#i like josh thomas' more recent show too but please like me is more my speed imo

[realbeefman]

What is good about Please Like Me, that gifset got me curious

OK SO

Please Like Me is a semi-biographical sitcom about josh thomas, an australian comedian and his life experience up to around. 2013. some elements are fictionalized but his character is named josh and it draws heavily from his own life experiences as a queer autistic person. it is VERY funny and one of my fav shows ever. i recc it to absolutely everyone (it's available on prime video oooorr u can watch it on youtube through entirely legal means heeere)

the central character is josh, whose first scene in the show is literally his girlfriend going "we have to break up because you are GAY. CLEARLY GAY." and him just going "yeah... true...". supporting characters include josh's straight roommate, tom (who is exactly as fucked-up as josh), josh's mom, who is struggling with very severe mental health issues, and josh's dad, who has just gotten remarried and is So so worried about his loved ones.

note that josh thomas himself actually wasn't diagnosed himself at the time of making the show, so the show itself never Actually uses the words "autistic" to describe josh, but in retrospect josh thomas has said he considers the character he plays on the show to be autistic, and definitely would have explored that in canon if he'd had that language at the time.

all in all it is very funny changed my own perspective on mental health and helped me get through a pretty-bad period in my life where i felt pretty helpless and mired in self-hatred (much like the protagonist initially is). i'm in the middle of a rewatch of the show rn and it's just as incredible as i remember.

[tellthemeerkatsitsfine]

Things I know about the people on Taskmaster Australia season 2, before I start watching it (I mean, it's sort of season 3, or something, but it's season 2 now, we have to refer to them by the order in which they're aired or it'll get incredibly confusing):

- When I was browsing the Chortle MICF reviews to see if there was anyone I didn't know who looked interesting and maybe I'd want to look up their stuff and/or add them to my Edinburgh list this year, I clicked on someone named Jenny Tian. I saw the words "Tik-Tok star" and closed the page again, no longer interested. Perhaps it will turn out that was totally unfairly judgmental of me and she's great. I sort of hope so. Please prove me wrong and tear down my unfair biases, Tik-Tok star.

- Obviously I know Lloyd Langford. I don't know him all that well, but he's turned up as a guest on plenty of things I've watched and listened to, and I've almost always liked him well enough. By "almost always", I mean "every time except that time when I was going through a phase of watching everything I could find by Rhod Gilbert, and I watched that old panel show called Ask Rhod Gilbert, on which Lloyd Langford was a regular, and it was a terrible show, but that's not Lloyd Langford's fault".

- Wil Anderson was the favourite "alternative comedian" of Zoe Coombs Marr's character Dave, in her stand-up show Dave, in which the joke was that he's actually a very mainstream and popular Australian comedian and her character is ignorant for considering him alternative (based on reviews I've read, I think when she performed that show in the UK, she changed it from Wil Anderson to Adam Hills). Also, Wil Anderson was the guy Daniel Kitson decided to start a parody beef with in 2005, and in retaliation Wil Anderson sicced a horrible journalist on Kitson, which became that routine in his 2005 show about how much he hated that journalist. I think in that routine too, the joke was sort of that Wil Anderson is a very mainstream popular comedian (Kitson ironically suggesting that he was going to upset the mainstream comedians with his routine). Despite this, I don't actually know any more about him than that.

- Anne Edmonds is the reason Lloyd Langford is no longer in Wales, because he got married to her in Australia. Normally I try to be careful not to define female comedians by their male partners, but in my defense, in this case, most comedians I know are British, so it's reasonable for me to know the British one and not the Australian one in this couple. Her latest stand-up show has recently been released as a special, though, and I've downloaded it and intend to watch it, and then I will know her better than him as I haven't seen Lloyd Langford's stand-up. But for now I know nothing else about her.

- No idea who Josh Thomas is, though I don't mean that as an insult, like, "This guy's so unimportant that I haven't even heard of him!" I mean it as, I don't know a lot about the Australian comedy industry. Josh Thomas is probably lovely.

- Fun fact, Australian Taskmaster Tom Gleeson used to be in a band with the guy who stole Daniel Kitson's girlfriend in 2004.

- Tom Cashman is a great Taskmaster's assistant. Though I only know that from the previous season, I haven't started the new one yet so I guess it's possible that he's got much worse at his job since then. Hopefully not though.

[sobriquett]

Dear Trick or Treat Author

Dear Trick or Treat Author,

[WIP: 23:50 BST 19/09/21]

What a wonderful time of year! (Or is that Yuletime? Nearly there too!)

Hello! I am very easily pleased so please take this as a starting point if you need some ideas but otherwise write what makes you happy! I know horror tropes/genre are in my dislikes but if you want to write a scary trick, you do that, yes please! Just play within the canonical world (werewolves in Milton-Northern, vampires at Thornfield, ghosts at the White House) and I'll be a happy reader (but please still stay aware from my gore-related DNWs!).

My normal ramble about what I enjoy in fic isn't really relevant to a 300+ word exchange but you can find it in past letters, click the letter tag.

That said, things missing from my main signup include these:

Loves: exploration of power imbalances Likes: epistolary

My fandoms are in alphabetical order (ish), so here we go!

1.      16th Century CE RPF

Anne Boleyn Anne of Cleves Catherine of Aragon Catherine Parr Elizabeth I of England Henry VIII of England Margaret Pole Countess of Salisbury Robert Dudley 1st Earl of Leicester Thomas Seymour (1508 – 1549)

I've been on a bit of a Philippa Gregory kick this summer reading the Cousins' War series out of order. I'd love more stories about these figures – with some of them (Henry VIII in particular!) it's pretty easy to lean into the trick side of things, but there's treat potential too. Add more characters if you want; I've been reading histories and historical novels on this period for many, many years so if you drop in Maria de Salinas or Stephen Fisher or Kat Ashley or Thomas Cromwell or anyone I'm up for that, but I am also a laidback reader and this is a low-stress exchange, don't tie yourself in knots over accuracy. (Although I would, and I'd definitely recommend Ruth Goodman's How to be a Tudor if you haven't read it, even if you're not normally a non-fiction reader.)

What if [any utterly disastrous thing] didn't happen, or perhaps was somehow worse? Did Elizabeth and Dudley actually have some happiness in a romance, however brief? How did Anne of Cleves feel to retire as the King's beloved sister? What was Margaret Pole thinking on the morning of her execution? Is Henry VIII haunted by the ghosts of some of those he killed: friends and lovers and family? Did anything actually happen between Elizabeth I and Thomas Seymour (There's historical room for a secret pregnancy in the country…)

2.      Downton Abbey

Mary Crawley Edith Crawley Sybil Crawley Matthew Crawley­ Tom Branson Robert Crawley Cora Crawley Violet Crawley Isobel Crawley Lavinia Swire Anna Bates Evelyn Napier Freda Dudley Ward Marigold Crawley George Crawley Ship: Tom Branson/Sybil Crawley

This is like my TV comfort blanket. I rewatched it this year and I am interested in just about every main character except, oddly, Thomas – who is the favourite fic character of most writers! Give me a missing moment, a look at the future, a glance at the past, a look from the outside – whatever. Any point in, before or after canon is cool with me, except I tend to skim a lot of S4 (ugh, that rape storyline, please don’t use that).

Do ghosts walk the halls of Downton Abbey? What is life like in Ireland for Tom and Sybil? Do any of the characters ever feel a moment of true despair? What if Matthew had died in the war? What does the future hold for these characters? How did Robert, Cora and Violet get on in the 1890s? What was Carson like with Mary/Edith/Sybil as children? Does it parallel his relationship with their children?

3.      The Good Place

Eleanor Shellstrop Chidi Anagonye Tahani Al-Jamil Jason Mendoza Michael Janet

This is another show I can watch over and over and over. I think Chidi's my favourite but it's hard to be sure. I can tell you I absolutely sobbed during the S3 finale and I was a wreck for the S4 finale. Tug my heartstrings, make me laugh, make me cry, I don't care! I've studied philosophy and despised it so I'll take or leave what you include on that score, I just love the characters. Please include any or all other characters you'd like, but I definitely ship Eleanor/Chidi over Chidi/Simone! Although I'll take angst in that direction too! I don't know, I feel like a kid in a candy store writing this letter: hyper and having trouble deciding between all the possible wonders!

Existential dread? Moments from their human lives? Moments from the good place? Please tell me more about the time knife. Does Michael return to the good place when he dies? Does he reunite with Janet and/or Tahani?

4.      Jane Eyre

Jane Eyre Edward Rochester Adele Varens Ship: Jane Eyre/Edward Rochester

This is my favourite classic novel, I reread it every couple of years, most recently in 2020 for Yuletide. My reading of it changes each time, and I increasingly believe that Rochester is more bad guy than good guy and that Jane Eyre lies as a narrator and is as prejudiced and superior as those she crititcises for the same qualities. But I still love her, and that she says she got a happy ending.

Is Rochester more of a villain? How? How does Adele find school, either the one Rochester sends her to, or the one Jane moves her to? Post-canon happiness? Post-canon unhappiness? A scene from the engagement? A missing moment between the non-wedding and Jane running away? What if the wedding wasn't interrupted? (Full disclosure: I'm writing this too.) Canon divergence for, well, anything? Is Adele separated from Sophie? How does that go, how does she manage?

5.      Memoirs of a Geisha

Nitta Sayuri Mameha Nobu Toshikazu Ship: Nitta Sayuri/Nobu Toshikazu Ship: Mameha/Matsunaga Tsuneyoshi | The Baron

6.      North and South

Margaret Hale John Thornton Hannah Thornton Bessy Higgins Ship: Margaret Hale/John Thornton

7.      Stardew Valley

Female Player Sebastian Shane Harvey Robin Elliott Leah Marlon Ship: Shane/Female Player Ship: Sebastian/Female Player Ship: Lewis/Marnie

Do Sebastian and the farmer go on any more bike rides? How did Lewis and Marnie’s relationship start? Are they ever found out? Why does Lewis want to keep it secret? Why is he such an arsehole to Marnie? Tales of the purple shorts. Tell me more about Harvey’s nerdy hobbies or fear of heights? What happened with Robin and Sebastian’s dad? The horrors of the mines, or the skull cavern? Is Leah frightened by the things that go bump in the night near her home? Is Elliott? Some angst or h/c around a wounded farmer, being found/nursed? Or how about some angst/horror in which... they’re not? Fics about the war with the Gotoro Empire?

8.      Star Trek: Voyager

Kathryn Janeway Chakotay Tuvok Kes Seven of Nine Naomi Wildman

I’ve been a J/C shipper since before I knew shipping was a thing (as a kid, I had all the two-parters, S5&6, and Resolutions on video. Pre-internet, how did I even know which episode Resolutions one? Shippy magic instinct, I guess?) So apart from that ship, or canonical relationships, I would prefer genfic please. I also don’t mind the other Voyager characters so they’re welcome to make an appearance, but these are the ones that interest me.

9.      The West Wing

CJ Cregg Josh Lyman Sam Seaborn Abbey Bartlet Charlie Young Donna Moss Jed Bartlet Leo McGarry Toby Ziegler Zoey Bartlet

Happy writing!

Sobriquett

[the-colony-roleplay]

Hey fam!

Phew, sorry for being MIA the past couple days! I travelled back to Vancouver with my Mom on Saturday morning, and then I took her to a show (JOSH THOMAS OF AUSTRALIA’S AMAZING ‘PLEASE LIKE ME’—independent writer, director, producer, actor and comedian whom I ADORE and if you haven’t seen that show, pls fuckin’ watch it because it’s everything Hollywood isn’t and therefore is superior in every way—CAME TO VANCOUVER ON A JUST FOR LAUGH’S TOUR AND IT WAS SO GOOOD AHHHHHH ladfjladfj i was star struck to see him in real life tbh because he’s a big inspiration to me but ANYWAY). 

Then yesterday, after taking her to the ferry, I met with my producer right away and have since been in prep for the pitch video we’re filming today!! So I’ll be gone the rest of today too, I’m afraid, but will be around for more replies and catching up on some things tomorrow :) 

Also, Mika has touched base and apologized profusely for their recent absence. Firstly, they have decided to start using they/them pronouns, and we will be updating the masterlist shortly. Secondly, they have been going through a tough time and will be taking a semi-hiatus until March 9th, while they get settled back in to routine. They do plan on being online in the next couple days and as much as possible, but just in case things take a turn before the 9th, they have requested the semi hiatus. Our love and well wished to you darling! <3

Okay, that’s all I have for now folks! Miss you guys and love ya’ll so so much!

xxMod!Ro

[theonyxpath]

In honor of his birthday being celebrated today in the US, we can now reveal that the first US President, George Washington, was a feared foe of the supernatural!

When they said that he “had wooden teeth”, that wasn’t literal. It was a code and a metaphor for how many vampires he had impaled with sharpened wooden weapons. We’re still working on what is meant when he’s said to be “made of radiation”.

Actually, I have no idea if George shows up in Hunter: The Vigil 2nd Edition – but I do know that HtV2e‘s Kickstarter campaign is well over 200% funded and moving right along.

Thanks to everybody who has backed so far, and we really appreciate your thoughtful comments! The KS Comments page has been filled with cool ideas for Hunter games, as has our Forums here at Onyx Path central. Keep those comments coming, folks! I know that developer Monica Valentinelli has been keeping notes for her final dev pass.

No promises that she can or will tweak anything before layout, but I’m sure that once we get the Backer PDF out, she’ll look at those notes as well as errata from backers.

Which reminds me to remind you about a few things with our Kickstarters!

NH: Nameless and Accursed art by Tilen Javornik

First, and this applies to our Advance PDFs like the recently released Night Horrors: Spilled Blood for Vampire: The Requiem 2e as well, we include a link to an errata sheet specifically because we want to catch layout glitches, terminology misuse, confusing or contradictory setting or rules info, missing info (especially when the text might be bringing an element of one edition into the newest edition), and more.

So, since we’re looking for those sorts of things, it’d be really helpful if folks chose to send us the things that don’t quite add up via the errata link. Because the Advance PDF, the Backer PDF, and the Kickstarter Preview Text, are not the unalterable text you might once have purchased as a book in a store. Although, if nobody sends us errata about a problem, and we don’t independently catch it, it will soon be locked into final book form – that’s why I ask.

Another thing about our Kickstarters, is that we are aiming for our next one to be for our new Legendlore TTRPG game book. More on that in the next couple of weeks as we head towards that KS.

Here’s a reminder for folks who need help with their Kickstarters: Jazzy James Bell is the guy to talk to for all your Kickstarter needs. He has been running them since Cavaliers of Mars‘ KS several years ago. And if you do use the Contact link on one of our Kickstarters, that message goes to James. I know my name is still on half the KSs we do, but that’s because our original account was in my name.

When I set it up, I wasn’t even sure I could just use Onyx Path as the KS Creator. It was that long ago! So now, today, we have a Rich Thomas KS account and an Onyx Path KS account. Which means that James can set up a KS on one account while the other has a KS running on it. This is very helpful for us in terms of avoiding massive downtime between KSs.

Because everybody has an idea of what new Kickstarter campaigns we should run for their favorite games. We can’t (and won’t) be able to have every project folks want a KS for, but we can time out the ones we are doing more efficiently.

Which might mean we get one more run that we normally would have in a year, but which absolutely means that James (and all our crew, but James in particular) has the time and isn’t too exhausted to run them!

V5 Chicago By Night art by Amy Wilkins

What Happens After All These Kickstarters?

Thank you for asking! We have a perfect example right now with V5 Chicago By Night having shipped out to backers last month. This week, Chicago is live in stores and with that happening, we’ll be releasing the PDF/PoD versions on DTRPG this Wednesday!

Let me break that down: The Kickstarter backers received their backer reward copies of the V5 Chicago By Night traditionally printed hardcovers. Meanwhile, our two sales partners, Studio2 in the US, and Modiphius for everywhere else, solicited the game distributors and retailers.

This week, the stores who ordered during that solicitation have or are getting their books so they can sell them in their stores. Also, on Wednesday, we open the PDF and physical book PoD versions up for purchase on DTRPG. So, at that point, you can get the traditionally printed version from stores, including online ordering from our friends at Indie Press Revolution, and if you prefer, the PDF and PoD versions can be ordered from DTRPG.

All those venues are so that our community can get their avid hands on this absolutely superb V5 version of Chicago By Night (in a lot of ways it best shows how the ideas in the first three core books can be concretely utilized around your table) in the version you most prefer for your enjoyment. And believe me, there is a lot to enjoy in this book!

As you can tell, it’s kind of a big thing for us.

Distant Worlds art by Gunship Revolution

Tell Me About This Blog!

Finally, it’s my bi-annual request for feedback on this blog itself. What feature do you always read? Which one do you skip past every week?

It’s OK to say you skip all of my actual blog each week. Really. I’ll just be in the corner, sobbing.

Although actually, if you do skip it each week, then you won’t notice this request for feedback, so I’m in the clear!

But, if you can, please do be honest in your thoughts on what is working, or not, here on the blog. I’ve got some ideas for changes, but I don’t want to take anything away from you, our loyal readers, that a lot of you are actually enjoying, but I’m not hearing about

That way, we can be sure you’re getting the info you need to explore our:

Many Worlds, One Path!

BLURBS!

Kickstarter!

Hunter: The Vigil 2nd Edition for Chronicles of Darkness is still ferociously on the hunt! We funded and are shooting right through Stretch Goals, like the Storyteller Screen Stretch Goal and the Tending the Flame: Cells chapter for the Hunter Players’ Companion! With lots more to come!

Onyx Path Media!

This Friday’s Onyx Pathcast features an interview with writer and creator Josh Heath. Josh is writing for Onyx Path, and is also putting up all kinds of projects on our Community Content sites like Storypath Nexus and Pugmire‘s Canis Minor, and other sites! As always this Friday’s Onyx Pathcast will be on Podbean or your favorite podcast venue! https://onyxpathcast.podbean.com/

Another jam-packed schedule for you on Twitch this week! You can look forward to Vampire: The Masquerade, Chronicles of Darkness, Scion, Pugmire, two fantastic, new chronicles of Hunter: The Vigil 2nd Edition, MORE Vampire: The Masquerade, Changeling: The Lost, Changeling: The Dreaming, Mage: The Awakening, Scarred Lands, Werewolf: The Forsaken and a third Vampire: The Masquerade game!

Our Twitch stream has never had so much content.

A special shout-out to both of the Hunter: The Vigil games running this week, which along with the Kickstarter are drawing quite an audience! You can subscribe to our channel over on twitch.tv/theonyxpath to catch up with any episodes you missed!

Come take a look at our YouTube channel, youtube.com/user/theonyxpath, where you can find the following videos uploaded last week alone:

Hunter: The Vigil Hometown Heroes: https://youtu.be/8dqdt6sy6Ws

Eddy Webb’s Workshop: Dystopia Rising Evolution Development: https://youtu.be/Aj6MRIUQ5Fo

Blood City: Chicago by Night: https://youtu.be/UVHhO-3W7sA

Scion: Behind the Screen: https://youtu.be/AGhw0vOPK-c

Pugmire: Paws & Claws: https://youtu.be/rRTCT1O680U

A special shout-out to the Blood City crew who have been running a fantastic Vampire: The Masquerade chronicle using V5 Chicago by Night. Do check out their chronicle on our YouTube channel!

In case you missed it last week, Ekorren gives us a fantastic deep dive into the Trinity Continuum here in this excellent video: https://youtu.be/Vk0UJbWijtg

More new Occultists Anonymous for all you Mage: The Awakening fans out there:

Episode 80: Collected Thoughts  With Songbird recovered from his ordeal with a vampire, the cabal reconvene at the Rookery Sanctum and journey into the Temenos. They search tour through Pottery and Art and… Valhalla?! https://youtu.be/vImtFvc6NPw

Episode 81: Mirror Match  The cabal continues their travels in the Temenos searching for symbols of Wyrd, and since they’re there, maybe a few trophies of their own…  https://youtu.be/bBVbV9nmd3o

Red Moon Roleplaying continue their actual play of V5 Cults of the Blood Gods, on their YouTube channel, Spotify, their website redmoonroleplaying.com and everywhere else good podcasts might be found! https://youtu.be/hCM3aKucS7s

The Story Told Podcast are on the second episode of their excellent Geist: The Sin-Eaters 2nd Edition – The 78 Laments – game right here:  http://thestorytold.libsyn.com/the-78-laments-episode-2

Please check any of these out and let us know if you find or produce any actual plays of our games!

Electronic Gaming!

As we find ways to enable our community to more easily play our games, the Onyx Dice Rolling App is live! Our dev team has been doing updates since we launched based on the excellent use-case comments by our community, and this thing is awesome! (Seriously, you need to roll 100 dice for Exalted? This app has you covered.)

On Amazon and Barnes & Noble!

You can now read our fiction from the comfort and convenience of your Kindle (from Amazon) and Nook (from Barnes & Noble).

If you enjoy these or any other of our books, please help us by writing reviews on the site of the sales venue from which you bought it. Reviews really, really help us get folks interested in our amazing fiction!

Our selection includes these latest fiction books:

Our Sales Partners!

We’re working with Studio2 to get Pugmire and Monarchies of Mau out into stores, as well as to individuals through their online store. You can pick up the traditionally printed main book, the screen, and the official Pugmire dice through our friends there! https://studio2publishing.com/search?q=pugmire

We’ve added Prince’s Gambit to our Studio2 catalog: https://studio2publishing.com/products/prince-s-gambit-card-game

Now, we’ve added Changeling: The Lost 2nd Edition products to Studio2‘s store! See them here: https://studio2publishing.com/collections/all-products/changeling-the-lost

Scarred Lands (Pathfinder) books are also on sale at Studio2, and they have the 5e version, supplements, and dice as well!: https://studio2publishing.com/collections/scarred-lands

Scion 2e books and other products are available now at Studio2: https://studio2publishing.com/blogs/new-releases/scion-second-edition-book-one-origin-now-available-at-your-local-retailer-or-online

Looking for our Deluxe or Prestige Edition books? Try this link! http://www.indiepressrevolution.com/xcart/Onyx-Path-Publishing/

And you can order Pugmire, Monarchies of Mau, Cavaliers of Mars, and Changeling: The Lost 2e at the same link! And NOW Scion Origin and Scion Hero AND Trinity Continuum Core and Trinity Continuum: Aeon are available to order!

As always, you can find Onyx Path’s titles at DriveThruRPG.com!

On Sale This Week!

This Wednesday, we will be releasing the PDF and physical book PoD versions of V5 Chicago By Night on DTRPG!

Accept no substitutes: Chicago is the city of vampires.

Claim a haven on the Gold Coast. Carve a place of this bustling metropolis for yourself.

Subjugate a handful of the living on Michigan Avenue. Take a few deep drinks from some of the intoxicating vessels we have around here. 

Discover the nightlife. Come visit the Succubus Club, the Blue Velvet, or Red Noº 5, if they’ll let you in. The guest list is pretty damn exclusive.

Introduce yourself to the Ventrue Prince. Get to know his vision. Buy into it. Serve it. Stay on his good side and your immortality is going to be just fine.

Just ignore the purges of Anarchs, Thin-Bloods, and fledglings when it grows inconvenient, yeah? Stay invested in the Camarilla and it’ll stay invested in you. Remember who’s got your back and who can take that backing away in the blink of an undead eye. 

