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7 episodes with very good year
2 episodes with very good year
2 episodes with very good year
2 episodes with very good year
Hello cult leaders and self-loathing playwrights and all the ships at sea and welcome to A Very Good Year. As you probably know by now we are retiring this show and coming back in 2025 with a whole new show, Guide for the Film Fanatic, this Sunday! The show is based on a film-by-film run through of Danny Peary's seminal 1986 book of the same name, where one of our fabulous guests picks a film and we dive in. In the meantime we're revisiting some of our favorite guests and favorite movies by decade. This week we're looking back at the 1990s, objectively a great decade for movies and a very formative one for many of our guests (and hosts).In this episode we've got Mac Welch, David Simms, Keith Phipps, John Early, Karen Han, Hunter Harris, Alissa Wilkinson, Roxana Hadadi, Daniel Waters, Kristen Meinzer, Siddhant Adlakha, Allison Herman, Abby Olcese, Noel Murray, and Emily St. James.Enjoy! For show notes - including where to stream this week's movies, links to referenced media, and more - subscribe on Buttondown at https://buttondown.email/AVeryGoodYear. https://plus.acast.com/s/a-very-good-year. Hosted on Acast. See acast.com/privacy for more information.
Chris draws a unique connection between Frank Sinatra's timeless classic, "It Was a Very Good Year," and smart portfolio management. Using George Goodman's metaphor of a clock with no hands, he explains why timing the market is futile and highlights the importance of asset rotation, trimming positions, and protecting your downside. www.watchdogonwallstreet.com
Hello hunny bunnies and Presidential assassins and all the ships at sea and welcome to A Very Good Year. As you probably know by now we are retiring this show and coming back in 2025 with a whole new show. In the meantime we're revisiting some of our favorite guests and favorite movies by decade. This week we're looking back at the 1990s, objectively a great decade for movies and a very formative one for many of our guests (and hosts).Check out Kate Erbland, Joe Lynch, Brian Tallerico, Alonso Duralde, Kristy Puchko, Sam Adams, Nick de Semlyan, Karina Longworth, Bob Byington, Scott Wampler, Caden Mark Gardner, Sammi Cohen, Kristen Lopez, Sergio Muñoz, Tomris Laffly, Craig Lindsay, Esther Zuckerman, Drew McWeeny, and Brian Raftery.Enjoy! For show notes - including where to stream this week's movies, links to referenced media, and more - subscribe on Buttondown at https://buttondown.email/AVeryGoodYear. https://plus.acast.com/s/a-very-good-year. Hosted on Acast. See acast.com/privacy for more information.
Hello alien dogs and Sta-Puft Marshmallow Men and all the ships at sea. By now everyone knows we're retiring A Very Good Year after more than 100 episodes and coming back with an all new show for 2025. In the meantime we're revisiting some of our favorite guests and favorite movies by decade.This week it's the 1980s, a stretch of time that is not commonly considered a golden age for Hollywood. We've got a lineup for this weeks episode that will dispute that take and they're coming with evidence in the form of some truly excellent cinema.In this episode we'll hear from April Wright, Josh Lewis, Chris Nashawaty, Jen Cheney, Richard Shepard, Matt Singer, W. Axel Foley, Ty Burr, Carrie Couragen, Bilge Elbiri, Jen Johans, Daniela Taplin-Lundberg, John Pierson, and Jacob Knight.Enjoy! For show notes - including where to stream this week's movies, links to referenced media, and more - subscribe on Buttondown at https://buttondown.email/AVeryGoodYear. https://plus.acast.com/s/a-very-good-year. Hosted on Acast. See acast.com/privacy for more information.
Hello New Hollywood hippies and malaise monkeys and all the ships at sea and welcome to A Very Good Year. If you've been listening you know we're retiring A Very Good Year and coming back with a whole new show for 2025.In the meantime we're looking back at the past 100 episodes by revisiting some of our favorite guests and our favorite movies by decade. This episode is massive, but it's the 1970s, arguably the greatest decade for film in the entire short life of the medium. The 70s years were always the first to go when we were booking guests for the show and they do not disappoint.In this episode we've got podcasting superhero Blake Howard, author Charles Bramesco, author Alexandra Heller-Nichols, production designer Judy Becker who is currently getting rave reviews for The Brutalist, filmmaker Zach Clark, writer Jason Diamond, podcaster Brian Saur, writer/director Isabel Sandoval, historian Kevin Kruse, critic Sean Burns, writer/director and actor Noah Seegan, writer Alexandra West, critic Jordan Hoffman, media superstar Soraya Nadia McDonald, critic Katie Rife, author Scott Drebit, and director of photography Bradford Young with what might be the movie that has impacted me the most across the entire series. Enjoy! For show notes - including where to stream this week's movies, links to referenced media, and more - subscribe on Buttondown at https://buttondown.email/AVeryGoodYear. https://plus.acast.com/s/a-very-good-year. Hosted on Acast. See acast.com/privacy for more information.
As you MUST know by now we are retiring A Very Good Year after 2 very good years of the show and over 100 episodes (if you count the bonuses, and why not?). There will be an all new show starting in 2025 with an incredible guest list, tons of great movies, and a bunch of new bonus features available.But before we do that we're looking back on A Very Good Year with some highlight shows. This week it's the 1960s with director Alexandre Phillipe, writer Larry Karaszewski, authors Stephen Farber and Michael McLellan, MST3k's Frank Conniff, TV host and historian Ben Mankiewicz, critic Robert Daniels, professor Charles Taylor, author Mark Harris, programmer Millie di Cherico, critic David Fear, and author Willow Catelyn Maclay. Thank you for listening! For show notes - including where to stream this week's movies, links to referenced media, and more - subscribe on Buttondown at https://buttondown.email/AVeryGoodYear. https://plus.acast.com/s/a-very-good-year. Hosted on Acast. See acast.com/privacy for more information.
After 2 years and 100 episodes we're retiring A Very Good Year and coming back in 2025 with a whole new show. In the meantime we're looking back at some of our favorite guests and favorite movies, by decade.In this episode we're looking at a decade that some people consider a dead zone: the 1950s. As you'll hear it was a great decade for movies. Ever heard of a guy named Hitchcock? I rest my case.Featuring the talents of Sheila O'Malley, Glenn Kenny, James Urbaniak, Beatrice Loayza, Aisha Harris, and one of the best to ever do it, Mr. Phillip Lopate.Thank you for listening! For show notes - including where to stream this week's movies, links to referenced media, and more - subscribe on Buttondown at https://buttondown.email/AVeryGoodYear. https://plus.acast.com/s/a-very-good-year. Hosted on Acast. See acast.com/privacy for more information.
After two years and 100 episodes we're taking a look back at A Very Good Year with highlights from some of our favorite guests. In this episode we're going way back to the 1940s, we're getting into some of the classics and a few pictures that might not be on your radar.This episode features Stephanie Crawford, Jill Blake, Stephanie Zacharek, April Wolfe, Raquel Stetcher and recent Pulitzer Prize winner Justin Chang.Thank you for listening! For show notes - including where to stream this week's movies, links to referenced media, and more - subscribe on Buttondown at https://buttondown.email/AVeryGoodYear. https://plus.acast.com/s/a-very-good-year. Hosted on Acast. See acast.com/privacy for more information.
Hello, and welcome to the wrap party.After two years and 100 episodes we're taking a look back at A Very Good Year with highlights from some of our favorite guests. In this episode we're going way back to the 20s & 30s, we're getting into silents, talkies, and the transition. We cover the big names everyone knows and get into some hidden gems that have been buried deep in the vault. "He Who Gets Slapped", anyone? This episode features our very first guest, Alex Winter, and a murderers row of great film minds including Dana Stevens, Sarah Bea Milner, Megan Abbott, Jessica Pickens, Monica Castillo, Marya Gates, Catherine Stebbins and the king, Leonard Maltin.Thank you for listening! For show notes - including where to stream this week's movies, links to referenced media, and more - subscribe on Buttondown at https://buttondown.email/AVeryGoodYear. https://plus.acast.com/s/a-very-good-year. Hosted on Acast. See acast.com/privacy for more information.
On this week's show, Extremely Musical Friend of the Pod (EMFOP) Chris Molanphy joins to memorialize pop's Renaissance Man, Quincy Jones, who passed away on November 3, 2024. The legendary producer worked with every star under the sun, including Ray Charles, Aretha Franklin, and Chaka Khan, and created the best-selling album in history. (“Thriller,” maybe you've heard of it?) Then, the trio mulls over Conclave, a sumptuous new film by director Edward Berger (All Quiet on the Western Front) about what happens when the Pope dies. It's a fun, pulp-y romp, but does the movie have anything profound to say? Finally, the panel considers Martha, a Netflix documentary about Martha Stewart's rise to fame – and confronts all of lifestyle guru's charms, mysteries, and borderline sociopathic tendencies. Mentioned in today's episode: Hit Parade's “I Wanna Rock with Q“ series. Conclave review, written by Dana. In the exclusive Slate Plus bonus episode, the panel unpacks the most interesting part of Conclave: that out-of-left-field plot twist. Email us at culturefest@slate.com. Endorsements: Dana: Will & Harper on Netflix. Steve: Getting lost in “Songs of a Lost World,” a new album by the Cure. Chris: The podcast A Very Good Year. Julia: Throwing a birthday for your house; commissioning a micro-history of your home. Podcast production by Jared Downing. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, Extremely Musical Friend of the Pod (EMFOP) Chris Molanphy joins to memorialize pop's Renaissance Man, Quincy Jones, who passed away on November 3, 2024. The legendary producer worked with every star under the sun, including Ray Charles, Aretha Franklin, and Chaka Khan, and created the best-selling album in history. (“Thriller,” maybe you've heard of it?) Then, the trio mulls over Conclave, a sumptuous new film by director Edward Berger (All Quiet on the Western Front) about what happens when the Pope dies. It's a fun, pulp-y romp, but does the movie have anything profound to say? Finally, the panel considers Martha, a Netflix documentary about Martha Stewart's rise to fame – and confronts all of lifestyle guru's charms, mysteries, and borderline sociopathic tendencies. Mentioned in today's episode: Hit Parade's “I Wanna Rock with Q“ series. Conclave review, written by Dana. In the exclusive Slate Plus bonus episode, the panel unpacks the most interesting part of Conclave: that out-of-left-field plot twist. Email us at culturefest@slate.com. Endorsements: Dana: Will & Harper on Netflix. Steve: Getting lost in “Songs of a Lost World,” a new album by the Cure. Chris: The podcast A Very Good Year. Julia: Throwing a birthday for your house; commissioning a micro-history of your home. Podcast production by Jared Downing. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices
Tennessee based recording and performing artist duo MEINSCHAFT discusses art, music, political ambiguity, more Meinschaft "This Kiss"The Residents "Swastikas on Parade" https://music.apple.com/us/album/swastikas-on-parade/518757784?i=518758551Laibach "Geburt Einer Nation" https://music.apple.com/us/album/geburt-einer-nation/828105914?i=828105929David Greenberger "The Seven Dwarfs" https://www.youtube.com/watch?v=HOmxABJwHe4The Knife "We Share our Mother's Health" https://music.apple.com/us/album/we-share-our-mothers-health/1489763587?i=1489763595LINKS:BUY Meinschaft 'It was a Very Good Year' https://meinschaft.bandcamp.com/album/it-was-a-very-good-year MEINSCHAFT at X: @____mein
On September 16, we gathered at the stunning Ukrainian Institute of America in New York City for a very special evening. It was a celebration of the release of In the Shadow of Stalin, the powerful graphic novel adaptation of the film Mr. Jones, directed by the brilliant Agnieszka Holland. The night was filled with creativity, conversation, and community. Andrea had the honor of being joined by journalist Terrell Starr, who shared insights and moving stories from Ukraine. His firsthand account brought into sharp focus the ongoing struggle for freedom and the resilience of the Ukrainian people. It was also an incredible opportunity to connect with so many passionate and engaged individuals who share a deep commitment to truth and justice. A special shoutout to our amazing Gaslit Nation Patreon supporters who got free access to this unforgettable event – your support means the world to us. For those who couldn't make it in person, we're excited to share the recording of this live taping. You can listen in and be part of this inspiring night, wherever you are. You can also watch the video of the event, featuring stunning panels from the graphic novel and their warnings for us today, over at Patreon.com/Gaslit. Thank you to everyone who came out and helped make this event a success. We can't wait to share more events with you soon! Order your copy of In the Shadow of Stalin: The Story of Mr. Jones here and donate one to your local school or library: https://www.simonandschuster.com/books/In-the-Shadow-of-Stalin-The-Story-of-Mr-Jones/Andrea-Chalupa/9781637152775 Credit: Audio and video produced by Michael Hull of Fifth Column Filmworks and producer of the podcasts Black Diplomats and A Very Good Year. For more info: https://fifthcolumnfilmworks.com/ * Looking to connect with like-minded people and engage in meaningful political discussions? Join our weekly political salon every Monday at 4 PM ET via Zoom! It's a space to share frustrations, ask questions, seek support, and shape Gaslit Nation together. Whether you're a seasoned political junkie or just finding your voice, everyone's welcome. Thank you to all who made our first salon a success! We'll continue these crucial conversations every Monday through the election, starting again on September 16 at 4 PM ET. Can't make it live? No worries—we record and share each session exclusively on Patreon. Support us at the Truth-Teller level or higher on Patreon at patreon.com/Gaslit, and you'll get the Zoom link every Monday. Let's come together and create change! * Big Announcement! Andrea will be in Ft. Myers, Florida the last weekend of September to get out the vote and attend a fundraiser screening of Mr. Jones. Join us at one of these events in Florida: Canvassing Party! Saturday, September 28 9am – 12pm EDT https://www.mobilize.us/leecountydec/event/680718/?force_banner=true&share_context=event_details&share_medium=copy_link Mr. Jones Fundraiser Screening – September 28 from 6pm EDT! https://secure.actblue.com/donate/mrjones?fbclid=IwZXh0bgNhZW0CMTAAAR14pGkNMdGz5RkaU6eut5X8lpt5vFnPuPCjMJNkpVW06H4G0lBSCLE2ptM_aem_A0ooWTpEnmq0t133eeQuxw Phonebank Party! Sunday, September 29 2 – 5pm EDT https://www.mobilize.us/leecountydec/event/680625/?force_banner=true&share_context=event_details&share_medium=copy_link On September 24 at 12:00 PM ET: Join our virtual live taping with David Pepper, author of Saving Democracy. Join us as David discusses his new art project based on Project 2025. All of those events, becoming a member of our Victory chat, bonus shows, all shows ad free, and more, come with your subscription on Patreon.com/Gaslit! Thank you to everyone who supports the show – we could not make Gaslit Nation without you!
