Podcast appearances and mentions of Wendy Carlos

Join us for an illuminating exploration of Wendy Carlos, a groundbreaking electronic music pioneer and transgender trailblazer. In this episode, we delve into Carlos's remarkable journey from her early musical beginnings to her revolutionary work with the Moog Synthesizer, including creating the platinum-selling album "Switched-On Bach." We discuss her significant contributions to electronic music and her courageous decision to come out as transgender. This episode offers a powerful narrative about innovation, authenticity, and the intersection of artistic excellence and personal identity.----------------------------------------------------------@translessonplan@mariiiwrldMerch:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://trans-lesson-plan.printify.me/products⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our newsletter:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://mailchi.mp/a914d2eca1cf/trans-lesson-plan⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠----------------------------------------------------------References:Carlos, W. (1987). Tuning: at the crossroads. Computer Music Journal, 11(1), 29. https://doi.org/10.2307/3680176Kheshti, R. (2019). Wendy Carlos's Switched-On Bach. In Bloomsbury Publishing Plc eBooks. https://doi.org/10.5040/9781501320316Riedel, S. (2019, October 10). Wendy Carlos' life and work show the beauty (and trauma) of being openly trans. Them. https://www.them.us/story/genderations-wendy-carlosSchoonhoven, S. M. (2017). Gender, timbre, and metaphor in the music of Wendy Carlos. https://doi.org/10.15781/t2639km0gSewell, A. (2020). Wendy Carlos. In Oxford University Press eBooks. https://doi.org/10.1093/oso/9780190053468.001.0001Wakefield, L., & Wakefield, L. (2024, July 22). Why trans electronic music pioneer Wendy Carlos appeared on the BBC disguised as a cis man. PinkNews | Latest Lesbian, Gay, Bi and Trans News | LGBTQ+ News. https://www.thepinknews.com/2024/07/22/wendy-carlos-transgender-trans-electronic-music-robert-moog-synthesizer-bbc/Wendy Carlos Biography. (n.d.). https://www.wendycarlos.com/biog.html

Episode 168 Chapter 28, Moog Analog Synthesizers, Part 1. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 28, Moog Analog Synthesizers, Part 1 from my book Electronic and Experimental music.   Playlist: EARLY MOOG RECORDINGS (BEFORE 1970)   Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1.     Emil Richards and the New Sound Element, “Sapphire (September)” from Stones (1967). Paul Beaver played Moog and Clavinet on this album by jazz-pop mallet player Richards, who also contributed some synthesizer sounds. 02:21 01:44 2.     Mort Garson, “Scorpio” (1967) from Zodiac Cosmic Sounds (1967). Mort Garson and Paul Beaver. Incorporated Moog sounds among it menagerie of instruments. Garson went on to produce many solo Moog projects. 02:53 04:04 3.     Hal Blaine, “Kaleidoscope (March)” from Psychedelic Percussion(1967). Hal Blaine and Paul Beaver. Beaver provided Moog and other electronic treatments for this jazzy percussion album by drummer Blaine. 02:20 06:58 4.     The Electric Flag, “Flash, Bam, Pow” from The Trip soundtrack (1967). Rock group The Electric Flag. Moog by Paul Beaver. 01:27 09:18 5.     The Byrds, “Space Odyssey” (1968) from The Notorious Byrd Brothers (1968).  Produced by Gary Usher who was acknowledged for having included the Moog on this rock album, with tracks such as, “Goin' Back” (played by Paul Beaver), “Natural Harmony,” and unreleased track “Moog Raga.” 03:47 10:48 6.     The Monkees, “Daily Nightly” from Pisces, Aquarius, Capricorn, and Jones Ltd. (1967). Moog effects provided by Micky Dolenz of the Monkees and Paul Beaver. 02:29 14:40 7.     Jean Jacques Perrey and Gershon Kingsley, “The Savers,” a single taken from Kaleidoscopic Vibrations (1967). The first Moog album by this duo known for their electro-pop songs. 01:48 17:08 8.     Wendy Carlos, “Chorale Prelude "Wachet Auf" from Switched-On Bach (1968). The most celebrated Moog album of all time and still the gold standard for Moog Modular performances. 03:34 18:54 9.     Mike Melvoin, “Born to be Wild” from The Plastic Cow Goes Moooooog (1969). Moog programming by Paul Beaver and Bernie Krause. 03:03 22:28 10.   Sagittarius, “Lend Me a Smile” from The Blue Marble (1969). This was a studio group headed by Gary Usher, producer of The Byrds, who used the Moog extensively on this rock album. 03:09 25:30 11.   The Zeet Band, “Moogie Woogie” from the album Moogie Woogie(1969). Electronic boogie and blues by an ensemble including Paul Beaver, Erwin Helfer, Mark Naftalin, “Fastfingers” Finkelstein, and Norman Dayron. 02:43 28:40   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

This edition of 101 Dimensions (curated by me) features nearly 2 hours of electronic/ambient/progressive music from AeTopus, Focus, Wendy Carlos, Red Shift, and David Helpling & Jon Jenkins!

Guest and HostGuest: Seth Cluett, Director of Columbia University's Computer Music Center | On LinkedIn: https://www.linkedin.com/in/seth-cluett-7631065/ | Columbia University Computer Music Center Bio: https://cmc.music.columbia.edu/bios/seth-cluettHost: Sean Martin, Co-Founder at ITSPmagazine and Host of Redefining CyberSecurity Podcast & Music Evolves Podcast | Website: https://www.seanmartin.com/Show NotesMusic and technology have always shaped each other, and few places embody that relationship as deeply as the Computer Music Center (CMC) at Columbia University. In this episode of Music Evolves, Sean Martin sits down with Seth Cluett, Director of the Computer Music Center and Assistant Director of the Sound Art MFA program at Columbia, to explore the center's rich history, its role in advancing music technology, and how it continues to shape the future of sound.The Legacy and Mission of the Computer Music CenterThe CMC is housed in the same 6,000-square-foot space as the original Columbia-Princeton Electronic Music Center, which dates back to 1951 and is one of the world's oldest university-based electronic music research facilities. This was the birthplace of early electronic music, where pioneers learned to use cutting-edge technology to create new sounds. Many of those musicians went on to establish their own studios around the world, from Egypt to Japan.The center has played a role in major milestones in music history, including the work of Wendy Carlos, a former student known for Switched-On Bach, the score for Tron, and The Shining. The first piece of electronic music to win a Pulitzer Prize was also composed here. Today, under Cluett's leadership, the focus remains on creativity-driven technological innovation—allowing composers and artists to explore technology freely and push the boundaries of what's possible in sound and music.One of the center's guiding principles is accessibility. Cluett emphasizes the importance of lowering barriers to entry for students who may not have had prior access to music technology. The goal is to make sure that anyone, regardless of background, can walk into the studio and begin working with 80% of its capabilities within the first 20 minutes.Exploring the Labs and StudiosThe episode also includes a tour of the labs and studios, showcasing some of the center's groundbreaking equipment. One highlight is the RCA Mark II Synthesizer, the world's first programmable music synthesizer. Built in the late 1950s, this massive machine—seven feet tall and weighing over a ton—was instrumental in shaping the sound of early electronic music. The system worked by punching holes into paper to control sound generation, similar to a player piano. While no longer in use, the CMC has collaborated with iZotope to model some of its effects digitally.The tour also features Columbia's electronic music studio, which houses synthesizers from Buchla, Serge, and Moog—the latter being developed by Bob Moog, who was once an undergraduate at Columbia. The center's modern design emphasizes a seamless workflow between analog and digital technologies, allowing students to quickly create, process, and experiment with sound.Another key space is the immersive media and spatial audio research facility, which features a 12.1-channel loudspeaker sphere for ambisonic sound, along with a 32-capsule microphone that captures highly detailed audio environments. This technology is not only shaping music but also fields like virtual reality, data sonification, and interactive media.The Future of Music TechnologyLooking ahead, Cluett highlights the increasing interplay between AI, machine learning, and music composition. While some companies promote AI-generated melodies, he believes that truly expressive, human-driven composition remains essential. The role of technology, he argues, is not to replace human creativity but to enable new forms of expression. The CMC is at the forefront of this shift, experimenting with real-time audio processing, interactive performance systems, and embedded sensors that enhance live music experiences.As music and technology continue to merge, Columbia's Computer Music Center remains a key player in shaping the future of sound. Whether through pioneering hardware, software innovation, or fostering the next generation of creative minds, the center proves that music technology is not just about engineering—it's about expression, accessibility, and the pursuit of artistic joy.

