Podcasts about Bush Tetras

In this episode, the Frontispiece Four have a close encounter of the 3.14159th kind while remotely protecting the Frontispiece itself from an intruder... Adam is still experimenting with some new editing/production approaches this time, so please let us know what you think of those in this one. As the poet once said... "It's So Weird" by the Bush Tetras. "Augment or Die" is by Emerson Boatwright and Drew Messinger-Micheals. Cover art by Joanne, aka Anything Sews. Visit us on the web at dicepunks.com and on BlueSky & Tumblr at @dicepunks, or email us as dicepunks@gmail.com! Our Patreon is www.patreon.com/DicePunks — backers can gain access to our patron-only Discord, Dice Peeks after-show, and more!

DJ Jesse Luscious rings in the new year with new tunes from North Sea Fever, Redshift, Fifteen Stitches, The Crimes, Nine Treasures, Negative Thirteen, Grumpster, The Ratchets, rogue., & Eric Din, reissues from The Plus Ones & The Mr. T Experience, classics from NOFX, UK SUBS, The Specials, One Man Army, Neurosis, Bush Tetras, The Saints, Bikini Kill, Zanjeer زنجیر, Aerobitch, Henry Rollins, The Adolescents, Moody Goods, Hanson Brothers, Goldblade, Gang Of Four, & the Luscious Listener's Choice!  Plus Ones- She's My Sister Mr. T Experience- Swiss Army Girlfriend North Sea Fever- Go One Better U.K. Subs- Rat Race Redshift- Price Of Business Saints- No, Your Product Aerobitch- I Drink It All Aerobitch- Her Name Was Jane (Pagans) NOFX- Shower Days Moody Goods- Mother's Love Fifteen Stitches- Light Psycho Goldblade- Black Sheep Radical Hanson Brothers- Victoria (Kinks) Gang Of Four- Natural's Not In It Bikini Kill- Suck My Left One (Edit) Crimes- Zbrdnia Crimes- Z Tylka Do Ust Nine Treasures- Tes River's Hymn Negative Thirteen- The Vulture Circles Zanjeer- Nakheir Adolescents- Democracy One Man Army- Another Dead End Story Henry Rollins- Black And White Grumpster- Bottom Feeder Ratchets- True Deceiver Jawbreaker- Condition Oakland rogue.- Full Moon Fever Bush Tetras- Das Ah Riot Eric Din- Talkin' To The Wall Specials- Nite Klub Neurosis- Souls At Zero

DJ Jesse Luscious presents UK Debuts from Wonk Unit & Śmierć & highlights 4 Midlands melodic punx: Reduced, Misfortune Cookie, Parallel States, & The Atoms! Plus hear new MC5, Tony Slug Experience (w/ The Hellacopters!), Meryl Streek, Hurtsfall, The Young Hearts, The Mary Tylerwhores, The Bad Actors, The Body, Amyjo Doh & The Spangles, classics from Dead Kennedys, Bad Brains, The Homobiles, Blotto, The Pathogens, The Adolescents, Zorn, Bush Tetras, Bobby Joe Ebola and the Children MacNuggits, Sofftness, Horror Vacui, Millie Manders and The Shutup, Nausea, Leftovers, & Rose Tattoo, and the Luscious Listener's Choice! Tony Slug Experience- (Livin On) Borrowed Time MC5- Twenty-Five Miles Homobiles- Which Side Are You On AmyJo Doh And The Spangles- It Is What It Is Dead Kennedys- Kill The Poor Bad Brains- At The Movies Smierc- Krew Nausea- Body Of Christ Body- Removal Zorn- Lament Bad Actors- Roswell (Clean Edit) Rose Tattoo- Texas (Edit) Wonk Unit- Overwhelmed Leftovers- She Doesn't Like Me Anymore Atoms- Gonna Have A Stroke Paarallel States- Armchair Anarchist Misfortune Cookie- The Cipher Reduced- Get Me Out Alive Hurtsfall- Lost Souls (Driving At Night) Sofftness- Concrete Island Bush Tetras- Too Many Creeps Horror Vacui- Lost   Millie Manders And The Shutup- Silent Screams Bobby Joe Ebola And The Children MacNuggits- Poly Mary Tyler Whores- Savage World Adolescents- Amoeba Meryl Streek- If This Is Life (Clean Edit) Pathogens- Rattle The Cage Young Hearts- Hell Or High Water Blotto- I Wanna Be A Lifeguard

HAPPY PRIDE MONTH! For our June episode, Emma and Ann got a twofer! We're joined this month by Anna Murphy AND Tara Nix of Limerick musical duo T.A. Narrative. We were also joined quietly (mostly) by Maeve the dog.  The conversation danced with abandon through and around the topics of activism, Eurovision, the representation of women and queer people on stages and on radio, the impact of big mad costumes and facepaint on stage, and how creative people need to "crawl out of their holes" and people generally need to "not be gowls".  T.A. Narrative is a duo from Limerick, Ireland, composed of Tara Nix and Anna Murphy. The pair, who are childhood friends, have worked together under various guises, sharing the stage in Irish punk bands and touring and recording in the U.S. Starting a collaboration as T.A. Narrative during lockdown, their unique and exciting visual live show and the release of their debut E.P. 'Retro Futurism' in 2023 have firmly placed them as a must-see act. Drawing influences from post-punk, electronic, and sparkly pop music (from Fugazi to Kim Petras), they have been described as having a charming abandon and a palpable sense of freedom and joy in the music that they create (Notbad.ie). Fresh off the back of a tour with Irish electronic giants, King Kong Company, a much talked about performance at last year's Electric Picnic Festival, and having opened for the likes of Les Savy Fav, Bush Tetras, O., Le Boom & KYNSY, T.A. Narrative have just released thumping new single 'Caught Out' which will be followed by a new E.P. in the Autumn. They are booked for this year's All Together Now festival. Expect to dance your tits off. Twitter.com/TANarrative1 Instagram.com/t.a_narrative  The Limerick Lady is a grassroots movement based in Limerick, Ireland, with a focus on promoting conversation around gender, visibility, gender balance and the arts. It was founded in 2016 by award-winning (and losing) singer-songwriter Emma Langford, who hosts the podcast alongside fellow award-winning (and losing) Limerick woman, theatre-maker and musician Ann Blake. Find the Limerick Lady Podcast on all your favourite streaming platforms. New episodes drop once a month, on the third Thursday (or Thirdsday, if you will). The Limerick Lady is supported by The Limerick Post Newspaper. Support the Limerick Post at www.limerickpost.ie 

Join DJ Jesse Luscious as he dives into new songs from Cock Sparrer, The Pist, Tim Finish Him, Rat Cage, Kriegshög, The Anti-Queens, Build Them To Break, Mouses, & The Silence Industry, classic 2-tone & ska-punk The Selecter, Rancid, Citizen Fish, & La Plebe, faves from punks, weirdos, & hard rockers Green Jelly, King Zebra, The Damned, UK Subs, Bush Tetras, eX-Girl, Putan Club, L7, Action Pact, Ruts, Parallel States, Ruin, Fang Official, Indignation Meeting, The Bonstones, & Conflict, and the Luscious Listener's Choice! Pist- Jim Martin Action Pact- London Bouncers Cock Sparrer- Rags To Riches U.K. Subs- Emotional Blackmail Ruts- Society Rat Cage- Change For A Fiver Kriegshög- Track 1 ("Void") Conflict- They Said That… Anti-Queens- Apocalypse She L7- Fast And Frightening Ruin- Proof Fang- The Money Will Roll Right In Bonstones- No More Hysteria Damned- Fan Club Build Them To Break- Fever Dream Parallel States- At The Bridge Mouses- Huckleberry Indignation Meeting- PVLR La Plebe- Campesino Citizen Fish- Charity Selecter- Murder Rancid- Up To No Good Putan Club- Galoo Sahara Laleet El Aeed Green Jelly- Carnage Rules Tim Finish Him- Wide-Eyed Lie King Zebra- Hot Cop Ladies Ex-Girl- E-Sa-Ya Bush Tetras- You Taste Like The Tropics Silence Industry- Headlong (General Strike!)

This week's episode is a Catch-Up episode with the renowned film and televison composer and multi-instrumentalist Pat Irwin, and we are featuring lots of Pat's music for you today in different styles from many of his projects.  In my previous episode with him from 2023, Season 3 of this podcast, we talked about his days with the B52s and composing the score for Dexter: New Blood, and we also talked about his band SUSS and his work mentoring graduate students, and so much more . I encourage you to click on the link to that earlier episode if you missed it: https://www.leahroseman.com/episodes/pat-irwin Today's conversation also jumps around Pat's varied and fascinating creative life. You'll hear more stories and music from some of his acclaimed cartoon music from Rocko's Modern Life and songs from Pepper Ann.  We talk about, and you'll hear music from some of his projects,  including rocking out with the PI Power Trio with Sasha Dobson and Daria Grace,  and new albums coming out with Cynthia Sley, with SUSS and with Julia Heyward.  I'm blown away by Pat's detailed memory and this episode is rich with interesting stories, and also his down-to-earth advice.   Like all my episodes, you can watch this on my YouTube channel or listen to the podcast, and I've also linked the transcript to my website: https://www.leahroseman.com/episodes/pat-irwin-2024-catch-up Pat Irwin website: https://patirwinmusic.com/ Can you buy this podcaster a coffee to support this series? ⁠https://ko-fi.com/leahroseman⁠ Thanks! Complete Catalog of Episodes: ⁠https://www.leahroseman.com/about⁠ Newsletter sign-up: ⁠https://mailchi.mp/ebed4a237788/podcast-newsletter⁠ Follow me on Social Media: ⁠https://linktr.ee/leahroseman⁠ (00:00) Intro (03:25) writing music for Disney's cartoon Pepper Ann, touring with B52s (10:06) music: Enough, song from Pepper Ann musical episode (12:10) process of writing and recording for Pepper Ann (14:21) music: Photosynthesis, song from Pepper Ann musical episode (15:45) collecting instruments, Ray Beats archives (19:32) Rocko's Modern Life, getting the band back together (22:53) music: Junk Junkies from Rocko's Modern Life soundtrack (26:09) music: Bookshop from Rocko's Modern Life soundtrack (27:27) getting the Rocko's band back together (29:33) re-purposing music, SUSS new album (36:55) music: Heat Haze SUSS (41:28) But I'm a Cheerleader (43:59) how and why to pitch  (49:54) Nurse Jackie (50:15) music from Nurse Jackie (50:13 advice for preparing reels, learning collaboration, students at NYU and Brooklyn College (01:01:14) can you buy me a coffee? Thanks for supporting the series! (01:01:56) music from Nurse Jackie (01:01:55) learning to collaborate as a media composer (01:04:53) Cynthia Sley Command V, Bush Tetras  (01:07:05)music:  Command V with Cynthia Sley Lost On Me (01:11:58) changes in the music industry (01:16:18) the PI Power Trio Sasha Dobson, Daria Grace, Pat's love of instrumental Rock 'n Roll (01:21:48) music: The Walk PI Power Trio (01:25:05) George Scott, Raybeats, PI Power trio (01:29:10) film When Last Seen  (01:30:04) music from Pat's score to film When Last Seen (01:31:39) working on When Last SEen, T Venus with Julia Hayward (01:35:11) music: excerpt from Smile, Don't Touch That Dial with T Venus Julia Hayward (01:36:32) the importance of friendships with your peers, decision to stay in New York instead of LA, knowing your strengths --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

I interviewed Andrew Butler from Hercules and Love Affair last year and he made a really great point about how the most exciting music is produced when one “scene” starts to fade but the next “big thing” hasn't yet arrived – l think of it like when a new star is being born from all this gas and dust coming together -  before the “rules” of that genre are established (cos that's what happens, right?) so it's much more volatile, experimental and liberated. So, just delving into the past a little bit….in the late 70's, it was time for a change…bands like Bush Tetras, The Pop Group, The Raincoats, Gang of Four, Pigbag, The Mekons and the band that Lesley fronted for a brief but hugely influential time were creating a fork in the road. The Au Pairs took their music in a direction that was as exciting as it was inventive, through a mighty rhythm section that made your hips shake (well, they made mine rattle even then) and the taut, jagged guitar and Lesley's distinctive vocals and lyrics. They looked great, they sounded great, they were singing about stuff that mattered - misogyny, racism, conformism, relationships - and were, to my mind at least, leaders in creating a wave of bands whose impact is being felt more than ever. Pioneers isn't too strong a word in my opinion.Anyway, after the Au Pairs disbanded, Lesley went on a long hiatus doing something completely different - she became an immigration lawyer, but she has picked up her guitar again and there is a lot of stuff going on which I think is hugely exciting.https://www.iwannajumplikedeedee.comI Wanna Jump Like Dee Dee is the music podcast that does music interviews differently. Giles Sibbald talks to musicians, DJ's and producers about how they use an experimental mindset in every part of their lives.- brought to you from the mothership of the experimental mindset™- swirl logo and art by Giles Sibbald - doodle logo and art by Tide Adesanya, Coppie and Paste

As hip-hop marks its 50th anniversary, Sidney Madden and Rodney Carmichael, the co-hosts of the NPR podcast Louder Than A Riot, are taking a hard look back — and ahead — at a genre that male artists and hyper-masculine lyrics once dominated. The first season of Louder Than A Riot investigated the connection between hip-hop and mass incarceration. In its second and final season, the podcast examines the misogynoir that has long plagued the genre— and highlights artists that are pushing back. Carmichael says the topic is "well past due, but also right on time."Also, Ken Tucker reviews Bush Tetras' album They Live In My Head.

