Podcasts about white album

Did Alien Ant Farm Just Admit We're Part of an Alien Experiment?

Barry and Abigail discuss Teenage Dream by Katy Perry and sample West Coast Pilsner, Carnival Time, and Groovy Juice from Urban South Brewery in New Orleans, Louisiana.Learn more about terpenes in hops!Abigail attended Katy Perry's Play residency in Las Vegas in 2022 (with F.O.T.P. Alison Sigalow!).Barry heard that California Gurls was a response to Empire State of Mind by JAY-Z and Alicia Keys (although at first he remembered New York State of Mind by Billy Joel). Abigail, in turn, had always thought of it as Katy Perry's Back in the U.S.S.R. (which was, in itself, The Beatles' California Girls). Oh, and we have officially gone zero episodes without mentioning the White Album.Abigail compared her complicated feelings around Peacock to her feelings around songs like Kiss N Tell by Kesha. Sonically, Barry compared Peacock to Hey Mickey by Toni Basil. He had previously compared HOT TO GO! to Hey Mickey!Listen to the absurd radio edit of Peacock.We spoke briefly about Katy Perry's 2015 Super Bowl XLIX halftime show and the iconic Left Shark! Abigail then mistakenly remembered a confetti cannon bra from a Katy Perry live performance that was actually a whipped cream bra from the California Gurls music video.We closed by playing a clip of Katy Perry's 2024 single WOMAN'S WORLD, which was co-written and produced by alleged sexual and financial abuser Dr. Luke. Watch the music video if you are so inclined!Up next… Tracy Chapman by Tracy ChapmanJingles are by our friend Pete Coe.Visit Anosmia Awareness for more information on Barry's condition.Follow Barry or Abigail on Untappd to see what we're drinking when we're not on mic!Leave us a rating or a review on Apple Podcasts or Spotify!Facebook | Instagram | Bluesky | YouTube | Substack | Website | Email us | Virtual Jukebox | Beer Media Group

Start Artist Song TIme Album Year 0:00:16 The Beatles Dear Prudence 3:46 The White Album (1) 1968 0:04:47 The Moody Blues Legend of a Mind 6:33 In Search of The Lost Chord 1968 0:11:27 Cream Crossroads 4:09 Wheels of Fire 1968 0:15:36 Jethro Tull Move On Alone 1:52 This Was (2018 Steven Wilson Remix) 1968 […]

In the aftermath of the Manson Family murders, Hollywood was gripped with fear. Various investigations stitched together a deluded White Album-inspired explanation of the killing spree. But Dennis Wilson knew the truth—that he had made a terrible, irreversible mistake and that now, the sunny dream of the '60s was over. The nightmare it brought about haunted him to his final days. For a full list of contributors, see the show notes at ⁠disgracelandpod.com.⁠ This episode was originally published on December 19, 2019. To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at ⁠disgracelandpod.com/membership⁠. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - ⁠GET THE NEWSLETTER⁠ Follow Jake and DISGRACELAND: ⁠Instagram⁠ ⁠YouTube⁠ ⁠X⁠ (formerly Twitter)  ⁠Facebook Fan Group⁠ ⁠TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Barry and Abigail discuss Navy Blues by Sloan and sample three Canadian beers: Labatt Blue from Labatt Brewing Company, Moosehead Canadian Lager from Moosehead Breweries Limited, and Life in the Clouds from Collective Arts Brewing.The delightful can art of Life in the Clouds was designed by Joe Boyd.Navy Blues was entered into our Jukebox long ago by Paul Zawacki during our episode Bonus: A Dozen Updates (The Procession Reunion Special). He described Sloan as the Canadian Beatles, comparing One Chord to Another to the White Album (we have officially gone zero episodes without mentioning the White Album!) and Navy Blues to Abbey Road.In preparation for this episode, Abigail listened through Abbey Road, Sgt. Pepper's Lonely Hearts Club Band, and Love by The Beatles.Revolver is one of Barry's favorite Beatles albums. He compared the throat clear at the beginning of She Says What She Means to George Harrison's counting on Taxman, the opening track of Revolver.Barry then compared C'mon C'mon to Good Day Sunshine, also off Revolver.…He then compared Iggy & Angus to The Tra La La Song (One Banana, Two Banana) by The Banana Splits.…Then, collectively, they compared Sinking Ships to Uncle Albert / Admiral Halsey by Paul McCartney and Linda McCartney.Barry "complained" about the sirens in Money City Maniacs, which reminded Abigail of the sounds of cars whizzing by underlying Lonely Boy by The Black Keys.Abigail had confusion over Seems So Heavy, which by title alone seems to be a rip-off of/tribute to I Want You (She's So Heavy) by The Beatles. Later, she would compare the opening couple of notes of Suppose They Close the Door to the opening couple of notes of I Want You (She's So Heavy).Abigail shared that one of the best meals she ever ate was in Halifax, Nova Scotia, Canada, from where Sloan originated. She ate sea-cuterie at Waterfront Warehouse.Barry compared the piano in Chester the Molester to the piano in Ob-La-Di, Ob-La-Da by The Beatles.We briefly discussed James Taylor's eponymous debut album, which was released on The Beatles' Apple Records (the first non-British artist on the label), was recorded at Trident Studios concurrently with the White Album, and features Paul McCartney and George Harrison on bass guitar and backing vocals, respectively! But Barry had part of the story backward - Something in the Way She Moves inspired the opening line of Harrison's Something, not the other way around. (Coincidentally, Taylor has said he had meant for the song to be called “I Feel Fine,” but that title had already been taken by The Beatles!) We played a little bit of the version of Carolina In My Mind that appears on this debut album - the version with members of The Beatles included. Later, Abigail mentioned that she kept hearing How Sweet It Is (To Be Loved by You) by James Taylor in I Wanna Thank You.Our word association around “ways to get even” from Suppose They Close the Door led us to 50 Ways to Leave Your Lover by Paul Simon and 50 Ways to Say Goodbye by Train. We should have also added Ways to Hang On by The Stick Arounds!Our next Jukebox episode will be 2014 Forest Hills Drive by J. Cole, submitted to our Virtual Jukebox by Alinor Mezinord.Up next… Teenage Dream by Katy PerryJingles are by our friend Pete Coe.Visit Anosmia Awareness for more information on Barry's condition.Follow Barry or Abigail on Untappd to see what we're drinking when we're not on mic!Leave us a rating or a review on Apple Podcasts or Spotify!Facebook | Instagram | Bluesky | YouTube | Substack | Website | Email us | Virtual Jukebox | Beer Media Group

Send us a message, so we know what you're thinking!Is a double album a record label cash grab, or a way to deliver great music that can't be contained within the usual confines of a single LP? The double album has been both. This episode, we look at how the double album came to be, and some of the greatest double albums from the 70's.  Most of these albums show career-best work from legendary artists such as The Beatles, The Clash, Bob Dylan, Hendrix, The Rolling Stones, Genesis, Elton John, The Who (twice!) - and more! And soon, we'll do an episode on the Greatest Double Albums of the 80's - and there's a stack of those, too!!Our “Album you must hear Before You Die” is the 1973 live album “It's too Late to Stop Now” by Van Morrison.  Neither of us is much of a Morrison fan, despite his passionate, improvisational vocals. Regarded as an energetic, spontaneous live experience, Morrison's vocal mannerisms illustrate why we don't think much of it.  We also found a great documentary on-line called “Keep me in your Heart” about – surprise! - Warren Zevon.  It captured Zevon in the last days before his death & showed why his fans loved him. We think you'll really love this episode!  References: Hot August Night, Neil Diamond, Greek Theatre in LA, Derek and the Dominos, 'Layla and Other Assorted Love Songs', Duane Allman, Gregg Allman, Fleetwood Mac, 'Tusk', Lindsey Buckingham, “Lindsay's Folly”, Chilean profanities, "Puta la cagó", Pink Floyd, 'The Wall', Roger Waters, David Gilmour, Bob Ezrin, “One of my Turns”, "In The Flesh”, Elton John, 'Goodbye Yellow Brick Road', Warren Zevon, “Keep me in your Heart”, “The Wind”, The Beatles, “The White Album”, The Who, “Tommy”, Dylan, “Blonde on Blonde”, Deep Purple, “Made in Japan”, “Pinball Wizard”, Elton John, Keith Moon, Tommy Australian cast - Myer Music Bowl in Melbourne, 'Quadrophenia', The Band, 'Rock of Ages', “The Last Waltz”, Bee Gees, 'Saturday Night Fever', Dexter Resurrection, Kiss, 'Alive!', "Rock and Roll All Nite", The Simpsons, “I Wanna rock'n'roll all Nite”, Genesis, 'The Lamb Lies Down on Broadway', Peter Frampton, 'Frampton Comes Alive!', Jeff Beck, Hordern Pavilion, Led Zeppelin, 'Physical Graffiti', “Kashmir”, Robert Plant, Hipgnosis Record Covers, The Clash, 'London Calling', The Rolling Stones, 'Exile on Main St.', “Happy”, Rolling Stone's List of 500 Greatest Albums of all Time, "While My Guitar Gently Weeps", "Helter Skelter" Links  Playlist      “Keep me in your Heart” - A great documentary about Warren Zevon 

Send us a textGrowing up in Seattle, Washington, this week's guest, Peter Ames Carlin, has a distinct memory of the hubub surrounding the release of The Beatles “Sgt Pepper's Lonely Heart's Club Band” even though he was only 4 years old at the time. “I have very vivid memories of “Sgt Pepper” being the new record…and then “The White Album” and puzzling through that stuff when I was very young”Spending most of his life as a writer, for newspapers, People Magazine and co-authoring a few books, Peter turned to writing about his passion, music, with the release of his book “Catch a Wave: The Rise, Fall and Redemption of the Beach Boys' Brian Wilson”. Books about Paul McCartney, Bruce Springsteen, Paul Simon, Warner Brothers Records and R.E.M. followed, almost all to rave reviews. Some books were written with exclusive interviews for his subjects and others without that cooperation. Tuesday August 5th sees the release of “Tonight In Jungleland: The Making of Born To Run”, a second Springsteen book in the Springsteen universe. This time Carlin focuses on a very specific late 1973-late 1975 time frame to chronicle the process of Springsteen writing and recording and dealing with the aftermath of his make or brake third album which is celebrating its 50th anniversary on August 25th, 2025.   Join us for a conversation about reading, writing and rocking with Peter Ames Carlin

Stand-up comedian and comedy writer, Phil Wang joins us on the podcast to discuss his relationship with The Beatles. Phil tells us of his memories growing up listening to the band in a Beatles-obsessed household in Borneo, his unusual teenage music tastes, and taking his Dad to see Macca at the O2. This week's subscriber-only feature Pick A Song sees us dive into The White Album's Sexy Sadie. Get access by subscribing on Patreon or Apple Podcasts. Links of Note:Wang in There, Baby: https://www.netflix.com/gb/title/81720942Patreon: https://patreon.com/personalbeatles Hosted on Acast. See acast.com/privacy for more information.