Once again, we're diving deep into the Esalen archives to share a fascinating historical recording - this one featuring electronic music pioneer Doug McKechnie. In the late 1960s and early '70s, Doug McKechnie was at the cutting edge of musical innovation, harnessing the revolutionary Moog synthesizer to create mesmerizing sounds. McKechnie was a contemporary of iconic figures like Wendy Carlos, known for the 1968 record "Switched-on Bach," a collection of pieces by Bach that were performed by Carlos on the Moog synthesizer. This album, which won a Grammy for Classical Album of the Year, played a key role in bringing synthesizers to popular music. McKechnie was also tied to the Grateful Dead, contributing to the band's most experimental album, "Aoxomoxoa.” He also played at Altamont, not really a feather in anyone's cap, but it shows the breadth of his growing popularity, and that of the Moog synthesizer. Moogs are characterized by distinctive electronic timbres and pulsating rhythms, as well as hypnotic sequences. They are very much a part of the psychedelia of the late 1960s, fitting right in with the oil light shows, pop art, face paint and neon day glo colors of the time. The Moog's ability to generate evocative psycho-acoustic atmospheres allowed musicians like McKechnie to tap into the exploration of internal landscapes that seemed to naturally occur during psychedelic adventures. The performance you're about to hear was recorded live at Esalen in the late 1960s, preserved for decades on half inch to reel, then dusted off, digitized, and transported to you via the magic of podcasting. So sit back, relax, and let the Moog take you on a trippy auditory journey to a pivotal moment in musical and technological history.

Anna Williams joins me again to talk about Wendy Carlos and Weird Al's version of Peter and the Wolf.  https://www.instagram.com/neavetrio/ To find out more about Cookesville, U.S.A click here   For more Beyond the Playlist https://twitter.com/JHammondC https://www.facebook.com/groups/Beyondtheplaylist/ Theme music by MFTJ Featuring MIke Keneally and Scott Schorr - to find more of MFTJ go to https://www.lazybones.com/ https://mftj.bandcamp.com/music http://www.keneally.com/

Welcome to Live From Progzilla Towers Edition 553. In this All Request edition, we heard music by Rush, Andrew Lloyd Webber, Dave Kerzner & Sonic Elements, Geordie Greep, Godspeed You! Black Emperor, Kayak, Marillion, Rick Wakeman, Cybotron, Wendy Carlos, Van Der Graaf Generator, Robert Fripp, King Crimson, The Cure, RPWL, Opeth, Schnauser, Wally, Tiles, The Staves & Transatlantic.

Episode 152 Chapter 13, Edgard Varèse and The Listener's Experiment. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Playlist: CLASSICAL MUSIC WITH ELECTRONICS Time Track Time Start Introduction –Thom Holmes 01:28 00:00 1.     Edgard Varèse, “Déserts” (1954). Early combination of live orchestra with magnetic tape. 24:49 01:36 2.     Maurice Blackburn and Norman McClaren, “Blinkity Blank” (1955). Film score for five instrumentalists and sounds created by etching directly onto the soundtrack. 05:07 26:28 3.     Morton Subotnick, “Laminations” (1966). Live orchestra with electronic sounds on tape. 10:29 31:24 4.     Mario Davidovsky, “Synchronisms No. 5” (1969). For percussion quintet and electronic sounds on tape.  08:39 41:50 5.     Wendy Carlos, “A Clockwork Orange” (1971). Early analog synthesis of orchestral and choir sounds. 07:03 50:36 6.     Jacob Druckman, “Animus III” (1971). For clarinet and tape. 15:44 57:34 7.     Isao Tomita, opening four tracks from The Bermuda Triangle (1979) including themes by Prokofiev and Sibelius.  Analog electronic orchestration. 12:52 01:13:18 8.     Wendy Carlos, “Genesis” from Digital Moonscapes (1984). Completely digital orchestration. 07:10 01:25:58 9.     Robert Ashley, “Superior Seven” (1988). Live instruments with MIDI instrument accompaniment. 30:15 01:33:10 10.   William Orbit, “Adagio for Strings” (2000). Electronic realization of Samuel Barber orchestral work. 09:34 02:03:26     Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Dimitri and Khalid resume their dive into the deep history of the synthesizer and electronic music, this time covering the late 1960s-early 1970s explosion of the Moog and Buchla synths into popular consciousness. Topics include: More from Trevor Pinch's “Analog Days”, sus acid test graduations, the faux-apocalyptic “Awareness Festival” held amid race riots at SF State, B-52 bombers turning into butterflies, the Diggers Commune and the sounds of space aliens, the Grateful Dead's pivotal role in sound technology innovation, Moog's coming out party at the 1967 Monterey Pop Festival, heckin' Bernie Krause and the curious Scientologist swinger Paul Beaver selling Moogs in LA, UFO hunting around Mt. Shasta, George Harrison screwing over Bernie to make his shitty electronic album, the impact of Wendy Carlos' seminal “Switched On Bach” album, the question of gender and the synthesizer, the labor anxieties triggered by “Switched On Bach” and the Moog, Suzanne Ciani's long strange Buchla trip, synthesizing the sounds of corporate America throughout the 1970s, human-Buchla cathexis, the feminine approach to synthesis, and more. For access to premium SJ episodes, upcoming installments of DEMON FORCES, and the Grotto of Truth Discord, become a subscriber at patreon.com/subliminaljihad.

