Podcasts about Wish You Were Here

50 years ago this month -- June 5, 1975 -- Pink Floyd were in the studio working on a new song for the next album -- a long, epic song written in honour of their former leader and principal songwriter, Syd Barrett, who had been estranged from the band for years. And as they worked in the studio, they noticed an unfamiliar figure standing in the control room. To their shock, they suddenly realized that it was the very man the song was about, who somehow showed up that very day, uninvited. Randy Renaud revisits the bizarre tale of the recording of Shine On You Crazy Diamond for the latest edition of the Chronicles of Rock.

In this fascinating episode of Fingal's Cave, host Ian Priston sits down with a legendary figure from Pink Floyd's early days - an underground taper known as The Masked Marauder. One of just a few people who recorded the band live in the 1960s, he shares candid memories of the counterculture, classic gigs at UFO and Middle Earth, and capturing historic BBC radio sessions from his living room.Hear personal reflections on:• Syd Barrett and David Gilmour-era Pink Floyd shows• Legendary venues like the Roundhouse and Eel Pie Island• Taping the The Man and The Journey premiere and other bands such as Soft Machine• His bohemian lifestyle, radical activism, and outsider spirit.Now 82 and sharp as ever, the Masked Marauder brings the psychedelic era to life with wit, warmth, and authenticity. A must-listen for Pink Floyd fans, music historians, and anyone interested in the London 1960s underground scene.Recorded at his home on a busy London street, the conversation is rich with atmosphere, quiet pauses, and thoughtful insights. As always, Fingal's Cave favours authentic conversations over formal interviews.Please find here a subtitled version: https://www.youtube.com/watch?v=UjUAxlTTvAgSubscribe to Fingal's Cave for more journeys to the edges of Pink Floyd music history.

Riche programmation dans le direct de ce jeudi 12 juin ! Revenons si vous le voulez bien sur la playlist que vous remettrez dans l'ordre

What's the greatest album of all time—and why does it feel like the answer changes depending on who's holding the aux cord?In this music-fueled, laugh-out-loud episode of The Ben and Skin Show, with Ben Rogers still out on vacation, Jeff “Skin” Wade, Kevin “KT” Turner, and Krystina Ray dive deep into a newly compiled list of the top-rated albums of all time—sourced from seven major music outlets and mashed together into one glorious, chaotic ranking.

Brendan's barricaded himself in the kitchen, Steven's knocking out some croquet on the lawn, and Richard's lurking in the shrubbery in a swimsuit. It may be the world's gaudiest mock Tudor hotel, but we really do Wish You Were Here.The Three Handed Game is an Australian commentary podcast for the 1960s television classic, The Avengers. NEXT EPISODE:Please drop us a review on Apple Podcasts, and send us your thoughts via ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Facebook⁠⁠⁠, ⁠⁠⁠ X, or by email at ⁠⁠thethreehandedgame@gmail.com⁠⁠.Music CreditsFaster Does It Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 Licensehttp://creativecommons.org/licenses/by/3.0/

The first film version of the EC Comics Tales From the Crypt! This is from Amicus Productions. Amicus brought us other horror gems such as The Abominable Dr. Phibes (1971) and The House That Dripped Blood (1971)! Tales From the Crypt stars Peter Cushing, giving one of his best performances! Joan Collins and Sir Ralph Richardson! It adapts the stories, And All Through the House, Reflection of Death, Poetic Justice, Wish You Were Here, and Blind Alleys. Plot: Five strangers get lost in a crypt and, after meeting the mysterious Crypt Keeper, receive visions of how they will die.Tagline: DEATH LIVES in the Vault of Horror!Music by Kevin Macleod

For many of us who grew up in the the 90s, Julia Stiles was an integral part of our coming of age. Her portrayal of the clever, acerbic Kat in 10 Things I Hate About You was a radical reinvention of the blonde teenage female rom-com lead. Her roles in Save The Last Dance and Mona Lisa Smile spoke to our adolescent feminist awakenings and catapulted Stiles to stardom. And, just like the heroines she played, Stiles chose to do things a bit differently. At the height of her teenage fame, she went to study English at Columbia University, continuing to act throughout her degree, most notably in the first of four Jason Bourne films. Her latest project is her directorial debut - the feature film, Wish You Were Here, which Stiles also produced and co-wrote. As a mother of three, Stiles said that her parenting informed her ability to direct. Grief, how to stop caring what everyone thinks and discussing the most difficult times in their lives - Elizabeth and Julia answer YOUR questions in our subscriber series, Failing with Friends. Join our community of subscribers here: https://howtofail.supportingcast.fm/#content Have something to share of your own? I'd love to hear from you! Click here to get in touch: howtofailpod.com

Lee Harris, the founder and guitarist of the successful band ‘Nick Mason's Saucerful of Secret' was our first interview guest almost two years ago. We had an exciting conversation back then and we knew we wanted to invite him back to our podcast.Now, 25 episodes later, the time has finally come, Lee Harris is back!Together with Phil Salathé, in this episode we talk about Lee's youth, his own career as co-manager and guitarist of the band ‘Ian Dury and the Blockheads' and the musical development of Pink Floyd between the years 1967 and 1972, an era they cover with the 'Saucers'.Lee also gives us a fascinating behind-the-scenes look at the band, describing the conditions under which the songs were chosen and why Echoes came so late in the setlist.Look forward to a lively conversation between two full-blooded musicians and some great and nerdy insights...(On a personal note, to our knowledge Pink Floyd performed 'The Alan's Psychedelic Breakfast' four times during the UK leg of their British Winter Tour in 1970.)

Richard's left money for the eggs, Steven's gotten into a brawl over the booze, and Brendan's thrown himself into a carwash to draw out the Fox. All par for the course as we tour the Canadian countryside with Emily.The Three Handed Game is an Australian commentary podcast for the 1960s television classic, The Avengers. NEXT EPISODE: The Green Unpleasant Land concludes as Tara takes an extended holiday in Wish You Were Here.Please drop us a review on Apple Podcasts, and send us your thoughts via ⁠⁠⁠⁠Bluesky⁠⁠⁠⁠,⁠⁠⁠⁠ Facebook⁠⁠⁠⁠,⁠⁠⁠⁠ X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or by email at ⁠⁠⁠thethreehandedgame@gmail.com⁠⁠⁠.Music CreditsFaster Does It Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 Licensehttp://creativecommons.org/licenses/by/3.0/

**Episode Summary:** Feeling overwhelmed by the sheer number of guitar chords to learn? Not sure which chords to start with, when to attempt barre chords, or how to tackle power chords and sevens? In this episode, Paul Andrews breaks down a clear, step-by-step roadmap to demystify chords for beginner guitarists. He shares which chords are essential, the logical order to learn them, and tips to avoid frustration and burnout as you build your skills.**Announcement** - Join Paul's free “Five Minutes a Day in May Guitar Challenge” for daily, bite-sized video lessons and a printable practice tracker. Sign up at bgachallenge.com. - New song study: “Take It Easy” by the Eagles—perfect for Level 1 students inside the Academy. - Upcoming Live Q&A session (via Zoom), with a recording available afterward for members.**Main Content:** - **Overwhelm from Too Many Chord Options** How to avoid confusion from chord charts and what you really need to know as a beginner. - **The “Basic Eight” Chords** These are the essential A, C, D, E, G majors, and A, D, E minors that form the backbone of most popular music. - **Open Power Chords** Simple, great for rock styles, and a logical next step after open chords. - **Dominant 7, Major 7, and Minor 7 Chords** How and when to add sevens to your chord vocabulary. - **Four-Finger Chords** Shapes like G, Em7, Cadd9, and A7sus4—essential for Level 2. - **Half-Barre Chords** Introduction to partial barres and why they're easier than full ones. - **Movable Power Chords** Taking chord shapes further up the neck; understanding how theory and fretboard knowledge come into play. - **The Big Bad Barre Chords** When to start, why beginners struggle, and advice for building up to them the right way. - **Importance of Order and Practice Approach** Why following a progression prevents overwhelm and keeps learning enjoyable.- **Tips & Resources:** - Follow the recommended order: don't jump ahead to barre chords until you've mastered open and partial chords. - Check the resource section on Beginner Guitar Academy for chord sheets and workshops. - “Ain't No Sunshine” and “Wish You Were Here” song tutorials for practicing seven and four-finger chords.**Resources Mentioned:**- Five Minutes a Day in May Challenge- Beginner Guitar Academy**Takeaway:** Start with a solid foundation: learn the basic eight chords, then gradually expand into power chords, sevens, and beyond. Master each step before moving forward to stay motivated and frustration-free on your guitar journey.

50 ans déjà, et pas une ride pour l'album "Wish You Were Here" de PINK FLOYD ! Sorti en septembre 1975, cet opus est le préféré de bien des fans (il était d'ailleurs aussi celui de son regretté claviériste Richard Wright). Faut dire qu'on est là dans la période dorée 1973-1979 des anglais entre "Dark Side Of The Moon" et "The Wall"...Pour célébrer dignement ce chef d'oeuvre, je vous propose une diffusion dans l'ordre de tous ses titres entre la fin de cette saison et le début de la prochaine (si je reviens bien sûr...

