Podcast appearances and mentions of Bob Weston

Overcoming Challenges in UK Housing DeliveryThe government's ambitious goal of delivering 1.5 million homes within this parliamentary term is undeniably bold. Bob Weston, Chairman of Weston Homes, highlighted the need for significant action to meet demand, particularly given a 40% drop in housing output and a decline in first-time buyers due to limited mortgage support schemes.Robert Mulryan, Director at Ballymore, emphasised that London, in particular, faces a steeper challenge, with construction starts down approximately 70% from the 10-year average. However, both experts expressed optimism that with the right policy changes and industry collaboration, the sector can regain momentum.Keeping London Competitive on the Global StageLondon remains a world-class city, but maintaining its appeal to high-net-worth individuals and businesses is crucial. Daniel Daggers, Founder of DDRE.Global, pointed out that London must compete more effectively for global talent and investment.“The ultra-high-net-worth community is hypermobile,” he explained. “We need to create an environment that entices them to choose London over other global hubs.”Daggers advocated for more supportive tax policies, streamlined entrepreneurial regulations, and enhanced AI capabilities to foster a thriving business environment.Bridging the Housing Affordability GapGeeta Nanda, a leader in both affordable housing and private development, underscored the importance of making housing accessible to medium-income groups. “The demand for housing is massive, particularly in London. We need to innovate in how we fund and deliver affordable housing,” she said.She highlighted the vital role housing associations play in affordability but noted that rising costs and financial pressures have limited their ability to build at scale. Her call to action? More efficient allocation of existing government funds rather than reliance on new funding sources.Practical Solutions for a Stronger Housing MarketThe panel shared a range of solutions designed to boost housing supply and affordability, including:Recapitalising Housing Associations: Redirecting funds to support building safety measures, freeing up resources for new development.Simplifying Design Standards: Adjusting London's design requirements to enable the construction of more affordable homes, better aligned with market demand.Expanding Mortgage Availability: Introducing genuine 90% mortgage products to improve accessibility for first-time buyers.Updating Shared Ownership Caps: Revising outdated income thresholds to reflect current market realities and allow more people to benefit.Empowering Small and Medium Developers: Supporting smaller projects that can contribute to overall supply while waiting for larger developments to materialise.A Positive Outlook for London's FutureDespite the challenges, the panel remained confident in London's enduring appeal. Robert Elder, Senior Economist at the Bank of England, reassured attendees that the current government is committed to building more homes and is open to practical solutions from industry leaders.London's cultural and economic strengths remain a powerful draw. “60% of global music production happens in the UK. We have an incredible theatre district. The talent here is exceptional,” noted Daniel Daggers.Robert Mulryan added a note of urgency: “London is one of the greatest cities in the world, but competition is fierce. We need to act decisively to maintain our position.”Turning Ideas into ActionThe message from the panel was clear: the time for discussion has passed—it's time for action. Addressing the housing crisis isn't just about policy; it's about people.Geeta Nanda summed it up best: “We need to start making real, actionable changes.”With the right strategies, collaboration, and commitment, the UK has the expertise and investment potential to create a thriving, inclusive housing market that works for everyone.

This week, we are joined by musician STEVE MICHENER (Big Dipper, Volcano Suns, Dumptruck, Barbara Manning) to discuss a documentary featuring one of Steve's old bandmates, THIS IS NOT A PHOTOGRAPH: THE MISSION OF BURMA STORY!!!! We discuss the makeup of the Boston music scene of the 80s, Steve's time in post-Burma band VOLCANO SUNS with Peter Prescott, the genesis of BIG DIPPER, how it was like Beatlemania for Burma in Boston, Burma playing 3 times a week in the early days, how Burma changed the music scene into an artier space, Propellor Records, The Girls and Moving Parts, what brought Clint Conley and Roger Miller together, the chaotic playing outside of their own song structures that Burma did, ultimate chemistry bands, Martin Swope's magical live tape manipulation and what it felt like hearing it in the audience early on, the criticism regarding their records vs. their live shows, Peter Prescott's scream, the band Sorry, the Moby hatred displayed within this doc, The Go-Betweens, discovering what tinnitus was through Burma and Roger Miller's subsequent hearing loss, working at the copy shop with Prescott, the sadness of Burma breaking up and living under Burma's shadow, Steve's stints in Yo La Tengo and Dumptruck, the challenges of being in a band with multiple song writers, why and how Burma reformed, This Band Could Be Your Life, Bob Weston taking over for Martin Swope, how the band continued to grow after they reforemd, how loud was Burma really and a day in the life of a Mission Of Burma fan!So come sing out loud "dada dada dada dada dada dada dada dada dada" on this week's episode of Revolutions Per Movie!!!STEVE MICHENER:@steve.michenerREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.comARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