Chicago can be everything for a vampire like you.

You just have to accept Chicago into your heart. Become a part of the city.

Chicago by Night includes:

A history of Chicago from multiple vampire perspectives and accounts of the domain as it exists in the modern nights, along with systems for how to run this city like the twisted, dysfunctional machine it is

An introduction for the Clan of Night’s entry to the Camarilla and rules for playing Lasombra in Vampire: The Masquerade 5th Edition, including their Discipline of Oblivion.

Over 50 individual Kindred with biographies, ambitions, secrets, relationships, and reasons for inclusion in any given chronicle, along with fiction illustrating these characters and key locations around the city.

A multitude of chronicle hooks covering everything from the Beast and the Hunger to Humanity and Hierarchy, and a single large chronicle in which the Lasombra make it their mission to join the elite ranks of the Camarilla.

Coteries illustrating the factionalism of Chicago’s Kindred and new coterie examples for your characters.

Loresheets for characters new to or already based in Chicago, providing players easy ways to integrate their characters into the book’s many stories.

Conventions!

More conventions will be listed for 2020 in the weeks to come-

And now, the new project status updates!

DEVELOPMENT STATUS FROM EDDY WEBB (projects in bold have changed status since last week):

First Draft (The first phase of a project that is about the work being done by writers, not dev prep)

Exalted Essay Collection (Exalted)

N!ternational Wrestling Entertainment (Trinity Continuum: Aberrant)

Contagion Chronicle Ready-Made Characters (Chronicles of Darkness)

RUST (Working Title) (Scarred Lands)

Under Alien Suns (Trinity Continuum: Aeon)

Mission Statements (Trinity Continuum: Aeon)

Adversaries of the Righteous (Exalted 3rd Edition)

Novas Worldwide (Trinity Continuum: Aberrant)

Exalted Essence Edition (Exalted 3rd Edition)

The Clades Companion (Deviant: The Renegades)

The Devoted Companion (Deviant: The Renegades)

Saints and Monsters (Scion 2nd Edition)

Redlines

Kith and Kin (Changeling: The Lost 2e)

Dragon-Blooded Novella #2 (Exalted 3rd Edition)

Hundred Devil’s Night Parade (Exalted 3rd Edition)

Trinity Continuum: Adventure! core (Trinity Continuum: Adventure!)

TC: Aberrant Jumpstart (Trinity Continuum: Aberrant)

They Came From Beyond the Grave! (They Came From!)

Second Draft

M20 Victorian Mage (Mage: the Ascension 20th Anniversary Edition)

Exigents (Exalted 3rd Edition)

Crucible of Legends (Exalted 3rd Edition)

Many-Faced Strangers – Lunars Companion (Exalted 3rd Edition)

Duke Rollo fiction (Trinity Continuum: Aberrant)

Development

Heirs to the Shogunate (Exalted 3rd Edition)

TC: Aberrant Reference Screen (Trinity Continuum: Aberrant)

Scion: Demigod (Scion 2nd Edition)

Across the Eight Directions (Exalted 3rd Edition)

Contagion Chronicle: Global Outbreaks (Chronicles of Darkness)

Manuscript Approval

Scion: Dragon (Scion 2nd Edition)

Masks of the Mythos (Scion 2nd Edition)

Trinity Continuum Jumpstart (Trinity Continuum Core)

Contagion Chronicle Jumpstart (Chronicles of Darkness)

Post-Approval Development

Scion LARP Rules (Scion)

One Foot in the Grave Jumpstart (Geist: The Sin-Eaters 2e)

Player’s Guide to the Contagion Chronicle (Chronicles of Darkness)

Editing

Geist 2e Fiction Anthology (Geist: The Sin-Eaters 2nd Edition)

Dragon-Blooded Novella #1 (Exalted 3rd Edition)

Legendlore core book (Legendlore)

Mythical Denizens (Creatures of the World Bestiary) (Scion 2nd Edition)

Pirates of Pugmire KS-Added Adventure (Realms of Pugmire)

Terra Firma (Trinity Continuum: Aeon)

Deviant: The Renegades (Deviant: The Renegades)

Lunars Novella (Rosenberg) (Exalted 3rd Edition)

Buried Bones: Creating in the Realms of Pugmire (Realms of Pugmire)

Monsters of the Deep (They Came From Beneath the Sea!)

Tales of Aquatic Terror (They Came From Beneath the Sea!)

Mummy: The Curse 2nd Edition core rulebook (Mummy: The Curse 2nd Edition)

Titanomachy (Scion 2nd Edition)

Post-Editing Development

City of the Towered Tombs (Cavaliers of Mars)

W20 Shattered Dreams Gift Cards (Werewolf: The Apocalypse 20th)

Scion Companion: Mysteries of the World (Scion 2nd Edition)

Cults of the Blood Gods (Vampire: The Masquerade 5th Edition)

Hunter: The Vigil 2e core (Hunter: The Vigil 2nd Edition)

Let the Streets Run Red (Vampire: The Masquerade 5th Edition)

M20 The Technocracy Reloaded (Mage: the Ascension 20th Anniversary Edition)

WoD Ghost Hunters (World of Darkness)

Trinity Continuum: Aberrant core (Trinity Continuum: Aberrant)

Lunars: Fangs at the Gate (Exalted 3rd Edition)

Indexing

ART DIRECTION FROM MIKE CHANEY!

In Art Direction

Trinity Continuum: Aberrant

Hunter: The Vigil 2e (KS) – Running on KS.

Ex3 Lunars

Cults of the Blood God (KS)

Mummy 2 (KS)

City of the Towered Tombs – Recontracted.

Let the Streets Run Red – Contracted.

CtL Oak Ash and Thorn – Finals coming in this week.

Deviant

Legendlore (KS) – All notes out by today for KS.

Technocracy Reloaded (KS)

Scion Companion – Contacted.

TC: Aeon Terra Firma – Contracted.

WoD: Ghost Stories (KS) – Cover contracted.

Tales of Aquatic Terror

Pirates Extra Adventure – Contracted.

In Layout

Yugman’s Guide to Ghelspad – Ongoing.

Scion Mythical Denizens – In proofing but need some full page art to come in.

Contagion Chronicle – With Josh.

Vigil Watch – Art finals coming in today.

TCfBtS!: Heroic Land Dwellers

Night Horrors: Nameless and Accursed – Waiting for cover art, then to proofing.

TCFBtS! Screen and Booklet

Proofing

Dark Eras 2 – Errata being annotated and then back to Aileen.

Trinity Continuum Aeon Jumpstart

They Came from Beneath the Sea! – Off for pageXXing.

Chicago Folio – Out to backers for errata.

Trinity Continuum Aeon: Distant Worlds – Notes back from dev.

Pirates of Pugmire – Gotta go over this today.

At Press

V5: Chicago – PDF and PoD versions on sale at DTRPG this Wednesday!

Geist 2e (Geist: The Sin-Eaters 2nd Edition) – Shipping to backers, PoD files uploaded.

Geist 2e Screen – Shipping to backers.

DR:E – At fulfillment shippers, PoD files uploaded.

DRE Screen – At fulfillment shippers.

DR:E Threat Guide – Helnau’s Guide to Wasteland Beasties

Memento Mori – PoD proof ordered.

Trinity Continuum: Aeon RMCs – PoD proof ordered.

Wraith20 Anthology – PoD proof ordered.

Today’s Reason to Celebrate!

Long time readers of this MMN Blog may note that a lot of Reasons to Celebrate are focused on national US holidays. Which in the US are celebrated on Mondays, due to the Uniform Monday Holiday Act which was put into effect so we in the US could have more official three-day weekends, and our weekly staff meeting that leads into this blog is also on Monday. Today is President’s Day. Or Presidents’ Day. Or George Washington’s Birthday. So, with all due respect to our first president, and according to folklore the man who refused to be king, this is a weird one:

Even though George Washington’s birthday was February 22nd, the day is officially celebrated on the third Monday in February.

Even though Presidents’ Day is a federal holiday, each state is free to call it what they choose and how to celebrate.

Washington’s Birthday can never occur on the public holiday. Under the Gregorian calendar Washington’s Birthday was 22 February, but the holiday is observed on the third Monday in February, which cannot occur any later than February 21.

Like I said, weird. But that in and of itself is Reason to Celebrate! Let’s hear it for a bit of weird in the midst of everything else we deal with!

[wineanddinosaur]

VinePair Podcast: American Wine Has Boundless Potential

American wine has never been in a better place. Wine is now being made in all 50 states, and the map of exceptional wine regions has expanded well beyond California. From Virginia to Michigan, New Mexico to New York, Texas to Idaho, American grape growers and winemakers are finding exciting new sites for viticulture and, in many cases, unfamiliar varieties that are greatly expanding the boundaries and potential for domestic wine.

On this week’s VinePair Podcast, Adam Teeter and Zach Geballe are joined by VinePair tastings director Keith Beavers to give an overview of the current landscape of the American wine industry in conjunction with VinePair’s American Wine Month. They discuss the emerging wine regions in Paso Robles, the Columbia Gorge, and the Great Lakes, and ponder what America’s love of wine tourism will mean for these regions and others moving forward.

Listen Online

Listen on Apple Podcasts

Listen on Spotify

Or Check Out the Conversation Here

Adam: From the Ritz Cracker display at Publix, I’m Adam Teeter. You don’t get it? But no, really from Brooklyn, New York, I’m Adam Teeter

Keith: From Brick City, I’m Keith Beavers

Zach: And in Seattle, Washington, very confused, I’m Zach Geballe.

A: And this is the VinePair Podcast. Zach, how are you confused? They had a press conference last weekend where Rudy Giuliani came live from the Four Seasons Total Landscaping instead of the Four Seasons Hotel.

Z: I guess…

A: So I’m coming live from the Ritz Cracker display instead of the Ritz Carlton.

Z: I got you. I feel like we’re like a week and a half late on this joke, though.

A: No, I think it’s good. I still think it’s hilarious. We’ll have to wait to see what it sounds like to the listeners, but anyways guys, so this podcast is all about American Wine Month. The month at VinePair, we’re devoting to all things U.S- made wine. I really want to thank our sponsors Virginia Wine, CakeBread Cellars, Domaine Carneros, and 3 Girls.

And I’m excited to talk to both of you about wine. Keith is our guest host, VinePair’s tasting director, for this week. But before we jump into that, we’ve been doing a pretty fun segment at the top of the show every week now about what everyone’s been drinking recently. I’m assuming you guys have been drinking some dope shit as of what happened last week. So Keith, what about you first?

K: Well, some dope shit is correct, Adam. Well, you know, American Wine Month at VinePair, I’ve been deep, deep, deep into American wine. And I’m really excited. I love Virginia wine, and I’ve been tasting some seriously great Virginia wine, and a lot has been sent to us. And it was kind of great. On Saturday, after the big announcement, I sat and drank a bottle of Jefferson Cabernet Franc from the area in which Thomas Jefferson allocated vineyard space, south of Monticello, to actually try to make America a wine-growing nation. And somebody came and they bought the property and they’re doing great things, and it’s just an amazing, beautiful Cabernet Franc so it kind of made sense. And I listened to the Jimmy Hendrix “Star-Spangled Banner” while I was drinking it.

A: Sweet. Zach, what about you, man?

Z: Well, I’ve also been on the American wine train, as I often am. And I think for me this past week, it was a lot of Willamette Valley Chardonnay. So Pinot Noir in the Willamette gets a lot of press, obviously. It’s by far what’s most widely grown and made there, but I’ve been really excited about Chardonnay from the Willamette and in particular a bottle from a producer called Cooper Mountain. Their old-vines Chardonnay, which I think date back to the late ’70s, some of the oldest Chardonnay plantings in the Willamette that are still in use and it was f****** delicious. So, I didn’t pair it with any music, Keith, I’m sorry. Well, pretty much all that gets played in my house these days are the songs my 2-year-old is obsessed with. So unless you really want to know how well Willamette Valley Chardonnay pairs with songs about bucket trucks and skid-steers, that’s another podcast.

A: Please, tell us more. So for me, that Saturday was a day I busted out the top stuff. And I’d had this bottle of Champagne in my house for a while and we just said, f*** it. So I opened a bottle of 2006 Pierre Jouët Belle Epoque Blanc de Blanc and it was awesome. ‘Cause I went out into the park in Fort Greene. Spike Lee was DJing, which was amazing. There was like a crazy amount of energy. And we just sat in the park myself, my wife Naomi, and Josh, who co-founded VinePair with me.

And we just drank the wine and it was really fun to watch everyone. And then people were sharing, you know, glasses and passing stuff back and forth. We had other things, too, but that was like the bottle that we popped first. You know, and it was just, you know, really memorable. And we actually, like, we brought coupes out with us.

It’s like whatever, let’s go full agro here. Just bring the glassware. And it was awesome. I mean, it was just a lot of fun, so that was, that was the most memorable thing I drank last week. Although I will say there was one other amazing experience I had, which was earlier in the day, actually that morning before everything got called, and this is why I was with Josh because I live in Brooklyn and Josh lives in Manhattan, so we don’t normally just find ourselves together when a random event like this occurs and everyone just decides to run out to somewhere and start drinking. But we had a meeting in the morning with Brian, this amazing entrepreneur who founded the sake distillery in Brooklyn called Brooklyn Kura, which now has pretty quickly over the past few years become known as the best Sake distillery outside of Japan. Sorry, sake brewery, and I’d never been to a sake brewery before, actually.

And first of all, the sakes were really delicious, but again, what do I know? I think they were very delicious. I enjoyed them, but I very easily admit that I don’t know a lot about sake, but these pleased my palate. And it was really cool to watch the process until I go back in the back with him and sort of understand how they’re actually making sake. Have either of you ever been to a sake brewery before?

K: No.

Z: I have, yeah, there’s one down in Oregon that I’ve been to.

A: It’s so interesting to watch what they’re doing. I didn’t realize how many people now are making more artisanal styles. Like, growing more artisanal-style rices in certain parts of the country. There’s a lot of really cool rice coming out of Arkansas, which I never would have thought of, and it was cool to watch. They don’t have the machine there that actually refines the rice. They’re actually able to still take advantage of the fact that there’s a lot of commercial sake distilleries in California. He was explaining all this stuff that we’re used to as Americans that sort of turned us off of sake, like the really warm sake bomb-type stuff.

None of that’s made in Japan. That’s all being made by Japanese companies, but in California, which I also didn’t know. But they have all these facilities where they can refine the rice. So they sell them to other people. But then there’s this one guy who he said is a little nuts, out of Chicago or maybe Indiana who’s started to set up his own sake place as well. And he went and bought his own refining machine. So he’ll take some of the more artisanal stuff and then sell them back to people like Brooklyn Kura.

K: This is insane.

A: It’s crazy. But then they soak the rice forever in water which I didn’t realize. And then the thing I didn’t realize is then they cook the rice and then they let a mold grow on it, and it’s actually the mold that creates the sugars that allows the fermentation.

Z: It’s really cool, too, because it’s like this weird kind of simultaneous fermentation. Well, not really two fermentations, but the Koji is producing the sugar out of the starch of the rice at the same time as yeasts are fermenting the sugar. So as you maybe saw some in-process as I have, it absolutely does not look like something you would want to ingest. It’s horrifying.

A: No, it doesn’t. Yeah. It’s literally like they’re just letting mold grow on rice and then when they go to brew it, it then comes out the way that it is, but he also had us taste some wild stuff. So first of all, another thing I didn’t realize was that sake doesn’t really age. He said that it can, but not in a way that you would think about with wine or things like that. Once it’s basically a cold temperature, it is what it is. He said there’s some funk, there’s some people doing some stuff in Japan where they are letting it sit for years and years. And it just changes. It just may not be the thing that everyone wants to drink. I kind of think it becomes a thing where like at the same time now people have a taste for Brett and stuff. It’s like, you get a taste for that kind of like weird funk that develops after the sake gets old. There’s definitely like a small population of sake drinkers that like that, but not a huge group. But that was super interesting to understand. And then they actually dry-hopped sake. And he poured it for us. And I literally thought that I was drinking liquid grapefruit juice. It was the craziest thing I’d ever tasted. And it was pink because it pulls out the colors from the hops, which is weird because hops are green, but for whatever reason, it ends up a pinkish-orange color, and they almost sell it as a rosé. And then of course they’re doing other stuff too. Like they’re making like a Pét-Nat sake. I was like, here we go.

Z: You really were in Brooklyn.

A: Yeah. I was in Brooklyn. I was in Industry City. But yeah, just shout out to them ‘cause they’re doing really cool stuff, and I thought it was delicious.

K: What was the alcohol on the dry-hopped?

A: It was like 12 percent or something like that. 12, 14. So, I mean it’ll hit you, but not in the way that other things will, it was very tasty.

I was very impressed and they’re of course trying to make sakes that they’re not encouraging you to then use as a spirits substitute for cocktails and stuff. Their whole goal is to have you drink the sake as it is. And also their big push, too, is to take it out of the American idea that you’re supposed to have it in those little short sake glasses. They obviously serve theirs in wine glasses and in smaller ones, more like what you would think of a white wine or something at a wedding. That’s kind of the way I think of what glass size they use. But he explained to me, too, where the small sake glass comes from, and it has nothing to do with aromas or anything like that. It’s that in Japanese culture, the more you’re serving the guests, the more pleasure it gives you. And so if it’s a smaller vessel, you have to serve your guests more often. And so that’s the only reason the sake glass is small, because we would constantly be refilling your person’s glass. And so that’s you showing yourself as being a very good host. But of course, Americans, as Brian joked, we see that glass and we’re like, “Sweet! It’s a shot.” We just throw it back. But yeah.

Z: This has been super interesting and I look forward to next year’s American sake month.

A: I know. Totally. But yeah, thanks Zach. You didn’t get the Ritz Cracker joke, now you’re just hating on my sake stuff.

Z: No, no I’m just saying let’s transition.

A: Well, yeah, let’s talk about American Wine Month. So I mean, all of us, we’re from different parts of the country. I mean I lived in the South for awhile. Then went to school in the South and moved up here. Zach you’re from the Northwest and then obviously went to school in New York. Keith’s from all over. Maryland, New York. So we’ve all sort of traveled a lot. And I think what’s really interesting about the United States is that first of all, as we know, there’s bonded wineries in all 50 States. As we noted, Zach, before we started the podcast, just being a bonded winery doesn’t necessarily mean that they’re making wine from vinifera, but they are making some sort of wine. But there’s really cool stuff happening all over the country. And I think what’s so exciting about it, is that it shows it’s not just about three or four of the regions that probably everyone knows. And there’s really amazing stuff coming from everywhere. And I guess my question to both of you guys to just start this is: Is there such a thing as American wine? What do you think American wine is? If someone said to you American wine, what would you immediately think of?

K: For me, I believe American wine is wine made from grapes that are not from here, by people that are not from here. We all came from somewhere else to be here, unless you’re an indigenous culture. And I think that American wine for me is defined by the ability to grow vines that are meant for the soils in which they’re grown in. And the wine is made in such a skillful way that it represents that area, whether it’s a Viognier, whether it’s Petit Manseng, whether it’s Cab Franc, whether it’s Grüner Veltliner, it doesn’t matter. In Texas they’re doing Tempranillo, and people dig it, but they’re also making fruit wine, you know? So I see American wine as this sort of Wild West mentality, but now finally with more information about science and technology, focusing more on the soil, more on where we grow grapes, why it’s good to grow them there. And then, making good wine. So that’s how I see it. And we’re not done yet. The Petaluma Gap in Sonoma was awarded in 2017. In Washington State, I just found out two weeks ago, two more AVAs were awarded in the Columbia Valley. So we’re still working on it, but I think that’s kind of what defines it to me.

Z: Yeah. And I think Keith you capture a really important piece here, which is what I often think about as well, which is this idea of — whether you want to use the Wild West metaphor — or to me, it’s just this idea that there was no existing wine culture in this country in terms of growing or consuming until quite recently. And some of what did exist was wiped out by Prohibition and it was slow to recover. And what’s been really exciting for me about American wine is that we are now at a place with the industry where it’s so much more developed and mature than it was 10, 15, 20 years ago. So that not everyone has to feel like they have to make a wine that refers to Europe. I mean, yes, the varieties, the cultivars, the clones, and of course the species itself is European in nature, but we are not necessarily seeing wine regions in the United States feel too confined by established European styles by saying, “Oh, well in Bordeaux, they plant these X number of varieties, and so those are the only things we can plant here.” Obviously you still see a lot of that. I don’t mean that those wines have disappeared. Of course they’re still very popular and rightfully so, but you do see experimentation with all kinds of different varieties and people saying, “Well, why can’t I grow a Spanish variety and a French variety and an Austrian variety and a Croatian variety all in my vineyard? I think they’ll work here. I want to make wines that are of these various styles or from these varieties. And I can do that.” And that’s a freedom that just does not exist in most other places. Few other places in the new world have similar spirits, but here in the U.S. we have this almost endless amount of land that could be potentially converted to viticulture, should someone want to do it.

A: Yeah, I think that’s true. I think the other thing that makes American wine so interesting is that this country is just so big. Every state is almost its own country. So, what works in the Finger Lakes may not necessarily work in Texas. But that’s OK  because there’s other things that can work. And I think the thing that started to define American wine for me, which I really like, is that over the last decade, two decades even, there’s become less of a focus by a lot of the really top producers — and then everyone else has followed — of having to make a wine in America that tastes like a wine from the Old World. It’s like no, the Cabernet from Napa tastes like Cabernet from Napa. There’s less of that now. I remember even early on in my wine journey, I would go to the North Fork and the winemaker would say like, yeah, we’re really going for a Right Bank Bordeaux. And now you don’t hear that as much here. Why aren’t we saying no, this is a North Fork wine, right? This is what it is. And becoming more confident that, yes, we can take the grapes from Europe and the wines don’t have to be copies of the wines from Europe to be considered high quality and to be considered best in class and all of those things. They can be their own thing.

K: And what’s cool about that is the fact that what we did was, in trying to emulate European wine, we created our own styles. Which is really kind of cool. I mean, I know the meritage thing never really took where, you know, in California there was this word called meritage. And if you had a meritage if you used all the Bordeaux varieties and stuff, but we ended up making our own stuff and created our own style, which is really awesome.

A: Totally.

Z: Yeah. And I think actually to the point that you were making, Adam, as well, I think even more excitingly now, not only do you not hear wineries, and wine producers, wine regions say, “Oh yes, our wines are comparable to the wines of ‘pick your French region of choice.'” But even something like Napa, which is obviously an American wine region, I don’t even hear as many wineries, say, “Oh, we’re making a Cabernet like a Napa Cab.” There is a real understanding that what makes a lot of these parts of the country that are growing grapes and making wine so exciting is that they are their own thing. And yes, there’s going to always be some similarities. I mean, to some extent the character of each of these varieties or blends is going to show through, but it’s cool that whether you’re in Virginia, or Washington, or Oregon, or Texas, or Arizona, or any other place, I think the more that producers in those places can be comfortable saying, “We think we’re making a wine that’s really representative of this place and of these varieties of this place, of this vintage.” Those are the wines that I think all of us get excited about. And the wines that are harder to get excited about are someone who’s trying to make a replica of something that already exists. I mean, yeah. If you can make a wine that tastes like Château Margaux and it’s way cheaper, I guess that’s cool. But really the most exciting thing for me is to make a wine that is clearly and interestingly of the place it’s from. And this country has a lot of interesting, cool places. As you mentioned, Adam, it’s this incredibly vast country with incredibly different geology, climates. All these things that make for incredibly remarkable wine regions. And we’re just still scratching the surface. I mean, Keith, you mentioned how there’s new AVAs being awarded all over. And I mean, I was excited to see that Hawaii has now petitioned for its first AVA. The only wine I’ve ever tried from Hawaii is a pineapple wine, which was actually kind of good. But this is vinifera to be clear. But I think that’s super exciting and like, we don’t know. There’s all kinds of possibilities still out there. And the cool thing about wine is that it rewards exploration and experimentation and taking a chance. Of course, not all of them will work out, but there’s always that possibility.