durée : 00:58:35 - "It was a very good year" Ervin Drake (1961) - par : Laurent Valero - "En 1961, Ervin Drake compose et écrit "It Was a Very Good Year" à la demande du producteur Artie Mogull qui souhaitait que Bob Shane, membre du Kingston Trio la chante en solo, pour compléter le prochain album du groupe. Ce sera chose faite en moins d'une journée !" Laurent Valero
durée : 00:58:35 - "It was a very good year" Ervin Drake (1961) - par : Laurent Valero - "En 1961, Ervin Drake compose et écrit "It Was a Very Good Year" à la demande du producteur Artie Mogull qui souhaitait que Bob Shane, membre du Kingston Trio la chante en solo, pour compléter le prochain album du groupe. Ce sera chose faite en moins d'une journée !" Laurent Valero
Murder She Wrote, Season 4, Episode 17: A Very Good Year for MurderJB goes to a winery...and there's MURDER.Watch along with us on Peacock (not sponsored).Support us on Patreon at www.patreon.com/mimsandmaimThank you to our Patreons:Morgan WCody HSharon JDeana FElizabeth JAdam PCrystalJessie PSheri SEmail Us: mimsandmaim@gmail.comCall Us: 7043800618ASupport us on PayPal: https://www.paypal.com/donate?hosted_button_id=N8H4HPVU8CTNSSpecial thanks to Miss B for her sponsorship of our podcast. You can find her on TikTok @GeektombFind the queens on Twitter:Auntie Maim: @aunitemaimsThe Divine Miss Mims: @divinemissmimsTheme Music Arranged by JDR#auntiemaim #thedivinemissmims #lgbtq #dragqueens #murdershewrote #jessicafletcher #shedidit #1980s #classic #television #podcast #newepisode #peacocktv #rewatch #tvshows #bingewatching #bingeworthy #joannfabric
Michael is a filmmaker and the host of "A Very Good Year" podcast. The podcast focuses on choosing your favorite year and exploring the other movies released during that time. It aims to teach you something new about those movies. When your filmmaker you have a broad spectrum of movies and realize that eras are not verbally the case there are movies that have come out during times you would never think would have been made. Like "Clock Work Orange" by Stanley Kubrick that came out in 1971 was a controversial film for its time. Michael takes us on a journey through various realms of movies and films, showing us the talent of different artists. He highlights that the best way to learn is by seeing the world through the eyes of a filmmaker. If you enjoy exciting and controversial stories, you may have heard of Attica. It was a major uprising that occurred in a New York prison in the early 1970s. "Betrayal at Attica" is a criminal justice documentary available on HBO Max and other platforms. It uncovers the truth about the events that took place on the tragic day at Attica. If you want to check out more Michaels work with his company Fifth film Filmworks you will find so many innovative films, documentaries, and so much more. https://fifthcolumnfilmworks.com/63fx3x0txiudeg3fm25xfroiy0arqz https://www.instagram.com/fifthcolumnfilms/ We have a magical link below with all our socials and handle so you can find us on your favorite pod spot
This week's Unwatchables is a double feature of “NYC cop movie sleazecore”— a term coined by guest Jason Bailey, film critic, author, and host of the popular film podcast A Very Good Year. Both of these films were mired in controversy for their explicit content; both are by directed by legendary, and legendarily cranky, auteurs; and both star iconic New York actors navigating the city's seedy underbelly. The films are William Friedkin's (R.I.P) 1980 undercover crime thriller CRUISING, and Abel Ferrara's 1992 morality play BAD LIEUTENANT. You can hear more from Jason at tinyurl.com/avgy-pod and find his latest book at amazon.com/Jason-Bailey/ Unwatchables is hosted by Marc Dottavio and Seth Troyer, produced by Tony Scarpitti, featuring artwork by Micah Kraus. You can support us on Patreon at https://www.patreon.com/unwatchables to get access to exclusive bonus content and weigh in on what we watch next. Find us online at www.unwatchablespod.com or shoot us an email at unwatchablespodcast@gmail.com. We're on Instagram and Twitter under @unwatchablespod. --- Send in a voice message: https://podcasters.spotify.com/pod/show/unwatchablespod/message
Phantom Electric Ghost Interviews Michael Hull:Movies, Podcasts, Politics - What Else Is There? "How movie podcasts can improve movie culture" Biography Michael Hull is a filmmaker and podcast producer who hates most movie podcasts. Hull and co-host Jason Bailey have created two movie podcasts that aim to show how it should be done: FUN CITY CINEMA and now A VERY GOOD YEAR. It's time to bring some radio standards to the podcast world! People have been making audio-first material for 100 years and things were learned along the way. The low bar to entry for podcasts has created a swamp of poorly-thought out shows that never garner an audience and fizzle out after a couple of months. A lot of shows are personality driven - if you don't like the host, there isn't much else on offer. Hull identified these problems and set out to correct them by creating a structured show with segments, clips, and top-shelf guests who are an active part of making and sharing this culture we all love. Hull's feature documentary BETRAYAL AT ATTICA is currently available on HBOMax and Bailey is an author and critic for outlets like the New York Times and Vanity Fair. Link: https://podcasts.apple.com/us/podcast/a-very-good-year/id1651111139 Donate to support PEG free artist interviews: PayPalMe link Any contribution is appreciated: https://www.paypal.com/paypalme/PhantomElectric?locale.x=en_US Support PEG by checking out our Sponsors: Download and use Newsly for free now from www.newsly.me or from the link in the description, and use promo code “GHOST” and receive a 1-month free premium subscription. The best tool for getting podcast guests: Podmatch.com Phantom Electric Ghost Interviews Michael Hull:Movies, podcasts, politics - what else is there? https://podmatch.com/signup/phantomelectricghost Subscribe to our Instagram for exclusive content: https://www.instagram.com/expansive_sound_experiments/ Donate to support PEG free artist interviews: Subscribe to our YouTube Channel https://www.youtube/phantomelectricghost --- Send in a voice message: https://podcasters.spotify.com/pod/show/phantom-electric/message
Jeremy Ausmus is a high stakes professional poker player living in Las Vegas, NV. He has played professionally since 2004 and has amassed over $14 million in tournament winnings. He has earned five World Series of Poker bracelets, and in 2012 finished 5th place in the World Series of Poker Main Event for over $2.1 million, before claiming his first WSOP bracelet the following year. He won Event #3: €1,650 Pot Limit Omaha at the World Series of Poker Europe. In 2014, Ausmus finished second in the $10,000 Six-Max Championship for $414,104 as he looked for a second WSOP bracelet. Over the course of his career, Ausmus has cashed for over $5.7 million at the WSOP alone, and finally picked up his second WSOP bracelet in Event #3: $1,000 Covid-19 Relief NLHE Charity Event. A third soon followed in 2021, as he defeated both Daniel Negreanu and Phil Hellmuth to triumph in Event #84: $50,000 Pot-Limit Omaha High Roller to win $1,188,918. Here is what you can expect on this week's show: 0:00 Introduction 0:47 A Very Good Year 2:30 What do you play? 6:30 I Can't Go Broke 8:15 To teach or not to teach the kids poker 11:42 Does poker make you calm? 14:57 Writing A Poker Song 20:18 Musical Warriors - A Taste For Justice 26:56 A Content War? 28:15 Calling Out A Cheater 35:58 Measures To Prevent Cheating In Online Poker 44:35 Future Plans 47:07 Most Admired Poker Players ▬ Winning the Game of Life ▬▬▬▬▬▬ Check out other "Winning the Game of Life" episodes: ► https://www.youtube.com/c/WinningTheGameofLife Connect with Jeremy Ausmus: Twitter: @jeremyausmus Instagram: @jeremyausmus Follow "Jungleman" Dan Cates on social: Websites: https://www.wtgol.com Instagram: @wtgolpodcast @thedancates Twitter: @junglemandan Poker strategy tips Poker tournament highlights Poker player profiles Poker player rankings Poker coaching Poker mental game
Stephanie Zacharek - film critic for TIME magazine and Pulitzer Prize finalist - has always loved the movies of the 1940s. But 1946 is particularly special to her, because of the potent complexity of theme and emotion in these post-war pictures - and because of one film in particular, which pulls off the very rare A VERY GOOD YEAR hat-trick. Become a member for Bonus Episodes, personal stories of working in the industry, and yes - EVEN MORE MOVIES. https://plus.acast.com/s/a-very-good-year. Hosted on Acast. See acast.com/privacy for more information.