This is so fucking cool. Bob Nastanovich joins me this week to talk about a whack of shit including song 33!!!!Transcript:1:00] Loretta Scars. Alex from Portland, how are you feeling about Loretta Scars?It's a great song. I've got all kinds of thoughts on it, but it's on Flannidand Enchanted, which is a great album. it's,Slanted and Enchanted is the least varied album in my opinion like,most of the songs on it are kind of of one vibe and this is definitely no exceptionI think it's a great vibe I enjoy it Hey this is Westy from the Rock and Roll Band.Track 3[1:40] Pavement and you're listening to The Countdown Hey it's It's JD here back foranother episode of our top 50 countdown for Seminole indie rock band Pavement.Week over week we're going to count down the 50 essential Pavement tracks thatyou selected with your very own top 20 ballads.I then tabulated the results using an abacus, a bicycle pump,lotion, and some biscuits for Kevin, my homemade from uni.How will your favorite songs fare in the rankings? Well, you'll need to tune in to find out.So there's that. This week we're joined bypavement superstar bob fucking nastanovichbob what is up nookay cool and you're aren't you a toronto personsure am yeah how are thingsthere bright blue sunny skies todayabout five degrees celsius so that'slike spring weather for us especially yeah that's niceyeah we've got I don'tmean to show you up Jamie but it's 63degrees Fahrenheit here with a light breeze and a bright sunshine oh man herein Paris Tennessee you know like a typical winter day here is kind of gray and44 but it's especially nice.Track 3[3:03] Today which is pretty awesome that sounds about rightthat sounds like good you know good walking weatherso yeah how are you doing all right with thisproject so far so good i'm likelike people are lining up to do it uh likei'm caught up through march uh i'vegot to do some interviews this week with people sobasically people seem to be like iwas like i don't know how people respond to a top 50 thatthey have to listen to every week but idon't know my numbers are good and um like goodfor me you know yeah they'll get into it yeah ithink so and like just a little bit of water cooler debate rightwhat's that bud just a littlebit of water cooler debate yeah exactly youknow like what if what are you fucking thinking greenlanders likegreenlander was 46 six andyou know people were really pleased thatit made the top 50 but then there's another cohort that are like that's crazyit should be at least in the top 30 you know or whatever so no that is so weirdi mean i don't um i do know people that love greenlander and i um ineffectively insisted.Track 3[4:18] On trying to getit played live in iceland and that would have been cool yeah and um he we soundchecked it and it sounded just fine for about 70 seconds and malchus was.Track 3[4:43] Like i don't want to do that one you know and then um with him you know his attitude was so.Track 3[4:53] Sterling in 2022 and 2023 that um you don't and he was willing to play so many,different songs because in the past like specifically in 2010 um i just thinkit's uh i mean i remember his attitude back then was sort of uh.Track 3[5:18] It's going back to a more juvenile style of songwriting for him, which is more direct,but I guess maybe it kind of reminded him of certain aspects of his life.I mean, especially the earlier stuff, pre-Steve West, seems to give him a certainamount of actual PTSD, which is a word I never use.Track 3[5:48] Self-reference um just because of umthe stress caused by gary likei sat next to him when we watched the screening of gary's documentary andum it he didnot i mean it's a great documentary have you seen iti did yeah it's a great documentary andi don't think they really could have done a better job and umi mean i would have been wildly pleasedwith it i know gary was um so coolthat he got to see it before he passed at least right ican't i can't believe he lived that long i mean noway you know i mean i mean forhim to make it to 70 um should give us all belief that we can do it too um buthe comes from really supremely great genes in terms of longevity his parentslived well into their 90s and uh for some reason despite.Track 3[6:49] Every possible attempt without actually attempting suicide he basically triedto shorten his life um man imean he was just what was it like when you first met him bob what was thatsituation exactly like every other time i methim um he uhi mean at first he was kind of suspicious of me because he i mean you know verybriefly he was suspicious of me because he thought that i was like a friendof malchmas's who could probably drum and was there to replace him so So for the first,until a day or two in, we practiced in his parents'house the first time we went on tour in 1990.And when I say practice, I think we only had 12 songs and we only played six or seven shows, I think.And when he realized that I couldn't play drums, he...He relaxed a little bit. I mean, I think he realized that I was there to,like, kind of carry gear and make things happen and drive and then...You do more than that, dude. You do. I mean, back then, I actually did verylittle. There's this je ne sais quoi that you bring.Well, yeah. I mean, I developed my role over the years.Track 3[8:09] It's hard for me to really accept my overall importance. But back then,there were some shows, you know, shows back then were 45 minutes or whatever.And there were some shows where if he was on, I really didn't have to do a thingbut sort of stand there. I mean, it was, it was strange.I mean, there was a few, there's like, there were times where I would actually be like, um,pretty embarrassed because people in the audience must've thought,you know, why does the, why does the guy who doesn't do anything have to stand on the stage?And um and then also after the first time we toured europe in 92 and it waswe played like maybe 28 shows in 31 days or something and we we finished inbelgium somewhere and remco,was doing our sound for the first time that far back he goes i didn't realize that He goes back.The very first night we met him was about five o'clock on the day that we openedfor My Buddy Valentine and Super Chunk at the Old Ritz in New York. What a lineup.Track 3[9:27] Yeah. And he, uh, we played for 25 minutes and we played seven songs and, but whatever.So we met Remco outside the old Ritz. Um, we were on a, um.Track 3[9:46] On a label called Big Cat, which was run by this rather scurrilous fellow namedAbbo, Stephen Abbott, who was in a band called UKDK.And as it turned out, he was actually kind of a thief, but he knew Remco becauseRemco had worked with the band Copshoot Cop.And so he kindof figured that this young Dutch kid should do sound for us because we neededa sound man because we would turn up in a lot of places and we'd be so disheveledand disorganized and unprofessional that local sound staffs would be like,who are these assholes?You know what i mean like back then in the 90s if you didn't sort of show up.Track 3[10:41] I mean if you showed up at least in the manner thatpavement did a lot of these people you know youwere really at the mercy ofpeople um whoyou know hypothetically wereinto sound garden started and if youdidn't sound like them then you couldfuck right off um and if you didn't bringthat some level of professionalism or panache um then you could really get theshaft because people would just be like really annoyed that they had to workwith you and that's and and that's really what it's like when you have to dependon the house unless you've got one of of those rare situations where they give a crap.Right. So from that point on, you guys were on the road with Remco.Yeah, pretty much.Ninety seven percent of the time, like in 2010, like those one off things inNorth America, we wouldn't fly them over.Bob Weston did set them sound for us a few times.Now we've got this guy named Aaron Mullen.Track 3[11:54] Who did a few shows this year. I mean, it's just if it makes no sense.Financially for Remco to come over for a short stint. I mean,obviously doing sound for pavements, not rocket science,but Remco was proved his effectiveness generally at festivals.Festivals um he's prettypassionate about making sure the bands he works forsound good because it's big timeego gratification for him um iflike if people go around and say you guys sounded really great you know youknow and so he's he's very competitive in that regard which worked in our favoryeah sure did you guys sounded great at the festival i went to the Primavera in Porto.That was a fantastic show.Yeah. I'm happy that I see Barcelona didn't sound very good.Um, cause Remco didn't come to the practices, um, had trouble getting his visa.So he was completely unprepared for Barcelona.He didn't really even have Rebecca turned up.Track 3[13:08] And then a lot of the stuff that I'd learned because she's in the band now,um, Which I hadn't done before, weren't even turned on in Barcelona.And then in Porto, I'm not sure if you're aware of it,but I showed up for sound check and the bright blue case that had all of mybits and bobs of percussion,some of which I'd had since the early 90s, got stolen.Are you fucking kidding me? No, I didn't know that. No, I had no gear.I had no gear. I didn't even have anything to mount.I didn't have a tambourine that you can hit, and I didn't have anything to mount it on.And I had no tambourine maracas, cowbells, whistles, all my tricks, and claves.And thank goodness that Rebecca...Track 3[14:16] Was in the band because at first rebecca was just going to kind of come out there,and do keyboard parts and either comeand go or just kind of sit there and she's areally good i mean she's a great drummer and she'sa really good percussionist um so i said no you'regonna do something on every song andthen we you know quickly find out found out that she cando background vocals on anything