A: My question to you guys is, over the last decade, we’ve seen new regions in Europe that have always existed, but have popped really big in the U.S. and more money has flooded in. So I’m thinking about, for example, like the Jura right? All of a sudden, a bunch of somms are talking about it and it was everywhere. Sicily, specifically Etna. And then all of a sudden, now you have Burgundy producers buying land there. You have Barbaresco and Barolo producers buying land there. What do you guys think? If there was a region that you think was going to pop next in the U.S. and you think, “Oh my God, this is the region that’s going to pop. And every single person is going to realize how great it is, and there’s gonna be money flooding in there.” Is there one or could you think of one?

K: Yeah. I mean, what’s cool about Washington State is it seems to be a really big — what is it, the second largest wine-producing region in the country? And there’s been some very significant investments there starting from back in the day. And I think we’re already seeing investment in Virginia. So to think of a brand new space —

A: No. I’m not saying brand new because you look and Etna existed forever, right? It just, all of a sudden, who knows what it was? It was someone saying like, “Oh my gosh, these are like Burgundy. And all of a sudden, everyone just started dumping money. Right? And it became the thing people were talking about. I’m just wondering, what are a few regions in the U.S. we think that there could be or, maybe there isn’t yet. Maybe there is, I agree with you that the thing I think is most ripe for it is Washington. And that’s honestly just because for whatever reason, Zach might think I’m kissing his a** right now. But for whatever reason, like that stage has flown under the radar for a really long time for no explainable reason.

Z: Allow me to explain why.

A: Please, because the explanation I’ve always heard is that Oregon just got there first or whatever, and people start talking about the Pinot Noirs, and people just forgot that Washington was there, but I’m sure there’s a better explanation than that.

Z: Well, I think that the biggest thing that’s changed about the wine industry in my time in it, and the way that consumers tend to think, is one of the things that worked against Washington for a long time was that it had no clear cut variety or style of wine that was the signature. And there’s certainly plenty of famous and highly priced Washington Cabernets and Cabernet-based blends. Pre-“Sideways,” there was a lot of emphasis on Merlot and I think Washington Merlot is actually really an exciting wine, for sure. But the strength of Washington is almost like the strength of the U.S. in a microcosm. It’s the diversity and it’s all the different things that can be made. And we’ve only, I think just in the last few years reached a place where in the American wine market, there’s actual interest in a lot of different kinds of wines, a lot of different varieties, a lot of different styles.

And so there are still the diehard “I only drink Pinot Noir. I only drink Cabernet. I only drink Chardonnay” folks, but most wine people that I meet these days or talk to, they’re interested in trying something new. And that’s where I think Washington has an incredible possibility, which is to say, “Hey, we are growing over a hundred different varieties.” There are people focusing on all kinds of different things in this state. There are wineries that focus exclusively on Spanish varieties. There are wineries that focus exclusively on white wines from the Rhône Valley and south of France. There are wineries that do just about everything in their own way in various different sizes. And the thing, to come to your question about a region, Adam, I actually think that one of the most exciting places in the country and a place that I think the same kind of people who got excited about the Jura are, or will be excited about, is the Columbia Gorge. And the biggest reason for that is that it is such an incredibly unusual appellation and growing region for Washington. So it’s on the border between Washington and Oregon. And unlike the vast majority of Washington, it’s actually relatively cool and a little bit more wet. So it isn’t as much of a sort of high desert environment like much of Eastern Washington. It’s much more like the Loire Valley in France in terms of its climate, but with a very different geology and a lot more elevation. And so you’re seeing people make amazing whites from both well-known varieties like Chardonnay, but also Grüner Veltliner. People are doing interesting things with Tocai Friulano and then you’re also seeing a lot of interesting cool- climate style reds, which has not been a big thing in Washington State for sure. But there’s interesting Pinot Noir there. There’s amazing Gamay, you’re seeing people do fun things with Cabernet Franc. And, and as you move to the eastern edge of the Columbia Gorge, you do get a little bit more of what we associate with the rest of Washington. So a little bit hotter, but you still have that real river influence. So it is its own area. And what’s cool is you have all the other things that I think draws people to places like the Jura is the producers are all pretty small. There’s no big wineries. So the wines are niche there, and they’re small production. And unfortunately it makes it hard to find some of those wines around the country, for sure. But for people who are interested in exploring, it’s an area where there’s a lot of interesting small- to medium-sized wineries who are doing fun things. And that’s definitely one area, again, because of my proximity is part, that I think is ripe for more discovery around the country.

K: Well, I think based on your question, Adam, this is I mean what it sounds like to me is the United States, we’re still working on it. You know, we have a lot of work to do because in 1980, the first AVA was awarded to Augusta, Mo.  And then eight months later in 1981, the first AVA in California was awarded to Napa Valley. And since then, we’ve had 224 AVAs across the country. And for a long time, like I said earlier, people were forcing vines into soils that didn’t really work so much. But I think it’s not really about what the next exciting region is. I think it’s more about how we, as an American wine drinking culture, approach the places that exist. Maybe for example, Temecula has awesome wine. No one knows Temecula. Paso Robles.

A: I was waiting for it.

K: There it is. I am in love with that AVA. I think it’s an absolute phenomenon that it kind of flies under the radar because there’s a few brand names that are jiving on the American market that you can find in supermarkets in wine shops. But there’s also stuff that you can’t really get outside of Paso. Just like there’s things you can’t get out of Temecula, and things you can’t get out of Columbia Gorge. So I think that one of the things — and again, we’re in a pandemic and it’s different, but that’s not gonna last forever.

I guess what I’m saying is, we get to go to these places and see what these skilled winemakers are making. And I think the next thing with American drinking culture is to explore the diversity of the wines in the area. Let’s get people into Long Island Grüner Veltliner. And the thing is if you can’t get it, well the DTC, the direct-to-customer thing, is getting a little bit better. I think that celebrating what’s fun, and that in doing so we can actually educate the American wine consumer on more varieties, different kinds of cultivars and stuff. Like what’s Grüner Veltliner? Well, it’s this Austrian variety and it’s really awesome in Long Island, you know? So I think that’s where we should go next.

A: Yeah, I think, what’s difficult for people and I would say, you know, the best advice I could give about American wine is, don’t be scared to take a risk. And don’t turn your nose up just because you hear of a state and you’ve never heard that it makes wine before. Because I guarantee you there’s someone in that state making really great wine. Like when I’ve heard people be like, “Oh, Connecticut, they make wine? That can’t be good. Or New Jersey, New Jersey makes wine?” I mean I literally have not, which is a shame, ’cause I’m so close to New Jersey, there’s apparently a lot of amazing wineries in South Jersey. Yeah. You’re in New Jersey in Brick City, or Pennsylvania in Lancaster County, where my wife is from. She’s from Lancaster the city, but in the county, there’s an Amish guy that ripped up his farm and planted vineyards. And honestly, he makes a Merlot that’s amazing.

Z: I think the other area to think about and I’m super excited about, Adam — I think you and I like jokingly mentioned this way back in one of our very first podcasts – but it was like a lot of the states around the Great Lakes area where I think there’s really interesting potential, whether it’s in Michigan or potentially even in Wisconsin. As things start to change climatically, and as places get a little bit warmer potentially and drier during the summer, I think one thing that America doesn’t have a lot of are classic wine regions that are near large bodies of water that are not oceans. And when you compare that to Europe, the Finger Lakes are the one exception and we think the Finger Lakes are super exciting in part because of the possibility that that kind of viticulture provides. And I think you could see some really interesting wine coming out of those States in the next 10 to 20 years. I know one of the challenges for a lot of those areas is that traditionally they get so cold over the winter that there’s only a few varieties you can really plant that are cold-hardy. But, I think you’ve seen more and more development in understanding rootstocks and, and ways to shelter vines. That’s an area that I have my eye on. I think I’ve tried a couple of Rieslings from Michigan. That’s the extent of what I’ve tried from the Great Lakes, but, I’m really excited to see if there’s more investment and interest in putting some time into those.

K: Left Foot Charley and his no-residual, no-RS, no-residual-sugar Riesling from just North of Traverse city is just incredible. And what’s awesome is his winery is located in an old asylum. They took this asylum up in Michigan and then it closed down and they were repurposing it. It’s really intense.

A: Yeah. I mean, I think there’s a lot of opportunities, right? I mean, we’ve talked about Virginia a bunch. Obviously they sponsored American wine month, but we’ve been hot on Virginia for a long time. I think there’s a potential for it to be one of the great wine regions of the country. And especially on the East Coast, there’s a lot of stuff happening there that’s really exciting. And especially as the vintners are getting more up into the mountains, into the actual Shenandoah Mountains, they’re finding the cooler temperatures. They just have to deal with more stuff, and that’s the thing that’s going to be difficult, right? As some of these wine regions expand, how much are we going to be willing to also be OK with some of the things they need to do to be able to make good wine?

So, you know, in Virginia, they have to deal with a lot. And there’s a lot of humidity and stuff like that. And so being 100 percent organic is almost impossible, whereas it’s very easy in Napa. So is “sustainable” going to be enough? Right? Are we gonna be OK if they spray once or twice a year? ‘Cause they have to. I don’t know what it’s like in Texas. I just know Texas is super hot, but maybe it’s a dry heat. I don’t remember where it becomes a dry heat. So there���s gonna be things they have to do. There’s gonna be things that they have to do if we want to be able to have some of these different wine regions succeed. I think it’s crazy that we haven’t seen more. You look at certain regions like New Mexico, right? And the success of Gruet, and how amazing those sparkling wines are. And the fact that we haven’t had others yet, or I’m sure there are, but just other people haven’t followed in a really dramatic way. It surprises me to be honest. And that’s why I asked my original question, which was, you know, where do you guys think the money is going to come from, or what region do you see your money flooding into? And I wonder if it has a lot more to do with bias, right? Because there’s this amazing sparkling wine being made in New Mexico. And yet all the brands aren’t flooding in to be like, “We should be doing that, too. Look at what they’re doing.” This is a quality of wine that we can’t believe they’re being able to produce. And at this price point. Whereas when someone says, you know, Italy and Etna and everyone is like, “Oh yeah, of course Italy! Yeah. Dump the money in.” Or all of a sudden it’s like that bias of well, of course, it’s the Old World. And so they’ve always been making wine. So yeah, we all forgot about this region, but it’s always been there and is it easier for some people to accept for whatever reason when honestly, if you can produce great wine in a region, like why does it matter how long that region has been producing wine? Especially because if you look at the Sicilian history of producing wine, for a very long time, it was very, very bad. So how did that change? And the only thing that I can think of is the bias, that European bias.

Z: And I think the other piece of this is one thing we haven’t talked about and I don’t mean to get into a long conversation about, but a part of the American wine experience also has to do with tourism and visiting wineries. And I do think that one of the reasons you’ve seen a bias towards certain parts of the country is because those are places that are convenient for tourists, that are otherwise accessible, that are beautiful. And it may be the case that the beauty of the high desert in New Mexico, I think is actually very striking, but it’s not as much of an obvious tourist destination as Napa Valley. It also doesn’t have the density of other stuff to do. So I’m not saying there’s some reason, there’s a bad reason for that. And I think sometimes it’s hard to disentangle in the U.S. the difference between regions that are great wine destinations and great wine-producing regions. And those two things can be synonymous, but they’re not always, and some of the places that I’m excited about as regions that could produce great wine may never be places that are high on anyone’s travel list.

And that is also true in Europe, to be fair. I mean, I love the wines from Emilia-Romagna and I love the food from Emilia-Romagna in Italy, but it is not a pretty place. It’s basically flat and full of pig s***. And so, not every winery, and not every wine region is going to be beautiful or easy to access. But I think what we should be asking of these regions, whether they’re new or old, is that they be focused on quality and on producing the best wine they can. And it’s our job as journalists, as drinkers, to find those wines, to talk about them when they do merit discussion and to mention if it’s a great tourist destination or not, but you know, we’re all finding obviously in this year without tourism that there are other things that matter.

K: Well, the thing is the Finger Lakes is not easy to get to. And the Niagara Escarpment is not the easiest thing. It’s seven hours from New York driving, but it has become one of the national focuses of one grape: Riesling. But I think we can do it. It’s just a matter of, like Adam said, the bias. We need people to focus on it. And that’s the thing. In Europe, Sicily was mostly known for bulk wine, but there was always a small producer making awesome shit in Sicily. There’s always somebody down in Victoria  making great wine and then one day is like, “Oh my gosh, I actually have people seeing me now.” It just takes a long time. And Gruet, it is unfortunate, but that was a very special thing where this guy from Champagne, the family comes over and sees potential there. And I wonder if they found the best spot for those, but nobody wants to compete with the amount of amazing wine they make there. Or Arizona, I mean, I had an amazing Malvasia from Arizona, and the AVAs in Arizona are not too far away from the large cities. So I think it just takes time, and we are a young nation. We’re only 240-something years old. We had 10 years of Prohibition. We weren’t really getting back into dry red wine and even white wine at all until the late 1960s. We’re still kind of figuring it out.

And I think that it makes sense that we would attach ourselves to “OK, well, Pinot Noir that’s Willamette. OK, I’m gonna do that.” “Cab that’s Napa. I’m gonna do that.” “Riesling, that’s Washington — well, now it’s New York. OK.” And we needed that. That’s kind of how the point system came across as these are things that America needed at a time when we were just trying to re-understand what we lost for 10 years. And I think that it’s just a matter of time before we really get a sense of this, but there’s an excitement that has to happen to make it happen when Virginia has been making wine for a long time. Jim Law has been there since like what, 1978? And Adam, you and I got to know Jim Law, like what, six years ago?

A: Eight years ago. I mean, before I started VinePair. Yeah I mean like eight or nine years ago, I think you’re the one who introduced me to him or somehow we found him together. And he’s highly respected, but then again he doesn’t care about being known outside of Virginia.

K: Right, but he mentored a bunch of people who do care. And you know, of course Barboursville helped, too. That’s I guess one of those investments where Barboursville was like, “OK. We see there was a family. We see what’s going on. We see we want to invest in that area.” I just think it’s going to take some time, but what’s cool about it is it’s very exciting. It’s very exciting. I think that in the future, we’re going to have more wine coming from the United States that is going to be more diverse and more fun to explore. I mean like, I’m going to go back to Paso real quick, Adam, if you’re cool with that.

A: No, please go back to Paso.

K: Paso is in this little plain area, and it used to be a place where the whole story is, outlaws could go into Paso and not be bothered ’cause it’s in this little patch of nothing. And actually, it was founded by two dudes and Jesse James’ uncle, actually. And it is this place that has always been sort of disconnected from everybody else. And when it became known to the rest of the United States, it was known mostly for Cabernet Sauvignon and Zinfandel. But when I went to Paso, I drank, there’s a grape called Clairette that is a blending varietal from France. I drank a Clairette that was 15 months on the lees, like a Muscadet. And it was absolutely delicious. I had a Picpoul de Pinet, which is another native grape from the southern part of France. I had a Falanghina that was absolutely stunning. And it was made in skin fermenting as an orange wine. My mind was blown. So I had to go there to actually enjoy it. And I’m hoping that at some point we can actually figure out, like you said, Zach, figure out this tourism thing. That’s who we are as a country. Tourism is what we do. And I hope we can figure it out because there’s so much to be had in these small little pockets of America and these little AVAs. I mean, I know Paso is huge, but I’m telling you like other places that might have stunning, amazing wine, like Malvasia from Arizona, but it’s just not on the market.

A: No, I think Zach’s point about tourism is really important, ‘cause I do think that’s what’s helped a lot of the regions, and I think that that’s what then causes your mind to be blown because you show up there and you have a great meal and every wine region needs one good restaurant, you know what I mean? Just something to tie it together, because I remember when I first went to Paso, driving down the coast, and like no winery really had a place to tell us to go to for lunch. This was eight or nine years ago. And there just wasn’t really an answer. So we wound up going to what was an OK cafe and, I was like, “Oh man, there’s such potential here.” Once they get that high-end restaurant, or once they get that place where it all goes together, because that is what Napa and Sonoma have going for them. That is what other regions have going for them, is just this ability to give you that one 360-degree experience.

K: And now Paso finally has it.

A: Exactly. And so, I think that matters, as annoying as that is. It does. But there’s just so much stuff, I mean, just talking we could talk for another 45 minutes about it, so much stuff about American wine is really exciting right now. And the best thing is to just get out there and try to drink it. And if you can’t get out there now because of the pandemic, totally understandable. So get online and just read as you were saying, Keith. Yeah. And hit up DTC, read our reviews. We try to write about a lot of different wine regions. If you’re an American wine region that we don’t write about, get in touch with us. We want to taste your wine, send it to us. Send it to Zach too, ’cause you know, he’s in Seattle. But yeah, I mean, we want to taste your wine. I mean, I think we have no bias here, and I think that’s the thing that’s most important for anyone thinking about getting into these other regions is, don’t go in with bias, because I’m promising you, there’s someone in these regions who is producing really, really great juice.

K: I’m getting a Müller-Thurgau from Oregon coming in tomorrow.

Z: There you go.

A: Crazy. Well, guys, this has been an awesome conversation. Keith, thanks for being our guest co-host this week. Zach, I’ll see you right back here next week.

Thanks so much for listening to the VinePair podcast. If you enjoy listening to us every week, please leave us a review or rating on iTunes, Spotify, or wherever it is that you get your podcasts. It really helps everyone else discover the show. Now for the credits, VinePair produced by myself and Zach. It is also mixed and edited by him. Yeah, Zach, we know you do a lot. I’d also like to thank the entire VinePair team, including my co-founder, Josh and our associate editor, Cat. Thanks so much for listening. See you next week.

Ed. note: This episode has been edited for length and clarity.

The article VinePair Podcast: American Wine Has Boundless Potential appeared first on VinePair.

source https://vinepair.com/articles/american-wine-podcast/

[johnboothus]

VinePair Podcast: American Wine Has Boundless Potential

American wine has never been in a better place. Wine is now being made in all 50 states, and the map of exceptional wine regions has expanded well beyond California. From Virginia to Michigan, New Mexico to New York, Texas to Idaho, American grape growers and winemakers are finding exciting new sites for viticulture and, in many cases, unfamiliar varieties that are greatly expanding the boundaries and potential for domestic wine.

On this week’s VinePair Podcast, Adam Teeter and Zach Geballe are joined by VinePair tastings director Keith Beavers to give an overview of the current landscape of the American wine industry in conjunction with VinePair’s American Wine Month. They discuss the emerging wine regions in Paso Robles, the Columbia Gorge, and the Great Lakes, and ponder what America’s love of wine tourism will mean for these regions and others moving forward.

Listen Online

Listen on Apple Podcasts

Listen on Spotify

Or Check Out the Conversation Here

Adam: From the Ritz Cracker display at Publix, I’m Adam Teeter. You don’t get it? But no, really from Brooklyn, New York, I’m Adam Teeter

Keith: From Brick City, I’m Keith Beavers

Zach: And in Seattle, Washington, very confused, I’m Zach Geballe.

A: And this is the VinePair Podcast. Zach, how are you confused? They had a press conference last weekend where Rudy Giuliani came live from the Four Seasons Total Landscaping instead of the Four Seasons Hotel.

Z: I guess…

A: So I’m coming live from the Ritz Cracker display instead of the Ritz Carlton.

Z: I got you. I feel like we’re like a week and a half late on this joke, though.

A: No, I think it’s good. I still think it’s hilarious. We’ll have to wait to see what it sounds like to the listeners, but anyways guys, so this podcast is all about American Wine Month. The month at VinePair, we’re devoting to all things U.S- made wine. I really want to thank our sponsors Virginia Wine, CakeBread Cellars, Domaine Carneros, and 3 Girls.

And I’m excited to talk to both of you about wine. Keith is our guest host, VinePair’s tasting director, for this week. But before we jump into that, we’ve been doing a pretty fun segment at the top of the show every week now about what everyone’s been drinking recently. I’m assuming you guys have been drinking some dope shit as of what happened last week. So Keith, what about you first?

K: Well, some dope shit is correct, Adam. Well, you know, American Wine Month at VinePair, I’ve been deep, deep, deep into American wine. And I’m really excited. I love Virginia wine, and I’ve been tasting some seriously great Virginia wine, and a lot has been sent to us. And it was kind of great. On Saturday, after the big announcement, I sat and drank a bottle of Jefferson Cabernet Franc from the area in which Thomas Jefferson allocated vineyard space, south of Monticello, to actually try to make America a wine-growing nation. And somebody came and they bought the property and they’re doing great things, and it’s just an amazing, beautiful Cabernet Franc so it kind of made sense. And I listened to the Jimmy Hendrix “Star-Spangled Banner” while I was drinking it.

A: Sweet. Zach, what about you, man?

Z: Well, I’ve also been on the American wine train, as I often am. And I think for me this past week, it was a lot of Willamette Valley Chardonnay. So Pinot Noir in the Willamette gets a lot of press, obviously. It’s by far what’s most widely grown and made there, but I’ve been really excited about Chardonnay from the Willamette and in particular a bottle from a producer called Cooper Mountain. Their old-vines Chardonnay, which I think date back to the late ’70s, some of the oldest Chardonnay plantings in the Willamette that are still in use and it was f****** delicious. So, I didn’t pair it with any music, Keith, I’m sorry. Well, pretty much all that gets played in my house these days are the songs my 2-year-old is obsessed with. So unless you really want to know how well Willamette Valley Chardonnay pairs with songs about bucket trucks and skid-steers, that’s another podcast.

A: Please, tell us more. So for me, that Saturday was a day I busted out the top stuff. And I’d had this bottle of Champagne in my house for a while and we just said, f*** it. So I opened a bottle of 2006 Pierre Jouët Belle Epoque Blanc de Blanc and it was awesome. ‘Cause I went out into the park in Fort Greene. Spike Lee was DJing, which was amazing. There was like a crazy amount of energy. And we just sat in the park myself, my wife Naomi, and Josh, who co-founded VinePair with me.

And we just drank the wine and it was really fun to watch everyone. And then people were sharing, you know, glasses and passing stuff back and forth. We had other things, too, but that was like the bottle that we popped first. You know, and it was just, you know, really memorable. And we actually, like, we brought coupes out with us.

It’s like whatever, let’s go full agro here. Just bring the glassware. And it was awesome. I mean, it was just a lot of fun, so that was, that was the most memorable thing I drank last week. Although I will say there was one other amazing experience I had, which was earlier in the day, actually that morning before everything got called, and this is why I was with Josh because I live in Brooklyn and Josh lives in Manhattan, so we don’t normally just find ourselves together when a random event like this occurs and everyone just decides to run out to somewhere and start drinking. But we had a meeting in the morning with Brian, this amazing entrepreneur who founded the sake distillery in Brooklyn called Brooklyn Kura, which now has pretty quickly over the past few years become known as the best Sake distillery outside of Japan. Sorry, sake brewery, and I’d never been to a sake brewery before, actually.

