Kill Me” by U2 from 1995.   The YouTube link for the video is below so you can watch along! https://www.youtube.com/watch?v=eIdTNyJp38A

This week on the Garden Tarts:Side A: What one song from each U2 album would you play for a muggle (Harry Potter translation: every day person)? The only rule is it can't be a single. Side B: Finish this sentence, "If U2 knew..."And questions for Bono over whiskey and cake!www.thegardentarts.comSUPPORT: www.patreon.com/thegardentarts AND www.buymeacoffee.com/thegardentartstwitter: @the_gardentartsinstagram: @the_gardentartswatch this ep on YouTube: @thegardentarts

In Surrender by Bono, the iconic frontman of U2, shares a deeply personal memoir that explores his life's journey through music, activism, and spirituality. With candid reflections and heartfelt anecdotes, he invites readers into the experiences that shaped both his artistry and his commitment to making a difference in the world.Heidi K. Brown is a former lawyer, a law professor, a writer, a novice boxer, a passionate U2 fan, a proud introvert, and a feisty solo traveler. She is the author of three books about well-being and healthy performance for law students, lawyers, and other members of the legal profession: The Introverted Lawyer,Untangling Fear in Lawyering, and The Flourishing Lawyer. Heidi is an internationally recognized public speaker on topics of self-empowerment, authenticity, and self-discovery. Heidi launched her debut travel memoir, The Map I Draw: A Memoir of Travel as a Passport to Self, in June 2025. You can find more at https://heidikristinbrown.com and her substack Heidiography.Our drink this week is Irish Whiskey, specifically Writer's Tears if you can get it! If you are in the United States you can order it through Reserve Bar.In this Episodehttps://en.wikipedia.org/wiki/The_Joshua_TreeIs U2 the longest running band on the planet?Ali Hewson - Chernobyl InternationalThe Creative Act by Rick RubinThe Creative Habit by Twyla TharpSteven Pressfield BooksHeidi's Keynote at University of Richmond Law School GraduationJoshua Tree Bar Manhattan (sadly now closed!)

It's no secret that we're rather obsessed with the 80s around here, so this week we're chatting with author Debby Meltzer Quick. Debby's first novel (the first of several!) is May I Have Your Attention Please, a mid-80s high school romance set in Eastboro, Massachusetts. Kevin and Debby discuss the novel itself, how much pop culture nostalgia to include in a story, how to draw from one's own life without getting too autobiographical, and much more. Including: 80s movies both well-remembered (The Breakfast Club) and largely forgotten (Give My Regards to Broad Street); going to the Worcester Centrum to see Van Halen, Ratt, and U2 (but alas, not Journey); getting up early for Underdog cartoons; working at the cookie shop at the mall; the weirdness of Orange Julius; early video game systems; bad coffee; new Coke; and the dining room carpet Debby has not been allowed to walk on for forty years and counting. We really enjoyed this conversation, and you will too. And if you can find Eastboro, Massachusetts on a map, please let us know. Debby's website! Debby on Amazon! The Mayor of Chickentown discussing Travelers on The 42cast! And our regular links... The Flopcast website! The ESO Network! The Flopcast on Facebook! The Flopcast on Instagram! The Flopcast on Bluesky! The Flopcast on Mastadon! Please rate and review The Flopcast on Apple Podcasts! Email: info@flopcast.net Our music is by The Sponge Awareness Foundation! This week's promo: The Watch-A-Thon of Rassilon!  

We're back with The Edge for part two of our conversation. This time, on the creative mind itself, we talk about what connects the artist and the entrepreneur: the instinct to imagine something that doesn't exist and make it real. From James Joyce's Volta Cinema to U2's Berlin reinvention, we explore how creativity and risk are two sides of the same coin, and why failure, not success, is what really drives innovation. The Edge opens up about reinventing old songs, finding confidence in chaos, and what it means to stay curious for decades. We also dig into AI and the future of music, asking whether algorithms can ever truly create something new, or if the human imagination will always win out. Hosted on Acast. See acast.com/privacy for more information.

Brian Eno's music opens up worlds I love to step into during trying times. And this conversation with Eno did the same thing.Eno is a trailblazing musician and producer who's worked on seminal records by U2, David Bowie, the Talking Heads and Coldplay, among others. But Eno isn't just a great collaborator with other artists; he's also a great collaborator with machines. He's been experimenting with music technology for decades. Long before we started worrying about ChatGPT replacing human creativity, Eno was tinkering with generative systems to pioneer ambient music – a genre that has deeply influenced how we listen to music today. Eno's use (and playful misuse) of technology has expanded the possibilities of what music and sound can be.Many of you emailed in asking for a break from the news. Here it is.This episode contains strong language.Mentioned:What Art Does by Brian Eno and Bette AdriaanseEast West Street by Philippe SandsSilence by John CageBook Recommendations:Printing and the Mind of Man edited by John Carter and Percy H. MuirA Pattern Language by Christopher AlexanderNaples '44 by Norman LewisMusic Recommendations:The Rural Blues“The Velvet Underground” by the Velvet UndergroundThe ConsolersThoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com.You can find transcripts (posted midday) and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast, and you can find Ezra on Twitter @ezraklein. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.This episode of “The Ezra Klein Show” was produced by Annie Galvin. Fact-checking by Mary Marge Locker, Kate Sinclair and Michelle Harris. Our senior engineer is Jeff Geld, with additional mixing by Aman Sahota. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Rollin Hu, Kristin Lin, Jack McCordick, Marina King and Jan Kobal. Original music by Aman Sahota and Pat McCusker. Audience strategy by Kristina Samulewski and Shannon Busta. Transcript editing by Sarah Murphy. The director of New York Times Opinion Audio is Annie-Rose Strasser. And special thanks to Geeta Dayal, Jack Hamilton, Victor Szabo and Sophie Abramowitz. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.