and that'sgreat she can scream and obviously andshe's also very joyful performer um and she was you know she's a good very goodpercussionist so thankfully i was able to use some of her stuff um that nightbut it was still was not my stuff i I mean, it was very,very, it would be like if.Track 3[15:11] Well, actually, I think it kind of, I mean, it would be like if,like, guitars got stolen from a guitar player.I mean, that actually, it happened to Dinosaur, I think maybe in Porto,Dinosaur Jr., all their guitars got lost and they were still in Italy when they played.Oh my god yeah so theyhad to play i think they bought guitars um youknow that's so whatever i meani'm happy that it was me because if ithad been like anybody elsethen they probably would have had a harder time i mean i was able to just youkept it cool i'll just wing it you know what what i mean like it was funny becausenobody you know people you kind of realize the level of.Track 3[16:07] How, uh, you know, the, the immense level, you know, of your bandmates,they're kind of focused on their own deal.Like they couldn't deal with that.My bad news. Um, only Rebecca could like only Rebecca could like,you know, I mean, she's great.She's great. she was really a neat addition likereally uh from the fondashow i mean i went to the fonda show that was justit was mind-blowing that was a that was my favoriteshow of the tour like that was the first i can see why i mean it was long ifyou're a big fan i mean we played tons of songs and it sounded fine and it wassmall and the atmosphere was good and i mean at least 90 90% of the people inthere were way into the band. Oh, yeah.So, I mean, it was kind of an ideal time to see Pavement because we were freshoff the shelf and in a mode where we kind of had to give everything a go.Yeah, it was tremendous to be a part of it and experience it.One thing I wanted to talk to you about was Rebecca Clay Cole and you know, her, um.Track 3[17:29] Her contributions, I suppose, to the overall pavement experience,like, um, is she sort of a permanent member at this point? Is she coming to South America?I mean, of course she's coming to South America, right?Yeah. Oh yeah. Yeah. No, that's it. And that's it. I mean, right now that's it. Sure. Sure.It's 2024. You guys have been on the road for two years, man.Yeah we haven't done anything those for a long time we haven't done anything since um cincinnati,and um it's going to kind of be interesting because one good thing about southamerica is we don't obviously haven't played there um a couple of the places we've never played and,and we've only played three shows down there ever so we can just you know basicallyplay we don't have to learn 70 pavements to relearn 70 payment songs you know not that,not that they're immensely challenging but at the same time.Track 3[18:35] You know i basically could make the four set lists nowand um you knowwe're you know it's not going to be you won'tbe hearing um greenlander no butuh you go with the uh you go with theessentials not the deep cuts yeah and i think we've got i think i'm in a listof 32 that i sent out to them about six six weeks ago oh that's good yeah soundsall right well if i come into any money i'll see you in uh i'll see you in southamerica but let us know yeah yeah let us know i But,you know, times are tough.Well, should we talk about track number, what is it? Track number 33 on thecountdown? Okay, that's pretty good.All right, let's do it. Yeah, that's pretty good.Hey, this is Bob Mustanovich from Pavement.Track 1[19:32] Thanks for listening, and now on with a countdown. 33!Track 3[23:28] Okay, that was Transport is Arranged from the fourth record released February11th, 1997, Bright in the Corners.It's the third track on the album, and it's the sixth song from Bright in theCorners that is on the countdown at this point.So Bright in the Corners is representing the bottom portion of this top 50 so far.Bob, what do you think about Transport is Arranged? Jamie.I just think that, first of all, it's cool to hear that Bright in the Cornersgot a lot of action, having a lot of love.It is a very listenable pavement record. I love it.And I think Transport is Arranged, when the record was made in Kernersville,North Carolina with Mitch Easter,was just kind of viewed and the feel around it was that, okay,that's another song that definitely should be on the record.Track 3[24:33] Um but isn't the kindof song that um it youknow maybe should be a single or something like that it was just it was justa song that was like really solid and good and then as the song got played overand over again on tour and over the years um i think it's become rather clear to me that,you know, aside from kind of the more bubblegum-y songs on the record like Stereo and Shady Lane,that it would have stood up as a truly special pavement song.And I just think that it's, for the most part, an outstanding example of,Of not only Stephen's songwriting ability and composing, but I just think it'san unusually good set of lyrics.I'm with you. When I think about like verse three, I swung my fiery sword,I vent my spleen at the Lord.He is abstract and bored, too much milk and honey.Well, I'll walk through the wilderness with nothing but a compass and a canteensetting the scenes. I mean, it just got this certain depth.Track 3[25:57] Of course, you know, I am the worst of my kind. I want to cremate the crush.It's funny, some people think that that's crutch, but it's I want to crematethe crush actually has a lot of personal importance to me because that's anexpression I used to use.Track 3[26:17] Really? Yeah, Cremate the Crush. I would actually say that that's a valid lyricalcontribution from my notebook that was usurped by Balchmus,which he was more than welcome to do that.That um cremate the crush was often used when one of your mates had um regardless of.Track 3[26:45] Gender orientation had fallen really really hard for somebody and it becameclear to yourself and everyone around that it wasn't going to work and it was a really bad idea.Track 3[26:58] And um so you had to pull your friend and that believe me that happens whetheryou're You know, no matter how old you are, you know, sometimes you just,um, I think we've all seen it in our lives.We've seen people that fall really hard for the wrong person and rather thanjust sit back and watch them go through a very vile, um, heartbreak,um, an effort needs to be made to cremate the crush.Um wow and that's the expression that i used um all right man like this is ridiculouslike because you see it all the time like yes obviously amongst my dude friends like dude man,you're really barking up the wrong tree there you knowwhat i mean not yeah whatever whatever series of reasons umbut really transport is arranged umas that song got played there's a a really unusually goodversion of it really good recording and filming from an italian show that wedid um it's on youtube um oh i'll have to look that up mouth miss had reallyreally short hair um it was this really strange festival that i believe wassomewhere in the vicinity of venice um.Track 3[28:18] And it was one of these festivals that you turn up to in the early afternoon,and the people are still, like, kind of making the stage, and you're sort of,like, in this state of disbelief that any concert's actually going to happen there today.And this was the vibe. We were just like, whoa.Oh, you know, because usually it's like, you know, the Heineken banners arealready up and like, you know, the kids are already listening to,you know, a band that sounds like Green Day and, you know, people are drinkingor you see the tent village.This festival, it looked like they'd gotten the days wrong, and it was goingto happen two or three days, but somehow they whipped it all together,and we played a very memorable version of Transport is Arranged.Track 3[29:13] And you know it pretty much became a staple of ourlive show from the bright in the corners tourforward um it's just has a good um mid-tempo vibe to it good lyrics good guitarlove the tone of his voice the tone of his voice is really like in a sweet spot,i agree i just say to me it's just like a great pavement song it's always really relaxing um,kind of in a grounded sort of way but like even more relaxing and like,yeah i mean some people you know at times think that pavement doesn't rock andthen when we actually do rock we're just like pretending to be hardcore or pretendingto be like jokey metal or or something like that.I actually feel like Transporter is arranged, if it's played with a proper punch,kind of is truly a rock and roll song.Oh, when you get to that, when you get past the solo and you guys all get intoit, it sounds so tight and it sounds.Track 3[30:23] Yeah, it sounds very tight and it sounds very rocky, you know,like rock and roll. It rocks.It's a great rock and song. it kind of stomps and but then it gets really mellowit just has really really good dynamic and yeah I can tell you like wheneverI put it on a set list we don't,We don't really start with it because it doesn't, you know, sometimes songswith like kind of a very mellow lead in, it's not such a good idea.But you can sort of stick it after anything kind of noisy.Track 3[31:00] And then, so then people can sort of like return to like sort of a serene vibe.And then after a certain period of time, it kicks back in again.So, um, I just love, um, I love that song and it's always a pleasure to see,to put it on a list and see it coming up.And, um, in fact, depending on who I'm talking to, if they've never heard Pavement before, um,and I sort of get a general idea that they like rock music, then it's a songthat I would almost play first.First um to sort of youknow give them a feel and then when i do play transportersrange they're like oh okay like yeah like 90s umcollege rock or something and uhyeah yeah which is fair special it'smore special