And first of all, the sakes were really delicious, but again, what do I know? I think they were very delicious. I enjoyed them, but I very easily admit that I don’t know a lot about sake, but these pleased my palate. And it was really cool to watch the process until I go back in the back with him and sort of understand how they’re actually making sake. Have either of you ever been to a sake brewery before?

K: No.

Z: I have, yeah, there’s one down in Oregon that I’ve been to.

A: It’s so interesting to watch what they’re doing. I didn’t realize how many people now are making more artisanal styles. Like, growing more artisanal-style rices in certain parts of the country. There’s a lot of really cool rice coming out of Arkansas, which I never would have thought of, and it was cool to watch. They don’t have the machine there that actually refines the rice. They’re actually able to still take advantage of the fact that there’s a lot of commercial sake distilleries in California. He was explaining all this stuff that we’re used to as Americans that sort of turned us off of sake, like the really warm sake bomb-type stuff.

None of that’s made in Japan. That’s all being made by Japanese companies, but in California, which I also didn’t know. But they have all these facilities where they can refine the rice. So they sell them to other people. But then there’s this one guy who he said is a little nuts, out of Chicago or maybe Indiana who’s started to set up his own sake place as well. And he went and bought his own refining machine. So he’ll take some of the more artisanal stuff and then sell them back to people like Brooklyn Kura.

K: This is insane.

A: It’s crazy. But then they soak the rice forever in water which I didn’t realize. And then the thing I didn’t realize is then they cook the rice and then they let a mold grow on it, and it’s actually the mold that creates the sugars that allows the fermentation.

Z: It’s really cool, too, because it’s like this weird kind of simultaneous fermentation. Well, not really two fermentations, but the Koji is producing the sugar out of the starch of the rice at the same time as yeasts are fermenting the sugar. So as you maybe saw some in-process as I have, it absolutely does not look like something you would want to ingest. It’s horrifying.

A: No, it doesn’t. Yeah. It’s literally like they’re just letting mold grow on rice and then when they go to brew it, it then comes out the way that it is, but he also had us taste some wild stuff. So first of all, another thing I didn’t realize was that sake doesn’t really age. He said that it can, but not in a way that you would think about with wine or things like that. Once it’s basically a cold temperature, it is what it is. He said there’s some funk, there’s some people doing some stuff in Japan where they are letting it sit for years and years. And it just changes. It just may not be the thing that everyone wants to drink. I kind of think it becomes a thing where like at the same time now people have a taste for Brett and stuff. It’s like, you get a taste for that kind of like weird funk that develops after the sake gets old. There’s definitely like a small population of sake drinkers that like that, but not a huge group. But that was super interesting to understand. And then they actually dry-hopped sake. And he poured it for us. And I literally thought that I was drinking liquid grapefruit juice. It was the craziest thing I’d ever tasted. And it was pink because it pulls out the colors from the hops, which is weird because hops are green, but for whatever reason, it ends up a pinkish-orange color, and they almost sell it as a rosé. And then of course they’re doing other stuff too. Like they’re making like a Pét-Nat sake. I was like, here we go.

Z: You really were in Brooklyn.

A: Yeah. I was in Brooklyn. I was in Industry City. But yeah, just shout out to them ‘cause they’re doing really cool stuff, and I thought it was delicious.

K: What was the alcohol on the dry-hopped?

A: It was like 12 percent or something like that. 12, 14. So, I mean it’ll hit you, but not in the way that other things will, it was very tasty.

I was very impressed and they’re of course trying to make sakes that they’re not encouraging you to then use as a spirits substitute for cocktails and stuff. Their whole goal is to have you drink the sake as it is. And also their big push, too, is to take it out of the American idea that you’re supposed to have it in those little short sake glasses. They obviously serve theirs in wine glasses and in smaller ones, more like what you would think of a white wine or something at a wedding. That’s kind of the way I think of what glass size they use. But he explained to me, too, where the small sake glass comes from, and it has nothing to do with aromas or anything like that. It’s that in Japanese culture, the more you’re serving the guests, the more pleasure it gives you. And so if it’s a smaller vessel, you have to serve your guests more often. And so that’s the only reason the sake glass is small, because we would constantly be refilling your person’s glass. And so that’s you showing yourself as being a very good host. But of course, Americans, as Brian joked, we see that glass and we’re like, “Sweet! It’s a shot.” We just throw it back. But yeah.

Z: This has been super interesting and I look forward to next year’s American sake month.

A: I know. Totally. But yeah, thanks Zach. You didn’t get the Ritz Cracker joke, now you’re just hating on my sake stuff.

Z: No, no I’m just saying let’s transition.

A: Well, yeah, let’s talk about American Wine Month. So I mean, all of us, we’re from different parts of the country. I mean I lived in the South for awhile. Then went to school in the South and moved up here. Zach you’re from the Northwest and then obviously went to school in New York. Keith’s from all over. Maryland, New York. So we’ve all sort of traveled a lot. And I think what’s really interesting about the United States is that first of all, as we know, there’s bonded wineries in all 50 States. As we noted, Zach, before we started the podcast, just being a bonded winery doesn’t necessarily mean that they’re making wine from vinifera, but they are making some sort of wine. But there’s really cool stuff happening all over the country. And I think what’s so exciting about it, is that it shows it’s not just about three or four of the regions that probably everyone knows. And there’s really amazing stuff coming from everywhere. And I guess my question to both of you guys to just start this is: Is there such a thing as American wine? What do you think American wine is? If someone said to you American wine, what would you immediately think of?

K: For me, I believe American wine is wine made from grapes that are not from here, by people that are not from here. We all came from somewhere else to be here, unless you’re an indigenous culture. And I think that American wine for me is defined by the ability to grow vines that are meant for the soils in which they’re grown in. And the wine is made in such a skillful way that it represents that area, whether it’s a Viognier, whether it’s Petit Manseng, whether it’s Cab Franc, whether it’s Grüner Veltliner, it doesn’t matter. In Texas they’re doing Tempranillo, and people dig it, but they’re also making fruit wine, you know? So I see American wine as this sort of Wild West mentality, but now finally with more information about science and technology, focusing more on the soil, more on where we grow grapes, why it’s good to grow them there. And then, making good wine. So that’s how I see it. And we’re not done yet. The Petaluma Gap in Sonoma was awarded in 2017. In Washington State, I just found out two weeks ago, two more AVAs were awarded in the Columbia Valley. So we’re still working on it, but I think that’s kind of what defines it to me.

Z: Yeah. And I think Keith you capture a really important piece here, which is what I often think about as well, which is this idea of — whether you want to use the Wild West metaphor — or to me, it’s just this idea that there was no existing wine culture in this country in terms of growing or consuming until quite recently. And some of what did exist was wiped out by Prohibition and it was slow to recover. And what’s been really exciting for me about American wine is that we are now at a place with the industry where it’s so much more developed and mature than it was 10, 15, 20 years ago. So that not everyone has to feel like they have to make a wine that refers to Europe. I mean, yes, the varieties, the cultivars, the clones, and of course the species itself is European in nature, but we are not necessarily seeing wine regions in the United States feel too confined by established European styles by saying, “Oh, well in Bordeaux, they plant these X number of varieties, and so those are the only things we can plant here.” Obviously you still see a lot of that. I don’t mean that those wines have disappeared. Of course they’re still very popular and rightfully so, but you do see experimentation with all kinds of different varieties and people saying, “Well, why can’t I grow a Spanish variety and a French variety and an Austrian variety and a Croatian variety all in my vineyard? I think they’ll work here. I want to make wines that are of these various styles or from these varieties. And I can do that.” And that’s a freedom that just does not exist in most other places. Few other places in the new world have similar spirits, but here in the U.S. we have this almost endless amount of land that could be potentially converted to viticulture, should someone want to do it.

A: Yeah, I think that’s true. I think the other thing that makes American wine so interesting is that this country is just so big. Every state is almost its own country. So, what works in the Finger Lakes may not necessarily work in Texas. But that’s OK  because there’s other things that can work. And I think the thing that started to define American wine for me, which I really like, is that over the last decade, two decades even, there’s become less of a focus by a lot of the really top producers — and then everyone else has followed — of having to make a wine in America that tastes like a wine from the Old World. It’s like no, the Cabernet from Napa tastes like Cabernet from Napa. There’s less of that now. I remember even early on in my wine journey, I would go to the North Fork and the winemaker would say like, yeah, we’re really going for a Right Bank Bordeaux. And now you don’t hear that as much here. Why aren’t we saying no, this is a North Fork wine, right? This is what it is. And becoming more confident that, yes, we can take the grapes from Europe and the wines don’t have to be copies of the wines from Europe to be considered high quality and to be considered best in class and all of those things. They can be their own thing.

K: And what’s cool about that is the fact that what we did was, in trying to emulate European wine, we created our own styles. Which is really kind of cool. I mean, I know the meritage thing never really took where, you know, in California there was this word called meritage. And if you had a meritage if you used all the Bordeaux varieties and stuff, but we ended up making our own stuff and created our own style, which is really awesome.

A: Totally.

Z: Yeah. And I think actually to the point that you were making, Adam, as well, I think even more excitingly now, not only do you not hear wineries, and wine producers, wine regions say, “Oh yes, our wines are comparable to the wines of ‘pick your French region of choice.'” But even something like Napa, which is obviously an American wine region, I don’t even hear as many wineries, say, “Oh, we’re making a Cabernet like a Napa Cab.” There is a real understanding that what makes a lot of these parts of the country that are growing grapes and making wine so exciting is that they are their own thing. And yes, there’s going to always be some similarities. I mean, to some extent the character of each of these varieties or blends is going to show through, but it’s cool that whether you’re in Virginia, or Washington, or Oregon, or Texas, or Arizona, or any other place, I think the more that producers in those places can be comfortable saying, “We think we’re making a wine that’s really representative of this place and of these varieties of this place, of this vintage.” Those are the wines that I think all of us get excited about. And the wines that are harder to get excited about are someone who’s trying to make a replica of something that already exists. I mean, yeah. If you can make a wine that tastes like Château Margaux and it’s way cheaper, I guess that’s cool. But really the most exciting thing for me is to make a wine that is clearly and interestingly of the place it’s from. And this country has a lot of interesting, cool places. As you mentioned, Adam, it’s this incredibly vast country with incredibly different geology, climates. All these things that make for incredibly remarkable wine regions. And we’re just still scratching the surface. I mean, Keith, you mentioned how there’s new AVAs being awarded all over. And I mean, I was excited to see that Hawaii has now petitioned for its first AVA. The only wine I’ve ever tried from Hawaii is a pineapple wine, which was actually kind of good. But this is vinifera to be clear. But I think that’s super exciting and like, we don’t know. There’s all kinds of possibilities still out there. And the cool thing about wine is that it rewards exploration and experimentation and taking a chance. Of course, not all of them will work out, but there’s always that possibility.

A: My question to you guys is, over the last decade, we’ve seen new regions in Europe that have always existed, but have popped really big in the U.S. and more money has flooded in. So I’m thinking about, for example, like the Jura right? All of a sudden, a bunch of somms are talking about it and it was everywhere. Sicily, specifically Etna. And then all of a sudden, now you have Burgundy producers buying land there. You have Barbaresco and Barolo producers buying land there. What do you guys think? If there was a region that you think was going to pop next in the U.S. and you think, “Oh my God, this is the region that’s going to pop. And every single person is going to realize how great it is, and there’s gonna be money flooding in there.” Is there one or could you think of one?

K: Yeah. I mean, what’s cool about Washington State is it seems to be a really big — what is it, the second largest wine-producing region in the country? And there’s been some very significant investments there starting from back in the day. And I think we’re already seeing investment in Virginia. So to think of a brand new space —

A: No. I’m not saying brand new because you look and Etna existed forever, right? It just, all of a sudden, who knows what it was? It was someone saying like, “Oh my gosh, these are like Burgundy. And all of a sudden, everyone just started dumping money. Right? And it became the thing people were talking about. I’m just wondering, what are a few regions in the U.S. we think that there could be or, maybe there isn’t yet. Maybe there is, I agree with you that the thing I think is most ripe for it is Washington. And that’s honestly just because for whatever reason, Zach might think I’m kissing his a** right now. But for whatever reason, like that stage has flown under the radar for a really long time for no explainable reason.

Z: Allow me to explain why.

A: Please, because the explanation I’ve always heard is that Oregon just got there first or whatever, and people start talking about the Pinot Noirs, and people just forgot that Washington was there, but I’m sure there’s a better explanation than that.

Z: Well, I think that the biggest thing that’s changed about the wine industry in my time in it, and the way that consumers tend to think, is one of the things that worked against Washington for a long time was that it had no clear cut variety or style of wine that was the signature. And there’s certainly plenty of famous and highly priced Washington Cabernets and Cabernet-based blends. Pre-“Sideways,” there was a lot of emphasis on Merlot and I think Washington Merlot is actually really an exciting wine, for sure. But the strength of Washington is almost like the strength of the U.S. in a microcosm. It’s the diversity and it’s all the different things that can be made. And we’ve only, I think just in the last few years reached a place where in the American wine market, there’s actual interest in a lot of different kinds of wines, a lot of different varieties, a lot of different styles.

And so there are still the diehard “I only drink Pinot Noir. I only drink Cabernet. I only drink Chardonnay” folks, but most wine people that I meet these days or talk to, they’re interested in trying something new. And that’s where I think Washington has an incredible possibility, which is to say, “Hey, we are growing over a hundred different varieties.” There are people focusing on all kinds of different things in this state. There are wineries that focus exclusively on Spanish varieties. There are wineries that focus exclusively on white wines from the Rhône Valley and south of France. There are wineries that do just about everything in their own way in various different sizes. And the thing, to come to your question about a region, Adam, I actually think that one of the most exciting places in the country and a place that I think the same kind of people who got excited about the Jura are, or will be excited about, is the Columbia Gorge. And the biggest reason for that is that it is such an incredibly unusual appellation and growing region for Washington. So it’s on the border between Washington and Oregon. And unlike the vast majority of Washington, it’s actually relatively cool and a little bit more wet. So it isn’t as much of a sort of high desert environment like much of Eastern Washington. It’s much more like the Loire Valley in France in terms of its climate, but with a very different geology and a lot more elevation. And so you’re seeing people make amazing whites from both well-known varieties like Chardonnay, but also Grüner Veltliner. People are doing interesting things with Tocai Friulano and then you’re also seeing a lot of interesting cool- climate style reds, which has not been a big thing in Washington State for sure. But there’s interesting Pinot Noir there. There’s amazing Gamay, you’re seeing people do fun things with Cabernet Franc. And, and as you move to the eastern edge of the Columbia Gorge, you do get a little bit more of what we associate with the rest of Washington. So a little bit hotter, but you still have that real river influence. So it is its own area. And what’s cool is you have all the other things that I think draws people to places like the Jura is the producers are all pretty small. There’s no big wineries. So the wines are niche there, and they’re small production. And unfortunately it makes it hard to find some of those wines around the country, for sure. But for people who are interested in exploring, it’s an area where there’s a lot of interesting small- to medium-sized wineries who are doing fun things. And that’s definitely one area, again, because of my proximity is part, that I think is ripe for more discovery around the country.

K: Well, I think based on your question, Adam, this is I mean what it sounds like to me is the United States, we’re still working on it. You know, we have a lot of work to do because in 1980, the first AVA was awarded to Augusta, Mo.  And then eight months later in 1981, the first AVA in California was awarded to Napa Valley. And since then, we’ve had 224 AVAs across the country. And for a long time, like I said earlier, people were forcing vines into soils that didn’t really work so much. But I think it’s not really about what the next exciting region is. I think it’s more about how we, as an American wine drinking culture, approach the places that exist. Maybe for example, Temecula has awesome wine. No one knows Temecula. Paso Robles.

A: I was waiting for it.

K: There it is. I am in love with that AVA. I think it’s an absolute phenomenon that it kind of flies under the radar because there’s a few brand names that are jiving on the American market that you can find in supermarkets in wine shops. But there’s also stuff that you can’t really get outside of Paso. Just like there’s things you can’t get out of Temecula, and things you can’t get out of Columbia Gorge. So I think that one of the things — and again, we’re in a pandemic and it’s different, but that’s not gonna last forever.

I guess what I’m saying is, we get to go to these places and see what these skilled winemakers are making. And I think the next thing with American drinking culture is to explore the diversity of the wines in the area. Let’s get people into Long Island Grüner Veltliner. And the thing is if you can’t get it, well the DTC, the direct-to-customer thing, is getting a little bit better. I think that celebrating what’s fun, and that in doing so we can actually educate the American wine consumer on more varieties, different kinds of cultivars and stuff. Like what’s Grüner Veltliner? Well, it’s this Austrian variety and it’s really awesome in Long Island, you know? So I think that’s where we should go next.

A: Yeah, I think, what’s difficult for people and I would say, you know, the best advice I could give about American wine is, don’t be scared to take a risk. And don’t turn your nose up just because you hear of a state and you’ve never heard that it makes wine before. Because I guarantee you there’s someone in that state making really great wine. Like when I’ve heard people be like, “Oh, Connecticut, they make wine? That can’t be good. Or New Jersey, New Jersey makes wine?” I mean I literally have not, which is a shame, ’cause I’m so close to New Jersey, there’s apparently a lot of amazing wineries in South Jersey. Yeah. You’re in New Jersey in Brick City, or Pennsylvania in Lancaster County, where my wife is from. She’s from Lancaster the city, but in the county, there’s an Amish guy that ripped up his farm and planted vineyards. And honestly, he makes a Merlot that’s amazing.

Z: I think the other area to think about and I’m super excited about, Adam — I think you and I like jokingly mentioned this way back in one of our very first podcasts – but it was like a lot of the states around the Great Lakes area where I think there’s really interesting potential, whether it’s in Michigan or potentially even in Wisconsin. As things start to change climatically, and as places get a little bit warmer potentially and drier during the summer, I think one thing that America doesn’t have a lot of are classic wine regions that are near large bodies of water that are not oceans. And when you compare that to Europe, the Finger Lakes are the one exception and we think the Finger Lakes are super exciting in part because of the possibility that that kind of viticulture provides. And I think you could see some really interesting wine coming out of those States in the next 10 to 20 years. I know one of the challenges for a lot of those areas is that traditionally they get so cold over the winter that there’s only a few varieties you can really plant that are cold-hardy. But, I think you’ve seen more and more development in understanding rootstocks and, and ways to shelter vines. That’s an area that I have my eye on. I think I’ve tried a couple of Rieslings from Michigan. That’s the extent of what I’ve tried from the Great Lakes, but, I’m really excited to see if there’s more investment and interest in putting some time into those.

K: Left Foot Charley and his no-residual, no-RS, no-residual-sugar Riesling from just North of Traverse city is just incredible. And what’s awesome is his winery is located in an old asylum. They took this asylum up in Michigan and then it closed down and they were repurposing it. It’s really intense.

A: Yeah. I mean, I think there’s a lot of opportunities, right? I mean, we’ve talked about Virginia a bunch. Obviously they sponsored American wine month, but we’ve been hot on Virginia for a long time. I think there’s a potential for it to be one of the great wine regions of the country. And especially on the East Coast, there’s a lot of stuff happening there that’s really exciting. And especially as the vintners are getting more up into the mountains, into the actual Shenandoah Mountains, they’re finding the cooler temperatures. They just have to deal with more stuff, and that’s the thing that’s going to be difficult, right? As some of these wine regions expand, how much are we going to be willing to also be OK with some of the things they need to do to be able to make good wine?

So, you know, in Virginia, they have to deal with a lot. And there’s a lot of humidity and stuff like that. And so being 100 percent organic is almost impossible, whereas it’s very easy in Napa. So is “sustainable” going to be enough? Right? Are we gonna be OK if they spray once or twice a year? ‘Cause they have to. I don’t know what it’s like in Texas. I just know Texas is super hot, but maybe it’s a dry heat. I don’t remember where it becomes a dry heat. So there’s gonna be things they have to do. There’s gonna be things that they have to do if we want to be able to have some of these different wine regions succeed. I think it’s crazy that we haven’t seen more. You look at certain regions like New Mexico, right? And the success of Gruet, and how amazing those sparkling wines are. And the fact that we haven’t had others yet, or I’m sure there are, but just other people haven’t followed in a really dramatic way. It surprises me to be honest. And that’s why I asked my original question, which was, you know, where do you guys think the money is going to come from, or what region do you see your money flooding into? And I wonder if it has a lot more to do with bias, right? Because there’s this amazing sparkling wine being made in New Mexico. And yet all the brands aren’t flooding in to be like, “We should be doing that, too. Look at what they’re doing.” This is a quality of wine that we can’t believe they’re being able to produce. And at this price point. Whereas when someone says, you know, Italy and Etna and everyone is like, “Oh yeah, of course Italy! Yeah. Dump the money in.” Or all of a sudden it’s like that bias of well, of course, it’s the Old World. And so they’ve always been making wine. So yeah, we all forgot about this region, but it’s always been there and is it easier for some people to accept for whatever reason when honestly, if you can produce great wine in a region, like why does it matter how long that region has been producing wine? Especially because if you look at the Sicilian history of producing wine, for a very long time, it was very, very bad. So how did that change? And the only thing that I can think of is the bias, that European bias.

Z: And I think the other piece of this is one thing we haven’t talked about and I don’t mean to get into a long conversation about, but a part of the American wine experience also has to do with tourism and visiting wineries. And I do think that one of the reasons you’ve seen a bias towards certain parts of the country is because those are places that are convenient for tourists, that are otherwise accessible, that are beautiful. And it may be the case that the beauty of the high desert in New Mexico, I think is actually very striking, but it’s not as much of an obvious tourist destination as Napa Valley. It also doesn’t have the density of other stuff to do. So I’m not saying there’s some reason, there’s a bad reason for that. And I think sometimes it’s hard to disentangle in the U.S. the difference between regions that are great wine destinations and great wine-producing regions. And those two things can be synonymous, but they’re not always, and some of the places that I’m excited about as regions that could produce great wine may never be places that are high on anyone’s travel list.

And that is also true in Europe, to be fair. I mean, I love the wines from Emilia-Romagna and I love the food from Emilia-Romagna in Italy, but it is not a pretty place. It’s basically flat and full of pig s***. And so, not every winery, and not every wine region is going to be beautiful or easy to access. But I think what we should be asking of these regions, whether they’re new or old, is that they be focused on quality and on producing the best wine they can. And it’s our job as journalists, as drinkers, to find those wines, to talk about them when they do merit discussion and to mention if it’s a great tourist destination or not, but you know, we’re all finding obviously in this year without tourism that there are other things that matter.

