Podcasts about ameripolitan awards

In het kantoor van Vera in Groningen spraken we Dale Watson, aka The Real Deal. Al meer dan 45 jaar speelt hij in smoezelige honky tonks, de prestigieuze Grand Ole Opry en de betere concertzalen over de hele wereld. Daarnaast heeft deze vastgoedmagnaat ook nog het jaarlijkse Ameripolitan Awards uit de grond gestampt, waarvan de winnaars regelmatig in onze podcast voorbijkomen. Met al die ervaring staat hij garant voor een uurtje mooie verhalen en schitterende muziek. Voor de Hollandse Nieuwe van deze aflevering hoefden we niet ver te reizen. Sunken Lands uit het Hoge Noorden deed in Vera de support voor Dale maar doet nu de toegift in deze aflevering. Dale Watson – Suicide Sam Johnny Cash – I've Been Everywhere The Reverend Horton Heat (feat. Dale Watson and Jason D. Williams) – Last Man Standing Sterling Drake – Moon Over Montana Lefty Frizzell – She's Gone Gone Gone Rachel Brooke - The One Who Got Away Sunken Lands – I'm Leaving (I Just Don't Know When) Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.instagram.com/brightlightsandcountrymusic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Productie: Martin ter Braake / ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.odepodcast.nl⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ De Bright Lights playlist met alle gedraaide tracks luister je ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠hier⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ en door op ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠deze link⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ te klikken, vind je de playlist met nieuwe countryplaten die we samen met onze countrypodcastcollega's van Country Koorts vullen!

GEORGIA RADIO – Renowned honky-tonk artist Justin Trevino will be joining Matt Jolley on GeorgiaRadio.com this Thursday, August 28th at 5 PM ET, to talk about his latest album, One Tear at a Time (The Acoustic Sessions). This highly anticipated album, released on July 29, 2024, via StarVista Music and Heart of Texas Records, marks Trevino's first acoustic collection and is now available for streaming and on CD.One Tear at a Time (The Acoustic Sessions) features 15 songs that have been significant throughout Trevino's career, along with four new tracks and a bonus song recorded with a full band. The album is a heartfelt tribute to the craft of songwriting, showcasing Trevino's deep connection to the lyrics and the acoustic arrangements that bring them to life.Trevino expressed his passion for the project, saying, "I've been such a fan of songwriters all my life and am always struck by how people go to great lengths to write really incredible songs. I hope that people will really take in these lyrics and appreciate the craftsmanship that went into them."Listeners can expect to hear stories behind tracks like "She Knows My Weaknesses," "Jealously Insane," and the title track "One Tear at a Time," during Trevino's conversation with Jolley. The album, described by Trevino as a "bucket list project," is filled with songs that he would choose to play in an intimate, acoustic setting, capturing a different energy from his traditional honky-tonk style.Justin Trevino's deep-rooted love for classic country music and his dedication to preserving its legacy is evident in every track of One Tear at a Time (The Acoustic Sessions). About Justin Trevino:Justin Trevino is an award-winning country artist known for his traditional honky-tonk sound and extensive knowledge of classic country music. With 15 albums under his belt, Trevino has been recognized by the Academy of Western Artists, the CMA of Texas, and the Ameripolitan Awards for his contributions to country music. His latest album, One Tear at a Time (The Acoustic Sessions), showcases his love for acoustic arrangements and the art of songwriting.Support this podcast at — https://redcircle.com/georgia-radio/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

