John Coltrane, one of jazz history’s most revered saxophonists, released ‘Giant Steps‘ in 1959. It’s known across the jazz world as one of the most challenging compositions to improvise over for two reasons – it’s fast and it’s in three keys. Braxton Cook and Adam Neely give me a crash course in music theory to help me understand this notoriously difficult song, and I’m bringing you along for the ride. Even if you don’t understand a lick of music theory, you’ll likely walk away with an appreciation for this musical puzzle.
Americans are in a political cold war against one another. In the age of Trump this conflict all too often feels as though it will inevitably turn hot. Americans increasingly do not talk to one another across divides of political party and values; they live in information bubbles that are self-confirming, where prior ideas and beliefs — however incorrect — are nurtured as inexorable unassailable permanent truths. This is especially true of conservatives. Donald Trump has simply taken the status quo ante of anti-intellectualism, ignorance and simple binary thinking which typifies the modern American conservative moment and amplified it for the world to see and without any shame or apologies for doing so.
The Monkees often get sidelined as an amusing footnote in the world of pop music, a “Pre-fab Four” that was hastily thrown together in the mid-’60s for a U.S. version of Beatlemania. But the four Monkees transcended their pre-fab status to become an actual band, and the transition is unlike any other in pop-music history.
Hasan Minhaj’s Netflix show goes further than even John Oliver in skewering technology.
On a recent episode of Patriot Act, “Content Moderation and Free Speech,” Hasan Minhaj walks onstage, framed by graphics flipping through images of Mark Zuckerberg, Sheryl Sandberg, floppy disks, and the Facebook thumbs-up. He soon asks the audience—and the viewers watching online—to think back to a time when we were excited to connect to the entire world through the internet.
Today, Minhaj explains, we’d prefer to log off. But social media is unavoidable:
For two years, in the early 1990s, Richard Palmer served as the CIA station chief in the United States’ Moscow embassy. The events unfolding around him—the dissolution of the Soviet Union and the rise of Russia—were so chaotic, so traumatic and exhilarating, that they mostly eluded clearheaded analysis. But from all the intelligence that washed over his desk, Palmer acquired a crystalline understanding of the deeper narrative of those times.
Much of the rest of the world wanted to shout for joy about the trajectory of history, and how it pointed in the direction of free markets and liberal democracy. Palmer’s account of events in Russia, however, was pure bummer. In the fall of 1999, he testified before a congressional committee to disabuse members of Congress of their optimism and to warn them of what was to come.
“He’s unbriefable — you can’t explain things to him,” Nichols said. “He doesn’t take in information, so he tends to just wing it and to say things that are convenient to the way he wants to see the world.”
Ringo is still the most underrated drummer in Rock. This humble tribute is meant to illustrate the importance of Ringo Starr’s unique drum work for the Beatles.
First of all, I need to get the credits right: Big thanks to Johnny Silver and Ian Watts for giving me permission to use their recordings for my sound samples.
Johnny Silver is one of the world’s finest John Lennon impersonators. He founded ‘The Silver Beatles’ more than 20 years ago. My dad joined his band in May 1999, the month I was born and he was with the Silver Beatles for as long as 10 years.
That’s the reason why Milena and I literally grew up with Beatles music. Ian Watts was with the Silver Beatles basically between 2002 and 2007. Yes, Ian is the producer of the Nursery Rhyme Collection that I started introducing every Tuesday. No, it’s not a coincidence that some of those Nursery Rhymes feature a Beatlesque sound. Drummer on the Original Recordings was Steve Heappey (sorry Steve for erasing your parts, they were excellent!)
The keyboard solos for ‘In My Life’ and ‘Come Together’ were played by… right, Rick Benbow. He also played on ‘Strawberry Fields’
Johnny Silver (John’s parts)
Ian Watts (Paul’s parts)
Mike Wilbury (George’s parts)
Sina (Ringo’s parts)
Rick Benbow (Keyboards for ‘Strawberry Fields’, ‘In My Life’ ‘Come Together’, ‘While My Guitar Gently Weeps’, ‘Something’)