K: Well, the thing is the Finger Lakes is not easy to get to. And the Niagara Escarpment is not the easiest thing. It’s seven hours from New York driving, but it has become one of the national focuses of one grape: Riesling. But I think we can do it. It’s just a matter of, like Adam said, the bias. We need people to focus on it. And that’s the thing. In Europe, Sicily was mostly known for bulk wine, but there was always a small producer making awesome shit in Sicily. There’s always somebody down in Victoria  making great wine and then one day is like, “Oh my gosh, I actually have people seeing me now.” It just takes a long time. And Gruet, it is unfortunate, but that was a very special thing where this guy from Champagne, the family comes over and sees potential there. And I wonder if they found the best spot for those, but nobody wants to compete with the amount of amazing wine they make there. Or Arizona, I mean, I had an amazing Malvasia from Arizona, and the AVAs in Arizona are not too far away from the large cities. So I think it just takes time, and we are a young nation. We’re only 240-something years old. We had 10 years of Prohibition. We weren’t really getting back into dry red wine and even white wine at all until the late 1960s. We’re still kind of figuring it out.

And I think that it makes sense that we would attach ourselves to “OK, well, Pinot Noir that’s Willamette. OK, I’m gonna do that.” “Cab that’s Napa. I’m gonna do that.” “Riesling, that’s Washington — well, now it’s New York. OK.” And we needed that. That’s kind of how the point system came across as these are things that America needed at a time when we were just trying to re-understand what we lost for 10 years. And I think that it’s just a matter of time before we really get a sense of this, but there’s an excitement that has to happen to make it happen when Virginia has been making wine for a long time. Jim Law has been there since like what, 1978? And Adam, you and I got to know Jim Law, like what, six years ago?

A: Eight years ago. I mean, before I started VinePair. Yeah I mean like eight or nine years ago, I think you’re the one who introduced me to him or somehow we found him together. And he’s highly respected, but then again he doesn’t care about being known outside of Virginia.

K: Right, but he mentored a bunch of people who do care. And you know, of course Barboursville helped, too. That’s I guess one of those investments where Barboursville was like, “OK. We see there was a family. We see what’s going on. We see we want to invest in that area.” I just think it’s going to take some time, but what’s cool about it is it’s very exciting. It’s very exciting. I think that in the future, we’re going to have more wine coming from the United States that is going to be more diverse and more fun to explore. I mean like, I’m going to go back to Paso real quick, Adam, if you’re cool with that.

A: No, please go back to Paso.

K: Paso is in this little plain area, and it used to be a place where the whole story is, outlaws could go into Paso and not be bothered ’cause it’s in this little patch of nothing. And actually, it was founded by two dudes and Jesse James’ uncle, actually. And it is this place that has always been sort of disconnected from everybody else. And when it became known to the rest of the United States, it was known mostly for Cabernet Sauvignon and Zinfandel. But when I went to Paso, I drank, there’s a grape called Clairette that is a blending varietal from France. I drank a Clairette that was 15 months on the lees, like a Muscadet. And it was absolutely delicious. I had a Picpoul de Pinet, which is another native grape from the southern part of France. I had a Falanghina that was absolutely stunning. And it was made in skin fermenting as an orange wine. My mind was blown. So I had to go there to actually enjoy it. And I’m hoping that at some point we can actually figure out, like you said, Zach, figure out this tourism thing. That’s who we are as a country. Tourism is what we do. And I hope we can figure it out because there’s so much to be had in these small little pockets of America and these little AVAs. I mean, I know Paso is huge, but I’m telling you like other places that might have stunning, amazing wine, like Malvasia from Arizona, but it’s just not on the market.

A: No, I think Zach’s point about tourism is really important, ‘cause I do think that’s what’s helped a lot of the regions, and I think that that’s what then causes your mind to be blown because you show up there and you have a great meal and every wine region needs one good restaurant, you know what I mean? Just something to tie it together, because I remember when I first went to Paso, driving down the coast, and like no winery really had a place to tell us to go to for lunch. This was eight or nine years ago. And there just wasn’t really an answer. So we wound up going to what was an OK cafe and, I was like, “Oh man, there’s such potential here.” Once they get that high-end restaurant, or once they get that place where it all goes together, because that is what Napa and Sonoma have going for them. That is what other regions have going for them, is just this ability to give you that one 360-degree experience.

K: And now Paso finally has it.

A: Exactly. And so, I think that matters, as annoying as that is. It does. But there’s just so much stuff, I mean, just talking we could talk for another 45 minutes about it, so much stuff about American wine is really exciting right now. And the best thing is to just get out there and try to drink it. And if you can’t get out there now because of the pandemic, totally understandable. So get online and just read as you were saying, Keith. Yeah. And hit up DTC, read our reviews. We try to write about a lot of different wine regions. If you’re an American wine region that we don’t write about, get in touch with us. We want to taste your wine, send it to us. Send it to Zach too, ’cause you know, he’s in Seattle. But yeah, I mean, we want to taste your wine. I mean, I think we have no bias here, and I think that’s the thing that’s most important for anyone thinking about getting into these other regions is, don’t go in with bias, because I’m promising you, there’s someone in these regions who is producing really, really great juice.

K: I’m getting a Müller-Thurgau from Oregon coming in tomorrow.

Z: There you go.

A: Crazy. Well, guys, this has been an awesome conversation. Keith, thanks for being our guest co-host this week. Zach, I’ll see you right back here next week.

Thanks so much for listening to the VinePair podcast. If you enjoy listening to us every week, please leave us a review or rating on iTunes, Spotify, or wherever it is that you get your podcasts. It really helps everyone else discover the show. Now for the credits, VinePair produced by myself and Zach. It is also mixed and edited by him. Yeah, Zach, we know you do a lot. I’d also like to thank the entire VinePair team, including my co-founder, Josh and our associate editor, Cat. Thanks so much for listening. See you next week.

Ed. note: This episode has been edited for length and clarity.

The article VinePair Podcast: American Wine Has Boundless Potential appeared first on VinePair.

Via https://vinepair.com/articles/american-wine-podcast/

source https://vinology1.weebly.com/blog/vinepair-podcast-american-wine-has-boundless-potential

[kentonramsey]

Open Thread: What Do You Watch When You Need a Laugh?

Please Like Me could easily be a depressing TV show. In fact, the synopsis of its pilot—young guy moves back home after his mother’s suicide attempt, while coming to terms with being gay—could almost double as a content trigger warning. Instead, what unfolds during the show’s four seasons is nothing short of joyful.

I was late to watch Please Like Me, which was created by (and stars) Australian comedian Josh Thomas and premiered in 2013. But still, watching it in 2018 felt like returning home. This might be because it’s set in Melbourne (which reminded me of Sydney) or because I could dreamcast almost every character in the show with people from my inner circle. But most of all, the comfort I found in the show came from its continuous reminder that, even at the very worst of times, things can be incredibly funny.

Last weekend, I went to see Josh’s new live stand-up show, “Whoopsie Daisy.” I hadn’t forgotten how special he or Please Like Me are (or how much I need to watch his new show, Everything’s Gonna Be Okay) but seeing him on stage did remind me that there are still so many people I need to convince to watch my favorite funny TV show. It reminded me how many people are missing out on the charm, tender humor, and fun.

Come Monday morning, I was still in the mood to rave about how good both Josh and Please Like Me are. And when I did, other people’s funny-but-underrated recommendations came out too. And then I realized: I wanted a reference list immediately. I’ve written about the importance of finding distraction in times of crisis before, but this week was a much-needed reminder of the importance of good digestible comedy—not just in bad times—but always. And so, after some recommendations from the team below, I open the floor to you: What’s the show you’re constantly surprised that more people haven’t seen? If someone (me) were to ask you for a TV recommendation that’s guaranteed laughs, what would say?

PS. Please Like Me is on Hulu and, if you haven’t already gotten the gist from this story, I think you should watch it.

Nate Bargatze: The Tennessee Kid (on Netflix)

“The Nate Bargatze comedy special came on recommendation from a man that I dated for two minutes, metaphorically speaking (thanks, sir!). I watched it first by myself and was in tears, and then showed it to my family—a mixed, tough crowd—and they also were in tears. If you appreciate some dry-as-my-eczema comedy, this is for you. The milk story will have you giggling.” —Amalie

Saturday Night Live, but backwards (on Hulu, Slight TV, YouTube TV)

“Saturday Night Live is not at all underrated, but my strategy for watching it might be. This summer, I embarked on a project where, starting from the most recent season, I watched each episode in reverse chronological order. The ultimate objective is to watch the whole series until I land on the first episode in 1975. There’s something appealing about studying the various arcs of the show’s lifespan on both a micro and macro level. Hindsight is 20/20 and I love to see witness history unfold, backwards, in a new light.” —Edith

I Love Lucy (on Hulu, CBS, Philo)

“I grew up watching this show and still return to it regularly when I need a laugh. While I’ll admit much of the show is definitely out-dated and a bit controversial re: gender and family stereotypes… Lucille Ball was a pioneer for female comedians and the writers were absolute geniuses.” —Sabrina

555 (on Vimeo)

“At this point I think it’s pretty well established that John Early and Kate Berlant are comedic angels (if you are uninitiated start with Early’s ‘Characters‘ special on Netflix, where Berlant also appears, then watch Early’s recent in-character endorsement of Bernie Sanders). 555 is a series of five shorts set in a bizarro (more bizarro?) version of Hollywood that showcases the best-friend-duo in their purest forms. It will make you laugh a lot and then it will make you desperately want to be friends with them.” —Mallory

Please do leave your suggestions in the comments! Many, many thanks in advance.

Feature photos via Everett Collection and Getty Images.

The post Open Thread: What Do You Watch When You Need a Laugh? appeared first on Man Repeller.

Open Thread: What Do You Watch When You Need a Laugh? published first on https://normaltimepiecesshop.tumblr.com/ Open Thread: What Do You Watch When You Need a Laugh? published first on https://mariakistler.tumblr.com/

[childrenchildrenandchaos]

5 Podcasts You Need to Start Listening To

Hello Everyone!

This week I wanted to write about something on the easier side because I have a lot of things planned for the blog that I want to get done. I’m really excited about the changes to come! But for now, I wanted to mention a few podcasts that have helped me a lot recently.

We’re allowed to have headphones at my day job, so I tend to either listen to music or an audiobook. Lately, however, I’ve been binge-listening to podcasts. My friends know that for the longest time I have had a hard time finding a podcast I enjoyed or where I could stand to listen to a person’s voice for more than one episode (listening to the same voice for eight hours can get exhausting).

I’ve been listening mostly to things that help me get my life together but also say that it’s okay to not have my life together. Also on the list is a podcast for writers and a humorous podcast, both of which have helped me too. These are in no particular order, I enjoy all of them equally and think everyone can get at least something from them all. On that note, let’s just get into it!

Unf#ck Your Brain

Unf#ck Your Brain is a feminist podcast hosted by Kara Loewentheil. Her earlier podcast episodes were aimed towards lawyers, but she later changes her message to feminism and learning to control your brain to become better in your everyday life. Kara is a Master Life Coach and has degrees from both Yale and Harvard.

This podcast has helped me in multiple areas in my life because she discusses how to control thought process. Multiple times throughout the podcast she says that you cannot stop a thought from developing but you can stop from acting on it. Some of my favorite episodes include Complaining, Parenting, Self Care, and Social Anxiety. By listening to this podcast I’ve been able to manage my time better, improve my negative thoughts, and have a better understanding that every person’s brain interrupts things differently, that there is no right or wrong way in how your brain interrupts things, and that it is possible to improve your thoughts in order to improve your productivity and your life in general.

Directionally Challenged

This podcast is hosted by Candice King and Kayla Ewell. I’ve been in love with these two since their time on The Vampire Diaries. For those of you who don’t know them by their actual names, they play Caroline Forbes and Vicky Donovan on the show. The podcast is aimed at 30-something year old’s but they have so much advice that applies to women of all ages. The message of the show is to say they thought they would have their lives figured out by 30 but now that they’re in their 30’s they know they don’t.

I enjoy this podcast because I was led to believe the misconception that I would have my life together in my 20’s. And I definitely don’t. Knowing that some people don’t have their life figured out even in their 30’s really helps me when I tell myself that it’s okay to not have everything figured out. I also love the guests they have on the show as well, including some other TVD cast members. Some of my favorite episodes include “Anxiety and Productivity” with Bri Emery, “A Sucky Love Story” with Brittani Louise Taylor, “!0 Year Challenge” with Michael Trevino, “What Would Dobrev Do?” with Nina Dobrev, “After” with Anna Todd, and “Basic Witches” with Leah Knauer and Rachel Laforest.

Kalyn’s Coffee Talk

This podcast is hosted by Kalyn Nicholson. Many people may know her from her YouTube channel. Kalyn’s Coffee Talk focuses on living your best life, mental health, and wellness. I honestly started listening to this podcast simply because of the word coffee in the title. I was randomly looking up podcasts involving coffee.

What I found was a podcast that helps motivate me every Monday morning. I also started binge watching her YouTube videos on the weekends when I didn’t work and was completely inspired by Kalyn to get my stuff done. It might have also been the other podcasts I listen to as well but I love the sense of motivation she gives off in her podcast. I listen to each new episode on my way to work on Monday mornings. It gives me a good sense of starting off the week and since I leave for work at four in the morning that’s something that I look forward to to start my week off right. Some of my favorite episodes include “Witches Brew”, “Let Go Of What No Longer Serves You”, “Detoxing My Social Media”, “Why Morning Routines Work”, and “How To Enjoy Alone Time”.

I Should Be Writing

This is the podcast I mentioned that was for writers. The show is hosted by award-winning author Mur Lafferty. This podcast typically has interviews with other authors but focuses on discussing the issues that arise during the writing process or writing career if you write as a profession.

This podcast has helped me overcome many issues I’ve stumbled upon during my writing and I’m not even done listening to all the episodes yet. This podcast has been going since 2005 and has over 400 posts. Even if I do binge listen to it at work that’s still a lot of episodes to get through. Because it has helped me get through curveballs it’s definitely a high recommend from me for other writers. Since there are so many episodes and I haven’t finished listening to them all, I’m not listing my favorite episodes. My personal suggestion is if you want to listen to this podcast, start from the beginning or look at the titles to see what authors are guests on her show.

This Might Get Weird

Okay, here it is, the humorous podcast hosted by Mamrie Hart and Grace Helbig. This podcast is one hell of a ride. I have to admit I was skeptical about starting this one and I didn’t think I was going to like it. But I had already downloaded all the episodes and I was already in the parking lot at my work. So I decided if I didn’t like it by the time my first break came around then I would just switch to music. I’m glad I gave it a chance because I absolutely love it!

This podcast simply follows the interesting things that happen to both Mamrie and Grace in their lives. They write down things on their phones and share them over the podcast together. I can't get enough of them. My coworkers were staring at me like I was insane for over a week because I would be listening to this podcast and would randomly start laughing so hard because of things they said. That’s not an exaggeration, I had to stop what I was doing one time because I was laughing so hard that I kept dropping my components. If you enjoy a good laugh I highly recommend this podcast. Some of my favorite episodes include “Grace Takes the Wrong Pill”, “Mamrie’s Secret College Hookup”, “Mamrie Channels Her Inner Banksy”, “Grace Hits Herself With Bear Spray”, “Mamrie Shows Grace How to Catfish a Cow”, and “Grace’s Stands Off With An Alpaca”. These episode titles alone should make you laugh without having heard anything else.

There are many other podcasts I listen to as well but these five specific podcasts have helped me in the last few months. Unf#ck Your Brain, Directionally Challenged, and Kalyn’s Coffee Talk have all helped me to get my life together with inspiration, motivation, and personal challenges. I Should Be Writing has helped me improve my writing by talking with other authors and the challenges that occur while writing and how they overcome them. This Might Get Weird has helped me laugh. I’m sure that sounds weird but there are times when I need a break from focusing on work, finances, and even a break from my kids (who I adore) but having a good laugh at some unbelievable events has helped to relieve stress and give my mind a break from all the chaos going on around me.

Two other notable mentions I would like to include are the podcasts Basic Witches hosted by Leah Knauer and Rachel Laforest, and Mile Higher Podcast hosted by Josh Thomas and Kendall Rae. These podcasts are more on the preference side so if you don’t like tarot readings or anything related to witchcraft, Basic Witches would not be for you. And if you don’t like true crime or conspiracy theories, I wouldn’t recommend Mile Higher Podcast. However, if you like to expand your tastes, both podcasts are enjoyable and I learn a lot from them both.

If you liked this week's post please hit the like button, follow the blog, drop a comment, and share this with your friends. I have some new things coming to the blog next week and if you want a sneak peek follow me on my social media all of which are linked on the bottom of this post and to the right side of the page! Enjoy your Friday and have a great weekend!

- Chelsea <3

*Disclaimer: All Podcast photos above below are the property of said podcasts and are not in any way my photos. These photos are being used purely for reference for audience readers*

Original post at: https://coffeechildrenchaos.wordpress.com/2019/08/02/5-podcasts-you-need-to-start-listening-to/

[mrjeremydylan]

My Favorite Album #179 - Nick Allbrook (POND) on OutKast ‘The Love Below’ (2003)

Singer/songwriter and POND frontman Nick Allbrook takes me backstage before the band's recent LA show to reveal his long-term infatuation with Outkast's 2003 classic 'Love Below', the complex and endlessly inventive record helped teach Nick it was ok to love pop bangers.

We talk about how the album is structured like a concept record, the wonderfully weird production choices, how Andre 3000 and Outkast evolved from their early Atlanta rap days into the genre blending of 'Love Below', the Outkast cover Nick did with Tame Impala on triple J, stories about foisting the record on the Tame boys in their old share house, the pop anxiety some psych fans have about the evolution of Pond's sound and what to expect from the new Pond record.

Listen in the player above or download the episode by clicking here.

Subscribe to the podcast in iTunes here or in other podcasting apps by copying/pasting our RSS feed - http://myfavoritealbum.libsyn.com/rss My Favorite Album is a podcast unpacking the great works of pop music. Each episode features a different songwriter or musician discussing their favorite album of all time - their history with it, the making of the album, individual songs and the album’s influence on their own music. Jeremy Dylan is a filmmaker, journalist and photographer from Sydney, Australia who has worked in the music industry since 2007. He directed the the feature music documentary Jim Lauderdale: The King of Broken Hearts (out now!) and the feature film Benjamin Sniddlegrass and the Cauldron of Penguins, in addition to many commercials and music videos.

If you’ve got any feedback or suggestions, drop us a line at myfavoritealbumpodcast@gmail.com.

LINKS

- Nicholas Allbrook on Instagram, Facebook and iTunes. Catch him at St Jerome’s Laneway Festival later this month around Australia, Auckland and SIngapore - get tix here.

- Pond on Twitter, Instagram, Facebook and iTunes.

- Buy the The Love Below on iTunes here.

- Jeremy Dylan’s website, Twitter, Instagram and Facebook page.

- Like the podcast on Facebook here.

- If you dig the show, please leave a rating or review of the show on iTunes here.

