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Talking Bob Dylan on the Ham&High Podcast | Islington Gazette

Talking Bob Dylan on the Ham&High Podcast | Islington Gazette
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My culture fix: Sanjeev Bhaskar

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Honest goodness: the legacies of 1971 albums Tapestry and Blue

The location was A&M Recording Studios in Los Angeles. It was January 1971. Two of the great singer-songwriters of their generation were at work in adjoining rooms. In Studio B, Carole King was galloping through the sessions for what would become the Tapestry album. In Studio C, Joni Mitchell was taking considerably longer to record her fourth album, the aptly named Blue. Studio A, incidentally, was occupied by the Carpenters, who were making a self-titled third album now considered to be one of their best. Rarely has any studio been as stuffed with such gilded talent. It had been home to the Charlie Chaplin Studios for most of the 20th century but A&M Records took it over in 1966. The label chose it as the location for its top signings to realise their sonic dreams and in January 1971, a great deal of gold was mined just off Sunset Boulevard in Hollywood.

Letter of the week: Not all about shareholders

My heart leapt when I read the words “There is such a thing… as the national interest – and it is not measured by shareholder value alone” (Leader, 5 February). For decades, as the head of a quoted and later private company, I attempted to convey this to both the financial world and successive governments. Repeatedly, I reminded them that the other stakeholders in a company (customers, employees and suppliers), on all of whom the taxpayer and the state are ultimately dependent, should not be sacrificed on the false altar of shareholder value.  Britain is fortunate that AstraZeneca was spun out of the ailing British juggernaut, Imperial Chemical Industries. But this is little comfort to those who have suffered through the neglect of the national interest. Trains, power stations and large commercial ships – all basic requirements of a developed maritime nation – are among the necessities no longer built in this country, and many of the skills essential to such activities

Word In Your Ear is the best music podcast on the internet

There’s a scene in Cameron Crowe’s 2000 coming-of-age film Almost Famous that acutely sums up the complicated morality of life as a rock journalist. It’s 1973 and the bushy-tailed protagonist and aspiring writer, William, is about to embark on a weeks-long tour to cover a rock band he loves for Rolling Stone. It’s his dream come true. He eagerly calls his mentor, a fictionalised version of the real-life editor of Creem magazine, Lester Bangs, to tell him the good news and Bangs promptly pours cold water on his enthusiasm. “You cannot make friends with the rock stars,” Bangs tells William. “You will get free records from the record company. They’re gonna buy you drinks, you’re gonna meet girls, they’re gonna try to fly you places for free, offer you drugs. I know it sounds great, but these people are not your friends. These are people who want you to write sanctimonious stories about the genius of rock stars. And they will ruin rock and roll and strangle eve

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