Podcasts about CBGB

Interview with Chris Stamey !   Chris has a new album out called Modernism.    It features new versions of classic songs such as the Beatles' “Hey Bulldog” (with Big Star's Jody Stephens on drums), the Kinks' “Waterloo Sunset” (with the dB's), and Sly and the Family Stone's “Thank You (Falettinme Be Mice Elf Agin)” (featuring the Uptown Horns, Brian Dennis [DAG], and Jon Wurster [Mountain Goats, Superchunk]). Deep cuts are also in evidence, including “Shadows Breaking Over My Head” by the Left Banke (with Brian Wilson Band alums Probyn Gregory and Nelson Bragg), “Hernando's Hideaway” (from The Pajama Game, and a 1954 hit for Everly Bros. producer Archie Bleyer), “At Last” (by Harry Warren), as well as three new interpretations of his own earlier tunes. There's also a closer of the Rolling Stones' “Ruby Tuesday,” a version produced by Alex Chilton in 1977. The original mix is now lost, but a charming instrumental rough mix on an old reel-to-reel analog tape (Alex on drums and guitar) was recently discovered, and Chris and Pat Sansone (Wilco, Autumn Defense) were able to replace the missing vocals and (with Don Dixon's bowed bass and Rachel Kiel's alto recorder) bring the track to life.   Chris Stamey began writing and playing music in grade school in Winston-Salem, NC, in the mid 1960s, in what is known now as the Combo Corner scene. In 1976, while studying music composition at UNC-Chapel Hill, he self-released Sneakers, one of the very first American “indie” records. The following year, he relocated to Manhattan to play and record with Alex Chilton in the burgeoning CBGB rock scene, then formed The dB's with fellow Carolinians Will Rigby, Gene Holder, and Peter Holsapple, with whom he made several acclaimed records of original material, including Stands for deciBels (self-produced with Alan Betrock) and Repercussion (produced by Scott Litt).   During the next decade and a half in New York, Stamey worked with a wide variety of musicians. He recorded well-received solo records for A&M and Warners and was a part of Anton Fier's Golden Palominos project, alongside an international touring cast that included Michael Stipe (R.E.M.), Jack Bruce (Cream), Carla Bley, and Bernie Worrell (Talking Heads, George Clinton). He continued recording and producing upon returning to NC in 1993.   His recent releases include The Great Escape, Lovesick Blues and Euphoria, as well as Falling Off the Sky with The dB's and A Brand-New Shade of Blue with the Fellow Travelers. As a producer and a featured singer/songwriter with the Paris-based Salt Collective project, he collaborated with Matthew Caws (Nada Surf), Juliana Hatfield, Richard Lloyd (Television), Matthew Sweet, Aimee Mann, Andy Partridge, The Lemon Twigs, Mike Mills, and Lynn Blakey, among others. As a producer, arranger, and mixer, he has worked with over a hundred artists, including Alejandro Escovedo, Kronos Quartet, Flat Duo Jets, Skylar Gudasz, Branford Marsalis, Tift Merritt, Le Tigre, Those Pretty Wrongs, Ryan Adams, and Yo La Tengo.   From 2010-2018, Stamey was orchestrator and musical director for an international series of concert performances of Big Star's classic album Third, alongside Big Star's Jody Stephens, Ray Davies, members of the Posies, R.E.M., Teenage Fanclub, Wilco, Kronos Quartet and Yo La Tengo; Thank You, Friends, a concert film of these arrangements, was released by Concord in March 2017. He currently tours as a member of Jody Stephens's Big Star Quintet, whose line-up includes Mike Mills (R.E.M), Pat Sansone (Wilco), and Jon Auer (Posies). His original radio musical about the early '60s in Manhattan, Occasional Shivers, premiered nationwide on Christmas Day 2016. A “songwriting memoir,” A Spy in the House of Loud (Univ. of Texas Press), was published in 2018, followed in 2019 by his first printed collection, New Songs for the 20th Century, with a companion two-disc CD (Omnivore Recordings).   open.spotify.com/artist/1i7YYagcULgnW5Qilsto1d music.apple.com/us/artist/chris-stamey/4034250 youtube.com/channel/UCG3O3S8Zg_WJoz2uTt_duig# instagram.com/mrstamey/?hl=en facebook.com/chrisstameymusic/ twitter.com/chrisstamey songkick.com/artists/186319-chris-stamey bandsintown.com/a/78299-chris-stamey deezer.com/us/artist/1279457 tidal.com/browse/artist/3611403 qobuz.com/us-en/interpreter/chris-stamey/515742 audiomack.com/chris-stamey music.amazon.com/artists/B008LPNC4M @chris-stamey.bsky.social chrisstamey.bandcamp.com/

We got to hang with frontman Peter Zaremba of The Fleshtones. We discuss the 50th anniversary of the band, The Wheel of Talent, CBGB and Max's, France and Spain, being on IRS Records and why their earlier stuff isn't available on the streamings, "The Cutting Edge" television show on MTV, discovering Jimi, and the "Bachelor Party" movie.We just hit record and started chatting so there's no formal "intro." If you think I need to record one, please share some thoughts. I kind of figured that no intro was in line with the Fleshtones no nonsense punk kind of vibe.Lots of music in this one including the following Fleshtones songs (and others where notated).You Gotta Love, Love (intro)HitsburgAlex TrebekLove My LoverFloat Your ShowboatBox Tops – Cry Like a BabyTommy Roe – SheilaThe Honeycombs - Love in TokyoLe Cereau (Peter solo song)American BeatRoman Gods (outro)If you need more Fleshtones, here you go: https://www.facebook.com/fleshtonesofficial/

Episode #328:Longtime Billy Idol guitarist Steve Stevens checks in with Mistress Carrie on a day off during the Billy Idol North American tour with Devo, to talk the Rock Hall induction this November, helping to induct Ozzy Osbourne, his fellow bandmember Billy Morrison. surviving the 80's, going to the Fame school, the origin of his stage name, CBGB's, Max's Kansas City, songwriting, Blondie, the Sex Pistols, Flamenco music, his first guitar, his signature guitar, his first royalty check, playing the Top Gun theme, The Beatles, Paul McCartney, depression, English candy, his marriage, working on new music, and so much more!Episode NotesCheck out the custom playlist for Episode #328 here! Find Steve Stevens Online:FacebookInstagramXWebsiteYoutubeFind Billy Idol Online:WebsiteTwitterFacebookInstagramYoutubeFind Mistress Carrie Online:Official WebsiteThe Mistress Carrie Backstage Pass on PatreonTwitterFacebookInstagramBlueskyThreadsYouTubeTikTokCameoPantheon Podcast NetworkFind The Mistress Carrie Podcast online:InstagramThreads   Learn more about your ad choices. Visit megaphone.fm/adchoices