Charles Skaggs & Xan Sprouse watch Tron, the 1982 science fiction action-adventure film directed by Steven Lisberger, featuring Jeff Bridges as Kevin Flynn/Clu, Bruce Boxleitner as Alan Bradley/Tron, and David Warner as Edward Dillinger/Sark/MCP! Find us here:X/Twitter:  @DrunkCinemaCast, @CharlesSkaggs, @udanax19 Facebook:  @DrunkCinema Bluesky:  @charlesskaggs.bsky.social, @udanax19.bsky.social Email:  DrunkCinemaPodcast@gmail.com Listen and subscribe to us on Apple Podcasts and leave us a review!

What happens when your podcast's theme song—cobbled together from GarageBand loops—gets called “game show music” and likened to a cereal commercial? You rewrite it. In this episode, we take you behind the scenes of Switched on Pop's sonic makeover, from scathing critiques by music industry heavyweights to the creation of a lush, layered soundscape inspired by Wendy Carlos and PBS science shows. With expert advice from sonic branding maestro Dallas Taylor (Twenty Thousand Hertz) and the composers Zach Tenorio and Jocie Adams (Arc Iris), we dissect every step of transforming our theme into a timeless sonic identity. Tune in for the full story and hear how we turned a jingle crisis into a musical triumph. More Musicares.org is supporting LA based musicians in need of assistance from the destruction of the fire Billboard has compiled more forms of support and assistance Recommendations Read Cat Zhang at The Cut Read Lauren Michelle Jackson's White Negros and columns at The New Yorker Listen to Ian Fitchuk's work Listen to Song Exploder hosted by Hrishikesh Hirway Listen to NYTimes Popcast hosted by Jon Caramanica Listen to Twenty Thousand Hertz hosted by Dallas Taylor Songs Discussed The Monkees: "Theme Song (Hey, Hey, We're The Monkees)" Radiohead: "Kid A" No Name: "Yesterday" Mort Garson: "Ode to an African Violet" Wendy Carlos Switched On Bach Whitney Houston: "The Star-Spangled Banner" (1991 Super Bowl performance) Jimi Hendrix: "The Star-Spangled Banner" (Woodstock performance) Friends theme Song "I'll Be There for You" by The Rembrandts Reading Rainbow theme song “Butterfly in the Sky” by Steve Horelick, Dennis Neil Kleinman, and Janet Weir Bill Nye the Science Guy theme Song composed by Mike Greene  3-2-1 Contact theme Song composed by Tom Anthony Learn more about your ad choices. Visit podcastchoices.com/adchoices

Nos saltamos las fronteras estilísticas establecidas para ofrecerte, de nuevo en viernes 13, una segunda entrega dedicada a las bandas sonoras del cine de terror.Playlist;(sintonía) WENDY CARLOS y RACHEL ELKIND “Title Music from A Clockwork Orange” (La naranja mecánica (A Clockwork Orange), 1972)WENDY CARLOS y RACHEL ELKIND “Main title “The Shining”” (El resplandor (The Shining), 1980)KRZYSZTOF PENDERECKI “Urenja Ewangelia” (El resplandor (The Shining), 1980)JOHN CARPENTER “Season of the witch” (Halloween III; Season of the witch, 1982)PHILIP GLASS “Helen theme” (Candyman, 1992)ENNIO MORRICONE “Regan’s theme” (El Exorcista II; El Hereje (The Exorcist II; The Heretic, 1977)JERRY GOLDSMITH “Main title” (La maldición de Damien (Damien; Omen II), 1978)PAUL GIOVANNI and MAGNET feat ANNIE ROSE “Willow’s song” (El hombre de mimbre (The Wicker Man), 1973)FABIO FRIZZI “Voci dal Nula (The Beyond Theme)” (El más allá (E tu vivrai nel terrore! L'aldilà), 1981)FRED MYROW y MALCOLM SEAGRAVE “Phantasma main title” (Phantasma, 1979)JAY CHATTAWAY “Maniac's Theme” (Maniaco (Maniac), 1981)CLAUDIO SIMONETTI, MASSIMO MORANTE y FABIO PIGNATELLI “Tenebre” (Tenebrae), 1982)TORU TAKEMITSU “Biwa Uta” (El más allá (Kwaidan), 1965Escuchar audio

Nadja [00:23] "Sievert Pt. 1" Sv Broken Spine Productions BSP015 2023 (original release 2016) Doomy ambient goodness from Aidan and Leah once again. Eurythmics [22:32] "Love Is a Stranger" Sweet Dreams Are Made of This RCA AFL1-4681 1983 Side one, track one from their sophomore album, with a classic video (https://youtu.be/o6f593X6rv8?si=JdUQVqkJ6oVbYuni) to go along for the ride. Plus, high harmonies by Kiki Dee (https://youtu.be/z0qW9P-uYfM?si=y9ywrtnrvrpZvDqI)! Mose Allison [26:15] "Stop This World" Swingin' Machine Atlantic SD 1398 1963 Amen, Mose. Throwing in some horns is not quite the same as the classic trio from the preceding album I Don't Worry About a Thing, but it's still pretty great. Wendy Carlos [29.38] "Brandenburg Concerto No. 3 in G Major - Third Movement" Switched-On Bach Columbia Masterworks MS 7194 1968 Carlos collaborated with Bob Moog on his nascent synthesizer technology to create this album. Because the Moogs were monophonic, it took 1,000 hours over five months to record. In case you are wondering what a traditional version of this movement sounds like, here is the Netherlands Bach Society performing it (https://youtu.be/qr0f6t2UbOo?si=yiW4DA0AxFSb3sB5&t=370). The Police [34:44] "Miss Gradenko" Synchronicity A&M Records SP-3735 1983 The requisite Stewart Copeland track from final album by The Police. Ultravox [38:18] "Slow Motion" Systems of Romance Antilles AN-7069 1978 Lead track and single from Ultravox's third studio album, which became a large influence on Gary Numan (https://youtu.be/_nt5EH0UYxE?si=pm0h_4YWwXlCKJks). T. Rex [41:44] "20th Century Boy" T. Rextasy: The Best of T. Rex, 1970-1973 Warner Bros. Records 25333-1 1985 As usual, Marc Bolan lays down an undeniable groove (https://youtu.be/9SG65dlho_o?si=4Q8NPlKJc_87trVQ), produced by Tony Visconti. I almost forgot about the sax parts. Can [45:23] "Mushroom" Tago Mago United Artists Records 1971 (2007 "unofficial" repress) Tago Mago was Damo first outing with the band, following Malcolm Mooney's departure. According to guitarist Michael Karoli, the explosion at the end of the song is a slowed-down recording of an exploding firecracker. Zola Jesus [49:41] "Long Way Down" Taiga Mute 9611-1 2014 Zola Jesus' fourth studio album and only outing on Mute (before returning to Sacred Bones). Produced by musician, sound designer, and composer Dean Hurley. The Folk Implosion [54:49] "Had to Find Out" Take a Look Inside...... Communion Label COMM 32 1994 The debut album from Lou Barlow and John Davis... released 30 years ago! Stevie Wonder [56:55] "You Are the Sunshine of My Life" Talking Book Tamla T319L 1972 What?! It's a great song. And it was the single that followed up "Supersition". That's a heckuva gear shift. Number one on the Hot 100, of course. Silver Jews [59:53] "Sometimes a Pony Gets Depressed" Tanglewood Numbers Drag City DC297 2005 A rehabilitated Dave Berman comes back with this album, the fifth studio album. He is joined once again by Bob Nastanovich and Stephen Malkmus, as well as his then-wife Cassie Berman. Cover photo by William Eggleston. Music behind the DJ: "Jackie (https://youtu.be/HqAbaqVBCyo?si=qu8P0gk6OeWL5SeB&t=224)" by Billy May and his Orchestra