As hip-hop marks its 50th anniversary, Sidney Madden and Rodney Carmichael, the co-hosts of the NPR podcast Louder Than A Riot, are taking a hard look back — and ahead — at a genre that male artists and hyper-masculine lyrics once dominated. The first season of Louder Than A Riot investigated the connection between hip-hop and mass incarceration. In its second and final season, the podcast examines the misogynoir that has long plagued the genre— and highlights artists that are pushing back. Carmichael says the topic is "well past due, but also right on time."Also, Ken Tucker reviews Bush Tetras' album They Live In My Head.

A cura di Gigi Longo. Musiche: Nate Connelly, Barrabas, M, Bush Tetras, SSIEGE, Rigopolar, Bagarre, Desert Sound Colony, Rina, Benji & Magaphonim, Family Atlantica, Mulatu Astatke & The Heliocentrics, Collocutor, Wallwork & Tsvi feat Nico Lindsay.

On today's episode, I talk to musicians Pat Place and Cynthia Sley of Bush Tetras. Both art students, Cynthia and Pat moved to New York in the 1970s and were soon sucked into the music scene. Pat became one of the founders and the guitarist of James Chance and the Contortions, and then in 1979, the two formed Bush Tetras. Their debut 7-inch EP, "Too Many Creeps", was released in 1980 on 99 Records, and even though they only stayed together for another three years, the band was an integral part of the downtown New York no wave scene. The band has reformed twice since then, once in the late-'90s and most recently in the mid-aughts, and they've been going strong since. Their latest album They Live in My Head was just released at the end of July on Wharf Cat Records, and it's fantastic! This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter. Check out my free philosophy Substack where I write essays every couple months here and my old casiopop band's lost album here! And the comedy podcast I do with my wife Naomi Couples Therapy can be found here!  

Edición Limitada - 10 de Julio del 2023. Selección, producción, realización y conducción: Francisco J. Brenes. Presentando música de Christine & The Queens, PJ Harvey, Peter Gabriel, Nick Cave & Debbie Harry, Blonde Redhead, Daneshevskaya, The Coral, Glazyhaze, Blur, Bush Tetras, Dexys, Girls Under Glass, Kristin Hersh, Liz Phair, Louise Post, Speedy Ortiz, Smoking Popes featuring Sincere Engineer, Be Your Own Pet, Sincere Engineer, Cindy Lauper, Silversun Pickups, Lisasinson, Night Drive, MØAA, NZCA LINES, Nation of Language, Kid Moxie, Depeche Mode, SebastiAn con London Grammar, Everything But The Girl, Dot Allison, Sun's Signature, Annie Hart, Art School Girlfriend, Glasser, Munya, Metric, Will Butler + Sister Squares, The Chemical Brothers featuring Halo Maud, Wham!, Das Koolies, ††† (Crosses), Minuit Machine, Ellen Allien & Ash Code, Andi + Machino, Frontline Assembly y Hocico.

Edición Limitada - 12 de Junio del 2023. Selección, producción, realización y conducción: Francisco J. Brenes. Presentando música de Kristin Hersh, PJ Harvey, Wye Oak, Bush Tetras, Drab Majesty, Chapterhouse, The Veldt, Clark, John Parish & Aldous Harding, Lanterns on the Lake, NERO//FLESH, Grian Chatten, Boo Radleys, Blonde Redhead, Peter Gabriel, Beach Fossils, Mantra of The Cosmos, Bloc Party, KennyHoopla, JOHNSTONSONS, PUP, Soft Kill, cumgirl8, Dream Wife, Oslo Twins, Patio, Daughter, Bully, Claud, Speedy Ortiz, The Drums, FOTOCRIME, Bush, The March Violets, The Soup Dragons, Love And Rockets, Black Rebel Motorcycle Club, The Human League, Erasure, Rubio, Leftfield, Christine And The Queens, Pip Blom, SUMMORE, Noel Gallagher's High Flying Birds, Romy, Anyma & Grimes, Jake Shears, A Place to Bury Strangers, Bean Sí y Nadia Struiwigh.

We're signing off Season 9 with a pioneering legend. Here's what the incomparable Vivien Goldman wrote about Lora Logic back in the nascent days of punk: “The remarkable Lora Logic, several phases ahead as usual, proves yet again that she's the best thing that ever played in the Roxy…The woman defines herself, un-pompously fills a cultural vacuum. If there is a modern dance, she's our Ginger Rogers.”I was listening to Lora's back catalogue and I started to think that those cultural vacuums that Vivien wrote about could be those that appear when one movement fades, but the next movement hasn't yet formed and doesn't have a genre…that exciting, experimental phase – bands like X-Ray-Spex, ESG, Bush Tetras and Lora's own post-X-Ray-Spex band, Essential Logic, were the ones that were always pushing boundaries, doing things a bit differently, never standing still.Her latest album, Land of Kali, released towards the end of last year, is a wonderful odyssey that takes us through the mirror of our own lives into the dangerous and dystopian age of Kali Yuga, ultimately emerging with positivity and hope. There are some people who, through their art, their music or just their whole being, make you feel that, whatever happens to us, things are going to be ok. https://www.heysunday.co/i-wanna-jump-like-dee-deeI Wanna Jump Like Dee Dee is the music podcast that does music interviews differently. Giles Sibbald talks to musicians, DJ's and producers about how they use an experimental mindset in every part of their lives.- brought to you by Hey Sunday, the mothership of the experimental mindset™- logo and art by Tide Adesanya, Coppie and Paste

Gerade mal vier Jahre ist die Band Bush Tetras in den 80ern aktiv. Das reicht allerdings, um sich den Ruf als eine der aufregendsten Post-Punk-Bands New Yorks zu erarbeiten. Nun gibt es wieder einen neuen Song. Hier entlang geht’s zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/popfilter >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-bush-tetras-things-i-put-together

Gerade mal vier Jahre ist die Band Bush Tetras in den 80ern aktiv. Das reicht allerdings, um sich den Ruf als eine der aufregendsten Post-Punk-Bands New Yorks zu erarbeiten. Nun gibt es wieder einen neuen Song. Hier entlang geht’s zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/popfilter >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-bush-tetras-things-i-put-together

Gerade mal vier Jahre ist die Band Bush Tetras in den 80ern aktiv. Das reicht allerdings, um sich den Ruf als eine der aufregendsten Post-Punk-Bands New Yorks zu erarbeiten. Nun gibt es wieder einen neuen Song. Hier entlang geht’s zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/popfilter >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-bush-tetras-things-i-put-together

Gerade mal vier Jahre ist die Band Bush Tetras in den 80ern aktiv. Das reicht allerdings, um sich den Ruf als eine der aufregendsten Post-Punk-Bands New Yorks zu erarbeiten. Nun gibt es wieder einen neuen Song. Hier entlang geht’s zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/popfilter >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-bush-tetras-things-i-put-together

Gerade mal vier Jahre ist die Band Bush Tetras in den 80ern aktiv. Das reicht allerdings, um sich den Ruf als eine der aufregendsten Post-Punk-Bands New Yorks zu erarbeiten. Nun gibt es wieder einen neuen Song. Hier entlang geht’s zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/popfilter >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-bush-tetras-things-i-put-together

Último día de repaso a 'La boca aigua', nuestro disco de la semana de la mano de Renaldo & Clara. Despertamos con Bush Tetras y suenan novedades de Alison Goldfrapp, Grian Chatten o de julia amor.Bush Tetras - Things I Put Together Renaldo & Clara - Fins que em quedi clar Renaldo & Clara - Encaix Renaldo & Clara - La Palma Alison Goldfrapp - Love Invention Alex Lahey - The Sky Is Melting Grian Chatten - Fairlies Half Japanese - We Are Giants TEKE::TEKE - Doppelganger The Poison Arrows - Mercurial Moments erased claire rousay, Helena Deland - Deceiver Amaarae - Co-Star Galgo Lento - PERRÒ QUE BÉ! julia amor - lo que pensé que era el amor Four Tet - Three Drumms julia amor - ya no lo siento JOHN (TIMESTWO) - Trauma Mosaic PJ Harvey- A Child's Question, August

In studio Fabio Barbieri. Musiche: MC5, Blue Cheer, Blondie, Smiths, Colin Newman, Bush Tetras, Talking Heads, Cocteau Twins, Peter Erskine, Palle Danielsson & John Taylor, Vijay Iyer Trio, Paul Bley, Gary Peacock & Paul Motian, Steve Swallow. Letture: Susan Cain.

  Ivan Julian has been one of music's most celebrated players and most in-demand collaborators for more than four decades.   Indeed, Ivan Julian has spent his life soaking up a wealth of experiences, musical and otherwise. The son of a Navy officer, he grew up in such exotic locales as Guantanamo Bay, Cuba, nurturing a sensitive, creative streak that quickly manifested itself musically. At the age of 13, while living in Washington, D.C., he became the singer in a Led Zeppelin  cover band; the following year, he began playing guitar. Having already studied bassoon and saxophone, Julian spent his high school years studying music theory as  a part-time student in a college program. At 19, his wanderlust led him to London, where he joined U.K. R&B hitmakers The Foundations, (Build Me Up Buttercup) with whom he toured throughout Great Britain and Europe. It was during one of these tours that he decided to stay on in Macedonia to absorb and study the musical scales and rhythms that would have a major influence on his playing.     Then Julian returned to the U.S. and settled in New York, just in time to become part of the emerging punk rock movement. A founding member of the seminal Richard Hell and the Voidoids, he was now playing alongside trend-setting punk poet Hell, fabled guitarist Robert Quine and drummer Marc Bell (a.k.a. Marky  Ramone). Julian's instrumental and songwriting contributions to the band's classic  album Blank Generation established him as one of the scene's most acclaimed and influential axemen.  After the Voidoids disbanded, Julian stepped out to form the Outsets as a vehicle for his own vocal and songwriting efforts. Combining rock, funk and  African rhythms, the Outsets became a beloved fixture on New York's burgeoning  club scene, winning considerable critical acclaim for such releases as the debut single  “I'm Searchin' for You”/”Fever,” a self-titled EP produced by Garland Jeffreys and  the posthumously released The Punk/Funk Voodoo Collection. Teaming up with Bush  Tetras singer Cynthia Sley Julian's next band, the Lovelies, won substantial  attention with the release of the Mad Orphan LP. Also, during this time he regrouped with former bandmate Richard Hell to do an extensive tour of Japan.  By this point, Julian's abilities as a collaborator had become sought after by a wide array of acts. He plays on “The Call Up” and “Ivan Meets GI Joe” with The Clash (on their Sandinista album), collaborated with Afrika Bambaataa and Bernie  Worrell of Parliament/Funkadelic. He also joined England's Shriekback for two  tours of North America and Europe. Julian spent much of the 1990s touring and recording with Matthew Sweet.   In recent years, Ivan has concentrated mainly on studio work, producing and/or recording artist such as Sean Lennon and producing three albums by The  Fleshtones. He's also developed his recording studio, SuperGiraffeSound into one of New York's hottest new recording facilities, working with numerous local, national and international bands.  His solo LP, The Naked Flame was named one of the best records of the year by several trade magazines in Europe and the states including Trouser Press. Soon after came The Fauntleroys EP, Below the Pink Pony, a collaboration with Alejandro Escovedo, Nick Tremulis and Linda Pittman.     His newest album ‘Swing Your Lanterns' is available on PRAVDA Records. The songs encompass his experiences of the past five years and more; Some of which, we have all lived through.  Ivan's Info Web site home Spotify  5jcYTu6SCsjZnl4AEL5Rc2    

Lydia from Gustaf is on the podcast! We have an amazing discussion about pop punk nostalgia, Gustaf's super busy year of touring, and Lydia's love of Gary Puckett and the Union Gap. We also reminisce on growing up in Boston, throwing impromptu childhood  family talent shows, and contemplate using color theory to boost our mood on boring work days. Discover bonus eps, playlists, and more on Patreon: https://www.patreon.com/agrrrlstwosoundcents✨ MORE ABOUT GUSTAF ✨Gustaf is a five-piece art punk band from Brooklyn, NY whose records fuse the infectious danceability of ESG and Bush Tetras with the frenetic energy of The Modern Lovers and The Fall. They have shared stages with Cage the Elephant, Beck, Bush Tetras, Martin Rev, James Chance, IDLES, Wet Leg, Foals, and Yard Act. Their debut album, 'Audio Drag for Ego Slobs,' is available on all DSPs. ✨ KEEP UP TO DATE WITH GUSTAF ✨Web: https://www.gustaftheband.comBandcamp: https://gustaf-nyc.bandcamp.comInstagram: https://www.instagram.com/gustaf_nyc/Twitter: https://twitter.com/gustaf_nycFacebook: https://www.facebook.com/Gustafnyc/YouTube: https://www.youtube.com/channel/UCsDiUNBEe2u60AyLC_evQKgSpotify: https://open.spotify.com/artist/6QqLYrbjh5CnfMG7z5r96EApple Music: https://music.apple.com/us/artist/gustaf/282771888✨ CONNECT WITH IZZY ✨YouTube: https://www.youtube.com/channel/UCv6SBgiYCpYbx9BOYNefkIgWebsite: https://agrrrlstwosoundcents.comInstagram: https://www.instagram.com/agrrrlstwosoundcents/Twitter: https://twitter.com/grrrlsoundcents