What albums and songs are getting a lot of play on your Spotify or iTunes app currently? My guest would say that the music you put in heavy rotation comes down to your unique "listener profile."Her name is Susan Rogers, and she's a music producer-turned-neuroscientist as well as the co-author of This Is What It Sounds Like: What the Music You Love Says About You. Today on the show, Susan unpacks the seven dimensions of music and how they show up along a varying spectrum in every song. She explains how everyone has an individualized taste for the configuration of these dimensions, and that how closely a particular song aligns with this pattern of sweet spots accounts for whether you like it or not. Along the way, we discuss artists that exemplify these dimensions, how Frank Sinatra injected virility into his music, how part of your musical taste has to do with the way you prefer to move your body, and much more.Artists and Songs Mentioned in the EpisodePrince's Purple RainBarenaked LadiesThe ShaggsElla FitzgeraldThe RentalsThe KillersTame ImpalaSteven PageJohnny CashCakeJames Brown's "Hot Pants"Yes' "Roundabout"Pharrell Williams' "Happy"Carly Rae Jepson's "Call Me Maybe"Miles Davis' Birth of the Cool and Kind of BlueFrank Sinatra's first hit song "Polka Dots and Moonbeams" (1940) vs. "It Was a Very Good Year" (1965)Connect With Susan RogersThe This Is What It Sounds Like website, including the "Record Pull"Susan's faculty page
Hello “Fun City Cinema” subscribers - long time no see! The show is still on hiatus, as your hosts Jason Bailey and Mike Hull have been working very hard on “A Very Good Year,” a new podcast with a simple premise: each week we invite a guest (filmmakers and actors, critics and historians, comedians and musicians) who loves movies, and ask them to select their favorite year of movies. We then spend (about) an hour talking about that year: we ask them to share their top five films of the year; we look at the year's news headlines, award winners, and box office champions; and we finish with a lightning round.If you haven't subscribed to that show yet - well, you should! But if you need a bit more enticing, we wanted to share our first episode, in which we're joined by actor ("Bill & Ted," "The Lost Boys," and, most relevant to you Fun City folks, "Death Wish 3"), filmmaker ("Zappa," "The YouTube Effect"), and all-around good guy Alex Winter to discuss his very good year: 1931. Enjoy!
Mike and Jason used to do this whole other podcast called “Fun City Cinema,” and also had a Patreon for it, with bonus episodes. And in December 2020, they had Wrap film critic, prolific podcaster, and Christmas movie expert Alonso Duralde on to talk about three New York City Christmas movie classics - the first iteration of the two-hosts-and-a-guest format that made its way to “A Very Good Year.” So, as a Christmas bonus, we're happy to re-share this episode with you, and to encourage you to pick up Alonso's books “Have Yourself a Movie Little Christmas” and “I'll Be Home for Christmas Movies.” Happy holidays!! Become a member for Bonus Episodes, personal stories of working in the industry, and yes - EVEN MORE MOVIES. https://plus.acast.com/s/a-very-good-year. Hosted on Acast. See acast.com/privacy for more information.
When Noah Segan - the beloved character actor familiar from such films as “Knives Out,” “Deadgirl," “Looper,” “Brick,” and “Starry Eyes” - made his feature writing and directing debut on his new film “Blood Relatives,” he drew on one of the richest eras of cinema: the 1970s, and specifically the topic of today's conversation, the year 1976. ”Blood Relatives” is now streaming on Shudder, and Noah's episode of “A Very Good Year” is a hoot, so enjoy them both! Become a member for Bonus Episodes, personal stories of working in the industry, and yes - EVEN MORE MOVIES. https://plus.acast.com/s/a-very-good-year. Hosted on Acast. See acast.com/privacy for more information.
“Fun City Cinema” hosts Jason Bailey and Mike Hull proudly present “A Very Good Year,” a new podcast with a simple premise: each week we invite a guest (filmmakers and actors, critics and historians, comedians and musicians) who loves movies, and ask them to select their favorite year of movies. Some pick a year from their movie-going past; some go deep into film history. Whichever the case, we spent (about) an hour talking about that year: we ask them to share their top five films of the year, and tell us why they love them; we look at the year's news headlines, award winners, and box office champions; and we finish with a lightning round, where we talk about as many films as possible in as few minutes as possible. “A Very Good Year” debuts this fall; our guests include Bilge Ebiri, Roxana Hadadi, Keith Phipps, Drew McWeeny, Dana Stevens, and Alex Winter.
“Fun City Cinema” hosts Jason Bailey and Mike Hull proudly present “A Very Good Year,” a new podcast with a simple premise: each week we invite a guest (filmmakers and actors, critics and historians, comedians and musicians) who loves movies, and ask them to select their favorite year of movies. Some pick a year from their movie-going past; some go deep into film history. Whichever the case, we spent (about) an hour talking about that year: we ask them to share their top five films of the year, and tell us why they love them; we look at the year's news headlines, award winners, and box office champions; and we finish with a lightning round, where we talk about as many films as possible in as few minutes as possible. “A Very Good Year” debuts this fall; our guests include Bilge Ebiri, Roxana Hadadi, Keith Phipps, Drew McWeeny, Dana Stevens, and Alex Winter. Become a member for Bonus Episodes, personal stories of working in the industry, and yes - EVEN MORE MOVIES. https://plus.acast.com/s/a-very-good-year. Hosted on Acast. See acast.com/privacy for more information.
Piet de Visser. Liefst 88 jaar is de meesterscout, maar nog zo scherp als de punt van het potlood waarmee hij nog steeds plusjes en minnetjes noteert op zijn scoutingsforumlieren. Grotere voetballiefhebbers dan deze meesterscout ga je niet vinden, daar kwamen we in deze aflevering wel achter.Nadat we traditioneel begonnen om de actualiteit en onze week door te nemen, kwamen we dankzij de scherpe tong van meneer De Visser al snel uit bij het hoofdonderwerp: scouting. Piet de Visser staat bekend om de vele talenten die hij naar Nederland en Chelsea wist te halen, maar dat bleek niet zijn enige wapenfeit. Niemand minder dan naamgever en inspiratiebron van deze podcast, Cor Pot, bleek ooit eens bekeken te zijn.Roman Abramovich bleek een belangrijk persoon in het leven van meneer De Visser te zijn geweest, verhalen over vergaderingen, jachten, toernooitjes, maar ook ziekenhuizen volgden elkaar in rap tempo op. Het mooiste moest toen echter nog komen, want als de meesterscout begint te praten over zijn talenten, dan spat de liefde er van af. Het ultrageheime scoutingsmapje werd zelfs nog even geopend, en dat moet je tegen Vriends (toch die journalistieke opleiding) geen twee keer zeggen.Wij hebben ongelofelijk veel genoten van deze vitale tachtiger. Hopelijk jullie ook! Veel luisterplezier!Het afsluitende nummer is deze week A Very Good Year van Frank SinatraDoneren aan de foundation van Piet kan hier: http://www.pietdevisserfoundation.orgAanradersPiet de Visser: Luister de podcast, want daarin vertelt hij het mooier dan we ooit zouden kunnen opschrijven…Verhaar: Scouten bij trainingen en het nieuwe album Trust van SOHNFock: Het boek Generatie 9/11 van Lotfi El HamidiVriends: De 2Doc What's Left - de puinhopen van linksKleedkamer 1 De eerste digitale kleedkamer ter wereld. Simpel gezegd: een plek waar we samenkomen om de afleveringen voor te bespreken, te analyseren en om extra stukken van de opnames te delen. Verschillende chats, kans op shirts van vrienden van de show en, echt waar, Bartje Vriends op speeddial. Kost wat wisselgeld, maar dan heb je ook wat.Hello FreshOok genieten van een maaltijdbox? Ga naar Hello Fresh en pak als nieuwe klant tot wel €75 korting met de kortingscode: HELLOCORPODCAST75Social MediaVolg ons ook op Twitter en InstagramVolg ook onze afspeellijst op SpotifyZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.
Episode one hundred and fifty-four of A History of Rock Music in Five Hundred Songs is the last of our four-part mini-series on LA sunshine pop and folk-rock in summer 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Baby, Now That I've Found You" by the Foundations. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Turtles songs in the episode. There's relatively little information available about the Turtles compared to other bands of their era, and so apart from the sources on the general LA scene referenced in all these podcasts, the information here comes from a small number of sources. This DVD is a decent short documentary on the band's career. Howard Kaylan's autobiography, Shell Shocked: My Life with the Turtles, Flo and Eddie, and Frank Zappa, Etc., is a fun read, if inevitably biased towards his own viewpoint. Jim Pons' Hard Core Love: Sex, Football, and Rock and Roll in the Kingdom of God is much less fun, being as it is largely organised around how his life led up to his latter-day religious beliefs, but is the only other book I'm aware of with a substantial amount of coverage of the Turtles. There are many compilations of the Turtles' material available, of which All The Singles is by far and away the best. The box set of all their albums with bonus tracks is now out of print on CD, but can still be bought as MP3s. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've spent a lot of time recently in the LA of summer 1967, at the point where the sunshine pop sound that was created when the surf harmonies of the Beach Boys collided with folk rock was at its apex, right before fashions changed and tight sunny pop songs with harmonies from LA became yesterday's news, and extended blues-rock improvisations from San Francisco became the latest in thing. This episode is the last part of this four-episode sequence, and is going to be shorter than those others. In many ways this one is a bridge between this sequence and next episode, where we travel back to London, because we're saying goodbye for a while to the LA scene, and when we do return to LA it will be, for the most part, to look at music that's a lot less sunshine and a lot more shadow. So this is a brief fade-out while we sing ba-ba-ba, a three-minute pop-song of an episode, a last bit of sunshine pop before we return to longer, more complicated, stories in two weeks' time, at which point the sun will firmly set. Like many musicians associated with LA, Howard Kaylan was born elsewhere and migrated there as a child, and he seems to have regarded his move from upstate New York to LA as essentially a move to Disneyland itself. That impression can only have been made stronger by the fact that soon after his family moved there he got his first childhood girlfriend -- who happened to be a Mouseketeer on the TV. And TV was how young Howard filtered most of his perceptions -- particularly TV comedy. By the age of fourteen he was the president of the Soupy Sales Fan Club, and he was also obsessed with the works of Ernie Kovacs, Sid Caesar, and the great satirist and parodist Stan Freberg: [Excerpt: Stan Freberg, "St. George and the Dragonet"] Second only to his love of comedy, though, was his love of music, and it was on the trip from New York to LA that he saw a show that would eventually change his life. Along the way, his family had gone to Las Vegas, and while there they had seen Louis Prima and Keeley Smith do their nightclub act. Prima is someone I would have liked to do a full podcast episode on when I was covering the fifties, and who I did do a Patreon bonus episode on. He's now probably best known for doing the voice of King Louis in the Jungle Book: [Excerpt: Louis Prima, "I Wanna Be Like You (the Monkey Song)"] But he was also a jump blues musician who made some very good records in a similar style to Louis Jordan, like "Jump, Jive, an' Wail" [Excerpt: Louis Prima, "Jump, Jive, an' Wail"] But like Jordan, Prima dealt at least as much in comedy as in music -- usually comedy involving stereotypes about his Italian-American ethnic origins. At the time young Howard Kaylan saw him, he was working a double act with his then-wife Keeley Smith. The act would consist of Smith trying to sing a song straight, while Prima would clown around, interject, and act like a fool, as Smith grew more and more exasperated, and would eventually start contemptuously mocking Prima. [Excerpt: Louis Prima and Keeley Smith, "Embraceable You/I've Got It Bad and That Ain't Good"] This is of course a fairly standard double-act format, as anyone who has suffered through an episode of The Little and Large Show will be all too painfully aware, but Prima and Smith did it better than most, and to young Howard Kaylan, this was the greatest entertainment imaginable. But while comedy was the closest thing to Kaylan's heart, music was a close second. He was a regular listener to Art Laboe's radio show, and in a brief period as a teenage shoplifter he obtained records like Ray Charles' album Genius + Soul = Jazz: [Excerpt: Ray Charles, "One Mint Julep"] and the single "Tossin' and Turnin'" by Bobby Lewis: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] "Tossin' and Turnin'" made a deep impression on Kaylan, because of the saxophone solo, which was actually a saxophone duet. On the record, baritone sax player Frank Henry played a solo, and it was doubled by the great tenor sax player King Curtis, who was just playing a mouthpiece rather than a full instrument, making a high-pitched squeaking sound: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] Curtis was of course also responsible for another great saxophone part a couple of years earlier, on a record that Kaylan loved because it combined comedy and rock and roll, "Yakety Yak": [Excerpt: The Coasters, "Yakety Yak"] Those two saxophone parts inspired Kaylan to become a rock and roller. He was already learning the clarinet and playing part time in an amateur Dixieland band, and it was easy enough to switch to saxophone, which has the same fingering. Within a matter of weeks of starting to play sax, he was invited to join a band called the Nightriders, who consisted of Chuck Portz on bass, Al Nichol on guitar, and Glen Wilson on drums. The Nightriders became locally popular, and would perform sets largely made up of Johnny and the Hurricanes and Ventures material. While he was becoming a budding King Curtis, Kaylan was still a schoolkid, and one of the classes he found most enjoyable was choir class. There was