To celebrate the 50th anniversary of the start of the North America tour in 1975, we present a new and exciting episode of the Fingal's Cave podcast.In more than 2 hours we discuss Pink Floyd's so-called transition period between 1974 and 1975, often derided as the band's creative low point.But even though there were many late decisions, sound problems, mishaps and - to be frank - a certain amount of laziness, these three tours, which started in Colmar (France) on 22nd June and ended in Knebworth (UK) on 5th July, offered plenty to talk about. From one of the finest Dark Side of the Moon shows in Bristol to a total disaster in Knebworth, Pink Floyd went through a rollercoaster ride in these 380 days, defining their own future by road-testing new material and setting the stage (no pun intended) with stunning new visuals, including the birth of Mr. Screen.After several weeks of preparation, we are proud to bring you an in-depth chat that even the dedicated Pink Floyd fan will learn something from, we promise!Our yt-channel: https://www.youtube.com/@Fingals_Cave_PodcastMost important shows:1974-06-22 Colmar (tour start)https://www.youtube.com/watch?v=8AFkERLrJQU1974-11-19 Stoke on Trent (British Winter Tour 74 bootleg)https://www.youtube.com/watch?v=7F2-bSdNHTY1974-12-14 Bristol (Best Dark Side Set)https://www.youtube.com/watch?v=nlFm7s-Gypc1975-04-26 Los Angeles (Millard recording)https://www.youtube.com/watch?v=4clpGEnZz0o1975-06-09 Landover (Best ‘75 Dark Side Set)https://www.youtube.com/watch?v=e8iLvc72N1w1975-06-17 Uniondale (Great show)https://www.youtube.com/watch?v=qPzaR1PcUDI1975-06-28 Hamilton (Superb recording)https://www.youtube.com/watch?v=jAR5x2LGHO0Videos:1975-04-27 Los Angeles (8mm)https://www.youtube.com/watch?v=0NYLy9NqlAY1975-06-09 Landover (8mm)https://www.youtube.com/watch?v=pH1mGiSmbRk1975-06-26 Montreal (8mm)https://www.youtube.com/watch?v=Nb7lxh_9eOk1975-06-28 Hamilton (8mm)https://www.youtube.com/watch?v=fSXZMFq_Msk1975-07-05 Knebworth (video)https://www.youtube.com/watch?v=0Oi5BCXeV4A

Ewen is reeling after Hearts defeat at Celtic while Steven can't believe what is happening at Dunfermline as the boys, look at another topsy turvey weekend in Scottish Football? Mr Cameron has lots of jokes, it's Holiday vs Wish You Were Here and Steven is going in two footed on a listener! On the footballing side have we witnessed game of the season in Dundee v Rangers and should Derek McInnes have left Kilmarnock in the summer! Plus more strops on the ‘Big Shoot Out Quiz', surprising signings on the ‘Winner Takes It All' and the ‘Masked Footballer' is unveiled… It's The Big Scottish Football Podcast! SOCIALS: ✖ TWITTER | @bigfootballscot

Send us a textIn this week's Reference Max we reviewPamela Anderson's The Last Showgirl, Queer coming of age Big Boys, Julia Stiles directorial debut Wish You Were Here & hummingbird doco Every Little Thing. We also welcome another Marcellus Cox work, Liquor Bank.01:37 Liquor Bank06:41 The Last Showgirl12:30 Big Boys15:49 Wish You Were Here16:47 Reflecting on '10 Things I Hate About You'22:45 Every Little ThingWebsite | Rotten Tomatoes | Linktree | Youtube | Twitter | Instagram

This week, we're going across the pond with the 1987 British coming-of-age hit "Wish You Were Here." We talk about Emily Lloyd's breakout performance, our favorite post-war swear words, and how this movie hit us each differently while making both of us crave Fish & Chips. Listen now.

LOOK OUT! It’s only Films To Be Buried With! Join your host Brett Goldstein as he talks life, death, love and the universe with the iconic and massively prolific actor and director JULIA STILES! A really lovely episode where we find Julia on top form, with a perfect balance of funny and emotional (with a beautiful reaction to being informed of her demise, as show tradition dictates). Julia's been putting in serious work through the years, not least with 'Wish You Were Here', which she directed and goes into detail on. Of course she and Brett go into all sorts of terrain, including said film direction and being a driver as opposed to passenger, behind the scenes process, not being all the way out in the open, line readings ("Just do it happier!"), doing your own stunts at a younger age, growing up in New York, and good old fashioned fronting. Wonderful. ENJOY! Oh - stick around for added voicenotes at the end... WISH YOU WERE HERE 10 THINGS I HATE ABOUT YOU INSTAGRAM IMDB –––––––––– BRETT • X BRETT • INSTAGRAM TED LASSO SHRINKING ALL OF YOU SOULMATES SUPERBOB (Brett's 2015 feature film)See omnystudio.com/listener for privacy information.

On this weeks deep dive we recap Wish You Were Here, a movie based on the novel by Renee Carlino AND Julie Styles directorial debut. Yes, that Julie Styles, we checked. Courtney is a big fan of this tragic tale of love and losing, and Renee Carlino in general. Would you throw yourself into a doomed, short term relationship just to end up heartbroken in the end? Charlotte sure does. Maybe it was the dumplings, maybe it was smile, who knows. 

This week we welcome writer, director and actor Julia Stiles on the show to talk about directing her first feature Wish You Were Here and how she managed to get the film made without taking a starring role. After that we chat about our own projects and play another round of the Game, enjoy! Don't forget to support us on Patreon! www.patreon.com/mmihpodcast Leave us a Review on Apple Podcasts! https://podcasts.apple.com/us/podcast/making-movies-is-hard-the-struggles-of-indie-filmmaking/id1006416952

For millennial women, Julia Stiles needs no introduction. She portrayed some of our favorite characters growing up – like Kat in 10 Things I Hate About You and Sara in Save the Last Dance – and challenged one-dimensional portrayals of female characters. After two decades as an actor, Julia has taken her talents behind the camera to direct her first film, Wish You Were Here. Listen as she shares how she's managed to stay grounded despite being a child actor, how she manifested her directorial debut, and why she has no regrets about taking her time to make it happen. In this episode of 9 to 5ish, shares: How growing up in New York City helped her maintain a grounded attitude  Her decision to go to college instead of continuing her acting career Why Hustlers marked a new chapter of intention for her  How being a mom was the best preparation for being a director  Advice on how to be confident when you lack skills needed for a specific job Learn more about your ad choices. Visit megaphone.fm/adchoices

Julia Stiles, the iconic actress known for 10 Things I Hate About You, Save The Last Dance, Mona Lisa's Smile, Dexter and the Bourne films, opens up with Mayim and Jonathan about her unexpected shift from acting to directing. Julia reveals why she almost turned down her legendary role in THE BOURNE IDENTITY! She also shares why she doesn't believe in auditions and the surprising truth about her dance career after SAVE THE LAST DANCE. Plus, find out how raising her kids shaped her approach to directing WISH YOU WERE HERE and why she calls 10 THINGS I HATE ABOUT YOU a 90's “time capsule” of her teen years. Tune in for an unfiltered conversation about Julia's career evolution, life lessons, and the personal experiences that have shaped her journey! WISH YOU WERE HERE is now available for digital download: https://www.lionsgate.com/movies/wish-you-were-here BialikBreakdown.comYouTube.com/mayimbialik

Patrick Tully, Jenn's husband, joins Jenn on the show this week just ahead of Valentine's Day to talk about love songs and some secrets to a long lasting relationship.https://open.spotify.com/playlist/4VZkzZMHA581XoBIiuvfNU?si=b2c9095c7e7c43421. New Years Day by Taylor Swift2. Babylon Sisters by Steely Dan3. Wish You Were Here by Pink Floyd4. Come Rain or Come Shiine by Ray Charles

The boys are back trying to sell people on the Patreon pod, talking about Paul getting rejected by jobs, the super bowl, Paul's newest strong connection, spitting game, the NBA, and potential kid names.Into song: "Brain Stew" by Green Day.  Outro song: "Wish You Were Here" by Incubus.Support the show

In today's episode we talk about a very special time for Pink Floyd between 1978 -1981 and the staging of THE WALL live shows. This would be the last time until 2005 where the main four members played live as a band, so it is an important, if melancholic period.Together with Kyle and Phil (Salathé) we discuss the circumstances surrounding the album THE WALL, the so-called ‘Performance Manuscript' and of course many shows from the tour itself. In particular we discuss the tour rehearsals, the start of the tour in Los Angeles on February 7th 1980, the video recordings of the concert in New York at the Nassau Coliseum, in London at Earl's Court, and of course about the great shows in Dortmund, a typical German city in the middle of the Ruhr area. We also take a brief look at the last run of wall shows in June of 1981.In a little more than 2 hours you will learn many insights, mishaps, surprises and hopefully yet unknown things about the Wall live!Credit goes to RarePinkFloyd for providing research materials for this episode. You can view his wonderful website here; http://www.rarepinkfloyd.fr/Credit also goes to Vernon Fitch and Richard Mahon's incredible book, “Comfortably Numb: A History of The Wall 1978-1981”, which you can purchase here;http://www.pfapublishing.com/

The co-hosts react to reports of Democratic Party infighting as Pres. Trump resumes office. "Pod Save America" hosts and former Obama aides Jon Favreau, Jon Lovett and Tommy Vietor weigh in on President Trump's second inaugural address, reports of Democratic infighting, and the temporary ban on TikTok. Julia Stiles joins to discuss making her directorial debut with her new movie, “Wish You Were Here,” and she looks back on her 25 years in show business. Learn more about your ad choices. Visit podcastchoices.com/adchoices