We celebrate the lives of The Wookie & Terry Hall/The Specials, hear Chubby & The Gang's Christmas tune, and dig into the 2023 top 10 punx from Andy Lefton/War//Plague! We'll also spin new punk & metal from Lugosi, So Long Space Girl, KRAXA, Ammo, Naut, Tension Span, Syndrome 81, Blemish, Axe Rash, Anymal Function, classics from Fang, Lunachicks, NOFX, Pansy Division, Discharge, Pussy Galore, Night Birds, Aerobitch, Metal Church, Offspring, Boils, Bush Tetras, Zeke, Thin Lizzy, 999, Ruts, Rancid, Citizen Fish, & the Luscious Listener's Choice! Ammo- Military Option Ammo- Ethnostate Ammo- Life Crime Fang- Landshark Fang- I've Got The Disease Night Birds- Onward To Obscurity Aerobitch- Queen of Rock'n'Roll Chubby And The Gang- Violent Night (A Christmas Tale) Offspring- Jennifer Lost The War Metal Church- Ton of Bricks Boils- Orange And The Black Boils- Bullies Specials- Concrete Jungle Citizen Fish- Skin Rancid- Hooligans Ruts- S.U.S. 999- Homicide (1978 single) Thin Lizzy- Warriors Naut- Dissent Tension Span- I Can't Stop This Process Bush Tetras- Satan Is A Bummer Zeke- Mystery Train Lugosi- Blame It On The Weak Lunachicks- Drop Dead War//Plague- Bed Of Nails Discharge- Ain't No Feeble Bastard Discharge- Does This System Work Syndrome 81- In Ville Syndrome 81- Des Nuits Blanches Blemish- Reanimate Axe Rash- Ostrich Man Anymal Function- Prawy (oni I my)/Right (They and Us) Kraxa- Cat o' Nine Tails Pussy Galore- Cunt Tease So Long Space Girl- Peaches And Cream Pansy Division- Blame The Bible NOFX- Leaving Jesusland

Interview with Mark Bingham Guitarist-singer-songwriter-arranger and esteemed producer Mark Bingham (a 2021 recipient of Offbeat magazine's Lifetime Achievement in Music Business Award), has dedicated over 50 years to pursuing creativity regardless of category. From working with seminal punk and No Wave bands MX-80 Sound and Bush Tetras to Cajun groups Michot's Melody Makers and Lost Bayou Ramblers to Beat poets Ed Sanders and Allen Ginsberg to jazz artists John Scofield, Wycliffe Gordon and Nicholas Payton to celebrated pop stars like Marianne Faithfull, Dr. John, R.E.M., Roy Orbison and Jon Batiste, Bingham has always sought out projects that get his creative juices flowing. “There's been no linear path,” he said of his storied career. “It's been up and down and all around, and you just try to find good people to work with.” A true child of the ‘60s, Bingham is from an era when ‘Question Authority' was de rigueur. He ended up taking it to heart, both politically and musically. While attending Indiana University in the early ‘70s, at the peak of the anti-war movement on the campuses all across America, the Bloomington, Indiana native formed the Screaming Gypsy Bandits, a sprawling 10-piece theatrical psych rock group with an absurdist/prankster bent that shared the renegade stance of such bands of the day as Frank Zappa and the Mothers of Invention, Captain Beefheart and His Magic Band and the Hampton Grease Band (led by visionary frontman Col. Bruce Hampton).   Mark's Info  https://markbingham.bandcamp.com/music    

Hear the WORLD PREMIERE single from Nottingham punx Hip Priests upcoming LP, new punk & hardcore tunes from Deener's Skate Rock Vol. 2, KRAXA, Gideon, Lugosi, Lionheart , Iron Lizards, Fatal Flaw, Poppy, Foxcunt, Marie Therese, & Oversize, classics from Deathtraps, Dead Kennedys, Cydernyde, D.O.A., Blunders, Poison Girls, Ramones, Nomeansno, Bush Tetras, Pork Dukes, Frightwig, Sick Of It All, GG Allin, Avail, Household Gods, Paint It Black, Dead Milkmen, & Iggy Pop, and the Luscious Listener's Choice!    Deathtraps- Fucked Up Cydernyde- Prioridades Oversize- Dissolve Poison Girls- Crisis Ramones- Pinhead Nomeansno- Dead Souls Bush Tetras- Too Many Creeps Foxcunt- It's Obvious Pork Dukes- Bend And Flush G.G. Allin- Don't Talk To Me Marie Therese- Luna Iggy Pop- The Passenger Fatal Flaw- Victoria Poppy- Trophy Hunter Dead Milkmen- Bitchin' Camaro Paint It Black- Womb Envy Paint It Black- Atticus Finch Household Gods- Conflict Bias Avail- New #2 Hip Priests- Shakin' Ain't Fakin' Iron Lizards- Rip It Up Lionheart- Live By The Gun (feat. Ice-T) Lugosi- I Wish Gideon- Too Much Is Never Enough Sick Of It All- Maladjusted Kraxa- Ukraina Frightwig- My Crotch Does Not Say "Go" Blunders- The Outrage Industry Dead Kennedys- California Uber Alles D.O.A.- Dangerman

Challenge accepted!  For our last "regular" episode of Season 3 (before our holiday party and best of 2022 shows), we discuss the artists who continue to challenge us, defy expectations, and create uncompromising art.  Some of these artists have such deep catalogues that it can be daunting to take it all in, some may be too esoteric or eccentric to immediately grab you.  But the 25(!) artists that we pick during this episode have one thing in common...stick with them, and their music will reward you handsomely. In other words...you'll come around, Gregg!  On the other hand, there are certain artists who we find immediately appealing...even if it took 40 years, like the Atlanta band Current Rage.  To celebrate the 40th anniversary reissue of their 1982 mini-album Seven Songs on Propeller Sound Recordings (now generously expanded to 15 tracks) is guitarist John Moore, drummer Paul Lenz, and singer/guitarist Oliver Bewley (son of late Current Rage singer Chris Bewley).  It's a powerful rock n' roll story about family, loss, redemption and second chances that you won't want to miss.  It's the Penicillin Sound! Get the Seven Songs reissue at: https://propellersoundrecordings.com/ About Current Rage: Current Rage are a four-piece, post-punk, musical group that played live in the Southeastern United States during the early eighties. They were comprised of Chris Bewley, John Moore, Pat Kirkland, and Paul Lenz. In the landscape of a fertile, burgeoning Athens/Atlanta music scene Current Rage gained notoriety and a loyal following performing with such musical icons as REM, Pylon, Swimming Pool Q's, The Fleshtones, The Bush Tetras, and The Bongos. Eventually Current Rage would headline shows on their own at such iconic venues as Athens, GA's 40Watt Club, Atlanta's 688 Club, Chapel Hills's The Cat's Cradle, Birmingham's The Nik, and Nashville's Frankensteins. Current Rage first formed in 1979 when skaters, Chris Bewley and John Moore, began writing songs together after school on a pair of second-hand guitars. The two first met as early teen-agers having been recruited separately by Mike Maloof, founder, and manager of Atlanta-based Progressive Skate shop. Bewley and Moore traveled the Southeast competing and marketing Maloof's “Equalizer” skateboard decks and “Accelerator” wheels. Eventually, Moore was recruited by the Z-East team, in Jacksonville, Florida to ride professionally for their Z-Flex brand of decks and wheels. While Bewley was recruited by Sabre Skateboards out of northern Alabama to represent their laminated skate decks at competitions and demos. In the summer of 1979 Moore entered his freshman year at Georgia Tech University and Bewley was invited by his older brother Randy to join his group Pylon as they made their way to New York for their first show opening for Gang of Four. During this trip Bewley became immersed in the New York post-punk music scene and was inspired to start a band of his own. Once back in Atlanta Bewley and Moore began writing songs and practicing. The early version of Current Rage was Bewley and Moore on guitar, Pat Kirkland on drums and Norman Hanson on lead vocals. In mid-1980 Current Rage performed their first show in Athens at the 40th Watt Club opening for The Method Actors. Next, they performed at Atlanta's newly opened 688 Club with The Swimming Pool Q's. Current Rage became the “go to” opening act that year at the 688 Club performing several times each month opening for numerous national and regional acts. By the beginning of 1981 Current Rage was headlining shows in both Athens and Atlanta and began venturing out to Charlotte, Nashville, Chattanooga, and Birmingham. Once the band had found their true drummer in Paul Lenz, who they enticed away from the Atlanta underground band, Vietnam, the original drummer Pat Kirkland shifted his focus to lead vocals and supplemental percussion while Hanson left to start his new band Feast of Friends. Current Rage released an indie label E.P. album called Seven Songs on EOD Records in late 1982. Current Rage was known for short catchy post punk tunes dripping with danceable irony as well as darkwave surf instrumentals. “Seven Songs” was produced by legendary Athens-Atlanta engineer, Bruce Baxter. Baxter had engineered the B-52's single, “Rock Lobster”, Pylon's debut album “Gyrate” followed by the debut albums of The Swimming Pool Q's and Love Tractor. Current Rage's album was the first release on Ron Bond's EOD (Entertainment on Disc) Records. “Seven Songs” was recorded in April 1982 at Channel One studios with Bruce Baxter handling engineering and sound mixing and was released in late October. It is highly regarded by record collectors seeking out early eighties DIY releases. The first pressing of “Seven Songs” yielded 400 copies that were sold primarily at Southeastern independent record stores. Garnering significant east-coast distribution from Important Records, the band rushed to press another 500 records within three months of the initial release. Current Rage gained significant regional buzz from college radio stations WRAS, WREK and WUOG among others across the southeast who played songs like ‘Waikiki' and ‘Sweet Torture'. They also released several music videos that were played regularly in Athens-Atlanta area nightclubs and screened on the weekly music video show on Channel 36 WATL in the early-years of the MTV era. Anthony DeCurtis of Rolling Stone magazine wrote, “an enviable and impressive explosion of new music was emerging from the Atlanta-Athens area at this time” in his Rolling Stone magazine feature article charting the explosion of innovative bands coming out of Atlanta-Athens in 1983. He noted Current Rage as “An up-and-coming standout.” Current Rage has shared the stage with such local legends as Pylon, REM, the Method Actors, The Roys, The Brains, The Swimming Pool Q's, Love Tractor, Vietnam, Kilkenny Kats, and the Side Effects. By 1983, they will have also performed with Col. Bruce Hampton's Late Bronze Age, and Tinsley Ellis' Heartfixers, as well as Guadalcanal Diary and Jason and the Nashville Scorchers. Current Rage's lyrics sketched out wry, lyrical observations about pop-culture fads in “Right Side of the Brain” and “Gidget goes Digital” and expressed vivid, realistic, expressions of common psychological experiences in “Sweet Torture” and “Bitte Schӧn [Beat to Shame]”. In some of their most memorable songs they championed mock-anthemic choruses that affirmed ordinary, everyday, phenomena such as living with an aging dog in “My Dog Sam” or scoring some cool shirts at thrift stores in “Bag of Shirts”. Current Rage's distinctive sound is brash, energetic, and rhythmic, showcasing two drone-based guitarists with crunchy, first-position chords strummed beneath chiming post-punk leads on top of fast frenetic drumming. The relative scarcity of “Seven Songs” today suggests the item does not circulate on the marketplace often. The combination of a small batch release plus, eye-catching three-color cover art, and short catchy songs connects you to the ‘golden age' of the Athens-Atlanta music scene. After Current Rage ceased performing each of the members followed different paths. Paul played drums in several successful bands, The Nightporters, Drivin-n-Cryin, and Michelle Malone's Drag the River. In 1983 he founded a successful musical charity, Rat Aid, which raised much needed funds for targeted relief of local area members of the Atlanta music scene. Today, Paul has a successful audio visual production business in metro Atlanta. Pat had a successful modeling and acting career in Los Angeles, later moving to Phoenix. John returned to school eventually becoming a humanities professor at a college in South Carolina where he still teaches today. Chris took up a career in graphic design gaining a position with the United States Printing Office in Washington D.C., a skill he developed designing concert flyers for local bands and clubs in Atlanta and Athens. In 2018 while living in Charlotte Chris succumbed to a heart attack at the age of 57.