another kid in choir who Kaylan got on with, and one day that kid, Mark Volman came up to him, and had a conversation that Kaylan would recollect decades later in his autobiography: “So I hear you're in a rock 'n' roll band.” “Yep.” “Um, do you think I could join it?” “Well, what do you do?” “Nothing.” “Nothing?” “Nope.” “Sounds good to me. I'll ask Al.” Volman initially became the group's roadie and occasional tambourine player, and would also get on stage to sing a bit during their very occasional vocal numbers, but was mostly "in the band" in name only at first -- he didn't get a share of the group's money, but he was allowed to say he was in the group because that meant that his friends would come to the Nightriders' shows, and he was popular among the surfing crowd. Eventually, Volman's father started to complain that his son wasn't getting any money from being in the band, while the rest of the group were, and they explained to him that Volman was just carrying the instruments while they were all playing them. Volman's father said "if Mark plays an instrument, will you give him equal shares?" and they said that that was fair, so Volman got an alto sax to play along with Kaylan's tenor. Volman had also been taking clarinet lessons, and the two soon became a tight horn section for the group, which went through a few lineup changes and soon settled on a lineup of Volman and Kaylan on saxes, Nichol on lead guitar, Jim Tucker on rhythm guitar, Portz on bass, and Don Murray on drums. That new lineup became known as the Crossfires, presumably after the Johnny and the Hurricanes song of the same name: [Excerpt: Johnny and the Hurricanes, "Crossfire"] Volman and Kaylan worked out choreographed dance steps to do while playing their saxes, and the group even developed a group of obsessive fans who called themselves the Chunky Club, named after one of the group's originals: [Excerpt: The Crossfires, "Chunky"] At this point the group were pretty much only playing instrumentals, though they would do occasional vocals on R&B songs like "Money" or their version of Don and Dewey's "Justine", songs which required more enthusiasm than vocal ability. But their first single, released on a tiny label, was another surf instrumental, a song called "Dr. Jekyll and Mr. Hyde": [Excerpt: The Crossfires, "Dr. Jekyll and Mr Hyde"] The group became popular enough locally that they became the house band at the Revelaire Club in Redondo Beach. There as well as playing their own sets, they would also be the backing band for any touring acts that came through without their own band, quickly gaining the kind of performing ability that comes from having to learn a new artist's entire repertoire in a few days and be able to perform it with them live with little or no rehearsal. They backed artists like the Coasters, the Drifters, Bobby Vee, the Rivingtons, and dozens of other major acts, and as part of that Volman and Kaylan would, on songs that required backing vocals, sing harmonies rather than playing saxophone. And that harmony-singing ability became important when the British Invasion happened, and suddenly people didn't want to hear surf instrumentals, but vocals along the lines of the new British groups. The Crossfires' next attempt at a single was another original, this one an attempt at sounding like one of their favourite new British groups, the Kinks: [Excerpt: The Crossfires, "One Potato, Two Potato"] This change to vocals necessitated a change in the group dynamic. Volman and Kaylan ditched the saxophones, and discovered that between them they made one great frontman. The two have never been excessively close on a personal level, but both have always known that the other has qualities they needed. Frank Zappa would later rather dismissively say "I regard Howard as a fine singer, and Mark as a great tambourine player and fat person", and it's definitely true that Kaylan is one of the truly great vocalists to come out of the LA scene in this period, while Volman is merely a good harmony singer, not anything particularly special -- though he *is* a good harmony singer -- but it undersells Volman's contribution. There's a reason the two men performed together for nearly sixty years. Kaylan is a great singer, but also by nature rather reserved, and he always looked uncomfortable on stage, as well as, frankly, not exactly looking like a rock star (Kaylan describes himself not inaccurately as looking like a potato several times in his autobiography). Volman, on the other hand, is a merely good singer, but he has a naturally outgoing personality, and while he's also not the most conventionally good-looking of people he has a *memorable* appearance in a way that Kaylan doesn't. Volman could do all the normal frontman stuff, the stuff that makes a show an actual show -- the jokes, the dancing, the between-song patter, the getting the crowd going, while Kaylan could concentrate on the singing. They started doing a variation on the routine that had so enthralled Howard Kaylan when he'd seen Louis Prima and Keeley Smith do it as a child. Kaylan would stand more or less stock still, looking rather awkward, but singing like an angel, while Volman would dance around, clown, act the fool, and generally do everything he could to disrupt the performance -- short of actually disrupting it in reality. It worked, and Volman became one of that small but illustrious group of people -- the band member who makes the least contribution to the sound of the music but the biggest contribution to the feel of the band itself, and without whom they wouldn't be the same. After "One Potato, Two Potato" was a flop, the Crossfires were signed to their third label. This label, White Whale, was just starting out, and the Crossfires were to become their only real hit act. Or rather, the Turtles were. The owners of White Whale knew that they didn't have much promotional budget and that their label was not a known quantity -- it was a tiny label with no track record. But they thought of a way they could turn that to their advantage. Everyone knew that the Beatles, before Capitol had picked up their contracts, had had their records released on a bunch of obscure labels like Swan and Tollie. People *might* look for records on tiny independent labels if they thought it might be another British act who were unknown in the US but could be as good as the Beatles. So they chose a name for the group that they thought sounded as English as possible -- an animal name that started with "the", and ended in "les", just like the Beatles. The group, all teenagers at the time, were desperate enough that they agreed to change their name, and from that point on they became the Turtles. In order to try and jump on as many bandwagons as possible, the label wanted to position them as a folk-rock band, so their first single under the Turtles name was a cover of a Bob Dylan song, from Another Side of Bob Dylan: [Excerpt: Bob Dylan, "It Ain't Me Babe"] That song's hit potential had already been seen by Johnny Cash, who'd had a country hit with it a few months before. But the Turtles took the song in a different direction, inspired by Kaylan's *other* great influence, along with Prima and Smith. Kaylan was a big fan of the Zombies, one of the more interesting of the British Invasion groups, and particularly of their singer Colin Blunstone. Kaylan imitated Blunstone on the group's hit single, "She's Not There", on which Blunstone sang in a breathy, hushed, voice on the verses: [Excerpt: The Zombies, "She's Not There"] before the song went into a more stomping chorus on which Blunstone sang in a fuller voice: [Excerpt: The Zombies, "She's Not There"] Kaylan did this on the Turtles' version of "It Ain't Me Babe", starting off with a quiet verse: [Excerpt: The Turtles, "It Ain't Me Babe"] Before, like the Zombies, going into a foursquare, more uptempo, louder chorus: [Excerpt: The Turtles, "It Ain't Me Babe"] The single became a national top ten hit, and even sort of got the approval of Bob Dylan. On the group's first national tour, Dylan was at one club show, which they ended with "It Ain't Me Babe", and after the show the group were introduced to the great songwriter, who was somewhat the worse for wear. Dylan said “Hey, that was a great song you just played, man. That should be your single", and then passed out into his food. With the group's first single becoming a top ten hit, Volman and Kaylan got themselves a house in Laurel Canyon, which was not yet the rock star Mecca it was soon to become, but which was starting to get a few interesting residents. They would soon count Henry Diltz of the Modern Folk Quartet, Danny Hutton, and Frank Zappa among their neighbours. Soon Richie Furay would move in with them, and the house would be used by the future members of the Buffalo Springfield as their rehearsal space. The Turtles were rapidly becoming part of the in crowd. But they needed a follow-up single, and so Bones Howe, who was producing their records, brought in P.F. Sloan to play them a few of his new songs. They liked "Eve of Destruction" enough to earmark it as a possible album track, but they didn't think they would do it justice, and so it was passed on to Barry McGuire. But Sloan did have something for them -- a pseudo-protest song called "Let Me Be" that was very clearly patterned after their version of "It Ain't Me Babe", and which was just rebellious enough to make them seem a little bit daring, but which was far more teenage angst than political manifesto: [Excerpt: The Turtles, "Let Me Be"] That did relatively well, making the top thirty -- well enough for the group to rush out an album which was padded out with some sloppy cover versions of other Dylan songs, a version of "Eve of Destruction", and a few originals written by Kaylan. But the group weren't happy with the idea of being protest singers. They were a bunch of young men who were more motivated by having a good time than by politics, and they didn't think that it made sense for them to be posing as angry politicised rebels. Not only that, but there was a significant drop-off between "It Ain't Me Babe" and "Let Me Be". They needed to do better. They got the clue for their new direction while they were in New York. There they saw their friends in the Mothers of Invention playing their legendary residency at the Garrick Theatre, but they also saw a new band, the Lovin' Spoonful, who were playing music that was clearly related to the music the Turtles were doing -- full of harmonies and melody, and inspired by folk music -- but with no sense of rebelliousness at all. They called it "Good Time Music": [Excerpt: The Lovin' Spoonful, "Good Time Music"] As soon as they got back to LA, they told Bones Howe and the executives at White Whale that they weren't going to be a folk-rock group any more, they were going to be "good time music", just like the Lovin' Spoonful. They were expecting some resistance, but they were told that that was fine, and that PF Sloan had some good time music songs too. "You Baby" made the top twenty: [Excerpt: The Turtles, "You Baby"] The Turtles were important enough in the hierarchy of LA stars that Kaylan and Tucker were even invited by David Crosby to meet the Beatles at Derek Taylor's house when they were in LA on their last tour -- this may be the same day that the Beatles met Brian and Carl Wilson, as I talked about in the episode on "All You Need is Love", though Howard Kaylan describes this as being a party and that sounded like more of an intimate gathering. If it was that day, there was nearly a third Beach Boy there. The Turtles knew David Marks, the Beach Boys' former rhythm guitarist, because they'd played a lot in Inglewood where he'd grown up, and Marks asked if he could tag along with Kaylan and Tucker to meet the Beatles. They agreed, and drove up to the house, and actually saw George Harrison through the window, but that was as close as they got to the Beatles that day. There was a heavy police presence around the house because it was known that the Beatles were there, and one of the police officers asked them to drive back and park somewhere else and walk up, because there had been complaints from neighbours about the number of cars around. They were about to do just that, when Marks started yelling obscenities and making pig noises at the police, so they were all arrested, and the police claimed to find a single cannabis seed in the car. Charges were dropped, but now Kaylan was on the police's radar, and so he moved out of the Laurel Canyon home to avoid bringing police attention to Buffalo Springfield, so that Neil Young and Bruce Palmer wouldn't get deported. But generally the group were doing well. But there was a problem. And that problem was their record label. They rushed out another album to cash in on the success of "You Baby", one that was done so quickly that it had "Let Me Be" on it again, just as the previous album had, and which included a version of the old standard "All My Trials", with the songwriting credited to the two owners of White Whale records. And they pumped out a lot of singles. A LOT of singles, ranging from a song written for them by new songwriter Warren Zevon, to cover versions of Frank Sinatra's "It Was a Very Good Year" and the old standard "We'll Meet Again". Of the five singles after "You Baby", the one that charted highest was a song actually written by a couple of the band members. But for some reason a song with verses in 5/4 time and choruses in 6/4 with lyrics like "killing the living and living to kill, the grim reaper of love thrives on pain" didn't appeal to the group's good-time music pop audience and only reached number eighty-one: [Excerpt: The Turtles, "Grim Reaper of Love"] The group started falling apart. Don Murray became convinced that the rest of the band were conspiring against him and wanted him out, so he walked out of the group in the middle of a rehearsal for a TV show. They got Joel Larson of the Grass Roots -- the group who had a number of hits with Sloan and Barri songs -- to sub for a few gigs before getting in a permanent replacement, Johnny Barbata, who came to them on the recommendation of Gene Clark, and who was one of the best drummers on the scene -- someone who was not only a great drummer but a great showman, who would twirl his drumsticks between his fingers with every beat, and who would regularly engage in drum battles with Buddy Rich. By the time they hit their fifth flop single in a row, they lost their bass player as well -- Chuck Portz decided he was going to quit music and become a fisherman instead. They replaced him with Chip Douglas of the Modern Folk Quartet. Then they very nearly lost their singers. Volman and Kaylan both got