What you'll learn in this episode: How Saudia is preserving her mom Cara Croninger's legacy Why Cara Croninger's resin and plastic jewelry was—and still is—groundbreaking How Cara Croninger refined her jewelry making process, and why she didn't want her pieces to be perfect What it was like to grow up in an artistic family in the heyday of New York's art jewelry scene How Saudia's mom and dad influenced her music career today   About Saudia Young Saudia Young is a New York City-born actress/singer and storyteller in theater and film. Born on the Lower East Side and brought up between Tribeca and LA, Young explores the notion of home, love, justice, and identity through her art.   The recently repatriated artist lived in Berlin, Germany, for a long chapter of performing, writing, and producing. The Ameripolitan Awards 2023 Female Rockabilly Singer nominee released her 7" single ‘Noir Rockabilly Blues,' produced by Lars Vegas-DE and featuring 'The Wobble' on the A and Iggy Pop's 'Lust for Life' on the B side, in 2017, followed up by her 12” debut ‘Unlovable' in 2018. The LP was recorded live at Berlin, Germany's legendary Lightning Recorders.   Young founded a Dark Kabarett and a Rockabilly Noir Blues band in Berlin, co-created the Lost Cabaret and the Schwarze Liste Kabarett theater projects and wrote and produced the award-winning short film The Gallery. While in Berlin, she was cast in the lead voice-over role of Oskar in School for Vampires (the English version of the Hahn Film cartoon series).   Young co-wrote and performed the solo show Sneaker Revolution and is currently writing a theater/film piece about her actor father, Otis Young, and sculptor/designer mom Cara Croninger. Photos Available on TheJewelryJourney.com Additional Resources: Saudia's Website Saudia's Instagram Saudia's Youtube   Transcript:   To jewelry lovers, Cara Croninger was a groundbreaking artist whose work was shown at iconic galleries Artwear and Sculpture to Wear. To musician and actress Saudia Young, she was just mom. Today, Saudia is working to preserve her mother's legacy and secure her place in art jewelry history. She joined the Jewelry Journey Podcast to talk about how Cara made her pioneering resin jewelry; how Cara's work evolved with the times; and why Saudia thinks of her mom every time she performs. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com.   Today, we're speaking to my guest, Saudia Young, who is located in Philadelphia. She has an interesting background. Her mother was a very well-known jeweler, and her father was an actor. She was born in New York and grew up between New York and Los Angeles. Welcome back.   Were you aware she was doing this? Were you aware that she went to different galleries, that she didn't have a sales rep when you were growing up? Were you aware of this?   Saudia: Yeah, of course. There was one point in the 90s where she had a showroom. Tony Goldman and Janet Goldman had a showroom called Fragments, and she was in the showroom for some years. She had different reps throughout her life. Ten Thousand Things was a store. They still exist, and they have incredibly beautiful work. For a while in the Meatpacking District, they had a nice cadre of artists, and my mom was one of the artists. They also did wholesale for her. So, they represented her work to other people.   Sharon: I have a few pieces, just a smattering, but do you have a lot of her work? Do you have an archive of her work?   Saudia: Oh, yeah. That's part of what I've been dealing with. My sister and I have our own personal collections. Throughout the years, my mom collected the best pieces of each group and gave us our personal collections. Then I have basically all the work she left behind when she passed away. I've been trying to organize that. There was a big section of it shown at the Aspen Art Museum two years ago for about a year. Jonathan Burger had a show called The Store. My mom's jewelry and sculptures were in one show. That was really exciting, to have both together. Actually, 14 small sculptures sold during that show and, fingers crossed, about seven pieces will be donated to an institution. I'm not going to say which one. That takes a long time.   Right now, there are pieces that are actively being sold. Lisa Berman—not a family member, just the same last name—from Sculpture to Wear sold some of my mom's work at her first gallery. She also helped sell some pieces when I came out and was trying to figure out what to do and how to secure the legacy, meaning literally a storage space to hold everything. It's a big responsibility.   Sharon: You're referring to Lisa Berman.   Saudia: Yeah, who is not your blood relation but of the same name. Obviously, she introduced us and was part of the first interview. She's consulted with me. She's another one of the angels. There's a whole host of people who are still in awe of my mom's work and in support and cheerleading. It includes Robert Lee Morris.   I'm still trying to figure out what to do with the work to secure the legacy. It is being sold at Studio Hop in Providence, Rhode Island. That's introducing the work to some people who have not seen it before. It's introducing it to a new audience, which is really nice. Jussara Lee, who used to sell it in Manhattan and is now in Connecticut, has been selling it. Other than that, I have an Artwork Archive website for her so people can see the work. I'm not selling it from that website, but there is a section of it that's still being sold. Then there's a section I'm holding in case I can get it accepted into an institution.   Sharon: I remember a few years ago, I fell in love with a bracelet and I didn't end up getting it. I think it was the first time I ever heard of her, and I thought it was so neat.   Saudia: Yeah, it sold a lot of work. They stopped selling after she passed away. They also had a hard time. Everybody is just recovering now from Covid. A lot of people had a very hard time in the past few years. Some stores closed and sales went down. There were several stores who were carrying her work who have closed since Covid.   Sharon: What did you do to make it through Covid and to have money come in?   Saudia: I cried. I don't know. I did whatever I could. I was going back and forth between Germany and here. There was a grant in Germany—actually, it wasn't a grant; it was a loan—but there was a Covid loan they were giving to artists in Germany. Here, I went on unemployment for a while and then I went off it, whatever I could. We all did what we could to survive.   Sharon: That's very true. I know there were different things we had to do. I agree with you that people are just coming out of it now.   Saudia: And now we have two wars, so it's like, “Great, thank you.” Can't catch a break.   Sharon: Which is worse? I don't know. I guess if you're in the field over there, it's worse.   Saudia: Yeah.   Sharon: A lot worse. How does it feel to have a mother who's mentioned by people you don't know? You say you're the daughter and all of a sudden, they say, “Oh, I love your mom,” or “I love her jewelry.”   Saudia: What do you mean? How does it feel?   Sharon: Yeah. If I said, “Oh, I have a really neat bracelet,” and the person says, “I've not heard of that person,” how does it feel?   Saudia: First of all, a young man—he's probably my age. It's so funny I still think of myself as a teenager. Timothy Reukauf is a stylist. He's another angel who introduced me to the manager and owner of Screaming Mimis Vintage clothing and jewelry store in New York. When I brought the work, because they brought the work to a vintage show, and they're showing the work and trying to sell it, she was so enthusiastic and happy and excited. It was nice because it's an extension of my mom, and I miss my mom. I feel like it's that, as opposed to anything ego-based. It's more emotional—now you're going to get me emotional. But it's nice to know because I really miss her, and when I hear people loving her work, it's heartening. It's heart filling.   Sharon: That's a good word, heart-filling. I've heard different things. It's Croninger with a hard g. I've heard that as Croninger with a soft g. Which one is it?   Saudia: Oh lord, that's a good one. It's Cara Croninger with a hard g, but people have called her Croninger with a soft g. People have called her Cara. She's even called herself Cara, but it's Cara Lee. Her Michigan name was Cara Lee Croninger, but it depends on who you are. Are you Dutch? Are you German? Are you from New Jersey?   Sharon: Did she support your career as an artist?   Saudia: Do you mean my dreaming? Yeah, she supported me being a dreaming, silly person, definitely. She put me in dance school. She always thought I should be a painter, actually. She'd say, “You should be a painter,” because I had a natural ability to draw and to work with my hands. After being a child laborer with her, I could make things. But all jokes aside, she was very supportive of me being an artist or whatever it was that I wanted to be, political activist or artist. My sister was an architect. She was very supportive of that. She was beloved by a lot of the young artists who were around Dumbo, our friends, our extended family. She was a positive influence, a positive auntie, elder, second mom, to a lot of people.   Sharon: It sounds like it.   Saudia: Yeah. I shared her as a mom figure with a lot of people.   Sharon: Tell us more about your singing. Do you think of her when you sing?   