Anthony Michael Bourdain (June 25, 1956 – June 8, 2018) was an American celebrity chef, author, and travel documentarian who starred in programs focusing on the exploration of international culture, cuisine, and the human condition. Bourdain was a figure who became synonymous with non-conformity and a determination to forge his own path, regardless of the hurdles in front of him. Whether through his progressive food, his dedication to the dive bar and all its inhabitants, or his adoration of all things punk, Anthony Bourdain was a bastion of anti-establishment splendour and he was determined to integrate his two passions. In this episode the list of perfect songs to cook to, created by Bourdain for his PBS show The Mind of a Chef, that aired in 6 seasons from 2012 to 2017. Lineup: Bobby Womack, Curtis Mayfield, Mark Lanegan, Bill Withers, Bob Dylan, Roxy Music, Bush Tetras, Johnny Thunders, The Chambers Brothers, Pretenders, The Velvet Underground, A Tribe Called Quest, Tony! Toni! Toné!, The Brian Jonestown Massacre, Stevie Ray Vaughan, Sly & The Family Stone, Ryuichi Sakamoto, The Rolling Stones, Randy Crawford, Porno for Pyros, Jacques Dutronc, Ennio Morricone, John Barry, Elvis Costello & The Attractions, Earth, Wind & Fire

Bush Tetras are an American post-punk band from New York City. Formed in 1979, the Bush Tetras were influential and popular in the Manhattan club scene and college radio in the early 80s. New York's post-punk revival of the 2000s was accompanied by a resurgence of interest in the genre, with the Tetras' influence heard in many of that scene's bands. The Bush Tetras came back to Portland, OR for the first time in years to play at the Lose Yr Mind Fest. We were honored to talk with them about what they have been getting into these days. Listen in to find out about a new project that the band talks about for the first time publicly.

What you'll learn in this episode: Why being a jewelry artist is like being an engineer How Barbara got her jewelry in the hands of famous rock-and-rollers like David Bowie and the Rolling Stones  Why Barbara doesn't separate her jewelry into women's and men's lines Why talent is only a small part of what it takes to become a successful jeweler About Barbara Klar Barbara Klar was born in Akron, OH, with an almost obsessive attention for details. The clasps on her mother's watch, the nuts, bolts and hinges found on her father's workbench, the chrome on her brother's '54 Harley Hog...Barbara's love of hardware and metal and "how things worked" was ignited and continues to burn bright. Coming of age in the Midwest, Barbara was part of the burgeoning glam rock explosion making the scene, discovering Pere Ubu, DEVO, The Runaways, Iggy Pop and David Bowie in out-of-the-way Cleveland nightclubs. Cue Barbara's love of music and pop culture that carries on to this day. New York...late 1970's, early 80's. Barbara began making "stage wear" for friends in seminal punk rock bands including Lydia Lunch, The Voidoids and The Bush Tetras, cementing Barbara's place in alt. rock history as the go-to dresser for those seeking the most stylish, the most cutting edge accessories. She certainly caught the attention of infamous retailer Barneys New York, who purchased Barbara's buffalo skin pouch belts, complete with "bullet loops" for lipstick compartments. Pretty prestigious for a first-time designer! Famed jeweler Robert Lee Morris invited Barbara into a group show at Art Wear and Barbara joyfully began to sell her jewelry for the first time. Barbara opened her first standalone store, Clear Metals, in NYC's East Village during the mid - 80's. In 1991 she moved that store into the fashion and shopping Mecca that is SoHo, where it was located for ten years until Barbara has moved her life and studio upstate to the Hudson Valley. She continues to grow her business, her wholesale line and her special commission work while still focusing on those gorgeous clouds in the country sky. Barbara's work has been recognized on the editorial pages of Vogue, WWD, The New York Times and In-Style Magazine as well as featured on television shows including "Friends," "Veronica's Closet" and "Judging Amy." Film credits have included "Meet The Parents," Wall Street," "High Art" and The Eurythmics' "Missionary Man" video. Barbara has been hailed in New York Magazine as being one of the few jewelry designers who "will lend her eclectic touch to create just about anything her clients request, from unique wedding bands and pearl-drop earrings to chunky ID bracelets and mediaeval-style chains." Additional Resources: Website Instagram Facebook Twitter Blog Photos available on TheJewelryJourney.com Transcript: Barbara Klar's jewelry has been worn by the like of David Bowie, Steve Jordan and Joan Jett, but Barbara's celebrity fans are just the icing on the cake of her long career. What really inspires her is connecting with clients and finding ways to make their ideas come to fruition. She joined the Jewelry Journey Podcast to talk about the crash course in business she got when she opened her store in 1984 in New York City; why making jewelry is often an engineering challenge; and why she considers talent the least important factor in her success. 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 go to TheJewelryJourney.com. Today, my guest is Barbara Klar, founder and owner of Clear Metals. Welcome back.    So, is your studio inside your home now?   Barbara: Yes, it is. It always has been. One time, I tried to have my studio in the back room of my store in SoHo. That just didn't work at all. If they know I'm there, everybody is like, “Is Barbara here?” I could never get any work done. Eventually, I was able to get a building in Williamsburg and have my studios there. It was a great building because it had been a doctor's office in the 50s, so there was a little living space in the back and the front had been all the examination rooms. That worked out perfectly for my studio at the time.   Sharon: And you're in Woodstock, New York now?   Barbara: Yes, I am. I love it here.   Sharon: Had you moved there before Covid, or is that just an area you like?   Barbara: I've been here about six years now. I've been all over the Hudson Valley. I think I moved here prior to Covid. It's a very arty town and full of weirdos and like-minded people. It's a cool place. It has the history of Bird-On-A-Cliff, which was where all the Hudson Valley artists started. It started as an arts colony. So, it's got that history, and it's nice to be part of a history.    When I had my store—and I loved my store on 7th Steet in the East Village—I was so akin and felt such a vibe from the previous generations of jewelers that had stores on 8th Street in the West Village. It was a complete circle to me, and I feel that way now as well.   Sharon: So, you targeted Woodstock or this area to live in?   Barbara: No, I was going through a breakup. It was very painful. I found a place here. I knew it would be my home and my love. I was lucky. It's one of those guided journeys.   Sharon: Looking behind you, I can see you have quite a well-developed studio. You have all your tools. It doesn't seem like you'd be missing anything there.    Barbara: Definitely not. It's great.   Sharon: Did you start out that way? Did you collect the tools throughout the years?   Barbara: Since 1979, I've been collecting tools. There's always something else you need as a jeweler and a metalsmith. About 10 years ago I sold my house, which was a little bit south of Woodstock, and got rid of everything except my studio and my clothes. That's where I'm at now, and it feels so good to not be buried with stuff. I just have my workshop, and that's basically it.   Sharon: That's the important thing, having your workshop. I don't know if you still do, but you had a very successful line of men's jewelry.   Barbara: Yeah, I was one of the first to do men's jewelry. That was probably in the late 80s, early 90s. I've done a lot of men's. I had a lot of gay male clientele. They were always coming in, and they had a large disposable income. It worked out great. I love to see a man in jewelry. I love what's happened with the metrosexuals in the last eight or nine years. Even the nonbinary and straight males are feeling more comfortable with jewelry, and I think it's really great. Coming from a rock background, you see a lot of flamboyancy on stage, and you see a lot of guys flashing metal. I think it looks great.   Sharon: It that what prompted you to develop this line? Did you ever sell it? Was it a production line or was it one-off? How was it?   Barbara: It's limited production always. I had a friend ask me recently, “Barbara, on your website, why don't you have a category that's specifically men's jewelry?” I said, “I'll never do that because I can never tell what a man's going to like.” With all of this large spectrum of gender identity, I can't tell what somebody's going to like. That's not up to me, to decide what men's jewelry is. So, I never really bought into that, but I know men and kids seem to like my work.   Sharon: They look in your window and come in and say, “I'd like to try that on”?   Barbara: Yeah, especially some of the bigger rings. I was always surprised what was attractive to them. Also, there's a lot of word of mouth. I never relied on advertising. I got a lot of press, which didn't seem to do much, but mostly it's because of word of mouth that people come to me.   Sharon: Is the press how you developed your celebrity clientele? You were mentioning that you have quite a roster or that you've done a lot for celebrities.   Barbara: Yeah, that just kind of happened. In my store in SoHo, I used to have what I would call my “deli wall.” You know how you go into a deli in New York and you see all of the celebrities saying, “Oh, thanks for that corned beef sandwich. It was the best I had”? I had that in the background. Over time, celebrities would come in. A lot of stylists would bring celebrities. I developed the deli wall, and it was word of mouth again.   Sharon: I always wonder when I look at a deli wall if they ask people for their signatures, if they have a stack of photos in the back and say, “Would you sign this?” How did that work for you?   Barbara: I'd always ask them. It's hard to do sometimes. I don't want to overstep because every celebrity reacts differently to being recognized and interacting, but you've just got to do it. It's funny; I'm impressed, but I know they're human just like me. On my website, I sometimes look at the marketing stats, and that page is the most visited page. Here in America, we love our celebrities.    I know a lot of them had a big impact on me, so I get it. Once I waited in line for half a day because I made this belt for Tina Turner. She was signing records at Tower Records in New York City. I went up to her and showed her the belt, and I was so excited because she meant a lot me. She got me through a couple of breakups that were pretty devastating. So, I get it. I'm a fan. Definitely, I'm a fan.   Sharon: What did she say when she saw the belt?   Barbara: She was like, “Oh, I love it. I just love it.” She said, “I'm going to wear it.” I never saw her wearing it, but she was very kind and wonderful and gracious.   Sharon: That takes guts on your part, just to show a belt to a celebrity like that.    Barbara: It's not comfortable for me because I'm very shy. I'm really a shy person. I even tried being in bands. My friends were in bands. I work better behind the scenes, but sometimes you have to jump off that cliff. I'm one of these people that I might be shy, but I'm also brave. I'll take a risk. I think in these times, with the all the competition out there, especially for jewelry designers, you have to take a risk and you have to be brave.   Sharon: Yes, absolutely. It's amazing to me; so many people I talk to who make jewelry, they say they're shy, but you have to put yourself out there. You have to put your product out there. You can't just sit in your studio.   Barbara: You can't, and you also have to be able to talk about your work. There was a relationship I had at one time, and we had these arguments because he would make this incredible work. I would say, “What does it mean? How would you explain it? How would you define it?” and he would say, “Well, I'm not going to do that. If I have to do that, it negates everything. People should be able to draw their own opinions about what I'm saying.” I was like, “No, I don't agree. I think you should be able to say what your intention was, how you see it. If it's interpreted differently, that's an extra plus in my mind.” I think everybody should be able to talk about their work.   Sharon: Especially if you are doing what I'll call art jewelry. You're not walking into a place like Tiffany, let say. That's the only one of its kind.    Barbara: Exactly. The one-of-a-kinds are like that. When I had my store in SoHo, the greatest thing that was the most fun for me was making an inspirational thing that I thought nobody would ever wear or buy and putting it in the window, because that would get people to come in. They were outrageous; they were huge, and often I would sell those pieces. It was a shock to me.   Sharon: How did it feel to see celebrities, such as Steve Jordan, wearing what you made?   Barbara: It's pretty incredible. Once it leaves my hands, it takes on its own journey. It's an ego boost for a minute, but then you've got to make a living the rest of the time. I've been in this business so long, and you think, “Oh my God, I got my stuff on the Rolling Stones tour. It's so great.” It's impressive to people when you're at a party and you can say that. Ultimately, it means nothing. Has he mentioned my name or anything on the Rolling Stones tour? No. That may never happen, and that's fine. I don't care. It's fun.    Sharon: Is it validation to other people if you're showing your work or talking about it, and you say a certain celebrity wore it? Isn't that validation in a sense?   Barbara: It is. I try not to buy into that too much. The validation really comes from myself. I know what I'm doing. It's fine. I don't really need that, but that's an extra special perk, I must say.   Sharon: A validation for you, but also—I'm not sure it would sway me, but for a lot of people—it depends on who the celebrity is, but it could sway somebody. They might say, “If ABC person wore it, then I want one like it.”   Barbara: Oh yeah, definitely. It works that way. To a lot of my rock-and-roll friends, the fact that I've sold a lot of work to Steven Tyler or Steve Jordan means something. Sometimes they'll come to me with special commissions. One of my first commissions when I had my store in SoHo was for a client who had been to London, and he was obsessed with Keith Richards and the bracelet he always wears. He wears this incredible bracelet made by Crazy Pig Studios in London. He came to me and said he wanted me to make a bracelet like the one Keith Richards wears. I said, “Why would you have me do it? Why don't you dial Crazy Pig in London and get the same bracelet?” He said, “Oh, I was in there. They were mean. They were really intimidating. I don't want to give them my money.” So, I said, “All right. It's going to be a little different, but I'll make one for you,” and I made this incredible bracelet. I still sell it today. It's the Keith Richards bracelet. It's a fun story.   Sharon: Wow! Yeah, that is a fun story. You're also writing a book now. Tell us a little about the title.   Barbara: Titles are interchangeable, but this has been the title for a while. It's called “You're So Talented.” I'm not sure what the subtitle is going to be exactly, but it could be “It Takes More Than Talent” or “Confessions of a Worker Bee.” It's basically about my stories, my experiences not being a businessperson and being more of an artist, surviving New York. A lot of stories. It's geared towards kids who have a lot of talent, but that's not all it takes. Talent is like two percent of what it takes to be successful and to be creative and to be a survivor.    Surviving in New York City was such an incredible challenge, especially when you're living and working on the street level. You can't control what comes into your space. You don't know how business is done. I had just opened my store in the East Village. I was 24 or something, and this big bruiser guy comes into my store and is like, “You gotta pay me for sanitation pickup.” I said, “What? I have to pay for sanitation? I thought the landlord took care of that.” He said, “No, we pick it up.” I'm like, “Well, how much do you want?” He said, “We want $75 a month.” I said, “What? I can't pay that. I can barely pay my rent.” He said, “Well, how much can you pay?” and I said, “Well, I can pay like $15.” He said, “O.K.” and he walked out. Wouldn't you know, every month he was there for his $15. It was crazy.   Sharon: You were honest, but you had to become a businessperson over the years.   Barbara: It was such a challenge. I have to tell you, another successful designer once said to me, “Nothing teaches you about money like not having any.” I think that was one of the wisest words, because I learned how to become my own bookkeeper, my own press person, my own rep. I also had to pay all the employee taxes, navigate the business end of it, try to get business loans. That was such an experience. I heard 2Roses talking about this on your podcast, too, about how business should be included in art school training. I was totally thrown out there and totally naïve.   Sharon: It sounds like the school of hard knocks.   Barbara: Definitely.   Sharon: And that's what the book is about?   Barbara: Yes. People say, “You're so talented.” If I had a quarter for every time somebody said that to me, I'd be rich. No, it's not about that. It's about perseverance, and it's about hearing a lot of “no's.” It's about coming through the back door instead of the front door. The book is about things that were on my journey that were important and meaningful to me, and that I think young people could learn something from about moving to New York as an artist. It's very different now. I don't claim to know the ins and outs of New York City at this point in life, but I think my journey is still relevant.   Sharon: Definitely. I'm curious how you took the “no's,” because you must have heard a lot of “no's.”   Barbara: So many. It gets you to that next point. A no is actually good, because you're forced to meet up with another solution or another path. I'll never forget; I wanted to be like Robert Lee Morris, who had his work everywhere and bought a ranch in New Mexico and everything. I remember being tested for QVC in the 80s. They were having young designers on QVC. I did the test, and I heard them in the background saying, “I don't know if she works well on camera. She might be a little too quirky. Her work is a little too eclectic.” I was like, “Oh God, really?” So, I was like, “You know what? I don't care. That's my thing. Maybe I don't want to be a production person.”    I looked into having my work made overseas and all of that, and I realized, in the end, I would just be a manufacturer. For me, the art was more important. The hands-on making was more important. The person-to-person contact, communication with my clients and my employees was really important to me. I enjoy that way more than if I had been basically a business owner.    Sharon: It's having the mark of the hand on it. If I know that you crafted it or somebody crafted it, it has much more meaning, I think.   Barbara: Absolutely. It means a lot to me. Recently I had a client whose mother was a big jewelry collector and had a couple of Art Smith rings. The client had lost one of the rings in the pair in Provincetown. It went into the ocean, gone. I was able to hold the matching ring in my hand and look at it and see a signature, because the client wanted me to recreate this ring, which I did do. But the whole time I was making this ring, I kept imaging Art. The ring was covered in dots of silver and pink gold and yellow gold. It's a beautiful ring, very asymmetrical. The dots were raised like a half a millimeter off the band, and there were like 50 dots on this ring. So, I'm thinking of him making this ring in his studio. Every dot had to have a peg soldered onto the back before it was soldered onto the band. I did that 50 times, and I'm thinking, “My God, this guy was tenacious.” I had a lot of respect.   Sharon: How did you decide to start writing a blog?  You write a blog. How did that come about?   Barbara: I really enjoy writing, and there are things I wanted to say that the work couldn't say by itself. One of the things I've always been obsessed with since I was a child are charms. When I was five, Sherry Carr across the street from me had a shoebox full of charms, like the bubblegum charms, and I coveted that box. I was obsessed with that box. Every time I would see it, I would be like, “Show me the charms.” I wanted to knock Sherry out so I could get that charm. I started collecting charms at a very young age. They mean a lot to me, and they mean a lot to my clients. I talked about that in one of my blog posts. I think that was one of my first blogs, talking about charms and the meaning they hold for us. I think the spiritual side is important to me, the emotion you put to it and how it goes on the body. It's for the body.   Sharon: Well, you have very eclectic jewelry, very unique jewelry. Barbara, thank you so much for being here today.   Barbara: I loved it. Thanks so much.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