their draft notices at the same time, and it seemed likely they would end up having to go and fight in the Vietnam war. Kaylan was distraught, but his mother told him "Speak to your cousin Herb". Cousin Herb was Herb Cohen, the manager of the Mothers of Invention and numerous other LA acts, including the Modern Folk Quartet, and Kaylan only vaguely knew him at this time, but he agreed to meet up with them, and told them “Stop worrying! I got Zappa out, I got Tim Buckley out, and I'll get you out.” Cohen told Volman and Kaylan to not wash for a week before their induction, to take every drug of every different kind they could find right before going in, to deliberately disobey every order, to fail the logic tests, and to sexually proposition the male officers dealing with the induction. They followed his orders to the letter, and got marked as 4-F, unfit for service. They still needed a hit though, and eventually they found something by going back to their good-time music idea. It was a song from the Koppelman-Rubin publishing company -- the same company that did the Lovin Spoonful's management and production. The song in question was by Alan Gordon and Gary Bonner, two former members of a group called the Magicians, who had had a minor success with a single called "An Invitation to Cry": [Excerpt: The Magicians, "An Invitation to Cry"] The Magicians had split up, and Bonner and Gordon were trying to make a go of things as professional songwriters, but had had little success to this point. The song on the demo had been passed over by everyone, and the demo was not at all impressive, just a scratchy acetate with Bonner singing off-key and playing acoustic rhythm guitar and Gordon slapping his knees to provide rhythm, but the group heard something in it. They played the song live for months, refining the arrangement, before taking it into the studio. There are arguments to this day as to who deserves the credit for the sound on "Happy Together" -- Chip Douglas apparently did the bulk of the arrangement work while they were on tour, but the group's new producer, Joe Wissert, a former staff engineer for Cameo-Parkway, also claimed credit for much of it. Either way, "Happy Together" is a small masterpiece of dynamics. The song is structured much like the songs that had made the Turtles' name, with the old Zombies idea of the soft verse and much louder chorus: [Excerpt: The Turtles, "Happy Together"] But the track is really made by the tiny details of the arrangement, the way instruments and vocal parts come in and out as the track builds up, dies down, and builds again. If you listen to the isolated tracks, there are fantastic touches like the juxtaposition of the bassoon and oboe (which I think is played on a mellotron): [Excerpt: The Turtles, "Happy Together", isolated tracks] And a similar level of care and attention was put into the vocal arrangement by Douglas, with some parts just Kaylan singing solo, other parts having Volman double him, and of course the famous "bah bah bah" massed vocals: [Excerpt: The Turtles, "Happy Together", isolated vocals] At the end of the track, thinking he was probably going to do another take, Kaylan decided to fool around and sing "How is the weather?", which Bonner and Gordon had jokingly done on the demo. But the group loved it, and insisted that was the take they were going to use: [Excerpt: The Turtles, "Happy Together"] "Happy Together" knocked "Penny Lane" by the Beatles off the number one spot in the US, but by that point the group had already had another lineup change. The Monkees had decided they wanted to make records without the hit factory that had been overseeing them, and had asked Chip Douglas if he wanted to produce their first recordings as a self-contained band. Given that the Monkees were the biggest thing in the American music industry at the time, Douglas had agreed, and so the group needed their third bass player in a year. The one they went for was Jim Pons. Pons had seen the Beatles play at the Hollywood Bowl in 1964, and decided he wanted to become a pop star. The next day he'd been in a car crash, which had paid out enough insurance money that he was able to buy two guitars, a bass, drums, and amps, and use them to start his own band. That band was originally called The Rockwells, but quickly changed their name to the Leaves, and became a regular fixture at Ciro's on Sunset Strip, first as customers, then after beating Love in the auditions, as the new resident band when the Byrds left. For a while the Leaves had occasionally had guest vocals from a singer called Richard Marin, but Pons eventually decided to get rid of him, because, as he put it "I wanted us to look like The Beatles. There were no Mexicans in The Beatles". He is at pains in his autobiography to assure us that he's not a bigot, and that Marin understood. I'm sure he did. Marin went on to be better known as Cheech Marin of Cheech and Chong. The Leaves were signed by Pat Boone to his production company, and through that company they got signed to Mira Records. Their first single, produced by Nik Venet, had been a version of "Love Minus Zero (No Limit)", a song by Bob Dylan: [Excerpt: The Leaves, "Love Minus Zero (No Limit)"] That had become a local hit, though not a national one, and the Leaves had become one of the biggest bands on the Sunset Strip scene, hanging out with all the other bands. They had become friendly with the Doors before the Doors got a record deal, and Pat Boone had even asked for an introduction, as he was thinking of signing them, but unfortunately when he met Jim Morrison, Morrison had drunk a lot of vodka, and given that Morrison was an obnoxious drunk Boone had second thoughts, and so the world missed out on the chance of a collaboration between the Doors and Pat Boone. Their second single was "Hey Joe" -- as was their third and fourth, as we discussed in that episode: [Excerpt: The Leaves, "Hey Joe"] Their third version of "Hey Joe" had become a top forty hit, but they didn't have a follow-up, and their second album, All The Good That's Happening, while it's a good album, sold poorly. Various band members quit or fell out, and when Johnny Barbata knocked on Jim Pons' door it was an easy decision to quit and join a band that had a current number one hit. When Pons joined, the group had already recorded the Happy Together album. That album included the follow-up to "Happy Together", another Bonner and Gordon song, "She'd Rather Be With Me": [Excerpt: The Turtles, "She'd Rather Be With Me"] None of the group were tremendously impressed with that song, but it did very well, becoming the group's second-biggest hit in the US, reaching number three, and actually becoming a bigger hit than "Happy Together" in parts of Europe. Before "Happy Together" the group hadn't really made much impact outside the US. In the UK, their early singles had been released by Pye, the smallish label that had the Kinks and Donovan, but which didn't have much promotional budget, and they'd sunk without trace. For "You Baby" they'd switched to Immediate, the indie label that Andrew Oldham had set up, and it had done a little better but still not charted. But from "Happy Together" they were on Decca, a much bigger label, and "Happy Together" had made number twelve in the charts in the UK, and "She'd Rather Be With Me" reached number four. So the new lineup of the group went on a UK tour. As soon as they got to the hotel, they found they had a message from Graham Nash of the Hollies, saying he would like to meet up with them. They all went round to Nash's house, and found Donovan was also there, and Nash played them a tape he'd just been given of Sgt Pepper, which wouldn't come out for a few more days. At this point they were living every dream a bunch of Anglophile American musicians could possibly have. Jim Tucker mentioned that he would love to meet the Beatles, and Nash suggested they do just that. On their way out the door, Donovan said to them, "beware of Lennon". It was when they got to the Speakeasy club that the first faux-pas of the evening happened. Nash introduced them to Justin Hayward and John Lodge of the Moody Blues, and Volman said how much he loved their record "Go Now": [Excerpt: The Moody Blues, "Go Now"] The problem was that Hayward and Lodge had joined the group after that record had come out, to replace its lead singer Denny Laine. Oh well, they were still going to meet the Beatles, right? They got to the table where John, Paul, and Ringo were sat, at a tense moment -- Paul was having a row with Jane Asher, who stormed out just as the Turtles were getting there. But at first, everything seemed to go well. The Beatles all expressed their admiration for "Happy Together" and sang the "ba ba ba" parts at them, and Paul and Kaylan bonded over their shared love for "Justine" by Don and Dewey, a song which the Crossfires had performed in their club sets, and started singing it together: [Excerpt: Don and Dewey, "Justine"] But John Lennon was often a mean drunk, and he noticed that Jim Tucker seemed to be the weak link in the group, and soon started bullying him, mocking his clothes, his name, and everything he said. This devastated Tucker, who had idolised Lennon up to that point, and blurted out "I'm sorry I ever met you", to which Lennon just responded "You never did, son, you never did". The group walked out, hurt and confused -- and according to Kaylan in his autobiography, Tucker was so demoralised by Lennon's abuse that he quit music forever shortly afterwards, though Tucker says that this wasn't the reason he quit. From their return to LA on, the Turtles would be down to just a five-piece band. After leaving the club, the group went off in different directions, but then Kaylan (and this is according to Kaylan's autobiography, there are no other sources for this) was approached by Brian Jones, asking for his autograph because he loved the Turtles so much. Jones introduced Kaylan to the friend he was with, Jimi Hendrix, and they went out for dinner, but Jones soon disappeared with a girl he'd met. and left Kaylan and Hendrix alone. They were drinking a lot -- more than Kaylan was used to -- and he was tired, and the omelette that Hendrix had ordered for Kaylan was creamier than he was expecting... and Kaylan capped what had been a night full of unimaginable highs and lows by vomiting all over Jimi Hendrix's expensive red velvet suit. Rather amazingly after all this, the Moody Blues, the Beatles, and Hendrix, all showed up to the Turtles' London gig and apparently enjoyed it. After "She'd Rather Be With Me", the next single to be released wasn't really a proper single, it was a theme song they'd been asked to record for a dire sex comedy titled "Guide for the Married Man", and is mostly notable for being composed by John Williams, the man who would later go on to compose the music for Star Wars. That didn't chart, but the group followed it with two more top twenty hits written by Bonner and Gordon, "You Know What I Mean" and "She's My Girl". But then the group decided that Bonner and Gordon weren't giving them their best material, and started turning down their submissions, like a song called "Celebrity Ball" which they thought had no commercial potential, at least until the song was picked up by their friends Three Dog Night, retitled "Celebrate", and made the top twenty: [Excerpt: Three Dog Night, "Celebrate"] Instead, the group decided to start recording more of their own material. They were worried that in the fast-changing rock world bands that did other songwriters' material were losing credibility. But "Sound Asleep", their first effort in this new plan, only made number forty-seven on the charts. Clearly they needed a different plan. They called in their old bass player Chip Douglas, who was now an experienced hitmaker as a producer. He called in *his* friend Harry Nilsson, who wrote "The Story of Rock & Roll" for the group, but that didn't do much better, only making number forty-eight. But the group persevered, starting work on a new album produced by Douglas, The Turtles Present The Battle of the Bands, the conceit of which was that every track would be presented as being by a different band. So there were tracks by Chief Kamanawanalea and his Royal Macadamia Nuts, Fats Mallard and the Bluegrass Fireball, The Atomic Enchilada, and so on, all done in the styles suggested by those band names. There was even a track by "The Cross Fires": [Excerpt: The Cross Fires, "Surfer Dan"] It was the first time the group had conceived of an album as a piece, and nine of the twelve tracks were originals by the band -- there was a track written by their friend Bill Martin, and the opening track, by "The US Teens Featuring Raoul", was co-written by Chip Douglas and Harry Nilsson. But for the most part the songs were written by the band members themselves, and jointly credited to all of them. This was the democratic decision, but one that Howard Kaylan would later regret, because of the song for which the band name was just "Howie, Mark, Johnny, Jim & Al". Where all the other songs were parodies of other types of music, that one was, as the name suggests, a parody of the Turtles themselves. It was written by Kaylan in disgust at the record label, who kept pestering the group to "give us another 'Happy Together'". Kaylan got more and more angry at this badgering, and eventually thought "OK, you want another 'Happy Together'? I'll give you another 'Happy Together'" and in a few minutes wrote a song that was intended as an utterly vicious parody of that kind of song, with lyrics that nobody could possibly take seriously, and with music that was just mocking the whole structure of "Happy Together" specifically. He played it to the rest of the group, expecting them to fall about laughing, but instead they all insisted it was the group's next single. "Elenore" went to number six on the charts, becoming their biggest hit since "She'd Rather Be With Me": [Excerpt: The Turtles, "Elenore"] And because everything was credited to the group, Kaylan's songwriting royalties were split five ways. For the follow-up, they chose the one actual cover version on the album. "You Showed Me" is a song that Roger McGuinn and Gene Clark had written together in the very early days of the Byrds, and they'd recorded it as a jangly folk-rock tune in 1964: [Excerpt: The Byrds, "You Showed Me"] They'd never released that track, but Gene Clark had performed it solo after leaving the Byrds, and Douglas had been in Clark's band at the time, and liked the song. He played it for the Turtles, but when he played it for them the only instrument he had to hand was a pump organ with one of its bellows broken. Because of this, he had to play