Remember when you were a kid and you hated brussel sprouts? As you got older, your palette may change and evolve to where those evil little veggies may not taste so bad. The same can be said for musical tastes. Particularly towards specific artists or even entire subgenres.   We all have those specific bands that really didn't turn our crank at the time. But now you find yourself front row centre. What are some of those artists for you?   In our "News, Views and Tunes", we celebrate music pioneer Wendy Carlos, discuss Knocked Loose on Jimmy Kimmel and call out a domestic abuser! Musically, we crank some Massacre, D.R.I., Sarcofago, Havok, Mutank, Underdog (Ger.), Crossfire, Sidewalk and introduce Gravemass in our "Indie Spotlight".   Horns Up!!

En este episodio conversamos sobre la película del año 1971, “A Clockwork Orange” (La Naranja Mecánica) del director Stanley Kubrick, protagonizada por Malcolm McDowell, Patrick Magee, Warren Clarke y Adrienne Corri.

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We celebrate spooky season with an unnerving mix of songs from our favorite horror movie scores, including The Shining, Under The Skin, Hereditary and more.Enjoy the show? Tell a friend and leave us a review wherever you listen to podcasts. Questions, comments, suggestions or feedback of any kind always welcome: allsongs@npr.orgFeatured songs and films:1. Wendy Carlos and Rachel Elkind: "Main Title" and "Clockworks (Bloody Elevators)," from The Shining2. Mark Korven: "The Goat & The Mayhem," from The Witch3. Goblin: "Sighs," from Suspiria4. Hildur Guǒnadóttir: "The Door," from Chernobyl5. John Carpenter: "Main Title," from Halloween6. Colin Stetson: "Mothers & Daughters," from Hereditary7. Mica Levi: "Lipstick To Void," from Under the Skin8. Cristobal Tapia De Veer: "Laura Smile," from Smile9. Ben Salisbury and Geoff Barrow: "The Alien," from Annihilation10. Bobby Krlic: "Gassed," from MidsommarLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Cikle „Geriausi visų laikų kino garso takeliai“ – siaubo klasika „Švytėjimas“ („The Shining“) su Pendereckio, Ligeti, Bartóko ir Wendy Carlos kūriniais. O taip pat: 100 metų vienam vibrafono džiaze pradininkų Terry Gibbsui, arba Julijui Gubenko.Ved. Domantas Razauskas

Gordon Raphael is best known for producing Is This It and Room On Fire by The Strokes and Regina Spektor's ingenious Soviet Kitsch. He was born in New York, grew up in Seattle, and now lives in West Yorkshire, UK. From the age of 13, Gordon has been a keyboard player and later became obsessed with analog synthesizers, recording, and songwriting. His band Sky Cries Mary played a form of tribal space rock, with a 1960s-style multi-projector light show during the grunge scene in Seattle. This summer (2024) he released his 12th solo album, now streaming worldwide. Gordon's memoir, The World is Going To Love This (Up From The Basement With THE STROKES) was published in London by Wordville Press in 2022. Stories in his book include meeting Wendy Carlos and Dr. Robert Moog, detailed conversations from the recording sessions for Is This It, working with Ian Brown, Skin, The Libertines, Ian Astbury, and many others. Gordon has always taken a unique approach in his musical tastes as well as his production methods— which have kept him well outside of the traditional music industry! IN THIS EPISODE, YOU'LL LEARN ABOUT: Working on your own music vs. working on music from others Being critical of your own music Dealing with rejection Pushing forward even when you don't have everything figured out Perfectionism vs. control Finding the magic in raw recordings Working with The Strokes Getting the vocal sound of The Stokes Using saturation during the tracking stage Getting tight drum sounds The benefits of recording live-off-the-floor His special drum room mic technique Having a minimalistic approach, even when working with lots of equipment How he tackles compression in his mixes Embracing imperfections To learn more about Gordon Raphael, visit: https://www.gordotronic.com/ For tips on how to improve your mixes, visit https://masteryourmix.com/ Looking for 1-on-1 feedback and training to help you create pro-quality mixes? Check out my new coaching program Amplitude and apply to join: https://masteryourmix.com/amplitude/ Download Waves Plugins here: https://waves.alzt.net/EK3G2K Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/ Get your copy of my Amazon #1 bestselling books: The Recording Mindset: A Step-By-Step Guide to Creating Pro Recordings From Your Home Studio: https://therecordingmindset.com The Mixing Mindset: The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/ Subscribe to the show: Apple Podcasts: https://podcasts.apple.com/us/podcast/master-your-mix-podcast/id1240842781 Spotify: https://open.spotify.com/show/5V4xtrWSnpA5e9L67QcJej Have your questions answered on the show. Send them to questions@masteryourmix.com Thanks for listening! Please leave a rating and review: https://masteryourmix.com/review/

Ever wondered how an award-winning musician navigates an entire orchestra of analog synthesizers? Join us on this week's Lost in Sound as Paul sits down with Will Gregory, one half of Goldfrapp and head honcho of the Will Gregory Moog Ensemble. You'll hear about his journey from playing saxophone with Tears for Fears in the '80s to collaborating with industry giants like Peter Gabriel, The Cure, and Portishead in the '90s. Discover the inspiration behind the Moog Ensemble's latest album, ignited by Wendy Carlos's "Switched-On Bach." Gregory sheds light on the unique challenges and nostalgic appeal of using vintage synthesizers, the logistics of live performances, and the thematic choice of making an album about Archimedes, connecting mathematics with music in unexpected ways. The pandemic reshaped his creative process, resulting in compositions that blend literal and abstract interpretations, akin to a film score for an imaginary biopic about the ancient mathematician. Explore the ever-evolving landscape of music consumption with us, as we discuss the shift from detailed jazz albums to the instant gratification of digital platforms like TikTok. Gregory reflects on the impact of these changes on listening habits and the importance of live performances in sustaining the music industry. We also delve into the cultural and artistic shifts of the early '70s, highlighting the necessity of artistic growth and the continuous battle with creative uncertainty. This episode offers an intimate look at the artistic journey and evolution of an innovative musician who has consistently pushed musical boundaries. Will Gregory Moog Ensemble - a Digital Deluxe edition of their debut album, Heat Ray: The Archimedes Project, set for release on Mute on 27 September 2024. Follow Paul Hanford on InstagramLost and Sound is sponsored by Audio-TechnicaPaul's BBC World Service radio documentary “The man who smuggled punk rock across the Berlin Wall” is available now on BBC Sounds. Click here to listen.Paul's debut book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culturet Capital is out now on Velocity Press. Click here to find out more. Subscribe to the Lost and Sound Substack for fresh updates and writing.Lost and Sound title music by Thomas Giddins