than that but i i hear you you knowbut i'm talking about complete newbiles they umbecause if you play them something toocute or i mean obviouslyyou know i'm in the horse racing profession and there's a lot of people thatyou play father to a sister of thought and range life and other sort of countrytin songs because they you know would absolutely there's a lot of people i knowa lot of my friends um who know of pavement don't like pavement because.Track 3[32:26] It to them it sounds too harsh um youknow because a lot of people don't really have any punk rock backgroundright okay um they don't want to hear anythinglike unfair or serpentine pador they don't want to hear anything medium fire lo-fi like debris slide or forklifti mean like something like forklift just sounds like 13 year olds making a horribleracket um to them like they don't see the cool in that you know yeah um youknow of course There's...Track 3[33:01] I mean, I haven't listened to it on vinyl in a long time, but Forklift,you know, I remember it sounding kind of maniacal and frenzied in a very 1990ssort of way, which was kind of cool.But I can understand, but Transport Is Arranged kind of ticks all the boxes,like Grounded would sound like kind of like too much, like a stoner type thing to people.People um shady lane might sound kind oflike listless summer babes kindof repetitive and some people might think like ohyou guys wanted to be nirvana or somethingum which we certainlydid not um that didn'tlook like much fun to me and uh but yeah no i just i just love the song andi think that it's it should definitely not be a forgotten song transport isarranged i think it It should be sort of at the forefront of anybody makinga mixtape or a tape of 10 to 15 pavement songs.I like that. Yeah, it stands up. So then you would say on the countdown,it's underrated at 33, right?Yeah, and I would, I mean, for me, it would always be in my top five.Top five? Holy shit, Bob.Yeah, it would be in my top five.Track 3[34:26] Unquestionably top 10 But probably top 5 In fact people ask you know sometimes like,You know, one lazy question by anybody is like, what's your actual favorite pavement song?And, you know, when you say transport is arranged, you're not being entirely obvious.And then if they've only heard 10 pavement songs or 15 pavement songs or justthe hits, then you're kind of forcing them to listen to a great pavement songthat they may have not heard before.So it would unquestionably be in my top five um it's under four minutes i mean um,i really am very much of the you know when it comes to a band that's a rock band in sort of the,three minute form like pavement is i mean um you know my general belief.Track 3[35:23] Maybe it has to do with attention span or something like that but songs overfive minutes better bepretty awesome for you to justify them being thatlong agree um totally agree it's alittle pretentious brilliant right there's somany great bands who have made somany great songs and they just fall preyto loving their groove so hard thatthey do it one or two passes too manyand a song thatmight have had like you know major appeal whetherit be like sort from a venom sense or from a sweetnesssense is just um losesits effect if it'sgot too much length so um i thinkit weighs in under four minutes i think it's you know it's i think it's fourminutes are justified i don't think there's any wasted motion i think it's gotgood dynamics and again one of malcolm's best sets of lyrics um you know andi think you know obviously.Track 3[36:30] David and Stephen were both very good lyricists and, you know,David's a poet. He was celebrated for it.And I think that David, you know, was an influence on Stephen and sort of challengedhim from a lyric writing perspective and would get annoyed when Stephen wasbeing too lazy about lyrics.And I think very much in, you know, the Stevens sense,it's a unusually or just a very good set of lyrics from a lyricist who had atthat point very much found his way.You know, something that had been sort of a discardable aspect of the band,even to an extent through a lot of Slanted and Enchanted.And then, you know, I mean, some people think that his lyrics are just garbled nonsense.And to an extent, you know, by intent, they are, you know, fairly good.Track 3[37:44] Senseless but i mean you know i think of songs like um this song and from acompletely different era um lyrics like trigger cut um i just think that youknow he he's he does not get,the he gets the respect he deserves as a guitar player but perhaps not as alyricist i think you know transport his range has both yeah i'd agree totallyagree what is the whole pillars of eight thing. Do you have any insight on that?What's that? The pillars of eight. Do you have any insight on that?No, no, no, I don't really have anything of that.I think it probably has to do with, um, just, uh, you know, then you're falling into him.Um, and I think you've probably seen some of his scrawlings and notebooks and stuff like that.Um, you fall into him choosingexpressions and just simply sortof loving words and how they look andhow they sound coming out of his mouth and then sothen using uh you know sets of a set of words like pillars of eight and puttingin a place where it's going to fit you know obviously that you know eight rhymeswith a lot a lot of things and fit you know i'm saying so yeah yeah you know he's.Track 3[39:06] When you're in a situation where not only are you going to have to write lyrics but,you're going to also have them umanalyzed then i think that you force yourself to you know put a certain amountof time into that process and i think throughout the course of um his entire songwriting history.Track 3[39:38] I think, you know, perhaps it's a bit freeing since Pavement ended that thingsare a little bit less under the microscope.Track 3[39:47] But certainly in 1997, they, you know, were very much under the microscope.In fact, this album, I remember getting really slammed by a writer at a majormusic publication for the lyrics in Blue Hawaiian.Um, they were actually misconstrued as sexist in, um, this, um,particularly the line, the slap is a gift. Your cheeks have lost their luster.Um, Oh my God. I would have never put that together.I would have got there from that. You know, this slap is a gift.I mean when Imean then you know in some ways like um you could see how the journalist madethat point I suppose but I mean I yeah like you I never really thought alongthose lines because maybe if you know the person and you know that they're notlike a misogynist creep then,you don't even really think about them in that context but um perhaps um thatperson did and I just remember, you know, when you write songs,which I don't do, then you are just like any type of writer,you are susceptible to...Track 3[41:10] To criticism and then you know then of course you've you'vereached a certain mantle when your lyrics are being pickedapart and every pick of you in detail is being brought to the fore um and butthat's like also a compliment that people you know care that much about whatyou write that's um yeah but you know at the same time like you know some things that are almostlike unfathomable to a songwriter, um,come to the, you know, come, come to the floor when, when people go over them with a fine tooth comb.Um, but, uh, no, I've never really heard anybody moan about Brighton the Corners,um, lyrics and, you know, maybe it's because it is like in the thirties.Um, but I really don't think it should be a forgotten song.I think that in some ways it's as good as Late Period,and when I say Late Period, I would say albums four and five,as good as Pavement was in terms of sounding like Pavement.I mean, there isn't much of Terror Twilight,which can be described as sort of typically pavement,but there is on Bright in the Corners, and you definitely cannot describe asong like Stereo as typically pavement.Track 3[42:40] So, yeah, no, pleasure talking about one of my favorite pavement songs, Jamie.Me Bob it's been a pleasure talking to you period it always is anytime man I'mbasically just basking in the glorious winter sunlight here in Paris that'sspectacular yeah with my unmade bed,And, um, I don't even know what I'm going to do.I actually have to go grocery shopping, but yeah, a pleasure,pleasure to talk to you and good luck with all of your endeavors.And, uh, let me know if you need anything more from me.Awesome. Thanks so much. Always, you know, uh, shall I remind you again that,um, Steve West would probably be, you know, gladly help, um, help you out.Oh, I'll ask him. Yeah.He'll definitely do it. Cool. I can also hook you up with Rebecca if you want her to do one.It would be cool. That would be really cool because then I could ask her thatquestion that you planted in my head.Yeah, it'd be really good actually, because then, then you'd be the first,um, prominent music journalist that tackled that question.Track 3[43:51] Anyways, love you, mate. And, uh, have, have a, have a great,uh, Canadian afternoon and I'll, I'll, uh, pass on.You've got all the Wes information, right? I do. Yeah.Yeah. I'll pass on Rebecca's. Cool. Oh, all right. All right.Take care of yourself and keep on flying the flag.You betcha. All right. Enjoy yourself. My pleasure.One more thing. Wash your goddamn hands.Thanks for listening.Support this podcast at — https://redcircle.com/meeting-malkmus-a-pavement-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode, Bishop & Taylor hear from Bob Weston about why he had to scrap his £300m Anglia Square development in Norwich. They also discuss a House of Lords report that damns government's lack of strategy for prefab housing. And they ask whether carbon measuring rules need to be dictated by government, as proposed by a coalition of industry institutions. Finally, they pay tribute to Jim Stockoll, founder of Dyno-Rod and daddy of UK franchising.