CinemAddicts Episode 277 spotlights movies that are coming out on the week of Friday, January 17, 2025. Man With No Past hits Digital January 17. Poster courtesy of Paramount Pictures / Republic Pictures Autumn and the Black Jaguar poster/photo courtesy of Mai Juin Productions and Wishing Tree Productions. In Theaters January 17. Wish You Were Here poster/photos courtesy of Lionsgate. In Theaters January 17. Night Call poster/photo courtesy of Mika Cotellon and Magnet Releasing.  Review Timestamps (0:00) - Intro (3:56) - Night Call (12:37)  - Wish You Were Here (22:53) - Autumn and the Black Jaguar (28:45) - Man With No Past (37:52) - Bruce Purkey is in the Cinem-Attic!! (39:31) - Autumn and the Black Jaguar (46:36) - Wish You Were Here (53:08) - Night Call CinemAddicts Info: 1. It's $5 a month for our CinemAddicts Patreon. You receive one Bonus episode per month, Early Access to Interviews and our Weekly episodes. Plus you also get early access to our Movie Spoilers and interviews. 2. Like Our CinemAddicts Facebook Page 3. Join our CinemAddicts Facebook Group for daily movie recommendations. 4. Questions/comments on CinemAddicts email Greg Srisavasdi at info@findyourfilms.com. 5. Shop our CinemAddicts Merch store (shirts, hoodies, mugs). CinemAddicts hosts: Bruce Purkey, Eric Holmes, Greg Srisavasdi Thanks to our Patreon Community 1. Ryan Smith 2. Stephen Schrock 3. Susan 4. Charles Peterson 5. Nelson B. McClintock 6. Diana Van De Kamp 7. Pete Abeyta 8. Tyler Andula 9. Stephen Mand 10. Edmund Mendez 11. Abbie Schmidt 12. Jeff Tait 13. Robert Prakash 14. Kristen 15. Chris M 16. Jeremy Chappell 17. Lewis Longshadow 18. Iver 19. Alex Clayton 20. Daniel Hulbert 21. Andrew Martin 22. Angela Clark 23. Myron Freeman 24. Kayn Kalmbach 25. Aaron Fordham 26. Tracy Peters 27. Grant Boston 28. Ken Cunningham 30. Erik Chavez  

LA City Councilmember Traci Park represents Pacific Palisades and has introduced a suite of legislation to respond to last week’s devastating wildfires and protect affected residents. In President Biden’s farewell speech, he listed his administration’s accomplishments and echoed another president when it came to a “tech industrial complex.” Critics review the latest film releases: “One of Them Days,” “Wolf Man,” “I'm Still Here,” and “Wish You Were Here.” Filmmaker David Lynch was known for an unconventional approach and non-linear storytelling. His name was used as an adjective — Lynchian — to express surreal normalcy. He died today at age 78.  

Welcome to The B-Side! Here we talk about movie stars and move directors! Not the movies that made them famous or kept them famous, but the ones that they made in between. Sometimes we are lucky enough to even speak with them about their work. And sometimes, they are both a movie star and a movie director. Today that's Julia Stiles, director of Wish You Were Here, now in theaters and available digitally on February 4th. Our B-Sides today include O, The Business of Strangers, and It's a Disaster. Stiles discusses the filmmakers she's worked with in the past and how they influenced her decisions sitting in the director's chair (the best ones “set a tone of calmness” she says), making friends on the South Carolina set of O, and becoming more intentional with the creative choices in her career (including auditioning for Silver Linings Playbook). We also chat about Wish You Were Here, her feature debut as a filmmaker. Stiles mentions guarding against the saccharine to tell “a mature love story.” There's also considerable praise of lead actress Isabelle Fuhrman and her incredible range, as well as a story about calling filmmaker Doug Liman for sailing advice. Speaking of Liman, Dan and Conor take a moment to unpack Nicky Parsons from the Bourne franchise, the efforts(?) of Tony Gilroy, and a crucial line read in Ultimatum that adds so much depth to Stiles' role. Finally, we cover how exactly Stiles got the great Vanessa Carlton and her partner John McCauley to do the score to her film. Early 2000s icons unite! And there is a brief, insightful conversation on why exactly Stiles chose to do all of those Shakespeare adaptations early on in her career. Be sure to give us a follow on social at @tfsbside.bsky.social. Also enter our giveaways, get access to our private Slack channel, and support new episodes by becoming a Patreon contributor.

The latest film releases include One of Them Days, Wolf Man, I'm Still Here, and Wish You Were Here. Weighing in are Alison Willmore, a film critic for New York Magazine and Vulture, and Witney Seibold, senior staff writer at SlashFilm and co-host of the podcast Critically Acclaimed. 

Erik Childress and Steve Prokopy look at eight new movies this week including a unique documentary that combines a video game with Shakespeare (Grand Theft Hamlet). Julia Stiles makes her directorial debut with a romantic weepie (Wish You Were Here) and a locksmith goes on a wild evening (Night Call). Scott Eastwood and Willa Fitzgerald play spies who go off the grid and are sucked back into duty (Alarum) while Jamie Foxx and Cameron Diaz play spies who go off the grid and are sucked back into duty (Back in Action). There is the tale of the newsroom covering the terrorist attack at the 1972 Olympics (September 5) and a raunchy hangout film with Keke Palmer and SZA (One Of Them Days). Finally, Leigh Whannell continues the alterna-Dark Universe with a new take on a classic Universal monster (Wolf Man).  0:00 - Intro 1:02 - Grand Theft Hamlet 10:01 - Wish You Were Here 17:08 - Night Call 22:38 - Alarum 29:58 - Back In Action 42:07 - September 5 52:31 - One of Them Days 1:00:30 - Wolf Man 1:18:39 - Outro

Now that Julia Stiles has directed her first feature film, Wish You Were Here, she sees the work of directors in a whole new light. “I almost wanted to call some directors that I had worked with and be like, ‘I'm so sorry that I was annoyed with you when you told me to do that thing.'” Best known for acting, when she read the novel the film is based on, she knew she needed to adapt it. “The book broke my heart but also made me laugh. It felt like it had such a good spirit to it, and I'm a romantic at heart.” The film follows a young woman swept up in a new romance only to learn he's terminally ill. While she says she ran “in the other direction” of making the film too saccharine, she didn't let that cynical voice fully take over. “There is something really important about showing how much this girl takes care of him, and that it's okay to be kind and loving toward another person.” And now she says adding director to her credits has made her a better actor. “I think I realized that if you trust your director, and I mean really trust that person and believe in their vision, you can throw spaghetti against the wall and see what sticks.”See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Prime Time Jukebox Episode 148 features our 18th installment of our Album Archaeology Series, Wish You Were Here by Pink Floyd. This album won our 2024 Battle of the Bands – 1970s Tournament, and was the album drafted by Espinosa Cigars' Hector Alfonso. To celebrate Wish You Were Here‘s win, we devote an Album Archaeology to this album. We are also joined by John McTavish of Developing Palates who also participated in this year's tournament. Much like an archaeologist digs and hunts for gems, on Album Archaeology we dig deep into an album. We examine each of the tracks of this album looking at the music, lyrics, and stories behind this album. As always you can follow along with our Spotify Playlists: Episode 148 Playlist Dave's Top 50 Songs of 2024 References Dave's Top 50 Battle of the Bands 1970s Wayne Osmond, Original Member of the Osmonds Singing Group, Dies at 73 Bob Bryar, Former My Chemical Romance Drummer, Dies at 44

Prime Time Jukebox Episode 148 features our 18th installment of our Album Archaeology Series, Wish You Were Here by Pink Floyd. This album won our 2024 Battle of the Bands – 1970s Tournament, and was the album drafted by Espinosa Cigars' Hector Alfonso. To celebrate Wish You Were Here‘s win, we devote an Album Archaeology to this album. We are also joined by John McTavish of Developing Palates who also participated in this year's tournament. Much like an archaeologist digs and hunts for gems, on Album Archaeology we dig deep into an album. We examine each of the tracks of this album looking at the music, lyrics, and stories behind this album. As always you can follow along with our Spotify Playlists: Episode 148 Playlist Dave's Top 50 Songs of 2024 References Dave's Top 50 Battle of the Bands 1970s Wayne Osmond, Original Member of the Osmonds Singing Group, Dies at 73 Bob Bryar, Former My Chemical Romance Drummer, Dies at 44

Pink Floyd has been a cornerstone of rock history, producing some of the most iconic albums ever recorded. One song that stands out in their catalog is "Have a Cigar" from the album Wish You Were Here, a track that offers a scathing critique of the music industry. In the latest episode of the podcast, we dive deep into this song, uncovering what makes "Have a Cigar" a classic. "Have A Cigar" (Roger Waters) Copyright 1975 Roger Waters Overseas, Ltd Take advantage of our discount code lovethatsong and save 15% off t-shirts & merch from your favorite bands at OldGlory.com! Learn more about your ad choices. Visit megaphone.fm/adchoices

Pink Floyd has been a cornerstone of rock music history, producing some of the most iconic albums ever recorded. One song that stands out in their catalog is "Have a Cigar" from the album Wish You Were Here, a track that offers a scathing critique of the music industry. In the latest episode of the podcast, we dive deep into this song, uncovering what makes "Have a Cigar" a classic. "Have A Cigar" (Roger Waters) Copyright 1975 Roger Waters Overseas, Ltd Learn more about your ad choices. Visit megaphone.fm/adchoices

In this special holiday episode, Nils and Ian sit down with Bob and Oakley—two young superfans who weren't even born when Pink Floyd's last tour ended. Together, they unwrap stories of rare recordings, audio engineering wizardry, and the friendships that make the fan community feel like family.Bob and Oakley dive into their passion for finding rare recordings, chasing down rumours, and earning respect from experienced fans in the broader Pink Floyd community.Their love for live recordings has led them to develop impressive audio engineering and mastering skills. Bob and Oakley share their experience working on projects like matrix mixes and quadrophonic remasters, where they combine multiple audience recordings—each captured from different spots in a venue. They break down the techniques, challenges, and how these projects often deliver audio quality far beyond expectations.Our first 2023 episode declared: “Once you're hooked, there's no way back.” Bob and Oakley embody this sentiment, proving how Pink Floyd's music continues to inspire a new generation of researchers, audio specialists, and devoted fans.From all of us at Fingal's Cave, merry Christmas and happy holidays!