it slowly, and while he kept insisting that the song needed to be faster, the group were equally insistent that what he was playing them was the big ballad hit they wanted, and they recorded it at that tempo. "You Showed Me" became the Turtles' final top ten hit: [Excerpt: The Turtles, "You Showed Me"] But once again there were problems in the group. Johnny Barbata was the greatest drummer any of them had ever played with, but he didn't fit as a personality -- he didn't like hanging round with the rest of them when not on stage, and while there were no hard feelings, it was clear he could get a gig with pretty much anyone and didn't need to play with a group he wasn't entirely happy in. By mutual agreement, he left to go and play with Crosby, Stills, Nash, and Young, and was replaced by John Seiter from Spanky and Our Gang -- a good drummer, but not the best of the best like Barbata had been. On top of this, there were a whole host of legal problems to deal with. The Turtles were the only big act on White Whale records, though White Whale did put out some other records. For example, they'd released the single "Desdemona" by John's Children in the US: [Excerpt: John's Children, "Desdemona"] The group, being the Anglophiles they were, had loved that record, and were also among the very small number of Americans to like the music made by John's Children's guitarist's new folk duo, Tyrannosaurus Rex: [Excerpt: Tyrannosaurus Rex, "Debora"] When Tyrannosaurus Rex supported the Turtles, indeed, Volman and Kaylan became very close to Marc Bolan, and told him that the next time they were in England they'd have to get together, maybe even record together. That would happen not that many years later, with results we'll be getting to in... episode 201, by my current calculations. But John's Children hadn't had a hit, and indeed nobody on White Whale other than the Turtles had. So White Whale desperately wanted to stop the Turtles having any independence, and to make sure they continued to be their hit factory. They worked with the group's roadie, Dave Krambeck, to undermine the group's faith in their manager, Bill Utley, who supported the group in their desire for independence. Soon, Krambeck and White Whale had ousted Utley, and Krambeck had paid Utley fifty thousand dollars for their management contract, with the promise of another two hundred thousand later. That fifty thousand dollars had been taken by Krambeck as an advance against the Turtles' royalties, so they were really buying themselves out. Except that Krambeck then sold the management contract on to a New York management firm, without telling the group. He then embezzled as much of the group's ready cash as he could and ran off to Mexico, without paying Utley his two hundred thousand dollars. The Turtles were out of money, and they were being sued by Utley because he hadn't had the money he should have had, and by the big New York firm, because since the Turtles hadn't known they were now legally their managers they were in breach of contract. They needed money quickly, and so they signed with another big management company, this one co-owned by Bill Cosby, in the belief that Cosby's star power might be able to get them some better bookings. It did -- one of the group's first gigs after signing with the new company was at the White House. It turned out they were Tricia Nixon's favourite group, and so they and the Temptations were booked at her request for a White House party. The group at first refused to play for a President they rightly thought of as a monster, but their managers insisted. That destroyed their reputation among the cool antiestablishment youth, of course, but it did start getting them well-paid corporate gigs. Right up until the point where Kaylan became sick at his own hypocrisy at playing these events, drank too much of the complimentary champagne at an event for the president of US Steel, went into a drunken rant about how sick the audience made him, and then about how his bandmates were a bunch of sellouts, threw his mic into a swimming pool, and quit while still on stage. He was out of the band for two months, during which time they worked on new material without him, before they made up and decided to work on a new album. This new album, though, was going to be more democratic. As well as being all original material, they weren't having any of this nonsense about the lead singer singing lead. This time, whoever wrote the song was going to sing lead, so Kaylan only ended up singing lead on six of the twelve songs on what turned out to be their final album, Turtle Soup. They wanted a truly great producer for the new album, and they all made lists of who they might call. The lists included a few big names like George Martin and Phil Spector, but one name kept turning up -- Ray Davies. As we'll hear in the next episode, the Kinks had been making some astonishing music since "You Really Got Me", but most of it had not been heard in the US. But the Turtles all loved the Kinks' 1968 album The Kinks Are The Village Green Preservation Society, which they considered the best album ever made: [Excerpt: The Kinks, "Animal Farm"] They got in touch with Davies, and he agreed to produce the album -- the first time he did any serious outside production work -- and eventually they were able to persuade White Whale, who had no idea who he was, to allow him to produce it. The resulting album is by far the group's strongest album-length work, though there were problems -- Davies' original mix of the album was dominated by the orchestral parts written by Wrecking Crew musician Ray Pohlman, while the group thought that their own instruments should be more audible, since they were trying to prove that they were a proper band. They remixed it themselves, annoying Davies, though reissues since the eighties have reverted to a mix closer to Davies' intentions. Some of the music, like Pons' "Dance This Dance With Me", perhaps has the group trying a little *too* hard to sound like the Kinks: [Excerpt: The Turtles, "Dance This Dance With Me"] But on the other hand, Kaylan's "You Don't Have to Walk in the Rain" is the group's last great pop single, and has one of the best lines of any single from the sixties -- "I look at your face, I love you anyway": [Excerpt: The Turtles, "You Don't Have to Walk in the Rain"] But the album produced no hits, and the group were getting more and more problems from their label. White Whale tried to get Volman and Kaylan to go to Memphis without the other band members to record with Chips Moman, but they refused -- the Turtles were a band, and they were proud of not having session players play their parts on the records. Instead, they started work with Jerry Yester producing on a new album, to be called Shell Shock. They did, though bow to pressure and record a terrible country track called "Who Would Ever Think That I Would Marry Margaret" backed by session players, at White Whale's insistence, but managed to persuade the label not to release it. They audited White Whale and discovered that in the first six months of 1969 alone -- a period where they hadn't sold that many records -- they'd been underpaid by a staggering six hundred and fifty thousand dollars. They sued the label for several million, and in retaliation, the label locked them out of the recording studio, locking their equipment in there. They basically begged White Whale to let them record one last great single, one last throw of the dice. Jim Pons had, for years, known a keyboard player named Bob Harris, and had recently got to know Harris' wife, Judee Sill. Sill had a troubled life -- she was a heroin addict, and had at times turned to streetwalking to earn money, and had spent time in prison for armed robbery -- but she was also an astonishing songwriter, whose music was as inspired by Bach as by any pop or folk composer. Sill had been signed to Blimp, the Turtles' new production and publishing company, and Pons was co-producing some tracks on her first album, with Graham Nash producing others. Pons thought one song from that album, "Lady-O", would be perfect for the Turtles: [Excerpt: Judee Sill, "Lady-O"] (music continues under) The Turtles stuck closely to Sill's vision of the song. So closely that you haven't noticed that before I started talking, we'd already switched from Sill's record to the Turtles' version. [Excerpt: The Turtles, "Lady-O"] That track, with Sill on guitar backing Kaylan, Volman, and Nichol's vocals, was the last Turtles single to be released while the band were together. Despite “Lady O” being as gorgeous a melody as has ever been produced in the rock world, it sank without trace, as did a single from the Shell Shock sessions released under a pseudonym, The Dedications. White Whale followed that up, to the group's disgust, with "Who Would Ever Think That I Would Marry Margaret?", and then started putting out whatever they had in the vaults, trying to get the last few pennies, even releasing their 1965 album track version of "Eve of Destruction" as if it were a new single. The band were even more disgusted when they discovered that, thanks to the flurry of suits and countersuits, they not only could no longer perform as the Turtles, but White Whale were laying legal claim to their own names. They couldn't perform under those names -- Howard Kaylan, Mark Volman, and the rest were the intellectual property of White Whale, according to the lawyers. The group split up, and Kaylan and Volman did some session work, including singing on a demo for a couple of new songwriters: [Excerpt: Steely Dan, "Everyone's Gone to the Movies"] When that demo got the songwriters a contract, one of them actually phoned up to see if Kaylan wanted a permanent job in their new band, but they didn't want Volman as well, so Kaylan refused, and Steely Dan had to do without him. Volman and Kaylan were despondent, washed-up, has-been ex-rock stars. But when they went to see a gig by their old friend Frank Zappa, it turned out that he was looking for exactly that. Of course, they couldn't use their own names, but the story of the Phlorescent Leech and Eddie is a story for another time...
I'm telling you up front that I'm not sharing anything valuable or useful today, but don't let that keep you from continuing.Today we're going to talk about 7 guys named Francis. Alan Lightman is not one of those 7 guys. Lightman is a past professor at Harvard and a current professor at MIT and a famous physicist who was responsible for establishing MIT's policy that requires all students to be trained in speaking and writingduring each of their four years as an undergraduate. Alan's father Richard Lightman was a movie theater owner who played a major role in desegregating movie theaters in the South in 1962. Richard taught Alan how to get things done and make a difference. In his book, A Sense of the Mysterious, Alan writes, “Not long ago, sitting at my desk at home, I suddenly had the horrifying realization that I no longer waste time.” After he wrote that sentence, he wrote an entire book titled, In Praise of Wasting Time. That's what you and I are doing right now. We are wasting time in a way that will invigorate you and cause you to think new and different thoughts. You are about to jump out of a deep rut in the road that has been your life.We are at the intersection of Monotony and Surprise. Are you ready to jump? Francis Scott Fitzgerald is the Francis we quote in the first hour of the 3-day Magical Worlds class at Wizard Academy. “The test of a first-rate intelligence is the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function.” Francis Ford Coppola gave us Apocalypse Now and The Godfather trilogy. Francis “Frank” Sinatra gave Indy Beagle the song “It Was a Very Good Year.” Indy told me he plans to share it with you in the rabbit hole. Sir Francis Drake was a contemporary of Shakespeare and an explorer and a pirate for England, and a seafaring thorn in the side of King Philip II of Spain, who offered a reward for his capture that would be nearly $9 million today. Queen Elizabeth gave Francis a knighthood. Francis “James” Cameron gave us Avatar and Titanic, the first and third highest-grossing films of all time, bringing in $2.85 billion and $2.19 billion respectively. Francis “Frank” Zappa was an iconic musician, composer, singer and songwriter whose work was characterized by nonconformity, free-form improvisation, musical virtuosity and the comedic satire of American culture. His kids are Dweezil, Moon Unit, Diva Muffin, and Ahmet Emuukha. Francis Bacon is my favorite Francis. Like Francis Drake, he was a contemporary of Shakespeare. Bacon was a statesman, a philosopher, and a master of the English tongue. After the death of Queen Elizabeth, Francis Bacon served as lord chancellor of England for King James I, for whom the 1611 King James translation of the Bible was named. These are some of my favorite memories of Francis Bacon:“The job of the artist is always to deepen the mystery.” “A dance is a measured pace, as a verse is a measured speech.” “Reading maketh a full man, conference a ready man, and writing an exact (man.)” “There is no excellent beauty that hath not some strangeness in the proportion.” “Nothing does more hurt in a state than when cunning men pass for wise.” “A wise man will make more opportunities than he finds.” “Truth is so hard to tell, it sometimes needs fiction to make it plausible.” “The root of all superstition is that men observe when a thing hits, but not when it misses.” “Where philosophy is based on reason, faith is based on revelation, and is consequently irrational. The more discordant and incredible the divine mystery is, the more honor is shown to God in believing it, and the nobler is the victory of faith.” “But now we are to step back a little to that, which by premeditation we passed over, lest a breach should be made in those things that were so linked together.” If the...
This week on Dread Media, we have a loose theme of parents doing things to protect their children in extreme circumstances. First, a witchy mother protects her son from his father as he is turning into something else in Outcast. Then, Rich the Monster Movie Kid returns with a review of M Night Shyamalan's Old. Songs included: "Change" by Killing Joke, "Outcast" by Diablo Blvd, "It Was a Very Good Year" by Frank Sinatra, and "Hold Your Children Close and Pray for Oblivion" by Anaal Nathrakh. Send feedback to: dreadmediapodcast@gmail.com. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Support the show at www.patreon.com/dreadmedia. Visit www.desmondreddick.com, www.stayscary.wordpress.com, www.dreadmedia.bandcamp.com, www.kccinephile.com, and www.dejasdomicileofdread.blogspot.com.