Saudia: Yeah, I think of her with whatever I do, for sure. There's one song—I think you wrote it down on the question list—It Don't Mean a Thing (If It Ain't Got that Swing), doo wop, doo wop, doo wop, doo wop. I think it was Louis Armstrong. She was working on some kind of saying or branding because she was really into the earrings having a nice swing. She coined it when I was helping her make them. The holes had to be big enough so the lyre could be comfortable enough so the earrings could swing. She incorporated that into some of her branding.   But yeah, I listened to a lot of music growing up. She was very into Judy Collins and Kurt Weill, a wild range. She dated one of the Clancy Brothers—they were very into folk music in the 60s—and my dad and her were into soul and Otis Redding and Taj Mahal and Bonnie Raitt. I'm wandering, but yes.   Sharon: What years was she most popular? It seems like she had a real high.   Saudia: I think the 80s. The minute she started doing the resin stuff, she went into Sculpture to Wear, which was a very prestigious gallery. I'd say the early 70s through the 80s. Then Artwear closed and she was on her own. She did really well in the 90s as well. She was pretty prolific, but I think the 80s were the time when there were tons and tons of fashion articles and fashion shoots with all the supermodels of that time.   Sharon: Talk about wandering, because I'm looking at my list of questions. Tell us how you were involved in making her jewelry. You told us a little bit, but did you ever cut the hearts?   Saudia: The hearts were made in molds. She created molds and poured, and then we would open the rubber molds. I would help sand. I would help drill holes. I can drill a hole. I would help with polishing. Like I said, I would help with finishing work and stringing cords on the hearts. Trying to influence her businesswise, she was not having it.   Sharon: Would she say, “That color doesn't look better in the green. It looks better in the purple,” or something that?   Saudia: No, not really because once something is poured, it's a done deal. That would be like, after you've made 500 brownies, saying, “I wish we had blueberry muffins.” It's too late now.   Sharon: She could say, “Well, you can have it then, and I'll try and sell the purple one,” or something.   Saudia: No, the work was too labor-intensive. Once things were made, you really needed to get them out there. They were like donuts in a way. You need to get them out so they don't go stale. Keep the energy, keep them moving. The only thing she was conflicted about was pricing. There was a point in jewelry where everything—remember when the Y necklaces came out? Everything was really tiny. There was a point where it was trendy to have really tiny jewelry, and that freaked her out because her work was so big and sculptural. She would get freaked out about that kind of stuff. The editors loved her work because it was big and you could see it. It went incredibly with beautiful clothes like Issey Miyake and these avant garde designers. The tiny stuff, you can't see it in an editorial. It's so funny; you'll have a cover article and it'll be like, “Earrings by whomever,” and I'm like, “Where are they? What earrings?”   Sharon: That's interesting. Miyake or Yohji Yamamoto, they're high-end, but they've become very—they're not that valued anymore.   Saudia: Now they're mainstream, yeah.   Sharon: Do you think your mother's jewelry would be considered avant garde today?   Saudia: Yeah, it still is in a way because of the designs and the fact that it was really handmade. She was making her own work. Maybe Lisa would call that studio jewelry. She was in her studio making it herself. She did have a short relationship with a company in Japan where they were making work that would only be sold there. It was fine, but you could really see the difference and feel the difference. It wasn't Cara. It wasn't special, unfortunately. We're grateful that they did it, that she had that relationship and that we could go to Japan and travel there. That was awesome.   So, I think she was avant garde as an artist. I don't agree that Yohji is no longer avant garde. His designs are so beautiful. He's really focused on craftsmanship, having amazing makers creating his work. In a way that is avant garde, as opposed to crap being made. You know what I mean?   Sharon: You're right, 100%.   Saudia: In a factory.   Sharon: I can't think of another one, but there are a lot of designers whose work you can't afford—I'm talking about clothing—who have developed their own less expensive lines.   Saudia: Yeah. I remember when they would call it the junior line, and it would be for the younger kids. It would be lighter and cheaper and faster and funnier and all that. Now there are lots of layers of that, but you have these throwaway clothes being made by companies like H&M and so forth.   Sharon: Do you think she would fit in, like she'd make a smaller version of something that she made large?   Saudia: She did do some smaller things when she was working with the Japanese company. That led her into making some tiny silver hearts and medium-size silver. Then she had to do her big pieces. She could not let go of her love affair with big, sculptural pieces. I think she was conflicted about the McDonaldizing of fashion and accessories. Of course, she wanted to put food on the table, but she was really conscious of the environment. Even though she was working in plastics, she was very conscious of workers and workers' rights. Where does something come from? How is it made, and what's the impact of it being made?   Sharon: It sounds like she carried that through the 80s, into the 90s, into today.   Saudia: Definitely. She definitely had something to do with me being political, her and my father. She was very righteous.   Sharon: I know you do cabaret and rockabilly. What else do you do? What do you sing?   Saudia: My main focus is mental health. It's a really hard time right now, I feel, but I think it's actually a good time to continue to do the rockabilly, but to circle back to the dark cabaret I was doing before the rockabilly. So, I'm working on that. I'm working with a few musicians here in Philly, and I have some shows with musicians in other parts of the country. For Thanksgiving, I'm going to be in Illinois with Patrick Jones and 3 On The Tree. It's a band. We're going to do a rockabilly Thanksgiving tour. Then in March, I'll be in California, in Orange County.   Sharon: Doing what?   Saudia: Doing rockabilly with The Hi-Jivers and Abby Girl. In Orange County, we're going to do just a rockabilly R&B show. Then in April, I'll be with Viva Las Vegas again, which is a rockabilly weekend. I'll do an R&B show and rockabilly. In between, I'm just trying to stay sane, make a living, take care of my mom's work, tell her story. I'm supposedly writing a story about my mom and my dad, sort of a solo show. I don't know if it's a solo show or a documentary, but it's about their relationship as an interracial couple in the 60s and an interracial artist couple.   Sharon: That'll be very interesting   Saudia: They were both known as being difficult people, but most artists are in a way. It takes a lot of energy to do that work, so you can ruffle a lot of feathers. So, that's what I'm doing.   Sharon: I hope I'll get to meet you then. Thank you so much. This was very interesting.   Saudia: Thank you so much. Sharon: Thank you. Well will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey. She would always think about, “What am I going to pour?” It might be a ruby red, which was really popular and beautiful. One of the most popular pours, I think I said in the last interview, was the black and white, where she would have black and white and it would come out in a striped formation. Then she would pour into her different molds, the bangles, the C cuffs, the earrings.   Just as important as the colors were the processes. For the slice earrings, she would pour the layers so it would be striped into a block like a loaf of bread, a small, little, long brownie. Then she would slice it on a bandsaw and you would get to see the stripes. Part of her process was the actual cutting, carving, sanding to get the shapes, and then making the decision whether she was going to have them polished or matte without polish.   Sharon: A mask?   Saudia: Matte, sorry. What the finish would be. If she had faceted bangles or hearts or whatever, she was very aware of not making anything perfect. She used the fact that it had scratches to show the layers of work and to show that it's made by a human. It wasn't something that needed to be absolutely perfect. She was very into wabi sabi, the Japanese art of the imperfect. She loved wavy shapes and asymmetry in her designs.   Sharon: Who did the selling for the first years, when you were getting it off the ground?   Saudia: I was a kid, so I wasn't going to get it off the ground. I was just eating the food she was putting in the refrigerator. When she first started with the leatherwork, she was just going around to different boutiques in the Village or whatever and selling them, either having them buy it straight out or on consignment. I think one of the worker's galleries was the original Sculpture to Wear. That was near where MAD Museum is right now. I'm forgetting the name of the hotel. That was one of her galleries. I'm sure there were other stores I don't know about.   That was in 1971 or something like that. That was very close to when she started working in plastic. She got taken in and accepted really quickly. At that time, Robert Lee Morris was also selling at Sculpture to Wear. He was a wunderkind. He was opening up his own gallery, Artwear, and brought my mother into that gallery. During that time, that also gave the artists recognition and amplified their voices. They were able to have their work in stores in Boston and in California because of being in Artwear.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.    