Bandmates get to know each other really well on the road. Last week Greg spent some time listening to jam bands, a favorite genre of Red Not's drummer Pete. This week we're gonna listen to some jam bands (and a song by Chick Corea featuring Roy Haynes). It's Three For Thursday!Songs:Phish - “Down With Disease (from ‘Bittersweet Motel')”Grateful Dead - “China Cat Sunflower/I Know You Rider (5-3-72)”Chick Corea - “Steps/What Was”Nick found his way back to Pitchfork and discovered a throwback Sunday review of Pink Floyd's 1975 Wish You Were Here. The album was the band's follow up to Dark Side of the Moon and when Nick was a kid, he listened to it the way a kid listens to his favorite anything. Anyway, this is “Review the Review.”Songs:Pink Floyd - “Shine on You Crazy Diamond, Pts. 1-5”Pink Floyd - “Wish You Were Here”Jay found a recent published list, titled “50 Global Guitar Greats” and shares some newly discovered gems from the list. We have a rare “Three More For Thursday” for you this week.Songs:Robbie Basho - “A North American Raga (The Plumstar)”Derek Gripper - “Jarabi (Passion)”Franco & le T.P OK Jazz - “Massu”

It took a while for Pink Floyd to regain their focus but, when they did, it eventually resulted in the 1973 album The Dark Side of the Moon. One of the most popular and well-known albums in the world, it shot the band to a level of stardom they previously failed to achieve. After a long tour, a long recording session and Roger Waters coming more to the forefront of the band, Wish You Were Here was released in 1975. Partially a tribute to Syd Barrett, partially a warning about the music industry, it gives their previous album quite a challenge for the best in the group's catalog. 

Start Artist Song Time Album Year 1 Aerosmith 0:01:28 Aerosmith Sweet Emotion 4:20 Toys In The Attic 1975 2 Number Two Steve Hackett 0:06:05 Steve Hackett Ace Of Wands 5:07 Voyage Of The Acolyte 1975 3 Number Three Pink Floyd 0:11:28 Pink Floyd Have a Cigar 4:57 Wish You Were Here 1975 4 Number Four […]

Ce 5 novembre, Alexis, qui remplace Marjorie Hache toute la semaine, propose un mix parfait entre classiques et nouveautés sur RTL2 Pop Rock Station. Parmi les classiques, Deep Purple avec "Highway Star" et The Doors. Au chapitre des nouveautés, Orla Gartland présente "Late to the Party" avec Declan McKenna, extrait de son album "Everybody Needs a Hero" sorti le 4 octobre. The Horrors reviennent après 7 ans avec "The Silence That Remains", prévu le 21 mars 2025, et Hinds dévoile "Superstar" de "Viva Hinds". L'album de la semaine est "The Night The Zombies Came" des Pixies, dont on écoute "Johnny Good Man". Le live est assuré par Shaka Ponk avec "Dad Algorithm", enregistré au studio Ferber en février. Le choix de Francis Zegut est Loud Liars avec "Hollow", étoiles montantes du rock alternatif britannique. La pépite du jour est "Burn Baby" de L7, groupe féminin de rock de Los Angeles. Le long format est "Shine On You Crazy Diamond" de Pink Floyd, extrait de "Wish You Were Here". La playlist de l'émission : Jack White - Archbishop Harold Holmes Santana - Smooth Link Wray - Rumble Echo & The Bunnymen - The Killing Moon Orla Gartland - Late To The Party (Feat. Declan Mckenna) The Fratellis - Chelsea Dagger Deep Purple - Highway Star The Pixies - Johnny Good Man The Easybeats - Good Times Loud Liars - Hollow The Boomtown Rats - I Dont Like Mondays Pale Waves - Gravity System Of A Down - Sugar The Vaccines - I Can't Quit Alanis Morissette - You Oughta Know The Horrors - The Silence That Remains The Doors - Light My Fire AC/DC - Rock&Roll Train Shaka Ponk - Dad'algorythm (Live Ferber Fevrier 2024) Thin Lizzy - Dancing In The Moonlight Wolfmother - New Moon Rising Hinds - Superstar Travis - Re-Offender The Undertones - Jimmy Jimmy L7 - Burn Baby Pink Floyd - Shine On You Crazy Diamond (Part VI - IX)

Ever wondered how a screenwriter and best-selling author transforms her literary world into cinematic magic? In episode 135 of the Carlsbad: People, Purpose and Impact podcast, I sit down with the talented Renee Carlino to uncover her incredible journey from the heart of Carlsbad to the big screen.Join us as Renee shares her fascinating Portuguese-American heritage and her early days in San Diego County, where her dreams of working in film evolved into a passion for writing. Discover the grassroots strategy that catapulted her debut novel "Sweet Thing" to bestseller status, and how her determination led to a series of publishing triumphs.But that's not all—Renee gives us a behind-the-scenes look at adapting her novel "Wish You Were Here" into a film, directed by Julia Stiles and starring Kelsey Grammer and Jennifer Grey. Plus, get an exclusive peek into her latest book, "This Used to Be Us," and the unique concept of a "nesting apartment."From her family's love of surfing to her commitment to teaching, Renee's deep connection to Carlsbad shines through. Don't miss this inspiring episode filled with creativity, community, and a glimpse into what's next for Renee Carlino. Renee Carlino's Bio:Renée Carlino is a screenwriter and the bestselling author of Before We Were Strangers, Swear On THIS Life, Wish You Were Here, Sweet Thing, Nowhere But Here, Sweet Little Thing, Lucian Divine, After the Rain, The Last Post, Shopping For Love, Blind Kiss, and - BRAND NEW - THISUSED TO BE US. Her books have been featured in national publications, including Cosmopolitan Magazine, InStyle Magazine, USA TODAY, Huffington Post, Latina magazine, Publisher's Weekly, Redbook, Sunset Magazine, Coastal Living and theUnion Tribune. Her adaptation with Julia Stiles for “Wish You Were Here” is currently in production and scheduled for a 2025 release. 8/28/24, 12:54 PM Podcast Registration - Entries https://www.cognitoforms.com/carlsbadchamberofcommerce/podcastregistration/entries/1-all-entries/32 1/2Renée grew up in California and lives in the San Diego area with her husband, two sons and their sweet pup John Snow Cash.Connect with Renee:Website: reneecarlino.comFacebook: @authorreneecarlinoInstagram: @reneecarlino1X/Twitter: @renayz Did this episode have a special impact on you? Share how it impacted youCarlsbad Podcast Social Links:LinkedInInstagramFacebookXYouTubeSponsor: This show is sponsored and produced by DifMix Productions. To learn more about starting your own podcast, visit www.DifMix.com/podcasting