This week on Dread Media, we have a loose theme of parents doing things to protect their children in extreme circumstances. First, a witchy mother protects her son from his father as he is turning into something else in Outcast. Then, Rich the Monster Movie Kid returns with a review of M Night Shyamalan's Old. Songs included: "Change" by Killing Joke, "Outcast" by Diablo Blvd, "It Was a Very Good Year" by Frank Sinatra, and "Hold Your Children Close and Pray for Oblivion" by Anaal Nathrakh. Send feedback to: dreadmediapodcast@gmail.com. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Support the show at www.patreon.com/dreadmedia. Visit www.desmondreddick.com, www.stayscary.wordpress.com, www.dreadmedia.bandcamp.com, www.kccinephile.com, and www.dejasdomicileofdread.blogspot.com.
No way, Harry! There's an incredible high net worth individual inside my container! That's crazy, I can't believe it, I'm going to send my best to look into that, Harry! -- Hosted by Lee Brady (twitch.tv/leepaulbrady) and Lawrence (@BPR_Lawrence) Music by Lee Brady, created using Beepbox (beepbox.co) Listen to more episodes on Spotify, Apple Podcasts, Google Podcasts, Anchor and all good podcast providers (anchor.fm/vectormen) -- Segments: 00:00:00 – It's Time to Move On 00:01:00 – SCHEDULE CHANGES, LIVE RECORDINGS, BRIEF HIATUS AND MORE (Also: Dogecoin) 00:14:03 – Follow-Up (Hiram Lives / Qualifying One's Love for Historical Racism) + Vectormen Live Plug (FEET) 00:18:00 – News: Humble Bundle reluctantly charitable once more 00:21:15 – News: Witcher 3 Director abandons ship 00:24:08 – News: APPLE VS EPIC - A Summary 00:48:00 – News: Other News Round-Up (PlayStation Shortage, Skull and Bones Delay, Sega remembers IPs, Sony sued for market restriction, Castlevania Season 4 out, Stadia is OK!, The Mako gets a good/bad toggle, Nintendo's VERY GOOD YEAR, Video Game Hall of Fame Inductees Announced) 00:55:31 – Lawrence checks back in with Assassin's Creed Unity one last time 01:06:58 – The Disco Elysium SPOILERCAST 02:30:13 – Live, Flawed - See you in June! --- — Send us your thoughts! Twitter: @VectormenPod E-mail: vectormenpodcast@gmail.com Twitch: twitch.com/VectormenLive --- Send in a voice message: https://anchor.fm/vectormen/message
In this very special episode, we reflect on different versions of an old classic American Standard, "It Was a Very Good Year." Made famous by Frank Sinatra, we explore some of the other classy (and some quirky) versions of the tune, match each version with classy (and sometimes quirky) original cocktail selections.We also think back on our lives and on 2020, and while it's been a hard year for everyone, we talk about the things that we are thankful for. And as we always say, stay safe, stay responsible, BUT - as best you can - have fun out there.For the playlist of songs and full drink recipes, head to badbusinessmusic.com/imbibethevibe.Check out other episodes and our music Here on Spotify.
Autumn is a season full of beauty and change. As the Earth tilts and wobbles like a spinning top, in Autumn and Spring, an equinox happens when the Earth is just about at a 0 degree tilt. So, at the equator, the sun would be directly overhead and we'd see equal daylight and nighttime! Love and light, y'all! Playlist: Autumn Leaves by Beegie Adair I'll Be With You in Apple Blossom Time by Charles Harrison It Was a Very Good Year by Frank Sinatra Urge for Going by Tom Rush The Sun In September by Matthew Halsall Flaming September by Orchestra, Marianne Faithfull & Angelo Badalamenti Harvest Moon by Neil Young Autumn Leaves by Leif Shires Moondance by Van Morrison Autumn Sweater by Yo La Tengo If There is No Question by Khruangbin Harvest Moon by SYML Autumn by Moondog
The GREAT Bob Shane of The Kingston Trio died at the age of 85 on the 26th of January. Please join the Big W as spins fantastic songs from Bob’s career with The Kingston Trio on a very special Buddies Lounge tribute! Show 388: • Hard, Ain’t It Hard? • Raspberries, Strawberries • New York Girls • Blow Ye Winds • Rolling Stone • Molly Dee • The World’s Last Authentic Playboys • The Escape of Old John Webb • Tomorrow • It Was a Very Good Year • Comin’ From the Mountains • Take Her Out of Pity • Allentown Jail • To Be Redeemed • Greenback Dollar • Mark Twain • The Reverend Mr. Black • Sing Out • Jane, Jane, Jane • Let’s Get Together • Midnight Special • Hope You Understand • Stay Awhile • Gonna Go Down The River • MTA • The Tijuana Jail • Tom Dooley
It’s EPISODE 78 of THE PODCAST ON HAUNTED HILL – and GAV & DAN discuss their SUMMER GUILTY PLEASURES!! We look into what got us HOOKED on I KNOW WHAT YOU DID LAST SUMMER and it’s sequel I STILL KNOW….We also discuss more tales of MYSTERY in WORLD OF THE STRANGE, the TIME TEAM look at a VERY GOOD YEAR for horror, and we have more METAL MUSIC to bang our heads to! So tune in, download, comment, like and share! YOU’LL BE INSTANTLY HOOKED!!! The post THE PODCAST ON HAUNTED HILL EPISODE 78 – I (STILL) KNOW WHAT YOU DID LAST SUMMER first appeared on Legion.
It’s EPISODE 78 of THE PODCAST ON HAUNTED HILL – and GAV & DAN discuss their SUMMER GUILTY PLEASURES!! We look into what got us HOOKED on I KNOW WHAT YOU DID LAST SUMMER and it’s sequel I STILL KNOW….We also discuss more tales of MYSTERY in WORLD OF THE STRANGE, the TIME TEAM look at a VERY GOOD YEAR for horror, and we have more METAL MUSIC to bang our heads to! So tune in, download, comment, like and share! YOU’LL BE INSTANTLY HOOKED!!!
This week on the podcast, two stories about long marriages featuring the better and worse, the sickness and the health — and, above all, the surprises. Music: "It Was a Very Good Year" by Frank Sinatra
258 - Ervin Drake (with Edith Drake) Ervin Drake could be considered one of the greatest songwriters of The American Songbook. He lived from April 3, 1919 – January 15, 2015. This was a very candid interview and his wife Edith shared her perspectives as well. Some of the Standards Ervin Drake wrote include “I Believe” and “It Was a Very Good Year.” He also wrote English lyrics to the song “Tico-Tico” and “Quando, Quando.” The songs of Ervin Drake have been recorded Some of the most celebrated singers and musicians of our time including Frank Sinatra, Billie Holiday, Barbra Streisand, Elvis Presley, Frankie Laine, Duke Ellington, Steve Lawrence, Diana Ross, the Kingston Trio, and Perry Como…just to name a few. Ervin Drake was also a visual artist and has also worked as a television producer. He also worked with such legendary acts as Jackie Gleason and Milton Berle. He was the President of the American Guild of Authors and Composers for many years and was a recognized person in New York's theatre and cabaret scene. "It Was a Very Good Year" is perhaps one of the most iconic songs in American recorded music. The interview with Ervin Drake is only on The Paul Leslie Hour. Listen to the history come alive. Support The Paul Leslie Hour by donating to their Tip Jar: https://tips.pinecast.com/jar/the-paul-leslie-hour
Our first full year of podcasting spanned a diverse landscape of ideas, interlacing the large and serious with the profane and fun, as reflected in the excerpts included in this podcast.Duration - 27:48VoxBox: Podcast clips from ‘The Sill' episodes recorded in 2018Music Credit: Frank Sinatra - It Was a Very Good Year
La Mélodie du Bonheur, c'est un podcast hebdomadaire consacré à la musique. Chaque semaine, un album passe dans notre viseur, dans un cycle trois actus, un hors-actu. L'album de la semaine : Cette semaine, Flavien, Loik, Michaël et Wazoo vous parlent de Time 'n' Place, album de Kero Kero Bonito sorti le 1er octobre 2018. Les recommandations : • Flavien : Hidden Folks, jeu vidéo développé par Adriaan de Jongh et Sylvain Tegroeg• Loik : Ma Loute, film réalisé par Bruno Dumont• Michaël : Les Tonton Farceurs, film réalisé par Jerry Lewis• Wazoo : This and the Memory of This, mixtape de Stick in the Wheel Tracklist : • Générique de début : Michel Polnareff – Une simple mélodie ; Star Academy – La Musique• Album de la semaine : Kero Kero Bonito - Big City ; Kero Kero Bonito - Make Believe ; Kero Kero Bonito - Swimming• Quizz : X Japan - Kurenai ; Beach House - Tokyo Witch ; Coldplay - Clocks ; Mike Oldfield - To France ; Iron Maiden - Two Minutes to Midnight ; Maxime Le Forestier - San Francisco ; The Future Sound of London - Dead Skin Cells ; Joy Division - 24 Hours ; Faith No More - Edge of The World ; Jefferson Airplane - 3-5 of a Mile in 10 Seconds ; Exuma - A Place Called Earth ; Frank Sinatra - It Was a Very Good Year ; Toto - Africa ; Pink Floyd - Time ; The Cure - This. Here and Now. With You• Morceau de fin : Princess Nokia - Brujas• Générique de fin : Pet Shop Boys – Hit Music ; ABBA – Thank You for the Music ; Ulver – Like Music ; Kraftwerk – Musique Non Stop ; Serge Gainsbourg – Ballade de Melody Nelson Retrouver le podcast : XSilence | Facebook | Twitter | iTunes | Podcloud
On this episode of The Sofa King Podcast, we put on our tuxes, get a little class, and talk about the cuckoo life, career, and rise to power of the Chairman of the Board, Frank Sinatra. Francis Albert Sinatra was born in Hoboken, New York and grew up in a house with a strict mother who was alleged to give abortions to women illegally as part of her wet-nurse practice. His father once drove shotgun on a booze run for Lucky Luciano, and his uncle and his godfather were members of the Genovese crime family: he lived a mob-influenced childhood in the streets of New York. Through all of this, young Frank developed a love of music. He would watch nightly shows in his neighborhood and was given a ukulele at a young age. He joined the glee club to get practice, took diction lessons to be able to pronounce words perfectly, and after seeing Bing Crosby perform, devoted his time to do one thing—be better than Crosby was. To do this, he started in small clubs and eventually won a contest (think American Idol but, somehow, even more lame) with a group called the Hoboken Four and was sent on a national radio tour as a prize. From here, he got exposure and was signed to sing for a big band. That led to him singing for the famous Tommy Dorsey band where Sinatra found national recognition, making several number one singles with the band. Eventually, he wanted to go solo, and he had a hard time because Dorsey was a slave driver and had a contract for 43% of all future earnings that made a true solo career for Frank Sinatra an impossibility. Be it through a lawsuit or mafia ties (as rumor suggests), Dorsey let Sinatra out of the contract, and the rest was history. Sinatra became the first mega act in the United States. He was big like The Beatles or Elvis was, with hordes of girls swooning at his presence. His popularity grew during World War Two, and then it peaked and fell hard in the early fifties. He couldn’t even fill small casinos or nightclubs in New York. Why did he fall off? How did he get back on top again? What helped him win an Oscar, and how did he get into making movies? When did the Rat Pack form? What connected Frank Sinatra to Las Vegas, and exactly what involvement did he have with the Mafia? Was he really at the infamous mob boss retreat in Havana, Cuba in 1947? Listen, laugh, learn. “It Was a Very Good Year” in studio. Dope as hell: https://vimeo.com/195230171 Video: Rat Pack, Johnny Carson and Quincy Jones: https://www.youtube.com/watch?v=fctcvKMEWy4 *) Highlight of Ball Busting: https://www.youtube.com/watch?v=PvY8o1UYw6s