What you'll learn in this episode: Why being a jewelry artist is like being an engineer How Barbara got her jewelry in the hands of famous rock-and-rollers like David Bowie and the Rolling Stones  Why Barbara doesn't separate her jewelry into women's and men's lines Why talent is only a small part of what it takes to become a successful jeweler About Barbara Klar Barbara Klar was born in Akron, OH, with an almost obsessive attention for details. The clasps on her mother's watch, the nuts, bolts and hinges found on her father's workbench, the chrome on her brother's '54 Harley Hog...Barbara's love of hardware and metal and "how things worked" was ignited and continues to burn bright. Coming of age in the Midwest, Barbara was part of the burgeoning glam rock explosion making the scene, discovering Pere Ubu, DEVO, The Runaways, Iggy Pop and David Bowie in out-of-the-way Cleveland nightclubs. Cue Barbara's love of music and pop culture that carries on to this day. New York...late 1970's, early 80's. Barbara began making "stage wear" for friends in seminal punk rock bands including Lydia Lunch, The Voidoids and The Bush Tetras, cementing Barbara's place in alt. rock history as the go-to dresser for those seeking the most stylish, the most cutting edge accessories. She certainly caught the attention of infamous retailer Barneys New York, who purchased Barbara's buffalo skin pouch belts, complete with "bullet loops" for lipstick compartments. Pretty prestigious for a first-time designer! Famed jeweler Robert Lee Morris invited Barbara into a group show at Art Wear and Barbara joyfully began to sell her jewelry for the first time. Barbara opened her first standalone store, Clear Metals, in NYC's East Village during the mid - 80's. In 1991 she moved that store into the fashion and shopping Mecca that is SoHo, where it was located for ten years until Barbara has moved her life and studio upstate to the Hudson Valley. She continues to grow her business, her wholesale line and her special commission work while still focusing on those gorgeous clouds in the country sky. Barbara's work has been recognized on the editorial pages of Vogue, WWD, The New York Times and In-Style Magazine as well as featured on television shows including "Friends," "Veronica's Closet" and "Judging Amy." Film credits have included "Meet The Parents," Wall Street," "High Art" and The Eurythmics' "Missionary Man" video. Barbara has been hailed in New York Magazine as being one of the few jewelry designers who "will lend her eclectic touch to create just about anything her clients request, from unique wedding bands and pearl-drop earrings to chunky ID bracelets and mediaeval-style chains." Additional Resources: Website Instagram Facebook Twitter Blog Photos available on TheJewelryJourney.com Transcript: Barbara Klar's jewelry has been worn by the like of David Bowie, Steve Jordan and Joan Jett, but Barbara's celebrity fans are just the icing on the cake of her long career. What really inspires her is connecting with clients and finding ways to make their ideas come to fruition. She joined the Jewelry Journey Podcast to talk about the crash course in business she got when she opened her store in 1984 in New York City; why making jewelry is often an engineering challenge; and why she considers talent the least important factor in her success. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week.    Today, my guest is Barbara Klar, founder and owner of Clear Metals. Barbara began her work as a jeweler in 1980 in New York and has grown her business from there. She has a roster of celebrity clients. She has also developed a successful line of men's jewelry. Steve Jordan, who replaced Charlie Watts throughout a recent Rolling Stones tour, sported her jewelry throughout. Most recently, Barbara has become interested in reliquaries. She is also writing a book. We'll hear more about her jewelry journey today. Barbara, welcome to the program.   Barbara: Thank you, Sharon. I'm so happy to be here talking about my favorite subject, jewelry.   Sharon: So glad to have you. I want to hear about everything going on. Tell us about your jewelry journey. Did you always like it?   Barbara: I was obsessed with my mother's jewelry box. She wasn't a huge jewelry collector, but she had some gemstone rings from the time my father and her spent in Brazil in the semiprecious capital, Rio. I just loved her selection and got obsessed.    Sharon: Did you decide you wanted to study jewelry then?   Barbara: No, I really didn't. My sister was the artist in the family, and I was always trying to play catch-up with her. Eventually I took a class at Akron University in Akron. Well, I made some jewelry in high school out of ceramics. I loved to adorn myself. I loved fashion. I loved pop culture. I was always looking at what people were wearing, and jewelry was so interesting to me because it was so intimate. It was something you could put on you body, like a ring. You could look at it all the time, and it became part of your persona, part of your identity. Sometimes it represented the birth of a child.    I used to go to the museum in Cleveland a lot, and I started seeing these top knuckle rings on women in the Medieval and Renaissance paintings. I ran home and went to my mother's jewelry box because I remembered she had my sister's baby ring in there. I put it on my little pinkie finger. She saw me wearing it and she got very upset, but I started scouting flea markets until I could find my own top knuckle ring. I wear a lot of them at this point in life.   Sharon: Wow! We'll have to have a picture of that. I can see your fingers. You have a ring on every finger, it looks like.   Barbara: Practically.   Sharon: So, you went to the Cleveland Institute of Art. Did you think you'd be an artist or a graphic designer? What did you think you'd do?   Barbara: Like I said, when I went to Akron University, I studied beginning jewelry. My teacher at the time noticed I had an aptitude, and he said, “If you really want to study jewelry making, you should go to the Cleveland Institute of Art.” At that point, I made an application and I got in.   Sharon: Did you study metalsmithing there? When you say jewelry making, what did you study?   Barbara: It was called metalsmithing. It was a metalsmithing program, and at that point in time, Cleveland had a five-year program. You didn't really hit your major until your third year, so you had a basic foundation of art history and drawing and painting. It was really a great education. I feel like I got a master's of fine arts rather than a bachelor of fine arts. When we studied, our thesis was to do a holloware project. A lot of people did tea sets. I did a fondue set and it took me two years to complete. It was a great training, but it was also very, very frustrating because it was a very male-dominated profession.   Sharon: Do you still have the fondue set?   Barbara: I do. I entered it into a show, and they dropped it and it got dented. I have yet to repair that. Over the years, the forks have gone missing, but I have incredible photographs of it, thank God.   Sharon: Wow! So, you were the only fondue set among all the tea sets.   Barbara: Yeah, I was. I had to be different.   Sharon: You opened your own place right after you graduated. Is that correct?   Barbara: Pretty much. All my friends were moving to New York City, so I said, “Hey, I'll go.” I'd been commuting there because my boyfriend at the time was Jim Jarmusch, and he had moved to Columbia to study. I had been going there off and on for a couple of years and when everybody moved to New York City. I was like, “Why not?” So, I went.   Sharon: How far is it from Cleveland or where you were going to school?    Barbara: It's about 500 miles.   Sharon: So, you would fly?   Barbara: No, I would drive. Those were the days you could find parking in the city.   Sharon: That was a long time ago. I'm impressed that you would open your own place right after you graduated. Some people tell me they knew they could never work for anybody else. Did you have that feeling, or did you just know you wanted your own place?   Barbara: No, I didn't. It took me a couple of years. I was in New York a couple of years. I moved in '79 and I opened my store in '84. One thing I did discover in those five years is that the jobs I did have—thank God my mother insisted that I should have secretarial skills to fall back on in high school. She said, “You're not going to depend on any man.” So, she got me those skills, and I became a very fast typist. I realized eventually that to save my creativity, I needed to have a job that was completely unrelated to jewelry work. I would work during the day, and I found a jewelry store where I could clean the studio in exchange for bench time. I started doing that. A lot of my friends were in rock-and-roll bands, and I started making them stage ware when I could work in the studio for free. It just evolved into that before I opened my store.   Sharon: Tell us about your jewelry business today. Do you still make it?   Barbara: Oh yes, I still make everything. I have one part-time assistant. I no longer wholesale. I do a little bit of gallery work. I wish there was more, but I consider myself semi-retired. I'm trying to work on my book. Mostly I do commission work, and I do maybe one or two shows a year. I like to say I have a cult following that keep me in business.   Sharon: When you say you have a cult following, do rock-and-rollers call you and say, “I need something for a show”? How does that work?   Barbara: Pretty much. I'm lucky enough to have been in this business since 1984, so a lot of my private clients, now their children are shopping with me and they're getting married. It's really nice. I feel very blessed to have that.   Sharon: Yeah, especially if it's a second generation.    Barbara: That means something to me because they have a different sense of style. The fact that they would find my work appealing moves me, makes my heart sing.   Sharon: Do you find that you go along with their sense of style? If you have one style you were doing for their parents, let's say, do you find it easy to adapt? Do you understand what they're saying?   Barbara: I do. I try to understand. First of all, I listen. I'm a good listener, but I'm still old-fashioned. I still like streetwear. I still love pop culture. A lot of times I'll ask them what they're looking for, and I can always tell. Even when I had my store, when somebody would walk into the store, I can get a sense of their style. I'm one of these designers who can design very different, very eclectic work, from simple and modern to intricate and whimsical. That used to be a problem for me in my early days because the powers that be—I had a rep. They were like, “Barbara, your work is so different. Why don't you try to make it coherent?” I couldn't. I tried to and I came up with beautiful lines, but for me, the joy is the variation and never knowing what I'm going to come up with.   Sharon: Is that what's kept your attention about jewelry?   Barbara: I think so. And being challenged by commission work and by getting an idea and trying to make it come to fruition. I actually think jewelry designers are as much architects and engineers as anything else, because you get an idea and you're like, “How am I going to make that happen?” That keeps me inspired and challenged.   Sharon: I remember watching a jeweler making a ring. This was several years ago, but they were talking about how jewelry is engineering because of the balance and all of that.    Barbara: Oh yes, totally. There was time when I really wanted to study CAD. I looked into it a bit, and I realized you also have to be able to draw in order to do CAD. It really helps if you have some knowledge of metalsmithing or jewelry making before you enter into a program like that, because you have to be able to visualize it and see how it's going to come together, how it's technically going to work. That interests me a lot.   Sharon: So, that's not a problem for you. You can do that in terms of visualizing or seeing how it would come together.   Barbara: It's a challenge. I'll find myself getting inspired by an idea and spending a couple of days or even a week thinking about how it's going to be engineered, how it's going to fit together. I made a tiara for the leader of a local performance group. He's very flamboyant, and he sings and has a beautiful band. I made him a crown out of a crystal chandelier that I got at a flea market. It was an engineering challenge. It was really fun.   Sharon: It sounds like it. I don't know if I could even imagine something like that. I wanted to ask you about something you said a little while ago, that you wished there were more galleries who wanted your work. What was it you said?   Barbara: I've been making my living doing limited-production items that sell very well. I have a classic piece—I call it the pirate, which is a lockdown mechanism earring that is kind of my bread and butter. But what I've been doing in my off time is making, like you mentioned in your opening, reliquaries or pieces that are more art than jewelry specifically. That's what I've been doing during Covid and everything. It's like a secret group of pieces I've been working on. It would be nice to have a gallery to show them in, but they're very unique and different, so I haven't found that yet.   Sharon: Tell us a little bit about the reliquaries. Tell us what they look like and what they're supposed to represent.   Barbara: I got obsessed with reliquaries when I was going to the Cleveland Institute of Art because right across the street was the Cleveland Museum of Art. I spent a lot of time there, and they have a fabulous armor hall for armor and a 17th century room that's filled with religious reliquaries. I was fascinated by how these fragments of bone or hair were incorporated into jewelry and what they represented as objects, how people would pray to these things or display these items with great meaning. It really moved me, and I started making them in college covertly. I continued that living through the AIDS crisis and now Covid.    I did some pieces recently for people who had lost their loved ones, incorporating pieces of hair or fragments of letters from their loved ones. I find that so meaningful because you have something to hold in your hands that gives you a link to this person whom you've lost. I made a beautiful reliquary for an ex of mine which was based on the dog they lost. Buddy was its name. I got a piece of the dog's tail when he died and made a little charm out of it. It was under a little window. Then I had another artist make this beautiful portrait of the dog when it was a baby. I made a little locket-type thing that could be put on your desk, or it could be hung on the wall or you could wear it. That's what I describe as tabletop jewelry.    Sharon: That's interesting. When I think of a reliquary, I think of exactly what you're saying, but without the jewelry—a piece of bone, hair, whatever, that people venerate.    Barbara: Yeah, absolutely.   Sharon: How do you incorporate it? You're saying for this piece you put it in a locket, but how else have you incorporated it?    Barbara: Pretty much lockets, things that open. I have another piece I made that was based on a monk. I found a little porcelain painter's image—it was about three inches tall—at a flea market years ago. I could hardly afford it. It was hand-painted porcelain. I kept it in my bench drawer for years, 20 years probably, and one day I pulled it out and thought, “You know, this monk needs to be seen.” So, I made a beautiful locket. It's probably about four inches long that you too can display it on your desk. It has little doors that open, and you can hang it on your wall or you can wear it. It's a very large piece, obviously, if you're going to wear it, but it's a statement piece and it's very precious.   I did this piece actually about 10 years ago after living through the AIDS crisis. My friend, one of my clients, looked at this monk and said, “I know who that is.” I did the research. It's on my blog. It is this monk who was from a very wealthy family that gave his life to treat lepers in Spain. He was the patron saint of healers. It touched me so deeply that I was creating this piece after everything I'd watched and lived through with Covid, with the AIDS crisis.   Sharon: Wow! Do pieces hit you as you're going through a flea market? Do they hit you and you say, “That would be perfect”? How is that?   Barbara: I'm a collector. I collect things. I'm fascinated. I love to look at things. One time at a flea market when I had my store in Soho, I found this—I didn't know what it was. It was like a little skeleton paw. It had no fur on it. It was a little skeleton about two inches long, probably a racoon's hands. I used to make incredible windows to get people to come into the store. It was Halloween. At the same flea market, I had gotten some of the old-fashioned glass milk containers that used to have the paper caps on top. So, I had gotten those, and I thought, “I'm going to do a Lizzie Borden window.” I made Lizzie this incredible watch fob, and hanging from that was this little skeleton paw inside the milk container. It was great. You never know. I sometimes hold onto things until it's like, “Whoa, O.K. Now's the time.”   Sharon: I'm imaging it. It's a drawerful of things, a shoebox full of things that you paw through and say, “Oh, this would be perfect.”   Barbara: Absolutely. That's the great thing about being an artist. You never know when it's going to hit. Like I tell people, I would never not have my studio inside my home, because you never know when you're going to be inspired and have to make something.

