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This week, in Masters in Business, Barry Ritholtz speaks with jazz guitarist and singer John Pizzarelli.

Pizzarelli has recorded 23 albums and appeared as a session musician or vocalist on hundreds of others. He has recorded jazz standards from the Great American Songbook and has backed or opened for Frank Sinatra, Paul McCartney, James Taylor, Natalie Cole and Rosemary Clooney among others.

Their conversation discusses how jazz musicians make a living in the age of downloading and hip hop.

Abbey Road Studios in London has long had what many think is the best sounding reverb in the business, adding its lush sound to many hits dating back to the 1950s.

Trick #23 of Bobby Owsinski’s 101 Mixing Tricks coaching program shows how to get this same sound using only the native plugins on your DAW.

This trick comes from Module 2 of the program, which features 18 tricks that the A-list mixers use to make their delay, reverb and modulation effects take their mixes to the next level.

I saw the best minds of my generation destroyed by madness,
starving hysterical naked, looking for 18-hours of nothing but beat poets.

who passed through sites with radiant cool eyes
hallucinating Tidal and Apple Music-light tragedy among the
streamers of music

bickering
with the echoes of the soul, rocking and rolling in the
midnight solitude-bench dolmen-realms of love, dream of life and trial services for 3 months, all
you can stream, with ads here and there.

(Apologies to Allen Gisnberg)

Beat poetry evolved during the 1940s in both New York City and on the west coast, although San Francisco became the heart of the movement in the early 1950s. The end of World War II left poets like Allen Ginsberg, Gary Snyder, Lawrence Ferlinghetti and Gregory Corso questioning mainstream politics and culture.

Do you have 18 hours?

These 249 tracks include the aforementioned Ginsberg and Corso, and also William S. Burroughs, Jack Kerouac, Gregory Peter Orlovsky and Charles Bukowski.

In 1970, Warner Bros. Records had an unusual philosophy: they’d sign artists and, instead of wanting a hit single immediately, they’d develop them over several albums. This way, James Taylor, Joni Mitchell, Little Feat, and Randy Newman got big career boosts. They also took a chance on Captain Beefheart, and although neither a hit single nor a hit album resulted, some very interesting music did. Fresh Air rock historian Ed Ward has the story.

The King of Comedy meets the King of Dancehall? Yes, you read that correct. Eddie Murphy‘s latest foray into reggae is a collaboration with Beenie Man, entitled “Wonna Deez Nights.” Where Eddie’s “Red Light” and “Oh Jah Jah” were ruminative, roots-y tunes colored by social commentary, this one has a lighter, beach-party reggae kinda feel. Don’t let the cheesy, 90s-style misspelled title and clichéd intro lead you to dismiss it entirely, though. Beenie brings an energy to this one, and by the end of the song it turns into something a little harder and a little more dancehall, airhorns and all. And tell us that breakdown at 3:20 doesn’t have “surprise performance at Reggae Sumfest” written all over it.

The single will be released on June 30, 2015 on VPAL Music (VP Records’ subsidiary label and distribution arm) and is available for pre-order now.

“Wonna Deez Nites” follows his 2015 reggae chart-topper “Oh Jah Jah” (VPAL), which peaked at #1 on iTunes Reggae Single Chart and debuted in the Top 5 on the U.S. Billboard Reggae Digital Song Chart. This new collaboration is the first time in over 20 years since Eddie Murphy has worked with another Jamaican artist musically. In 1993, he paired up with legendary Jamaican dancehall artist Shabba Ranks on his song “I Was A King.”

In the mid-1960s, Stone worked as a disc jockey for San Francisco, California soul radio station KSOL, where he included white performers such as The Beatles and The Rolling Stones into his playlists. During the same period, he worked as a staff record producer for Autumn Records, producing for San Francisco-area bands such as The Beau Brummels, The Mojo Men, Bobby Freeman, and Grace Slick’s first band, the Great Society. Stone was influential in guiding KSOL-AM into soul music and started calling the station K-SOUL. The second was a popular soul music station (sans the K-SOUL moniker), at 107.7 FM (now known as KSAN).