Cellist Gabriella Swallow and singer, pianist and songwriter Joe Stilgoe join Anna Phoebe and Jeffrey Boakye as they add the next five tracks, taking us from a pioneering use of a vocoder for a Stanley Kubrick soundtrack to a Grace Jones synth hit, via some early American Doo-wop.Producer: Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:March – from A Clockwork Orange by Beethoven, Wendy Carlos & Rachel Elkind This Night by Billy Joel When You Dance by The Turbans Gopher by Yma Sumac Slave to the Rhythm by Grace JonesOther music in this episode:Night Boat to Cairo by Madness Harder, Better, Faster, Stronger by Daft Punk The Shining - Main Title, by Wendy Carlos and Rachel Elkind Piano Sonata No.8 by Bach, played by Alfred Brendel Why do Fools Fall in Love by Frankie Lymon and the Teenagers The Shoop Shoop Song (It's in His Kiss) by Betty Everett Street Hassle by Lou Reed Dance at the Gym from West Side Story by Leonard Bernstein

Nos asomamos a una de las exposiciones que podemos disfrutar en el Festival Internacional del Camino de Santiago que reúne la colección de instrumentos de Luis Delgado. Entre ellos, el arpeggione al que Schubert dedicó una sonata, el sintetizador Minimoog usado en 'La naranja mecánica' de Stanley Kubrick o los sonidos de la música western de Ennio Morricone o Wendy Carlos.

The synthesizer was invented in the 1890s. But for people to really start using it, it took half a century, a musician named Wendy Carlos, and an album called Switched-On Bach. Charlie Harding and Nate Sloan of Switched On Pop tell Phoebe why Wendy Carlos is “the most significant figure in 20th century music that the least people know about.” Subscribe to This Is Love Learn more about your ad choices. Visit podcastchoices.com/adchoices

A computer programmer gets sucked into the mainframe of his former employer and does battle with a malevolent artificial intelligence in a futuristic world right out of a black-light poster. One of Walt Disney Pictures' better forays into science fiction brings us a visually-dazzling world, but that doesn't quite make up for a story that's both nonsensical and a bit of a slog. Starring Jeff Bridges, Bruce Boxleitner, David Warner, Cindy Morgan, and Barnard Hughes. Written by Steven Lisberger and Bonnie MacBird. Directed by Steven Lisberger. Music by Wendy Carlos.  

The synthesizer was invented in the 1890s. But for people to really start using it, it took half a century, a musician named Wendy Carlos, and an album called Switched-On Bach. Charlie Harding and Nate Sloan of Switched On Pop tell Phoebe why Wendy Carlos is “the most significant figure in 20th century music that the least people know about.” Say hello on Twitter, Facebook and Instagram. Follow the show and review us on Apple Podcasts: https://apple.co/2BmMZr5 Want to listen to This is Love ad-free? Sign up for Criminal Plus – you'll get This is Love, Criminal, and Phoebe Reads a Mystery ad-free. Plus, behind-the-scenes bonus episodes of Criminal and other exclusive benefits. Learn more and sign up here. We also make Criminal and Phoebe Reads a Mystery. Artwork by Julienne Alexander. Check out our online shop. Episode transcripts are posted on our website. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Classic film? Yup. Soundtrack with a weird backstory? Yup yup. Siiiiiick guest spot? Three times the yup!West Coast Editor for Letterboxd Mia Lee Vicino drops by the show to tackle the leviathan that is Stanley Kubrick's "The Shining."A score that is also a soundtrack, this film uses original music by electronic music pioneers Wendy Carlos and Rachael Elkind, along with a host of avant garde classical composers whose work was retrofitted throughout the movie.The amount of detail in the cues makes the music serve as the perfect background character. Ever-present and looming, it adds to the relentless unease throughout the film.A huge thank you to Mia Lee Vicino for chatting with us!Find Mia on Instagram @miavicinoCheck out what Letterboxd has to offer as well! @letterboxdThanks for listening! Check out everything we have going on via the info below: Instagram: @earwaxpod TikTok: @earwaxpod Amoeba on Instagram: @amoebahollywood @amoebasf @amoebaberkeley Questions, Suggestions, Corrections (surely we're perfect): earwaxpodcast@amoeba-music.com Credits:Edited by Claudia Rivera-TinsleyAll transition music written and performed by Spencer Belden"EarWax Main Theme" performed by Spencer Belden feat. David Otis

Todays fascinating episode of Synthetic Dreams features Ivor Novello winning musician, producer and co-creator of popular electronic act, Goldfrapp. In 2005, Will formed The Will Gregory Moog Ensemble  - a group of talented musicians, who all perform with analogue synthesisers.  We discuss the formation of the Moog Ensemble and  recording of their excellent debut album, ‘Heat Ray' which is out on June 14th via Mute Records. Will also talks about his vast collection of analogue synths, his earliest musical passions and love of Wendy Carlos and her album, ‘Switched-On-Bach'. A hugely influential electronic album, which was truly groundbreaking at the time of its release back in 1968.  The Moog Ensemble are playing a few live dates later in the year, including a headline slot at the Hidden Notes Festival on 21st September. For more information about the Will Gregory Moog Ensemble and the players involved visit: https://www.willgregorymoogensemble.co.uk/  To pre-order the album visit: https://mutebank.co.uk/collections/will-gregory-moog-ensemble Moog Ensemble - Young Archimedes (Official Visualiser) Synthetic Dreams is presented and produced by Scott Zverblis Synthetic Dreams on ⁠⁠Instagram⁠⁠ Synthetic Dreams title music by Chris Ibbott

Recorded May 2, 2024 on progrock.com Harvester Attack – Dune: Part Two Soundtrack (2024) – Hans Zimmer Irena's Theme – Cat People Soundtrack (1982) – Giorgio Moroder Main Title (The Shining) – The Shining Soundtrack (1980) – Wendy Carlos, Rachel Elkind Twenty Eighth Parallel – 1492: Conquest of Paradise Soundtrack (1992) – Vangelis Fusion – […]

Conversamos con Joanna Pirod –periodista musical– acerca del soundtrack original de “La Naranja Mecánica”, que comprime música clásica y música electrónica compuesta por Wendy Carlos. El tema principal es una transcripción electrónica de «Music on the Death of Queen Mary» de Henry Purcell, compuesta en 1694.Programa transmitido 01 mayo de 2024. Escucha Esto no es un noticiero con Nacho Lozano, en vivo de lunes a viernes de 1:00 p.m. a 2:00 p.m. por el 105.3 de FM. Esta es una producción de Radio Chilango.