What you'll learn in this episode: How Saudia is preserving her mom Cara Croninger's legacy Why Cara Croninger's resin and plastic jewelry was—and still is—groundbreaking How Cara Croninger refined her jewelry making process, and why she didn't want her pieces to be perfect What it was like to grow up in an artistic family in the heyday of New York's art jewelry scene How Saudia's mom and dad influenced her music career today   About Saudia Young Saudia Young is a New York City-born actress/singer and storyteller in theater and film. Born on the Lower East Side and brought up between Tribeca and LA, Young explores the notion of home, love, justice, and identity through her art.   The recently repatriated artist lived in Berlin, Germany, for a long chapter of performing, writing, and producing. The Ameripolitan Awards 2023 Female Rockabilly Singer nominee released her 7" single ‘Noir Rockabilly Blues,' produced by Lars Vegas-DE and featuring 'The Wobble' on the A and Iggy Pop's 'Lust for Life' on the B side, in 2017, followed up by her 12” debut ‘Unlovable' in 2018. The LP was recorded live at Berlin, Germany's legendary Lightning Recorders.   Young founded a Dark Kabarett and a Rockabilly Noir Blues band in Berlin, co-created the Lost Cabaret and the Schwarze Liste Kabarett theater projects and wrote and produced the award-winning short film The Gallery. While in Berlin, she was cast in the lead voice-over role of Oskar in School for Vampires (the English version of the Hahn Film cartoon series).   Young co-wrote and performed the solo show Sneaker Revolution and is currently writing a theater/film piece about her actor father, Otis Young, and sculptor/designer mom Cara Croninger. Photos Available on TheJewelryJourney.com Additional Resources: Saudia's Website Saudia's Instagram Saudia's Youtube   Transcript:   To jewelry lovers, Cara Croninger was a groundbreaking artist whose work was shown at iconic galleries Artwear and Sculpture to Wear. To musician and actress Saudia Young, she was just mom. Today, Saudia is working to preserve her mother's legacy and secure her place in art jewelry history. She joined the Jewelry Journey Podcast to talk about how Cara made her pioneering resin jewelry; how Cara's work evolved with the times; and why Saudia thinks of her mom every time she performs. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.   Today, we're speaking to my guest, Saudia Young, who is located in Philadelphia. She has an interesting background. Her mother was a very well-known jeweler, and her father was an actor. She was born in New York and grew up between New York and Los Angeles. She is New York material. You will be surprised to hear that she developed a career as an actress, a writer and a singer. She's described as having a whisky voice, and I think that's true, a caramel whisky voice. She was a nominee in 2023.   Saudia: Thank you so much for having me. I'm really glad to come on to your show for the second time. It was the Ameripolitan Music Awards. I was simply nominated for female rockabilly singer. There are lots of different categories and full bands. Jane Rose won for the rockabilly female singer that year. They're moving on, but it was very exciting to come after 15 years in Germany to participate in that. I've met a lot of awesome people because of that.   Sharon: I know you've lived in several places, but I didn't know for 15 years, you say, in Berlin?   Saudia: Yes.   Sharon: Wow! Now you're in Philadelphia this evening.   Saudia: Yes.   Sharon: Is that your home?   Saudia: It is for now. It's where my sister lives. I have a sister from my mother and my father. He had other children, so that's why I clarify that. I'm spending some time with my sister. I've been back and forth in the States since my mom passed in 2019. I'm honestly trying to figure out where I'm going to live. It's not clear because of Covid and my mom passing, but it's been a lot.   Sharon: 15 years being in one place.   Saudia: Yeah, so I'm here for now. I feel like I can't commit to saying this is my home. It's like, “Let's see what it brings. Let's see what happens.” It's great to hang out with my sister. I'm close to my mom's work, which is stored now in Hackensack, New Jersey. I moved it from New York. My mom's work has had more of a tour than I have.   Sharon: Cara Croninger is your mom's name. Even though she passed—I'm very sorry to hear that—she's still very well-known. She has an exhibit in the Smithsonian?   Saudia: No, it's simply her papers, photographs, articles, fashion editorials. As you know, she bridged fashion and art. She was in both worlds. She had a toe or a foot or whatever in both worlds, so she has been accepted into the Archives of American Art at the Smithsonian. That means they have letters, her correspondence to other artists and gallerists and whomever, any type of reviews, sketches, all her boxes of papers and some photographs. It's an honor. It was sad to let that go, but it's also awesome because that means it's helping to secure her legacy.   It will eventually be uploaded digitally so people will be able to look at it. You can go into the archives and look up different artists and see their papers. For example, one of my favorite things were letters from Floriana Frassetto, who founded Mummenschanz and was one of her best friends. She always wrote these beautiful letters to her. She would call her Cara Mia. She was Swiss-Italian. So, it's just that, showing the ephemeral items in her life.   Sharon: You've been on this program before. You were among our first guests—   Saudia: Yeah.   Sharon: If you want to listen to it, it's on TheJewelryJourney.com. We're so glad to have you back again.   Saudia: Thank you.   Sharon: Tell me why your mom's jewelry was different. What was the breakthrough? Why are they keeping her papers?   Saudia: I think because of that bridge. She wasn't craft. She came as a sculptor. Her jewelry was made of acrylic and polyester resin, although she did work in other materials like metals. She started off painting, but the work was always very sculptural and almost avant garde. It went from very organic and indigenous and African influenced to futuristic. It was solidly in the art world, but also solidly in the fashion world when she was with Robert Lee Morris' gallery, Artwear, and before that, Sculpture to Wear.   Artwear blew up and it was very, very popular in the press and in fashion magazines. All the top models were wearing it. People like Iman would come to the gallery openings. It was part of that whole exciting time in the 80s in New York, seeping a little bit into the 90s, but mostly in the 80s. It was in the late 70s and throughout the 80s that they had their heyday. There were other artists in this gallery that are now working and very well-known, like Ted Muehling, Robert Lee Morris himself. Carol Motty, may she rest in peace, was a very, very good friend of my mom. She worked in silicone.   Sharon: I'm sorry. I don't know her.   Saudia: Carol Motty. She did wild, neon-colored, awesome pieces in silicone rubber. She was unique in that it literally was a bridge of art and fashion. That's what she built. I think that was her significance. In terms of the materials, the pieces cost anywhere from $40 to $4,000 or more. She raised the level of this material, which is plastic resin and acrylic, polyester resin, to a very high level. It would get the same price that silver and gold and gemstone jewels would get because of the beauty, the workmanship, that she put into it. The work is known for having this sensual beauty. A lot of the pieces have a wonderful weight. They have a talisman magic to them. People often will collect the pieces. You even collected some pieces.   Sharon: Yeah, I did. I love them.   Saudia: It's kind of magic. She herself as a person was a beautiful, down-to-earth, but funny and effervescent person. People loved meeting her. They loved collecting the work.   Sharon: What was the role you and your sister played?   Saudia: We were her daughters. We did help make work. There were points where we learned how to do the finishing work. We never did the pouring, creating the pigments or the molds, but we could help with finishing. We'd be her child laborers and work on the sanding machine or polishing or drilling holes or what have you. We were able to do finishing work. Because we grew up with it, we understood the shapes and her style, but even growing up with it, there was always some kind of tension. She would say, “That's your style. That's not mine.” It wasn't easy because it was so organic and very unique. That made it hard for her to have people work for her.   Sharon: When you would attend these parties or an opening night at the galleries, did you know who the celebrities of the day were? Were you aware?   Saudia: Yeah, I was in my early 20s or so. At one point, my sister and I both worked at Artwear. We were both looking forward to working with Robert. That was always really fun. Even the artists were celebrities to us because they were so talented and vivacious and positive. I knew a lot of the models, the supermodels, Pat Cleveland and whomever, but since my dad was an actor, I grew up already having certain people in my life. I was trained for that to be not that big of a deal because I just grew up in that.   When my parents met, they were in the Village in the 60s. James Baldwin was a good friend of my dad, and he was allegedly my godfather. It was a smaller world in a way. Definitely, the 60s and even the 80s feel like a more innocent time than now for some reason. I met different celebrities just on my own, and you felt like they were New Yorkers. I knew Jean-Michel Basquiat and I was like, “He's just a kid.” I had no clue.   Sharon: Wow! So, this wasn't a new milieu to you. You knew the big names—I would call them big names—who would come over for dinner. They were around you.   Saudia: Yeah, but it wasn't—now we're going back even before Artwear. It was normal to me. I didn't notice it. It was just part of being a kid in New York, a kid of artists. You know what I mean?   Sharon: But your mother was making this jewelry that I would call groundbreaking. Today we look at it and go, “Oh, it's a piece of plastic,” but it was groundbreaking then.   Saudia: Yeah, it was definitely groundbreaking. I think it still is because there are few people who can work in it, like Patricia von Musulin, who's an amazing artist who works with acrylics. There are some people who can work with it. There's Alexis Bittar, who borrowed a lot of designs from my mom. There are people who can work with it and it's beautiful, but often you see stuff that's mass produced overseas. It doesn't have a good feeling; it just feels cheap. Her work still has this magic weight to it. But as I said, as kids, we didn't know. It was just, “My mom's an artist. She's working at her studio making her stuff.”   Sharon: Was her studio a separate place or was it where you lived?   Saudia: She had many different studios. She had a shared space in Gowanus in Brooklyn, a huge foundry that had 80-foot ceilings that she shared with approximately five other artists. Now, I'm jumping back and forth with timelines. I'm not great with timelines. She had a studio in Dumbo, Brooklyn, at 68 Jay, which was a 2,000-square-foot, awesome studio that she lived in illegally. Our formative years when we were little were on the Lower East Side, but we lived in Tribeca when it was still very industrial. We first started off on Washington Street in an apartment. I think it was a three-bedroom apartment that I recently got to visit again, which was amazing.   She cordoned off a little section of that Astor studio, and then what happened? O.K., when we were at Washington Street, she was able to be one of the resident artists in the Clocktower, which was a studio project where Alanna Heiss was organizing unusual spaces for artists to either create their work or show their work. My mom was one of several artists who were in the Clocktower. That's where she actually met the artist who showed her how to work with plastics. I don't know what his name was.   Sharon: So, she wasn't working with plastic until she met these people?   Saudia: Yeah. She started off painting and doing leatherwork, painting on leather, sewing leather bags, fringe work, Japanese-style obi belts. That's what she started doing first in terms of accessories and crafts.   Sharon: Did your friends know she was a big name, let's say?   Saudia: No, we were all pretty clueless. A lot of our friends were kids of painters. We related to them as workers, like this is what they did for their work. My mom was the lady who made great bread. She made homemade bread, and she made great chicken. People would come over and eat. She was a very social person. We had extended family members, but I don't think my friends thought of her as that famous, not really.   Sharon: I was going to ask you why she wouldn't let you pour, but that made her work. That's her name.   Saudia: I didn't have any desire to pour. As a teenagers, at 18? No desire. I was off doing my own thing. I had my own ways of expressing and my own life. That was her thing.   Sharon: What colors did she like? I've seen some pieces, but I know she had a whole range.   Saudia: She worked in an amazing array of colors. She loved vibrant primary colors. She also worked in colors that were more organic, that were reminiscent of ivory or amber. She would do pours. I think we spoke about this. She would do a pour about once a year. It was always a big deal for her to get the emotional wherewithal to do a pour. Also, I think she was aware of the toxicity. She only wanted to pour during the summer, when the windows could be open and the heat would help the plastic pour faster.  