            In Episode 439 of Things We Said Today Ken Michaels, Allan Kozinn and Darren DeVivo each choose our three favorite performances from among the shows we've seen by the solo Beatles, in anticipation of the upcoming tours by Paul McCartney and Ringo Starr. (The discussion begins after the news segment – which includes a short debate about Billy Joel, occasioned by his comments on the White Album – 28 minutes in.) As always, we welcome your thoughts about this episode of the show or any other episode. We invite you to send your comments about this or any of our other shows to our email address thingswesaidtodayradioshow@gmail.com, join our "Things We Said Today Video Podcast" Facebook page and comment there, tweet us at @thingswesaidfab or catch us each on Facebook and give us your thoughts. And we thank you very much for listening. You can hear and download our show on Podbean, the Podbean app and iTunes and stream us through the Tune In Radio app and from our very own YouTube page.  Our shows appear every two weeks. Please be sure and write a (good, ideally!) review of our show on our iTunes page. If you subscribe to any of our program providers, you'll get the first word as soon as a new show is available. We don't want you to miss us. Our download numbers have been continually rising, as more people discover us and it's all because of you. So we thank you very much for your support!             Be sure to check out the video version of Things We Said Today on our YouTube channel, https://www.youtube.com/channel/UC-zgHaPfL6BGmOX5NoyFE-A. The audio version can be found at Podbean: https://beatlesexaminer.podbean.com/ as well as at iHeart Radio, Apple podcasts and other distributors of fine podcasts.             MANY MANY WAYS TO CONTACT US:             Our email address: thingswesaidtodayradioshow@gmail.com             BlueSky: @thingswesaidtoday             Twitter @thingswesaidfab             Facebook: Things We Said Today video podcast       ALLAN on Facebook: Allan Kozinn or Allan Kozinn Remixed. Allan's Twitter/X feed: @kozinn Bluesky: @allankozinn.bsky.social Threads: allan_kozinn The McCartney Legacy's website: mccartneylegacy.co.uk/ The McCartney Legacy on Facebook: McCartney Legacy, on Twitter/X: @McCARTNEYLEGACY and on Bluesky: @mccartneylegacy.bsky.social The McCartney Legacy YouTube channel: https://www.youtube.com/channel/UC8zaPoY45IxDZKRMf2Z6VyA             KEN's YouTube Channel, Ken Michaels Radio: https://www.youtube.com/channel/UCq_Dkp6fkIsYwGq_vCwltyg             Ken's Website Beatles Trivia Page: https://www.kenmichaelsradio.com/beatles-trivia--games.html Ken's other podcast, Talk  More Talk: A Solo-Beatles Videocast You Tube channel:  https://www.youtube.com/@talkmoretalksolobeatles             Ken's Weekly Beatles radio show "Every Little Thing" On Demand:  http://wfdu.fm/Listen/hd1%20recent%20archives/             Ken's e-mail:  everylittlething@att.net Ken's Facebook Page: https://www.facebook.com/ken.michaels.31/ DARREN's radio show can be heard 10pm to 2am Monday through Thursday and 1pm to 4pm Saturday on WFUV 90.7 FM, or at wfuv.org, or on the WFUV app.             Darren on Facebook: Darren DeVivo, and Darren DeVivo: WFUV DJ and Beatles Podcaster Darren's email: darrendevivo@wfuv.org

ReferencesGuerra, DJ. J. 2025. Unpublished notes and thoughtsWinkleman, S. 1970. "Good Morning" from Steve Miller band V. lphttps://open.spotify.com/track/3M8U7YazfYMJLmG3iLOtDe?si=e8d54f3bf88e4d29Lennon/McCartney. 1968. "Good Night". Beatles. White Album.https://open.spotify.com/track/3T4Kt51PV4k8tx6YCtBgcl?si=22d3feffc1034a37

In dieser Folge dreht sich alles um die Beatles - und das aus drei ganz unterschiedlichen Perspektiven: Zu Gast ist Raoul vom Podcast Was mit Rock und Vinyl, ein echter Beatles-Ultra mit beeindruckendem Wissen, großer Leidenschaft und einer beachtlichen Sammlung. Gemeinsam mit ihm sprechen Martin (dem neugierigen Neuentdecker) und Dennis (als schon-immer-Fan) über drei Alben der Fab Four, die wir auf Vinyl mitgebracht haben: With The Beatles, The Beatles (besser bekannt als „White Album“) und Abbey Road. Was macht das Bandgefüge der Beatles so besonders? Wie wurde im Studio gearbeitet, welche Rolle spielte Produzent George Martin - und wie veränderten sich Songs und Klangbilder durch Remixes und Remaster? Wir reden über das popkulturelle Erbe der Beatles, unsere Lieblingssongs, überraschende Details und persönliche Erinnerungen. Und natürlich geht es immer wieder um die Liebe zum Vinyl: Wie klingen diese Alben heute, wie sehen sie aus, was spürt man, wenn man sie auflegt? Eine Folge für Beatles-Kenner, Vinyl-Liebhaber und alle, die Lust haben, sich neu mit dieser legendären Band zu beschäftigen. Hier könnt ihr den Podcast „Was mit Rock und Vinyl“ bei Spotify hören. Unsere Lieblingsplatten der Pilzköpfe With the Beatles The Beatles Abbey Road Soundtrack: Yesterday Unterstützt uns bitte mit einer Sterne-Bewertung sowie gerne auch einem Kommentar dazu bei Apple Podcasts (Link) oder Spotify (Link). Wir freuen uns darüber. Feedback, Wünsche oder Vorschläge zu Gästen dürft ihr uns gerne per Mail schreiben: kontakt@platten-panorama.de. Höre dir die Folge bei Apple, Google, Spotify, podcast.de, Deezer, Podimo, YouTube, Pocket Casts, Castbox oder direkt per RSS-Feed an. Zu jeder besprochenen Platte aus dem Panorama könnt ihr euch nun auch einen Song auf unserer Playlist bei Spotify anhören. Viel Spaß! Verwendet doch gerne diesen Affiliate-Link zum Onlineshop von JPC, wenn ihr eure Vinyl dort kauft. Mit der Nutzung dieses Links unterstützt ihr uns bei der Erstellung unseres Podcasts. Herzlichen Dank!

CONFESS: We know you are out there! The OATH BREAKERS! The people that broke the pact! Call in and confess and accept your penance if you listened to the song without waiting for Jim and Them. Characters: Feldman finally drops the full version of his Beatles inspired new song, Characters. Does it live up to the hype?! We get hit with some technical difficulties which requires some vamping. Corey's Twitter: Love to see some Jim and Them refs on Corey's Twitter, also An Open Secret calls out Corey and Corey gets weird about a female teacher groomer. COREY FELDMAN!, SHOW STOPPER!, LET'S JUST TALK!, DON CHEADLE!, BOOGIE NIGHTS!, JIM AND THEM IS POP CULTURE!, YOU KNOW THAT!, FELDDOGSUMMER!, JUST GETTING STARTED!, IDES OF FELD DOG SUMMER!, BROKE THE PACT!, CONFESS!, CALL IN!, PENANCE!, APOLOGIZE!, DREW LANE!, DWG!, DANCING WITH GHOSTS!, JOSHY!, LOLCOW!, RADIO WAR!, SNIPPET UPDATE!, MIKE!, TALKED SHIT!, GRAPED!, UNALIVE!, SUPERCHATS!, CELEBRATION!, MAX!, BOSTON!, FOREPLAY LONGTIME!, BEATLES!, INSPIRED!, RELEASED!, PARODY LAW!, YODA!, ROCK BAND!, DRUM FILL!, FULL SONG!, MICHAEL WINSLOW!, ROLLING STONE!, CRAZY!, UNHINGED!, OOH WEE OOH!, BUILD!, DOLBY!, ATMOS!, CATCHY!, BACKWARDS!, WHITE ALBUM!, ROCKIN OUT TO GARBAGE!, TECHNICAL DIFFICULTIES!, LOCKED UP!, VAMPING!, FILL!, CHRISTINE!, ACCIDENTALLY CAST A SPELL!, COREY'S TWITTER!, PAUL!, RINGO!, JIM AND THEM REFERENCES!, AN OPEN SECRET!, JEFF BALLARD!, PUBLICIST!, GROOMER!, FEMALE TEACHER!, BUT SHE'S CUTE!, TROLLS!, HALLILU!  You can find the videos from this episode at our Discord RIGHT HERE!

In late May 1969, producer Glyn Johns turned in a draft album, culled from hours of tape recorded in January 1969 during the Get Back/Let It Be sessions. His work reflected the original concept: catching The Beatles as they really were in the studio, with off-the-cuff performances of oldies, warm-ups, false starts and blown takes. It would have made for a fine tie-in with the original cut of the Let It Be film, but ultimately, the group rejected the idea, instead moving back to their established productions values, with Abbey Road being the result. The tapes, handed off to Phil Spector, emerged in May 1970 with a new tie-in: the group's break-up. Let It Be, the album, drew the worst reviews of their career, being a neither fish-nor-fowl collection of tunes bearing Spector's worst impulses (choirs and lush orchestration) alongside vestiges of the original concept (studio chat and tossed off improvisations). In this episode, Robert and Olympiad partner Gary Wenstrup re-imagine the group's history – what if Get Back HAD been accepted and released in spring 1969, the missing link between the “White Album” and Abbey Road?   You can read Glyn's account of things here and hear the actual work here. The artwork is here and the track listing here. 

On the May 30 edition of the Music History Today podcast, Diana Ross enters rehab, the Beatles start work on a new album, and there are two Jerry Garcia-related events to talk about. Also, happy birthday to Benny Goodman, Wynonna Judd, Idina Menzel, and Tom Morello.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY  PODCAST NETWORK LINKS - ⁠https://allmylinks.com/musichistorytoday⁠ 

It was my birthday - Happy Birthday to me. Thank you for the sound effects: sea-waves-7131 / pixabay.com/sound-effects/sea-waves-7131/  

It's a 78 RPM Sunday. These episodes should probably more appropriately be labelled spinning my dad's dad's shellac.  In the old days of records coming on 10” disks with one song per side, it made collections rather large. So in order to organize them, record stores would sell large books that you can put several records in. The same you would do with photos. They came with a generic front cover and several sleeves to slip the disks into. My dad has a couple of these albums. I decided to pull out the ten record set inside a, now cream colored, album. But I only have time for ten songs. So get ready to hear the first five records in a personalized collection of 78 RPM disks in Volume 229: White Album Front Half. Credits and copyrights Harry James And His Orchestra – I Can't Begin To Tell You / Waitin' For The Train To Come In Label: Columbia – 36867 Format: Shellac, 10", 78 RPM Released: Oct 22, 1945 Genre: Jazz, Pop, Stage & Screen Style: Big Band, Swing, Vocal Recorded in New York, NY, August 20, 1945. I Can't Begin To Tell You Vocals [Vocal Chorus] – Ruth Haag Written-By – James Monaco and Mack Gordon Waitin' For The Train To Come In Vocals [Vocal Chorus] – Kitty Kallen Written-By – Martin Block and Sunny Skylar Claude Thornhill And His Orchestra – A Sunday Kind of Love / Sonata Label: Columbia – 37219 Format: Shellac, 10", 78 RPM, Bridgeport Pressing Released: Jan 1947 Genre: Jazz, Pop Style: Big Band Recorded New York, NY, November,11 1946. A Sunday Kind of Love Vocals [Vocal Chorus] – Fran Warren Written-By – Anita Leonard, Barbara Belle, Louis Prima and Stan Rhodes Sonata Vocals [Vocal Chorus] – Buddy Hughes Written-By – Alex Alstone, Ervin Drake, and Jimmy Shirl Dinah Shore / Dinah Shore With Spade Cooley And His Orchestra – Anniversary Song / Heartaches, Sadness And Tears Label: Columbia – 37234 Format: Shellac, 10", 78 RPM Released: Feb 1947 Genre: Pop, Folk, World, & Country Style: Vocal, Country, Swing Dinah Shore– Anniversary Song Written By – Al Jolson and Saul Chaplin from a theme by – Ion Ivanovici Dinah Shore With Spade Cooley And His Orchestra– Heartaches, Sadness And Tears Written-By – Ella May Evans and Spade Cooley Frank Sinatra – People Will Say We're In Love / Oh, What A Beautiful Mornin' Label: Columbia – 36682 Format: Shellac, 10", 78 RPM Released: Sep 1943 Genre: Pop Style: Ballad, Vocal Written-By – Oscar Hammerstein II and Richard Rodgers for the Broadway musical Oklahoma Frankie Yankovic And His Yanks – Oh Marie / On The Beach Label: Columbia – 12376-F Format: Shellac, 10", 78 RPM Released: Oct 1948 Genre: Folk, World, & Country Style: Folk Written-By – Frank Yankovic I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain. #78RPM #oldmusic #musichistory #musicalmemories #vinylcollecting #vinylrecords #fyp