Pink Floyd's Catalog Sale: A New EraIn this episode of the Deadhead Cannabis Show, Larry Michigan explores the rich history of the Grateful Dead's music, focusing on a specific concert from 1980. He discusses the significance of various songs, including 'Iko Iko' and 'Me and Bobby McGee', while also reflecting on the impact of Chris Christopherson's songwriting. The conversation shifts to current events in the music and cannabis industries, including Pink Floyd's catalog sale and the ongoing challenges faced by the hemp industry. Larry emphasizes the importance of medical marijuana legalization and shares insights on how cannabis enhances the music experience. He concludes with personal strain recommendations and highlights record sales in legal marijuana states. TakeawaysThe Grateful Dead's acoustic sets were a significant part of their live performances.Audience tapes capture the energy of live shows better than soundboard recordings.Chris Christopherson's 'Me and Bobby McGee' remains a classic, showcasing the intersection of music and storytelling.Pink Floyd's recent catalog sale reflects the changing dynamics in the music industry.The Betty Boards represent a pivotal moment in Grateful Dead tape trading history.The hemp industry faces legal challenges that could impact small businesses.A majority of chronic pain patients support the legalization of medical marijuana.Cannabis enhances the enjoyment of music, as confirmed by recent studies.Record sales in legal marijuana states are reaching new heights, indicating a thriving market.Personal strain recommendations can enhance the cannabis experience for users. Chapters00:00Introduction and Context of the Grateful Dead's Music04:50Exploring 'Iko Iko' and Audience Tapes10:42The Significance of 'Monkey and the Engineer'15:24Remembering Chris Christopherson and 'Me and Bobby McGee'22:31Pink Floyd's Catalog Sale to Sony Music28:15The Mystery of the Betty Boards54:16Current Issues in the Hemp Industry01:08:10Support for Medical Marijuana Legalization01:15:50The Impact of Marijuana on Music Enjoyment01:21:09Record Sales in Legal Marijuana States01:25:53Strain Recommendations and Personal Experiences Grateful DeadOctober 7, 1980 (44 years ago)Warfield TheaterSan Francisco, CAGrateful Dead Live at Warfield Theater on 1980-10-07 : Free Download, Borrow, and Streaming : Internet Archive Part of 23 show run in late September to the end of October, 1980 split between the Warfield (September 27th – October 14th) and Radio City Music Hall in NYC (October 22 – 31st)   Each show opened with an acoustic set followed by two full electric sets.  These were the last shows where the Dead played acoustic sets.  Songs from all of these concerts were pulled for the two related Dead double album releases, Reckoning (acoustic music, released April 1, 1981- the Band's sixth live album and 17th overall) and Dead Set (electric music, released August 26, 1981, the Band's seventh live album and 18th overall).  Today's episode is broken up into three acoustic numbers from this show and then three electric numbers. INTRO:                     Iko Iko                                    Track #1                                    0:00 – 1:37 "Iko Iko" (/ˈaɪkoʊˈaɪkoʊ/) is a much-coveredNew Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written and released in 1953 as a single by James "Sugar Boy" Crawford and his Cane Cutters but it failed to make the charts. The song first became popular in 1965 by the girl groupthe Dixie Cups, who scored an international hit with "Iko Iko" released in March, 1965. In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song.  A permanent part of the Dead's  repertoire since first played in May, 1977 in St. Louis, almost by accident out of and back into a Not Fade Away.  The intro, one verse and back to NFA.  Overtime, became a tune that was not frequently played, usually once, maybe twice, a tour, but whenever it was played it created a party atmosphere out of whatever the mood had been prior to its playing.  Perfect song for Jerry with the call and response chorus that everyone joined in on.  The song that “fastened my seatbelt on the bus” when I saw it for the first time at my second show ever in Syracuse in 1982 with good buddy Mikey.  Once you hear it live, you are always looking for it at future shows. I love this song as do many Deadheads.  But getting to hear it played acoustically is a real treat and a great way to open this “hometown” show.  Jerry played it right up until the end. Played:  185 timesFirst:  May 15, 1977 at St. Louis Arena, St. Louis, MO, USALast:  July 5, 1995 at Riverport Amphitheatre, Maryland Heights, MO, USA SHOW No. 1:         Monkey And The Engineer                                    Track #4                                    0:48 – 2:25 Jesse Fuller tune Jesse Fuller (March 12, 1896 – January 29, 1976) was an American one-man band musician, best known for his song "San Francisco Bay Blues".  Starting in the 1950's after a number of non-music related jobs, Fuller began to compose songs, many of them based on his experiences on the railroads, and also reworked older pieces, playing them in his syncopated style. His one-man band act began when he had difficulty finding reliable musicians to work with: hence, he became known as "The Lone Cat". Starting locally, in clubs and bars in San Francisco and across the bay in Oakland and Berkeley, Fuller became more widely known when he performed on television in both the Bay Area and Los Angeles. In 1958, at the age of 62, he recorded an album, released by Good Time Jazz Records.[3] Fuller's instruments included 6-string guitar (an instrument which he had abandoned before the beginning of his one-man band career), 12-string guitar, harmonica, kazoo, cymbal (high-hat) and fotdella. He could play several instruments simultaneously, particularly with the use of a headpiece to hold a harmonica, kazoo, and microphone. In the summer of 1959 he was playing in the Exodus Gallery Bar in Denver. Bob Dylan spent several weeks in Denver that summer, and picked up his technique of playing the harmonica by using a neck-brace from Fuller.[ Monkey And The Engineer was played by the pre-Dead group Mother McCree's Uptown Jug Champions in 1964. The song was performed by the Grateful Dead in acoustic sets in 1969, 1970, 1980 and 1981. Also performed by Bob Weir with Kingfish. A fun tune that is perfect for kids as well.  Good one to get them hooked into the Dead on! Played:  38 timesFirst:  December 19, 1969 at Fillmore West, San Francisco, CA, USALast: February 12, 1989 at Great Western Forum, Inglewood, CA, USA  MUSIC NEWS:                         Intro Music:           Me and Bobby McGee                                                            Kris Kristofferson - Me And Bobby McGee (1979) (youtube.com)                                                            0:00 – 1:27 "Me and Bobby McGee" is a song written by American singer-songwriter Kris Kristofferson and originally performed by Roger Miller. Fred Foster shares the writing credit, as Kristofferson wrote the song based on a suggestion from Foster.[1] Foster had a bit of a crush on Barbara "Bobbie" McKee who was a secretary on Nashville's music row. When he pitched the title to Kristofferson, he misheard the name as "Me and Bobby McGee," and the name stuck. Kristofferson found inspiration for his lyrics from a film, 'La Strada,' by Fellini, and a scene where Anthony Quinn is going around on this motorcycle and Giulietta Masina is the feeble-minded girl with him, playing the trombone. He got to the point where he couldn't put up with her anymore and left her by the side of the road while she was sleeping," Kristofferson said.  A posthumously released version by Janis Joplin topped the Billboard Hot 100 in 1971, making the song the second posthumously released No. 1 single in U.S. chart history after "(Sittin' On) The Dock of the Bay" by Otis Redding. Gordon Lightfoot released a version that reached number 1 on the Canadian country charts in 1970. Jerry Lee Lewis released a version that was number 1 on the country charts in December 1971/January 1972 as the "B" side of "Would You Take Another Chance on Me". Billboard ranked Joplin's version as the No. 11 song for 1971. Janis Joplin recorded the song for inclusion on her Pearl album only a few days before her death in October 1970. Singer Bob Neuwirth taught it to her while Kristofferson was in Peru filming The Last Movie with Dennis Hopper.[5] Kristofferson did not know she had recorded the song until after her death. The first time he heard her recording of it was the day after she died.[6]Record World called it a "perfect matching of performer and material."[7] Joplin's version topped the charts to become her only number one single; her version was later ranked No. 148 on Rolling Stone's 2004 list of The 500 Greatest Songs of All Time. In 2002, the 1971 version of the song by Janis Joplin on Columbia Records was inducted into the Grammy Hall of Fame. The song is the story of two drifters, the narrator and Bobby McGee. The pair hitch a ride from a truck driver and sing as they drive through the American South before making their way westward. They visit California and then part ways, with the song's narrator expressing sadness afterwards. Due to the singer's name never being mentioned and the name "Bobby" being gender-neutral (especially in America), the song has been recorded by both male and female singers with only minor differences in the lyrical content. Me And Bobby McGee was first performed by the Grateful Dead in November 1970. It was then played well over 100 times through to October 1974. The song returned to the repertoire for three performances in 1981 after which it was dropped for good.  Sung by Weir.    RIP Kris Kristofferson Kris Kristofferson, the iconic country music singer-songwriter and accomplished Hollywood actor, passed away peacefully at his home in Maui, Hawaii, at the age of 88. The family has not disclosed the cause of death. It was confirmed that Kristofferson was surrounded by loved ones during his final moments. In a statement, the family shared: "It is with a heavy heart that we share the news our husband/father/grandfather, Kris Kristofferson, passed away peacefully on Saturday, Sept. 28 at home. We're all so blessed for our time with him. Thank you for loving him all these many years, and when you see a rainbow, know he's smiling down at us all." Tributes poured in from across the entertainment world and fans as the news of Kris Kristofferson's death spread. Barbra Streisand, his co-star in A Star Is Born, praised him as a "special” and “charming" in a post on X. Dolly Parton, who collaborated with Kristofferson, shared on X, "What a great loss. I will always love you, Dolly." Kristofferson's career was nothing short of extraordinary. He achieved stardom as both a country music artist and a successful actor. Throughout his prolific career, Kristofferson earned numerous accolades. These include three Grammy Awards and an induction into the Country Music Hall of Fame in 2004. Additionally, he was nominated for an Academy Award in 1985 for Best Original Song for Songwriter. In 1971, Janis Joplin, who had dated Kristofferson, had a number one hit with "Me and Bobby McGee" from her posthumous album Pearl. It stayed on the number-one spot on the charts for weeks.  In 2021, after releasing his final album, The Cedar Creek Sessions, in 2016, Kristofferson announced his retirement from music. His legacy as a musician, actor, and cultural icon leaves a profound impact on both industries. He is survived by his wife, Lisa, his children, and his grandchildren.  Pink Floyd sells song rights (Rolling Stone Magazine) After years of in-fighting and near-agreements, Pink Floyd have finally reached a deal to sell the rights to their recorded music catalog to Sony Music, according to the Financial Times.The deal is reported to be worth around $400 million and also includes the rights to the band's name and likenesses. That means, along with gaining full control over Pink Floyd's music, Sony will have the crucial rights for most things Pink Floyd-related, from merch to movies. A rep for Sony Music declined to comment. A source confirmed the veracity of the details to Rolling Stone. In an interview with Rolling Stone in August, Gilmour confirmed that the band was “in discussion” about a potential catalog sale, with the guitarist adding he was tired of the continued in-fighting and “veto system” that has resulted in animosity and delayed reissues over petty issues like liner notes.   “To be rid of the decision-making and the arguments that are involved with keeping it going is my dream,” Gilmour said of a catalog sale. “If things were different… and I am not interested in that from a financial standpoint. I'm only interested in it from getting out of the mud bath that it has been for quite a while.” With the Sony deal in place, the label — and not the band — will now bear the responsibility for the next Pink Floyd release, a 50th-anniversary edition of Wish You Were Here that is expected to arrive in 2025. The Sony deal comes 18 months after Pink Floyd made traction on a $500 million agreement to sell their music, only for more bickering between band mates to make the deal “basically dead,” as sources told Variety in March 2023. The Sony deal only includes Pink Floyd's recorded music catalog, which allows for the band to keep its largely Waters-penned publishing catalog and retain ownership of now-apropos lyrics like “Money/It's a crime/Share it fairly, but don't take a slice of my pie” and “We call it riding the gravy train.” What happened to the Betty Boards In May 1986, a storage auction took place in California's Marin County that would altogether change the nature of Grateful Dead tape trading, the group's distribution of its live recordings and, ultimately, the Dead's place in the Library of Congress' National Recording Registry. An advertisement in a local paper drew in a few dozen curious parties anticipating the range of memorabilia and household items that typically become available through the auction of lockers that had fallen into arrears due to lack of payments.  Among the items up for auction that day were hundreds of reel-to-reel soundboard tapes of the Grateful Dead originally recorded by Betty Cantor-Jackson during a golden age between 1971-80. The Betty Boards, as copies of these recordings became known, eventually found their way into the collections of longstanding Deadheads and newbies alike, ending some aspects of a tape-trading hierarchy by which certain individuals lorded over their collections, denying access to those who were unfamiliar with the secret handshake. The appearance and subsequent dissemination of these recordings became a source of fascination and speculation for Deadheads in 1986 and the questions have only compounded over the years: How did the tapes fall into the auction? Who won them? How and why were they initially distributed? Are there more recordings that have yet to make it into circulation? And jumping ahead to the present, where are those tapes today? Just what has become of the Bettys? What can be said with certainty is that a new cache of tapes has been unearthed and a plan is underway by Dark Star Orchestra guitarist Rob Eaton, who has painstakingly restored many of the boards, to complete the job and then facilitate their return to the band. Eaton hopes that a series of official releases might follow that will also yield a small royalty to the woman who recorded the reels and then lost them due to her own financial hardship, even if Deadheads owe her a debt of gratitude. Before the auction, before the boards, there was Betty. Betty Cantor was still in her teens when she began setting up mics and helping to record sound at San Francisco venues— first at the Avalon Ballroom and then, the Carousel (the latter during the Grateful Dead's brief stab at venue management in 1968). She worked alongside Bob Matthews, initially assisting with setups during the recording of the Dead's Anthem of the Sun. A true pioneer, as a woman staking her claim in a patriarchal business, she partnered with Matthews into the early 1970s to produce and engineer live multi- track recordings (she had a hand or two in Live/Dead) as well as studio efforts (Aoxomoxoa and Workingman's Dead). While she worked for other artists during this period, she maintained a close relationship with the Grateful Dead, catalyzed by her marriage to crew member Rex Jackson, who would die a few years later in an auto accident. (The philanthropic Rex Foundation is named in his honor.) “My late husband started recording on the road when he was on the equipment crew,” Cantor Jackson explains. “He and I purchased our own gear and tape. I recorded whenever I could get to the gigs. I recorded the Grateful Dead frequently when they were at home venues, I recorded any and all Jerry Garcia Band gigs I could get to for years, in all its configurations, as well as other bands I liked whenever I could. In those days, bands were cool and happy about me getting a feed. Rex was killed in a car accident in ‘76. In ‘77 and ‘78, I was put on Grateful Dead road crew salary, taping and handling Bobby's stage setup.” She later began a romantic relationship with Dead keyboardist Brent Mydland but, after that ended, she sensed that she had been frozen out. “Brent and I split up after a few years, with the last year spent in the studio working on his solo project. This put me in the category of the dreaded ‘ex.' I didn't think that could apply to me, but he was a band member. Everyone was paranoid of me being around, so I no longer had access to my studio or the vault.” Trying times followed. In 1986, she found herself in a dire financial predicament and forced out of her home. “All my things were moved to storage facilities. Unable to foot the bill at the storage center, Cantor-Jackson forfeited the rights to her worldly possessions. She remembers contacting the Grateful Dead office to inform them of the situation, but the group took no action, resulting in a public auction of Cantor-Jackson's personal assets, which included more than 1,000 reel-to-reel tapes—mostly Grateful Dead recordings, along with performances by Legion of Mary, Kingfish, Jerry Garcia Band, Old and In The Way, the Keith and Donna Band, and New Riders of The Purple Sage. The majority of the 1,000-plus reels that have come to be known as the Betty Boards were acquired by three principals, none of whom were fervid Deadheads at the time. The first of these individuals set his tapes aside in a storage locker where they remain to this day. A second, who was more interested in the road cases that held the tapes, left them to rot in his barn for a decade. The final party was a couple with a particular interest in progressive rock, who nonetheless held an appreciation for the performances captured on tape. So while some tapes unquestionably were