This week's guest In the Flamingo Lounge, Dwane Hall, is no stranger to the Buffalo Music scene. Dwane, a 2-time inductee in the Buffalo Music Hall of Fame, told stories of how he got started in music, became proprietor of the Sportsmen's Tavern which was voted Venue of the Year in 2018 at the Ameripolitan Awards and how he started the Sportsmen's Americana Music Foundation.

In this episode of the Free Thinkers podcast, we're excited to be joined by country music legend, Dale Watson. In a world where mainstream country music is dominated by pop-influenced sounds and songs about trucks and tailgates, one artist is fighting to preserve the roots of the genre. Dale Watson, the founder of Ameripolitan music, is on a mission to protect and promote authentic country music and create a platform for up-and-coming artists who share his vision. For Watson, Ameripolitan is more than just a genre of music; it's a way of life. He believes that the roots of country music are deeply intertwined with the culture and history of America and that they must be protected and preserved for future generations. To achieve this, Watson created the Ameripolitan Awards, an annual event that celebrates artists who stay true to the traditional sounds of country music. In an interview with the Free Thinkers Podcast, Watson spoke about the importance of creating a network where artists can connect and collaborate to keep the roots of country music alive. "We're trying to build a community, a network of people who believe in what we're doing," he said. "We want to create a platform where up-and-coming artists who don't wish to compromise for the new country sound can belong and be part of a great network that brings back prominent roots music." Watson's vision for Ameripolitan is not just about preserving the past but also about creating a future for traditional country music. He believes that there are many talented artists out there who are not getting the recognition they deserve because they don't fit the mold of mainstream country music. "We want to shine a light on these artists and give them a platform to showcase their music," he said. But Watson knows that change doesn't happen overnight. He has been working tirelessly for years to promote Ameripolitan and create a community of like-minded artists and fans. And his efforts are paying off. The Ameripolitan Awards have become a respected event in the country music world, and more and more artists are joining the movement to preserve traditional country sounds. In the end, Watson's message is clear: if we want to keep the roots of country music alive, we must work together to promote and protect them. And with his Ameripolitan movement, he's doing just that. As he said in the interview, "It's not about us. It's about the music. It's about the history. It's about the culture. And it's about keeping that alive." Sign up for text and email alerts and watch all uncensored episodes at: https://freethinkerspodcast.com Free Thinkers Podcast is a show that believes in free speech, original thought and a desire for truth. Thanks again for being part of the team! Please share this episode with your family and friends. Remember your voice matters!