Returning guest Joe Tunis (Carbon Records, Pengo) brings us Louisville, Kentucky math rock purveyors Rodan and their first and only full-length studio album 'Rusty'. Strap in! Songs discussed in this episode: Tooth Fairy Retribution Manifesto (Live at The Black Cat, Washington, DC) - Rodan; It Don't Bring Me Down - Nod; Helen Said This - The Dead C; Good Morning Captain - Slint; Hammering So Hard - Squirrel Bait; Bumper Crop - Volcano Suns; Happily Divided - Sebadoh; Burning Too - Fugazi; June Miller - June Of 44; Southbound To Marion - Rachel's; Bible Silver Corner, Shiner - Rodan; Hirscheneck - Bastro; Fire Back About Your New Baby's Sex - Don Caballero; The Everyday World Of Bodies - Rodan; Blown (Face Down) - Dazzling Killmen; The Everyday World Of Bodies, Jungle Jim - Rodan; Hybrid Ice Princess - Retsin; Gauge, Tooth Fairy Retribution Manifesto - Rodan; Androscoggin River Ragg - Liam Grant

In the spring of 1996, the Georgia based indie rock band Joe Christmas would travel to Chicago to record with engineer and musician Bob Weston. The end result would be a collection of mostly subdued and sparsely arranged material that differed from previous efforts. In Episode 40, Joe Christmas's Zachary Gresham and Russell Holbrook tell the story of the band's sophomore album North To The Future, discussing the inspirations behind the record's lyrics and sounds as well as their experience recording at Steve Albini's Electrical Audio.