One of the best things about the White Album is seeing so many different sides of each Beatle. To close out the first disc, we get a rare glimpse of the really vulnerable and sensitive John, a side we really haven't seen laid bare prior to this. It's a gorgeous track, lead by an almost hypnotic finger picking pattern, with a single note, bare lead vocal practically forcing you to listen to what he's singing about. Of course Julia was his mother, but is this just a song to/about her? I'd always thought so, until this conversation.Joining us this week is the always wonderful Jude Southerland Kessler, the author of The John Lennon series. Jude always seems to know just how to blow our minds with her knowledge and telling of John's story, and this episode is no different. The newest book in the series, Volume 5.2, which is called Some Forever ,Shades of Life Pt 2 covers August of 1965-1966 and contrary to what we discuss in the episode, will be out around August of this year (darn printing delays!). These books are fantastic, we can't wait to dive it and suggest you do the same as well! Check it out at johnlennonseries.com.What do you think about "Julia" at #74? Too high? Too low? Let us know in the comments on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠find us now on Bluesky!⁠⁠⁠⁠⁠⁠⁠⁠⁠ Be sure to check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.rankingthebeatles.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and grab a Rank Your Own Beatles poster, some of our new Revolver-themed merch, a shirt, a jumper, whatever you like! And if you're digging what we do, don't forget to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Us A Coffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!

After a couple of weeks off for rest and recalibration, Badass Records is back with a new episode, and this one features the fantastic Cole Bales of Black Light Animals.Cole is a son, a brother, a boyfriend, a bandmate times two, and he's my guest for Episode No. 164.Black Light Animals has an upcoming RecordBar gig. That's Thursday, May 1st at RecordBar. They also have a new album out. It's called Last Call Love Songs, and you can find it digitally or get yourself a vinyl copy via their Bandcamp, or at blacklightanimalsband.com. Cole's also a member of The Freedom Affair, and they have a gig, Friday, May 2nd at The Madrid. So, please check them out, too.My conversation with Cole involved growing up, the art of recording and producing, bandmates, family, and -- of course -- a few of his favorite albums. Those were these:The White Album (1968), The BeatlesGeorge Harrison's All Things Must Pass (1970)Exile on Main Street (1972), The Rolling StonesThe Black Keys' Brothers (2010)Tranquility Base Hotel & Casino (2018), The Arctic MonkeysIt was both a pleasure and a joy meeting Cole and chatting with him. Follow @blacklightanimalsband on Instagram, and make sure you're dialed in with all that Cole has going on.Cheers.copyright disclaimer: I do not own the rights to the audio clips contained within this episode. They are snippets from a track called, "Rich Woman" by Robert Plant and Alison Krauss, and it's the leadoff track from their 2007 release, Raising Sand (c/o Rounder Records, distributed by Concord).

'69 AND THE CRIME ETCHED IN TIME -"When I Was 17, It was not a very good year"Rich BucklandWell. Here is something I've yet to get over in all the years since I first read the grisly details of Sharon Tate's murder in the Sunday newspaper's Parade magazine when I was just a wacky hippie teen and beach Boys fanatic.Cult-leader and killer Charles Manson and Beach Boy drummer and surfer Dennis Wilson were friends. For a while, at least. Good enough friends that Manson and his “family” of young women lived with Wilson for several months. Good enough friends that Wilson convinced the Beach Boys to include a song written by Manson, who had musical ambitions, on their album 20/20.Which brings me back to the main bad guy, Charles Manson. I knew as early as the Parade magazine article that Manson and his “family” had gone to Sharon Tate's house looking for Terry Melcher, who did not live there. And I knew that Manson's actual target was this Terry Melcher, who I also knew was Doris Day's son. As it turns out, he was an important producer in the music industry.Yes indeed gand. The 60's was not all Peace, Love and Understanding. In 1988, Melcher earned a Golden Globe nomination for co-writing the song "Kokomo" with John Phillips, Scott McKenzie and Mike Love. Recorded by the Beach Boys, the song was featured in the 1988 Tom Cruise film Cocktail and hit No. 1 (the band's career fourth overall) on the Billboard Hot 100. The single was certified gold with U.S. sales of more than one million copies.[18] Melcher later co-wrote and produced the band's 1992 studio album Summer in Paradise, which was the first record produced digitally on Pro Tools.Charles Manson- The White AlbumOne of the two great influences on the thinking of Charles Manson, along with the Book of Revelation, was the musical group the Beatles. According to Family members, Manson would most often quote "the Beatles and the Bible." The two influences were linked, in that Manson saw the four Beatles members as being the "four angels" referred to in Revelation 9. Revelation 9 also tells of "locusts"--the Beatles, of course--coming out upon the earth. It describes prophets as having "faces as the faces of men" but with "the hair of women"--an assumed reference too the long hair of the all-male English group. In Revelation 9, the four angels with "breastplates of fire"--electric guitars--"issued fire and brimstone"--song lyrics.Manson believed that the Beatles spoke to him through their lyrics, especially those included in the White Album, released in December 1968. Several songs from the White Album crystalized Manson's thinking about a coming revolt by blacks against the white Establishment. He interpreted many of the songs idiosyncratically, believing, for example, that "Rocky Raccoon" meant black people and "Happiness is a Warm Gun" was a song about getting firearms to carry on the&

A Fun and Quick one this Fest Week! For E276, continuing on the theme that Andy, Kyle and Tony have been doing on their "Hands Across The Water" Live Shows, this week Andy and Tom compiled a 30 song Paul/Wings/Solo playlist based on the running order of The Beatles 1968 White Album. Paul's career is so eclectic and varied it truly is like one big White Album! Many thanks to viewer Chris Hahn for this suggestion! What does your Paul "White Album" look like? Tell us in the comments and we hope to see you this weekend at the NJ Fest! Peace and Love to all! Andy & Tom

Joan Didion famously chronicled California's culture and mythology in works like “Slouching Towards Bethlehem” and “The White Album.” And it's Didion's relationship with Hollywood in particular that New York Times film critic Alissa Wilkinson explores in “We Tell Ourselves Stories,” her new analysis of the California writer. “The movies,” Wilkinson writes, “shaped us — shaped her — to believe life would follow a genre and an arc, with rising action, climax and resolution. It would make narrative sense. The reality is quite different.” We talk to Wilkinson about how Didion saw an American political landscape that was molding itself after the movies — and came to value story over substance. Guest: Alissa Wilkinson, movie critic, New York Times Learn more about your ad choices. Visit megaphone.fm/adchoices

Joan Didion opened The White Album (1979) with what would become an iconic line: “We tell ourselves stories in order to live.” Today this phrase is deployed inspirationally, printed on T-shirts and posters, and used as a battle cry for artists and writers. But Didion had something much less rosy in mind: our tendency to manufacture delusions to ward away our anxieties whenever society seems to be spinning off its axis. And nowhere was this collective hallucination more effectively crafted than in Hollywood. Alissa Wilkinson examines Joan Didion's influence through the lens of American myth-making. As a young girl, Didion was infatuated with John Wayne and his on-screen bravado, and was fascinated by her California pioneer ancestry and the infamous Donner Party. The mythos that preoccupied her early years continued to influence her work as a magazine writer and film critic in New York, offering glimmers of the many stories Didion told herself that would eventually unravel. Wilkinson traces Didion's journey from New York to her arrival in Hollywood as a screenwriter at the twilight of the old studio system. Didion became embroiled in the glitz and glamor of the Los Angeles elite, where she acutely observed―and denounced―how the nation's fears and dreams were sensationalized on screen. Meanwhile, she paid the bills writing movie scripts like A Star Is Born, while her books propelled her to personal fame. Join us to hear Wilkinson dissect the cinematic motifs and machinations that informed Didion's writing, detail Hollywood's addictive grasp on the American imagination, and delve into Didion's legacy, whose impact will be felt for generations. Organizer: George Hammond   A Humanities Member-led Forum program. Forums at the Club are organized and run by volunteer programmers who are members of The Commonwealth Club, and they cover a diverse range of topics. Learn more about our Forums. Learn more about your ad choices. Visit megaphone.fm/adchoices