The Commander Cody cofounder burst into the Top 10 playing the hot guitar on “Hot Rod Lincoln.” Grammy nominations and collaborations with Nick Lowe, Elvis Costello, and Gene Vincent followed in a celebrated career spanning over 50 years. As a teenager he hitchhiked to see Dylan debut “Mr. Tambourine Man” at the ’64 Newport Folk Festival, then returned in ’65 to witness Bob “go electric.” At Ann Arbor High he played the talent show opposite classmate Jim Osterberg (Iggy Pop). Bill is a master of his craft and one of the most decent guys you could ever meet. Quite a contrast to the Troubled Men. Topics include a graduation, fears, forced jury duty, vaccine incentives, the folk scare, the Ark, going to California, Jerry Garcia, liquid LSD, a hit record, John Sinclair, early Stooges gigs, the Moonlighters, the D.C. scene, Too Much Fun, a Jim Jarmusch guitar, the Sons of Lee Marvin, moving to Austin, the Ameripolitan Awards show, Ray Benson and Asleep at the Wheel, CSNY, band friendships, livestreams, and much more. Subscribe, review, and rate (5 stars) on Apple Podcasts, Spotify, or almost any podcast aggregator. Follow on social media, share with friends, and spread the Troubled Word. Intro music: Styler/Coman Break music: “Hot Rod Lincoln” by Bill Kirchen Outro music: “Word to the Wise” by Bill Kirchen (with Dan Hicks)

The Commander Cody cofounder burst into the Top 10 playing the hot guitar on “Hot Rod Lincoln.” Grammy nominations and collaborations with Nick Lowe, Elvis Costello, and Gene Vincent followed in a celebrated career spanning over 50 years. As a teenager he hitchhiked to see Dylan debut “Mr. Tambourine Man” at the '64 Newport Folk Festival, then returned in '65 to witness Bob “go electric.” At Ann Arbor High he played the talent show opposite classmate Jim Osterberg (Iggy Pop). Bill is a master of his craft and one of the most decent guys you could ever meet. Quite a contrast to the Troubled Men. Topics include a graduation, fears, forced jury duty, vaccine incentives, the folk scare, the Ark, going to California, Jerry Garcia, liquid LSD, a hit record, John Sinclair, early Stooges gigs, the Moonlighters, the D.C. scene, Too Much Fun, a Jim Jarmusch guitar, the Sons of Lee Marvin, moving to Austin, the Ameripolitan Awards show, Ray Benson and Asleep at the Wheel, CSNY, band friendships, livestreams, and much more. Subscribe, review, and rate (5 stars) on Apple Podcasts, Spotify, or almost any podcast aggregator. Follow on social media, share with friends, and spread the Troubled Word. Intro music: Styler/Coman Break music: “Hot Rod Lincoln” by Bill Kirchen Outro music: “Word to the Wise” by Bill Kirchen (with Dan Hicks)

Celine Lee talks about the Ameripolitan Awards, started by Dale Watson, her place in the rockabilly world, and growing up around music of the past. Ameripolitan Awards 2018 See omnystudio.com/listener for privacy information.

Tatiana Z sat with Carolynn Sills of the Carolyn Sills Combo, winner of the Best Western Swing Group award at this year's Ameripolitan Awards. She's as cool and calm as her Santa Cruz California home-base would suggest, and she eats almost exclusively Mexican food, especially tacos, so what's not to love? See omnystudio.com/listener for privacy information.

Live from the 5th annual Ameripolitan Awards in Memphis, Rosie Flores fields questions from host Tatiana Z about her life in Austin, TX, her previous Ameripolitan wins, touring with Wanda Jackson, and more. Recorded February 2018 See omnystudio.com/listener for privacy information.

Luke Bell is an Americana singer-songwriter from Cody, Wyoming. According to Rolling Stone, Bell "...plays classic honky-tonk with a wink and a yodel that summons the sleeping ghosts of country better than any voodoo spell ever could." In this interview, Bell connects with Amy Wright live from the 2018 Ameripolitan Awards at the Guesthouse at Graceland. Recorded February 2018 See omnystudio.com/listener for privacy information.

Live from the 5th annual Ameripolitan Awards, Tatiana Z connects with Manuel Couture protege, Tyler Kenneth, to learn about his background in fashion. Recorded February 2018 See omnystudio.com/listener for privacy information.

Connect with Arkansas native Bonnie Montgomery in this behind-the-scenes interview from the 2018 Ameripolitan Awards - recorded live at the Guesthouse at Graceland in Memphis, TN. Recorded Feb. 2018 See omnystudio.com/listener for privacy information.

one whole hour of VERY COUNTRY MUSIC on The Country Mile! There is a quick look at some acts up for Ameripolitan Awards in 2019: Dan Whitaker & The Shinebenders | The Western Swing Authority | Country Heroes | Ruthie & The Wranglers +++ new music from Sam Morrow | Wilson Brothers Band | The Southern Companion | Robbie Fulks & Linda Gail Lewis | Ward Davis | Thunder +++ Bluegrass Double Play featuring: Irene Kelley | Williamson Branch +++ The Troy Cassar-Daley Song of the Week! TUNE IN: www.mtri.co.uk or find Mix Tape Radio International on the Tune In Radio app. The Country Mile plays mainly new, mainly independent traditional style Country, Honky Tonk, Outlaw, Bluegrass, Ameripolitan music. Produced in the south west of England, heard around the world. Always open to adding extra stations. facebook.com/thecountrymile email: thecountrymileuk@yahoo.com

one whole hour of VERY COUNTRY MUSIC on The Country Mile! There is a quick look at some acts up for Ameripolitan Awards in 2019: Dan Whitaker & The Shinebenders | The Western Swing Authority | Country Heroes | Ruthie & The Wranglers +++ new music from Sam Morrow | Wilson Brothers Band | The Southern Companion | Robbie Fulks & Linda Gail Lewis | Ward Davis | Thunder +++ Bluegrass Double Play featuring: Irene Kelley | Williamson Branch +++ The Troy Cassar-Daley Song of the Week! TUNE IN: www.mtri.co.uk or find Mix Tape Radio International on the Tune In Radio app. The Country Mile plays mainly new, mainly independent traditional style Country, Honky Tonk, Outlaw, Bluegrass, Ameripolitan music. Produced in the south west of England, heard around the world. Always open to adding extra stations. facebook.com/thecountrymile email: thecountrymileuk@yahoo.com

This week we feature a performance from Dale Watson at the 2018 Ameripolitan Awards here in Memphis, TN. Also on the episode, an interview with Dale, and Dr. Barbara Ching continues her series exploring the connection between country music and the Blues.