What was that Frankenstein music machine with all the dials, sliders, patch cords etc., that made other-worldly sounds that were supposed to resemble “real” instruments, like strings, horns and flutes, but didn't? It was the mighty Moog, invented by Cornell doctoral student and Theremin salesman, Robert Moog. He hooked up with musician-educator Herb Deutsch, developed the voltage regulation for oscillators and modulators, and the thing caught on.The first time most of us heard it was on Wendy Carlos' SWITCHED ON BACH record, which, by aligning itself to one of the world's most beloved composers, became a sensation in 1968, and was a defining feature of Stanley Kubrick's A Clockwork Orange.  Not long after that it became an absolute must have for the Prog matadors like Keith Emerson of ELP.  The Beatles also used it extensively on Abby Road, etc. The list goes on and on. Speaking for myself, I've always found the Moog and the electronic sounds it made cold and clinical (though fascinating). However, on this record its positively cuddly, and it makes me smile when I recall that it was used by the Muppets for the Swedish Chef routine.  Composed by Gershon Kingsley, this hit version of Popcorn was recorded by Stan Free of Hot Butter, and its lighter than air. 

Hon var den enda syntharen i den norska småstaden Mysen. Hon skulle bli fotbollsproffs men flyttade till Stockholm där hon inledde en karriär som skådespelare för att sedan sadla om och bli musiker. Hon har gjort fyra soloalbum som spänner mellan dramatisk gothrock och drömsk electronica. Numera är Katharina Nuttall mest känd som filmkompositör. I fjol förtjusades många av hennes soundtrack till dokumentären "Kungen" om Carl XVI Gustaf. Nu hälsar hon på hemma hos Strage för att prata om 1800-talspoesi, om antika synthar, om sin monumentala cover av Depeche Modes "Stripped", om att sampla sitt kylskåp och om att stå stadigt som träden genom alla årstider. Katharina Nuttall spelar också upp favoritlåtar av artister som Wendy Carlos, Laurie Anderson, Hildur Guðnadóttir och Radiohead. Hosted on Acast. See acast.com/privacy for more information.

On this episode, I'm ending my March Madness series with The Shining (1980). Jack Torrance is the winter caretaker of The Overlook Hotel with family in tow. Sounds easy enough but the hotel has other plans in store. One of my favorites and it's relatively spoiler free. Plus my last March Madness Horror Ted talk. The artist on my podcast playlist is Wendy Carlos. Game Over! tee in profile pic by DethInk Tees. https://dethink.bigcartel.com/product/game-over-man-game-over

Women's History Month special celebrating pioneering trans and gender fluid women of electronic + alt culture. Featuring Hot Goth GF, Wendy Carlos, Grace Jones, Octa Octa, Annie Lennox, and interview with Jaelin + Cassie.

Episode: 1929 Wendy Carlos and Switched-On Bach -- new technology, new music.  Today, guest scientist Andy Boyd makes music.

This weeks episode we are going to be discussing some of our favorite film scores so why not deliver a pre-show talking about some famous film composers first? Look for the episode to be released this Wednesday! www.TheMixTapeShow.com is the place to check out our Playlists, Interviews and more! Why have you not joined us online? Seriously, our Twitter (X), Instagram, TikTok and Facebook are all the places you can interact. Facebook: https://www.facebook.com/groups/1373722583092349   Instagram: The_Mix_Tape_Podcast https://instagram.com/the_mix_tape_podcast?igshid=YmMyMTA2M2Y=   Twitter: The_Mix_Tape_Pod   TikTok- Mixtapepod  https://www.tiktok.com/t/ZTRSG8CVm/   Call us at 513-437-2377 or He Rad 77   Check out our Sponsors www.Bustedtees.com and at checkout enter the code JASON25945 to receive a pretty sweet discount!   Don't forget to drop us a review. It helps a ton!     You can help the show by donating to our Buy Me a Coffee: The Mix Tape is Weekly Pop Culture Podcast (buymeacoffee.com)   "Pop Culture News" "Pop culture trivia" "Pop Culture Moments" "Music" "80s Music artists" "90s Music" "90s Music artists" 2000s Music" "80s Rock" "80s Rap" "90s Rock" "90s Rap" "90s Techno" "2000s Rap" "Industrial" "Rock" "90s Music hits" "80s Music hits" "One hit wonders" "Movie reviews" "Weird movies" "recasting movies" “Celebrity Interviews” “Pop Culture” “Alternative” “Alt Rock” “Music facts” “Music History” “Rock History” "John Williams" "Hans Zimmer" "Danny Elfman" "Alen Silvestri" "Film Scores" "Back to the Future" Batman" Dances with wolves" "Jurassic Park" "Wendy Carlos" "Tron" "The Godfather" --- Send in a voice message: https://podcasters.spotify.com/pod/show/mixtapepod/message

Lee has decided to end off 2023 for Blood on the Tracks by returning to the subject of rejected/unused soundtracks and scores for films, with a small but very diverse playlist of material, as well as some excerpts from the scores that were used for each film, for comparison. --The Payback from "Hell up in Harlem" (1973) --James Brown --Shining Title Music; Greetings Ghosties; Danny; & A Ghost Piano from "The Shining" (1980) --Wendy Carlos & Rachel Elkind --Suite from "Streets of Fire" (1984) --James Horner --Suite from "Cyborg" (1989) --Tony Riparetti & Jim Saad Opening and closing music: Main Title from "Battle Beyond the Stars" by James Horner, and Main Theme from "The Final Terror" by Susan Justin.

We're talking about trans representation in media again this week! This time we're discussing Maddy Thorson (creator of the game Celeste) and Wendy Carlos (composer of scores including TRON and The Shining.) Ana walks us through the history and problems with the Diagnostic and Statistical Manual of Mental Disorders (DSM) and Cam shares some trans jokes from Reddit.Mark Your Calendars!  The 2nd Annual "A Very Transgenda Holiday Livestream" is set for December 24th, 1pm to 5pm.  If you are interested in playing games remotely with us, shoot an email to questions@transgendapod.com and we might include you!Resources from This Episode:Distribution of game developers worldwide from 2014 to 2021, by genderResearch Links Regarding the DSMhttps://www.ncbi.nlm.nih.gov/pmc/articles/PMC3282636/https://pubmed.ncbi.nlm.nih.gov/25747420/https://ajp.psychiatryonline.org/doi/10.1176/appi.ajp-rj.2022.180103https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4112449/Other Resources:https://www.thetrevorproject.org/https://www.thetrevorproject.org/resources/guide/a-guide-to-being-an-ally-to-transgender-and-nonbinary-youth/https://www.glaad.org/resourcelistSend your questions, feedback, and stories to questions@transgendapod.com, click the Chat With Us button at www.transgendapod.com, and follow us on social media (Instagram | Facebook | Twitter | YouTube)This is an Easter Egg.  Click the Chat with Us button on our website and send us the message "Shout Out please!" and we will send you a 50% off code for a Shout Out on a future episode!If you or a trans loved one are contemplating suicide, please call the Trans Lifeline at (877) 565-8860.Support the show