CHECK OUT OUR OTHER EPISODES

178. 2016 in Review: What the hell? ft Jeff Greenstein, Rob Draper & Cookin on 3 Burners, Melody Pool, Lisa Mitchell, Emma Swift, Brian Koppelman, Mark Hart (Crowded House), Davey Lane and Alex Lahey 177. Harper Simon on The Beatles ‘White Album’ (1968) 176. Andrew P Street on Models ‘Pleasure of Your Company’ (1983) 175. Matt Farley (Motern Media) on why The Beach Boys ‘Love You’ is better than ‘Pet Sounds’ 174. Lisa Mitchell on Regina Spektor ‘Begin to Hope’ (2006) and her favorite albums of 2016 173. Peter Bibby on Sleep ‘Dopesmoker’ (2003) 172. Slate’s Jack Hamilton on Stevie Wonder ‘Innervisions’ (1973) 171. Showrunner Blake Masters on Drive-By Truckers ‘The Dirty South’ (2004) 170. Taylor Goldsmith (Dawes) on on their new album ‘We’re All Gonna Die’, loving LA and the albums that inspire him 169. Sadler Vaden on The Rolling Stones ‘Goats Head Soup’ (1973) 168. Guy Clark biographer Tamara Saviano on ‘Dublin Blues’, Guy’s songwriting process and his musical legacy 167. What does Trump mean for music? 166. A Tribute to Sir George Martin, The Fifth Beatle with Davey Lane and Brett Wolfie 165. John Oates on Joni Mitchell ‘Blue’ (1971) 164. Jimmy Vivino on the birth of the Max Weinberg 7, his relationship with Conan O’Brien, country music and the future of rock’n’roll 163. DJ Alix Brown on Transformer (1972) by Lou Reed 162. Taylor Locke on Doolittle (1989) by the Pixies, the album that inspired 90s alt-rock 161. Harts on Around the World in a Day (1985) by Prince and jamming with Prince at Paisley Park 160. Mark McKinnon (The Circus) on Kristofferson and programming the President’s iPod 159. Alan Brough on A Walk Across the Rooftops (1984) by The Blue Nile 158. Peter Cooper on Pretty Close to the Truth (1994) and why we need Americana music 157. Will Colvin (Hedge Fund) on One of the Boys by Katy Perry (2008) 156. Julia Jacklin on Extraordinary Machine by Fiona Apple (2005) 155. Japanese Wallpaper on Currents by Tame Impala (2015) 154. Montaigne on her album Glorious Heights (2016) and its inspirations 153. Alex Lahey on Hot Fuss by the Killers (2004) 152. Jack Moffitt (The Preatures) on Physical Graffiti by Led Zeppelin (1975) 151. Mike Bloom on Axis Bold As Love by Jimi Hendrix (1968) 150. Hey Geronimo on Drowning in the Fountain of Youth by Dan Kelly (2006) 149. Mickey Raphael on Teatro by Willie Nelson (1998) 148. Jack Ladder on Suicide by Suicide 147. Rusty Anderson on Hot Rats by Frank Zappa 146. Kenny Aronoff on The Beatles 145. Bob Evans on A Grand Don’t Come for Free by The Streets 144. Chris Hewitt (Empire) on New Adventues in Hi-Fi by REM 143. Dr Warren Zanes on Tom Petty and the Heartbreakers by Tom Petty and the Heartbreakers 142. Dr Mark Kermode (Wittertainment) on Sleep No More by the Comsat Angels 141. Van Dyke Parks on Randy Newman by Randy Newman 140. Imogen Clark on Heartbreaker by Ryan Adams 139. Jesse Thorn on Fresh by Sly and the Family Stone 138. Stephen Tobolowsky on The Rise and Fall of Ziggy Stardust and the Spiders from Mars by David Bowie 137. Ben Blacker on Blood and Chocolate on Elvis Costello & the Attractions 136. Jonny Fritz on West by Lucinda Williams 135. Adam Busch on A River Ain’t Too Much to Love by Smog 134. Kelsea Ballerini on Blue Neighbourhood by Troye Sivan 133. Natalie Prass on Presenting Dionne Warwick 132. Josh Pyke on Badmotorfinger by Soundgarden 131. Kip Moore on Born to Run by Bruce Springsteen 130. Koi Child on Voodoo by D’Angelo 129. The Cadillac Three on Wildflowers by Tom Petty 128. Julian McCullough on Appetite for Destruction by Guns n Roses 127. Danny Clinch on Greetings from Ashbury Park NJ by Bruce Springsteen 126. Sam Palladio (Nashville) on October Road by James Taylor 125. Steve Mandel on Blood and Chocolate by Elvis Costello 124. Brian Koppelman on The History of the Eagles 123. Benmont Tench on Beggars Banquet by the Rolling Stones 122. Jimmy Vivino (Basic Cable Band) on Super Session by Al Kooper, Mike Bloomfield and Stephen Stills 121. Holiday Sidewinder on Pat Garrett & Billy the Kid by Bob Dylan 120. Ben Blacker on Aladdin Sane by David Bowie 119. EZTV on The Toms by The Toms 118. Jess Ribeiro on Transformer by Lou Reed 117. Whitney Rose on Keith Whitley Greatest Hits 116. Best Albums of 2015 with Danny Yau ft. Jason Isbell, Dan Kelly, Shane Nicholson, Tim Rogers, Will Hoge and Julien Barbagallo (Tame Impala) 115. Phil Spector’s A Christmas Gift For You with Jaime Lewis 114. Xmas Music ft. Kristian Bush, Lee Brice, Corb Lund and Tim Byron 113. Sam Outlaw on Pieces of the Sky by Emmylou Harris 112. Jason Isbell on Sticky Fingers by the Rolling Stones 111. Ash Naylor (Even) on Houses of the Holy by Led Zeppelin 110. Burke Reid (Gerling) on Dirty by Sonic Youth 109. Lance Ferguson (The Bamboos) on Kind of Blue by Miles Davis 108. Lindsay ‘The Doctor’ McDougall (Frenzal Rhomb) on Curses! by Future of the Left 107. Julien Barbagallo (Tame Impala) on Chrominance Decoder by April March 106. Melody Pool on Blue by Joni Mitchell 105. Rusty Hopkinson (You Am I) on ‘Nuggets: Original Artyfacts from the First Psychedelic Era’ 104. Jeff Greenstein on A Quick One (Happy Jack) by The Who 103. Dave Cobb on Revolver by the Beatles 102. Justin Melkmann (World War IX) on Coney Island Baby by Lou Reed 101. Kacey Musgraves on John Prine by John Prine 100. Does the album have a future? 99. Corb Lund on Gunfighter Ballads and Trail Songs by Marty Robbins 98. Bad Dreems on Unknown Pleasures by Joy Division 97. Davey Lane (You Am I) on Abbey Road by the Beatles 96. Dan Kelly on There’s A Riot Goin’ On by Sly and the Family Stone 95. Ash Grunwald on Mule Variations by Tom Waits 94. Stella Angelico on The Shangrilas 93. Eves the Behavior on Blue by Joni Mitchell 92. Troy Cassar-Daley on Willie Nelson’s Greatest Hits 91. Lydia Loveless on Pleased to Meet Me by the Replacements 90. Gena Rose Bruce on The Boatman’s Call by Nick Cave 89. Kitty Daisy and Lewis on A Swingin’ Safari by Bert Kaempfert 88. Will Hoge on Modern Sounds in Country & Western Music by Ray Charles 87. Shane Nicholson on 52nd St by Billy Joel 86 - Tired Lion on Takk… by Sigur Ros 85 - Whispering Bob Harris on Forever Changes by Love 84 - Jake Stone (Bluejuice) on Ben Folds Five by Ben Folds Five 83 - Pete Thomas (Elvis Costello and the Imposters) on Are You Experienced? by the Jimi Hendrix Experience 82 - Dom Alessio on OK Computer by Radiohead 81 - Anthony Albanese MP on The Good Son by Nick Cave and the Bad Seeds 80 - John Waters on Electric Ladyland by The Jimi Hendrix Experience 79 - Jim DeRogatis (Sound Opinions) on Clouds Taste Metallic by The Flaming Lips 78 - Montaigne on The Haunted Man by Bat for Lashes 77 - Guy Pratt (Pink Floyd) on Quadrophenia by The Who 76 - Homer Steinweiss (Dap Kings) on Inspiration Information by Shuggie Otis 75 - Best of 2015 (So Far) ft. Danny Yau, Montaigne, Harts, Joelistics, Rose Elinor Dougall and Burke Reid 74 - Matt Farley (Motern Media) on RAM by Paul McCartney BONUS - Neil Finn on The Beatles, Neil Young, David Bowie and Radiohead 73 - Grace Farriss (Burn Antares) on All Things Must Pass by George Harrison 72 - Katie Noonan on Blue by Joni Mitchell 71 - Harts on Band of Gypsys by Jimi Hendrix 70 - Tim Rogers (You Am I) on Bring the Family by John Hiatt 69 - Mark Seymour (Hunters and Collectors) on The Ghost of Tom Joad by Bruce Springsteen 68 - Jeremy Neale on Graceland by Paul Simon 67 - Joelistics on Graceland by Paul Simon 66 - Brian Nankervis (RocKwiz) on Astral Weeks by Van Morrison 65 - ILUKA on Pastel Blues by Nina Simone 64 - Rose Elinor Dougall on Tender Buttons by Broadcast 63 - Sarah McLeod (The Superjesus) on Siamese Dream by The Smashing Pumpkins 62 - Keyone Starr on The Miseducation of Lauryn Hill 61 - Chase Bryant on Defying Gravity by Keith Urban 60 - Brian Koppelman on Southeastern by Jason Isbell 59 - Michael Carpenter on The Beatles White Album Side 4 58 - Pete Kilroy (Hey Geronimo) on The Beatles White Album Side 3 57 - Mark Wells on The Beatles White Album Side 2 56 - Jeff Greenstein on Colossal Youth by Young Marble Giants 55 - Laura Bell Bundy on Shania Twain, Otis Redding and Bright Eyes 54 - Jake Clemons on Surfacing by Sarah McLachlan 53 - Kristian Bush (Sugarland) on The Joshua Tree by U2 52 - Kevin Bennett (The Flood) on Willis Alan Ramsey by Willis Alan Ramsey 51 - Lee Brice on Unorthodox Jukebox by Bruno Mars 50 - Davey Lane (You Am I) on the White Album (Side 1) by The Beatles 49 - Joe Camilleri on The Rolling Stones by The Rolling Stones 48 - Russell Morris on The Rolling Stones by The Rolling Stones 47 - Mike Rudd (Spectrum) on England’s Newest Hitmakers by The Rolling Stones 46 - Henry Wagons on Harvest by Neil Young 45 - Megan Washington on Poses by Rufus Wainwright 44 - Andrew Hansen (The Chaser) on Armchair Theatre by Jeff Lynne 43 - She Rex on BlakRoc by The Black Keys 42 - Catherine Britt on Living with Ghosts by Patty Griffin 41 - Robyn Hitchcock on Plastic Ono Band by John Lennon 40 - Gideon Bensen (The Preatures) on Transformer by Lou Reed 39 - Harry Hookey on Blood on the Tracks by Bob Dylan 38 - Rob Draper on Faith by George Michael 37 - Best of 2014 ft. Danny Yau, Andrew Hansen, Gideon Bensen (The Preatures) and Mike Carr 36 - Doug Pettibone on Wrecking Ball by Emmylou Harris 35 - Ross Ryan on Late for the Sky by Jackson Browne 34 - Michael Carpenter on Hard Promises by Tom Petty & the Heartbreakers 33 - Davey Lane (You Am I) on Jesus of Cool by Nick Lowe 32 - Zane Carney on Smokin’ at the Half Note by Wes Montgomery 31 - Tony Buchen on Sgt Pepper’s Lonely Hearts Club Band by The Beatles 30 - Simon Relf (The Tambourine Girls) on On the Beach by Neil Young 29 - Peter Cooper on In Search of a Song by Tom T Hall 28 - Thelma Plum on Stolen Apples by Paul Kelly 27 - James House on Rubber Soul by the Beatles 26 - Ella Hooper on Let England Shake by PJ Harvey 25 - Abbey Road Special 24 - Alyssa Bonagura on Room for Squares by John Mayer 23 - Luke Davison (The Preatures) on Green Onions by Booker T and the MGs 22 - Neil Finn on Hunky Dory by David Bowie and In Rainbows by Radiohead 21 - Neil Finn on Beatles for Sale by the Beatles and After the Goldrush by Neil Young 20 - Morgan Evans on Diorama by Silverchair 19 - Emma Swift on Car Wheels On A Gravel Road by Lucinda Williams 18 - Danny Yau on Hourly Daily by You Am I 17 - J Robert Youngtown and Jon Auer (The Posies) on Hi Fi Way by You Am I 16 - Lester the Fierce on Hounds of Love by Kate Bush 15 - Luke Davison on Green Onions by Booker T and the MGs 14 - Jeff Cripps on Wheels of Fire by Cream 13 - Mark Holden on Blue by Joni Mitchell (Part 2) 12 - Mark Holden on Blue by Joni Mitchell (Part 1) 11 - Gossling on O by Damien Rice 10 - Matt Fell on Temple of Low Men by Crowded House 9 - Pete Thomas on Are You Experienced? by Jimi Hendrix (Part 2) 8 - Pete Thomas on Are You Experienced? by Jimi Hendrix (Part 1) 7 - Sam Hawksley on A Few Small Repairs by Shawn Colvin 6 - Jim Lauderdale on Grievous Angel by Gram Parsons 5 - Mark Moffatt on Blues Breakers by John Mayall and Eric Clapton 4 - Darren Carr on Ten Easy Pieces by Jimmy Webb 3 - Mark Wells on Revolver by The Beatles 2 - Mike Carr on Arrival by ABBA 1 - Rob Draper on Highway 61 Revisited by Bob Dylan

[thesinglesjukebox]

KESHA FT. BIG FREEDIA - RAISING HELL

[6.38]

Kesha with Big Freedia Energy

Leah Isobel: Kesha has been saddled with one of the heaviest narratives of 2010s pop music, which combines uneasily with her career-long interest in more grounded country and rock signifiers. Now when she works with those impulses, as she did on Rainbow, the effect is one of refutation; Animal becomes an outlier that she made against her will, one that doesn't represent the Real Kesha. To work her way back to the party music that made her reputation, she has to adapt it to the new narrative frame that surrounds everything she does. If she's having fun, she's having fun in spite of what she experienced; partying is no longer an end into itself, but an escape from something else. Hence, "Raising Hell" deploys one of the hackiest pop tropes - gospel choirs used as a shortcut for sincere emotion - married to a pretty decent Big Freedia drop. It's not awful, but I miss the actual, honest-to-god trashiness that she made her stock in trade. In 2019, I guess I'm the only one. [6]

Thomas Inskeep: Finally, an uptempo Kesha record that a) isn't touched by the evil Dr. Luke, and b) doesn't sound like the result of a three-day vodka-and-Red Bull bender, and c) is actually fun. I'm not a fan of the EDM horns in the chorus, but apart from those, this works. I'm a bigger fan of Big Freedia in theory than practice, and accordingly prefer her in small doses; she's quite effective here as a kind of DJ Khaled-esque hype-person. And Kesha sounds free and happy, which makes me happy. [7]

Kayla Beardslee: I'm glad Kesha got her balls back and all, but I'm not enthused that that means a return to honking 2012 pop-drops. I will admit, though -- the combined Kesha/Freedia "drop it down low" hook grows on me with every listen. The rest of the song is fine: it invites singing along and is fun in a hedonistic Ke$ha way, but it's also very, very noisy (lots of erratic shouts and claps in the background that, to me, lean more messy than energetic). My favorite part is the final chorus ("Can I get an amen"), which is a pleasantly melodic contrast to the rest of the track, a close second being the thrilling "aaugh!" Kesha does right before the second chorus. [6]

Alex Clifton: High Road appears to take the party-all-day spirit from Kesha's earlier work but mixed with the rawer, more down-to-earth material from Rainbow. In theory this is a dream come true, and there's so much about "Raising Hell" that makes it a joy to experience. The post-chorus is godawful, though. Tonally it doesn't fit and stalls the song from its natural flow. I'm also longing for the day that Big Freedia gets the feature she deserves: her appearance is mostly limited to drop-it-drop-it-drop-it-drop-it which is delivered well but also literally one-note. Kesha's trying to have it all ways she can--country and gospel and dance and bounce--which, as someone who likes a good genreproof song, I really respect. Unfortunately the whole package doesn't come together as fully as it could. [6]

Stephen Eisermann: "The best possible Andy Grammer single" is not what Kesha and Big Freedia should be collaborating on. This is a waste of time and talent and no amount of conviction from either participant can convince me otherwise. [4]

Alfred Soto: This sounds sacrilegious: instead of defiling a religion, it defiles my idea of Kesha. After proving herself up to thumbing her nose at any genre she experimented with, she acquiesces to gospel cliches. She's earned the right to want salvation in them, lord knows, but she needn't sound as if Julia Michaels was her pastor. [4]

Josh Buck: How do you have a hook like "I don't wanna go to heaven without raising hell" and video centered around prosperity gospel preachers and NOT make it a country song?? At this point, Kesha has proven that she can tackle a variety of genres, but this bounce effort just feels scattered instead of celebratory. I realize this a loaded statement and not at all meant to be a defense or endorsement of the man, but judging by Kim Petras' endless recent string of bangers, Dr. Luke may have been an irreplaceable ingredient in Kesha's more crowd pleasing, debauched pop efforts. In recent years, she's sound much stronger on her Struts and Eagles of Death Metal rock cuts, and i'd love to see her spend more time in that arena. This one reminds me a bit of the final album by The Donnas in terms of we-might-be-too-old-for-this vibes. [3]

Katherine St Asaph: The narrative, inevitable and damning, around Kesha was that in severing her ties to Dr. Luke, she lost her source of a signature sound. Rainbow, with its grabs at musical styles and Kesha's required-for-optics but personality-dampening show of penitence, didn't do much to dislodge it. Which is why "Raising Hell" is such a triumph: it's evidence that she was the source of her signature sound. The song feels massive; if sound alone determines a hit, this would be No. 1 everywhere. The hook is recognizably hers: a melody that's kin to "We R Who We R" and also to hymns. The drops r what they r; the interpolations are canny and nostalgia: an interlude of "My Neck, My Back" filtered through "Hollaback Girl," an interlude of preaching filtered through Prince. Freedia is incapable of sounding like she's phoning it in even when she is (I'm sure she'll do a lot of that in the next few years), and unlike Iggy Pop or the Eagles of Death Metal, she's an actually exciting guest pick, rather than one mostly exciting on paper to boomers. And throughout, Kesha recaptures the anarchic glee that made her career. [8]

Jonathan Bogart: Maybe it was my naïveté in 2010 that made her sound so recklessly out of step with the rest of pop; but her post-Luke music, however much better it has been for her soul, still sounds faintly like capitulation. The secular-gospel structure and chantalong melody followed by jump around breakdowns sound like every pseudo-celebration on the market: the saving grace is Freedia's booming authoritativeness (surely the angel Gabriel, when he tells the roll up yonder to drop it down low, sounds like her) and Kesha's impish use of language, dancing on the borders between sacrilege and piety, hooks it up to the great stream of American song, where there is no Sunday morning without a Saturday night. [8]

Kylo Nocom: Of all things, this reminds me of Vacation Bible School theme songs and the "Cheerleader" remix. I have scored this accordingly. [7]

Michael Hong: The bombast of early 2010s Ke$ha meets the soulful Kesha of Rainbow racing down that same road to self-empowerment. Ke$ha's talk-singing, a choir that makes a line like "bitch, I'm blessed" all the more enjoyable, drops mixed with the gospel influences, and Big Freedia's bounce make for a hell of a maximalist fantasy. [7]

Jackie Powell: When "Raising Hell" begins, it fools the listener. When the piano chords and Kesha's introductory vocalization grace my ears during the song's first five seconds, I'm convinced that a power ballad or at best a mid-tempo track is in store. But Kesha quickly changes direction. An explosion of camp from collaborator Big Freedia, a blaring saxophone in the chorus, the return of talk-singing in the verses and an epic build in the pre-chorus: it sounds very familiar. That's what Kesha wants. She wants us to feel like we are once again at a 21-century hoedown. (But without Pitbull this time.) On this track, Kesha proves that both she and her fans can be "animals" while simultaneously being people with "fantastic souls", which might have been something missing from the pre-Rainbow eras. Here, however, Kesha desires fun and a rebellion that are a rejection of evil behavior and suffocating authority figures. She's not just sticking it to the man without a purpose. That's the difference between Kesha of 2019 and Ke$ha of 2009. "Kesha got her balls back and they're bigger than ever," she said in the album trailer for High Road. But I don't agree with that. She's had them since her inception. Her evolution has been honest, which is something that not all artists can say. [7]

Isabel Cole: MY! GIRL! Having proven herself an actual musician to every idiot man in the country, Kesha (perhaps sick of being so serious) gleefully returns to her favorite stomping ground of, well, glee. Raising Hell makes text what has always been the implicit mission of the Kesha project: a commitment to the fundamental sacredness of joy. It's hard to imagine a more succinct encapsulation of her ethos than "I'm all fucked up in my Sunday best / no walk of shame cuz I love this dress": it's not that she takes no pleasure in the transgression of elevating ass-shaking to the level of the divine, but it's a gentle mischief born of the deep belief in the holiness of enjoying our corporeal gifts while we still can. Feeling good is a form of worship, and a killer beat is no less legitimate an access point than a hymn. When she combines markers of religiosity with artifacts of base delights (my favorite is "Solo cup full of holy spirits," although I also adore the the vulgarity of "bounce it up and down where the good Lord split it"), the point is not to revel in contradiction but to toast to the fact that there is no contradiction; and when she opens her scope in the coda, dedicating her preaching or perhaps this round of shots to the misfits of creation, there's a (frankly Piscean) generosity to it. Also, (1) it slaps (2) biiiiiiiiiiiiiitch I'm blessed (3) her voice sounds just wonderful, as dextrous with an implicit smirk as ever and with a thrilling power on the places she gets to soar; I love the bit of grit we get in the chorus, like she's singing this after a night out (4) it FUCKING slaps (5) "I'm still here still, still bringing it to ya": ten years since TiK ToK this month, and the party still don't start till she walks in. [10]

[Read, comment and vote on The Singles Jukebox]

[yahoo-shutdown-corner-blog]

NFL on TV: 5 ways to make a better broadcast

Sunday Night Football is great. Let’s make it better. (Getty Images)

Welcome to the Wednesday War Room, where your favorite Yahoo Sports NFL writers weigh in on the most serious and critical NFL topics of the day. Read on for how you can join in. Today, we’re talking how to fix the NFL on TV, and suggesting second sports careers for your favorite NFL players. Onward!

Question 1: With the news that NBC is looking to move to fewer but longer commercial blocks, what improvement would you like to see in NFL broadcasts?

Shalise Manza-Young: My vote: go to the soccer broadcasting model. Let someone “sponsor” the scorebox, let a company pay to have its logo in the corner during replays, put company patches on the uniforms, and the only actual commercials we see is during halftime. A lot of people watching at home who are watching just one game at a time are probably doing what they can to zip through the commercials anyway, or getting up during commercial breaks to refill their cup of salsa, use the bathroom, whatever. This way, the games get shorter, there aren’t as many delays, and game play might be smoother too.

Kevin Kaduk: Get team-specific announcers. No, this isn’t an anti-Joe Buck stance, though I won’t complain if you want it to be. I just don’t understand why fans of a team can’t get the same set of announcers for all 16 games of a season. As it stands, NFL games are called by a rotating cast of broadcasters who parachute into town and recycle the same notes prepared by the media staff week after week. Plus, if your team sucks, you’re stuck with an uninteresting down-roster duo from CBS or Fox. (The sound of Kenny Albert or Sam Rosen’s voice is instantly depressing to any lower-tier NFC team.)

Yes, getting a dedicated hometown call might open the door for over-the-top homers and it might cost the league a few more bucks. But it would expose fans to more informed analysis about their own teams and less annoying gushing over whatever opposing player is picking your team apart. It’d also allow the broadcast to nurture a stronger bond between team and fan as the broadcasters would give the audience someone to celebrate or cry with.

This wouldn’t be new territory, either. Turner has broadcast the last few Final Fours on three different channels: One with the national Jim Nantz call and the other two featuring announcers associated with the schools. At the very least, the NFL could just pipe in the local radio broadcasts — though that would prevent us from hearing a hundred promo reads for whatever season of “24” or “The Amazing Race” they’re on. (See, this isn’t such a bad idea, is it?)

Jay Busbee: Second screen, second screen. I’d like to see a dedicated second-screen experience for your phone or tablet, the way that some TV shows already use. Question about whether Leonard Fournette got into the end zone on a dive? Five different camera angles all at your fingertips. Aaron Rodgers throws a miraculous touchdown? Boom, a window’s right there to show you all his best Hail Marys. Antonio Brown hurdles three defenders on a breakaway? Hey, here’s a link to a story about how he trains to get ready for game day. Plus, you can have all your fantasy stats updating in real time along the sidebar. This is a genius idea, and in case anybody is already thinking about it, this is my proof of concept, copyright 2017 Jay Busbee and Yahoo Sports.

Frank Schwab: The XFL made many mistakes (please, don’t make me list them all) but it also had some great ideas. The best idea it had, aside from “HE HATE ME,” was a general one: Give fans more access. More players and coaches mic’ed up, more cameras on sidelines, more anything that brought fans into the game. The NFL has improved that part of its broadcasts (which, ultimately, is the legacy of the XFL, as told so well in the recent XFL “30 for 30”), but the inside-football stuff still is scrubbed up so we rarely hear what’s really being talked about on the sideline. We’ll never get real-time sound from players or coaches, because NFL teams guard everything like war-time secrets, but it sure would make broadcasts a lot more fun if we could.

Eric Edholm: I assume this will do away with the touchdown-commercial-extra point-commercial-kickoff-commercial cluster we were forced to deal with, which would be nice. I truly think the next advancement is the inclusion of an analytics expert — either in the booth or back in a studio who can provide on-the-spot nerdy numbers. The game has been trending that way during down time, so why not during games when it matters most? Another one would be a former coach who can talk game-management strategy. To me, so few people understand how to manipulate the clock, timeouts and the like, and that includes the people calling games.

Tony Romo at a pro-am at Pebble Beach in 2012. (AP file photo)

Question 2: Tony Romo recently tried, and failed, to play golf at a professional level. What NFL player would you like to see try another sport? (Gronk, everyone’s favorite answer to every NFL question, is not permitted to be used in this exercise.)

Eric Edholm: No Gronk, eh? I guess Chris Hogan playing lacrosse is a crummy substitute then. So is Nate Ebner playing rugby, because we all had our chance to actually watch him last summer. (Admit it: You missed that.) I think for the sake of the Seahawks I might gently request that they trade George Fant to a D-League team if he’s not going to get better at blocking, and it’s not his fault; it’s the team’s for thinking he could handle NFL pass rushers. I’ve heard Drew Brees is a sick tennis player. That’s cool. And there’s obviously a lot of former baseball and basketball players who could hold their own. But I might nominate Josh Lambo, who was a first-round pick in the MLS. Dude made the right choice, salary-wise, but I want to know how good a soccer player he really is.

Shalise Manza-Young: Awww…no Gronk? Imagining Gronk as a no-holds-barred (pun intended) WWE champ or Charles Barkley-esque rebounding machine is fun. But since we’re not supposed to go that route, how about the return of the two-sport athlete? There has to be someone out there like Bo Jackson or Deion Sanders, able to excel in the NFL and MLB or even NFL and NBA. LeBron James is too old to jump into football, and it’s been years since new Colts signee Mo Alie-Cox, a power forward at Virginia Commonwealth, played football. But with the sheer off-the-charts athleticism we’ve seen from athletes in recent years, it has to be possible.