The Music Featured On This Weeks Episode Is From The Following Albums: Vote For W.B. Walker – The 2018 Ameripolitan Awards “Outlaw DJ Category” Ameripolitan.com (Subscribe to show on Apple device) Itunes.apple.com/us/podcast/w.b.-walkers-old-soul-radio/id632683666?mt=2 (Subscribe to show on Android device) Stitcher.com/podcast/wb-walkers-old-soul-radio-show Glen-simpson.com All music is used with permission.

The Music Featured On This Weeks Episode Is From The Following Albums: Vote For W.B. Walker – The 2018 Ameripolitan Awards “Outlaw DJ Category” Ameripolitan.com (Subscribe to show on Apple device) Itunes.apple.com/us/podcast/w.b.-walkers-old-soul-radio/id632683666?mt=2 (Subscribe to show on Android device) Stitcher.com/podcast/wb-walkers-old-soul-radio-show Glen-simpson.com All music is used with permission.

The Music Featured On This Weeks Episode Is From The Following Albums: Vote For W.B. Walker – The 2018 Ameripolitan Awards “Outlaw DJ Category” Ameripolitan.com (Subscribe to show on Apple device) Itunes.apple.com/us/podcast/w.b.-walkers-old-soul-radio/id632683666?mt=2 (Subscribe to show on Android device) Stitcher.com/podcast/wb-walkers-old-soul-radio-show Glen-simpson.com All music is used with permission.

The Music Featured On This Weeks Episode Is From The Following Albums: Ian Noe – Off This Mountaintop (2017) Joseph Huber – The Suffering Stage (2017) Nicholas Jamerson – NJ (2017) Iannoe.com Josephhubermusic.com Nicholasjamerson.com Vote For W.B. Walker – The 2018 Ameripolitan Awards “Outlaw DJ Category” Ameripolitan.com (Subscribe to show on Apple device) Itunes.apple.com/us/podcast/w.b.-walkers-old-soul-radio/id632683666?mt=2 (Subscribe […]

This week I'm bringin you 2 hours of great music! To start things off I'll talk about 4 bands I got to see recently, a reminder about the Ameripolitan Awards, Ronnie Eaton's upcoming album (plus an interview), a partial review of Rockabilly Legend Art Adams' The Truth plus some great stories from the man himself, plus some great shout outs! Don't forget to vote at www.ameripolitan.com Concert (02:40): www.deerfellow.com www.much2muchmusic.com www.noisetrade.com/hauntedlikehuman www.meganflechaus.com Check out the pre-show interviews: https://www.youtube.com/watch?v=fl6AYDqlgDc Ronnie Eaton Review (08:18) Interview (20:40) www.ronnieeaton.com www.facebook.com/ronnieeatonmusic www.twitter.com/ronnieeaton https://itunes.apple.com/us/album/the-hand-that-mocked-them-and-the-heart-that-fed/1316690003 Art Adams Review (47:40) Interview (59:10): www.artadamsband.com www.facebook.com/artadamsband https://www.bear-family.com/adams-art-the-truth.html Kristina Murray (01:43:20) www.kristinamurray.net www.facebook.com/KRISTINAMURRAYMUSIC www.twitter.com/kristinamusic https://itunes.apple.com/us/album/how-tall-the-glass-single/1316170979 Braydon Zink (01:45:00): www.braydonzink.com www.facebook.com/braydonzinkmusic www.twitter.com/braydonzink https://itunes.apple.com/us/album/too-small-to-be-me-ep/1276740829 Zac Wilkerson (01:46:40): www.zacwilkersonmusic.com www.facebook.com/ZacWilkersonMusic www.twitter.com/zac_wilkerson https://itunes.apple.com/us/album/dustbowl-soul/1165193187 Light Horse Harry (): www.lighthorseharry.com www.facebook.com/lighthorseharry www.twitter.com/lhhband https://itunes.apple.com/us/album/sunny-side-up-single/1300404818 Thanks for listening, y’all! Contact: Email: southboundpodcast@gmail.com Twitter: http://www.twitter.com/sbi35 Intro/Outro Music: Down at the Diner by William Naughton via http://www.themusicase.com Podcast Art by Schechter Productions: http://www.pinterest.com/SchechterArts http://schechterarts.deviantart.com

This Weeks Episode Features Live Music From: Short & Company Reverbnation.com/shortandcompany Vote For W.B. Walker – The 2018 Ameripolitan Awards “Outlaw DJ Category” Ameripolitan.com (Subscribe to show on Apple device) Itunes.apple.com/us/podcast/w.b.-walkers-old-soul-radio/id632683666?mt=2 (Subscribe to show on Android device) Stitcher.com/podcast/wb-walkers-old-soul-radio-show Glen-simpson.com All music is used with permission.

This Weeks Episode Features Live Music From: Laid Back Country Picker Facebook.com/laidbackcountrypicker Vote For W.B. Walker – The 2018 Ameripolitan Awards “Outlaw DJ Category” Ameripolitan.com (Subscribe to show on Apple device) Itunes.apple.com/us/podcast/w.b.-walkers-old-soul-radio/id632683666?mt=2 (Subscribe to show on Android device) Stitcher.com/podcast/wb-walkers-old-soul-radio-show Glen-simpson.com All music is used with permission.

Dale Watson & Celine Lee co-host with me this week! They hand-picked each song and tell us why they love 'em!  They also tell what folks might not know about the other one, new projects they've just released and on the way, Ameripolitan Awards and their cool '58 Ford Edsel!  Check out this incredible group of songs they assembled for the show!!!   Intro Voice Over- Rob "Cool Daddy" Dempsey Intro Music Bed:  Brian Setzer- "Rockabilly Blues"   Maddox Brothers & Rose- "Love Is Strange" Gene Vincent & His Blue Caps- "Lotta Lovin'" Carl Perkins- "Pink Pedal Pushers" The Collins Kids- "Heartbeat" Rosie Flores (with James Intveld)- Crying Over You Janis Martin- "Billy Boy, My Billy Boy" Jerry Lee Lewis- "Wild One" Wayne Hancock- "Miller, Jack & Mad Dog" Bill Haley & His Comets- "Thirteen Women (And Only One Man In Town)" Johnny Burnette & The Rock 'n' Roll Trio- "Lonesome Train (On A Lonesome Track)" Connie Frances- "Stupid Cupid" Wanda Jackson- "Funnel Of Love" Link Wray- "Rumble" George Jones- "Who Shot Sam" Big Sandy & His Fly Rite Boys- "Jumpin' From 6 To 6"   Outro Music Bed: Danny B. Harvey- "Down In Texas"  