Siempre me ha intrigado la ausencia de mujeres compositoras en la música en general y también, lógicamente, en la música electrónica en particular. Las artes en general parecen ser cosa de hombres, supongo que por arrastrar prejuicios culturales que relegaban a la mujer a papeles secundarios o simplemente porque las labores prominentes eran desempeñadas habitualmente por hombres. En nuestro canal de Telegram, Oriol mencionó que sería interesante hacer un episodio especial dedicado a las mujeres pioneras en la música electrónica y la verdad es que me la idea me apeteció mucho. Investigando un poco van saliendo nombres que se merecen un reconocimiento y que han jugado un papel destacado en el desarrollo de los precoces instrumentos electrónicos. Su música a menudo es más una amalgama de sonidos experimentales donde se juega con el tono, el timbre o la frecuencia, en lugar de crear una "música bonita", así que os advierto: haremos un ejercicio de arqueología musical, muy interesante para las mentes curiosas y abiertas a conocer en perspectiva aquellos inciertos origenes, para escuchar composiciones extrañas y de difícil comprensión entre otras más amigables. Hoy retrocederemos en el tiempo para rendir un homenaje a algunas de las mujeres pioneras en la música electrónica. Lisa Bella Donna, Johanna M. Beyer, Else Marie Pade, Delia Derbyshire, Pauline Oliveros, Wendy Carlos, Éliane Radigue, Pril Smiley, Suzanne Ciani, Daphne Oram, Constance Demby, Laurie Spiegel, Laurie Anderson, Pauline Anna Strom, Doris Norton, Elsa Stansfield. El playlist detallado con enlaces a las audiciones íntegras de cada álbum: lostfrontier.org/episodios/2023/1013.

A ghostly ‘not halloween' edition of Radio Clash, more Halloween-adjacent than the plastic chinese proxy-Xmas junkfest that Halloween has become. Ghosts of Xmas Capitalism… So we have songs about ghosts, existence, falling out of planes, dark paths, a trance cover of Wendy Carlos, a hard house cover of Somewhere Over The Radio, feminist queer punk, […]

Ronn McFarlane and Carolyn Surrick: And So Flows the River (Flowerpot Productions) New Classical Tracks - Carolyn Surrick & Ronn McFarlane by “The music that we're doing is music that's really a part of us,” viola da gamba player Carolyn Surrick says. “It's like music inside of us, the way that the deciduous forest is inside of us, because this is where we're from.”Surrick and Ronn McFarlane have both lived in Maryland for most of their lives. Their careers have run somewhat parallel, with Surrick playing viola da gamba in the Ensemble Galilei, which she founded in 1990, and McFarlane playing lute with the Baltimore Consort and the folk trio Ayreheart, the ensemble he founded. Three years ago, when touring came to a halt during the global pandemic, they finally had the time to make music together, and they've been doing so ever since. They've just released their third recording, And So Flows the River.Surrick: “This is the music of our lives. We're both over 60, and we've had a lot of time to incorporate music into our lives, to have music become central to our being. And so I wanted to bring the idea that as our lives are flowing along, we're accumulating music, we're accumulating things that we love along the way and bringing them to this project.”How did you decide on the title And So Flows the River? How does it reflect what we're hearing on the recording?McFarlane: “In terms of flowing, the repertory itself was a real flow state for each of us. It brought music that each of us loved, regardless of the genre that it came from. So I think we kind of get into a flow state when we're deciding what to play, bringing up pieces from any memory, any part of our lives, anything we might have heard of, or maybe we're just discovering something for the first time.”The album features Erik Satie's Gymnopedies. What is your relationship to the pieces?Surrick: “I think we both remember hearing them for the first time in the 1970s and thinking this music is so special. I mean, so simple and so beautiful. It has so much in it. So when we were casting about for what to put on this new recording, I said, ‘what about the Gymnopedies?' And it was kind of like, ‘Well, why not?'”McFarlane: “My first experience of them was in the 1970s, but I didn't hear it on the piano at first. I heard it live in a guitar recital played by Christopher Parkening, who made some excellent arrangements of them. But I was so captivated hearing the first Gymnopedie for the first time that I really fell in love with it.”You both also heard about Bach's Sinfonia in the 1970s. What is your relationship with that piece?McFarlane: “Yes, I first heard it when I went to a record store. That was back when they had records around 1968 or ‘69. I got the first Led Zeppelin album and the Walter Carlos, now Wendy Carlos, album Switched-On Bach. So I first heard this on a synthesizer with all its boops and beeps and whistles. So I think my idea of how it ought to sound was permanently skewed by hearing it that way. And it just sounded so fresh and great.”And now you have added your own arrangement of the piece, which you described as a revelation. Why did you describe it that way?Surrick: “We sat down to play it, and there was so much happening. You almost can't imagine that these two instruments could be doing all of this at the same time.”And you have a percussionist on the recording? Surrick: “Yes. Yousif Sheronick. He's fabulous. And so I call him up out of the blue, and he's like, ‘Yeah, cool. I'm free.'”Give me an example of his playing in this recording that you want to make sure we don't miss.McFarlane: “Well, I think the very first piece, W. Lee's Reel, where Yusif is playing an ocean drum, is a great one.“This piece has kind of a Scotch-Irish flavor to it, which reflects my dad's background. It's a sort of adventurous piece because it has something in the flute part that sounds like a propulsive fiddle tune in the Scotch-Irish tradition. And yet that's not the lead voice. You would think so because of the beginning. But as it goes along, the gamba comes in and actually has the melody as the slower moving part. Somehow, it seemed to fit the personality of my dad.” W. Lee's ReelResourcesRonn McFarlane and Carolyn Surrick - And So Flows the River (Amazon)Carolyn Surrick - official websiteRonn McFarlane - official website

    The trip through the electronic music of the 70s continues with a stop in 1972. As with '70 & '71, this is a mix with some tracks that are very electronic, like the Wendy Carlos tunes, and others that are more electronic adjacent, like the Cluster or Pick Floyd tracks. But I think it gives a good sense of where things stood at the time. I purposely stayed away from cheesy electronic versions of classical music like "The Electronic Spirit Of Erik Satie" or "The Unusual Classical Synthesizer." I'm just not a fan of that type of electronic music. I understand it's place in bringing synths to mass attention, I just don't like those recordings. Enjoy 1972, I have a feeling 1973 will sound fairly similar. But things will start to change in '74 & '75. Cheers!   T R A C K L I S T : 00:00    A.R. & Machines - Wie Ich Mir So Ich Dir (AR3) 02:12    Cluster - Im Suden (Cluster II) 08:10    Galactic Explorers - Lunarscape (Epitaph For Venus) 14:22    Terry Riley - Persian Surgery Dervishes 18:40    Klaus Schulze - Last Not Least (La Vie Electronique, Vol. 2) 25:15    Kraftwerk - Klingklang (Kraftwerk 2) 34:00    Wendy Carlos - Country Life (Clockwork Orange) 38:40    Tangerine Dream - Zeit (Zeit) 43:20    Pink Floyd - Absolutely Curtains (Obscured by Clouds) 45:55    Neu! - Im Glück (Nue!) 49:35    Wendy Carlos - Fall (Sonic Seasonings) 60:00    end