By Walt HickeyDouble feature today!Welcome to the Numlock Sunday edition.This week, I spoke to Alissa Wilkinson who is out with the brand new book, We Tell Ourselves Stories: Joan Didion and the American Dream Machine.I'm a huge fan of Alissa, she's a phenomenal critic and I thought this topic — what happens when one of the most important American literary figures heads out to Hollywood to work on the most important American medium — is super fascinating. It's a really wonderful book and if you're a longtime Joan Didion fan or simply a future Joan Didion fan, it's a look at a really transformative era of Hollywood and should be a fun read regardless.Alissa can be found at the New York Times, and the book is available wherever books are sold.This interview has been condensed and edited. All right, Alissa, thank you so much for coming on.Yeah, thanks for having me. It's good to be back, wherever we are.Yes, you are the author of We Tell Ourselves Stories: Joan Didion and the American Dream Machine. It's a really exciting book. It's a really exciting approach, for a Joan Didion biography and placing her in the current of American mainstream culture for a few years. I guess just backing out, what got you interested in Joan Didion to begin with? When did you first get into her work?Joan Didion and I did not become acquainted, metaphorically, until after I got out of college. I studied Tech and IT in college, and thus didn't read any books, because they don't make you read books in school, or they didn't when I was there. I moved to New York right afterward. I was riding the subway. There were all these ads for this book called The Year of Magical Thinking. It was the year 2005, the book had just come out. The Year of Magical Thinking is Didion's National Book Award-winning memoir about the year after her husband died, suddenly of a heart attack in '03. It's sort of a meditation on grief, but it's not really what that sounds like. If people haven't read it's very Didion. You know, it's not sentimental, it's constantly examining the narratives that she's telling herself about grief.So I just saw these ads on the walls. I was like, what is this book that everybody seems to be reading? I just bought it and read it. And it just so happened that it was right after my father, who was 46 at the time, was diagnosed with a very aggressive leukemia, and then died shortly thereafter, which was shocking, obviously. The closer I get to that age, it feels even more shocking that he was so young. I didn't have any idea how to process that emotion or experience. The book was unexpectedly helpful. But it also introduced me to a writer who I'd never read before, who felt like she was looking at things from a different angle than everyone else.Of course, she had a couple more books come out after that. But I don't remember this distinctly, but probably what happened is I went to some bookstore, The Strand or something, and bought The White Album and Slouching Towards Bethlehem off the front table as everyone does because those books have just been there for decades.From that, I learned more, starting to understand how writing could work. I didn't realize how form and content could interact that way. Over the years, I would review a book by her or about her for one publication or another. Then when I was in graduate school, getting my MFA in nonfiction, I wrote a bit about her because I was going through a moment of not being sure if my husband and I were going to stay in New York or we were going to move to California. They sort of obligate you to go through a goodbye to all that phase if you are contemplating that — her famous essay about leaving New York. And then, we did stay in New York City. But ultimately, that's 20 years of history.Then in 2020, I was having a conversation (that was quite-early pandemic) with my agent about possible books I might write. I had outlined a bunch of books to her. Then she was like, “These all sound like great ideas. But I've always wanted to rep a book on Joan Didion. So I just wanted to put that bug in your ear.” I was like, “Oh, okay. That seems like something I should probably do.”It took a while to find an angle, which wound up being Didion in Hollywood. This is mostly because I realized that a lot of people don't really know her as a Hollywood figure, even though she's a pretty major Hollywood figure for a period of time. The more of her work I read, the more I realized that her work is fruitfully understood as the work of a woman who was profoundly influenced by (and later thinking in terms of Hollywood metaphors) whether she was writing about California or American politics or even grief.So that's the long-winded way of saying I wasn't, you know, acquainted with her work until adulthood, but then it became something that became a guiding light for me as a writer.That's really fascinating. I love it. Because again I think a lot of attention on Didion has been paid since her passing. But this book is really exciting because you came at it from looking at the work as it relates to Hollywood. What was Didion's experience in Hollywood? What would people have seen from it, but also, what is her place there?The directly Hollywood parts of her life start when she's in her 30s. She and her husband — John Gregory Dunn, also a writer and her screenwriting partner — moved from New York City, where they had met and gotten married, to Los Angeles. John's brother, Nick Dunn later became one of the most important early true crime writers at Vanity Fair, believe it or not. But at the time, he was working as a TV producer. He and his wife were there. So they moved to Los Angeles. It was sort of a moment where, you know, it's all well and good to be a journalist and a novelist. If you want to support yourself, Hollywood is where it's at.So they get there at a moment when the business is shifting from these big-budget movies — the Golden Age — to the new Hollywood, where everything is sort of gritty and small and countercultural. That's the moment they arrive. They worked in Hollywood. I mean, they worked literally in Hollywood for many years after that. And then in Hollywood even when they moved back to New York in the '80s as screenwriters still.People sometimes don't realize that they wrote a bunch of produced screenplays. The earliest was The Panic in Needle Park. Obviously, they adapted Didion's novel Play It As It Lays. There are several others, but one that a lot of people don't realize they wrote was the version of A Star is Born that stars Barbra Streisand and Kris Kristofferson. It was their idea to shift the Star is Born template from Hollywood entities to rock stars. That was their idea. Of course, when Bradley Cooper made his version, he iterated on that. So their work was as screenwriters but also as figures in the Hollywood scene because they were literary people at the same time that they were screenwriters. They knew all the actors, and they knew all the producers and the executives.John actually wrote, I think, two of the best books ever written on Hollywood decades apart. One called The Studio, where he just roamed around on the Fox backlot. For a year for reasons he couldn't understand, he got access. That was right when the catastrophe that was Dr. Doolittle was coming out. So you get to hear the inside of the studio. Then later, he wrote a book called Monster, which is about their like eight-year long attempt to get their film Up Close and Personal made, which eventually they did. It's a really good look at what the normal Hollywood experience was at the time: which is like: you come up with an idea, but it will only vaguely resemble the final product once all the studios get done with it.So it's, it's really, that's all very interesting. They're threaded through the history of Hollywood in that period. On top of it for the book (I realized as I was working on it) that a lot of Didion's early life is influenced by especially her obsession with John Wayne and also with the bigger mythology of California and the West, a lot of which she sees as framed through Hollywood Westerns.Then in the '80s, she pivoted to political reporting for a long while. If you read her political writing, it is very, very, very much about Hollywood logic seeping into American political culture. There's an essay called “Inside Baseball” about the Dukakis campaign that appears in Political Fictions, her book that was published on September 11, 2001. In that book, she writes about how these political campaigns are directed and set up like a production for the cameras and how that was becoming not just the campaign, but the presidency itself. Of course, she had no use for Ronald Reagan, and everything she writes about him is very damning. But a lot of it was because she saw him as the embodiment of Hollywood logic entering the political sphere and felt like these are two separate things and they need to not be going together.So all of that appeared to me as I was reading. You know, once you see it, you can't unsee it. It just made sense for me to write about it. On top of it, she was still alive when I was writing the proposal and shopping it around. So she actually died two months after we sold the book to my publisher. It meant I was extra grateful for this angle because I knew there'd be a lot more books on her, but I wanted to come at it from an angle that I hadn't seen before. So many people have written about her in Hollywood before, but not quite through this lens.Yeah. What were some things that you discovered in the course of your research? Obviously, she's such an interesting figure, but she's also lived so very publicly that I'm just super interested to find out what are some of the things that you learned? It can be about her, but it can also be the Hollywood system as a whole.Yeah. I mean, I didn't interview her for obvious reasons.Understandable, entirely understandable.Pretty much everyone in her life also is gone with the exception really of Griffin Dunn, who is her nephew, John's nephew, the actor. But other than that, it felt like I needed to look at it through a critical lens. So it meant examining a lot of texts. A lot of Didion's magazine work (which was a huge part of her life) is published in the books that people read like Slouching Towards Bethlehem and The White Album and all the other books. What was interesting to me was discovering (I mean, not “discovering” because other people have read it) that there is some work that's not published and it's mostly her criticism.Most of that criticism was published in the late '50s and the early '60s when she was living in New York City, working at Vogue and trying to make it in the literary scene that was New York at that time, which was a very unique place. I mean, she was writing criticism and essays for both, you know, like National Review and The Nation at the same time, which was just hard to conceive of today. It was something you'd do back then. Yeah, wild stuff.A lot of that criticism was never collected into books. The most interesting is that she'd been working at Vogue for a long time in various positions, but she wound up getting added to the film critic column at Vogue in, '62, I want to say, although I might have that date slightly off. She basically alternated weeks with another critic for a few years, writing that until she started writing in movies proper. It's never a great idea to be a critic and a screenwriter at the same time.Her criticism is fascinating. So briefly, for instance, she shared that column with Pauline Kael. Pauline Kael became well known after she wrote about Bonnie and Clyde. This was prior to that. This is several years prior to that. They also hated each other for a long time afterward, which is funny, because, in some ways, their style is very different but their persona is actually very similar. So I wonder about that.But in any case, even when she wasn't sharing the column with Pauline Kael, it was a literal column in a magazine. So it's like one column of text, she can say barely anything. She was always a bit of a contrarian, but she was actively not interested in the things that were occupying New York critics at the time. Things like the Auteur Theory, what was happening in France, the downtown scene and the Shirley Clark's of the world. She had no use for it. At some point, she accuses Billy Wilder of having really no sense of humor, which is very funny.When you read her criticism, you see a person who is very invested in a classical notion of Hollywood as a place that shows us fantasies that we can indulge in for a while. She talks in her very first column about how she doesn't really need movies to be masterpieces, she just wants them to have moments. When she says moments, she means big swelling things that happen in a movie that make her feel things.It's so opposite, I think, to most people's view of Didion. Most people associate her with this snobbish elitism or something, which I don't think is untrue when we're talking about literature. But for her, the movies were like entertainment, and entering that business was a choice to enter that world. She wasn't attempting to elevate the discourse or something.I just think that's fascinating. She also has some great insights there. But as a film critic, I find myself disagreeing with most of her reviews. But I think that doesn't matter. It was more interesting to see how she conceived of the movies. There is a moment later on, in another piece that I don't think has been republished anywhere from the New York Review of Books, where she writes about the movies of Woody Allen. She hates them. It's right at the point where he's making like Manhattan and Annie Hall, like the good stuff. She just has no use for them. It's one of the funniest pieces. I won't spoil the ending because it's hilarious, and it's in the book.That writing was of huge interest to me and hasn't been republished in books. I was very grateful to get access to it, in part because it is in the archives — the electronic archives of the New York Public Library. But at the time, the library was closed. So I had to call the library and have a librarian get on Zoom with me for like an hour and a half to figure out how I could get in the proverbial back door of the library to get access while the library wasn't open.That's magnificent. That's such a cool way to go to the archives because some stuff just hasn't been published. If it wasn't digitized, then it's not digitized. That's incredible.Yeah, it's there, but you can barely print them off because they're in PDFs. They're like scanned images that are super high res, so the printer just dies when you try to print them. It's all very fascinating. I hope it gets republished at some point because I think there's enough interest in her work that it's fascinating to see this other aspect of her taste and her persona.It's really interesting that she seems to have wanted to meet the medium where it is, right? She wasn't trying to literary-up Hollywood. I mean, LA can be a bit of a friction. It's not exactly a literary town in the way that some East Coast metropolises can be. It is interesting that she was enamored by the movies. Do you want to speak about what things were like for her when she moved out?Yeah, it is funny because, at the same time, the first two movies that they wrote and produced are The Panic in Needle Park, which is probably the most new Hollywood movie you can imagine. It's about addicts at Needle Park, which is actually right where the 72nd Street subway stop is on the Upper West Side. If people have been there, it's hard to imagine. But that was apparently where they all sat around, and there were a lot of needles. It's apparently the first movie supposedly where someone shoots up live on camera.So it was the '70s. That's amazing.Yes, and it launched Al Pacino's film career! Yeah, it's wild. You watch it and you're just like, “How is this coming from the woman who's about all this arty farty stuff in the movies.” And Play It As It Lays has a very similar, almost avant-garde vibe to it. It's very, very interesting. You see it later on in the work that they made.A key thing to remember about them (and something I didn't realize before I started researching the book)was that Didion and Dunn were novelists who worked in journalism because everybody did. They wrote movies, according to them (you can only go off of what they said. A lot of it is John writing these jaunty articles. He's a very funny writer) because “we had tuition and a mortgage. This is how you pay for it.”This comes up later on, they needed to keep their WGA insurance because John had heart trouble. The best way to have health insurance was to remain in the Writers Guild. Remaining in the Writers Guild means you had to have a certain amount of work produced through union means. They were big union supporters. For them this was not, this was very strictly not an auteurist undertaking. This was not like, “Oh, I'm gonna go write these amazing screenplays that give my concept of the world to the audience.” It's not like Bonnie and Clyding going on here. It's very like, “We wrote these based on some stories that we thought would be cool.”I like that a lot. Like the idea that A Star is Born was like a pot boiler. That's really delightful.Completely. It was totally taken away from them by Streisand and John Peters at some point. But they were like, “Yeah, I mean, you know, it happens. We still got paid.”Yeah, if it can happen to Superman, it can happen to you.It happens to everybody, you know, don't get too precious about it. The important thing is did your novel come out and was it supported by its publisher?So just tracing some of their arcs in Hollywood. Obviously, Didion's one of the most influential writers of her generation, there's a very rich literary tradition. Where do we see her footprint, her imprint in Hollywood? What are some of the ways that we can see her register in Hollywood, or reverberate outside of it?In the business itself, I don't know that she was influential directly. What we see is on the outside of it. So a lot of people were friends. She was like a famous hostess, famous hostess. The New York Public Library archives are set to open at the end of March, of Didion and Dunn's work, which was like completely incidental to my publication date. I just got lucky. There's a bunch of screenplays in there that they worked on that weren't produced. There's also her cookbooks, and I'm very excited to go through those and see that. So you might meet somebody there.Her account of what the vibe was when the Manson murders occurred, which is published in her essay The White Album, is still the one people talk about, even though there are a lot of different ways to come at it. That's how we think about the Manson murders: through her lens. Later on, when she's not writing directly about Hollywood anymore (and not really writing in Hollywood as much) but instead is writing about the headlines, about news events, about sensationalism in the news, she becomes a great media critic. We start to see her taking the things that she learned (having been around Hollywood people, having been on movie sets, having seen how the sausage is made) and she starts writing about politics. In that age, it is Hollywood's logic that you perform for the TV. We have the debates suddenly becoming televised, the conventions becoming televised, we start to see candidates who seem specifically groomed to win because they look good on TV. They're starting to win and rule the day.She writes about Newt Gingrich. Of course, Gingrich was the first politician to figure out how to harness C-SPAN to his own ends — the fact that there were TV cameras on the congressional floor. So she's writing about all of this stuff at a time when you can see other people writing about it. I mean, Neil Postman famously writes about it. But the way Didion does it is always very pegged to reviewing somebody's book, or she's thinking about a particular event, or she's been on the campaign plane or something like that. Like she's been on the inside, but with an outsider's eye.That also crops up in, for instance, her essays. “Sentimental Journeys” is one of her most famous ones. That one's about the case of the Central Park Five, and the jogger who was murdered. Of course, now, we're many decades out from that, and the convictions were vacated. We know about coerced confessions. Also Donald Trump arrives in the middle of that whole thing.But she's actually not interested in the guilt or innocence question, because a lot of people were writing about that. She's interested in how the city of New York and the nation perform themselves for themselves, seeing themselves through the long lens of a movie and telling themselves stories about themselves. You see this over and over in her writing, no matter what she's writing about. I think once she moved away from writing about the business so much, she became very interested in how Hollywood logic had taken over American public life writ large.That's fascinating. Like, again, she spends time in the industry, then basically she can only see it through that lens. Of course, Michael Dukakis in a tank is trying to be a set piece, of course in front of the Berlin Wall, you're finally doing set decoration rather than doing it outside of a brick wall somewhere. You mentioned the New York thing in Performing New York. I have lived in the city for over a decade now. The dumbest thing is when the mayor gets to wear the silly jacket whenever there's a snowstorm that says “Mr. Mayor.” It's all an act in so many ways. I guess that political choreography had to come from somewhere, and it seems like she was documenting a lot of that initial rise.Yeah, I think she really saw it. The question I would ask her, if I could, is how cognizant she was that she kept doing that. As someone who's written for a long time, you don't always recognize that you have the one thing you write about all the time. Other people then bring it up to you and you're like, “Oh, I guess you're right.” Even when you move into her grief memoir phase, which is how I think about the last few original works that she published, she uses movie logic constantly in those.I mean, The Year of Magical Thinking is a cyclical book, she goes over the same events over and over. But if you actually look at the language she's using, she talks about running the tape back, she talks about the edit, she talks about all these things as if she's running her own life through how a movie would tell a story. Maybe she knew very deliberately. She's not a person who does things just haphazardly, but it has the feeling of being so baked into her psyche at this point that she would never even think of trying to escape it.Fascinating.Yeah, that idea that you don't know what you are potentially doing, I've thought about that. I don't know what mine is. But either way. It's such a cool way to look at it. On a certain level, she pretty much succeeded at that, though, right? I think that when people think about Joan Didion, they think about a life that freshens up a movie, right? Like, it workedVery much, yeah. I'm gonna be really curious to see what happens over the next 10 years or so. I've been thinking about figures like Sylvia Plath or women with larger-than-life iconography and reputation and how there's a constant need to relook at their legacies and reinvent and rethink and reimagine them. There's a lot in the life of Didion that I think remains to be explored. I'm really curious to see where people go with it, especially with the opening of these archives and new personal information making its way into the world.Yeah, even just your ability to break some of those stories that have been locked away in archives out sounds like a really exciting addition to the scholarship. Just backing out a little bit, we live in a moment in which the relationship between pop culture and political life is fairly directly intertwined. Setting aside the steel-plated elephant in the room, you and I are friendly because we bonded over this idea that movies really are consequential. Coming out of this book and coming out of reporting on it, what are some of the relevances for today in particular?Yeah, I mean, a lot more than I thought, I guess, five years ago. I started work on the book at the end of Trump One, and it's coming out at the beginning of Trump Two, and there was this period in the middle of a slightly different vibe. But even then I watch TikTok or whatever. You see people talk about “main character energy” or the “vibe shift” or all of romanticizing your life. I would have loved to read a Didion essay on the way that young people sort of view themselves through the logic of the screens they have lived on and the way that has shaped America for a long time.I should confirm this, I don't think she wrote about Obama, or if she did, it was only a little bit. So her political writing ends in George W. Bush's era. I think there's one piece on Obama, and then she's writing about other things. It's just interesting to think about how her ideas of what has happened to political culture in America have seeped into the present day.I think the Hollywood logic, the cinematic logic has given way to reality TV logic. That's very much the logic of the Trump world, right? Still performing for cameras, but the cameras have shifted. The way that we want things from the cameras has shifted, too. Reality TV is a lot about creating moments of drama where they may or may not actually exist and bombarding you with them. I think that's a lot of what we see and what we feel now. I have to imagine she would think about it that way.There is one interesting essay that I feel has only recently been talked about. It's at the beginning of my book, too. It was in a documentary, and Gia Tolentino wrote about it recently. It's this essay she wrote in 2000 about Martha Stewart and about Martha Stewart's website. It feels like the 2000s was like, “What is this website thing? Why are people so into it?” But really, it's an essay about parasocial relationships that people develop (with women in particular) who they invent stories around and how those stories correspond to greater American archetypes. It's a really interesting essay, not least because I think it's an essay also about people's parasocial relationships with Joan Didion.So the rise of her celebrity in the 21st century, where people know who she is and carry around a tote bag, but don't really know what they're getting themselves into is very interesting to me. I think it is also something she thought about quite a bit, while also consciously courting it.Yeah, I mean, that makes a ton of sense. For someone who was so adept at using cinematic language to describe her own life with every living being having a camera directly next to them at all times. It seems like we are very much living in a world that she had at least put a lot of thought into, even if the technology wasn't around for her to specifically address it.Yes, completely.On that note, where can folks find the book? Where can folks find you? What's the elevator pitch for why they ought to check this out? Joan Didion superfan or just rather novice?Exactly! I think this book is not just for the fans, let me put it that way. Certainly, I think anyone who considers themselves a Didion fan will have a lot to enjoy here. The stuff you didn't know, hadn't read or just a new way to think through her cultural impact. But also, this is really a book that's as much for people who are just interested in thinking about the world we live in today a little critically. It's certainly a biography of American political culture as much as it is of Didion. There's a great deal of Hollywood history in there as well. Thinking about that sweep of the American century and change is what the book is doing. It's very, very, very informed by what I do in my day job as a movie critic at The New York Times. Thinking about what movies mean, what do they tell us about ourselves? I think this is what this book does. I have been told it's very fun to read. So I'm happy about that. It's not ponderous at all, which is good. It's also not that long.It comes out March 11th from Live Right, which is a Norton imprint. There will be an audiobook at the end of May that I am reading, which I'm excited about. And I'll be on tour for a large amount of March on the East Coast. Then in California, there's a virtual date, and there's a good chance I'll be popping up elsewhere all year, too. Those updates will be on my social feeds, which are all @alissawilkinson on whatever platform except X, which is fine because I don't really post there anymore.Alyssa, thank you so much for coming on.Thank you so much.Edited by Crystal Wang.If you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

