

James Whale’s Manifesto

The UK is going to hell in a handcart. At least, that’s what James Whale thinks, so he’s taking matters into his own hands. Ladies and gentleman of the electorate, brace yourselves for James Whale’s Manifesto: Getting Britain Back on Track in 2012. In each episode, the outspoken broadcaster will be throwing down the gauntlet to a trio of opinionated guests to thrash out solutions to the country’s woes, from healthcare to housing, from economics to unemployment. An audio-jolt to jump-start the system, a hangover cure for political apathy, a slap in the face for a weary democracy- would James Whale get your vote?

In a dark kitchen in the middle of a sweaty night in Las Vegas, all 6’4” of Dan Reynolds is hunched over a laptop, slapping beats on the table and crooning lyrics into a tiny microphone. Before long, he and the other three members of indie rock band Imagine Dragons would be playing “It’s Time,” that same laptop-demo-turned-supersized-anthem, from the roof of a parking garage to a wave of thousands of screaming fans. This song title to the single from their 2012 debut KidInaKorner/Interscope release “Continued Silence EP” is an all too apt descriptor of the band’s hard-earned success—but it’s also emblematic of the deep-seated anxiety Reynolds and the rest of the band experienced leaving behind any realistic expectation of a normal job to do the thing they love most.

A third-generation Las Vegas native, Reynolds is no stranger to the adage “the house always wins,” choosing to pave his musical career with a near obsessive work ethic and hundreds of unused demos rather than roll the dice with the first songs that sprung from his mouth. It’s no surprise, then, that he was drawn to guitarist Wayne Sermon, another founding member of Imagine Dragons. Having practically grown up in a recording studio and graduated Berklee College of Music, Wayne had been practicing his guitar through meals and other socially inappropriate situations as long as he could remember; he challenged Dan in a way that was both uncomfortable and exactly what they both needed. When they began writing songs together and recognized something special was happening, Wayne called up his Berklee friend Ben McKee, who promptly dropped out of school with only a few credits left, moving across the country to play bass for the band. This sort of reckless/genius behavior is typical for Ben, who has an uncanny penchant for spicy food and a suitcase full of unbelievable road stories. More recently, the band was joined by drummer Daniel Platzman, another Bostonian schoolmate who seems way too nice to be playing rock and roll until you actually see him in action.

Several tours and three self-released EPs later, Imagine Dragons had made a serious name for itself, particularly in the west coast circuit. Although their songs vary from nearly whimsical and light to brooding and powerful, listeners are drawn to the inherent honesty in the music. The only rule of thumb for the band, it seems, is to write from a true place; the result is songs that literally run the spectrum of human emotion. Attend a concert, and it becomes clear that the live performance of deeply personal songs has a real effect on people. And the band itself is not immune, as demonstrated when Dan literally passed out into the drum set during a finale song, sending cymbals and drum stands crashing while the rest of the band played on until the close.

Great songwriting is bound to be noticed eventually. As proof that the harder you work, the luckier you get, one of those people who noticed was Grammy winning producer Alex da Kid (Eminem, Rihanna). Alex and Dan began collaborating on projects, and soon the band had developed a relationship with Alex and his team. The alchemy resulting from Alex’s hip hop sensibilities and Imagine Dragons’ anthemic rock is nothing short of explosive. The byproduct of this creative collision is “Continued Silence,” a six song in-your-face sonic grenade that breaks musical boundaries and yet is strangely relatable by its improbably diverse audience.

Despite it all, on any given day when they aren’t on the road playing shows, you can still find Imagine Dragons huddled away in a rehearsal room somewhere, banging out song after song in search of the next perfect track. Like most things in Vegas, the band is angled at going big or going bust. For the sake of those who love great music, we hope it’s the former.

@the-observatory-1: Michael Bierut and Jessica Helfand on design, current events, and current enthusiasms.

@designmatters with Debbie Millman: thought-provoking conversations with industry-leading graphic designers, change agents, artists, writers, and educators. 

A tiny radio show about design, architecture &amp; the 99% invisible activity that shapes our world.

http://99percentinvisible.org/

New episodes every Wednesday.

On the radio on 91.7 KALW in San Francisco. Fridays at 7:35am and 4:30pm, Saturdays at 8:35am.  And public radio stations across the country.

Created by Roman Mars.


Radio/Podcast host:
"Benjamen Walker's Theory of Everything" a proud member of PRX's Radiotopia collective. http://radiotopia.fm 
"Too Much Information" WFMU (2009 - 2013)
"The Big Ideas Podcast" The Guardian UK (2011 - 2012) 

PRX is a leading media company, shaping the future of audio by connecting talented producers with their most engaged, supportive audiences.
PRX builds technology and creates cutting-edge content that reaches millions of listeners worldwide.

For 15 years, PRX has operated public radio’s largest distribution marketplace, offering thousands of shows including This American Life, The Moth Radio Hour and Reveal. Named one of Fast Company’s "Ten Most Innovative Companies in Media" in both 2015 and 2017, the company has pioneered new approaches to technology and talent.

In 2014, PRX launched Radiotopia, a curated network of extraordinary podcasts anchored by 99% Invisible from Roman Mars. The network has quickly grown to over 19 million downloads per month (November 2017, Podtrac).

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