Play ball! That's right Scottsdale, Spring training has officially begun! Formed in 1961, The Scottsdale Charros are an all-volunteer, nonprofit group of business and civic leaders that help build our community by supporting youth sports, education and charitable causes. Scottsdale Charro Bob Weston is here to tell us how the Charros helped bring the SF Giants to Scottsdale and what we can expect this year. Calendar of Events  Spring TrainingFor all you baseball fans this is your time to shine! No matter which team you're cheering for, you are sure to have great weather and good times.    Rodeo Scottsdale @ WestWorldHappening this weekend March 9-12. Heading into it's 70th year, Parada Del Sol Rodeo is sure to be fun for the whole family.  Best Picture Fest @ Harkins Theaters Calling all movie buffs. For $40, come and see all the best picture nominees this week at Harkins theaters.

Play ball! That's right Scottsdale, Spring training has officially begun! Formed in 1961, The Scottsdale Charros are an all-volunteer, nonprofit group of business and civic leaders that help build our community by supporting youth sports, education and charitable causes. Scottsdale Charro Bob Weston is here to tell us how the Charros helped bring the SF Giants to Scottsdale and what we can expect this year. Calendar of Events  Spring TrainingFor all you baseball fans this is your time to shine! No matter which team you're cheering for, you are sure to have great weather and good times.    Rodeo Scottsdale @ WestWorldHappening this weekend March 9-12. Heading into it's 70th year, Parada Del Sol Rodeo is sure to be fun for the whole family.  Best Picture Fest @ Harkins Theaters Calling all movie buffs. For $40, come and see all the best picture nominees this week at Harkins theaters.

This week Jeremy interviews Matt Pryor of The Get Up Kids / The New Amsterdams On this episode Matt and Jeremy talk Kansas vs. Missouri, working with Producer Ed Rose, Matt's early love of hair metal, pre-Get Up Kids band Secular Theme, the greatness of Coalesce, Bob Weston, record label woes, Heroes and Villains, On a Wire, the origin of the name New Amsterdams, the upcoming Worse For the Wear anniversary tour, and so much more! SUBSCRIBE TO THE PATREON to read a Q&A between Subscribers and Matt Pryor and so much more! Follow the show on INSTAGRAM and TWITTER Want some First Ever Podcast merch? Click here!

Musician Keith Michaud (The Lightworkers) brings us the fifth album by indie rock titans Sebadoh, 'Bakesale'. With this release, Lou Barlow and co. managed to bridge their lo-fi beginnings with pure pop power chords, producing a collection of songs that hit both hard AND deep! Songs featured in this episode: On Fire (Acoustic version) - Sebadoh; Hemispheres - Keith Michaud; Coming Down Heavy - The Lightworkers; Soulmate - Sebadoh; Gold Soundz - Pavement; Too Young To Fall In Love - Motley Crue; Waiting Room - Fugazi; Primary - The Cure; Bewitched - Beat Happening; License To Confuse - Sebadoh; No Bones - Dinosaur Jr; Rock Of Ages - Def Leppard; Careful, Magnet's Coil - Sebadoh; Smothered In Hugs - Guided By Voices; Magnet's Coil (Acoustic version) - Sebadoh; Song Of The Minerals - Shellac; Not A Friend, Not Too Amused, Dreams - Sebadoh; Einstein's Day - Mission Of Burma; Freak Scene - Dinosaur Jr; Skull, Got It, Shit Soup - Sebadoh; Sorry Entertainer - Daniel Johnson; Give Up, Rebound, Mystery Man, Temptation Tide, Drama Mine - Sebadoh; Marquee Moon - Television; Together Or Alone - Sebadoh; The Wagon - The Lightworkers (off of 'Play em! The Woody EP')

Jeremy Greenspan discusses the new Junior Boys album, Waiting Game, getting over the virus and life in Hamilton, Ontario, other collaborations, how electronic musicians jam, making a record and a studio with Bob Weston's help, loudness in mixing, mastering, and the world, eavesdropping for lyrics, touring, other future plans, and much more. Supported by you on Patreon, Blackbyrd Myoozik, Pizza Trokadero, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S. and Black Women United YEG. Follow vish online.Support this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