This week on Unpacked, we go on a solo, three year, round the world trip in the 1980's! Music Used: The Shining Theme by Wendy Carlos, Rachel Elkind and Chuck CirinoOutro Song:Appenzeller Jodler by Mondscheintrio

Check out Danny Playamaqui's electronic music, a hugely expansive discography using a staggering variety of techniques. Danny conducts by-ear-tuning editing, strategic de-tuning, varispeed tricks, and poly-systemic techniques in addition to starting out with xenharmonic tunings as templates. Luckily, 4 bars a day keeps the doctor away (or is it an apple? Perhaps a lemon, or some paprika). We take inspiration and feedback from what is around us, trying to counterbalance that with boredom, motives, gimmicks, and alter egos. Animals and food, the ultimate kid-friendly songwriting subjects, here ironically take a bitingly sans-vocal formation. Tunings may or may not include Wendy Carlos scales, meantone tunings, 9-TET, 11-TET, 16-TET, 17-TET, 22-TET, and/or 31-TET. Music[Intro] Ichi-go ichi-e [New album!] - Danny PlayamaquiCorrecaminos [479^2] - Danny PlayamaquiWe Can't Be Blamed [Harmony Hacker] - Sevish (22-TET)Lemongrass [VEG ༼༼༼༼ ◕◕◕ ༽༽༽༽] - Danny PlayamaquiTigre [479^2] - Danny PlayamaquiNuggets [479] - Danny PlayamaquiTruffles [479] - Danny PlayamaquiUna Tortuga de Patas Amarillas [479^2] - Danny Playamaqui Bears [479^2] - Danny Playamaqui Octopus XX [New album!] - Danny Playamaqui Chocolate [479] - Danny Playamaqui Silver Bells [cover, xenharmonic chocolate] - arr. Stephen Weigel (21-TET) ♥ ◕ ༽つ ♥ [VEG ༼༼༼༼ ◕◕◕ ༽༽༽༽] - Danny Playamaqui (31-TET?) Bitter Melon [VEG ༼༼༼༼ ◕◕◕ ༽༽༽༽] - Danny Playamaqui Turmeric [VA] - Danny Playamaqui Little Fox [479] - Danny Playamaqui [Outro] Lynx [New album!] - Danny Playamaqui Danny's music: https://playamaqui.bandcamp.com/album/479-2 https://soundcloud.com/dannyplayamaqui https://www.youtube.com/@playamaqui/featured Support us on Patreon! (If we get 60 patrons, episodes will be released regularly instead of sporadically)https://www.patreon.com/nowandxen Follow http://nowandxen.libsyn.com https://twitter.com/now_xen https://www.facebook.com/nowxen/ SubscribeRSS: http://nowandxen.libsyn.com/rss iTunes: https://itunes.apple.com/us/podcast/n… Spotify: https://open.spotify.com/show/1mhnGsH… Stitcher: https://www.stitcher.com/podcast/nowxen Twitter: https://twitter.com/now_xen Facebook: https://www.facebook.com/nowxen/ YouTube: https://www.youtube.com/channel/UCnmYNMpemAIq8DnK5HJ9gsA  

In part two of this week's episode, Margaret continues her conversation with Bridget Todd about some trans people in history who lived long happy lives and accomplished wonderful things.See omnystudio.com/listener for privacy information.

Margaret talks with Bridget Todd about some trans people in history who lived long, happy lives and accomplished wonderful things.See omnystudio.com/listener for privacy information.

Episode 136 of Pudding On The Wrist finds your host, Frozen Lazuras, drinking in the kitchen and spinning choice cuts from Alice Coltrane, The Red Krayola, More Klementines, Wendy Carlos, Chuck Berry, Parallèles, Grim, and so many more.

Special guests Michael Hamm (hammy73) and Ian Carlos Crawford (ianxcarlos) get shady with us! TOPICS: WeHo goes viral after someone tries to steal a 36” dildo from Circus of Books.  Billy London murder solved. Unauthorized pic at the orgy on the Atlantic cruise.  TikTok hottie fired from his job for Twerking with his ass out at work.  Mr. Beast “1000 blind people see for the first time” video.  MILF Manor is worse than you think it is.  Leonardo DiCaprio (48) is dating a 19-year-old.  Wendy Carlos was the first trans woman to win a Grammy. | GET EXCLUSIVE CONTENT, MERCH AND FIRST ACCESS TO VIDEO PODCASTS AT Patreon/RichyAndWes | Connect with us everywhere: @RichyAndWes | Product Codes:  Perfect Jean - Use code WES15 to get 15-percent off | Skin Slipper - Use Code RichyAndWes to get a dollar off and free shipping | boiPKG - Use code RICHWEST35 for 35 percent off  | PookiePots - Use code RICHYANDWES for 15 percent off.

Synopsis The Stanley Kubrick film "A Clockwork Orange" opened in New York City on this date in 1971. The music was composed, and in some cases re-composed, by Wendy Carlos. As in his earlier hit, "2001: A Space Odyssey," Kubrick used classical music. This time, however, in keeping with the film's futuristic storyline, the classics were adapted and arranged for Moog synthesizer by Wendy Carlos. The Main Title music, which we're sampling, was Purcell's Music for the Funeral of Queen Mary. Carlos had just read the Anthony Burgess novel, "A Clockwork Orange," when she saw a notice in the New York Times that Kubrick was at work filming it. She immediately airmailed Kubrick two Moog synthesizer pieces, one original and one a classical arrangement. Kubrick wrote back, inviting her to London to talk, and the rest is history. Wendy Carlos had become an international celebrity with her earlier album Switched-On Bach, consisting of her Bach arrangements for synthesizer. It became the first classical recording ever to be certified "Platinum." Musical genius pianist Glenn Gould, whose own recording of Bach's Goldberg Variations was one of the biggest sellers of all time, said: "Carlos's realization of the Fourth Brandenburg Concerto is, to put it bluntly, the finest performance of any of the Brandenburgs—live, canned, or intuited—I've ever heard." Music Played in Today's Program Henry Purcell (arr. Wendy Carlos) Music for the Funeral of Queen Mary Wendy Carlos, synthesizers Eastside Digital 81362 J.S. Bach (arr. Wendy Carlos) Brandenburg Concerto No. 4 Wendy Carlos, synthesizers CBS/Sony 42309