scattered to the wind, following the four- hour event and a second auction for a final lot of tapes held a few weeks later, the three prime bidders each held hundreds of reels. While two of the winning bidders had no plans for the tapes, within a few months the couple decided that they would place the music in circulation. This was our way of getting new material into circulation and also breaking the hierarchy of those collectors who held on to prime shows for themselves. Initially, we started transferring the tapes to VHS Hi-Fi on our own, but soon realized what a daunting task this was going to be. So we reached out to one of our trading buddies who we knew had connections in the Dead trading community. From there, he gathered together what was later to become known as the ‘Unindicted Co-conspirators,' who put in a massive archiving effort to back up the tapes and distribute them.” The individual they selected as their point person was Ken Genetti, a friend and longtime Deadhead. “I went into their house, and I opened up this closet and they had all the stuff arranged on a shelf in order,” Genetti reflects. “For me, it was like King Tut's tomb. I knew immediately what they had when I looked in there. The first thing I saw was Port Chester, N.Y., Feb. 18, 1971, an incredible show which was Mickey [Hart]'s last concert for many years and I said, ‘You've got to be kidding me!' Then I saw Kezar Stadium, San Francisco, Calif., ‘73, my favorite concert I ever went to. I pulled it out and I went, ‘Holy shit!'” They explain: “We had sought to keep the operation as low key as possible because of the potential for a backlash. It wasn't until someone contacted the Grateful Dead office and offered them a copy of the tapes that we knew it was only a matter of time before we would be hearing from their lawyers. When we did hear from them, there was a bit of back and forth between their lawyers and our lawyer, but the bottom line was we had purchased the tapes legally and owned them but didn't own the rights to the music contained on them. Therefore, we could not sell the music on them, which was never our intent anyway. That pretty much left us at a stalemate and, not wanting to stir up any more issues with the Grateful Dead office, is also why we avoided re-digitizing the tapes.” In late 1995, Eaton received a call from a high-school teacher who had purchased one of the lots predominantly for the road cases that held the tapes. The teacher now hoped to sell the reels and wanted Eaton to assess them. In a cluttered barn, Eaton discovered a grimy, mold-infested collection. This might have been the end of the story, but the Betty Boards have proven to be the gift that keeps on giving. The teacher never found a buyer for the tapes—his asking price was a million dollars—and two years ago, facing monetary struggles and fearing that that the bank might foreclose on his home, he contacted Eaton once again to see if he would be willing to take custody of the tapes. The teacher also explained that he had discovered another 50 reels while cleaning out the barn. Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” So through a chain of contacts, he eventually located the couple. While completing his work on the couple's reels, Eaton began researching the original auction, hoping to identify the third individual who had purchased the Bettys. He eventually found him, and in January 2014, the pair entered into discussions about this final batch of tapes, which Eaton hopes to restore. What then? Eaton has a plan that he already has set in motion. “What I'd love to see done—in a perfect world—is I think all the tapes need to go back to the vault,” he says. “I think the people that have purchased these tapes should be compensated. I don't think we're talking huge sums of money but enough to make them relinquish the tapes back to the Grateful Dead. They should be part of the collection. Another thing that's important is if these tapes do get back to the vault, Betty should get her production royalty on anything that gets released, which is completely reasonable. Those were her tapes; those weren't the Dead's tapes. I'd love to see Betty get her due.”  SHOW No. 2:         Heaven Help The Fool                                    Track #6                                    1:30 – 3:10Heaven Help the Fool is the second solo album by Grateful Deadrhythm guitaristBob Weir, released in 1978. It was recorded during time off from touring, in the summer of 1977, while Grateful Dead drummer Mickey Hart recovered from injuries sustained in a vehicular accident. Weir returned to the studio with Keith Olsen, having recorded Terrapin Station with the producer earlier in the year. Several well-known studio musicians were hired for the project, including widely used session player Waddy Wachtel and Toto members David Paich and Mike Porcaro. Only "Salt Lake City" and the title track were played live by the Grateful Dead, the former in its namesake location on February 21, 1995,[1] and the latter in an instrumental arrangement during their 1980 acoustic sets.[2] Despite this, Weir has continued to consistently play tracks from the album with other bands of his, including RatDog and Bobby Weir & Wolf Bros. "Bombs Away" was released as a single and peaked at number 70 on the Billboard Hot 100, becoming his only solo song to make the chart.[3] The album itself stalled at number 69, one spot behind his previous album, Ace. The title track was written by Bobby and John Barlow.  While a staple at Bob shows with the Midnights, Rob Wasserman, Rat Dog, Wolf Bros., etc., the Dead only played it during these Warfield/Radio City and only as an instrumental arrangement. Played:  17 timesFirst:  September 29, 1980 at The Warfield, San Francisco, CA, USALast:  October 31, 1980 at Radio City Music Hall, New York, NY, USA Now the electric tunes from today's show: SHOW No. 3:         Cold, Rain & Snow                                    Track #10                                    0:00 – 1:30 "Rain and Snow", also known as "Cold Rain and Snow" (Roud 3634),[1] is an American folksong and in some variants a murder ballad.[2] The song first appeared in print in Olive Dame Campbell and Cecil Sharp's 1917 compilation English Folk Songs from the Southern Appalachians, which relates that it was collected from Mrs. Tom Rice in Big Laurel, North Carolina in 1916. The melody is pentatonic. Campbell and Sharp's version collected only a single verse: Lord, I married me a wife,She gave me trouble all my life,Made me work in the cold rain and snow.Rain and snow, rain and snow,Made me work in the cold rain and snow.  In 1965, Dillard Chandler recorded a graphic murder ballad version of the song that ends with the wife being shot by the husband. According to the liner notes on Chandler's album, Chandler learned the song from Berzilla Wallin, who said that the song related to a murder that had occurred in Madison County, North Carolina: Well, I learned it from an old lady which says she was at the hanging of – which was supposed to be the hanging, but they didn't hang him. They give him 99 long years for the killing of his wife... I heard the song from her in 1911. She was in her 50s at that time. It did happen in her girlhood... when she was a young girl... She lived right here around in Madison County. It happened here between Marshall and Burnsville; that's where they did their hanging at that time – at Burnsville, North Carolina. That's all I know, except they didn't hang the man.'[2] Subsequent performances have elaborated a variety of additional verses and variants beyond the single verse presented by Campbell and Sharp. Several verses consistently appear. Some sources for lyrics that appear in some later versions may be from Dock Boggs's 1927 song "Sugar Baby" (Roud 5731),[1] another lament of a henpecked husband, which may have contributed a line about "red apple juice".[4] A British folksong, The Sporting Bachelors (Roud 5556),[1] contains similar themes, but was collected in the 1950s.[2][5] Earlier possible precursors include a series of broadside ballads on the general subject of "Woeful Marriage"; one frequently reprinted nineteenth-century example begins with the words "On Monday night I married a wife", (Roud 1692).[1][6] These British antecedents mostly share common themes and inspirations; the song originated in the local tradition of Big Laurel, Madison County, and relate to a nameless murderer who committed the crime at some time between the end of the Civil War and the end of the nineteenth century. A recent origin is also suggested by the relatively limited number of variations on the tune; most performances use the Campbell-Sharp melody as written.[2] Despite the apparent violence of the lyrics, women feature prominently in the oral tradition of the song. It was collected from "Mrs. Tom Rice", and sung by Berzilla Wallin, who learned it from "an old lady" who remembered the murder trial the song was about. The song is closely associated with the Grateful Dead; a studio version appeared on their first album The Grateful Dead (1967), and the song was a standard part of the Dead's repertoire throughout their career. They would often open with the song, or perform it early in the first set.[2] Unlike Chandler's recording, in the Dead's version of the lyrics the husband generally laments his mistreatment at his greedy wife's hands, but does not kill her. The lyrics from the Grateful Dead's version were adapted from an earlier recording by Obray Ramsey. Played:  249 timesFirst:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 19, 1995 at Giants Stadium, East Rutherford, NJ, USA  MJ NEWS:  Hemp Industry Advocates Ask Court To Halt California's Ban On Products With Any ‘Detectable Amount' Of THC Amid Legal Challenge2.      Most Pain Patients And Doctors Support Legalizing Medical Marijuana And Having Insurance Companies Cover The Cost, AMA Study Shows3.      Marijuana Enhances Enjoyment Of Music, New Study Finds, Confirming What Every Stoner Already Knows4.      Six U.S. States Report Setting New Monthly Marijuana Sales Records M.J. Strains:           Blackwater – an indica marijuana strain made by crossing Mendo Purps with San Fernando Valley OG Kush.  The strain offers effects that start out mellow but will eventually melt down through your entire body for a classic head to toe euphoric high.  A sweet grape aroma that blends well with subtle undertones of lemon and pine.  MMJ uses include for relieving symptoms associated with chronic pain, appetite loss and MS.  Recommended for late night consumption as it can cause mental cloudiness and detract from productivity.                      NYSD – this classic strain is sativa leaning, created by Soma Seeds in Amsterdam, a staple for stoners since its inception in 1997.  Its name is inspired by the tragic events in NYC on September 11, 2001.  It is a product of crossbreeding Mexican sativa and Afghani landrace strains.  Has a unique aroma and taste that sets it apart from the crowd.                       Pure Gas - a hybrid cross of E85 and OG Kush. The parent strains are carefully chosen for their complex terpene profiles and effects. The OG Kush is known for its lemon-pine-fuel taste and an aroma of fuel, skunk, and spice. Additionally, its high-THC content provides a potentially heavy-hitting experience that shines through in the Pure Gas strain. As far as THC level in Pure Gas, it is one of our higher testers and definitely a high-potency strain. Smoking Pure Gas might bring effects similar to that of the OG Kush. The strain may be a creeper, meaning its effects may sneak up on you, so we recommend trying a little at a time, especially if you're new to smoking. Users may experience a deep body relaxation and cerebral high. The strain is definitely one that might activate your munchies, so make sure you have your favorite snack on hand. The overall effects of the Pure Gas strain might make it perfect for a movie night with friends, pre-dinner smoke sessions, and just hanging out. For users who suffer from appetite loss, the strain may help stimulate your hunger.  SHOW No. 4:         Loser                                    Track #12                                    4:13 – 6:13 David Dodd:  The song seems covered in the Americana dust of so many songs from this period of Hunter's and Garcia's songwriting partnership. Abilene, whether in Texas or Kansas, is a dusty cowtown—at the time in which the song seems to be set, the cattle outnumbered the human inhabitants by a factor of tens. It's easy to see the scene Hunter so casually sets, of a broken-down gambler in a saloon, with a dirt street outside full of armed cowpokes. Appearing, as it does, on Garcia, the song seems to pair naturally with the other gambling song on the album, “Deal.” It could be sung by the same character on a different day, in fact. And it fits in, as I mentioned, with a whole suite of songs that might be set in the same generic America of the late 19th or early 20th centuries: “Brown-Eyed Women,” “Jack Straw,” “Mister Charlie,” “Tennessee Jed,” “Cumberland Blues,” “Candyman,” and others, as well as certain selected covers, such as “Me and My Uncle,” and “El Paso.” Those songs share certain motifs, and among them are the various accoutrements of a gambler's trade, whether dice or cards. Money plays a role—and, in the case of “Loser,” the particular money mentioned helps place the song chronologically. Gold dollar coins were minted from 1849 (the Gold Rush!) to 1889. They were tiny little coins. I have one, and it is amazingly small—between 13 and 15 mm in diameter. “All that I am asking for is ten gold dollars…” C'mon! They're tiny little things. In fact, originally, the line was “one gold dollar,” but that changed at some point to the “ten” The crowning glory of the song, as in many other Garcia/Hunter compositions, is the bridge.The song culminates in this cry of hopefulness: “Last fair deal in the country, Sweet Susie, last fair deal in the town. Put your gold money where your love is, baby, before you let my deal go down—go down.” (It's noted that “Sweet Susie” was dropped at some point, but then, occasionally, brought back. I think it was an optional decoration to the line. Alex Allan, in his Grateful Dead Lyric and Song Finder site, notes that “Sweet Susie” rarely appears after 1972, but that it's sung in performances in 1974 and 1979.) Almost always played as a first set Jerry ballad. This version might have been the high point of this show.  So nicely played and sung by Jerry. Played:  353First:  February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:  June 28, 1995 at the Palace of Auburn Hills, MI  OUTRO:                   Good Lovin'                                    Track #27                                    3:25 – 5:04 "Good Lovin'" is a song written by Rudy Clark and Arthur Resnick that was a #1 hit single for the Young Rascals in 1966. The song was first recorded by Lemme B. Good (stage name of singer Limmie Snell) in March 1965 and written by Rudy Clark. The following month it was recorded with different lyrics by R&B artists The Olympics, produced by Jerry Ragovoy; this version reached #81 on the Billboard Pop Singles chart. The tale has been told that Rascal Felix Cavaliere heard The Olympics' recording on a New York City radio station and the group added it to their concert repertoire, using the same lyrics and virtually the same arrangement as The Olympics' version. Co-producer Tom Dowd captured this live feel on their 1966 recording, even though the group did not think the performance held together well. "Good Lovin'" rose to the top of the Billboard Pop Singles chart in the spring of 1966 and represented the Young Rascals' first real hit. "Good Lovin'" is one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll, and was ranked #333 on Rolling Stone's 500 Greatest Songs of All Time list.[4] Writer Dave Marsh placed it at #108 in his 1989 book The Heart of Rock and Soul: The 1001 Greatest Singles Ever Made, saying it is "the greatest example ever of a remake surpassing the quality of an original without changing a thing about the arrangement." A popular version was by the Grateful Dead, who made it a workhorse of their concert rotation, appearing almost every year from 1969 on.[6] It was sung in their early years during the 1960s and early 1970s by Ron "Pigpen" McKernan and later by Bob Weir. The Weir rendition was recorded for the group's 1978 Shakedown Street album and came in for a good amount of criticism: Rolling Stone said it "feature[d] aimless ensemble work and vocals that Bob Weir should never have attempted."[7] On November 11, 1978, the Grateful Dead performed it on Saturday Night Live. Typically, at least by the time I started seeing them, usually played as a second set closer or late in the second set. As good buddy AWell always said, “if they play Good Lovin, everyone leaves with a smile on their face.”  Can't argue with that. Played:  442First:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 28, 1995 at The Palace of Auburn Hills, Auburn Hills, MI, USA Easy fast on Yom Kippur .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Show Notes Highlights: Pete Floyd's Formation: Pete Delaney shares how the pandemic inspired the formation of the tribute band Pete Floyd alongside Pete Hale, who profoundly loves Pink Floyd's music. - Band Lineup: The group features a powerhouse lineup of local musicians, including saxophonist Alex Garcia, keyboardist Bob McBain, bassist Toby Tyler, drummer Sean Englund, vocalist Paige Clem, vocalist and guitarist Teal Collins, and guitarist Pete Hale, each adding unique depth to the performances. - The Music: Pete Delaney discusses their approach to covering Pink Floyd's extensive catalog, focusing on albums like Dark Side of the Moon, Wish You Were Here, and The Wall, blending live elements from iconic performances. Visual Experience: Pete Floyd offers a full visual experience, complete with coordinated lighting designed by its new lighting director, adding a dynamic visual component to its live shows. - Special Moments: Delaney recalls memorable performances, including their third show at the Phoenix Theater in Petaluma and the incredible energy felt during the "Comfortably Numb" performance at The Chapel in San Francisco. - Upcoming Shows: The band will perform at Sebastiana Theater on Friday, September 20th, with a special laser light show. They are also preparing a 50th-anniversary tribute to Wish You Were Here for 2025.  Featured Songs - “Great Gig in the Sky” – Pete Floyd's rendition featuring Teal Collins on vocals. - “Dogs” – A segment from their live performance featuring Pete Hale's exceptional guitar work.  Links - Pete Floyd Official Website: https://petefloyd.com - Sebastiana Theater Tickets: https://www.sebastianitheatre.com  Social Media Hashtags #PeteFloyd #PinkFloydTribute #SonomaMusic #LiveMusic #SebastianiTheater #WishYouWereHere #DarkSideOfTheMoon #BackstageSonoma