So, he knew what was goin’ on. Below, you can hear nearly an hour of Stone broadcasting on KSOL in 1967. It’s an MP3 of a tape of an AM radio broadcast, so gather round the speakers, kid, and marvel to what free-form radio was truly all about.

Jerry Seinfeld doesn’t play colleges and has no plans to do so in the near future because of how politically-correct kids are these days.

Following his much-talked about comments from last week about college students becoming too politically correct, Jerry Seinfeld elaborated his point during Late Night with Seth Meyers Tuesday night. When Seth Meyers noted that there are more people than ever now who will “let you know you went over the line” in comedy than ever before, Seinfeld agreed.

“And they keep moving the lines in, for no reason,” Seinfeld said, citing the uncomfortable feeling he now gets from his audience when he tells his joke about people who scroll through their phone like a “gay French king.”

“Are you kidding me?” he asked. “I could imagine a time where people say, ‘Well, that’s offensive to suggest that a gay person moves their hands in a flourishing motion and you now need to apologize.’ I mean, there’s a creepy PC thing out there that really bothers me.”

The Rockford Files is an American television drama series starring James Garner that aired on the NBC network between September 13, 1974, and January 10, 1980, and has remained in syndication to the present day. Garner portrays Los Angeles-based private investigator Jim Rockford with Noah Beery, Jr., in the supporting role of his father, a retired truck driver nicknamed “Rocky”. In 2002, The Rockford Files was ranked #39 on TV Guide’s 50 Greatest TV Shows of All Time.

Each episode began with the image of Rockford’s answering machine, and the opening title sequence was accompanied by someone leaving Rockford a message. The messages were unrelated to the episodes. They were a humorous device that invited the viewer to return to the quirky, down-on-his-luck world of Jim Rockford. The messages usually had to do with creditors, deadbeat clients, or were just oddball vignettes. Though a distinctive and clever entry device, the messages became difficult for the writers to create. Suggestions from staffers and crew were welcome and often used.

Jim Rockford’s Answering Machine lists every message aired during the series six seasons.

Jim, It’s Norma at the market. It bounced. You want us to tear it up, send it back, or put it with the others?

This is the Department Of The Army. Our records show that you are the “Rockford, James” who failed to turn in his service automatic in May 1953. Contact us at once.

Alice, Phil’s Plumbing. We’re still jammed up on a job, so we won’t be able to make your place. Use the bathroom at the restaurant one more night.

And now, you can download all the messages for your own use!

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An in-studio tape of Reg Presley’s running commentary on a recording session, filled with in-fighting and swearing (known as “The Troggs Tapes”), was widely circulated in the music underground, and was included in the Archaeology box set, as well as the compilation album, The Rhino Brothers Present the World’s Worst Records. The in-group infighting is believed to be the inspiration for a scene in the comedy film, This is Spinal Tap, where the band members are arguing. Some of this dialogue was sampled by the California punk band The Dwarves on their recording of a cover version of the Troggs song “Strange Movies”.

NME’s Keith Altham did the last interview with Jimi Hendrix on September 11, 1970, just seven days before the artist’s death. It shows Hendrix not knowing for sure where he’s going musically, but he certainly still wants to continue to make great music. If you don’t get through all 30 minutes or so, check out this pretty smooth and hippy end to their conversation.

ALTHAM: Do you feel personally that you have enough money to live comfortably without necessarily making more as a sort of professional entertainer?

HENDRIX: Ah, I don’t think so, not the way I’d like to live, because like I want to get up in the morning and just roll over in my bed into an indoor swimming pool and then swim to the breakfast table, come up for air and get maybe a drink of orange juice or something like that. Then just flop over from the chair into the swimming pool, swim into the bathroom and go on and shave and whatever.

ALTHAM: You don’t want to live just comfortably, you wanna live luxuriously?

HENDRIX: No! Is that luxurious? I was thinking about a tent, maybe, [laughs] overhanging … overhanging this … a mountain stream! [laughter].

Via Open Culture