Send us a textSome of Bryan Bielanski's earliest memories occurred in his crib, where he listened to the rock and roll records his parents and sister played. He's always been in love with music because of this, and he fell in love with it completely by his teenage years.Two albums in particular inspired Bielanski's journey into music: The Beatles' self-titled album (commonly known as The White Album) and Nirvana's Nevermind. The variety of The Beatles as an album and the sincerity and energy of Nevermind as an album became the foundation of Bielanski's musical inspirations.Bielanski started learning guitar, writing songs as soon as he could and playing in a band as a teenager. In the 2010s, he started performing and touring as a solo artist, which served as his transition from music as a hobby into music as a career.Since 2020, Bielanski has released four solo albums, Bryan's Super Happy Fun Time volumes one through four, and an EP, Free Bird. While he sometimes misses the camaraderie of a touring band, he better appreciates being able to pull a show together on his own, especially with the acoustic guitar style he's adopted. Thank you for listening to The Mountain-Ear Podcast, featuring the news and culture from peak to peak!If you want to be featured in the podcast, contact the host at media@themountainear.com!SUBSCRIBE ONLINE and use the coupon code PODCAST for A 10% DISCOUNT for ALL NEW SUBSCRIBERS! Subscribe at https://www.themtnear.com/subscribe!You can find us online by visiting https://www.themtnear.com!Find us on Facebook @mtnear!Share this podcast around!! Scroll near the bottom of our website's homepage or visit the podcast's main hub at https://themtnearpodcast.buzzsprout.com!You can contact our editor at info@themountainear.com!Thank you for listening!