Hello and welcome back!In this episode we have another exciting guest. While the name of our interviewee may not be familiar to you, his works are for sure.Alex started creating artwork for various Pink Floyd bootlegs in the late 90's and supported the Harvested label on a few releases.He then started a YouTube channel and released animated versions of the official Pink Floyd artwork. This later led to a collaboration with Nick Mason's Saucerful of Secrets and eventually a close association with the family of Roger “Syd” Barrett, where Alex is the official animator for all content on the official website.The conversation was exciting, funny and insightful, but hear for yourself!Links:https://www.sydbarrett.com/https://www.youtube.com/c/artistontheborderhttps://www.youtube.com/watch?v=TZq92A0il6Q (Animated Relics Artwork)

This Week on America's Podcast with guests Andy Rodriguez and Joseph Staub, we're plunging headfirst into not one, not two, but three Pink Floyd reviews at once like a bunch of overachievers! We start our musical journey with "Meddle," then warp speed to "Wish You Were Here," and wrap it all up with a grand finale of "Animals." What are our thoughts on these albums? Well, no spoilers here! It's a must-listen for any die-hard Floyd fan or someone dipping their toes into their psychedelic waters! Tracks of the Week: - Mooger's pick is "Key Entity Extraction l: Domino The Destitute" by Coheed and Cambria—a mouthful to say and a feast for the ears! - Marc brings us "As I Am" by Dream Theater, a tune sure to make your air guitar weep tears of joy. - Andy rocks out to "Junkhead" by Alice In Chains—a song that hits harder than a Hulk smash! - Joesph cruises in with "Drive" by The Cars, a classic jam that'll have you feeling like you're in a retro music video. And wrapping it up with Jerry's pick, "Octopus" by Syd Barrett—a song so groovy, it's like a funky dance party in your ears. Until next time, remember to drop a tab, smoke some weed do a dab, and melt into the music like a cheese sandwich in a hot pan! Peace out, music lovers! #pinkfloyd #meddle #wishyouwerehere #animals #rock