Jay Busbee: I want to see James Harrison in an MMA fight, not because I think he’d necessarily win, but because I want to see dudes 20 years younger than him shattering their fists on his jaw like he was Luke Cage. I want to turn Julio Jones loose against LeBron James in a one-on-one matchup, any sport. I want Julian Edelman and Conor McGregor to have a no-holds-barred, winner-take-all, Axe-Body-Spray Bro-Off. And I want to bring back “Battle of the Network Stars” from the 1970s and watch Martellus Bennett compete against Cersei Lannister, Negan, and the “Stranger Things” kids in a potato sack race. My wishes are not un-do-able, folks.

Frank Schwab: We’ve seen a few players make the basketball to football jump look easy, but it’s rare to see high-level football players shift to hoops (we see you, Charlie Ward). Terrelle Pryor was a top-30 basketball recruit in the class of 2008, pretty much a borderline McDonald’s All-American. Guys like Iman Shumpert, Klay Thompson, Isaiah Thomas and Draymond Green were ranked outside of the top 30 in that class. That doesn’t mean Pryor would have been an NBA star like Thomas if he chose basketball, but he’s a certified athletic freak. Making the transition from failed NFL quarterback to 1,000-yard receiver had only been done by Marlin Briscoe before Pryor did it. There’s no question Pryor had the athletic skills to make it in the NBA. And hey, he’s only 27. Who needs a 6-foot-4, 223-pound small forward?

Kevin Kaduk: This is a trick to get me to write something about Tim Tebow and hockey/WWE/poker isn’t it? I, for one, am not biting (though if Tebow wants to give bull riding a try, I’m on board.)

There you have it. Weigh in with your own thoughts below. Got ideas for future questions? Email us and you might just find your name in lights. Now, start creating your catchphrases; Monday Night Football might have a job for you soon. ____ Jay Busbee is a writer for Yahoo Sports and the author of EARNHARDT NATION, on sale now at Amazon or wherever books are sold. Contact him at jay.busbee@yahoo.com or find him on Twitter or on Facebook.

More from Yahoo Sports: • ESPN’s Berman loses wife in tragic accident • Usain Bolt shuts down NFL star’s challenge • Michael Lee: How Ginobili once again gave the Spurs hope • Dan Wetzel: Aaron Hernandez’s murder conviction vacated

[junker-town]

2017 BIG3 mock draft: Yep, this is happening

Praise be to Ice Cube.

BIG3 is a a new professional 3-on-3 basketball league founded by Ice Cube and Hollywood producer Jeff Kwatinetz. Cube and the team convinced a few dozen retired and fringe NBA players to sign on for a summer of delight. They hired Roger Mason of HOW U fame to come aboard as commissioner. Amy Trask, a former Oakland Raiders chief executive, signed on as the league’s CEO.

Then there are the players. Some of these guys are legends, like Allen Iverson and Chauncey Billups. Some of these guys were NBA role players at best. Some are a bit more gray, like Charles Oakley. Some, like Xavier Silas and Donte Greene, haven’t even hit age 30 yet.

All eight teams already have two players and a coach on their rosters. (In some cases, as with Iverson’s team 3’s Company [yes, really] there is a player-coach.) That means 16 of the best players to sign up for BIG3’s inaugural season are accounted for.

On Sunday, BIG3 will hold a draft in Las Vegas to assign 24 more players (2 p.m. ET on Facebook Live). A draft lottery was held, and Kenyon Martin’s team — Trilogy -- won the first pick.

Naturally, we’re going to give you a mock draft.

Keep in mind that we haven’t seen these guys play in between three and 15 years. (There was a BIG3 Combine this week but video footage is lacking. We’re going off Instagram photos.) Also keep in mind that in BIG3, there are four-pointers (whither Antoine Walker) and it’s a halfcourt game to 60.

Let’s mock.

FIRST ROUND

1. Trilogy: Steve Francis

You’re probably thinking, “Jeez, did some pictures go around showing Stevie Franchise wildly out of shape recently?” Yes, that did happen.

But your boy is in shape now.

#Big3 @icecube @LawrenceMoten21 at The combine good turnout for first season and tocbe around so old foes/friends #Lyfe http://pic.twitter.com/CNGw8x7lDm

— Steve Francis (@SteveFranchise3) April 29, 2017

After perusing The Franchise’s Twitter timeline, I have never been more invested in a draft pick in my life.

2. 3’s Company: Joe Smith

3’s Company features A.I. and DerMarr Johnson. You might think we’d want another scorer here — maybe Latrell Sprewell or Mahmoud Abdul-Rauf. You’d think wrong. Iverson, who is the team’s coach, captain and star, will be leading the BIG3 in scoring come hell or high water. Joe Smith is a fellow rapper and Virginian. I daresay he’s a lock at No. 2.

3. Killer 3s: Reggie Evans

You’re sensing a trend with the team names, yes? The Killer 3s feature Chauncey Billups and Stephen Jackson. I’m perplexed, actually, that this team isn’t called the Rachel Nichols All-Stars. Along with his BIG3 contract and Killers 3s jersey, Reggie is guaranteed at least one appearance on The Jump this season.

4. Tri-State: Ruben Patterson

Patterson, the original Kobe Stopper, is 41 and probably shouldn’t go this high. But Tri-State stars Jermaine O’Neal and Bonzi Wells, so I’m sorry, but this is happening.

5. Three-Headed Monsters: Ivan Johnson

Just another league for Ivan Johnson to get banned from. (Please don’t tell him I said that.) The Three-Headed Monsters (seriously guys?) has Jason Williams and Rashard Lewis, and Gary Payton is coaching, so this is already my favorite team.

6. Power: Hakim Warrick

Finally, a team without the number three in its name! Power, led by Cuttino Mobley and Corey Maggette, can’t pick Elton Brand because he’s not participating. So they get the best young-ish big man in 34-year-old Warrick.

7. Ball Hogs: Mahmoud Abdul-Rauf

So the Ball Hogs’ captain is Brian Scalabrine and the coach is Rick Barry. Their roster also lists a “PLAYER X.” That tells me no one else wants to play with Scal and under Barry, or that BIG3 has a perfect Scal complement in mind but is waiting for some reason to announce. Paul Pierce could be playing his final NBA on Sunday, should the Clippers lose. HMMMMM?

8. Ghost Ballers: Latrell Sprewell

Photo by Lisa Blumenfeld/Getty Images

Spree joins Mike Bibby and Ricky Davis. This is the single most NBA Twitter team ever created.

SECOND ROUND

9. Ghost Ballers: Pops Mensah-Bonsu

With all these shooters, Ghost Ballers needs to look for some role players to fill gaps. (Yes, I am taking this entirely too seriously.)

10. Ball Hogs: Xavier Silas

The whole PLAYER X thing is really making running a mock for the Ball Hogs difficult. Barry will see the young Silas as coachable, though.

11. Power: James White

Flight White is back! This is probably not a great pick, but Clyde Drexler’s is Power’s coach and I have to imagine he appreciates a high-flying wing.

12. Three-Headed Monsters: Larry Hughes

Larry Hughes is definitely going to lead the league in four-point attempts.

13. Tri-State: Earl Boykins

Photo by Jim McIsaac/Getty Images

Tell the truth: you’d still watch Earl Boykins play basketball today. Brilliant get by BIG3.

14. Killers 3s: Keith Bogans

This seems like a good time to mention that Charles Oakley is listed as a player-coach for the Killer 3s. Charles Oakley is 53 years old. What is happening?

15. 3’s Company: Smush Parker

At 35 Smush is one of the younger players in the BIG3, and I feel like A.I. is intrigued by his upside potential.

16. Trilogy: Rashad McCants

The comeback tour starts in the BIG3!

THIRD ROUND

17. Three-Headed Monsters: Flip Murray

Who doesn’t love Flip Murray?

18. Ball Hogs: Donte Greene

This is just what Melo 2.0 needs to get back on the NBA radar.

19. Trilogy: DeShawn Stevenson

Photo by Ronald Martinez/Getty Images

The sole reason LeBron will never play in the BIG3: he doesn’t to deal with this dude any more.

20. Power: Mike James

Drexler realizes a bit too late he doesn’t have a point guard. Actually, didn’t Drexler play with Mike James in Houston?

21. 3’s Company: Marcus Banks

A.I. once called Banks the toughest defender he faced in the NBA, which has something to do with the fact that A.I. had like all of the best defenders in the NBA on his teams.

22. Ghost Ballers: Lawrence Moten

I’m not sure I ever saw Lawrence Moten play in the NBA. He’s 45. But based on the photos coming out of the BIG3 Combine, he’s in great shape!

23. Tri-State: Josh Childress

Maybe through the BIG3 we can finally find out what the heck happened to Josh Childress after he left for Greece during a contract stalemate with the Hawks ...

24. Killer 3s: Etan Thomas

For the culture.

REGRETTABLY UNDRAFTED

Kendall Gill, J.R. Rider, Derrick Byars, Brian Cook, Ndudi Ebi, Shane Heal, Jumaine Jones, Voshon Lenard, Lee Nailon, Andre Owens, Jamario Moon (please let Jamario Moon get drafted!), Eddie Robinson, Michael Sweetney (who is in shape according to Instagram!).

[kentonramsey]

Open Thread: What Do You Watch When You Need a Laugh?

Please Like Me could easily be a depressing TV show. In fact, the synopsis of its pilot—young guy moves back home after his mother’s suicide attempt, while coming to terms with being gay—could almost double as a content trigger warning. Instead, what unfolds during the show’s four seasons is nothing short of joyful.

I was late to watch Please Like Me, which was created by (and stars) Australian comedian Josh Thomas and premiered in 2013. But still, watching it in 2018 felt like returning home. This might be because it’s set in Melbourne (which reminded me of Sydney) or because I could dreamcast almost every character in the show with people from my inner circle. But most of all, the comfort I found in the show came from its continuous reminder that, even at the very worst of times, things can be incredibly funny.

Last weekend, I went to see Josh’s new live stand-up show, “Whoopsie Daisy.” I hadn’t forgotten how special he or Please Like Me are (or how much I need to watch his new show, Everything’s Gonna Be Okay) but seeing him on stage did remind me that there are still so many people I need to convince to watch my favorite funny TV show. It reminded me how many people are missing out on the charm, tender humor, and fun.

Come Monday morning, I was still in the mood to rave about how good both Josh and Please Like Me are. And when I did, other people’s funny-but-underrated recommendations came out too. And then I realized: I wanted a reference list immediately. I’ve written about the importance of finding distraction in times of crisis before, but this week was a much-needed reminder of the importance of good digestible comedy—not just in bad times—but always. And so, after some recommendations from the team below, I open the floor to you: What’s the show you’re constantly surprised that more people haven’t seen? If someone (me) were to ask you for a TV recommendation that’s guaranteed laughs, what would say?

PS. Please Like Me is on Hulu and, if you haven’t already gotten the gist from this story, I think you should watch it.

Nate Bargatze: The Tennessee Kid (on Netflix)

“The Nate Bargatze comedy special came on recommendation from a man that I dated for two minutes, metaphorically speaking (thanks, sir!). I watched it first by myself and was in tears, and then showed it to my family—a mixed, tough crowd—and they also were in tears. If you appreciate some dry-as-my-eczema comedy, this is for you. The milk story will have you giggling.” —Amalie

Saturday Night Live, but backwards (on Hulu, Slight TV, YouTube TV)

“Saturday Night Live is not at all underrated, but my strategy for watching it might be. This summer, I embarked on a project where, starting from the most recent season, I watched each episode in reverse chronological order. The ultimate objective is to watch the whole series until I land on the first episode in 1975. There’s something appealing about studying the various arcs of the show’s lifespan on both a micro and macro level. Hindsight is 20/20 and I love to see witness history unfold, backwards, in a new light.” —Edith

I Love Lucy (on Hulu, CBS, Philo)

“I grew up watching this show and still return to it regularly when I need a laugh. While I’ll admit much of the show is definitely out-dated and a bit controversial re: gender and family stereotypes… Lucille Ball was a pioneer for female comedians and the writers were absolute geniuses.” —Sabrina

555 (on Vimeo)

“At this point I think it’s pretty well established that John Early and Kate Berlant are comedic angels (if you are uninitiated start with Early’s ‘Characters‘ special on Netflix, where Berlant also appears, then watch Early’s recent in-character endorsement of Bernie Sanders). 555 is a series of five shorts set in a bizarro (more bizarro?) version of Hollywood that showcases the best-friend-duo in their purest forms. It will make you laugh a lot and then it will make you desperately want to be friends with them.” —Mallory

Please do leave your suggestions in the comments! Many, many thanks in advance.

Feature photos via Everett Collection and Getty Images.

The post Open Thread: What Do You Watch When You Need a Laugh? appeared first on Man Repeller.

Open Thread: What Do You Watch When You Need a Laugh? published first on https://normaltimepiecesshop.tumblr.com/ Open Thread: What Do You Watch When You Need a Laugh? published first on https://mariakistler.tumblr.com/

[mrjeremydylan]

My Favorite Album #203 - Iluka on Marvin Gaye ‘What’s Going On’ (1971)

Sydney soul-folk hippy goddess Iluka returns to the show to talk about her recent rediscovery of Marvin Gaye's classic of RnB social consciousness raising 'What's Going On', how it created an artistic revolution within Motown and why the album's plea for understanding resonates as much today as it did in the era of civil rights and Vietnam.

Listen in the player above or download the episode by clicking here.

Subscribe to the podcast in iTunes here or in other podcasting apps by copying/pasting our RSS feed - http://myfavoritealbum.libsyn.com/rss My Favorite Album is a podcast unpacking the great works of pop music. Each episode features a different songwriter or musician discussing their favorite album of all time - their history with it, the making of the album, individual songs and the album’s influence on their own music. Jeremy Dylan is a filmmaker, journalist and photographer from Sydney, Australia who has worked in the music industry since 2007. He directed the the feature music documentary Jim Lauderdale: The King of Broken Hearts (out now!) and the feature film Benjamin Sniddlegrass and the Cauldron of Penguins, in addition to many commercials and music videos.

If you’ve got any feedback or suggestions, drop us a line at myfavoritealbumpodcast@gmail.com.

LINKS

- Iluka on Facebook, Twitter and Instagram.

- Buy ‘What’s Going On’ here.

- Jeremy Dylan’s website, Twitter, Instagram and Facebook page.

- Like the podcast on Facebook here.

- If you dig the show, please leave a rating or review of the show on iTunes here.

CHECK OUT OUR OTHER EPISODES

202. Veronica Milsom (triple J) on The Shins ‘Wincing the Night Away’ (2007) 201. Charles Esten on Bruce Springsteen ‘Born to Run’ (1975) 200. What’s Your Favorite Aussie Music? with Benmont Tench, Duglas T Stewart, Natalie Prass, Sam Palladio and Jeff Greenstein 199. Showrunner Jeff Lieber on Gregory Alan Isakov ‘The Weatherman’ and how music fuels his writing process 198. Jack Colwell on Tori Amos ‘Boys for Pele’ (1996) 197. Benmont Tench on playing with Bob Dylan, Jenny Lewis and Ryan Adams and the worst advice he’s received 196. Ella Thompson (Dorsal Fins, GL) on Renee Geyer ‘Moving On’ 195. The Shires on Lady Antebellum ‘Own the Night’ (2011) 194. Duglas T Stewart (BMX Bandits) on Beach Boys ‘Love You’ (1977) 193. Dan Soder on Queens of the Stone Age ‘Like Clockwork’ (2013) 192. Kingswood on The Beatles ‘Magical Mystery Tour’ (1967) 191. Comedian Becky Lucas on Michael Jackson ‘Bad’ (1987) 190. PVT on Brian Eno ‘Another Green World’ (1975) 189. Middle Kids on My Brightest Diamond ‘Bring Me The Workhorse’ (2006) 188. The Bitter Script Reader on Tom Hanks ‘That Thing You Do’ (1996) 187. Carly Rae Jepsen ‘Emotion’ (2015) with CRJ Dream Team Roundtable 186. Sarah Belkner on Peter Gabriel ‘So’ (1986) 185. Mark Hart (Crowded House, Supertramp) on XTC ‘Drums and Wires’ (1979) 184. Emma Swift on Marianne Faithfull ‘Broken English’ (1974) 183. Owen Rabbit on Kate Bush ‘Hounds of Love’ (1985) 182. Robyn Hitchcock on Bob Dylan ‘Blonde on Blonde’ (1966) 181. Dave Mudie (Courtney Barnett) on Nirvana ‘Nevermind’ (1991) 180. Brian Koppelman on Bruce Springsteen ‘Nebraska’ (1982) 179. Nicholas Allbrook (POND) on OutKast ‘The Love Below’ (2003) 178. 2016 in Review: What the hell? ft Jeff Greenstein, Rob Draper & Cookin on 3 Burners, Melody Pool, Lisa Mitchell, Emma Swift, Brian Koppelman, Mark Hart (Crowded House), Davey Lane and Alex Lahey 177. Harper Simon on The Beatles ‘White Album’ (1968) 176. Andrew P Street on Models ‘Pleasure of Your Company’ (1983) 175. Matt Farley (Motern Media) on why The Beach Boys ‘Love You’ is better than ‘Pet Sounds’ 174. Lisa Mitchell on Regina Spektor ‘Begin to Hope’ (2006) and her favorite albums of 2016 173. Peter Bibby on Sleep ‘Dopesmoker’ (2003) 172. Slate’s Jack Hamilton on Stevie Wonder ‘Innervisions’ (1973) 171. Showrunner Blake Masters on Drive-By Truckers ‘The Dirty South’ (2004) 170. Taylor Goldsmith (Dawes) on on their new album ‘We’re All Gonna Die’, loving LA and the albums that inspire him 169. Sadler Vaden on The Rolling Stones ‘Goats Head Soup’ (1973) 168. Guy Clark biographer Tamara Saviano on ‘Dublin Blues’, Guy’s songwriting process and his musical legacy 167. What does Trump mean for music? 166. A Tribute to Sir George Martin, The Fifth Beatle with Davey Lane and Brett Wolfie 165. John Oates on Joni Mitchell ‘Blue’ (1971) 164. Jimmy Vivino on the birth of the Max Weinberg 7, his relationship with Conan O’Brien, country music and the future of rock’n’roll 163. DJ Alix Brown on Transformer (1972) by Lou Reed 162. Taylor Locke on Doolittle (1989) by the Pixies, the album that inspired 90s alt-rock 161. Harts on Around the World in a Day (1985) by Prince and jamming with Prince at Paisley Park 160. Mark McKinnon (The Circus) on Kristofferson and programming the President’s iPod 159. Alan Brough on A Walk Across the Rooftops (1984) by The Blue Nile 158. Peter Cooper on Pretty Close to the Truth (1994) and why we need Americana music 157. Will Colvin (Hedge Fund) on One of the Boys by Katy Perry (2008) 156. Julia Jacklin on Extraordinary Machine by Fiona Apple (2005) 155. Japanese Wallpaper on Currents by Tame Impala (2015) 154. Montaigne on her album Glorious Heights (2016) and its inspirations 153. Alex Lahey on Hot Fuss by the Killers (2004) 152. Jack Moffitt (The Preatures) on Physical Graffiti by Led Zeppelin (1975) 151. Mike Bloom on Axis Bold As Love by Jimi Hendrix (1968) 150. Hey Geronimo on Drowning in the Fountain of Youth by Dan Kelly (2006) 149. Mickey Raphael on Teatro by Willie Nelson (1998) 148. Jack Ladder on Suicide by Suicide 147. Rusty Anderson on Hot Rats by Frank Zappa 146. Kenny Aronoff on The Beatles 145. Bob Evans on A Grand Don’t Come for Free by The Streets 144. Chris Hewitt (Empire) on New Adventues in Hi-Fi by REM 143. Dr Warren Zanes on Tom Petty and the Heartbreakers by Tom Petty and the Heartbreakers 142. Dr Mark Kermode (Wittertainment) on Sleep No More by the Comsat Angels 141. Van Dyke Parks on Randy Newman by Randy Newman 140. Imogen Clark on Heartbreaker by Ryan Adams 139. Jesse Thorn on Fresh by Sly and the Family Stone 138. Stephen Tobolowsky on The Rise and Fall of Ziggy Stardust and the Spiders from Mars by David Bowie 137. Ben Blacker on Blood and Chocolate on Elvis Costello & the Attractions 136. Jonny Fritz on West by Lucinda Williams 135. Adam Busch on A River Ain’t Too Much to Love by Smog 134. Kelsea Ballerini on Blue Neighbourhood by Troye Sivan 133. Natalie Prass on Presenting Dionne Warwick 132. Josh Pyke on Badmotorfinger by Soundgarden 131. Kip Moore on Born to Run by Bruce Springsteen 130. Koi Child on Voodoo by D’Angelo 129. The Cadillac Three on Wildflowers by Tom Petty 128. Julian McCullough on Appetite for Destruction by Guns n Roses 127. Danny Clinch on Greetings from Ashbury Park NJ by Bruce Springsteen 126. Sam Palladio (Nashville) on October Road by James Taylor 125. Steve Mandel on Blood and Chocolate by Elvis Costello 124. Brian Koppelman on The History of the Eagles 123. Benmont Tench on Beggars Banquet by the Rolling Stones 122. Jimmy Vivino (Basic Cable Band) on Super Session by Al Kooper, Mike Bloomfield and Stephen Stills 121. Holiday Sidewinder on Pat Garrett & Billy the Kid by Bob Dylan 120. Ben Blacker on Aladdin Sane by David Bowie 119. EZTV on The Toms by The Toms 118. Jess Ribeiro on Transformer by Lou Reed 117. Whitney Rose on Keith Whitley Greatest Hits 116. Best Albums of 2015 with Danny Yau ft. Jason Isbell, Dan Kelly, Shane Nicholson, Tim Rogers, Will Hoge and Julien Barbagallo (Tame Impala) 115. Phil Spector’s A Christmas Gift For You with Jaime Lewis 114. Xmas Music ft. Kristian Bush, Lee Brice, Corb Lund and Tim Byron 113. Sam Outlaw on Pieces of the Sky by Emmylou Harris 112. Jason Isbell on Sticky Fingers by the Rolling Stones 111. Ash Naylor (Even) on Houses of the Holy by Led Zeppelin 110. Burke Reid (Gerling) on Dirty by Sonic Youth 109. Lance Ferguson (The Bamboos) on Kind of Blue by Miles Davis 108. Lindsay ‘The Doctor’ McDougall (Frenzal Rhomb) on Curses! by Future of the Left 107. Julien Barbagallo (Tame Impala) on Chrominance Decoder by April March 106. Melody Pool on Blue by Joni Mitchell 105. Rusty Hopkinson (You Am I) on ‘Nuggets: Original Artyfacts from the First Psychedelic Era’ 104. Jeff Greenstein on A Quick One (Happy Jack) by The Who 103. Dave Cobb on Revolver by the Beatles 102. Justin Melkmann (World War IX) on Coney Island Baby by Lou Reed 101. Kacey Musgraves on John Prine by John Prine 100. Does the album have a future? 99. Corb Lund on Gunfighter Ballads and Trail Songs by Marty Robbins 98. Bad Dreems on Unknown Pleasures by Joy Division 97. Davey Lane (You Am I) on Abbey Road by the Beatles 96. Dan Kelly on There’s A Riot Goin’ On by Sly and the Family Stone 95. Ash Grunwald on Mule Variations by Tom Waits 94. Stella Angelico on The Shangrilas 93. Eves the Behavior on Blue by Joni Mitchell 92. Troy Cassar-Daley on Willie Nelson’s Greatest Hits 91. Lydia Loveless on Pleased to Meet Me by the Replacements 90. Gena Rose Bruce on The Boatman’s Call by Nick Cave 89. Kitty Daisy and Lewis on A Swingin’ Safari by Bert Kaempfert 88. Will Hoge on Modern Sounds in Country & Western Music by Ray Charles 87. Shane Nicholson on 52nd St by Billy Joel 86 - Tired Lion on Takk… by Sigur Ros 85 - Whispering Bob Harris on Forever Changes by Love 84 - Jake Stone (Bluejuice) on Ben Folds Five by Ben Folds Five 83 - Pete Thomas (Elvis Costello and the Imposters) on Are You Experienced? by the Jimi Hendrix Experience 82 - Dom Alessio on OK Computer by Radiohead 81 - Anthony Albanese MP on The Good Son by Nick Cave and the Bad Seeds 80 - John Waters on Electric Ladyland by The Jimi Hendrix Experience 79 - Jim DeRogatis (Sound Opinions) on Clouds Taste Metallic by The Flaming Lips 78 - Montaigne on The Haunted Man by Bat for Lashes 77 - Guy Pratt (Pink Floyd) on Quadrophenia by The Who 76 - Homer Steinweiss (Dap Kings) on Inspiration Information by Shuggie Otis 75 - Best of 2015 (So Far) ft. Danny Yau, Montaigne, Harts, Joelistics, Rose Elinor Dougall and Burke Reid 74 - Matt Farley (Motern Media) on RAM by Paul McCartney BONUS - Neil Finn on The Beatles, Neil Young, David Bowie and Radiohead 73 - Grace Farriss (Burn Antares) on All Things Must Pass by George Harrison 72 - Katie Noonan on Blue by Joni Mitchell 71 - Harts on Band of Gypsys by Jimi Hendrix 70 - Tim Rogers (You Am I) on Bring the Family by John Hiatt 69 - Mark Seymour (Hunters and Collectors) on The Ghost of Tom Joad by Bruce Springsteen 68 - Jeremy Neale on Graceland by Paul Simon 67 - Joelistics on Graceland by Paul Simon 66 - Brian Nankervis (RocKwiz) on Astral Weeks by Van Morrison 65 - ILUKA on Pastel Blues by Nina Simone 64 - Rose Elinor Dougall on Tender Buttons by Broadcast 63 - Sarah McLeod (The Superjesus) on Siamese Dream by The Smashing Pumpkins 62 - Keyone Starr on The Miseducation of Lauryn Hill 61 - Chase Bryant on Defying Gravity by Keith Urban 60 - Brian Koppelman on Southeastern by Jason Isbell 59 - Michael Carpenter on The Beatles White Album Side 4 58 - Pete Kilroy (Hey Geronimo) on The Beatles White Album Side 3 57 - Mark Wells on The Beatles White Album Side 2 56 - Jeff Greenstein on Colossal Youth by Young Marble Giants 55 - Laura Bell Bundy on Shania Twain, Otis Redding and Bright Eyes 54 - Jake Clemons on Surfacing by Sarah McLachlan 53 - Kristian Bush (Sugarland) on The Joshua Tree by U2 52 - Kevin Bennett (The Flood) on Willis Alan Ramsey by Willis Alan Ramsey 51 - Lee Brice on Unorthodox Jukebox by Bruno Mars 50 - Davey Lane (You Am I) on the White Album (Side 1) by The Beatles 49 - Joe Camilleri on The Rolling Stones by The Rolling Stones 48 - Russell Morris on The Rolling Stones by The Rolling Stones 47 - Mike Rudd (Spectrum) on England’s Newest Hitmakers by The Rolling Stones 46 - Henry Wagons on Harvest by Neil Young 45 - Megan Washington on Poses by Rufus Wainwright 44 - Andrew Hansen (The Chaser) on Armchair Theatre by Jeff Lynne 43 - She Rex on BlakRoc by The Black Keys 42 - Catherine Britt on Living with Ghosts by Patty Griffin 41 - Robyn Hitchcock on Plastic Ono Band by John Lennon 40 - Gideon Bensen (The Preatures) on Transformer by Lou Reed 39 - Harry Hookey on Blood on the Tracks by Bob Dylan 38 - Rob Draper on Faith by George Michael 37 - Best of 2014 ft. Danny Yau, Andrew Hansen, Gideon Bensen (The Preatures) and Mike Carr 36 - Doug Pettibone on Wrecking Ball by Emmylou Harris 35 - Ross Ryan on Late for the Sky by Jackson Browne 34 - Michael Carpenter on Hard Promises by Tom Petty & the Heartbreakers 33 - Davey Lane (You Am I) on Jesus of Cool by Nick Lowe 32 - Zane Carney on Smokin’ at the Half Note by Wes Montgomery 31 - Tony Buchen on Sgt Pepper’s Lonely Hearts Club Band by The Beatles 30 - Simon Relf (The Tambourine Girls) on On the Beach by Neil Young 29 - Peter Cooper on In Search of a Song by Tom T Hall 28 - Thelma Plum on Stolen Apples by Paul Kelly 27 - James House on Rubber Soul by the Beatles 26 - Ella Hooper on Let England Shake by PJ Harvey 25 - Abbey Road Special 24 - Alyssa Bonagura on Room for Squares by John Mayer 23 - Luke Davison (The Preatures) on Green Onions by Booker T and the MGs 22 - Neil Finn on Hunky Dory by David Bowie and In Rainbows by Radiohead 21 - Neil Finn on Beatles for Sale by the Beatles and After the Goldrush by Neil Young 20 - Morgan Evans on Diorama by Silverchair 19 - Emma Swift on Car Wheels On A Gravel Road by Lucinda Williams 18 - Danny Yau on Hourly Daily by You Am I 17 - J Robert Youngtown and Jon Auer (The Posies) on Hi Fi Way by You Am I 16 - Lester the Fierce on Hounds of Love by Kate Bush 15 - Luke Davison on Green Onions by Booker T and the MGs 14 - Jeff Cripps on Wheels of Fire by Cream 13 - Mark Holden on Blue by Joni Mitchell (Part 2) 12 - Mark Holden on Blue by Joni Mitchell (Part 1) 11 - Gossling on O by Damien Rice 10 - Matt Fell on Temple of Low Men by Crowded House 9 - Pete Thomas on Are You Experienced? by Jimi Hendrix (Part 2) 8 - Pete Thomas on Are You Experienced? by Jimi Hendrix (Part 1) 7 - Sam Hawksley on A Few Small Repairs by Shawn Colvin 6 - Jim Lauderdale on Grievous Angel by Gram Parsons 5 - Mark Moffatt on Blues Breakers by John Mayall and Eric Clapton 4 - Darren Carr on Ten Easy Pieces by Jimmy Webb 3 - Mark Wells on Revolver by The Beatles 2 - Mike Carr on Arrival by ABBA 1 - Rob Draper on Highway 61 Revisited by Bob Dylan