Punk's blast might have faded but its impact didn't. By 1978, a new guard was taking over, one that was meshing together exciting sounds and influences and creating exhilarating music for the open minded, for the outsiders and for the curious. The Bush Tetras have taken their own place in history and it's kinda fitting that they formed and created their art in NYC. They sounded and looked fantastic then and they sound and look fantastic now. They fused soul, dub, funk and dance with stabbing, biting, sliding guitars, pulsating drum and bass grooves and the wonderfully poetic, unflappable vocals of the fantastic Cynthia Sley.  The Bush Tetras are timeless.Cynthia talks about strong, lasting friendships, strong communities, being and outsider,  urban environments that nurture the idea of "all creativity is important", learnings from being a teacher and  - here's the all important one - not giving a fuck about what people think.It's a brilliant convo with a legend who has pushed so many creative boundaries and opened doors for so many others.I Wanna Jump Like Dee Dee is a music podcast that does music interviews differently. I'm Giles Sibbald and I'm talking to extraordinary musicians, DJ's and producers about how they use an experimental mindset in their lives to amplify their own creativity, pursue new challenges, overcome fears and bounce back from mistakes.- brought to you by Hey Sunday, the mothership of the experimental mindset™.- podcast logo and art by Tide Adesanya, Coppie and Paste.

Hear the UK debut of Oakland's Blackened Death Thrashers Phantasmal Abyss, new punk & metal from Charger, Parallel States, Pengshui, James Domestic, Sub Rosa, Booze And Glory, Christian Blunda/Mean Jeans, All Them Witches, Snuff, new rocksteady from The Slackers, classic punk, ska, & metal from Crimpshrine, Blatz, Operation Ivy, The Freeze, Screeching Weasel, Dogpiss, Bush Tetras, Effigies, Crazy Baldhead, Citizen Fish, Killing Joke, Feederz, Joy Division, Cross Stitched Eyes, Voivod, Elected Officials, Slayer, The Eat, Blood Command, Municipal Waste, & the Luscious Listener's Choice! Sub Rosa- Scene Report Crimpshrine- Freewill Operation Ivy- Gonna Find You Blatz- Berkeley Is My Baby (And I Want To Kill It) Freeze- Trouble If You Hide Elected Officials- Death For Sale Christian Blunda- Inside A Black Hole Eat- Communist Radio Blood Command- Here Next To Murderous All Them Witches- Enemy Of My Enemy Phantasmal Abyss- Odyssey Of Eternal Nightmares Municipal Waste- Sadistic Magician Slayer- Vices Voivod- Build Your Weapons Pengshui- Eat The Rich Cross Stitched Eyes- The Pattern Michael Haggerty- Into The Glow Joy Division- These Days James Domestic- Bean Counter Feederz- 1984 Killing Joke- Wardance Effigies- Security Citizen Fish- PC Musical Chairs Crazy Baldhead- Boots Embraces Slackers- Hanging On Bush Tetras- Das Ah Riot Booze And Glory- The Street I Call My Own  Snuff- Bing Bong Dogpiss- Ed's Bomber Parallel States- Downpipe Screeching Weasel- Murder In The Brady House Charger- Black Motor

Miss the show? Wanna hear it again? Have at the podcast, my friends, and enjoy! Please share the pod and tag me (and the show) in your post. Please also invite your pals to like The Whizbanger Show on Twitter, Insta, and FB - if you want your music featured on the one and only Whizbanger Show, gimme a holler!  Love y'all!   The Bands: Agoraphobic Nosebleed, Alice Bag, Amy Rigby, Angela Garrick, Angola Rodeo, ‘B' Girls, Barefoot, Bush Tetras, Caprice, Christian Death, Emily Duff Band, High and Tight, Karyn Crisis & Gospel of the Witches, Lita Ford, Nashville Pussy, Puma Perl and Friends, Slowness, The Trash Bags, Viv Albertine   The Labels/PR: Blue Aurora Audio, Cadiz Music, Century Media Records, Chrysalis Music, Consouling Sounds,  Frontier Records, In the Red Records, Line Records, Mr. Mudshow Music, Muddguts Records, Pat Benatar, Relapse Records, ROIR, Safehouse Records, Signature Sounds, Steamhammer Records, The Bunker New York   Tune in to MMH The Home Of Rock Radio every Friday from 2-4 PST | 10-midnight GMT to hear The Whizbanger Show. Stream ===>>> www.mmhradio.co.uk Whizbanger Show Podcasts ===>>> https://mmhradio.co.uk/podcasts/the-whizbanger-show/   Download the app ===>>> Google Play or Apple Store   Tell Alexa ===>>> Hey Alexa, play Midlands Metalheads Radio on TuneIn Tell Google ===>>> Hey Google, play MMH Radio on TuneIn   Get in touch with The Whizbanger: Email: thewhizbangershow@mmhradio.co.uk Facebook: www.facebook.com/whizbangershow Instagram: @sara.whizbanger Twitter: @SaraWhizbanger

Arrancamos en “La Hora Rockdelux” con el himno a la esperanza de Fred again.. (con The Blessed Madonna): un “Marea (We' Lost Dancing)” que es el motor de arranque de un repaso por algunas de las listas con lo mejor de 2021 publicadas en rockdelux.com. Canciones de la última cosecha de Little Simz y Zahara conviven con pepitas de oro extraídas de recopilatorio que recuerdan a Noriko Miyamoto, Willie Dunn, Bush Tetras, Esplendor Geométrico y Capitol 1212 (con Earl 16). ¡Nos escuchamos en 2022! 01 Fred again.. feat. The Blessed Madonna “Marea (We've Lost Dancing)” 02 Noriko Miyamoto “Arrows & Eyes” 03 Willie Dunn “Crazy Horse” 04 Little Simz “Introvert” 05 Bush Tetras “Too Many Creeps” 06 Zahara “MERICHANE” 07 Esplendor Geométrico “Sheikh” 08 Capitol 1212 feat. Earl 16 “Love Will Tear Us Apart”

On this week's Talkhouse Podcast, we've got a roundtable of old friends who are also, as it happens, all New York City legends: Cynthia Sley and Pat Place of Bush Tetras with Sonic Youth's Thurston Moore, and director Jim Jarmusch. Cynthia and Pat — vocalist and guitarist, respectively — started the “groove-centric” post-punk band Bush Tetras in 1979 with Laura Kennedy on bass and Dee Pop on drums. They broke up just a few years later, but over the decades they've reunited periodically, and are back in action now — though, sadly, without Kennedy, who died in 2011, and Dee Pop, who passed away last month after the recording of this conversation. But as Cynthia told the New York Times, “Bush Tetras is a force that cannot be stopped.” Their pioneering work lives on, archived in a new box set called Rhythm and Paranoia: The Best of Bush Tetras, which came out on Wharf Cat last week and includes three LPs and a booklet featuring essays by Moore, Jarmusch, members of The Clash and Gang of Four, and many others. Thurston Moore was a founding member of Sonic Youth. Now based in London, he performs and records solo — his latest album is last year's By The Fire. Jim Jarmusch is the director of films like Stranger Than Paradise, Down By Law, Coffee and Cigarettes, and so many more. He's also a musician, and currently performs with the avant-rock band SQÜRL. As Cynthia says at the beginning of their conversation, they have about 40 years of friendship between the four them, but this is the first time all four of them have gotten to talk together. Their decades-in-the-making conversation covers a lot, including Pat's influence on Thurston as a guitarist, Tier 3 and Mudd Club memories, and an era of New York when there were still chicken slaughterhouses on Prince Street. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Bush Tetras, Thurston Moore, and Jim Jarmusch for chatting. This episode was produced by Melissa Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

Thurston Joseph Moore (born July 25, 1958) is an American musician best known as a member of Sonic Youth. He has also participated in many solo and group collaborations outside Sonic Youth, as well as running the Ecstatic Peace! record label. Thurston Moore's work with Sonic Youth rearranged the parameters of indie rock to an almost incalculable degree, merging experimental art rock tendencies with unconventional guitar tunings for a sound that would influence generations to come. Moore's abstract poetic lyrics and perpetually mysterious aura were core ingredients of Sonic Youth's 30-plus-year run, but also bled into countless side projects and less-frequent solo albums like 1994's sprawling and loose Psychic Hearts. After the group's breakup in 2011, Moore continued with his ambitions, ranging from projects like his band Chelsea Light Moving to noisy collaborations with Merzbow and John Zorn to solo albums like 2020's By the Fire that continued exploring the kind of moody, twisting art rock he'd become an icon of with Sonic Youth. Moore was ranked 34th in Rolling Stone's 2004 edition of the '100 Greatest Guitarists of All Time.' In May 2012, Spin published a staff-selected list of the top 100 rock guitarists, and ranked Moore and his Sonic Youth bandmate Lee Ranaldo together at number 1. Lineup: Tapper Zukie, Patti Smith, Teenage Jesus & The Jerks, MARS, Public Image Ltd., The Slits, The Raincoats, Captain Beefheart & His Magic Band, Alice Cooper, T. Rex, Archie Shepp, Billie Holiday, Teddy Wilson, Nirvana, Mudhoney, Dinosaur Jr., Jackson C. Frank, Bush Tetras, Germs, Boredoms, Lou Reed, The Beach Boys, David Bowie, Sparks, Siouxsie and the Banshees, The Damned, The Mentally Ill, Minor Threat, Black Flag, The Untouchables, Iron Cross, The Faith, Void, Negative Approach, Youth Brigade, S.O.A., Anne Briggs, The Fugs, Jimi Hendrix

Iconic New York City post-punks Bush Tetras sit down to discuss their new retrospective boxset, their lasting influence and what the future holds for their ever expanding world.