Jodi Picoult is the #1 New York Times bestselling author of 29 novels, including By Any Other Name, Mad Honey, Wish You Were Here, and My Sister's Keeper, and, with daughter Samantha van Leer, two young adult novels, Between the Lines and Off the Page.  Picoult's books have been translated into thirty-four languages in thirty-five countries.  Picoult also wrote five issues of DC Comic's Wonder Woman. Picoult is the co-librettist for the stage musical adaptation of her two Young Adult novels.  Picoult lives in New Hampshire with her husband. They have three children. We talked about Emilia Bassano as the author of many of Shakespeare's most popular place, women's voices being erased, making a bigger table so everyone can be represented in theatre, how Jodi found her love of plays, structuring her novel By Any Other Name, and her love for Gone With the Wind. Learn more about your ad choices. Visit megaphone.fm/adchoices

En este episodio de "La Teoría de la Mente", exploramos la icónica canción de Pink Floyd, "Wish You Were Here", compuesta por Roger Waters en un momento profundamente emocional. ¿Qué secretos esconde esta pieza? ¿Cómo se relaciona con el enigmático Syd Barrett? Descubre la historia detrás de esta obra maestra y cómo la visita inesperada de Barrett a los estudios Abbey Road influyó en la banda. Descripción del Episodio ¡Bienvenidos a un nuevo episodio de "La Teoría de la Mente"! En esta ocasión, nos adentramos en el universo de Pink Floyd para desentrañar los misterios de la canción "Wish You Were Here". Esta pieza, escrita por Roger Waters, surgió en un contexto único: Syd Barrett, el antiguo líder de la banda, apareció inesperadamente en los estudios Abbey Road durante la grabación de un álbum. Barrett, irreconocible y cambiado por el tiempo y sus experiencias, inspiró una de las canciones más conmovedoras y emblemáticas de la banda. En este episodio, discutimos: Acompáñanos mientras analizamos la letra, la música y las emociones que dieron vida a esta obra maestra. Si eres fan de Pink Floyd, de la música o simplemente de las grandes historias, este episodio es para ti. Palabras Clave Pink Floyd,Wish You Were Here,Roger Waters,Syd Barrett,Abbey Road,grabación,álbum,inspiración,historia de la música,rock clásico,análisis de canciones,emociones,música y cultura,la teoría de la mente,psicología de la música,impacto cultural,iconos del rock,leyendas de la música,estudios Abbey Road,banda icónica,música de los 70,historia de Pink Floyd,arte y música,misterios musicales,rock psicodélico Hashtags #PinkFloyd #WishYouWereHere #SydBarrett #RogerWaters #HistoriaDeLaMusica #RockClasico Nuestra escuela de ansiedad: www.escuelaansiedad.com Nuestro nuevo libro: www.elmapadelaansiedad.com Visita nuestra página web: www.amadag.com Facebook: Asociación Agorafobia Instagram: @amadag.psico Youtube Amadag TV: Amadag TV

On this week's episode, the fellas look back at a rough week for the Kansas City Royals, discuss the impending trade deadline, and preview this week's games. Plus, Mike provides a horrible rendition of Pink Floyd's "Wish You Were Here." A big thank you to our sponsors: All In Physical Therapy: https://allin-pt.com/ Erick Auxier of West USA Realty: https://erickauxier.com/ Listen to the latest episode of Royals Weekly anywhere you get podcasts including … Apple: https://podcasts.apple.com/us/podcast/royals-weekly/id1557151861 Spotify: https://open.spotify.com/show/2ELyTCKp20UXva2URM02YG?si=9667a82115bb40b1 Youtube: https://www.youtube.com/@royalsweekly And follow us on social media: Twitter: https://twitter.com/RoyalsWeekly Facebook: https://www.facebook.com/royalsweekly Instagram: https://www.instagram.com/royalsweekly/ #kansascityroyals #kcroyals #royals #mlb #baseball

#1 New York Times bestselling author, Jodi Picoult, spoke with me about writing for Wonder Woman, adapting books for musical theater, and the question of Shakespeare's true authorship in her upcoming novel BY ANY OTHER NAME. Jodi Picoult is the bestselling author of 30 novels, including landmark titles such as Mad Honey – her most recent 1 million-copy bestseller – Wish You Were Here, A Spark of Light, and Small Great Things. 40 million copies of her books are in print worldwide and have been translated into 34 languages. Her forthcoming novel is BY ANY OTHER NAME (on sale 8/20; Ballantine), described as novel about two women, centuries apart – one of whom is the real author of Shakespeare's plays – who are both forced to hide behind another name. #1 New York Times bestselling author Kristin Hannah said of the book, “You'll fall in love with Emilia Bassano, the unforgettable heroine based on a real woman that Picoult brings vividly to life in her brilliantly researched new novel.” Elle called it, “[An] inspiring work of feminist literature inspired by real historical accounts.” Jodi was also co-librettist for the stage musical adaptation of her young adult novel Between the Lines (which premiered Off-Broadway in Summer 2022), the co-librettist of the musical BREATHE, the co-librettist of the musical adaptation of The Book Thief, and she is currently at work on an adaptation of Austenland. [Discover The Writer Files Extra: Get 'The Writer Files' Podcast Delivered Straight to Your Inbox at writerfiles.fm] [If you're a fan of The Writer Files, please click FOLLOW to automatically see new interviews. And drop us a rating or a review wherever you listen] In this file Jodi Picoult and I discussed:  What's changed and what hasn't for women (in theater) over 400+ years? The best time to break an arm for an author How she works in cycles for her books Why her kids made her write for Wonder Woman The conundrum of a famous playwright who didn't own a single book And a lot more! Show Notes: jodipicoult.com By Any Other Name: A Novel By Jodi Picoult (Amazon) Jodi Picoult Amazon Author Page WAS SHAKESPEARE A WOMAN? – Elizabeth Winkler for The Atlantic Jodi Picoult on Facebook Jodi Picoult on Twitter Jodi Picoult on Instagram Jodi Picoult on TikTok Kelton Reid on Twitter Learn more about your ad choices. Visit megaphone.fm/adchoices

**This show is brought to you by DistroKid. Go to http://distrokid.com/vip/the500 for 30% off your first year!** Comedian & Roaster Tony Hinchcliffe's passion for Pink Floyd is undeniable. He discusses the highlights and lowlights of the 1975 album Wish You Were Here. Follow Tony on Instagram: https://www.instagram.com/tonyhinchcliffe/ Follow Tony on Twitter: https://twitter.com/TonyHinchcliffe Go to Tony's website for live show dates: https://tonyhinchcliffe.com/ Follow Josh on Instagram: https://www.instagram.com/joshadammeyers/ Follow Josh on Twitter: https://twitter.com/JoshAdamMeyers Follow Josh on Facebook: https://www.facebook.com/joshameyers Follow The 500 on Instagram: https://www.instagram.com/the500podcast/ Follow The 500 on Twitter: https://twitter.com/the500podcast Follow The 500 on Facebook: https://www.facebook.com/The500PodcastWithJAM/ Email the show: 500podcast@gmail.com Check the show website: http://the500podcast.com Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, the panel is first joined by Wesley Morris, New York Times' critic at large, to dissect This Is Me… Now: A Love Story, Jennifer Lopez's bizarre, nutty, yet utterly delicious self-funded vanity project that cost the singer $20 million to produce. (Wesley wrote a brilliant piece about it for the Times.) Then, the three explore 20 Days in Mariupol, the Oscar-nominated documentary by Ukrainian journalist Mstyslav Chernov that depicts the atrocities of the Russia-Ukraine war through on-the-ground footage and harrowing accounts of civilians. Finally, in a new oral history of the Village Voice, entitled The Freaks Came Out to Write: The Definitive History of the Village Voice, the Radical Paper That Changed American Culture, author Tricia Romano tells the iconic alt-weekly newspaper's history through 200 interviews with its legendary writers, editors, and photographers. We discuss. In the exclusive Slate Plus segment, we share an impromptu conversation between the hosts and Wesley Morris. Email us at culturefest@slate.com.  Outro music: "Zero Gravity" by ELFL Endorsements: Cameron: Longtime Culture Gabfest producer, Cameron Drews, is moving onto his next project but came on one last time to endorse! He endorses movie theater subscriptions and is a big fan of Alamo Drafthouse's season pass.  Dana: The Criterion Channel's new “Gothic Noir” series.  Julia: An algorithm-recommended bop, UNTZ UNTZ by Inji.  Steve: The Milk Carton Kids' cover of Pink Floyd's “Wish You Were Here” and a performance of their song, “All of the Time in the World to Kill,” featuring some lovely on-stage banter.  Podcast production by Jared Downing. Production assistance by Kat Hong.  Hosts Dana Stephens, Julia Turner, Stephen Metcalf Learn more about your ad choices. Visit megaphone.fm/adchoices