Our guest today is writer  Ralph Dartford who works for the National Literacy Trust and is the poetry editor of literary journal Northern Gravy.   Ralph kindly made the journey from Bradford to the Lockwood residence in Sheffield, and we settled down in my living room with mugs of tea and a plate of biscuits, surrounded by books and looked down upon by at least three pictures of Larkin. Ralph also co-organises the fantastic Louder Than Words festival that takes place in Manchester every autumn, and is a celebration of writing about music. They gather together amazing writers, broadcasters and musicians to discuss, explore and debate all things music and music industry related.  I hope we will continue to see Ralph at more PLS events.Larkin poems mentioned:The Whitsun Weddings, Dockery and Son, Mr Bleaney, For Sidney Bechet, High Windows, Cut Grass, To The Sea, MCMXIV, Here, BroadcastAll What Jazz: A Record Diary 1961-1971 (1985) by Philip LarkinThe Oxford Book of Twentieth Century English Verse - ed.  Philip Larkin (1973) I am happy to see Mr. Larkin's taste in poetry and my own are in agreement ... I congratulate him most warmly on his achievement. - W. H. Auden, The GuardianPoets/writers/musicians mentioned by RalphKae Tempest, Joelle Taylor, Ted Hughes, Seamus Heaney, Vicky Foster, Steve Ely, Chris Jones, Ian Parks, John Betjeman, John Cooper Clarke, John Hegley, Simon Armitage, Carol Ann Duffy, Michael Stewart, Blake Morrison, Count Basie, John Coltrane, Sidney Bechet, Alan Bennett, Stewart Lee, David Quantick, Ray Davis, Blur,  Van Morrison,  Hang Clouds, Evelyn Glennie, Kingsley Amis, Andrea Dunbar, Helen MortOther references:Adlestrop (1914) by Edward Thomas https://www.edwardthomaspoetryplaces.com/post/adlestropArthur Scargill:  “Arthur Scargill, the miners' leader and socialist, once told The Sunday Times, ‘My father still reads the dictionary every day. He says your life depends on your power to master words.” Martin H. Manser, The Penguin Writer's ManualBob Monkhouse https://www.theguardian.com/news/2003/dec/30/guardianobituaries.artsobituariesLongbarrow Press https://longbarrowpress.com/Valley Press https://www.valleypressuk.com/Kes (1968) by Barry HinesRalph is Poetry Editor for Northern Gravy https://northerngravy.com/Ralph reads Geese and England's Dreaming from House Anthems  https://www.valleypressuk.com/shop/p/house-anthemsGareth Southgate https://www.bbc.co.uk/news/uk-england-london-57816651 Simon Armitage Larkin Revisited Radio 4 https://www.bbc.co.uk/sounds/brand/m0019yy2Nick Cave- Honorary Vice President for the Philip Larkin Society- Desert Island Discs https://www.bbc.co.uk/programmes/m0027cglLyn's English teacher 1982-1989 https://petercochran.wordpress.com/remembering-peter/The Ted Hughes Network https://research.hud.ac.uk/institutes-centres/tedhughes/James Underwood https://www.bloomsbury.com/uk/early-larkin-9781350197121/Albums mentioned:OK Computer (1997) by Radiohead , Sergeant Pepper's Lonely Hearts Club Band (1967) and The White Album (1968) by The Beatles, Park Life (1994) by BlurSummertime in England by Van Morrison https://www.vice.com/en/article/summertime-in-england-a-monologue-on-van-morrison/Events:https://louderthanwordsfest.com/"My Friend Monica": Remembering Philip Larkin's Partner Monica JonesSat 22 Mar 2025 4:00 PM - 5:00 PM Ken Edwards Lecture Theatre 2, University of Leicester, LE1 7RHhttps://www.tickettailor.com/events/literaryleicester/1538331A celebration marking 70 years of Philip Larkin's 'The Less Deceived'For World Poetry Dayhttps://www.eventbrite.com/e/a-celebration-marking-70-years-of-philip-larkins-the-less-deceived-tickets-1235639173029?aff=oddtdtcreatorProduced by Lyn Lockwood and Gavin HoggPlease email Lyn at ⁠plsdeputychair@gmail.com ⁠ with any questions or commentsPLS Membership, events, merchandise and information: philiplarkin.com

The Blottos hit the double ochos by playing a voicemail from the fictional world of Knives Out, hitting a very early Magical Mystery Word, questioning when the last time was that people saw Ringo's eyes, complimenting Becker's Joe Walsh impression, suggesting that Scotty add a cowboy hat to the ensemble, mixing cocktails live on air, apologizing to the Larrys of the world, and diving deep into the many layers of the critically underrated Glass Onion.  Mix up a Gibson and join us for the ride.As always, you can find Team Blotto Beatles on Instagram (@blottobeatles) and Twitter / X (@blottobeatles), by emailing us (blottobeatles@gmail.com), or on the web (blottobeatles.com).  We want to hear from you!Please also take the time to rate and review us on Apple podcasts or wherever you get your podcasts.We have a shop!  Grab some merch.  You can always drunk dial us at 1.857.233.9793 to share your thoughts, feedback, confessions, and concerns to be featured in an upcoming episode. Enjoying the show? Buy us a beer via the tip jar (don't forget to include a message telling us what we should drink with the money).You know we're making a list of it, see the canonical, argument-ending list of Beatles songs we are assembling here: http://www.blottobeatles.com & listen to it on Spotify here.Please remember to always enjoy Blotto Beatles responsibly.Peace and Love.Hosts: Becker and TommyExecutive Producer: Scotty C.Musical Supervisor: RB (@ryanobrooks)Associate Musical Supervision: Tim Clark (@nodisassemble)ArtistinIn-Residence: Colin Driscoll (@theroyal.we)

Subscribe to The Best Idea Yet here: https://wondery.com/links/the-best-idea-yet/Pop quiz: What's the longest-running video game in history? It's not Pac-Man or Donkey Kong or even Pong… it's The Oregon Trail. A true pioneer (and we don't just mean the ones in the covered wagons), the Oregon Trail has sold more than 65 million copies (that's more than the Beatles' White Album) and it spawned an “edu-tainment” industry now worth over $6B. But this wholesome game was created by three Minnesota student teachers, without a single thought towards making money… which is exactly why Oregon Trail made so much of it. Find out why this iconic game is a textbook MVP (Minimum Viable Product)… how an acquisition by Shark Tank's “Mr. Wonderful” almost led to a collab with Barbie… and why the Oregon Trail is the best idea yet.Subscribe to The Best Idea Yet for the untold origin stories of the products you're obsessed with, and the bold risk takers who brought them to life. Episodes drop every Tuesday, subscribe here: https://wondery.com/links/the-best-idea-yet/—-----------------------------------------------------GET ON THE POD: Submit a shoutout or fact: https://tboypod.com/shoutouts FOR MORE NICK & JACK: Newsletter: https://tboypod.com/newsletter Connect with Nick: https://www.linkedin.com/in/nicolas-martell/ Connect with Jack: https://www.linkedin.com/in/jack-crivici-kramer/ SOCIALS:Instagram: https://www.instagram.com/tboypod TikTok: https://www.tiktok.com/@tboypodYouTube: https://www.youtube.com/@tboypod Anything else: https://tboypod.com/ See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The rise and fall of the double album in popular music is a fascinating journey that reflects changes in artistic ambition, technology, and the music industry itself. Here's an outline of key developments: Billy Joel Killed the Double Album??? History of the Double Album (wiki)   I. Introduction Definition of a double album: Typically a collection of two LPs or CDs, often featuring a cohesive concept or theme. Overview of its significance in popular music. II. The Rise of the Double Album Early Examples (1950s-1960s) Introduction in jazz and classical music as a way to showcase longer compositions. Examples: Miles Davis's Sketches of Spain (1960). First Double album of all time: Ella Fitzgerald Sings the Cole Porter Songbook   The Concept Album Movement (Late 1960s) The Beatles' The White Album (1968): A landmark in the double album format, showcasing diverse musical styles. Pink Floyd's The Wall (1979) and other progressive rock bands embrace the format for storytelling. Artistic Expression and Ambition Double albums seen as a canvas for ambitious concepts and themes. Notable examples: The Rolling Stones' Exile on Main St. (1972) and Bob Dylan's Desire (1976). Commercial Success Major sales: Double albums often topped charts and received critical acclaim. Increased visibility of artists willing to take risks. III. The Peak of the Double Album Cultural Impact (1970s-1980s) The double album becomes a symbol of artistic integrity and ambition. Festivals and concerts: Artists using double albums to frame their live performances. Mainstream Adoption More artists from various genres (rock, pop, R&B) begin to experiment with the format. Examples: Fleetwood Mac's Tusk (1979) and Prince's Sign o' the Times (1987). IV. The Decline of the Double Album Changing Industry Dynamics (1990s) The rise of the CD as a dominant format: convenience led to a preference for shorter albums. Economic considerations: Record labels focused on singles rather than lengthy projects. Shift in Listening Habits The emergence of MTV and music videos: Visual media shifted focus from album artistry to hit singles. The rise of radio formats emphasizing shorter songs. Digital Era and Streaming (2000s-Present) Playlist culture: Listeners favor curated collections over lengthy albums. Shorter tracks dominate streaming platforms, leading to a decline in the production of double albums. V. Resurgence and Evolution Recent Trends (2010s-Present) Some artists, like Taylor Swift (The Double Album), explore the format, appealing to nostalgia and artistry. Conceptual storytelling continues in fragmented forms (e.g., extended play releases or singles). Legacy of the Double Album Influence on modern artists: Many still draw inspiration from the narrative and artistic ambitions of classic double albums. Critical appreciation: Recognition of double albums as significant artistic statements. VI. Conclusion Reflection on the evolution of the double album in the context of broader changes in popular music. Enduring legacy: While its prominence may have waned, the double album remains an important part of music history, embodying the struggle between commercial viability and artistic expression. The greatest double albums of all time: https://www.google.com/search?q=the+most+important+double+albums+of+all+time&sca_esv=9e556a6b58aef874&sxsrf=ADLYWIKkcUDDNCKglv7ygX8kIkbP2CWZhg%3A1728351563421&source=hp&ei=S40EZ_GjF9DaptQP16upMA&iflsig=AL9hbdgAAAAAZwSbW6lgun8H7EM64J1LyNVRvReuIRSd&oq=the+most+important+double+albums+&gs_lp=Egdnd3Mtd2l6IiF0aGUgbW9zdCBpbXBvcnRhbnQgZG91YmxlIGFsYnVtcyAqAggAMgUQIRigATIFECEYoAEyBRAhGKABMgUQIRigATIFECEYnwUyBRAhGJ8FMgUQIRifBTIFECEYnwUyBRAhGJ8FMgUQIRifBUi6lQFQ-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-vbAw&sclient=gws-wiz New & Notable:   Loudini: Flying Joes; Black Stone Mr Pittsburgh: Tiny Warz; Walking On Clouds   The rise and fall of the double album in popular music is a fascinating journey that reflects changes in artistic ambition, technology, and the music industry itself. Here's an outline of key developments: Billy Joel Killed the Double Album??? History of the Double Album (wiki)   I. Introduction Definition of a double album: Typically a collection of two LPs or CDs, often featuring a cohesive concept or theme. Overview of its significance in popular music. II. The Rise of the Double Album Early Examples (1950s-1960s) Introduction in jazz and classical music as a way to showcase longer compositions. Examples: Miles Davis's Sketches of Spain (1960). First Double album of all time: Ella Fitzgerald Sings the Cole Porter Songbook   The Concept Album Movement (Late 1960s) The Beatles' The White Album (1968): A landmark in the double album format, showcasing diverse musical styles. Pink Floyd's The Wall (1979) and other progressive rock bands embrace the format for storytelling. Artistic Expression and Ambition Double albums seen as a canvas for ambitious concepts and themes. Notable examples: The Rolling Stones' Exile on Main St. (1972) and Bob Dylan's Desire (1976). Commercial Success Major sales: Double albums often topped charts and received critical acclaim. Increased visibility of artists willing to take risks. III. The Peak of the Double Album Cultural Impact (1970s-1980s) The double album becomes a symbol of artistic integrity and ambition. Festivals and concerts: Artists using double albums to frame their live performances. Mainstream Adoption More artists from various genres (rock, pop, R&B) begin to experiment with the format. Examples: Fleetwood Mac's Tusk (1979) and Prince's Sign o' the Times (1987). IV. The Decline of the Double Album Changing Industry Dynamics (1990s) The rise of the CD as a dominant format: convenience led to a preference for shorter albums. Economic considerations: Record labels focused on singles rather than lengthy projects. Shift in Listening Habits The emergence of MTV and music videos: Visual media shifted focus from album artistry to hit singles. The rise of radio formats emphasizing shorter songs. Digital Era and Streaming (2000s-Present) Playlist culture: Listeners favor curated collections over lengthy albums. Shorter tracks dominate streaming platforms, leading to a decline in the production of double albums. V. Resurgence and Evolution Recent Trends (2010s-Present) Some artists, like Taylor Swift (The Double Album), explore the format, appealing to nostalgia and artistry. Conceptual storytelling continues in fragmented forms (e.g., extended play releases or singles). Legacy of the Double Album Influence on modern artists: Many still draw inspiration from the narrative and artistic ambitions of classic double albums. Critical appreciation: Recognition of double albums as significant artistic statements. VI. Conclusion Reflection on the evolution of the double album in the context of broader changes in popular music. Enduring legacy: While its prominence may have waned, the double album remains an important part of music history, embodying the struggle between commercial viability and artistic expression. The greatest double albums of all time: https://www.google.com/search?q=the+most+important+double+albums+of+all+time&sca_esv=9e556a6b58aef874&sxsrf=ADLYWIKkcUDDNCKglv7ygX8kIkbP2CWZhg%3A1728351563421&source=hp&ei=S40EZ_GjF9DaptQP16upMA&iflsig=AL9hbdgAAAAAZwSbW6lgun8H7EM64J1LyNVRvReuIRSd&oq=the+most+important+double+albums+&gs_lp=Egdnd3Mtd2l6IiF0aGUgbW9zdCBpbXBvcnRhbnQgZG91YmxlIGFsYnVtcyAqAggAMgUQIRigATIFECEYoAEyBRAhGKABMgUQIRigATIFECEYnwUyBRAhGJ8FMgUQIRifBTIFECEYnwUyBRAhGJ8FMgUQIRifBUi6lQFQ-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-vbAw&sclient=gws-wiz New & Notable:   Loudini: Flying Joes; Black Stone Mr Pittsburgh: Tiny Warz; Walking On Clouds