Esta semana, en un nuevo capítulo de Rebelión Sónica, los invitamos a escuchar parte del extenso álbum en vivo de la banda nipona Mono, “Beyond the Past: Live in London with the Platinum Anniversary Orchestra” (2021, Temporary Residence). El disco, de casi dos horas de duración, documenta el concierto que el cuarteto post-rock realizó el 14 de diciembre de 2019 en el histórico Barbican Centre de Londres, Inglaterra, en celebración de sus 20 años de trayectoria. Para la ocasión, Mono invitó a un selecto grupo de viejos y nuevos amigos, incluidos otros íconos del underground japonés como Boris y Envy, además de los celebrados representantes francesas del post-metal, Alcest y los colaboradores británicos de la banda, A.A. Williams y Jo Quail. Temporary Residence explicó que “el evento culmina con la participación de la The Platinum Anniversary Orchestra y la National Youth String Orchestra, quienes se unieron a la banda en un recinto completamente atiborrado por una audiencia absorta”. Interpretando un set de dos horas, que recorrió toda la historia de la banda, “la escarpada euforia y resonancia dinámica que envolvió a la multitud fue capturada con brillante detalle por el ingeniero de sonido en vivo de Mono, Matt Cook”. Meticulosamente masterizado por Bob Weston y presentado aquí “en todo su esplendor de dos horas, “Beyond the Past” es una de las grabaciones más esenciales de Mono”. Como todas las semanas, Rebelión Sónica sale al aire por radio Rockaxis todos los miércoles a a las 10, 17 y 23 horas -se repite el domingo a las 19 horas-, con la conducción de Héctor Aravena. Además, pueden escuchar los distintos episodios en Spotify.

North Carolina small businesses and nonprofits are now eligible to apply for the SBA's Economic Injury Disaster Loan program. The working capital loans of up to $2 million can provide vital economic support to small businesses and nonprofits to help overcome the temporary loss of revenue they are experiencing due to the COVID-19 pandemic. Thanks for joining us! This episode is sponsored by Truliant Federal Credit Union Visit Truliant here ---------------------   Today's host is Brent Christiansen, the Chamber's President and CEO.   0:33 - Brent kicks off the discussion with a few housekeeping items, updates that business owners need to be aware of in the changing world of COVID-19, and what community resources are available. We'll dive more into the SBA Loans that have recently been made available and what that means for small business owners.    3:34 - Today's guests are from the Small Business Association. We're joined by Levi Kinnard, Economic Development Specialist from the NC District Office, as well as Bob Weston and Victor Dau, Director and Assistant Director of the Piedmont Triad Region for the Small Business Technology Development Center.   4:39 - Brent asks Levi to walk us through what the new SBA Loans are, how to apply for a loan, and other important information that business owners should know about receiving assistance. Levi explains more details about the Economic Injury Disaster Loan, which is now available because of the Governor's declaration of a state of emergency.    7:19 - Brent asks about which businesses and organizations can qualify for this loan. Levi explains how the disaster loan program is operating differently in this situation, as there is no physical damage from COVID-19, like what we would see after a hurricane. In this case, small businesses and non-profits are now eligible to receive these loans, and he explains how some of the loan guidelines have been relaxed due to the unconventional nature of the COVID-19 crisis. If you need help putting together your disaster loan application, Levi lists many resource groups in Greensboro who are available to help.    11:34 - Brent asks about the calculation involved in the loan process based on a business's ability to pay. Levi explains that the SBA loans are working capital loans, which takes into consideration pre-crisis revenues and operating costs. Based on that, assessors will look at your ability to repay the loan once business is restored. However, deferment periods are being built into the loan to protect the longevity and sustainability of business operations.   13:04 - Are there any regulations and tracking methods about how the loan funds can be used? Levi explains that there are guidelines, but the loans are intended to help with operating costs - bill payments, fixed debts, payroll, accounts payable - but are not intended to replace lost sales or allow businesses to expand.   14:17 - Brent inquires about which, if any, industries are excluded from applying for these loans? Levi lists that agricultural enterprises (who rely on the USDA), religious and charitable organizations, small businesses that make ⅓ or more revenue from gambling profits, casinos and racetracks are barred from applying for this loan.     15:54 - Some questions from the online group chat are based around what would be considered collateral for these types of loans. Levi explains that there is a collateral requirement for any loans over $25,000 and while personal or business collateral can be put up, real estate is preferred.    17:13 - Brent reads another question from the chat asking if business owners should wait and see the financial impact in a few weeks, or apply for the loan sooner? Levi recommends applying sooner (especially if you've already seen an impact) and get approved for as much funding as possible. This is because it is easier to be approved for more funding now and not spend it all, rather than ask for multiple loans throughout the crisis.     18:51 - A question from a young business: If your business is less than a year old and doesn't have the year-over-year revenues to determine need, how are those loan applications handled? Levi explains what documentation is needed if your business is newly established, and that the Office of Disaster Assistance can make a credit decision based on all the information that is given to them.   20:39 - Brent asks for the loans up to (but not over) $25,000, what are the terms and negotiating items that businesses should be prepared for? In these cases, there is no collateral requirement, and you can negotiate with the Office of Disaster Assistance on the repayment terms of the loan to reduce the monthly cost up to 30 years.    21:57 - Levi offers clarification about what defines a “small business” and which organizations would qualify for these new SBA loans. Levi recommends finding out your NAICS classification code.   24:08 - Brent brings on Bob Weston, who details the wide range of services the SBTDC offers ordinarily to help businesses, and then speaks specifically what the organization can do now to help small businesses with their loan applications and make the process as easy as possible. Bob reiterates Levi's recommendation to go ahead and apply for these loans, use the checklist and reference the paper application before submitting the electronic application.    30:17 - Brent reads another question from chat, asking how long it will take for funds to be dispersed. Levi explains that the normal processing time for an application is 8 to 21 days, but one of the biggest hindrances to getting funds is that business owners do not check the message center that loan officers communicate through. Levi recommends frequently checking the loan message center for any updates. Once the loan is processed and approved, there is usually a 5 day distribution period.    34:34 - Brent asks what the difference is between an SBA 504 loan and these new disaster loans. Bob explains the details of typical SBA loans, and how the disaster relief loans are different. Levi adds that there is no cost to apply for a disaster loan and no obligation to take the loan if it is offered.   37:44 - For business owners with branches in several locations, the recommendation is to apply for a loan for the main business location. Corporate structure decides whether you apply for one or two loans; if both companies originate from the same corporate entity, then you would apply for one loan. For questions specific to your business situation, be sure to contact an SBTDC Counselor.    ---------------------   Learn more about the NC Small Business Association. Get connected: 336-256-9300 Schedule a virtual or phone appointment with an SBTDC Counselor. Go to the Office of Disaster Assistance and apply for the Economic Injury Disaster Loan. disasterloan.sba.gov/ela/account/login Also reference the Coronavirus Small Business Guidance and Loan Resources page. Want to help the community by donating blood? Check out OneBlood, the main supplier for Cone Health, to find out how and where you can donate blood. Remember to subscribe for new episode notifications each week. Make sure to follow impact. The Boro on social media!  Facebook, Instagram and Twitter: @gsochamber Visit the Chamber website at greensboro.org.