En Música de Contrabando, revista diaria de música en Onda Regional de Murcia ( orm.es, 00'00- 02,00h)Muere Paddy Moloney, líder y fundador del grupo de folk irlandés The Chieftains. Dee Pop, cuyo nombre real era Dimitri Papadopoulos, se incorporó a Bush Tetras en 1979 junto a Laura Kennedy, Cynthia Sley y Pat Place. Con el éxito de la canción de 1980 'Too Many Creeps", Bush Tetras se convertiría en uno de los grupos principales de la escena No Wave de Nueva York.. Paul Simon, gran letrista y compositor, cumple ochenta años tras haber vivido varias vidas musicales y con el favor del público todavía intacto, como quedó de manifiesto en su aparición el pasado septiembre en un macroconcierto en Central Park de Nueva York. Recuperamos a Tronco y su versión de 'Soy una roca'. Este otoño, The Beatles invitan a todo el mundo a volver la vista atrás y revisitar el álbum súper ventas de 1970, Let It Be, con una serie de fantásticas ediciones especiales que se ponen a la venta el próximo 15 de octubre. Let It Be ha sido nuevamente remezclado por Giles Martin y el ingeniero Sam Okell en estéreo, 5.1 Surround DTS y Dolby Atmos..El 12 de noviembre de 2021, Geffen/UMe comemoran el 30 aniversario de Nevermind de Nirvana con varias reediciones multiformato. Dave Gahan y Soulsavers comparten su versión del "Metal Heart" de Cat PowerOrbital han remezclado el tema "I Don't Rate You", que forma parte del último trabajo hasta la fecha de Sleaford Mods, lo han convertido en un tema ravero. Un recuerdo para Pat Fish, el bajista y líder de la banda más conocido por su trabajo con Jazz Butcher,. La noticia de su muerte fue compartida por su antiguo colaborador Max Elder y su antiguo sello Glass Modern. Jeff Tweedy y Tv priest se suman al club de singles de sub pop con sendas caras a y b, cada uno en su refinado estilo propio. Wilco presentarán por fin "Ode To Joy" con un concierto en Barcelona. Trace Mountains (proyecto del ex LVL UP dave benton) anuncia House of confusion, su nuevo disco, con doble "eyes on the road/ heart of gold". doble adelanto de melódico indie rock. Con una nueva normativa en vigor aprovechamos para hablar con Isaac Vivero, al frente de las salas de conciertos murcianas, para saber como les afecta cara a la reapertura , tras 19 meses de cierre. No son muy halagüeñas las noticias. Triángulo de Amor Bizarro sacaron su disco homónimo cuando la pandemia paralizó el tiempo y no se podía hacer más que sobrevivir. Sin posibilidad de presentarlo en directo ni trabajar en otras cosas tuvieron la idea de llamar a otras puertas. Hablamos con ellos esta noche. antes de su nueva visita al lemon pop Samantha Hudson abre su infinito abanico musical para lanzar una copla de electro pop con final techno gabber con una provocadora letra de Adriá Arbona (Papá Topo) y que Samantha ha elegido publicar el Día de la Hispanidad junto con un video r dirigido por Fran Granada. El cierre lo pone Yana Zafiro.

Bush Tetras broke onto the scene in a big way with their 1980 debut single, "Too Many Creeps". Released on 99 Records, it is a seminal piece of early 1980s post-punk that ranks amongst the definitive songs of the era. After releasing a string of singles and a live cassette, Bush Tetras split with only a handful of recordings to their name.Fortunately, Bush Tetras have reunited and continued to release music over the years, culminating in the release of a "best-of" box set by Wharf Cat Records in November of 2021. In this episode, singer Cynthia Sley discusses the early days of the band, opening for the Clash, and her lifelong friendship with guitarist Pat Place.Bush Tetras/Wharf Cat Records:https://bushtetras.wharfcatrecords.com/rhythm-and-paranoia

Radio Nova revisite ses propres classiques : les raretés de tout bord qui rythment notre antenne, de la soul-funk au hip-hop en passant par les musiques afro-latines et la pop. Aujourd’hui : « Dance » d’E.S.G.Notre Nova Classic nous arrive du sud du Bronx aujourd’hui. Elles sont trois, elle sont soeurs et ont pris le nom de pierres précieuses. C’est E.S.G., pour Emerald, Sapphire and Gold (Emeraude, Saphir et Or). Trois soeurs qui incarnent à la perfection le son de New York au début des années 80, marqué par des batteries funk faisant le pont entre la scène rock et hip-hop.Souvenez-vous du « Cavern » de Liquid Liquid, repris ensuite par Grandmaster Flash dans « White Lines ». Les membres d’E.S.G. arrive donc dans ce paysage musical aux frontières poreuses. Signées sur 99 records, label de Liquid Liquid justement et de Bush Tetras , les soeurs Scroggins partent à Manchester en Angleterre rencontrer Martin Hannett. Le producteur de Factory Records est alors reconnu pour avoir façonné le son reconnaissable entre mille de Joy Division. De cette collaboration, vous allez l’entendre, les E.S.G. ont capté cet art de jouer avec le silence. Le style E.S.G., c’est une rythmique implacable, peu de voix, et ce fameux silence. Ce qui leur vaudra d’être beaucoup samplées par la scène hip-hop, de Notorious B.I.G. à J Dilla. On bat la mesure, on entre dans le danse, voici E.S.G., notre Nova Classic.Visuel © E.S.G. See acast.com/privacy for privacy and opt-out information.

Bush Tetras, Neo Boys, Mo-Dettes, Pylon and more.Small record label and DIY post-punk from the late 70s to early 80s, 60s and 70s deep funk, 1960s garage, indie, lo-fi and other oddities.https://www.monochromefixation.com/

Bush Tetras special with Cynthia Sley in conversation with David Eastaugh Bush Tetras are an American post-punk band from New York City, formed in 1979. They are best known for the 1980 song "Too Many Creeps", which exemplified the band's sound of "jagged rhythms, slicing guitars, and sniping vocals". Although they did not achieve mainstream success, the Bush Tetras were influential and popular in the Manhattan club scene and college radio in the early 1980s.[1] New York's post-punk revival of the 2000s was accompanied by a resurgence of interest in the genre, with the Tetras' influence heard in many of that scene's bands.

Forty years after forming in New York’s late-70s punk scene, the Bush Tetras are still going strong. 2018 saw the release of the Take the Fall EP, the product of a band content to release music for the pure love of it. There were rocky times, of course. By 1983, the band saw some key membership turnover, ultimately dissolving that same year. There was a short-lived stint in the 90s, but it’s this latest reunion — spurred in 2005 by increased interest in the post-punk genre — that marks the band’s longest stretch. Vocalist Cynthia Sley joins us to discuss the band’s early years, its legacy and the drive to keep making music.

Roger is back in London for his first close encounter with musicians from the other side of the Atlantic. It's the Taking Liberties US showcase at The Rainbow, starring The Bongos, Bush Tetras and many other Ray-Ban-wearing cool dudes from the East Coast. Followed by an exciting night at Dingwall's in Camden, dancing to the artfully funky Love Of Life Orchestra.Special guest contributions from Richard Barone of The Bongos and Peter Gordon of Love Of Life Orchestra. Thank you gents!Artwork by Rionagh.Intro and outro music by Simon Elliott-Kemp.Sound FX courtesy of Freesound.org With particular thanks to:Car Crash - NS Studios.Ambient chat - Conleec.London city air tone - Constructabeat.London city ambience - Pcaeldries.Tribal drums - Herbert Boland.Empty space and whistle - Klankbleed.Applause - Dkustic.Rock drums and conga patterns - Big Joe Drummer.Funk drums - Karma drums.Kitchen ambience - Ksesoko.

In this episode we welcome the wonderful Mary Harron, director of cult movies I Shot Andy Warhol and American Psycho. After a brief digression on dating Tony Blair at Oxford, the Canadian relives her memories of the punk rock scene at New York's CBGB club, including her interviews with the Ramones and Talking Heads for John Holmstrom & Legs McNeil's pioneering Punk magazine. Mary also talks about her friendship with ZE's Michael Zilkha and her long fascination with Warhol and the Factory. Along with her hosts, she hears clips from Martin Aston's 1987 audio interview with Tom Verlaine, prompting her recall of his seminal band Television and a general discussion of 1977's classic Marquee Moon album. Mark & Barney pay heartfelt tribute to tragic blues-guitar hero Peter Green, ruminating on what made the Fleetwood Mac man so much more emotional a player then his UK blues-boom peers. They also say goodbye to the hilarious CP Lee, former frontman with Mancunian satirists Alberto Y Lost Trios Paranoias. After bringing Mary's directorial career up to date – with an aside on the American Psycho soundtrack that affords Jasper a chance to wax lyrical about Huey Lewis & the News – Mark selects his library highlights, including notable pieces about Brian Jones, Labelle, the Bush Tetras and, erm, the Knack. Jasper rounds things up – and brings matters back down to earth – with remarks on pieces about "superstar DJs" and Stock Aitken Waterman teaboy Rick Astley… Pieces discussed: Mary Harron on the Ramones / on pop art / on Michael Zilkha, Punk Rock, Talking Heads, Shouting Heads, Tom Verlaine audio, Peter Green, Peter Greener, Alberto y Lost Trios Paranoias, Rolling Stones, Labelle, Disco, Bush Tetras, The Knack, Jeff Beck, Superstar DJs, Rizzle Kicks and Rick AstleyThis show is part of Pantheon Podcasts

In this episode we welcome the wonderful Mary Harron, director of cult movies I Shot Andy Warhol and American Psycho. After a brief digression on dating Tony Blair at Oxford, the Canadian relives her memories of the punk rock scene at New York's CBGB club, including her interviews with the Ramones and Talking Heads for John Holmstrom & Legs McNeil's pioneering Punk magazine. Mary also talks about her friendship with ZE's Michael Zilkha and her long fascination with Warhol and the Factory. Along with her hosts, she hears clips from Martin Aston's 1987 audio interview with Tom Verlaine, prompting her recall of his seminal band Television and a general discussion of 1977's classic Marquee Moon album. Mark & Barney pay heartfelt tribute to tragic blues-guitar hero Peter Green, ruminating on what made the Fleetwood Mac man so much more emotional a player then his UK blues-boom peers. They also say goodbye to the hilarious CP Lee, former frontman with Mancunian satirists Alberto Y Lost Trios Paranoias. After bringing Mary's directorial career up to date – with an aside on the American Psycho soundtrack that affords Jasper a chance to wax lyrical about Huey Lewis & the News – Mark selects his library highlights, including notable pieces about Brian Jones, Labelle, the Bush Tetras and, erm, the Knack. Jasper rounds things up – and brings matters back down to earth – with remarks on pieces about "superstar DJs" and Stock Aitken Waterman teaboy Rick Astley… Pieces discussed: Mary Harron on the Ramones / on pop art / on Michael Zilkha, Punk Rock, Talking Heads, Shouting Heads, Tom Verlaine audio, Peter Green, Peter Greener, Alberto y Lost Trios Paranoias, Rolling Stones, Labelle, Disco, Bush Tetras, The Knack, Jeff Beck, Superstar DJs, Rizzle Kicks and Rick Astley.