Like KoRn or Limp Bizkit, the guys take on another band that purposely misspells their name. Is this White Album avant-garde composition a work of art or a failed experiment?See omnystudio.com/listener for privacy information.

In the aftermath of the Manson Family murders, Hollywood was gripped with fear. Various investigations stitched together a deluded White Album-inspired explanation of the killing spree. But Dennis Wilson knew the truth—that he had made a terrible, irreversible mistake and that now, the sunny dream of the '60s was over. The nightmare it brought about haunted him to his final days. For a full list of contributors, see the show notes at disgracelandpod.com. This episode was originally published on December 19, 2019. To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at disgracelandpod.com/membership. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - GET THE NEWSLETTER Follow Jake and DISGRACELAND: Instagram YouTube X (formerly Twitter)  Facebook Fan Group TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Chris O'Dell has led a fascinating life; one that planted her firmly in rock royalty's inner circle in the 60s and 70s. Befriending Derek Taylor in LA, she soon found herself working for the Beatles' Apple Corps in London. While there she was present for the recording of The White Album, Abbey Road, Let it Be, and sang in the Hey Jude chorus. She sat on the rooftop while the Beatles played their last live performance in January of 1969 and even lived with George Harrison and Pattie Boyd at Friar Park. She went on to be one of the first - if not, THE first - female tour managers, working with the likes of George Harrison, The Rolling Stones, and Bob Dylan on his 'Rolling Thunder Revue' tour. She inspired George Harrison to pen the song, "Miss O'Dell,” she's the subject of Leon Russell's “Pisces Apple Lady” and “Hummingbird," she is the “woman down the hall,” in the Joni Mitchell song, “Coyote,” and her picture can be seen on the back cover of The Stones's 1972 masterpiece, Exile on Main Street. We cover a lot of ground in this episode, but to get the full story, check out her book and website with the links below: https://www.missodell.com Miss O'Dell: Hard Days and Long Nights with The Beatles, The Stones, Bob Dylan, Eric Clapton and the Women They Loved Playlist: Pisces Apple Lady - Leon Russell Hey Jude - The Beatles All Things Must Pass - George Harrison Miss O'Dell - George Harrison Torn and Frayed - The Rolling Stones Just Like a Woman - Bob Dylan Follow My Rock Moment on Instagram: https://www.instagram.com/la_woman_rocks Learn more about your ad choices. Visit megaphone.fm/adchoices

El título revela de qué va este nuevo episodio: Profundizaremos en los temas que aportó George Harrison al mítico White Album de The Beatles (1968). Ricardo Portman nos cuenta sus historias. Escucharemos While My Guitar Gently Weeps, Piggies, Long, Long, Long, Savoy Truffle y Not Guilty + Bonus tracks. Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com/ La Música del Arcón - FM 96.9 (Buenos Aires, Argentina) miércoles 18:00 (hora Arg.) Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Distancia Radio (Córdoba) jueves y sábados 19:00 Radio Free Rock (Cartagena) viernes 18:00. Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú)

Music critic/podcaster Jeremy Shatan @anearful joins the show! Thomas opens with a glowing endorsement of the 2018 remaster of The Beatles' White Album. Jeremy then takes the reigns to shed light on some lost - but not forgotten - underrated indie bands of the 2010's.   https://anearful.substack.com/ LMO Survey https://www.niagaramoonmusic.com/   https://www.thinlear.com/ Bluesky IG Tiktok

Send us a textIntro song: Irreplaceable by Beyonce (#1)Album 2: Elephant by The White Stripes (2003)Song 1: I Want To Be the Boy to Warm Your Mother's HeartSong 2: Little AcornsSong 3: The Air Near My FingersAlbum 1: The White Album by The Beatles (1968)Song 1: I WillSong 2: Everybody's Got Something to Hide Except For Me and My MonkeySong 3: Cry Baby CryOutro song: Good Night by The BeatlesLink to Elephant (Andrew's Mix)Link to The White Album (Andrew's Mix)

Every year during the first week of December, Rich and Danny do a Beatles themed show in honor of John Lennon. This year, they invite their old friend Kollibri terre Sonnenblume to join them and talk about his reimagined version of the White Album as a one disc collection called Apple Cart. Three old friends […]

I'M SO POPULAR returns for its fifth season with a discussion on the end of drag, the Manson Family, the Tate-LaBianca Murders, Joan Didion's THE WHITE ALBUM (1979年), Vincent Bugliosi's HELTER SKELTER (1974年), MANSON (1973年), The Beatles's self titled white album THE BEATLES (1968年) and the pursuit of divinity on Earth. For the high quality version of this episode and the official continuation SIRENS episode along with exclusive episodes, art and access to the Discord, subscribe to ISP on Patreon at patreon.com/imsopopular (I'M SO POPULAR S5.E01)

Musician and self-described Beatles fanatic Jonathan Pretus ranked the entire recorded catalog of the Beatles, because he's a big, big nerd. Then he decided to make a podcast, Ranking The Beatles, to talk with other people and learn about their connection with The Beatles' music. Jonathan and his guests, joined by his co-host/wife Julia (a more level-headed, casual fan) discuss the rankings, what they think makes each song so great (or not-so-great), and see if it really is a fool's errand to try and rank the music of the greatest band of all time.    In this episode, Jack and Jonathan discuss what it's like to run a Beatles podcast, what makes The Beatles's music so special, their thoughts on the upcoming Beatles biopics, and much more.    Follow Ranking The Beatles on social media here: Instagram: https://www.instagram.com/rankingthebeatles/ Facebook: https://www.facebook.com/rankingthebeatles YouTube: https://www.youtube.com/@TheBretonSoundTV   Follow us on all social media, @BeatlesEarth ! For questions/inquires, please reach us at BeatlesOfCourse @gmail. com   ------ #Thebeatles #beatles #beatle #paulmccartney #johnlennon #georgeharrison #ringostarr #60smusic #60s #70smusic #70s #60s70s80s #70s80s90s #90s #iconic #rocknroll #classicmusic #fyp #foryoupage #foryou #recommended #beatlesfans #mclennon #lennon #viralreels #peaceandlove #letitbe #beatlespodcast #podcast #mccartney #starr #harrison The Beatles were a highly influential and globally popular rock band that originated in Liverpool, England. The group consisted of four members: John Lennon, Paul McCartney, George Harrison, and Ringo Starr. The Beatles' journey began in the late 1950s when Lennon formed a skiffle group called The Quarrymen. McCartney and Harrison joined later, and the lineup eventually evolved into The Beatles. Ringo Starr replaced their original drummer, Pete Best, in 1962. The Beatles achieved unprecedented success and popularity during the 1960s, often referred to as the "Beatlemania" era. Their music was a blend of various genres, including rock and roll, pop, and later, elements of Indian music and psychedelia. They wrote and recorded numerous hit songs, becoming one of the most innovative and successful bands in the history of popular music. Some of their most famous albums include: 1. **"Please Please Me" (1963) 2. **"A Hard Day's Night" (1964):** The soundtrack to their first film. 3. **"Rubber Soul" (1965):** Marking a shift toward a more experimental sound. 4. **"Revolver" (1966):** Further experimentation and the use of studio techniques. 5. **"Sgt. Pepper's Lonely Hearts Club Band" (1967):** Widely considered one of the greatest albums of all time. 6. **"The White Album" (1968):** A double album with diverse musical styles. 7. **"Abbey Road" (1969):** Their final studio album, known for its iconic cover and medley of songs. The Beatles' legacy extends far beyond their music. They revolutionized the music industry, set new standards for songwriting, and influenced countless artists across genres. Their impact on popular culture, fashion, and social movements of the 1960s is immeasurable. The Beatles remain one of the most celebrated and enduring musical acts in history.

Derek talks about the fashion, Apple Corps, the cultural climate and the second half of The White Album! buymeacoffee.com/wheatleydeQ

The Olympiad series picks up again, with music scholar Gary Wenstrup on board, picking up where we left off at episode 276, the Filmtrack Olympiad. Be sure to add your name to the satb2010@gmail.com Newsletter list to enter the giveaway of the vinyl Beatles '64 Mono Capitol albums. About “(Wild) Honey Pie”

We discuss the best and worst songs from ”The Beatles (The White Album)" by The Beatles. Let us know your thoughts about these songs and follow us on Facebook and X.  Please support The Beatles by purchasing and streaming this album wherever you pay for music! 