You may ask yourself, why is a 90s-centric podcast revisiting an album from 2000? Well, we are nothing without our listeners, and if they suggest and then vote for an album that came out in 2000, but was from a band that got their start and had several releases in the 90s, who are we to argue. And it turns out revisiting Idlewild's 2000 album 100 Broken Windows gave us an excellent opportunity to look back upon the decade and see how its various sounds and genres were interpreted by younger artists. In the case of Idlewild, with veteran producers Dave Eringa and Bob Weston behind the board for the young band meant channeling the volume and chaos of their earlier releases into a weapon to be deployed skillfully, giving the band a blistering edge and allowing vocalist Roddy Woomble the opportunity to craft unique earworm melodies. It may not make the top 100 albums of the decade or the year, but there's a case to be made for 100 Broken Windows as one of the finest distillations of everything that went right musically in the 90s. Songs In This Episode   Intro - Little Discourage 19:45 - Idea Track 24:26 - Roseability 29:52 - Mistake Pageant Outro - These Wooden Ideas     Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

You may ask yourself, why is a 90s-centric podcast revisiting an album from 2000? Well, we are nothing without our listeners, and if they suggest and then vote for an album that came out in 2000, but was from a band that got their start and had several releases in the 90s, who are we to argue. And it turns out revisiting Idlewild's 2000 album 100 Broken Windows gave us an excellent opportunity to look back upon the decade and see how its various sounds and genres were interpreted by younger artists. In the case of Idlewild, with veteran producers Dave Eringa and Bob Weston behind the board for the young band meant channeling the volume and chaos of their earlier releases into a weapon to be deployed skillfully, giving the band a blistering edge and allowing vocalist Roddy Woomble the opportunity to craft unique earworm melodies. It may not make the top 100 albums of the decade or the year, but there's a case to be made for 100 Broken Windows as one of the finest distillations of everything that went right musically in the 90s. Songs In This Episode   Intro - Little Discourage 19:45 - Idea Track 24:26 - Roseability 29:52 - Mistake Pageant Outro - These Wooden Ideas     Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

Despite a history scattered with scandal, Fleetwood Mac have sold over 100 million albums worldwide in their forty-year history. The controversy began with an in-depth interview with guitarist Bob Weston, the catalyst that almost broke the band after his high profile affair with Mick Fleetwood’s wife, Jenny Boyd. Bob Brunning, bass player and a founder member of Fleetwood Mac adds invaluable brushstrokes to the overall portrait of this iconic band. 

An eyeball-gouging, face-raking, windshield bouncing classic from 1994, the debut from the (still doing it) trio of miscreants Shellac. 10 songs of love, loss, and getting your scrotum snagged in a carnival ride by Steve Albini, Bob Weston and Todd Trainer. Brought to us by the self-proclaimed “King of Used Office Furniture (in Deerfield Beach)” Jay Reeve, who drank the drinks and slung the hash with us. Please support our Patreon. Rob is getting angrier by the week: https://www.patreon.com/join/TRGMH?

       We listened to Rusty from Rodan. Big shocker we're still stuck back in the early nineties talking about Slint, June of '44, Bob Weston, the thin post rock guitars and huge drums. So predicable. Matt reveals the movie Half cocked actually features Rodan and a bunch of other bands including Unwound. Look for a future episode where we do commentary on that masterpiece. Email - records@harveylovesharvey.com Twitter - @welisten21 Instagram - welisten2records Leave a message on the Welisten hotline - 978-707-9899 

Over the course of the past three decades, Todd Trainer has distinguished himself as one of his generation’s most unique rock drummers. Both visceral and sophisticated, he executes brilliantly composed beats with an instantly identifiable loping groove. He tells Joe about growing up in Minnesota; working in the school lunch line as a teenager; creating music with Steve Albini and Bob Weston in Shellac; his time working for a hair products company; and his current career as a drum instructor.

Once upon a time Ryan Weaver was playing bass in Joe Christmas and Spudgun/World Against World, taking a genre ride from indie rock to punk and black metal. That was a lifetime ago, before Ryan became a husband, father and owner of Kingdom Tattoo in Decatur, Georgia. We dig into the archives and dust off the musical memories including recording with Bob Weston, shooting off fireworks in the studio and the stage setup that freaked out all the midwesterner church people. Also, he teaches me the secret to putting patches on things. Kingdom Tattoo - http://www.kingdomtattooatl.com/ryan-weaver/

    Good friend Bob Weston explains how he feels Whitetail XTC is different than other “minerals” on the market and how the company got its start. For more information on Whitetail XTC follow this link. Learn more about your ad choices. Visit megaphone.fm/adchoices

    Good friend Bob Weston explains how he feels Whitetail XTC is different than other “minerals” on the market and how the company got its start. For more information on Whitetail XTC follow this link.

    Good friend Bob Weston explains how he feels Whitetail XTC is different than other “minerals” on the market and how the company got its start. For more information on Whitetail XTC follow this link.