This year marks the 25th anniversary of the attacks on the Twin Towers on September 11, 2001. Today there's an entire generation that only knows the World Trade Center as an emblem of tragedy. But people sometimes forget that the World Trade Center, designed by Japanese-American architect Minoru Yamasaki, was a very complicated addition to the New York skyline when it officially opened in 1973.While it might be fun to think of New York City in the 1970s through the lens of places like Studio 54 or CBGB, the Twin Towers were what really redefined New York.The journey to build the world's tallest building and its expansive complex of office towers and underground shops began in an effort by David Rockefeller to stimulate development in Manhattan's fading Financial District. By the time Port Authority got on board to fund the project, the Twin Towers were bonded together with another vital project — a commuter train from New Jersey.The World Trade Center inspired strong opinions from critics and the public alike, but eventually many grew to admire the strange towers which marked the skyline.And for some, the Twin Towers became objects of obsession.FEATURING: The insane, completely outlandish and ultimately successful feat of acrobatics by a very bold French tightrope walker.PLUS: An interview with Kate Monaghan Connolly of the National September 11 Memorial and Museum about how that institution memorializes those lost in the tragedy while still celebrating the technological marvels that once stood there. And visit our website for more historical images of the Twin Towers.This show was recorded in 2021 for the 20th anniversary, reedited and remastered by Kieran Gannon. We have a batch of brand new episodes of the Bowery Boys starting next week. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Hosts Jim DeRogatis and Greg Kot share a fresh batch of songs that deserve more attention- what they call "buried treasures." They also pay tribute to Dolly Parton.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/4frcVZoMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundopsFeatured Songs:Portraits of Tracy, "Caught In A Jam," Q: From Where Do Our Primal Instincts Originate? A: MTV!, self-released, 2026The Beatles, "With a Little Help from My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Dolly Parton, "Jolene," Jolene, RCA Victor, 1974Dolly Parton, "9 to 5," 9 to 5 and Odd Jobs, RCA Victor, 1980Dolly Parton, "Down from Dover," The Fairest of Them All, RCA Victor, 1970Dolly Parton, "Cash on the Barrelhead," The Grass Is Blue, Sugar Hill and Blue Eye, 1999Debbie Reynolds and Carleton Carpenter, "Aba Daba Honeymoon," Aba Daba Honeymoon (Single), MGM, 1950Ado, "Vivarium," Vivarium (Single), Capitol, 2026Prisoner, "La femme qui s'était faite toute seule," Prisoner, Wicked Cool, 2026Hemlocke Springs, "Head, Shoulders, Knees and Ankles," The Apple Tree Under The Sea, Good Luck Have Fun, 2025Nia Archives, "Danger," Emotional Junglist, Hijinxx, 2026Kelly Hogan, "The Song of the Great Licking," Congressman Davy: A Musical, Plenty Tuff, 2026St. Divine, "Spit," The Devil You Know, Reel to Reel, 2026Park Hills Circle, "The Way Up," All of a Sudden, Pravda, 2026Absolute Grey, "More Walnuts," live at CBGB's 1985, Real Gone , 2026The Odyssey Cult, "The Yeti's Eyes," Vol. 3, Silver Current, 2026The Jaws of Brooklyn, "Lie to Me," Unstoppable, Weekend Furlough, 2026David Porter, "Soul Man," The Classics, Made in Memphis, 2019See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Do you have a documentary, or do you have a Wikipedia entry?Somebody decides whether your documentary gets made. Sophia Dilley is one of those people. She runs Concord Originals, the division behind Stax: Soulsville U.S.A. on HBO, and she is Co-President of RKO, which Concord bought in June 2025 along with more than 5,000 titles including King Kong, Citizen Kane and It's a Wonderful Life. In this episode she gives away the three questions she asks before her team commits to anything.In Episode 286, Christian sits down with Sophia Dilley, Executive Vice President of Concord Originals and Co-President of RKO, to talk about how a project gets chosen, how to reach out to someone far above you, and how music rights for film work when the budget you have is the only budget there is.The spine of the conversation is a question Dilley asks before her team commits to anything: is this a Wikipedia story we're telling? If the whole thing is already available in twelve seconds of searching, there may not be a film in it. Around that sit her two other threshold questions, a working answer to why the documentary business feels impossible right now, and the plainest reassurance in the episode. "It's scary," she says. "It's scary for everybody." Along the way: a punk band that played CBGB's, a production designer father who left for set at four forty-five in the morning, Roger Deakins as a case study in how to write to someone you admire, and the difference between distribution rights and derivative rights, which is the thing almost everyone (Including Christian!) got wrong about the RKO deal. If you have ever been told that music rights for film are impossible on an independent budget, she has a different answer.In this episode, you'll learn:What Concord actually acquired when it bought RKO, and why distribution rights and derivative rights are two entirely different thingsThe three questions Sophia Dilley asks before committing to any storyHow to tell whether you have a film or a Wikipedia entryThe difference between sync and publishing, and why one song can mean two negotiations with two different companiesWhat to say to a music company when the budget you have is the only budget there isWhy a music documentary takes five years on average, and what eats the timeWhy a rejection is usually about the marketplace rather than about your filmHow to open a door with someone you admire without being, in her words, a scary, creepy fanWhat it looks like inside a company that generates most of its projects out of its own catalogCHAPTERS0:00 What Concord Actually Bought With RKO5:34 From CBGB's to Running a Studio Division11:42 Reaching Out to People Above You16:32 Why Distribution Is Scary for Everybody21:26 Who Are You Really Competing With?26:02 Music Rights for Film: Sync and Publishing29:49 Why a Doc Takes Five Years34:54 How Does She Decide What Gets Made?41:44 Women, Allies, and Your Replacement46:05 What if You Can't Afford the Song?50:05 Closing Argument and DocuView Deja VuFREQUENTLY ASKED QUESTIONSHow do you get music rights for a documentary?You need permission from more than one owner. The song belongs to a publisher and the specific recording belongs to a label, so most documentaries need both a sync license and a master use license. On Stax: Soulsville U.S.A., that meant clearing more than thirty artists, multiple publishers and several estates. Concord Originals EVP Sophia Dilley says the first step is acknowledging you need those rights before you build the film around them.What if I can't afford to license a song for my film?Call anyway, and be honest about the budget. Sophia Dilley advises independent filmmakers to say who they are, name what the film was made for, show the actual scene the song would sit under, and ask directly for help. "Behind every door at every music company, there are real people," she says. A studio with a real budget cannot use that approach. A genuine independent often can.How long does it take to make a music documentary?Longer than most filmmakers expect. Sophia Dilley of Concord Originals puts the average at five years, at least. Stax: Soulsville U.S.A. began in 2018, when a colleague walked into her office with the story, and premiered on HBO in May 2024. Much of that time goes to music rights, estates and publishers rather than to production, because every stakeholder connected to the music has to be brought on side first.Who owns RKO now?Concord Originals acquired RKO Pictures in June 2025, but the deal is narrower than it sounds. Distribution rights to the classic RKO library remain with Turner. What Concord bought are the derivative rights, meaning remakes, sequels, prequels, story and stage rights to more than 5,000 titles the studio produced in-house. Sophia Dilley serves as Co-President of RKO, which continues to operate under Concord Originals.DOCUVIEW DEJA VU PICKSSophia Dilley's picks:[New York Doll](https://www.imdb.com/title/tt0436629/) (2005), directed by Greg Whiteley. A deep cut about Arthur "Killer" Kane of the New York Dolls and his search for his own history. Dilley notes that Whiteley went on to make Cheer, and the warmth is already here.[Science Fair](https://films.nationalgeographic.com/science-fair) (2018), directed by Cristina Costantini and Darren Foster. She saw it at SXSW, where it won the Audience Award. Teenagers at the international science fair, and, in her words, so much magic in following a real human story.SPONSORED BYThis episode is brought to you by [Virgil Films Entertainment.](https://virgilfilms.com/) Over 25 years of distribution experience, from Super Size Me and the Oscar-nominated Restrepo to Forks Over Knives and Speed is Expensive. If you are a filmmaker having trouble with distribution, talk to Virgil.LISTEN AND FOLLOWListen on any podcast app: https://pod.fo/e/5ffe38Watch on YouTube: https://www.youtube.com/@documentaryfirstSupport the show on Patreon: https://www.patreon.com/c/DocumentaryFirstCONNECTDocumentary First on all platforms: https://linktr.ee/doc1stChristian Taylor on LinkedIn: https://www.linkedin.com/in/meetchristiantaylorABOUT THE GUEST[Sophia Dilley](https://www.linkedin.com/in/sophia-dilley-32098612/) is Executive Vice President of Concord Originals and Co-President of RKO. Concord hired her in 2018 to build a content strategy, and in 2021 she launched Concord Originals, the company's film and television division. Her father was a production designer, so she grew up on movie sets watching what the work actually costs. Before film, she thought she would go into music: piano, violin, voice lessons, and a punk band in high school that played CBGB's in New York.ABOUT CONCORD ORIGINALS[Concord Originals](https://concord.com/originals/) is the film and television arm of Concord, developing screen stories out of one of the largest independent music and theatrical catalogs in the world. Most of its projects are self-generated, which Dilley describes as the division's whole remit: take what is already under the roof and find a new life for it. Because the catalog is the source, music rights for film sit at the center of nearly every project the division takes on.Recent and upcoming work discussed in this episode:[Stax: Soulsville U.S.A.](https://staxrecords.com/news/stax-soulsville-usa-hbo-original-series/) (HBO, 2024), the four-part series directed by Jamila Wignot. Peabody winner, nominated for two Emmys.[Billy Preston: That's the Way God Planned It](https://www.abramorama.com/film/billypreston) (2026), directed by Paris Barclay, in theaters through Abramorama.[Pretty Ugly: The Story of the Lunachicks](https://www.primevideo.com/detail/0JALRVESVNYMKZ3MWYFVVH8KV0/) (2026), directed by Ilya Chaiken, brought to Concord by Betsy West and Julie Cohen.Films on Billie Holiday, Cyndi Lauper, Shari Lewis and Lamb Chop, and Creedence Clearwater Revival, with Robert Johnson and Fania Records on the way.ABOUT DOCUMENTARY FIRST[Documentary First](https://documentaryfirst.com/) is a weekly podcast about the craft, the business, and the truth of documentary filmmaking, hosted by Christian Taylor. Nearly 300 episodes in, Listen Notes ranks the show in the top 5% of all podcasts worldwide, MillionPodcasts ranks it the number one documentary film podcast in the US, and it holds a 4.8 out of 5 on Apple Podcasts. Christian Taylor is a documentary filmmaker (The Girl Who Wore Freedom), actor, voice actor, and casting director.RESOURCES MENTIONEDSoulsville U.S.A.: The Story of Stax Records by Rob Bowman, the book behind the film: https://www.goodreads.com/book/show/2775862Documentary First Episode 277, Teddy Cannon on music rights and licensing, the other side of this conversation: https://pod.fo/e/413f3a