Derek talks about where The Beatles were in '68 leading up to the album, the divisions within the group that were becoming apparent and he also goes through the first 17 songs to find meanings, see who was playing what and which songs pass the test of time! buymeacoffee.com/wheatleydeQ

Greetings!It's new-episode Thursday, and I'm pleased to say that Dan Perez was my guest for Episode No. 141. Dan is in four bands: 1) a smallish trio outfit with his brother; 2) Whiskey Mash Band; 3) Helping Phriendly Bluegrass Band; and 4) The Kaw Valley Hop Pickers.Dan's silky bass notes in each of those conglomerations don't entirely comprise him, though; he's a son, a sibling, a Phishhead, and a husband (I think he said).I had Dan's Whiskey Mash bandmate, Billy Brady, on for Episode No. 65, so check that one out if you missed it (but not before you get into Dan's episode).Dan and I chewed the fat for an hour or so, and it was solid-good times getting to know him; I learned a bunch, had some laughs, and enjoyed Dan's good-vibe energy. Naturally, we talked about a few of Dan's favorite albums, which were these:The White Album (1968), The BeatlesJohn Hartford's Aereo-Plain (1971)A Live One (1995), PhishJames Brown's The 50th Anniversary Collection (2003)Epic list, really. A perfect mix of familiar with glad-to-know-yas.Note: My gaffes for this conversation include calling it "Tahoe Jam," when it's actually called "Berkeley Jam," and citing "Chalkdust" when it shoulda been "Tweezer" (in regards to the 2012 Phish performance at Starlight Theater in Kansas City.Anyway, I'd tell you to give Dan a Facebook follow, but he doesn't really post there, so plug one or all of those band names into your search bar, and you'll get there.Thank you, Dan. I appreciate the time.And thank you to those of you that read these, listen, etc.Cheers.copyright disclaimer: I do not own the rights to the audio samples contained within this episode. They are snippets I've stolen from a tune called, "All My Friends," by Channel Tres. It's a cut from his 2023 EP, Real Cultural Shit, and we are graced to have access to it via Channel Tres Inc., under exclusive license to RCA Records.

Staci's guest is Chris O'Dell, the author of an incredible memoir called “Miss O'Dell.” Chris worked for Apple Corps and was in the studio when the Beatles recorded The White Album, Abbey Road, and Let It Be, and she sang in the Hey Jude chorus. She lived with George Harrison and Pattie Boyd and she's the subject of Leon Russell's song, Pisces Apple Lady. She's “the woman down the hall” in Joni Mitchell's song Coyote, the “mystery woman” pictured on the Stones album Exile on Main Street, and the Miss O'Dell of George Harrison's song. She's even in Staci's latest book, “Rock & Roll Nightmares: Phantom Chords,” which has a chapter on the haunted goings-on at Friar Park, where she lived when she was working for George Harrison. She has a lot to say about Bob Dylan, Eric Clapton, John and Yoko, and her upcoming "Miss O'Dell" documentary.

Barry and Abigail discuss Cloud Eleven by Cloud Eleven and sample Margarita Sour, Mai Tai - Tiki Easy Collab, and Hi-Pitch Mosaic IPA from Hi-Wire Brewing in Asheville, North Carolina. Barry discovered this album while looking for music to use in a family video and discovering the song Tokyo Aquarium. You can check out the video Tokyo Aquarium on our YouTube channel.  Abigail compared the opening of Look of Sky to the opening of Iris by The Goo Goo Dolls. Barry played a bit of Blackbird by The Beatles for the comparison of the bird sounds and guitar (we have officially gone zero episodes without mentioning the White Album!). Barry compared Didn't Wanna Have to Do It to Twin Peaks Theme - Instrumental by Angelo Badalamenti. Lyrically, he compared the song to See You In September by The Happenings. Abigail compared Hole to Glass Onion by The Beatles and Wish I to Kiss Me by Sixpence None the Richer. Up next… GUTS by Olivia Rodrigo Jingles are by our friend Pete Coe. Visit Anosmia Awareness for more information on Barry's condition. Follow Barry or Abigail on Untappd to see what we're drinking when we're not on mic! Leave us a rating or a review on Apple Podcasts or Spotify! Facebook | Instagram | X | YouTube | Website | Email us | Virtual Jukebox

Support Our Sponsor: CMS VIPs ON LOCALS! Sign up today and support all the content that you get daily! https://classicmetalshow.locals.com. On this episode of THE CLASSIC METAL SHOW, Neeley and Chris take a call from Tim James, who gives his review of the recent Iron Maiden concert in Australia. The hosts then dive into the onstage fight between Perry Farrell and Dave Navarro of Jane's Addiction. Afterward, they discuss Deep Purple's claim that their “final tour” was just a joke, leaving fans feeling scammed. The conversation shifts to Motley Crue's unexpected club shows in LA. Lastly, they review "The White Album," a collection of AI-generated songs in the Metallica style. #classicmetalshow #ironmaiden #janesaddiction #motleycrue #metallica **NOTE: Everything said here, and on every episode of all of our shows are 100% the opinions of the hosts. Nothing is stated as fact. Do your own research to see if their opinions are true or not.** Please SUBSCRIBE, click the notification bell, leave a comment or a like, and share this episode!

From Trump commentary to DNA tests for cats, Chris From Brooklyn and Chris Stanley and dive into a whirlwind of hilarious and offbeat conversations. This episode is packed with unexpected stories, sound effects, and inside jokes that'll keep you laughing.Stanley helps his neighbor get back into golf while running into a colorful cast of characters on the course, and debate everything from Gronk in space to whether darts playoffs are bigger than the NFL. Elon Musk's latest tweetstorm, the space race (did the Russians actually send someone to Venus?), and even the hypothetical of whether John Wick could handle a round of golf. Plus, there's a hot take on why Robert Moses might be better than FDR, and Eric Adams criminal activityAnd that's just the start. They also chat about Julian Assange's reclusive life, the rise of Nvidia, and whether American exceptionalism still holds up. It's a mix of current events, personal stories, and completely random moments, all with the usual banter and laughs you expect.This episode has it all: pop culture, sports, tech, and more, blended with just the right amount of absurdity. Hit play, subscribe, and don't forget to share this episode with your friends—it's a wild ride you won't want to miss.Support Our Sponsors!https://monthlyknifeclub.com/ - Use promo code: GAS for 10% off your first month!YoDelta.com - Use promo code GAS for 25% off your order!YoKratom.com - Check out Yo Kratom (the home of the $60 kilo) for all your kratom needs!High Society Radio is 2 native New Yorkers who started from the bottom and didn't raise up much. That's not the point, if you enjoy a sideways view on technology, current events, or just an in depth analysis of action movies from 2006 this is the show for you.Chris Stanley is the on air producer for Bennington on Sirius XM.Chris from Brooklyn is a lifelong street urchin, a former head chef and current retiree.Twitter: https://twitter.com/ChrisFromBklynInstagram: https://www.instagram.com/chrisfrombklynEngineer: JorgeExecutive Producer: Mike HarringtonInstagram: https://www.instagram.com/themharrington/Twitter: https://twitter.com/TheMHarringtonSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When people think of Electrical Audio Recording in Chicago they usually only think of the late, great Steve Albini. But the studio is (and has been) home to a distinguished troop of engineers and operators that continue to keep the venerable institution running — including our pal Greg Norman, who's been doing the Lord's work over at Electrical since he LITERALLY helped lay the foundation of the studio building before the opening of its doors in 1997. On this episode we talk about sneaking into Shorty shows at Lounge Ax, Albini's tighty whities, Adobe bricks, Alain Delon's dog, The Jesus Lizard, The White Album, Steely Dan, broken Calrec Soundfield mics, and WHAT'S THE BEST?!? recording production.

Arthur Jafa talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Jafa 's work in film, sculpture and installation explores Black being with an unflinching eye for systemic and historic inequity and violence and an exuberant harnessing of disparate manifestations of Black—and particularly African American—culture. Jafa has only garnered major art world attention in the past decade, but in that time he has been prolific in creating landmark works that have shocked, stirred and moved his audiences, including Love is the Message, the Message is Death (2016), The White Album (2018) and his latest film, BEN GAZARRA (2024, formerly known as *****), which reimagines the climactic scenes in Martin Scorsese's Taxi Driver. He discusses how, when he was a child, he was profoundly affected by seeing James Brown in concert and reading Jack Kirby's creations for Marvel Comics. He explains how he feels inspired and challenged by Anne Imhof's work, and how Jean-Michel Basquiat is an ongoing point of reference. He also describes the sheer power of seeing another transformative performance as a child: Mahalia Jackson singing in a Mississippi church. Plus, he gives insight into his life in the studio and answers our usual questions, including the ultimate: what is art for?Arthur Jafa, Sprüth Magers, Los Angeles, 14 September-14 December; Arthur Jafa: Works from the MCA Collection, Museum of Contemporary Art, Chicago, until 2 March 2025; Arthur Jafa, Galerie Champ Lacombe, Biarritz, France, until 5 September. Hosted on Acast. See acast.com/privacy for more information.

Today's episode is my ten questions with Tim Bulman. We talk about sick parts, Tim is playing and singing a song from Wildflowers as his pick, and yet another guest finds a way to describe Tom Petty in three words that is unique, personal, and wonderfully eloquent. There's plenty of Beatles chat in this one too, which never upsets me as I'm a huge fan, with Tim comparing Wildflowers, in a very specific way, to the White Album.Check out Tim's excellent YouTube channel here: https://www.youtube.com/@judgetimbers588Also, check out Tim's fantastic new song, "The 31st of June": https://youtu.be/di5MmW4njrEDon't forget to follow me on social media, like, subscribe, and please, leave a rating if you like the show.Facebook: https://www.facebook.com/thetompettyprojectTwitter: https://twitter.com/TomPettyProjectInstagram: https://www.instagram.com/thetompettyproject/YouTube: https://www.youtube.com/channel/UCt6BLRWuuAR43zHpNKIirOwAll music, including the theme song, provided by my very best friend Randy Woods. Check him out at https://www.randywoodsband.comThe Tom Petty Project is not affiliated with the Tom Petty estate in any way and when you're looking for Tom's music, please visit the official YouTube channel first and go to tompetty.com for official merchandise. If you want merchandise for this podcast, please check out https://www.teepublic.com/user/eight-ninety-eight/albums/245634-tom-petty-projectA last very special thanks to Paul Zollo and Warren Zanes without whose books, Conversations with Tom Petty and Petty: The Biography, this podcast wouldn't be nearly as much fun to research.Support this show http://supporter.acast.com/the-tom-petty-project. Hosted on Acast. See acast.com/privacy for more information.

Author and podcast host, Jacob Goldstein and I talk about "The White Album" by Joan Didion. As a San Diego born, New York City journalist, Jacob and I compare and contract Los Angeles and New York as described by Didion and ourselves. We talk about our nostalgia for the past and the uncertainty of the future as we stray on and off topic of this thrilling collection of essays by Didion. Jacob's podcast, "What's your problem? Live from Chicago" Featuring me: https://www.pushkin.fm/podcasts/whats-your-problem/using-ai-for-creative-workJoan Didion's "The White Album" https://www.amazon.com/White-Album-Essays-FSG-Classics/dp/0374532079/ref=sr_1_1?crid=22Q2GNU6OKWHC&dib=eyJ2IjoiMSJ9.wYfhcs52-wF2zEiWUY50tu24TD8EOCszh-OzXa7NSJ-TK4b8xm4TsVRNn6pnr0DWIZ87aqui_0h91nwHng_C16tBT662q7vjRr8JRSBCQkN-vBTpQEOfymlkjnFUurDSdRgoV5gn4yq7DZKwwJCPw-YQVsCY6yM8MtV1vvD3JMp_6EFxxC8D_Qd5xbKY2JQMDxC_Yz29nU8UhNSJMf6SELHMD7WQgOKQjtvXBVSG9Bw.s7-hrIzow4BSG1UA1-DZm9daYwLRkIdxyQSKBtBaBv4&dib_tag=se&keywords=the+white+album+joan+didion&qid=1720043002&sprefix=the+white+album+%2Caps%2C188&sr=8-1