[mrjeremydylan]

My Favorite Album #187. Carly Rae Jepsen 'Emotion' (2015) with CRJ Dream Team Roundtable

How does the woman behind one of the biggest mainstream pop singles of the decade follow it up with a cult album beloved by critics and hipsters alike? I assembled a dream team of Carly Rae Jepsen fans, from photographer and record company staffer Jess Gleeson to Secret Garden music festival programmer Adam Lewis and emo social media influencer (and my flatmate) Geordie Gray.

Sit back and listen as we unwind the story of one of the most unexpectedly beloved records of recent years, why it didn't achieve the mainstream success it deserved, the differences between CRJ and other more controversial pop stars, what's behind the emotional relationship we all have with this album - and much more...

Listen in the player above or download the episode by clicking here.

Subscribe to the podcast in iTunes here or in other podcasting apps by copying/pasting our RSS feed - http://myfavoritealbum.libsyn.com/rss My Favorite Album is a podcast unpacking the great works of pop music. Each episode features a different songwriter or musician discussing their favorite album of all time - their history with it, the making of the album, individual songs and the album’s influence on their own music. Jeremy Dylan is a filmmaker, journalist and photographer from Sydney, Australia who has worked in the music industry since 2007. He directed the the feature music documentary Jim Lauderdale: The King of Broken Hearts (out now!) and the feature film Benjamin Sniddlegrass and the Cauldron of Penguins, in addition to many commercials and music videos.

If you’ve got any feedback or suggestions, drop us a line at myfavoritealbumpodcast@gmail.com.

LINKS

- Adam Lewis on Twitter and Instagram, Jess Gleeson on Twitter and Instagram, Geordie Gray on Twitter and Instagram.

- Buy ‘Emotion’ here.

- Jeremy Dylan’s website, Twitter, Instagram and Facebook page.

- Like the podcast on Facebook here.

- If you dig the show, please leave a rating or review of the show on iTunes here.

CHECK OUT OUR OTHER EPISODES

186. Sarah Belkner on Peter Gabriel ‘So’ (1986) 185. Mark Hart (Crowded House, Supertramp) on XTC ‘Drums and Wires’ (1979) 184. Emma Swift on Marianne Faithfull ‘Broken English’ (1974) 183. Owen Rabbit on Kate Bush ‘Hounds of Love’ (1985) 182. Robyn Hitchcock on Bob Dylan ‘Blonde on Blonde’ (1966) 181. Dave Mudie (Courtney Barnett) on Nirvana ‘Nevermind’ (1991) 180. Brian Koppelman on Bruce Springsteen ‘Nebraska’ (1982) 179. Nicholas Allbrook (POND) on OutKast ‘The Love Below’ (2003) 178. 2016 in Review: What the hell? ft Jeff Greenstein, Rob Draper & Cookin on 3 Burners, Melody Pool, Lisa Mitchell, Emma Swift, Brian Koppelman, Mark Hart (Crowded House), Davey Lane and Alex Lahey 177. Harper Simon on The Beatles ‘White Album’ (1968) 176. Andrew P Street on Models ‘Pleasure of Your Company’ (1983) 175. Matt Farley (Motern Media) on why The Beach Boys ‘Love You’ is better than ‘Pet Sounds’ 174. Lisa Mitchell on Regina Spektor ‘Begin to Hope’ (2006) and her favorite albums of 2016 173. Peter Bibby on Sleep ‘Dopesmoker’ (2003) 172. Slate’s Jack Hamilton on Stevie Wonder ‘Innervisions’ (1973) 171. Showrunner Blake Masters on Drive-By Truckers ‘The Dirty South’ (2004) 170. Taylor Goldsmith (Dawes) on on their new album ‘We’re All Gonna Die’, loving LA and the albums that inspire him 169. Sadler Vaden on The Rolling Stones ‘Goats Head Soup’ (1973) 168. Guy Clark biographer Tamara Saviano on ‘Dublin Blues’, Guy’s songwriting process and his musical legacy 167. What does Trump mean for music? 166. A Tribute to Sir George Martin, The Fifth Beatle with Davey Lane and Brett Wolfie 165. John Oates on Joni Mitchell ‘Blue’ (1971) 164. Jimmy Vivino on the birth of the Max Weinberg 7, his relationship with Conan O’Brien, country music and the future of rock’n’roll 163. DJ Alix Brown on Transformer (1972) by Lou Reed 162. Taylor Locke on Doolittle (1989) by the Pixies, the album that inspired 90s alt-rock 161. Harts on Around the World in a Day (1985) by Prince and jamming with Prince at Paisley Park 160. Mark McKinnon (The Circus) on Kristofferson and programming the President’s iPod 159. Alan Brough on A Walk Across the Rooftops (1984) by The Blue Nile 158. Peter Cooper on Pretty Close to the Truth (1994) and why we need Americana music 157. Will Colvin (Hedge Fund) on One of the Boys by Katy Perry (2008) 156. Julia Jacklin on Extraordinary Machine by Fiona Apple (2005) 155. Japanese Wallpaper on Currents by Tame Impala (2015) 154. Montaigne on her album Glorious Heights (2016) and its inspirations 153. Alex Lahey on Hot Fuss by the Killers (2004) 152. Jack Moffitt (The Preatures) on Physical Graffiti by Led Zeppelin (1975) 151. Mike Bloom on Axis Bold As Love by Jimi Hendrix (1968) 150. Hey Geronimo on Drowning in the Fountain of Youth by Dan Kelly (2006) 149. Mickey Raphael on Teatro by Willie Nelson (1998) 148. Jack Ladder on Suicide by Suicide 147. Rusty Anderson on Hot Rats by Frank Zappa 146. Kenny Aronoff on The Beatles 145. Bob Evans on A Grand Don’t Come for Free by The Streets 144. Chris Hewitt (Empire) on New Adventues in Hi-Fi by REM 143. Dr Warren Zanes on Tom Petty and the Heartbreakers by Tom Petty and the Heartbreakers 142. Dr Mark Kermode (Wittertainment) on Sleep No More by the Comsat Angels 141. Van Dyke Parks on Randy Newman by Randy Newman 140. Imogen Clark on Heartbreaker by Ryan Adams 139. Jesse Thorn on Fresh by Sly and the Family Stone 138. Stephen Tobolowsky on The Rise and Fall of Ziggy Stardust and the Spiders from Mars by David Bowie 137. Ben Blacker on Blood and Chocolate on Elvis Costello & the Attractions 136. Jonny Fritz on West by Lucinda Williams 135. Adam Busch on A River Ain’t Too Much to Love by Smog 134. Kelsea Ballerini on Blue Neighbourhood by Troye Sivan 133. Natalie Prass on Presenting Dionne Warwick 132. Josh Pyke on Badmotorfinger by Soundgarden 131. Kip Moore on Born to Run by Bruce Springsteen 130. Koi Child on Voodoo by D’Angelo 129. The Cadillac Three on Wildflowers by Tom Petty 128. Julian McCullough on Appetite for Destruction by Guns n Roses 127. Danny Clinch on Greetings from Ashbury Park NJ by Bruce Springsteen 126. Sam Palladio (Nashville) on October Road by James Taylor 125. Steve Mandel on Blood and Chocolate by Elvis Costello 124. Brian Koppelman on The History of the Eagles 123. Benmont Tench on Beggars Banquet by the Rolling Stones 122. Jimmy Vivino (Basic Cable Band) on Super Session by Al Kooper, Mike Bloomfield and Stephen Stills 121. Holiday Sidewinder on Pat Garrett & Billy the Kid by Bob Dylan 120. Ben Blacker on Aladdin Sane by David Bowie 119. EZTV on The Toms by The Toms 118. Jess Ribeiro on Transformer by Lou Reed 117. Whitney Rose on Keith Whitley Greatest Hits 116. Best Albums of 2015 with Danny Yau ft. Jason Isbell, Dan Kelly, Shane Nicholson, Tim Rogers, Will Hoge and Julien Barbagallo (Tame Impala) 115. Phil Spector’s A Christmas Gift For You with Jaime Lewis 114. Xmas Music ft. Kristian Bush, Lee Brice, Corb Lund and Tim Byron 113. Sam Outlaw on Pieces of the Sky by Emmylou Harris 112. Jason Isbell on Sticky Fingers by the Rolling Stones 111. Ash Naylor (Even) on Houses of the Holy by Led Zeppelin 110. Burke Reid (Gerling) on Dirty by Sonic Youth 109. Lance Ferguson (The Bamboos) on Kind of Blue by Miles Davis 108. Lindsay ‘The Doctor’ McDougall (Frenzal Rhomb) on Curses! by Future of the Left 107. Julien Barbagallo (Tame Impala) on Chrominance Decoder by April March 106. Melody Pool on Blue by Joni Mitchell 105. Rusty Hopkinson (You Am I) on ‘Nuggets: Original Artyfacts from the First Psychedelic Era’ 104. Jeff Greenstein on A Quick One (Happy Jack) by The Who 103. Dave Cobb on Revolver by the Beatles 102. Justin Melkmann (World War IX) on Coney Island Baby by Lou Reed 101. Kacey Musgraves on John Prine by John Prine 100. Does the album have a future? 99. Corb Lund on Gunfighter Ballads and Trail Songs by Marty Robbins 98. Bad Dreems on Unknown Pleasures by Joy Division 97. Davey Lane (You Am I) on Abbey Road by the Beatles 96. Dan Kelly on There’s A Riot Goin’ On by Sly and the Family Stone 95. Ash Grunwald on Mule Variations by Tom Waits 94. Stella Angelico on The Shangrilas 93. Eves the Behavior on Blue by Joni Mitchell 92. Troy Cassar-Daley on Willie Nelson’s Greatest Hits 91. Lydia Loveless on Pleased to Meet Me by the Replacements 90. Gena Rose Bruce on The Boatman’s Call by Nick Cave 89. Kitty Daisy and Lewis on A Swingin’ Safari by Bert Kaempfert 88. Will Hoge on Modern Sounds in Country & Western Music by Ray Charles 87. Shane Nicholson on 52nd St by Billy Joel 86 - Tired Lion on Takk… by Sigur Ros 85 - Whispering Bob Harris on Forever Changes by Love 84 - Jake Stone (Bluejuice) on Ben Folds Five by Ben Folds Five 83 - Pete Thomas (Elvis Costello and the Imposters) on Are You Experienced? by the Jimi Hendrix Experience 82 - Dom Alessio on OK Computer by Radiohead 81 - Anthony Albanese MP on The Good Son by Nick Cave and the Bad Seeds 80 - John Waters on Electric Ladyland by The Jimi Hendrix Experience 79 - Jim DeRogatis (Sound Opinions) on Clouds Taste Metallic by The Flaming Lips 78 - Montaigne on The Haunted Man by Bat for Lashes 77 - Guy Pratt (Pink Floyd) on Quadrophenia by The Who 76 - Homer Steinweiss (Dap Kings) on Inspiration Information by Shuggie Otis 75 - Best of 2015 (So Far) ft. Danny Yau, Montaigne, Harts, Joelistics, Rose Elinor Dougall and Burke Reid 74 - Matt Farley (Motern Media) on RAM by Paul McCartney BONUS - Neil Finn on The Beatles, Neil Young, David Bowie and Radiohead 73 - Grace Farriss (Burn Antares) on All Things Must Pass by George Harrison 72 - Katie Noonan on Blue by Joni Mitchell 71 - Harts on Band of Gypsys by Jimi Hendrix 70 - Tim Rogers (You Am I) on Bring the Family by John Hiatt 69 - Mark Seymour (Hunters and Collectors) on The Ghost of Tom Joad by Bruce Springsteen 68 - Jeremy Neale on Graceland by Paul Simon 67 - Joelistics on Graceland by Paul Simon 66 - Brian Nankervis (RocKwiz) on Astral Weeks by Van Morrison 65 - ILUKA on Pastel Blues by Nina Simone 64 - Rose Elinor Dougall on Tender Buttons by Broadcast 63 - Sarah McLeod (The Superjesus) on Siamese Dream by The Smashing Pumpkins 62 - Keyone Starr on The Miseducation of Lauryn Hill 61 - Chase Bryant on Defying Gravity by Keith Urban 60 - Brian Koppelman on Southeastern by Jason Isbell 59 - Michael Carpenter on The Beatles White Album Side 4 58 - Pete Kilroy (Hey Geronimo) on The Beatles White Album Side 3 57 - Mark Wells on The Beatles White Album Side 2 56 - Jeff Greenstein on Colossal Youth by Young Marble Giants 55 - Laura Bell Bundy on Shania Twain, Otis Redding and Bright Eyes 54 - Jake Clemons on Surfacing by Sarah McLachlan 53 - Kristian Bush (Sugarland) on The Joshua Tree by U2 52 - Kevin Bennett (The Flood) on Willis Alan Ramsey by Willis Alan Ramsey 51 - Lee Brice on Unorthodox Jukebox by Bruno Mars 50 - Davey Lane (You Am I) on the White Album (Side 1) by The Beatles 49 - Joe Camilleri on The Rolling Stones by The Rolling Stones 48 - Russell Morris on The Rolling Stones by The Rolling Stones 47 - Mike Rudd (Spectrum) on England’s Newest Hitmakers by The Rolling Stones 46 - Henry Wagons on Harvest by Neil Young 45 - Megan Washington on Poses by Rufus Wainwright 44 - Andrew Hansen (The Chaser) on Armchair Theatre by Jeff Lynne 43 - She Rex on BlakRoc by The Black Keys 42 - Catherine Britt on Living with Ghosts by Patty Griffin 41 - Robyn Hitchcock on Plastic Ono Band by John Lennon 40 - Gideon Bensen (The Preatures) on Transformer by Lou Reed 39 - Harry Hookey on Blood on the Tracks by Bob Dylan 38 - Rob Draper on Faith by George Michael 37 - Best of 2014 ft. Danny Yau, Andrew Hansen, Gideon Bensen (The Preatures) and Mike Carr 36 - Doug Pettibone on Wrecking Ball by Emmylou Harris 35 - Ross Ryan on Late for the Sky by Jackson Browne 34 - Michael Carpenter on Hard Promises by Tom Petty & the Heartbreakers 33 - Davey Lane (You Am I) on Jesus of Cool by Nick Lowe 32 - Zane Carney on Smokin’ at the Half Note by Wes Montgomery 31 - Tony Buchen on Sgt Pepper’s Lonely Hearts Club Band by The Beatles 30 - Simon Relf (The Tambourine Girls) on On the Beach by Neil Young 29 - Peter Cooper on In Search of a Song by Tom T Hall 28 - Thelma Plum on Stolen Apples by Paul Kelly 27 - James House on Rubber Soul by the Beatles 26 - Ella Hooper on Let England Shake by PJ Harvey 25 - Abbey Road Special 24 - Alyssa Bonagura on Room for Squares by John Mayer 23 - Luke Davison (The Preatures) on Green Onions by Booker T and the MGs 22 - Neil Finn on Hunky Dory by David Bowie and In Rainbows by Radiohead 21 - Neil Finn on Beatles for Sale by the Beatles and After the Goldrush by Neil Young 20 - Morgan Evans on Diorama by Silverchair 19 - Emma Swift on Car Wheels On A Gravel Road by Lucinda Williams 18 - Danny Yau on Hourly Daily by You Am I 17 - J Robert Youngtown and Jon Auer (The Posies) on Hi Fi Way by You Am I 16 - Lester the Fierce on Hounds of Love by Kate Bush 15 - Luke Davison on Green Onions by Booker T and the MGs 14 - Jeff Cripps on Wheels of Fire by Cream 13 - Mark Holden on Blue by Joni Mitchell (Part 2) 12 - Mark Holden on Blue by Joni Mitchell (Part 1) 11 - Gossling on O by Damien Rice 10 - Matt Fell on Temple of Low Men by Crowded House 9 - Pete Thomas on Are You Experienced? by Jimi Hendrix (Part 2) 8 - Pete Thomas on Are You Experienced? by Jimi Hendrix (Part 1) 7 - Sam Hawksley on A Few Small Repairs by Shawn Colvin 6 - Jim Lauderdale on Grievous Angel by Gram Parsons 5 - Mark Moffatt on Blues Breakers by John Mayall and Eric Clapton 4 - Darren Carr on Ten Easy Pieces by Jimmy Webb 3 - Mark Wells on Revolver by The Beatles 2 - Mike Carr on Arrival by ABBA 1 - Rob Draper on Highway 61 Revisited by Bob Dylan