David Byrne is a music icon.With Talking Heads, or his many wild collaborations, and as an acclaimed solo artist, he's continually pushed the boundaries of sound, crafting some of the most iconic live performances of our time.Over five decades, he's never stopped asking why. His curiosity has driven an extraordinary creative life that stretches way beyond music: on canvas, in writing, filmmaking, composing musicals. He's even designed bike racks.From hearing Bob Dylan's mysterious words on a tiny radio and discovering James Brown's interlocking grooves, to forming Talking Heads at the Rhode Island School of Design and moving to New York's CBGB scene, Byrne has always followed his curiosity wherever it leads. He wrote his very first song, "Psycho Killer," as a test to see if he could write one at all, and it became an instant classic.His collaborations read like a who's who of music history: Brian Eno, Arthur Russell, Parliament-Funkadelic, and even Celia Cruz. His 1984 concert film Stop Making Sense with Jonathan Demme remains one of the most celebrated live performances ever captured. And decades later, he's still rearranging his classic songs, finding new meaning in them, sometimes discovering, as with "Life During Wartime," that they feel more real and more close than ever.This episode was filmed for Season 5 of Take 5 with Zan Rowe in a recording studio in Sydney while David Byrne was in Australia touring over the 2025/26 summer. He was jubilant, fascinating, and so generous in exploring his huge life across five songs. As a lifelong DB fan, the theme was clear: curiosity. And as David himself says, the answers don't come in the songs. They come in the live shows, in how we perform and how we are with one another.David Byrne's song choices:James Brown - 'Get On the Good Foot'Joubert Singers - 'Stand On The Word' (Larry Levan mix)Celia Cruz - 'Cucala'James Blake - 'The Wilhelm Scream'Caetano Veloso - 'Tropicalia'00:00 Introduction: A Lifetime of Asking Questions02:01 Meet David Byrne: Icon, Collaborator, Polymath02:33 Extended Cut. Watch on ABC iview02:55 The Theme: Curiosity and the Songs That Spark It03:25 A Tiny Radio, The Byrds, and the Mysterious Words of Bob Dylan04:45 James Brown: 'Get On the Good Foot'05:09 Interlocking Puzzles: "I Treat Every Instrument as a Percussion Instrument"05:34 The Social Metaphor of Funk. A Penny Drop Moment Decades Later07:12 First Time Seeing James Brown Live: The Dancing Women Who Weren't Singing08:37 Art School and Music as a Hobby: "Don't Get Your Hopes Up"09:23 Rhode Island School of Design: Meeting Chris Frantz09:52 Putting a Band Together and Writing the First Songs10:39 Why Write Songs at All? "Just to See If You Could"11:04 Writing "Psycho Killer" as a Test. And People Liked It11:31 "Check That Box. I Can Write a Song."12:12 Influences: James Brown, Disco, Bowie, and the Velvet Underground12:54 Moving to New York: CBGB, Television, and Patti Smith13:47 MTV and "Once in a Lifetime": Going Back to Art School for Music Videos14:26 Joubert Singers: 'Stand On The Word' (Larry Levan mix)14:53 Gospel in a Disco Club: The Shared Transcendence of Dance and Church16:31 Hearing Talking Heads in the Clubs: "We've Been Validated"17:11 My Life in the Bush of Ghosts: When the DJ Picked It18:00 Losing Yourself: The Body Perceives Music Before the Mind19:25 Trust and Surrender on the Dance Floor20:01 Celia Cruz: 'Cucala'20:41 The Latin Club Down the Street from CBGB21:06 Dance Music Played Live: Salsa, Hips, and Sensuous Rhythms21:56 Celia Cruz's Voice: "It Cuts Through Everything"22:36 A Pinch-Yourself Moment: Recording a Song with Celia Cruz23:12 Different Worlds: Spangly Outfits, Huge Hairdos, and Skinny Jeans23:50 Collaborators Expanding: Arthur Russell's Cello Arrangement of "Psycho Killer"24:44 Adding Parliament-Funkadelic Members: The Universe Keeps Growing25:23 James Blake: 'The Wilhelm Scream'26:03 Minimalism: "You Don't Have to Keep Piling Everything On"26:51 Brian Eno vs. James Blake: Learning to Strip Things Down from a Song27:18 Seeing James Blake Live and Discovering He's "a Great Singer"27:43 James Blake the Producer: Pulling Things Apart and Stitching Them Back Together27:58 Stop Making Sense: Showing the Audience How the Sausage Is Made28:20 "You're Playing to Tracks, Aren't You?" Proving It's All Live28:45 Breaking a Song Apart Onstage: One Instrument at a Time29:09 Wireless Instruments and Witchcraft29:21 Caetano Veloso: 'Tropicalia'30:27 Caetano Celebrating Everything: "We Can Say Yes to All These Things"30:50 A Mentor Who Keeps Evolving: "I Want to Be Able to Do That"31:59 Political Messages in Flower Language: Getting Ideas Past the Censors32:35 Learning from Caetano and Celia Cruz: Protest Songs Don't Have to Shout32:58 "Years Ago, I Was an Angry Man"33:31 Rearranging the Old Songs: They're Recognisable, But the Meaning Changes33:57 Playing "Life During Wartime" Today: "It Seems Too Real, Too Close"34:46 Licensing News Footage: "It Takes Your Breath Away"35:17 Songs That Evolve Personally and Globally. Communion in Concert36:32 What an Absolute Joy: David Byrne Across Five Songs36:56 Next Time: Jacinda Ardern37:31 Season 5 of Take 5 with Zan Rowe. Stream on ABC iviewThis episode was filmed for season 5 of Take 5 with Zan Rowe on ABC TV and ABC iview. You can stream the whole season on ABC iview now.Watch this episode of Take 5 on ABC iview: https://iview.abc.net.au/show/take-5-with-zan-rowe