On this week's episode I revie The Band of Heathens' Duende, talk about a few things from the Ameripolitan Awards that didn't make it into the previous episode, and more shout outs! Ameripolitan: www.ameripolitan.com www.facebook.com/ameripolitanmusic www.twitter.com/ameripolitan The Band of Heathens: www.bandofheathens.com www.facebook.com/thebandofheathens www.twitter.com/bandofheathens https://itunes.apple.com/us/album/duende/id1172425000 Aaron Copeland: www.aaron-copeland.com www.facebook.com/aaroncopelandmusic www.twitter.com/aaronc21 https://itunes.apple.com/us/artist/aaron-copeland/id35912032 Duane Mark: www.ihateduanemark.com www.facebook.com/ihateduanemark www.twitter.com/ihateduanemark https://itunes.apple.com/us/album/land-of-opportunity-sorrow/id1014783242 Thanks for listening! Contact:  southboundpodcast@gmail.com TWitter:  http://www.twitter.com/sbi35 Intro/Outro Music: Down at the Diner by William Naughton via http://www.themusicase.com Podcast Art by Schechter Productions: http://www.pinterest.com/SchechterArts http://schechterarts.deviantart.com

On this episode I review 1431: The Road Less Traveled by Jarrod Johnson, Ride with Me by Brian Christopher and the Wild Oats and talk to them both about their music.  I also talk about a concert I went to, more Ameripolitan Showcase and this week's shout outs! One Ton of Country: www.onetoncountry.com/ www.facebook.com/onetoncountry www.twitter.com/onetoncountry Memphis Kee: www.facebook.com/memphiskee www.reverbnation.somc/jasonkee www.twitter.com/memphiskee Stoney Larue: www.stoneylarue.com www.facebook.com/stoneylaruemusic www.twitter.com/stoneylarue Ameripolitan Awards: www.ameripolitan.com www.facebook.com/ameripolitanmusic www.twitter.com/ameripolitan Jarrod Johnson: www.jarrodjohnson.net www.facebook.com/jarrodjohnsonmusic www.twitter.com/jarrodmjohnson https://itunes.apple.com/us/artist/jarrod-johnson/id289200446 Brian Christopher and the Wild Oats: www.bcwildoats.com www.facebook.com/bcwildoats www.twitter.com/bcwildoats Lorraine Chavana: www.lorrainechavana.com/ www.facebook.com/lorrainechavana.music https://itunes.apple.com/us/album/free-to-love/id1144535648 Madelyn Victoria: www.madelynvictoriamusic.com www.facebook.com/madelynvictoria www.twitter.com/madelynvictoria https://itunes.apple.com/us/album/madelyn-victoria-ep/id903674713 Evan Ogden: www.evanogdenmusic.com www.facebook.com/evanaustinogdenmusic www.twitter.com/evana_ogden The Abe Mac Band: www.facebook.com/abemacband www.twitter.com/marsaumusic https://itunes.apple.com/us/album/shots-shots-shots-single/id1172996790 Thanks for listening! Contact:  southboundpodcast@gmail.com Twitter: www.twitter.com/sbi35 Intro/Outro Music: Down at the Diner by William Naughton via www.themusicase.com Podcast Art by Schechter Produtions: http://www.pinterest.com/SchechterArts http://schechterarts.deviantart.com

Dale Watson joins us again this hour to talk about his latest project, Call Me Insane.  We continue our chat about the Ameripolitan Awards as well as a special request from Dale for Carl Perkins.  We also hear tunes from more of the nominees for the 2016 Ameripolitan Music Awards as well as 2 of the artists receiving "Founder Of The Sound" awards- Wanda Jackson & Red Simpson. Intro Voice Over- Rob "Cool Daddy" Dempsey   Cousin Harley (Paul Pigat)- "I'm Coming Home" Emmy Lou & The Rhythm Boys- "Boy As I Say" Hillbilly Casino- "Debt With The Devil" Scotty Baker- "Knockout"   Dale Watson interview Dale Watson- "Hot Dang" Segment 1 Dale Watson- "Color Me Gone" Segment 2 Dale Watson- "A Day At A Time" Segment 3 Dale Watson- "Jonesin' For Jones" Segment 4 Carl Perkins- "Honey Don't"   Chris Casello- "All Messed Up" Bloodshot Bill- "When My Baby Passes By" B-Stars- "Time Is Money Wayne Hancock- "Long Road Home" Sara Dee & The Foxhunters- "Rockin' On My Guitar" Rachel Brooke- "Serpentine Blues" Bailey Dee & Her Late Night Bait- "Rhythm In Here" Joel Paterson- "Speedin' North"   Founder Of The Sound Awards: Wanda Jackson- "Funnel Of Love" Red Simpson- "Diesel Smoke Dangerous Curves"  

The Commander Cody cofounder burst into the Top 10 playing the hot guitar on “Hot Rod Lincoln.” Grammy nominations and collaborations with Nick Lowe, Elvis Costello, and Gene Vincent followed in a celebrated career spanning over 50 years. As a teenager he hitchhiked to see Dylan debut “Mr. Tambourine Man” at the '64 Newport Folk Festival, then returned in '65 to witness Bob “go electric.” At Ann Arbor High he played the talent show opposite classmate Jim Osterberg (Iggy Pop). Bill is a master of his craft and one of the most decent guys you could ever meet. Quite a contrast to the Troubled Men. Topics include a graduation, fears, forced jury duty, vaccine incentives, the folk scare, the Ark, going to California, Jerry Garcia, liquid LSD, a hit record, John Sinclair, early Stooges gigs, the Moonlighters, the D.C. scene, Too Much Fun, a Jim Jarmusch guitar, the Sons of Lee Marvin, moving to Austin, the Ameripolitan Awards show, Ray Benson and Asleep at the Wheel, CSNY, band friendships, livestreams, and much more. Support the podcast [here.](https://www.paypal.me/troubledmenpodcast) Join the Patreon page [here.](https://www.patreon.com/TroubledMen) Shop for Troubled Men's Wear [here.](https://www.bonfire.com/troubled-mens-wear/) Order GR8 Escape Chocolate Chip Cookies/ Use Promo Code TROUBLEDCOOKIE15 for 15% discount [here.](https://velobarcbd.com/gr8-escape/) Subscribe, review, and rate (5 stars) on Apple Podcasts, Spotify, or almost any podcast aggregator. Follow on social media, share with friends, and spread the Troubled Word. Intro music: Styler/Coman Break music: “Hot Rod Lincoln” by Bill Kirchen Outro music: “Word to the Wise” by Bill Kirchen (with Dan Hicks)