Your dreams have come true, assuming you dream of a podcast in which we do our best to work through the world's biggest questions, starting with these: Why are twentysomething Canadian robots putting septuagenarian Canadian humans out of work? Is Google Street View less creepy or more creepy if you're the one taking the photos? And, when Clifford got big we know it came from love, but was that love tainted by science gone wrong, or the touch of some malevolent wizard? These truths and more will be revealed to you, before you wake up and forget it ever happened. Discussed: correcting a mistake, Nick Brekcon babysitting himself at Disneyland, externalized self-loathing, wishing upon a star, nightmares, CBC mail robot retirement, anthropomorphizing lovable dumb box robots over insidiously friendly human-like robots, cats' preference for humans over food, helping out your retiring mail robot buddy, boss robot, forcibly retiring your boss, The Count of Monte Cristo of Mail Robot Retirement Revenge, The Ship of Theseus, The Mom of Theseus, ostensible democratization of Google Street View, Google Street View camera hidden inside a teddy bear, long-term Google Street View gaslighting campaign, the world's largest and most popular website: Google.com, pulling off some sick moves as you surf down the slippery slope, scorning your past selves, "It Was a Very Good Year," just pushing the button, chitinous hide, Short & Curly Australian ethics podcast for children, the value of children, Dumbledore, Dumblededoodledy, a secret world in which wizards exist, Clifford the Big Red Dog, how Clifford got big, David Cronenberg's Clifford the Big Red Dog, The Fly, Darren Aronofsky's Clifford the Big Red Dog Send us your questions at questions@importantiftrue.com. If you enjoyed this and would like to subscribe to an ad-free feed, please consider supporting Idle Thumbs by backing our Patreon. Nick's Endorsement: Stretching (so you don't ruin your shitty old busted human frame) Jake's Endorsement: New York City in 1993 shot on HD video Chris' Jake-adjacent Bonus Endorsement: The Deuce TV show pilot on HBO Chris' Real Endorsement: Jarred anchovy fillets to pump up the flavor of your meals (for instance, this delicious pan-seared chicken recipe) Jake's Chris-adjacent Bonus Endorsement: Reassessing obnoxious childhood opinions fed to you by kid-targeted media and scorning your past self Sponsored by: Warby Parker prescription glasses with free home try-on, Quip electric toothbrushes with $10 off your first brush head refill
Michael Covel starts with "It Was a Very Good Year" by Frank Sinatra because what's more useful as a human being? Is it more useful to get all geared up about elections, or to listen to a Frank Sinatra sing a nice walk through life. A pleasant, easygoing way. Of course, the pleasant easygoing way is better. Covel discusses what the election means for both sides, even if he doesn't seem to care one way or the other: On the conservative side, if you keep running social issue candidates, you'll never win an election again. To the liberals, if you think the government can give you economic freedom, you'll never have economic freedom. So, where is Covel going with this? He goes the Frank Sinatra way, the go-with-the-flow way. Every couple of years, someone says "trend following is dead". Usually it's right at the time trend followers have a drawdown. The idea is to have your wins far outweigh your losses. You'll have volatility in your returns. Life is volatile and you can't predict what's going to happen. You can only make your bets, have stop losses in the market, and say "I'm going to get out if I lose this amount of money". Covel quotes Jason Gerlach of Sunrise Capital (a firm with a 30 year track record of success) as a response to those that say "trend following is dead": "Trend following is no more dead than the sport of sailing or the act of kite flying would be considered dead if, for a period of time, the wind didn't blow. Like a sailboat, or a kite, a trend following trading model is designed to capture the power of environmental forces. When the requisite environmental forces don't occur for stretches of time, activities that depend on those environmental forces are not going to be successful. Once the winds started blowing again, sailboats will sail, and kites will again fly. The same holds true for trend following. Just as the wind will always return to blow in the future, the forces that drive price trends: greed, fear, euphoria, panic, will return at some point, and when they do, trend following trading models will make a great deal of money." Covel again notes AQR's paper discussing trend following's positive returns dating back to 1903 as evidence of this. Yes, there's a chance wind will never return, but do you want to bet everything on that?
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Especial el Paso del Tiempo: Las Crisis de Edad. Con Jimina Sabadú y María X. En este especial, nostálgico y esperanzador, tocamos toda suerte de temas con el telón de fondo del Tiempo. La Infancia, la Madurez, la Paternidad, el Final de los Tiempos, la Salud, la Enfermedad y la Muerte. Nos hemos visto obligados a censurar una información para la que el Gran Público aún no está preparado, y a mitad del programa ocurre un suceso totalmente inesperado, en vivo y en directo, para solaz del oyente. Sonó ocho veces la canción "It Was a Very Good Year", interpretada por The Kingston Trio, Lonnie Donegan, Chad & Jeremy, Herb Alpert & the Tijuana Brass, The Turtles, Lee Hazelwood, Lou Rawls y Della Reese.Escucha este episodio completo y accede a todo el contenido exclusivo de Podcast El Programa de Sita Abellán. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://www.ivoox.com/podcast-podcast-el-programa-sita-abellan_sq_f130132_1.html
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Especial el Paso del Tiempo: Las Crisis de Edad. Con Jimina Sabadú y María X. En este especial, nostálgico y esperanzador, tocamos toda suerte de temas con el telón de fondo del Tiempo. La Infancia, la Madurez, la Paternidad, el Final de los Tiempos, la Salud, la Enfermedad y la Muerte. Nos hemos visto obligados a censurar una información para la que el Gran Público aún no está preparado, y a mitad del programa ocurre un suceso totalmente inesperado, en vivo y en directo, para solaz del oyente. Sonó ocho veces la canción "It Was a Very Good Year", interpretada por The Kingston Trio, Lonnie Donegan, Chad & Jeremy, Herb Alpert & the Tijuana Brass, The Turtles, Lee Hazelwood, Lou Rawls y Della Reese.
After a couple days away Chris and Nathan are back with hardly any news, and for those of you that are reading this now they are planning on a minisode to discuss the most recent news regarding Marvel and Disney. After the news is a Trailer Spot covering Inception and The Wolfman. Chris as always does the Box Office Report and to finish off the episode both of them review Inglourious Basterds. We hope you enjoy the show Opening and Ending Song: It Was a Very Good Year by Frank Sinatra
. Mac Arnold - I Can Do Anything (4:39) 2. Ray Charles - It Was a Very Good Year (4:59) 3. Various Artists - Sonny Boy Williamson / Win The War Blues (3:29) 4. Paul Anka - Black Hole Sun (4:27) 5. 11 LaVern Baker - Voodoo Voodoo (1:49) 6. Bacon Fat - Juicy Harmonica (3:57) 7. Gaye Adegbalola - Nothing's Changed (3:33) 8. J.W. Jones - Let's Have a Ball (3:41) 9. Johnny Nicholas & the Texas All Stars - Where You At? (2:45) 10. Slow Wicked Blues - Darby & Tarlton (3:06) 11. Billy Hector Band - Alberta (6:53) 12. Astrud Gilberto - I Will Wait for You (4:37) 13. Doug Cox - Fish Pond (8:33) 14. Snooky Pryor - Boogy Fool (2:26) 15. Larry McCray - Gone For Good (7:54) 16. L.C. Good Rockin' Robinson - Ups & Downs (3:30) 17. Alvin Lee - Let's Boogie (3:35) 18. Under the Falling Sky - Bonnie Live (3:48) 19. Ellen McIlwaine - Dead End Street (4:35) 20. Fence Brakin Blues - Shreveport Home Wreckers (3:11) 21. Damon Fowler Group - RIVERVIEW DRIVE (4:54) 22. Dinah Washington - Blue Gardenia (5:19) 23. Dennis Jones - No Mo (3:27) 24. 17 Piano Red - Jump Man Jump (1:56) 25. Bradley N. Litwin - Careless Love (4:46) 26. Cosltello, Sean & His Jivebombers - Why Baby? (2:57) show#275Mac Arnold - I Can Do Anything (4:39)Ray Charles - It Was a Very Good Year (4:59)Sonny Boy Williamson / Win The War Blues (3:29) Paul Anka - Black Hole Sun (4:27)LaVern Baker - Voodoo Voodoo (1:49)Bacon Fat - Juicy Harmonica (3:57)Gaye Adegbalola - Nothing's Changed (3:33)J.W. Jones - Let's Have a Ball (3:41)Johnny Nicholas & the Texas All Stars - Where You At? (2:45)Slow Wicked Blues - Darby & Tarlton (3:06)Billy Hector Band - Alberta (6:53)Astrud Gilberto - I Will Wait for You (4:37)Doug Cox - Fish Pond (8:33)Snooky Pryor - Boogy Fool (2:26)Larry McCray - Gone For Good (7:54)L.C. Good Rockin' Robinson - Ups & Downs (3:30)Alvin Lee - Let's Boogie (3:35)Under the Falling Sky - Bonnie Live (3:48)Ellen McIlwaine - Dead End Street (4:35)Fence Brakin Blues - Shreveport Home Wreckers (3:11)Damon Fowler Group - RIVERVIEW DRIVE (4:54)Dinah Washington - Blue Gardenia (5:19)Dennis Jones - No Mo (3:27)Piano Red - Jump Man Jump (1:56)Bradley N. Litwin - Careless Love (4:46)Sean Costello & His Jivebombers - Why Baby? (2:57)
Larry Cuocci, author of A Very Good Year, which was chosen as “Best Books 2004 Finalist. Larry's life changed on a summer's day in 1976 when his ailing mother asked him to end her life. A Very Good Year portrays the true story of one year in the life of a seventeen year-old boy; an angst-ridden, often comic journey through sex, drugs, love and death -- in short, a survivor's tale.
Larry Cuocci, author of A Very Good Year, which was chosen as “Best Books 2004 Finalist. Larry's life changed on a summer's day in 1976 when his ailing mother asked him to end her life. A Very Good Year portrays the true story of one year in the life of a seventeen year-old boy; an angst-ridden, often comic journey through sex, drugs, love and death -- in short, a survivor's tale.
Sue Lawley's castaway this week is Sir Bobby Robson. Sir Bobby Robson is one of the most enduring and popular faces in football. For more than five decades he has dedicated his life to the game - as a player and manager. As a small boy growing up in a mining village in County Durham, he learnt his ball skills by playing football in the streets and backyard with his four brothers.By the time he was 15, Bobby knew he had a particular gift and was attracting the attention of the local talent scouts. But, despite being offered a professional place by his home team of Newcastle, he decided to head south to Fulham, where he thought he'd have a greater chance to shine. He went on to play successfully for Fulham and West Bromwich Albion and earned twenty England caps before an ankle injury cut short his international career. He then managed Ipswich Town for 13 very successful years - leaving when he was offered the opportunity manage the England squad. After a successful career in Europe he returned to Britain in 1999 to manage Newcastle but was sacked early in the season. Despite health problems, he says he hasn't given up hope of finding another club to manage. [Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: It Was a Very Good Year by Robbie Williams and Frank Sinatra Book: The works of historian John Keegan: The First World War & the Second World War collected into one volume by John Keegan Luxury: Sun lounger with canopy to protect him from the sun
Sue Lawley's castaway this week is Sir Bobby Robson. Sir Bobby Robson is one of the most enduring and popular faces in football. For more than five decades he has dedicated his life to the game - as a player and manager. As a small boy growing up in a mining village in County Durham, he learnt his ball skills by playing football in the streets and backyard with his four brothers. By the time he was 15, Bobby knew he had a particular gift and was attracting the attention of the local talent scouts. But, despite being offered a professional place by his home team of Newcastle, he decided to head south to Fulham, where he thought he'd have a greater chance to shine. He went on to play successfully for Fulham and West Bromwich Albion and earned twenty England caps before an ankle injury cut short his international career. He then managed Ipswich Town for 13 very successful years - leaving when he was offered the opportunity manage the England squad. After a successful career in Europe he returned to Britain in 1999 to manage Newcastle but was sacked early in the season. Despite health problems, he says he hasn't given up hope of finding another club to manage. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: It Was a Very Good Year by Robbie Williams and Frank Sinatra Book: The works of historian John Keegan: The First World War & the Second World War collected into one volume by John Keegan Luxury: Sun lounger with canopy to protect him from the sun
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