This month, the GenX Book Club heads back to New York City in 1977, a city of punk rock, poetry, underground art, the blackout, Son of Sam, and a little club on the Bowery called CBGB. Paul Stroessner Jr. and Suzanne Mattaboni are joined by author Gabriel Rotello to discuss his novel The CBGB Conspiracy, a historical murder mystery that mixes fictional characters with real people, places, and events from one of the wildest and most creative periods in New York City history. Gabriel didn't just research this world. He lived in it. He arrived in New York in the 1970s, played music during the early CBGB era, and later became a journalist, activist, author, and documentary filmmaker. The conversation quickly moves beyond the mystery itself and into the New York that inspired it. Gabriel shares memories of the downtown music and art scene, the real history woven throughout the novel, the Everard Baths fire, the Anderson Theater and CBGB's attempted expansion, and the remarkable collection of artists, musicians, writers, and outsiders who found one another in a city that was simultaneously falling apart and exploding with creativity. Suzanne brings her own memories of New York and the New Wave era, while Paul digs into Gabriel's experience of turning history into fiction and why writing the novel was so much fun. And at one point, Gabriel shares a piece of CBGB history that he says nobody else knows about. They also discuss Steven Sprouse, William S. Burroughs, Holly Woodlawn, Lou Reed, Patti Smith, the transformation of New York nightlife, and whether the conditions that created that extraordinary downtown culture could ever happen again. This is a spoiler-free conversation, so you can listen even if The CBGB Conspiracy is still sitting on your TBR pile. Because sometimes a great book isn't the end of the conversation. It's where the stories begin.   Connect with Gabriel Rotello:GabrielRotello.com   The CBGB Conspiracy can be found at Amazon and anywhere else where books are sold.   More from the GenX Book Club Crew

On a tous fait la fête. De tous les genres. Les familiales, les guindailles monstres, les dîners fastueux, bref celles destinées à nous divertir tous ensemble et rien d'autre.Mais il existe un autre type de fête, celui où l'on invente le monde de demain. Ça vous étonne, hein ? Bienvenue à New York, nous sommes au milieu des années 70.Quand je dis New York, Manhattan, bien sûr, mais à cette époque, on l'a oublié, la ville est en plein naufrage. L'insécurité règne partout dans les rues, on connaît tous quelqu'un qui s'est fait agresser. Les New Yorkais ont fui Manhattan pour l'extérieur, les immeubles sont délabrés, les loyers dérisoires et, au 315 Bowery, un des quartiers qui fait le plus peur, un club bizarre a ouvert ses portes : le CBGB. Une salle minuscule installée dans un ancien magasin avec une scène bricolée et une sono qui grésille. Franchement, rien de glamour. Et pourtant...Tous les soirs, on y croise des jeunes qui n'ont pas un sou, vivent de rien mais débordent d'idées. Des groupes encore inconnus comme Blondie, les Ramones, Talking Heads, ou Patti Smith y jouent, regardent les autres jouer, boivent une bière et discutent jusqu'au bout de la nuit.La fête est partout. Sur scène, devant la scène, au comptoir, dans la rue quand le club ferme. Car on n'est pas venus uniquement pour écouter de la musique, mais aussi pour rencontrer ceux qui la font et en qui on croit.Et ça ne traîne pas car à quelques rues de là, Andy Warhol accueille ces artistes dans son entourage. Il a déjà fait le coup avec Lou Reed dix ans plus tôt, alors il remet le couvert d'autant plus volontiers qu'il sent l'odeur de la poudre, cette fois : ces jeunes fous, c'est de la bombe. Des photographes, des stylistes, des peintres, des musiciens se retrouvent. Chacun apporte une idée, un dessin, une chanson.Il y a des gars qui louent une heure d'une chaîne de télé pour faire une émission déjantée, un photographe qui immortalise tous les concerts, un styliste qui imagine une pochette de disque, un technicien qui veut décorer un mur de studio mais on lui dit non : pas de chance, il s'appelle Basquiat. Dans ce New York en déroute, on manque d'argent, c'est vrai mais pas d'imagination.Debbie Harry, la voix de Blondie, dira souvent que cette époque était incroyablement libre. On n'avait pas une thune mais tout le monde avait le sentiment d'être libre et surtout, à sa place.Vrai, les plus belles fêtes ne sont pas toujours celles où l'on sert le meilleur champagne mais celles où on vient sans le savoir trouver la personne qui va vous aider ou vous donner l'envie folle d'écrire des chansons.

Living Colour reshaped rock music by fusing hard rock, funk, metal, blues, jazz, and socially conscious lyrics into a sound that refused to be categorized. Author Preston Frazier joins Booked On Rock to discuss his book Shade of Living Colour and trace the band's remarkable journey—from New York's CBGB scene and the Black Rock Coalition to the breakthrough success of Vivid, “Cult of Personality,” Time's Up, Stain, and their enduring influence on modern rock.Frazier explores Vernon Reid's visionary guitar work, Corey Glover's commanding voice, Will Calhoun's explosive drumming, and the contrasting bass contributions of Muzz Skillings and Doug Wimbish. The conversation also examines Mick Jagger's early support, “Glamour Boys,” “Nothingness,” the band's breakup and reunion, and how Living Colour reclaimed rock's Black roots while confronting racism, identity, politics, fame, and the music industry's restrictive labels.Purchase a copy of Shade of Living ColourFind out more about Preston Frazier at SlangOfAges.com----------

NYC legend Tommy Victor returns to Getting It Out Podcast for the third time to discuss PRONG and their upcoming self-titled album. He discusses the new record, but also digs deep into his history, including reminiscing on the recording of the seminal Agnostic Front "Live at CBGB" record, and more.Music by:Cro-MagsProngForeign BodyIntro music by:Hot ZonePatreon: https://www.patreon.com/GettingitoutpodcastEmail: dan@gettingitout.netWebsite: http://gettingitout.net/Instagram: @getting_it_out_podcastFacebook: www.facebook.com/gettingitoutpodcastX: @GettingItOutPodSupport this show http://supporter.acast.com/getting-it-out. Hosted on Acast. See acast.com/privacy for more information.

eyes get in yr smoke. PLAYLIST: Artist Song Release Released Label Rhys Chatham Drastic Classicism (edit) CBGB & OMFUG A New York City Soundtrack 1975-1986 2026 Cherry Red Records Negativland Babac D’babc Points 1981 Seeland All Them Witches Saturn Song … Continue reading →

"This is the final Rock School show. We felt 1000 shows was a good number to end on since Tammy and I are retiring at the end of this year. Thank you to all who ran the show. You gave us an audience. For this final hour, we are looking at the top 10 moments from the almost 20 years of shows. Thanks again and goodbye. We sure did enjoy your company."

This week on Dem Vinyl Boyz, we head straight into the grimy clubs of 1970s New York City and drop the needle on one of the most important punk rock albums ever recorded: the Ramones’ self-titled debut, Ramones. Released in 1976, Ramones was fast, loud, stripped down, and completely different from the elaborate progressive rock and polished arena rock dominating much of the era. Joey Ramone, Johnny Ramone, Dee Dee Ramone, and Tommy Ramone took rock and roll back to its most basic ingredients: distorted guitars, pounding drums, unforgettable hooks, and songs that often came and went before you had time to catch your breath. The album explodes out of the gate with “Blitzkrieg Bop” and its legendary “Hey! Ho! Let’s Go!” chant before tearing through tracks like “Beat on the Brat,” “Judy Is a Punk,” “I Wanna Be Your Boyfriend,” and “53rd & 3rd.” The songs were funny, rebellious, strange, catchy, and unapologetically raw. Although Ramones wasn't a massive commercial success when it was originally released, its influence became enormous. The album helped establish the blueprint for punk rock and inspired countless musicians in America and abroad. Its impact can be heard in everything from hardcore and alternative rock to grunge and the pop-punk explosion that arrived decades later. We’ll also dive into the Ramones’ connection to New York’s legendary CBGB scene, their leather-jacket-and-ripped-jeans image, the simplicity that made Johnny Ramone’s guitar playing so influential, and how four guys pretending to be brothers helped change the direction of rock music. Join Dem Vinyl Boyz as we spin Ramones, an album that proved you didn't need ten-minute guitar solos or million-dollar production to make history. Sometimes all you need is three chords, two minutes, a leather jacket, and a loud enough amplifier. Hey! Ho! Let’s Go!

"This is the second to last Rock School show and I'm using it to pitch my 4th album, Widow Maker, which went live last week on Spotify and Apple Music. I hope you enjoy it and I hope to see you all next week for the final Rock School Show."

Interview with Stephen Hunking of Hypnolovewheel ! Hypnolovewheel was founded in 1986 in New York City by guitarists Dave Ramirez and Stephen Hunking and bassist Dan Cuddy, already old-time friends and veterans of Long Island garage-rock prodigies Plastic Device. They were quickly joined by Peter Walsh, a Connecticut garage-rock prodigy and the sole respondent to an esoteric “Wanted Drummers” flyer that sought a percussionist in the mold of: 1. Moe Tucker 2. Chris Partridge 3. Micky Dolenz 4. Molty (hope I Spelled That Right) [NB: He did not.] 5. Jughead 6. Charlie Watts 7. Simon (Alvin's Brother)”   A perplexed Walsh mistook the plural “Drummers” as an indication that he was enlisting in some sort of drum corps, but the situation was quickly clarified, and with that magic connection made, the quirky quartet were off to the races, playing at CBGB in the midnight Sunday slot and at the Lismar Lounge way too many times. In 1987, the band released a 4-track, 7-inch EP on their own Snatch-O-Matic imprint and contributed a theme song to Pat Bishow's psychotronic film classic Soultangler.   A debut album, Turn! Turn! Burn! (produced by Albert Garzon) followed the next year on the boutique Fabian Aural Products label to high-profile accolades: It was a “real gem,” per David Browne in the New York Daily News. In The Village Voice, R. J. Smith praised “the heel-in-amp feedback fuzz, the raga goo-goo gaga . . . they want to howl, and this record makes you listen.” And it was onward and upward from there, with local shows, regional tours, and a follow-up album, Candy Mantra, released in 1989. By this auspicious point, the group was garnering attention from underground tastemakers Conflict and 18 Wheeler, not to mention the lofty likes of The New York Times. (According to the Grey Lady, Hypnolovewheel played “slightly cockeyed, 1960's-style pop-rock, layered with 1980's fuzz, noise, and irony.”)   All the critical hubbub and CMJ chart success attracted the interest of larger labels, and Hypnolovewheel signed with California's Alias Records for a trilogy of acclaimed albums: Space Mountain (1991), Angel Food (1992), and Altered States (1993), all created in collaboration with producer/engineer Lou Giordano.   Hypnolovewheel's four songwriters and vocalists gave them an eclectic range that encompassed the driving noise rock of “I Dream of Jeannie” and jangling pop of “Bridget Because,” both college radio hits with videos directed by Walsh featured on MTV's 120 Minutes. That versatility may not have served them particularly well in the commercial realm, but it allowed them to successfully share stages with acts ranging from the Fleshtones to the Jesus Lizard to fIREHOSE to Widespread Panic. They toured the US with NYC smart-alecks King Missile, featuring Plastic Device colleague and Hypno coproducer Chris Xefos and Ramirez on drums. They toured some more with UK shoegazers Kitchens of Distinction and power-pop poohbahs The Posies. They toured a lotby themselves, and they rubbed elbows with iconic rock heroes Moe Tucker and Arthur Lee and indie all-stars Galaxie 500, Pavement, Bongwater, Unrest, Superchunk, Brainiac, and Scrawl, among many others. Thanks to Cuddy's day job, they were featured multiple times in Marvel's Spider-Man comics.   At a certain point they stopped playing and did a lot of other things. Then they got back together in 2001 for one of Yo La Tengo's inaugural Hanukkah shows at Maxwell's. Then they stopped again and did some more things, including such notable musical projects as Dew Claw, High Tunnels, The Special Pillow, Sleepyhead, Electostim, Grand Union, XL Kings, and the revivified, superannuated Plastic Device.   Peter Walsh died too young in 2021. Not all stories have happy endings. But not all stories are over when you think they are. Eventually, Hypnolovewheel got the rights to their music back, and it will all be streaming to you in the near future. Starting now!   https://open.spotify.com/artist/54TWW2ZcDuyn8KxnpwtUaf?si=HLp1f0U-QKaJecudDh6Gqw https://www.instagram.com/hypnolovewheel/

"Every list of the best bands contains the same bands in the top 20 so I made a new list. I looked at several best band lists and eliminated those top 20 bands. My list gets rid of the obvious choices and gives many lesser known bands a chance. See what you think."

"Tammy and I have decided to retire from our jobs and also from creating the Rock School Radio show. I know this is the 744th show on PRX but it's actually our 997th show overall. We will do this show and three more, ending on our 1000th show. To that end, in this show we will announce some musicians who might be retiring soon themselves. We will list the oldest people touring this summer."

"For an experiment, I denoted the last ten generations and attempted to define the song of their generation. Some were easy and some quite difficult. I offer five possibilities first and then pick. See if I made the correct choice."

In this Episode, Kelly is joined by writer Gabriel Rotello! He is the author of two books: Sexual Ecology: AIDS and the Destiny of Gay Men and The CBGB Conspiracy. He became the first openly gay op-ed columnist for a major American newspaper and is the founder of Out Week Magazine. He has also written, directed, and produced dozens of TV documentaries for major networks like HBO, Netflix, and the History Channel. Gabriel talks about growing up in Danbury, Connecticut, and traveling into the city with his older brother when he was 13! Even at that age, he knew he wanted to move to New York when he grew up. Kelly asks him what life was like in New York in the 1970s. Gabriel talks about how Manhattan was a playground for young adults in their early 20s. He tells us how cheap his rent was, describes the decay of the Bowery in great detail, and talks about how wonderful it was to play music at CBGB.  Kelly asks Gabriel about CBGB. Gabriel tells us that in the beginning, no one wanted to go there. He describes the "Bowery Bums", the mismanagement of the venue, and its terrible location. He then talks about how it became one of the most famous punk venues in the world.  Gabriel talks a bit about his book: The CBGB Conspiracy. He tells Kelly that he actually did not want to write a book about his time in the 70s at first. With the aids epidemic looming over it, he thought it too depressing. But when inspiration struck, while walking along the street one day, he came up with the idea of creating a murder mystery, with CBGB as the background and weaving in famous people of the era, along with his personal experiences. Kelly asks Gabriel a bit about the process of writing, and Gabriel talks about how he was inspired by a past guest of our show, Jonathan Mahler! He talks about reading Ladies and Gentlemen, The Bronx Is Burning... and being transported back into that time in his life.  Kelly then asks Gabriel what gay life was like back in the day. Gabriel describes the streets of the West Village being filled with shirtless gay men dancing and having the best time on a random Tuesday night. He talks about how there was a feud between the East Village gay community and the West Village gay community. He talks about their differences, what it was like to have one foot in both, and he reflects on how his perception has changed since then.   Gabriel then talks a bit about his partner Hap, who passed during the Aids Epidemic. Gabriel had met Hap when he was studying abroad and just happened to run into each other when he moved to New York. Gabriel talked about how Hap showed him the ropes as a newly out man. He talks about how they dated until Hap's passing. Kelly talks about marching on Washington in support of the movement. Gabriel talks about how it inspired him to start Out Week Magazine, and how he invited outing! But above all else; Gabriel Rotello is a New Yorker! Kelly Kopp's Social Media:@NewYorkCityKopp on all platforms Buy Gabriel's Book! Gabriel's Social Media: @GabeRotello  Jae's Social Media @Studiojae170    Chapters (00:00:00) - New Yorkers: Gabriel Rotello on the Podcast(00:01:57) - Phil Collins on Coming Out in NYC(00:06:02) - Living in the East Village in the 60s(00:09:51) - Punishment for Bowery Bums(00:14:57) - The Talking Heads on Hilly Hill's Death(00:19:50) - Madonna's First Public Gig(00:20:32) - CBGB's Conspiracy is a Novel(00:26:00) - The Making of A Time to Win(00:26:33) - In the Elevator With Steven Spielberg(00:31:42) - Inside The Bowery(00:32:24) - How To Write a Novel(00:33:03) - In the Elevator With Jonathan Harris(00:37:07) - How a dime changed the phone(00:37:24) - Adam Levine on the Gay Scene in New York(00:41:18) - Punk and Disco in the East Village(00:44:13) - In the Elevator With Out Week(00:47:12) - Gabriel on ACT UP and the Gay Community(00:50:54) - What It Means to Be a New Yorker(00:52:47) - How To Find Gabriel Ortello On Social Media

Part 2 of my conversation with guest Phil Stacey as we discuss our favorite American artists. Show notes: Jay's take after seeing Goose Took us a while to get into the show Phil's #6: Phish took over the jam band crown from the Dead Jay briefly met Trey Anastasio at UNH before they got famous Goose hasn't been accepted by the entire jam band audience Jay's #6: Originally had Van Halen ranked higher, but dropped them because of the Hagar years Combined Eddie VH's revolutionary guitar work with DLR's showmanship Eddie inspired a generation of guitarists and Dave inspired a generation of hard rock singers Phil's #5: Steely Dan spits in the face of being called "yacht rock" Went from a live act to a studio perfectionist act to a live act again Fagen and Becker were demanding taskmasters Jay's #5: The imperfect perfection of the Replacements They self-sabotaged whenever things were about to break for them Never got to see them live Phil's #4 and Jay's #3: The singular genius of Jimi Hendrix Hugely influential guitarist and performer Must have blown a lot of minds when he was around Jay's #4: Pixies were a major influence on the alternative rock sound that shaped the '90s The band's first stint (1986-93) was epic Introduced weirdness into indie rock Still touring behind their classic material but making new music as well Phil's #3 and Jay's #10: Talking Heads were art school kids who became big Part of the CBGB scene of the '70s that went in a lot of different directions Explored a lot of sounds and influences Phil's #2: The Allman Brothers Band invented and transcended Southern rock Persevered through deaths and changing trends Jay's #2: No arguing with the greatness of Prince Hundreds of hours of unreleased music Was super talented at multiple instruments Was Prince the best all-around musician of the 20th century? Phil's #1: Duh, it's the Dead Inspired an entire subculture There are literally hundreds of Dead cover bands Jay's #1: The pride of Athens, GA, R.E.M. Helped create the "college rock" scene that grew into alternative rock Blew up in the early '90s Distinct career phases Michael Shannon and Jason Narducy have been covering R.E.M. albums in their entirety the last three years To be continued Completely Conspicuous is available through Apple Podcasts. Subscribe and write a review! The opening and closing theme of Completely Conspicuous is "Theme to Big F'in Pants" by Jay Breitling. Voiceover work is courtesy of James Gralian.

What if addiction isn't the problem, but the solution to pain you never knew you were carrying? Anita Chellamah looked like she had everything. She appeared on Top of the Pops with Legs & Co, fronted and co-wrote The Cherry Bombz, supported Poison on tour in America, performed at the legendary CBGB in New York and on the Reading Festival Main Stage, was a member of Toto Coelo, who reached No. 6 in the UK charts and No. 4 in Australia, and became one of the first presenters on Sky Television and one of its first presenters of colour, hosting her own shows and performing Sky's 5th Anniversary song. From the outside, it looked like success in every direction. Behind the scenes, however, she was quietly battling addiction. At just 19, while performing in the West End production of Bubbling Brown Sugar, she was prescribed amphetamines by a private doctor who was later struck off. By her late twenties, nights began with champagne, continued with cocaine and ended with Night Nurse. At 29, she stopped. She hasn't had a drink or a drug since.Today, Anita is a trauma, addiction and DBT therapist with nearly four decades of sobriety. Qualified since 1998, she works in private practice, receiving referrals and working with organisations including the Priory, Steps Together and Castle Craig, specialising in addiction, trauma and Dialectical Behaviour Therapy (DBT) with individuals, couples, families and groups. Anita explains why rock bottom rarely looks like the movies, why childhood trauma, shame and emotional pain so often drive addiction, and why recovery is about far more than simply putting down the drink or the drug.We explore the hidden links between trauma, ADHD, binge drinking, cocaine addiction, alcoholism, codependency, self-worth, mental health, emotional regulation and long-term recovery. Anita shares how recovery transformed not only her relationship with alcohol and drugs, but also the way she understands herself, her emotions and the world around her.The conversation also tackles some of the biggest debates in recovery today, including trauma therapy, 12-step fellowships, medication in recovery, antidepressants, ADHD medication, relapse prevention, addictive personality and why there is no single path that works for everyone. Nearly 40 years sober, Anita's humility, honesty and wisdom offer hope to anyone wondering whether lasting recovery from addiction and alcoholism is really possible.Oliver is an ambassador for Alcohol Change UK and you can access support here - https://tinyurl.com/5dt5773eThank you to Gavin Sisters for sponsoring this episode! Visit -www.gavinsisters.co.ukand use promo code SCHOOLOFROCKBOTTOM for 10% off!Podcasting is an expensive passion. To help me keep going, I'd really appreciate it if you could buy me a coffee, thank you!https://buymeacoffee.com/olivermason1Or via PayPal - https://www.paypal.me/olivermason1paypalTopics -0:00 Trailer & Intro2:55 A rock bottom moment 5:25 Binge drinking & progression9:25 Childhood 12:45 ADHD and intrusive thoughts 14:30 Using performing arts as medicine 17:25 Access vs genetics 18:45 Dealing with denial 20:15 Recovery in 198825:35 Do all addicts have trauma?30:35 We are all different 33:35 How therapy helped Anita 38:25 WE ARE NOT DOCTORS!43:50 Still an addict after 38 years?48:20 Humility & labels 51:35 Addictive personality & escape?57:20 Boundaries Follow Anitahttps://www.instagram.com/anitachellamahFollow OliverInstagram - https://tinyurl.com/2vt29sjvFacebook - https://tinyurl.com/34cwz59rTikTok - https://tinyurl.com/ujw4vxn9LinkedIn - https://tinyurl.com/yuemhnd7Threads - https://tinyurl.com/yk7vdeahX - https://tinyurl.com/3u5mnpdsPlease subscribe, follow, like, leave a review and comment!YouTube - https://tinyurl.com/y5bwbcaySpotify - https://tinyurl.com/58jp2jyjApple - https://tinyurl.com/y3n2chk3#Addiction #Recovery #Sobriety

Playlist con música relacionada al episodio: Spotify: https://open.spotify.com/playlist/7fLQZw5kdNGoDGITGmWAQ2 YouTube: https://www.youtube.com/playlist?list=PLNN6YIGRPugY ¿Cómo un bar viejo, sucio y con pésima acústica terminó cambiando la historia del rock? En este episodio de Músicos de Sillón hablamos del legendario CBGB, el pequeño club de Nueva York donde nacieron el punk, el new wave y algunas de las bandas más importantes de todos los tiempos. Descubre cómo un lugar pensado para country y blues terminó siendo la casa de Ramones, Blondie, Talking Heads, Patti Smith, The Police, Green Day, Guns N' Roses y muchas más. Únete a nuestro grupo de Facebook:https://www.facebook.com/groups/1012646383467657 Síguenos:https://www.instagram.com/musicosdesillonpodcast/https://twitter.com/musicosdesillonhttps://www.facebook.com/musicosdesillon/

"I was talking about the Paul is Dead conspiracy theory in class one day and the students began asking me if I knew about THIS theory. And then THIS theory. We went on for 30 minutes and then I did some research. There were so many theories I had never heard of. Hopefully they are new to you as well. We have a long list."

Detta är ett urklipp från avsnitten 103. New York Cosmos 1977. För att få hela berättelsen. Lyssna på avsnitten i sin helhet. Hosted on Acast. See acast.com/privacy for more information.

Minimalist Music (Bloomsbury, 2026) looks critically into the music's past, shows how the genre thrives across styles, and points the way toward minimalism's ongoing future. Minimalism as a genre is best defined not by any style or flavor but by its means. Certain rhythms and chords in other music may identify things like jazz or bossa nova or reggae; take those same elements and put them through the processes of minimalism and you have minimalism with the hues of other musics. A still young genre with ancient roots, minimalism is much less any kind of style than a practice, a manner of making music. Reviving those means and applying them to contemporary sounds and experiences, the pioneers of minimalism created a new and avant-garde music that immediately communicated its power to listeners of all kinds. The global appeal of minimalism and the way the methods adapt to myriad styles open up a view into how music actually works as an art and an experience, how through time it connects in a fundamental way to how we as humans listen. George Grella, Jr. has written about music and culture for over thirty years for print and online publications, and has contributed to the Grove Dictionary of Music and the Library of Congress' National Recording Registry. He is Music Editor at The Brooklyn Rail, publishes the Kill Yr Idols newsletter, and is the author of Miles Davis' Bitches Brew (Bloomsbury, 2015). He has played jazz, classical, and improvised music from CBGB to Carnegie Hall. George Grella on Bluesky and Kill Yr Idols newsletter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Minimalist Music (Bloomsbury, 2026) looks critically into the music's past, shows how the genre thrives across styles, and points the way toward minimalism's ongoing future. Minimalism as a genre is best defined not by any style or flavor but by its means. Certain rhythms and chords in other music may identify things like jazz or bossa nova or reggae; take those same elements and put them through the processes of minimalism and you have minimalism with the hues of other musics. A still young genre with ancient roots, minimalism is much less any kind of style than a practice, a manner of making music. Reviving those means and applying them to contemporary sounds and experiences, the pioneers of minimalism created a new and avant-garde music that immediately communicated its power to listeners of all kinds. The global appeal of minimalism and the way the methods adapt to myriad styles open up a view into how music actually works as an art and an experience, how through time it connects in a fundamental way to how we as humans listen. George Grella, Jr. has written about music and culture for over thirty years for print and online publications, and has contributed to the Grove Dictionary of Music and the Library of Congress' National Recording Registry. He is Music Editor at The Brooklyn Rail, publishes the Kill Yr Idols newsletter, and is the author of Miles Davis' Bitches Brew (Bloomsbury, 2015). He has played jazz, classical, and improvised music from CBGB to Carnegie Hall. George Grella on Bluesky and Kill Yr Idols newsletter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Steven Lee Beeber is a freelance journalist and author of The Heebie-Jeebies at CBGB's: A Secret History of Jewish Punk. Co-hosts: Jonathan Friedmann & Joey Angel-Field Producer-engineer: Mike Tomren The Heebie-Jeebies at CBGBhttps://www.chicagoreviewpress.com/the-heebie-jeebies-at-cbgb-s-products-9781556527616.php Steven's websitehttp://www.jewpunk.com/ Amusing Jews Merch Storehttps://www.amusingjews.com/merch#!/ Subscribe to the Amusing Jews podcasthttps://www.spreaker.com/show/amusing-jews Adat Chaverim – Congregation for Humanistic Judaism, Los Angeleshttps://www.humanisticjudaismla.org/ Jewish Museum of the American Westhttps://www.jmawest.org Atheists United Studioshttps://www.atheistsunited.org/au-studios

"Beach Bongo Bloodbath" Bob Bert's Beach Bongo Bloodbath might be the most alliterative album title of the year, but it also happens to also be one of the year's very best. Before we get to Beach Bongo Bloodbath, let me give you a little Bob Bert Backstory. The alliteration with Bob is seemingly unavoidable. Influenced by the Beatles, the Stones, Andy Warhol and the band's that packed CBGB's, the New Jersey-born Bob Bert started drumming as a kid, but put it down for a while and became a fine art silkscreen printer who, speaking of Mr. Warhol, had a job printing paintings and print editions for the legendary artist. Bert moved from New York City to Hoboken in '81 and perhaps it was the close proximity of the club Maxwell's or the characters that played there that Bert picked up the sticks again and found himself playing drums for Sonic Youth, Pussy Galore, and the Chrome Cranks. Bob's autobiography I'm Just The Drummer tells his story far better than I can, but good luck finding it--it's out of print, so you're stuck with me for the time being to fill in the gaps. Over the course of his career, Bert has recorded and toured with Bewitched, Action Swingers, Chrome Cranks, Knoxville Girls, Five Dollar Priest, Lydia Lunch Retrovirus and Jon Spencer & the HITmakers and in the early 90s he and Linda Wolfe started the awesome fanzine BB gun. Which brings just to Beach Bongo Bloodbath. A joyful sprint of a record that clocks in at under a half hour and has no guitars or bass, Beach Bongo Bloodbath is smoldering collection of covers and originals that's filled with swagger, groove and delicious percussive stomp. From his take on tracks by everyone from the Modern Lovers to Mountain to his electrifying originals, Beach Bongo Bloodbath is impossibly cool--and so is Bob Bert. www.bar-none.com (http://www.bar-none.com) IG: @therealbobbert www.bombshellradio.com (http://www.bombshellradio.com) www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com (http://www.alexgreenbooks.com) Stereo Embers: IG + THREADS + BLUESKY: @emberspodcast Email: editor@stereoembersmagazine.com

"When you listen to Van Halen or Extreme or Steely Dan you expect a great guitar solo. The point of this show is to offer some examples of totally unexpected solos. These are solos in a song or a genre or by an artists that it seems to be coming out of nowhere. "