In this episode we welcome the wonderful Mary Harron, director of cult movies I Shot Andy Warhol and American Psycho. After a brief digression on dating Tony Blair at Oxford, the Canadian relives her memories of the punk rock scene at New York's CBGB club, including her interviews with the Ramones and Talking Heads for John Holmstrom & Legs McNeil's pioneering Punk magazine. Mary also talks about her friendship with ZE's Michael Zilkha and her long fascination with Warhol and the Factory. Along with her hosts, she hears clips from Martin Aston's 1987 audio interview with Tom Verlaine, prompting her recall of his seminal band Television and a general discussion of 1977's classic Marquee Moon album.  Mark & Barney pay heartfelt tribute to tragic blues-guitar hero Peter Green, ruminating on what made the Fleetwood Mac man so much more emotional a player then his UK blues-boom peers. They also say goodbye to the hilarious CP Lee, former frontman with Mancunian satirists Alberto Y Lost Trios Paranoias. After bringing Mary's directorial career up to date – with an aside on the American Psycho soundtrack that affords Jasper a chance to wax lyrical about Huey Lewis & the News – Mark selects his library highlights, including notable pieces about Brian Jones, Labelle, the Bush Tetras and, erm, the Knack. Jasper rounds things up – and brings matters back down to earth – with remarks on pieces about "superstar DJs" and Stock Aitken Waterman teaboy Rick Astley…  Pieces discussed: Mary Harron on the Ramones / on pop art / on Michael Zilkha, Punk Rock, Talking Heads, Shouting Heads, Tom Verlaine audio, Peter Green, Peter Greener, Alberto y Lost Trios Paranoias, Rolling Stones, Labelle, Disco, Bush Tetras, The Knack, Jeff Beck, Superstar DJs, Rizzle Kicks and Rick Astley This show is part of Pantheon Podcasts

In this episode we welcome the wonderful Mary Harron, director of cult movies I Shot Andy Warhol and American Psycho. After a brief digression on dating Tony Blair at Oxford, the Canadian relives her memories of the punk rock scene at New York's CBGB club, including her interviews with the Ramones and Talking Heads for John Holmstrom & Legs McNeil's pioneering Punk magazine. Mary also talks about her friendship with ZE's Michael Zilkha and her long fascination with Warhol and the Factory. Along with her hosts, she hears clips from Martin Aston's 1987 audio interview with Tom Verlaine, prompting her recall of his seminal band Television and a general discussion of 1977's classic Marquee Moon album.  Mark & Barney pay heartfelt tribute to tragic blues-guitar hero Peter Green, ruminating on what made the Fleetwood Mac man so much more emotional a player then his UK blues-boom peers. They also say goodbye to the hilarious CP Lee, former frontman with Mancunian satirists Alberto Y Lost Trios Paranoias. After bringing Mary's directorial career up to date – with an aside on the American Psycho soundtrack that affords Jasper a chance to wax lyrical about Huey Lewis & the News – Mark selects his library highlights, including notable pieces about Brian Jones, Labelle, the Bush Tetras and, erm, the Knack. Jasper rounds things up – and brings matters back down to earth – with remarks on pieces about "superstar DJs" and Stock Aitken Waterman teaboy Rick Astley…  Pieces discussed: Mary Harron on the Ramones / on pop art / on Michael Zilkha, Punk Rock, Talking Heads, Shouting Heads, Tom Verlaine audio, Peter Green, Peter Greener, Alberto y Lost Trios Paranoias, Rolling Stones, Labelle, Disco, Bush Tetras, The Knack, Jeff Beck, Superstar DJs, Rizzle Kicks and Rick Astley.

Featuring tracks by Bush Tetras, The Sonics, Exploding White Mice and many moreDJ Melodica Presents Episode 31. intro-Unknown2. Punch Drunk-Bush Tetras3. Brainpower-Playhour Records4. Magic Rocking Horse-Plasticland5.Pin the Tail on The Donkey-The Soul Set6.Heidelberg ad7.He's Waiting-The Sonics8.Hitchhike-LiLLiput9.Lights Are Changing-The Bevis Frond10.Who Stole The Batmobile-The Gotham City Crime Fighters11.Let The Kids Dance-Exploding White Mice12.Boo!-The Bonzo Doo Dah Dog Band

Radio Nova revisite ses propres classiques : les raretés de tout bord qui rythment notre antenne, de la soul-funk au hip-hop en passant par les musiques afro-latines et la pop. Aujourd'hui : « Can't… See acast.com/privacy for privacy and opt-out information.

This week‘s show features music from artists of the 80s out of New York City. We play tracks from Kid Creole & The Coconuts, The Dictators, Ron Rogers, Bush Tetras, The Toasters, Blondie and more.

This week‘s show features music from artists of the 80s out of New York City. We play tracks from Kid Creole & The Coconuts, The Dictators, Ron Rogers, Bush Tetras, The Toasters, Blondie and more.

Bodhi takes offense at the idea that there aren't many different ways to dance the pogo, and responds with an hour of punk funk. With the Bush Tetras, Medium Medium, Delta 5, the Slits, E.S.G, and Liquid Liquid. Tracklist, images of the actual records played, and more at https://medium.com/@bodhidjbodhi/party-with-me-punker-punk-funk-cc4eb93e358d Listen live every Wednesday 5-6pm MST here www.radio1190.org/, or wait for the upload every Thursday. If you enjoy the show, you can make BodhiDJBodhi very happy by sharing it, liking it, reviewing it, or by doing something foul with it. If you want a T-shirt, email BodhiDjBodhi@gmail.com

On this episode I play tracks from Soul Jazz Records' 'New York Noise' which features some of the most influential bands from New York's punk-funk scene in the late 70's to early 80s, including ESG, Liquid Liquid, Bush Tetras, Konk, and Alan Vega. I've also included some tracks by a few other artists that were not featured on the record, but are certainly just as influential. Enjoy! 1. Reduction - Material 2. Konk Party - Konk 3. Can't Be Funky - Bush Tetras 4. My Spine Is The Bassline - Shriekback 5. Do Dada - The Dance 6. Elephant - Konk 7. My Love For You - ESG 8. New Walk - Liquid Liquid 9. Fire - Lizzy Mercier Descloux 10. I Heard It Through The Grapevine - The Slits 11. Baby Dee - Konk 12. Mind Your Own Business - Delta 5 13. See No Evil - Television 14. Juke Box Babe - Alan Vega

The story of 99 (pronounced “nine nine” and not “ninety-nine”) it's basically the story of Ed Bahlman, a born-and-bred Brooklynite with a strong work ethic and an intense passion for music, especially new and underground music that wasn’t wholly embraced by the mainstream or even alternative establishments. Everything started from a punk clothing store called 99, that later Ed transformed in the infamous record shop, thanks to his incredible selection of obscure and independent rock, reggae and punk music, that later became the ideal launching pad for the homonymous independent record label. The episode features: Y Pants, Liquid Liquid, ESG, Vivien Goldman, Bush Tetras, Maximum Joy, John Cage (in an interview about Glenn Branca) and Glenn Branca.

New tunes by Sarah Davachi, Bradley Sean Alexander, Sonae, William Selman, Bush Tetras, Drinks, Wilmoth Axel, AMULETS

Cynthia Sley the pioneering post-punk frontwoman of Bush Tetras is our very special guest on podcast today! She is incredible! Purchase Bush Tetra's brand new release Take The Fall on Wharf Cat Records here: https://www.wharfcatrecords.com/store/bush-tetras-take-the-fall-pre-order-12cd Current announced shows here: 5/12 - Oakland - Elbo Room 5/13 - San Francisco - Elbo Room 5/19 - Toronto - Rivoli 7/7 - Detroit - PJ's Lager House 7/8 - Chicago - TBA Learn more about your ad choices. Visit megaphone.fm/adchoices

Black Out in the Bat House : Episode 40 Dj. Ely BaT ---------------------------------------- 1:Siouxsie & The Banshees - make up to break up 2:siglo xx - into the dark 3:Paraxox Obscur - in control 4:Les Fleurs Du Mal - a long day's journey 5:The Foreign Resort - she is Lost 6:K.U.K.L.- dismembered 7:Bush Tetras- stare you down 8:Dark Door - cancellato 9:S.A.D (Sudden Axis Disorder) - she's gone 10:Morbidi I Mnoci - Put 11:Desenterradas - paralisis del sueno 12:Lady Besery's Garden- collapse 13:Lupercais - espectros

Konk - Your Life Dj Edit By Petko Turner Formed in 1980 in New York City, KONK was a band that emerged during a period marked by the post-punk/new wave and disco scenes which were prevalent at the time. KONK won the attention of both scenes by playing a hybrid of the two musical styles which involved the blending of a new wave attitude with the carefree nature of disco's dance crowd. KONK's musical influences ranged from Afrobeat, jazz, and funk to hip hop. Given these influence KONK's style is noted as being highly percussive, and containing simple, yet strong, backing bass lines. As part of New York’s post-punk dance scene they regularly played alongside groups such as Liquid Liquid, Bush Tetras, ESG, The Peech Boys and The Lounge Lizards. They have been featured in a recent book by David Byrne and others on the New York post-punk scene. Download for free on The Artist Union

Onceavo capítulo de Autómata, emitido el miércoles 02 de Diciembre del 2015 por radio Ser FM. Sonaron: Neon Hearts, Bush Tetras, Animal Collective, Antonio Duarte, Icalma, Volcano the Bear, Electrosoniks, A Full Cosmic Sound, El Tío Motorizado y Experimental Audio Resaearch.

00:00 Phil Kieran, Burglar Tom & Bush Tetras – Snakes Crawl (East Village Mix) 04:21 Amine Edge – Beautiful feat Villanova (Amine Edge Edit) 08:35 Johnny Corporate – Sunday Shoutin’ 14:43 Nhan Solo – Tell You 19:09 Alvaro Smart – Never Too Late 23:14 Cupcakes – Queen Size 26:49 Le Babar – No Sleep 29:30 Leonardus…

Post-punk, glam, rocknroll DANCE party from DJ Sex Libris @ Circus of Dreams performance art night in Bushwick. http://houseofscrewball.com/ 1. CAPTAIN & TENNILLE - "LOVE WILL KEEP US TOGETHER 2. ESG - "Moody (Spaced Out)" 3. Donna Summer - "I Feel Love" 4. ESG - "Dance" 5. The Velvet Underground - "I Can't Stand It" 6. David Bowie - "The Jean Genie" 7. The Equals - "Baby Come Back" 8. The B-52's - "Mesopotamia" 9. Roxy Music - "Love Is The Drug" 10. Bush Tetras - "Das Ah Riot" 11. Sparks - "Number 1 Song in Heaven" 12. Queen - "Don't Stop Me Now" 13. Heart - "Crazy On You" 14. Falco - "Der kommissar" 15. Jobriath - "I'm a Man" 16. Erkin Koray - "Estarabim" 17. Damon - "Don't You Feel Me" 18. The Misty Wizards - "It's Love" 19. THE TROGGS - "Love Is All Around" 20. Sunny Ade And His African Beat - "Ja Fun Mi" 21. Eji Oyewole - "Unity Of Africa - Eji Oyewole" 22. Ayaléw Mèsfin & Black Lion Band - "Gèdawo" 23. Mulatu Astatqe - "Tezeta"

Nearly 50? Let's not dwell on it, shall we?  Let's see what Ellie Goulding, Pet Shop Boys, Avicii, Elton vs Pnau, Bright Light Bright Light and so on have to say instead. Lights (RAC Mix) * Ellie Goulding Winner (Niki & The Dove Remix) * Pet Shop Boys Dancing In My Head (Avicii's Been Cursed Remix) * Eric Turner Vs. Avicii The Noyz * Tomcraft feat. Sam Obernik How Can I Live Without You (Make It Right) (Club Mix) * Hervé Waiting for the Feeling (Vinny Vero & Steve Migliore Single Mix) * Bright Light Bright Light Something For Certain (Wize Remix) * Moussa Clarke & Plastic Disco feat. Susie Ledge The Poem (Original Mix) * Maetrik Sad (Seamus Haji Club Mix) * Elton John vs Pnau Spectrum (Say My Name) (Maya Jane Coles Remix) * Florence + The Machine Years * Alesso feat. Matthew Koma True Faith * Serge Devant Love Is Gonna Lift You Up (Exemen Remix) * Bobby Womack Snakes Crawl (East Village Mix) * Phil Kieran and Bush Tetras Home Is Where It Hurts  * Solo feat. Syron Curling (Database Remix) * Sykur Follow me on Facebook or you can see what I'm wittering on about on the blog. Drop me an email.

PUNKCAST#1076-01 Bush Tetras, from NYC, performing live at Knitting Factory, NYC, on Nov 22 2006. More info: http://punkcast.com/1076

30 years after Steve Shelley's maraca drumstick in "1991: The Year Punk Broke" blew Damian's mind, the Sonic Youth legend comes to TOAP! Listen in as the two discuss: Detroit New Wave, The Fix, and being a Crucifuck. From the still unsung Importance of L-Seven, to trying to join a band like Sonic Youth, to the troubled genius of Doc Dart, and so much more: DON'T MISS THIS!Also, don't miss Steve on Bush Tetras' fantastic: "They Live In My Head" LP, on Wharf Cat Records.Also, catch Steve on the legit reissue of the classic Sonic Youth bootleg: "Walls Have Ears" double LP,Support this podcast at — https://redcircle.com/turned-out-a-punk/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy