Podcast appearances and mentions of chrissy hynde

"The Basher" himself, Nick Lowe returns to the Record Store Day Podcast to talk about his recent records with Los Straitjackets, including this year's RSD First Release live disc, (Not) Indoor Safari Vol. 1. But while we've got, we get the esteemed songwriter and record producer to go crate digging through his expansive back catalogue of recorded work to share some personal stories of working with The Pretenders, Elvis Costello, John Hiatt, The Damned, Ry Cooder, Graham Parker, and more. The Record Store Day Podcast is a weekly music chat show written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music.  Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton. For the most up-to-date news about all things RSD, visit RecordStoreDay.com   Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends.

Send us a textThis episode spends time with Nick Lowe, a British performer, who started out with pub rock band, Brinsley Schwarz, and Dave Edmunds' Rockpile. Lowe's solo career has produced a huge bunch of great songs – many of which you've heard, even if you've not heard of him - which have been hits for him AND covered by some amazing people! A suggestion from listener Nick from Victoria, this episode was the most fun we've had for some time! Rock News features some standards – Oasis touring (yeah, right!), a new single and album from The Cure, Ozzy Osbourne inducted into the Rock & Roll Hall of Fame, and The Eagles playing a 10-week residency in Las Vegas.  Yep, more of the same!  Our “Album You Must Listen to Before you Die” is Doggystyle (1993) by Snoop Doggy Dogg.  We decide “Who cares?”.  Instead, we talk about Snoop Dogg's presence in TV and movies since the 90's, including the 2024 Olympics!  References:  Brinsley Schwarz, Dave Edmunds, Rockpile, punk, Oasis, Ozzy, The Cure, Robert Smith, The Eagles, Classic Countdown, Captain Matchbox Whoopee Band, Globite travel bag, Nick Lowe, Warren Zevon, ‘6 degrees of Kevin Bacon', Carlene Carter, Johnny Cash, 1001 Albums You Must Listen to Before you Die, Robert Dimery,  Calvin Cordozar Broadus Jr., Snoop Doggy Dogg, Doggystyle, “What's So Funny ('Bout Peace, Love and Understanding)?”, Jesus of Cool”, “Labour of Lust”, “Marie Provost”, “Lifes Rich Pageant”, REM, Chrissy Hynde, Warren Zevon, alcohol problems, Producer, The Damned, “New Rose”, Elvis Costello, “Basher”, “Bay City Rollers, We Love You”,   Episode Playlist – the music we talked about during this episode Spotify Playlist – Best of Nick Lowe  ________________________________________________Snoop Dogg's Menulog ad Snoop Dogg at the Olympics 1 Snoop Dogg at the Olympics 2 Snoop with Dr Dre 

Good morning!Halloween is just one week away!The Morning Breeze Brain Tease: 83% of men admit they occasionally do THIS while driving...Carolyn texted with a friend recently - unaware that it was her birthday.  Should she feel bad?The Brighter Side.When is the safe zone to cancel an RSVP to a party?Emry in San Francisco won tickets to the Disneyland Resort.Chrissy Hynde from Pretenders is asking super fans to let locals have the front row.

The multi-talented singer/songwriter Dave Hamilton of The Happy Curmudgeons (Spectra Music Group) talks about the latest release “2nd Chances” featuring “Be Kind” and “Reluctant Prophets” along with the debut release of “Meant to Be”! Dave began his amazing career at 10 playing guitar and taking lessons at 12 later Minored in Music at Miami (Ohio) University, plus his encounters with Lou Reed, Neil Young, Chrissy Hynde, Tracy Chapman and Laurie Anderson, and how the group came together in '14 with Billy Cox (Band of Gypsies), Bobby Balderama (? & The Mysterians), Jim Moose Brown (Bob Seger Band), Davae McMurray (Blue Note Records), Pepe Espinosa (B.B. King) and Vaughn Mortimer (The Outfit)! Check out the latest release from The Happy Curmudgeons on all streaming platforms and www.happycurmudgeonsband.com plus www.spectramusicgroup.com today! #thehappycurmudgeons #davehamilton #detroit #singersongwriter #secondchances #spectramusicgroup #bekind #reluctantprophets #meanttobe #miamiofohio #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnerthehappycurmudgeons  #themikewagnershowthehappycurmudgeons  Become a supporter of this podcast: https://www.spreaker.com/podcast/the-mike-wagner-show--3140147/support.

  The multi-talented singer/songwriter Dave Hamilton of The Happy Curmudgeons (Spectra Music Group) talks about the latest release “2nd Chances” featuring “Be Kind” and “Reluctant Prophets” along with the debut release of “Meant to Be”! Dave began his amazing career at 10 playing guitar and taking lessons at 12 later Minored in Music at Miami (Ohio) University, plus his encounters with Lou Reed, Neil Young, Chrissy Hynde, Tracy Chapman and Laurie Anderson, and how the group came together in '14 with Billy Cox (Band of Gypsies), Bobby Balderama (? & The Mysterians), Jim Moose Brown (Bob Seger Band), Davae McMurray (Blue Note Records), Pepe Espinosa (B.B. King) and Vaughn Mortimer (The Outfit)! Check out the latest release from The Happy Curmudgeons on all streaming platforms and www.happycurmudgeonsband.com plus www.spectramusicgroup.com today! #thehappycurmudgeons #davehamilton #detroit #singersongwriter #secondchances #spectramusicgroup #bekind #reluctantprophets #meanttobe #miamiofohio #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnerthehappycurmudgeons  #themikewagnershowthehappycurmudgeons     --- Support this podcast: https://podcasters.spotify.com/pod/show/themikewagnershow/support

Simon Phillips Interview: One of my favorites! Simon opens up about his London session career (which started at age 16!), what he learned, how it shaped his career as a musician & as a drummer… losing his home in the California fires... working with Mike Oldfield, Bob Clearmountain, John Paul Jones, Jeff Beck, Tony Hymas, Roger Glover, Gary Moore, David Gilmour, Phil Manzanera, Bob Dylan, Jack Bruce, The Who, Chrissy Hynde… dealing with dark times, moving here from England, being an optimist, Tony Roma's, bangers & mash, and LOADS more VERY exciting things. What a guy! Discover How to Get Your Music Licensed & Placed in TV, Movies, Video Games & Streaming Services: https://MusicReboot.com Support this show: https://www.everyonelovesguitar.com/support Subscribe & Website:  https://www.everyonelovesguitar.com/subscribe Cool Guitar & Music T-Shirts, ELG Merch!: https://www.GuitarMerch.com Simon Phillips' career began at age 12, playing with his dad's band. By 16, he was on his way to becoming THE first-call session drummer in London and since then, besides being a member of Toto for 22 years, he's played with top artists like: Jeff Beck, Mick Jagger, The Who, Peter Gabriel, Joe Satriani, Steve Vai, Judas Priest, Michael Shenker, Al DiMeola, Pete Townshend, Stanley Clarke, Gary Moore, Frank Zappa, Bernie Marsden, Phil Manzanera, Mike Rutherford, Carlos Santana and many more Subscribe & Website:  https://www.everyonelovesguitar.com/subscribe Support this show: https://www.everyonelovesguitar.com/support

The great pretender takes on many shapes as to the extent and meaning. Pretending is actually an important part of growing up. My grandmother, we called her Mimi, let my sisters and I get in her closet to play dress-up. Of course, she was much larger than we were, but she had some fancy clothes, probably purchased at a second-hand store as she lived through the great depression in the early twentieth century and I doubt if she ever bought anything new. To live through the depression meant you saved everything from tin foil, to plastic bags to buttons. But what fun we had in her closet! Everything was fancy to us. Mimi even had a mink stole. (remember those?) Fortunately, we all outgrew that era of pretending, but unfortunately, the principle of being the great pretender is still alive and well in many lives and businesses in an unhealthy way. I see it every day on social media. Inflated bios, photos of those who seem to be so much more successful than we claim to be. I have to admit, I've been a pretender too—hopefully in some good ways as well as the ways that are not as admirable. In this show, we will cover characteristics of a person of bad pretense as well as good pretense that leads to authenticity, growth and honesty. Full article here: https://goalsforyourlife.com/the-great-pretender

On this episode of the Adventures of Pipeman, Pipeman speaks to Blothar, the lead singer of the band Gwar. The interview takes place at the Download Festival, the band's 20th anniversary show. Blothar mentions that their spaceship had some equipment trouble, but they are excited to be at the festival. They discuss the beauty of the English countryside and the current state of humanity.Pipeman questions the audience's fascination with Gwar's violent and destructive performances, to which Blothar remarks that humans have always been drawn to their own destruction. They talk about the upcoming performances at Download and the possibility of bringing out special guests like the zombie queen and the Pope.The conversation turns to Gwar's name, with Blothar explaining the origins of the acronym. They joke about the long names of other bands and share humorous insights about humans' flawed anatomy, including multiple penises. Blothar expresses admiration for Pipeman's resilience and interviews conducted in this unusual manner.They discuss the upcoming shows in England and Spain, including a festival appearance with the Pretenders. Blothar humorously contemplates eating Chrissy Hynde. The conversation touches on band lineup changes and the Grassroots band from the '60s. They also mention Gwar's latest album, "The New Dark Ages," which reflects on humanity's descent into a new dark age and the tendency to believe anything.Take some zany and serious journeys with The Pipeman aka Dean K. Piper, CST on The Adventures of Pipeman also known as Pipeman Radio syndicated globally “Where Who Knows And Anything Goes”. Listen to & Watch a show dedicated to motivation, business, empowerment, inspiration, music, comedy, celebrities, shock jock radio, various topics, and entertainment. The Adventures of Pipeman is hosted by Dean K. Piper, CST aka “The Pipeman” who has been said to be hybrid of Tony Robbins, Batman, and Howard Stern. The Adventures of Pipeman has received many awards, media features, and has been ranked for multiple categories as one of the Top 6 Live Radio Shows & Podcasts in the world. Pipeman Radio also consists of multiple podcasts showing the many sides of Pipeman. These include The Adventures of Pipeman, Pipeman in the Pit, and Positively Pipeman and more. You can find all of the Pipeman Podcasts anywhere you listen to podcasts. With thousands of episodes that focus on Intertainment which combines information and entertainment there is something for everyone including over 5000 interviews with celebrities, music artists/bands, authors, speakers, coaches, entrepreneurs, and all kinds of professionals.Then there is The Pipeman Radio Tour where Pipeman travels the country and world doing press coverage for Major Business Events, Conferences, Conventions, Music Festivals, Concerts, Award Shows, and Red Carpets. One of the top publicists in music has named Pipeman the “King of All Festivals.” So join the Pipeman as he brings “The Pipeman Radio Tour” to life right before your ears and eyes.The Adventures of Pipeman Podcasts are heard on The Adventures of Pipeman Site, Pipeman Radio, Talk 4 Media, Talk 4 Podcasting, iHeartRadio, Pandora, Amazon Music, Audible, Spotify, Apple Podcast, Google Podcasts and over 100 other podcast outlets where you listen to Podcasts. The following are the different podcasts to check out and subscribe to:• The Adventures of Pipeman• Pipeman Radio• Pipeman in the Pit• Positively PipemanFollow @pipemanradio on all social media outletsVisit Pipeman Radio on the Web at linktr.ee/pipemanradio , theadventuresofpipeman.com, pipemanradio.com, talk4media.com, w4cy.com, talk4tv.com, talk4podcasting.comDownload The Pipeman Radio APPPhone/Text Contact – 561-506-4031Email Contact – dean@talk4media.com The Adventures of Pipeman is broadcast live daily at 8AM ET.The Adventures of Pipeman TV Show is viewed on Talk 4 TV (www.talk4tv.com).The Adventures of Pipeman Radio Show is broadcast on W4CY Radio (www.w4cy.com) and K4HD Radio (www.k4hd.com – Hollywood Talk Radio part of Talk 4 Radio (www.talk4radio.com) on the Talk 4 Media Network (www.talk4media.com). The Adventures of Pipeman Podcast is also available on www.theadventuresofpipeman.com and www.pipemanradio.com Talk 4 Media (www.talk4media.com), Talk 4 Podcasting (www.talk4podcasting.com), iHeartRadio, Amazon Music, Pandora, Spotify, Audible, and over 100 other podcast outlets.

On this episode of the Adventures of Pipeman, Pipeman speaks to Blothar, the lead singer of the band Gwar. The interview takes place at the Download Festival, the band's 20th anniversary show. Blothar mentions that their spaceship had some equipment trouble, but they are excited to be at the festival. They discuss the beauty of the English countryside and the current state of humanity.Pipeman questions the audience's fascination with Gwar's violent and destructive performances, to which Blothar remarks that humans have always been drawn to their own destruction. They talk about the upcoming performances at Download and the possibility of bringing out special guests like the zombie queen and the Pope.The conversation turns to Gwar's name, with Blothar explaining the origins of the acronym. They joke about the long names of other bands and share humorous insights about humans' flawed anatomy, including multiple penises. Blothar expresses admiration for Pipeman's resilience and interviews conducted in this unusual manner.They discuss the upcoming shows in England and Spain, including a festival appearance with the Pretenders. Blothar humorously contemplates eating Chrissy Hynde. The conversation touches on band lineup changes and the Grassroots band from the '60s. They also mention Gwar's latest album, "The New Dark Ages," which reflects on humanity's descent into a new dark age and the tendency to believe anything.Pipeman in the Pit is a music and interview segment of The Adventures of Pipeman Radio Show (#pipemanradio) and from The King of All Festivals while on The Pipeman Radio Tour. Pipeman in the Pit features all kinds of music and interviews with bands & music artists especially in the genres of Heavy Metal, Rock, Hard Rock, Classic Rock, Punk Rock, Goth, Industrial, Alternative, Thrash Metal & Indie Music. Pipeman in the Pit also features press coverage of events, concerts, & music festivals. Pipeman Productions is an artist management company that sponsors the show introducing new local & national talent showcasing new artists & indie artists.Then there is The Pipeman Radio Tour where Pipeman travels the country and world doing press coverage for Major Business Events, Conferences, Conventions, Music Festivals, Concerts, Award Shows, and Red Carpets. One of the top publicists in music has named Pipeman the “King of All Festivals.” So join the Pipeman as he brings “The Pipeman Radio Tour” to life right before your ears and eyes.Pipeman in the Pit Podcasts are heard on Pipeman Radio, Talk 4 Media, Talk 4 Podcasting, iHeartRadio, Pandora, Amazon Music, Audible, Spotify, Apple Podcast, Google Podcasts and over 100 other podcast outlets where you listen to Podcasts. The following are the different podcasts to check out and subscribe to:•The Adventures of Pipeman•Pipeman Radio•Pipeman in the Pit•Positively PipemanFollow @pipemanradio on all social media outletsVisit Pipeman Radio on the Web at linktr.ee/pipemanradio, theadventuresofpipeman.com, pipemanradio.com, talk4media.com, w4cy.com, talk4tv.com, talk4podcasting.comDownload The Pipeman Radio APPPhone/Text Contact – 561-506-4031Email Contact – dean@talk4media.com The Adventures of Pipeman is broadcast live daily at 8AM ET.The Adventures of Pipeman TV Show is viewed on Talk 4 TV (www.talk4tv.com).The Adventures of Pipeman Radio Show is broadcast on W4CY Radio (www.w4cy.com) and K4HD Radio (www.k4hd.com) – Hollywood Talk Radio part of Talk 4 Radio (www.talk4radio.com) on the Talk 4 Media Network (www.talk4media.com). Pipeman in the Pit Podcasts are also available on Pipeman Radio (www.pipemanradio.com), Talk 4 Media (www.talk4media.com), Talk 4 Podcasting (www.talk4podcasting.com), iHeartRadio, Amazon Music, Pandora, Spotify, Audible, and over 100 other podcast outlets.

We're talking Pop and Rock Magazines! You know those Waldenbooks Newsstand classics you had to stock up on like Creem, YM, Sassy, Smash Hits and Tiger Beat? Join host Lyndsey Parker (Yahoo Music Entertainment Editor) and guests, esteemed music journalists and authors Dave DiMartino (Creem Editor in Chief 1979-1986) and Lori Majewski (Teen People co-founder), as they discuss all things '80s magazines: the artist access, the covers, the captions, the publicists and more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

“Viral or Eyeroll” is clearly our most beloved game so you should know the drill by now! This week Jay takes on hosting duties while Greg & Nick occupy opposing sides of the scoreboard. Plus you get to play too, can you guess if each story is a viral sensation or a total fabrication?Song: Charley Crockett - “Odessa”Nick wants everyone to stop what they're doing at some point this week and listen to “Zonkey,” the 2016 mashup album by jam-band Umphrey's McGee. If DJ Cumberbund were a band, it'd be this album.Songs:Umphrey's McGee - “National Loser Anthem” ("The National Anthem" by Radiohead, "Loser" by Beck, "In the Air Tonight" by Phil Collins)Umphrey's McGee - "Bulls on the Bus" ("Bulls on Parade" by Rage Against the Machine, "Mark on the Bus" by Beastie Boys)Umphrey's McGee - "Can't Rock My Dream Face" ("Rock With You" by Michael Jackson, "Dreams" by Fleetwood Mac, "Can't Feel My Face" by The Weeknd)Greg brings us the latest from the GREGvine. This week it's all about the ladies! Meg White does not suck, thank you very much! Chrissy Hynde smites the Rock Hall of Fame & TayTay does some stage magic.Song: Allan Holdsworth - “Letters of Marque”Episode Page

SUMMARY Welcome to STRANGE BEDFELLOWS, an AKOM series about Yoko Ono and Paul McCartney after John Lennon's death. Episode Three covers the 1990s, a decade that sees some of the most significant highs and lows between Ono and McCartney. Goodwill abounds when Paul inducts John into the Rock Hall in 1994. Building on this positivity, Yoko earns Paul's gratitude during the making of the Beatles Anthology.  But the peace is short-lived, and a set of seemingly minor squabbles escalate into their most vicious public arguments to date, setting the stage for a cold war as Yoko and Paul enter the new millenium.    SOURCES John Lennon Rock Hall Induction (1994) The Sunday Times Supplement (Jan 22, 1967) Many Years From Now by Barry Miles (1997) Paul McCartney Interview w/ Chrissy Hynde (1999) “Yoko Says Snub by McCartney Hurts” Chicago Tribune (June 29, 1998) Mojo (August 1999) MOJO: Paul McCartney – the MOJO interview. (May, 2003) “The Ballad of Paul and Yoko” by Gilbert Garcia. Salon (January 27, 2003) PLAYLIST Trans Lunar Rising THE FIREMAN The End THE BEATLES Hiroshima Sky is Always Blue YOKO ONO feat. THE MCCARTNEYS Family Way Mvmt I PAUL MCCARTNEY Family Way Mvmt II PAUL MCCARTNEY Family Way Mvmt IV PAUL MCCARTNEY Kontakte KARLHEINZ STOCKHAUSEN Strawberry Fields Forever (demo) JOHN LENNON Free as a Bird (demo) JOHN LENNON Free as a Bird THE BEATLES Now and Then (demo) JOHN LENNON Flaming Pie PAUL MCCARTNEY When I'm 64 THE BEATLES Fire/Rain. Allegro energico (Standing Stone) PAUL MCCARTNEY  Glory Tales. Trionfale (Standing Stone) PAUL MCCARTNEY  The World Tonight PAUL MCCARTNEY Yesterday THE BEATLES Watercolour Guitars THE FIREMAN Appletree Cinnabar Amber THE FIREMAN Bison THE FIREMAN

Chris Butler joined me to talk about Devil's Glitch, the world's longest song; seeing The Who on Shindig changing his life; how Broadway showtunes showed him how to write a song; being in an integrated band in the 1960's; going to Kent State; The Kent State Massacre; playing college clubs; 3 one hour sets anight; being friends with Devo, Joe Walsh, and Terry & Chrissy Hynde; writing "I Know What Boys Like" as a member of Tin Huey; recording "I Know What Boys Like"; touring; "Christmas Wrapping" and its surprise success; reacting to reaction videos of "I Know What Boys Like" and "Christmas Wrapping"; writing the theme song and appearing on the pilot of Square Pegs; being the bandleader on One Drink Minimum; living in Jeffrey Dahmer's childhood home; and "aging" out of New York --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

On May 21st, Chrissie Hynde and Pretenders guitarist James Walbourne released STANDING IN THE DOORWAY: CHRISSIE HYNDE SINGS BOB DYLAN, an album that they recorded remotely last year during the pandemic. This episode of HARD RAIN & SLOW TRAINS: BOB DYLAN & FELLOW TRAVELERS celebrates the release of this album of Dylan covers by celebrating the music and story of fellow traveler Chrissie Hynde, whose 42-year career is remarkably consistent and a testament to her talent, vision, and moral center. In "20 Pounds of Headlines," we round up news from the world of Bob Dylan and in "Who Did It Better?" we reveal to you the results of our first ever "Who Did It Better?" tournament featuring the traditional song "Moonshiner," and we ask you to vote this week to tell us who did "You're a Big Girl Now" better: Emma Swift or Chrissie Hynde, both of whom first released their versions last year. Listen to the episode, then go to our Twitter page @RainTrains to vote!

'I'll Stand By You' by Chrissy Hynde, Tom Kelly, Billy Steinbergfor X

On this episode, as part 1 of our "Barely Christmas" series, we cover the Pretenders. We talk about Taylor Swift, Ali's secret leather jacket and what Chrissy Hynde thinks of her song being played on Rush Limbaugh. Follow us on Instagram @ohyeahthatsong If you love the podcast, and wanna support us, consider becoming a Patron! As little as $2 a month helps us keep the train running. Go to Patreon.com/ohyeahthatsong for info

In this episode, I interview Matt Rubano.Matt is a kick-ass bass player who has played with all kinds of people ranging from Lauryn Hill, DJ Logic, Chrissy Hynde, the All-American Rejects and was a member of Taking Back Sunday from 2003 until 2010. He now plays in Tom DeLonge’s band Angels And Airwaves.

Canadian Metallica producer Bob Rock says he "didn't get it" when the band wanted to release "Enter Sandman" as a single, a local Ozzy/Sabbath cover band records an Ozzy-esque original, a new song from Chrissy Hynde & The Pretenders, and the growing list of artists doing free performances online from their homes amid the COVID-19 crisis.

Canadian Metallica producer Bob Rock says he "didn't get it" when the band wanted to release "Enter Sandman" as a single, a local Ozzy/Sabbath cover band records an Ozzy-esque original, a new song from Chrissy Hynde & The Pretenders, and the growing list of artists doing free performances online from their homes amid the COVID-19 crisis.

1. "Superstitious" by Europe. 2. "Leap of Faith" by The Narcs. 3. "Ghostdancing" by Simple Minds. 4. "Breakfast in Bed" by UB40 & Chrissy Hynde. 5. "China in Your Hand" by T'Pau. 6. "Camouflage" by Stan Ridgeway. 7. "Love in the Shadows" by Elizabeth Daily. 8. "Soundtrack to a Generation" by The Human League. 9. "King of the Mountain" by Midnight Oil. 10. "I Want Your Love" by Transvision Vamp.

Simon Phillips Interview: One of my favorites! Simon opens up about his London session career (which started at age 16!), what he learned, how it shaped his career as a musician & as a drummer… losing his home in the California fires... working with Mike Oldfield, Bob Clearmountain, John Paul Jones, Jeff Beck, Tony Hymas, Roger Glover, Gary Moore, David Gilmour, Phil Manzanera, Bob Dylan, Jack Bruce, The Who, Chrissy Hynde… dealing with some personal dark times, moving here from England, being an optimist, Tony Roma’s, bangers & mash, and LOADS more VERY exciting things. What a guy! Simon Phillips’ career began at age 12, playing with his dad’s band. By 16, he was on his way to becoming THE first-call session drummer in London and since then, besides being a member of Toto for 12 years, he’s played with top artists like: Jeff Beck, Mick Jagger, The Who, Peter Gabriel, Joe Satriani, Steve Vai, Judas Priest, Michael Shenker, Al DiMeola, Pete Townshend, Stanley Clarke, Gary Moore, Frank Zappa, Bernie Marsden, Phil Manzanera, Mike Rutherford, Carlos Santana and many more Support this Show: http://www.everyonelovesguitar.com/support Subscribe https://www.everyonelovesguitar.com/subscribe/  Facebook: https://www.facebook.com/EveryoneLovesGuitar/ Instagram: https://www.instagram.com/everyonelovesguitar/ 

Two-time Grammy nominee and the award-winning author — Holly George-Warren has written 16 books including the New York Times bestseller The Road to Woodstock and the new biography Janis: Her Life and Music about rock icon Janis Joplin. Holly is also working with Petrine Day Mitchum on a new documentary called Rhinestone Cowboy about the story of Nudie, the Rodeo Tailor. Find out more about Holly George-Warren. Read more about The Passionistas Project. FULL TRANSCRIPT: Passionistas: Hi and welcome to the Passionistas Project Podcast. We're Amy and Nancy Harrington and today we're talking with two-time Grammy nominee and the award winning author Holly George-Warren. To date, Holly has written 16 books, including the New York times bestseller, “The Road to Woodstock” and the forthcoming biography, “Janice: Her Life and Music” about rock icon Janice Joplin. Holly is also working with Patrine Day Mitchell on a new documentary called “Rhinestone Cowboy” about the story of Nudie, the rodeo tailor. So please welcome to the show Holly George-Warren. Holly: Great to be here. Thanks so much for having me. Passionistas: What's the one thing you're most passionate about? Holly: Wow, gosh, what time is it? Every time it changes on the hour it seems like, but of course right now I'm most passionate about, I guess both Janis Joplin and Nudie. As far as my work life goes, my head is wrapped around both of those people. And interestingly enough, Nudie actually did make some outfits for Janice in 1970 so there's a connection with everything. And of course my other passion in my personal life is my family, my husband Robert Brook Warren and my son Jack Warren, who fill my life with joy and excitement and share, uh, my love for the arts, film, music, the outdoors, etc. So I'm very blessed. Passionistas: So tell us a little bit about what first inspired you to become a writer. Holly: I think music really did first inspire me beginning at a very, very young age. I grew up in a small town in North Carolina and literally I'm old enough to have discovered music back in the days of am radio. And in my town it was so tiny. We had very, you know, little radio, just some gospel, I think country and Western. This was in the ‘60s. But I discovered at night after like say nine o'clock on my little clock radio that I could tune into w ABC in New York and WCFL in Chicago. And that just blew my mind. It opened up this whole world for me of all these different sounds and styles of music. Cause that was in the day of very eclectic radio. Playing a DJs, they, they didn't go by strict playlists or anything like that. And I literally started just kind of writing, I think inspired by the music I was hearing. I started writing a little bit about music and I of course started reading biographies also at the same time. So that was the other major I would say inspiration for me. I started reading in elementary school these biographies of all kinds, everyone, you know, from like George Washington Carver to Florence Nightingale to Abraham Lincoln biographies and became kind of obsessed with reading those books. And you know, I just love to read from a young age. So I think those interests kind of combined that. Um, by the time I got to college I was writing quite a bit and uh, always did quite well with my writing assignments in school and then found myself writing more and more about music, going out and seeing bands performing live. And then that's what I did when I moved to New York city in 1979 I started writing for all kinds of fanzines and underground magazines that existed at that time in the East village. About then, it was kind of the post punk scene I guess, but I had been inspired by the original punk rockers, you know. I got to see the Ramones and bands like that in North Carolina before I moved to New York. So I've just started writing about the scene, which was not that well covered at the time. Talk a little bit more about the scene at that point. Back in those days, in the late seventies in New York city, there were only a couple of clubs where you could go out and see bands that had, were kind of either following in the footsteps of the original punk scene in New York and London. And a few of those people were still around New York and playing. So there was this great resurgence of kind of DIY homemade magazines, sort of called fanzines that all kinds of people that were into the scene started writing articles for. And it didn't have as many gatekeepers as say the big glossy magazines of the day, you know, even Cream magazine, which was kind of an upstart as compared to say Rolling Stone was pretty restrictive as far as who could write for those magazines. And I would send out queries and tried to get assignments and never hear back anything. But in the meantime, just people out on the scene who were playing in bands, booking bands, going out to see shows every night we're putting out these music magazines that pretty much anyone through, you know, string a sentence together and had a little bit of knowledge about writing. But a lot of passion basically. Again, passion was very much the key word of I would say the music scene, the people on stage and then also people writing about the music. So that's really what got me started and I started getting published in some, again very small run underground, a little music magazines. Passionistas: Then you did eventually start to write for Rolling Stone and you became an editor of the Rolling Stone press in '93. So tell us about the road to that and your experience working there. Holly: It was quite the fun road. It was circuitous because I did get swept up in the whole band scene and actually started playing in bands very early. I played, I used to call it lead rhythm guitar. So again, playing in different bands over pretty much throughout the 1980s and while I was doing that, I didn't write quite as much, but I felt like it was a huge tool for being able to write about music to actually be in a band. You know, we went on the road, we toured around some of my different bands, I did several recordings. So I learned what it was like to work in a recording studio. And just the whole life of being a musician became a real thing for me. So I felt like I could write about musicians with much more authority. I never considered myself a real musician. I still was a fan, but I, I could play a mean bar chord. And I started out with a fender Mustang and then I moved up to a fender Jazzmaster of the vintage one from the late fifties so I was pretty hip. Let me tell you. In the meantime, I did start getting some real jobs to pay the bills, including, believe it or not, I became an editor at American Baby magazine, which funnily enough, almost everyone that worked there was childless. And that was really my first nationally published articles was for this magazine. Um, how to know when your child is old enough for a pet or, you know, I did a research article where I went out and interviewed parents of quintuplets and quadruplets and triplets, you know, um, but I, you know, really kinda cut my teeth writing for that magazine. I learned how to be a journalist, you know, a real journalist. And then gradually through meeting people and also being a total rock and roll geeky nerd who was constantly reading every rock biography that would come out. And also I was really into, it was weirdly enough through punk rock, I got totally into old timey country music, like the Carter family. And honkytonk music like Hank Williams and I loved, uh, Patsy Cline, Wanda Jackson, the queen of rockabilly. So I got into that kind of music pretty much while I was a full-fledged punk rocker. And again, I think passion is the line between those two, the thread that connects them that, you know, both of those kinds of music, that earlier country that were raw primitive kind of country music as well as punk rock had that passion was very obvious in the music and that I loved it. I was totally into all that kind of music. And in fact, I saw George Jones at the Bottom Line in 1980 which blew my mind. So anyway, so I started learning more about that kind of music by just reading books all the time and eventually heard about a job as a fact checker at Rolling Stone press in the 1980s they were doing this big rock and roll encyclopedia and needed someone to double check everything. You know, these established writers who I'd been reading for years, Rolling Stone, like people like Dave Marsh had written. And so that was my first, you know, I was getting to call up Question Mark of Question Mark and the Mysterians and asking him, you know, was it true that he came from another planet and called up, you know, all these people. In fact, funnily enough, I handsome Dick Manitoba, the singer, the Dictators, I called him up to check some facts about this notorious horrible fight on stage, basically abroad between him and Jayne County at CBGBs. And then literally when I was playing in my band, we were rehearsing and this music building famously where Madonna once lived before she got an apartment near times square I was in, had gotten a taxi to get home with my equipment and there was, who was driving me, but you know, Richard, Manitoba, handsome Dick himself, who I had just caught up and asked him about his career as a fact checker. So anyway, that kind of got my foot in the door at Rolling Stone, which led to me over the years doing freelance projects for them. And till finally in 1993, well actually ‘91, they hired me as the editor to do a couple of their Landmark books, had deals with Random House to do new additions, “The Rolling Stone Album Guide” and “The Rolling Stone Illustrated History of Rock and Roll.” And so they hired me to kind of be the editor to work with uh, Anthony DeCurtis and Jim Hinky at the magazine to guide these books, which are these massive, massive researched, you know, a lot of people involved, you know, a lot of moving parts to do these new, uh, additions. So that went really well. So in 1993 they decided to start up a new book division, which had kind of fallen by the wayside and they hired me to come on board and run that book division. And that was a great experience and that's what led me to start writing for the magazine. I started doing assignments for the magazine, record reviews and things like that while running the book division. I learned so much from working on those kinds of big reference books. You know, and again, we had amazing writers that I got to interface with and on “The Illustrated History of Rock and Roll,” too, I got to work with everyone from Peter [inaudible] to Mark Marcus to the late great Robert Palmer. Again, Dave Marsh, you know, many, many writers. And then I got to assign a lot of new chapters and in fact I wrote a chapter, Anthony DeCurtis became a real mentor to me. He was an editor at Rolling Stone that was in the trenches with me on these book projects and he assigned me as the writer to do a big piece on the changing role of women and rock, you know, beginning with Patty Smith, et cetera. Up to that current time. I think, you know, I covered, I think Sinead O'Connor at that point was maybe one of the newer artists that was, uh, the focus of my chapter. But that was a real huge, exciting thing to get to be part of. And then I got to do another very cool book with a wonderful writer editor named Barbara Odair, who came to my office. She was working at Rolling Stone and then at US magazine back in the day when it was owned by Winter media and said, “Let's do a whole book on women in music with every chapter written by women and every, as much as possible, all the photography done by women.” So we did this really cool book called “Trouble Girls: The Rolling Stone Book of Women in Rock.” And funnily enough, one of the chapters I did for that one was this big piece on Nico, who was my first ever famous person I ever interviewed when I was, you know, living in New York city. I was still waitressing at the time. And Nico, of course from the velvet underground fame was kind of down at the heels. Editorials at the time, but having to go to a methadone clinic across from where I was working and would come in every day afterwards and have an amaretto on the rocks and cheesecake. So I got up my courage and asked her if I could interview her and I didn't even have a platform for my interview, but she said yes and got to spend some time with her and interview her and use part of the interview and a little fanzine back in the day. But then I got to really expand and write this whole chapter on Nico and use this interview I'd done 10 years earlier or even earlier than me, I guess 12 years earlier for this book “Trouble Girl.” So that was really exciting. Yeah. Passionistas: So you were writing about women, you're interviewing women, but what was it like for you as a woman starting in those early days in the punk rock scene through this time where you've becoming a more established rock journalist? What were your experiences like both as a musician and a journalist, as a woman in the music industry? Holly: Well, when I met people face to face and worked with them, say for example, Anthony DeCurtis and Jim Hinky, who sadly just passed away just a few weeks ago or a month, a month or so ago. They were very, very encouraging and very supportive. They really encouraged me to write and gave me assignments, et cetera. But before that I really found, and maybe it's true whether you're male or female or whatever gender, you know, but if I just blindly sent out queries or blindly tried to get gigs writing, when I first moved to New York City, it was a disaster. I mean, people either ignored me or just blew me off or said no or you know, it was really hard to get the foot in the door without actually working with people and for them to see what my work was like. Now, I did have the good fortune early on to meet some people that had worked with punk magazine and part of, there was this whole cool kind of resurgence of comics. This really great artists. Peter Bag had joined forces with John Holmstrom who had done punk magazine. And Peter and I, a Peter's wife and I work together, you know, at this restaurant. So Peter knew that I, you know, at this time I was just going out and writing about stuff on my own and pitching it to a few people I knew actually from North Carolina had moved to New York, but then they started giving me assignments for this. These magazines they started, one was called Stop and when it was called comical funny. So they, you know, they really encouraged me. So, you know, I can't say that I experienced gender bias or anything like that. Once I knew the people, I think maybe I was just, it's hard to know. I mean I did definitely get a lot of rejection. A lot of people that I pitched didn't really take me seriously and whether it's they didn't really know my work or because I was a woman, I don't know. I mean I, I did frequently find myself being the only music geek, you know, blabbing away on all this arcane kind of Trainspotting rock and roll history trivia with, you know, I'd be the only gal in the room blabbing away about that, you know, with some guys and stuff like that. There weren't a lot of women doing it and there weren't that many women around Lee for me that I crossed paths with to kind of support my endeavors at that part of my career. However, I very fortunately met a couple of women when I was a fact checker at Rolling Stone Press who were very, very encouraging and really I would not be talking to you right now if not for them. And one was Patti Romanowski who was the editor of Rolling Stone Press at the time, who hired me as a fact checker back in the ‘80s. She went on to write many as told two books with everyone from Mary Wilson to Otis Williams at the temptations. And that book has recently been the basis for this very successful Broadway show right now. So Patty was fantastic. And then her boss, the woman who ran rolling stone press with Sarah Layson who became, you know, really made my career because after she left Rolling Stone Press, she started a book packaging company and became a literary agent and hired me continuously for her book company. And then she became my literary agent when I left Rolling Stone. No, actually before I even started at Rolling Stone, my first ever book, which I uh, got my first book deal around 1990. So it was even before I went to Rolling Stone actually, she became my literary agent and my first ever book, she connected me with my coauthor Jenny Boyd, who had been married to make Fleetwood and her sister Patty Boyd, you might know the name was married to George Harrison, Eric Clapton. And Patty was a really interesting person who had kind of dug out a new life for herself. After her marriage with Mick Fleetwood ended, went back to school, became a psychologist, got a PhD and wanted to do a book on creativity and in musicians. So she hired me to be her co-author and we did this book called, well, it's available now. It got repackaged again and republished in England called, “It's Not Only Rock and Roll,” but it was basically about the creative process of musicians based on interviews with 75 musicians. So that really started me on my path as an author. That was my first book and that came out and a ‘91 Simon Schuster, a Fireside Division. So Sarah did that and then she became my, you know, agent. I wrote a few other books, a couple while I was at Rolling Stone and then when I left there in 2001 I've been writing books ever since. And Sarah has been my agent for all of them up to this my Janice Joplin book. And she definitely is one of my, you know, if not for her, I would, you know, like I said, I would not be talking to you right now. Passionistas: You're listening to the Passionistas Project Podcast and our interview with award winning author Holly George-Warren. To find out more about her latest book, “Janice: Her Life and Music” visit HollyGeorgeWarren.com. Now here's more of our interview with Holly. So clearly you have an extreme in depth knowledge of the history of women in the music industry. So how do you think the music industry has evolved over the years in terms of opportunities for women? Holly: When I first moved to New York as far as women performing in bands, that was just starting to really happen thanks to the whole, you know, punk explosion with bands from England, like the Slits and the Raincoats, the Modettes, you know, I saw all those bands, that little tiny clubs and it just was a much more welcoming atmosphere for women to pick up instruments and play in pants. And like I said, I started playing guitar in bands. Then of course, you know people like Tina Weymouth and Chrissy Hynde, I mean Patty Smith of course. So as far as getting the courage to get up on stage and play and then just, um, to have other like-minded souls out there that wanted to be in bands with you was very, uh, it was a great time to be in New York and gradually there became more and more venues, places to play. I got to play at all of them from, you know, CBS to Max's Kansas city, peppermint lounge, Danceteria, you know, all these great classic clubs in New York, you know, late seventies, early eighties. And as far as the music business, I mean, you know, at that time we were like screw the music, but you know, we were punk rockers, man. We were underground. We didn't want anything to do with that. In fact, when I started even working for Rolling Stone in ‘93, I would tell people like, yeah, I'm working for Rolling Stone so I can afford now to write about the bands I really love. For it cause I was still writing for this really cool magazine called Option, which, and I'll if you remember that magazine, but very cool magazine based on the West Coast. And so I'd still write about people that would never ever get covered in Rolling Stone, but all different types of music. And again started writing about some of the early country music pioneers and rockabilly people like Wanda and people like that. So I didn't really interface that much with the mainstream music business at that time. You know, I basically had good experiences on that very low level. Again, this was the time of the Go-Go's had come around and the Bangles, my band Dos Furlines, went on a tour of Canada with a couple of other all women bands and it was, you know, it was a male promoter and everything went really great. Once I started moving up the food chain, once I was at Rolling Stone, I started working on producing some CD packages with labels. And again, everybody I worked with were male, but they were very supportive. They were really into what, you know, my ideas were. So I didn't really have any problem with that. And you know, gradually I started meeting some very cool women that a lot of women I discovered had been really behind the scenes. So I started meeting some of those women who had been working at labels for years. Some of them had left, it started their own publicity companies, some of them were in management, et cetera. So, and then I, you know, finally got to meet a few of the women who had been pioneering women, female journalists. But again, there weren't that many. It was very cool to see. And then, you know, like I said, Barbeau Dara and I did a whole book with lots of great, great women writers. The scene I think helped, um, a lot of women find their, you know, their niche a lot. You know, a lot of women were total big into music just the way I was. But you know, finally, all these channels that opened up for them to pursue it as either a writer or you know, an A& R person manager, publicist, a photographer, lots of great women photographers. And again, I was, I loved meeting women who started in the business in the ‘60s into the ‘70s. So I loved getting to meet them in the ‘90s and just, I wish I would've known them or could've somehow met them when I first started out in the ‘70s, late seventies, even early eighties to get encouragement from them. But you know, they, they were really kind of behind the scenes. They weren't that obvious. And some of them became very good friends like Jan new house ski, uh, fabulous, wonderful. A writer who was one of the early women writers for Cream magazine. And, uh, I got to know her and work with her and you know, Daisy McLean, who had written for Rolling Stone, um, back in the glory days of rock journalism where they were all these junkets and you were flown all over and wined and dined by the labels and all that kind of stuff. And she had some amazing stories to tell about being in the trenches. And Ellen sand or another wonderful writer who her great book called, I think it's called trips, was just reissued last year. And she was a very early writer. And when out on the road with, you know like LEDs up one and covered a Woodstock and a lot of Janis Joplin gigs, Forest Hills tennis stadium wrote about that. And so again, just these great writers who were hard to find when I started out. Passionistas: You have an interest in all these genres. And you've written about such a wide range of music from country to punk. What makes a topic or an artist compelling enough for you to dedicate a book to the subject? Holly: I guess if there's a complexity to the person and arguably perhaps all artists are a complex people, who knows cause I don't know about all of them, but I've been really attracted to writing about people that have had to really struggle, who've had to break down barriers to be heard, who have, you know, a lot of facets to their personality. And Janice is my third biography. My first one was Gene Autry, the singing cowboy who was a very complex man and very much a groundbreaking artist going way back to the beginning in the late 1920s broke through in the early thirties. And then Alex Chilton, who of course a lot of people know from big star, but it started out as this pop star at age 16 and the Box Tops and just had this incredible career in life. I become passionate about them, their music, their lives. I never lose that passion. I mean I still get excited if some crazy, you know, online radio station plays, you know, a Gene Autry song. Same thing without, I was so thrilled. I went to see once upon a time at time in Hollywood and to hear a very deep cut box top song on the soundtrack of a, of the new Quintin Tarantino films. So two to train. By the way, I never lose the passion for the people that I like. Literally moving in with one of my biography subjects, you know, for several years. And you never forget your roommates, right? Most of them. Passionistas: Tell us about why you chose to write a book about Janis Joplin and what you learned about her that you found most fascinating from writing the book. Holly: I have to say part of it, I mean, I really believe that my subjects also choose me somehow. Again, following my passion, I ended up in a place where it just kind of comes together and with Janice for years, of course I had loved her music. She was definitely an inspiration for me growing up again in this tiny town in North Carolina, that didn't have a lot going on for me as far as the kind of things I was interested in. And now again, I might be like one of my biography subjects, but I think I saw her on the Dick Cavett show and just her whole look and attitude and sensibility and not to mention her incredible voice. I'm like, what's that? I want to be that. She was probably actually a little did I know at the time wearing this outfit that Nudie made for her. Of course. I was one of those people that was devastated when she died in 1970 and in 1971 I had joined the Columbia Record Blub and got Pearl. I still have my original copy. So just a fan and then once I was working at Rolling Stone and started doing projects with the Rock and Roll Hall of Fame, the Hall of Fame did a really cool symposium on Janis back in the nineties, I think it was ‘97. And Bob Santoli, the head of education, VP of education and programming at the time invited me to be part of it and I'm, I got to go to Cleveland and give a talk about Janice's influence on contemporary women musicians, but the best part was I got to meet Janice's brother and sister Michael and Laura. I got to meet Sam Andrew, her a guitar player, Chet Holmes, who was the manager for Big brother and the Holding Company and started the Avalon Ballroom dances there back in the ‘60s some other people to her, John Cook, her road manager. So I got to meet all these people. Then lo and behold, they did an American masters, American Music masters panel on Janice or weekend symposium on Janice again in 2009 I believe it was. And once again this time, um, and powers and I were asked to give talks about, Janis kind of a keynote thing with Lucy O'Brien, a grade a woman, rock journalists who's based in London. So the three of us kind of gave a joint keynote and again got to meet all these amazing people. So I just kind of got to learn more and more and more about Janice and about her music. The thing that really got me was I was asked to write liner notes for this two CD set called the Pearl sessions that Sony was doing in the early teens. And for the first time they had gone into the vaults and pulled out all this talk back between Janice and Paul Rothchild, her producer, who was known for being a very authoritarian producer. Like he worked with Joni Mitchell and one of her first or I think or second album. And she's like, no, I can't work with him. He's too bossy. He tells me what to, you know, so she wouldn't work with him. He famously produced most of the Door's albums and he would make Jim Morrison like redo his vocal like 10 times or whatever. But he listening to them in the studio together, I'm like, Oh my gosh, this woman is calling the shots. Janis Joplin is telling Paul Rothchild like, Oh wait, let's slow it down here. Wait, let's try a different arrangement on this. Let's have this guitar part here. I mean, she was basically producing the record with him. She's never gotten credit really for being this very thoughtful orchestrator of music and hardworking musician. She created a very different image of herself in order to sell herself as a persona, this rock persona. And she was very successful at that and I think I, and almost everybody else bought it, but I realized from listening to these recordings that there was a whole other side to her, this musician side, that she wasn't just blessed born with this incredible voice that she just came out of the box singing. She worked, she really worked. And that very much intrigued me and that made me more interested in wanting to spend four and a half, five years working on Janice's life story and trying to make a write a book about her that shows her trajectory as a musician because you know, there had been some other books, some very well researched. I'm Alice Echols wrote a great book about Janis with a lot of research, but I felt still that somehow or musicianship and had not ever been acknowledged the extent that it should have been. So that was kind of my goal for this book to really find out who her musical influences were. What did she do to improve her craft, or how did she discover her voice? What were the obstacles she had to overcome, all those kinds of things. So that really fired me up. And again, my wonderful agent, Sara Liaison, who had actually been the agent for Laura Joplin's book that she wrote called “Love Janice,” which told her story of growing up with Janice as her sister and used a lot of letters that Janice had written home. She reproduced a lot of the letters in the book and my agent told Laura about me and I had met her back in the nineties and so I was able to come to an agreement that, again, similar to the Autry book, they would allow me to go into Janice's personal files or scrapbooks or letters, and I could use all that in my book, but without any controls over what I wrote, they would not have any editorial approvals or anything like that. So again, that's, that's how that came about. Passionistas: And your other current passion, you've touched on it a couple times, but tell us a little bit more about “Rhinestone Cowboy,” the story of Nudie. Holly: I think there's kind of a pattern here. You can see that none of these, I'm no one overnights and station or whatever. All of my projects really, they come from years of passionately pursuing something just really for the love of it, more than with any sort of goal in mind. And that's kind of the same story with Nudie. As I mentioned, I was a collector of Western where I worked on the, “How the West Was Worn” book and that's when I really learned about Nudie, who was this very showman, like couturier the Dior of the sagebrush or whatever they used to call him, who catered to early on cellular Lloyd Cowboys, people like gene Autry. And Roy Rogers was a huge client and then all the stars like Hank Williams making their incredible embroidered outfits. Then he started putting rhinestones on the outfits. I'm for a country in Western singers. And then in the late sixties people like Graham Parsons, The Flying Burrito Brothers, Janice, the Grateful Dead, the Rolling Stones, Elton John all started going there, getting these really outrageous over the top and bordered and rhinestone suits. So I learned about him gradually and then it turns out through doing “How the West Was Worn,” I met Patrine Day Mitchum, who herself had actually hung out at Nudie's back in the ‘70s, knew him and he had tapped her to write his memoir with him. So she has hours and hours and hours of taped, uh, recordings with him telling his fascinating story about being an immigrant as a young boy from the Ukraine to New York, all these ups and downs. He went through very colorful stories that finally landed him in Los Angeles in the late forties and started his shop and started making outfits for all these Western swing performers. Tex Williams was his first. So we teamed up and started talking literally back in 2002 about, Oh, we should do a project together about Nudie. Should we do a book, because should we do a film? And so literally, all these years later now, we've actually started working on our documentary. In the meantime, I had worked on several documentaries over the years as a consulting producer and producer on lots of music documentaries that have been on PBS, etc. So I had that experience. And then Trina has worked in the film industry over the years as well. So we were able to kind of combine our passion for Nudie and his incredible clothing and some of the other outfits were made by some other great, also immigrants from Eastern Europe. This guy named Turk who was out on the end. VanNess was the first one. His shop opened in 1923 and then back in Philadelphia on the East coast rodeo. Ben had a shop beginning in 1930 all three of them in Nudie where they came from. Eastern Europe was young boys, young men, and then also the whole story of the immigrants from Mexico. Manuel who still at age 86 is designing these incredible outfits in Nashville. He worked with Nudie and Heimaey Castenada who is still right there in North Hollywood, making incredible outfits for Chris Isaac and Billy Gibbons and Dwight Yoakam. So it's a bigger story. Even then I realized as far as it's a story of immigrants coming to this country and creating the iconic American look, the rhinestone cowboy outfit. Right. So go figure. Passionistas: Looking back on your journey so far, is there one decision you've made that you consider the most courageous? That sort of changed your trajectory? Holly: Oh, I guess it was just picking up and moving to New York city with, I had a little audio cassette player. You remember those? It was even pre Walkman. I had that. If you could set mix tapes or suitcase and that was it. 500 bucks, maybe 700 I don't know. Just kind of moved to New York and I mean, I think, I guess that was the smartest thing I ever did because basically in New York I made lifelong friends. I met my husband, he was playing in a band, the flesh tones. Um, we were on a double bill. My band does for line. So that's how we met in the 80s all these passions, some of which I had as a young girl growing up in North Carolina, I was literally able to materialize into projects, into a lifestyle and into a livelihood. I mean, gosh, I mean, how lucky am I that that happened? Things that could have just been a hobby actually became a way of life and an occasional paycheck here and there. So I feel very, very lucky. And I think moving to New York city, almost at a whim, I went to school at the University of North Carolina, Chapel Hill. So I had two sides of my personality, the former hippie Janice wannabe, and the punk rocker. So when I was going to leave Chapel Hill, I'm like, well, I'm either gonna move to New York City or Key West. So I think it's a good thing. I moved to New York city. Passionistas: What's your secret to a rewarding life? Holly: Again, and I teach, I tell my students this, whatever you do, if you can pursue it with passion. You guys nailed it with the name of your podcast. Because if you can approach even, you know, path things with passion, you know, with anger or … of one with passion, I think, you know, whatever it is, if you can just engage and be passionate about things that's going to enrich your life. I mean it can maybe take its toll on you too. But I think how that kind of feeling and motivation that you're driven by the passion of whatever it is that you're thinking about or wanting to learn about or whatever, you're going to do a much better job with whatever it is you're pursuing. Passionistas: What's your definition of success? Holly: I guess success is not only attaining a goal that you had for yourself, but within that goal also having happiness and a good state of mind about it. Because I think horribly, you know, in our culture, a lot of people that find certain success, you know, material success or even career success, there's other aspects of their life that is not working out too well. So that's not really success is that I think you have to put all the parts of the puzzle together so that they're all kind of working out together to really be successful. It's tricky. It's difficult because life has a way of throwing lots of curve balls at ya. Passionistas: So what advice would you give to a young woman who wants to be a journalist or an author? Holly: First off, subscribe to your podcast. And seriously, I think surrounding yourself or finding out about or listening to other people who are passionate about things that you're interested in doing or even if it's something different, but people that their passion is driven them to be successful or to work towards attaining success, that that can be very inspirational and motivational for them. And then also not just do things through rote or whatever. You have to really find something that energizes you and does and passion you to want to pursue it, and I think that's really important and not do something just because you're supposed to or someone tells you you should do this, but you have to really find things that are going to bring you fulfillment. Passionistas: Thanks for listening to the Passionistas Project Podcast and our interview with Holly George-Warren to find out more about her latest book, “Janice: Her Life and Music,” visit HollyGeorgeWarren.com. And don't forget, our quarterly subscription box The Passionistas Project Pack goes on sale October 30th. Each box is filled with products made by women owned businesses and female artisans to inspire you to follow your passions. Sign up for our mailing list@thepassionistasproject.com to get 10% off your first purchase. And be sure to subscribe to the Passionistas Project Podcast so you don't miss any of our upcoming inspiring guests.

February 1984— The Pretenders— “Learning to Crawl” Coming after a hiatus and the tragedy of losing two band members to drug overdoses, The Pretenders third studio album was perhaps a surprisingly successful endeavor. The name “Learning to Crawl” pays homage to Chrissy Hynde's daughter, Natalie Rae Hynde, who was indeed learning to crawl at the time. There's a sense of loss that comes from this album in tracks like “My City Was Gone” or “Time the Avenger,” but there's also an acknowledgment of more mundane activities in songs like “Watching the Clothes.” This is a great album from one of Rock's strong female leads, and we hope you enjoy it as much as we do. “Middle of the Road” This is the first track on the album, and has a bit of a new wave feel. This song was released as a single in 1983, ahead of the album release, as were several tracks off the album. Check out the guitar riff and the harmonica solo on this one. “Time the Avenger” This one has a Romantics feel to it. "No one is perfect, not even a perfect stranger." Hynde spent some time in London with groups like The Clash and The Damned. “Watching the Clothes” Here's a deeper cut inspired by the death of a friend and spending time in the laundromat. “My City Was Gone” Anyone who has heard the Rush Limbaugh program bump music has heard this track. The inspiration for this was Hynde's return to her hometown and the changes she saw over time. “And my pretty countryside had been paved down the middle by a government that had no pride.” ENTERTAINMENT TRACK: “Never Say Never” by Romeo Void, from the movie, Reckless This cult classic was featured in the 1984 movie "Reckless," a movie with a soundtrack that was more popular than the film. STAFF PICKS: “What if I’d Been the One” by 38 Special This Southern Rock track was off of 38 Special's album "Tour de Force." The lyrics are quite depressing despite the upbeat sound of the tune itself. Bruce went local as the album was recorded at Studio One in Doraville, GA. “Take Me Away” by Blue Oyster Cult Wayne doesn't disappoint with his rocking pick. This alien abduction track is from the later BOC days. "I lift my eyes and say, 'come on and take me away.'" “Hyperactive” by Thomas Dolby “Why don’t you tell me about your childhood...” Rob's staff pick drifts into the techno-pop new wave. Dolby had originally intended this song for Michael Jackson, but after getting no response from the King of Pop, he decided to do it himself. “I Want a New Drug” by Huey Lewis & the News Brian closes the staff picks with Huey Lewis's hit off the third album "Sports." This propelled Lewis and the band to super-stardom, and this track was on the top of the pop and dance charts. INSTRUMENTAL OR LAUGH TRACK: “The Attitude Song” by Steve Vai Vai was the lead guitarist for David Lee Roth's band when he went solo. Vai is very well known among guitar artists as a virtuoso, and this instrumental demonstrates why.

En este episodio: La década de los 80s trajo a los primeros grandes íconos del mainstream mundial, como Siouxsie, Annie Lenox, Joan Jett o Chrissy Hynde. Pero también grandes mostras que cambiarían todo desde la contra cultura como Lydia Lunch, Wendy O Williams. ¿Cómo surgió el rock? ¿Quiénes lo fundaron? ¿Conoces a Rosetta Tharpe, Cordell Jackson y Memphis Minnie? ¿Y cuánto sabés de Aretha Franklin o Carole King? Mostras del rock es un podcast sobre rock. Pero muy poco común. Heroínas musicales que atravesaron muros sexistas, abrieron puertas y armaron caminos que llegan al presente. "Guión & Voz: Barbi Recanati. Grabación, edición y mezcla: Antonio Boyadjian."

Ub 40 Chrissy Hynde - Ive Got You B

Ub 40 Chrissy Hynde - Ive Got You B

It's Part 1 of our review of ElfQuest: The Final Quest Special! Chrissy Hynde said it best: "I'm special so special/I gotta have some of your attention give it to me!" Gender roles, birth control on the WoTM, archetypes, and Moonshade harshing everyone's buzz in this episode!

Rod Picott plays three tracks from his latest album, Hang Your Hopes On A Crooked Nail. Rod Picott talks about wrecking his car while studying a Who song. writing a break up song with Amanda Shires, and seeing Chrissy Hynde in leather pants. Also on this episode, new rock & roll from the Drive-By Truckers, indie rock from Lydia Loveless, country-rock from The Far West band, retro-60's Bakersfield country from The Palominos, 30's-era jazz from Roosevelt Dime, alt-country from Uncle Tupelo, road music from Girls, Guns, and Glory, travelin' music from Hurray For The Riffraff, hoky tonk from the Bastard Sons Of Johnny Cash, and some border music from Chuck Meade. "Episode 182: Rod Picott" originated from Americana Music Show.

Ruby burst onto the music scene as a solo artist in 2006 with the release of her EP Sweet as Sin, immediately captivating critics and crowds, with moxie and sophistication and a kick ass stage show, leaving a swarm of heady fans in her wake. Her sultry yet sweet voice tempted, teased and rocked premiere venues from Central Park in New York City, Hard Rock Live, Austin's Continental to LA's Viper Room and The Whiskey. Whether it be on her own or sharing stages with Jackson Browne, Jane Weidlin, Soul Asylum, 7Mary3, War and Fastball, Ruby James is often compared to legendary icons Stevie Nicks, Sheryl Crow and Chrissy Hynde. Humbly aware, she is committed to and succeeding at blazing her own unique trail through modern rock. "Ruby James is one to watch out for"- Austin 360 Review (Austin American Statesman) rubyjames.com

1. What Time is Love? (LP Mix) - The KLF 2. Make it Mine (v 1.0 Progress Mix) - The Shamen 3. Blue Eyed Pop (S1000 Mix) - The Sugarcubes 4. Love Baby - Fortran 5 5. Break 4 Love (Razormaid! Mix) - Raze 6. The Beginning (Roundabout Mix) - Seal 7. Walking Away (S.M.D. Mix) - Information Society 8. Don't Tell Me (Dance Remix) - Blancmange 9. Snappy (12" Remix) - Erasure 10. Beat of Life - Anything Box 11. Je T'aime (Extended Mix) - Vicious Pink 12. Bitter Heart (Razormaid! Mix) - Seona Dancing 13. Regret (The Fire Island Mix) - New Order 14. So Weit Wie Noch Nie (Erlend Oye Mix) - Jurgen Paape 15. The Caterpillar (Flicker Mix) - The Cure   Notes and Other Random Things:  Happy Memorial Day Weekend to all my US listeners and happy regular weekend to everyone else around the globe. The occasion here in the states marks a time of sun, friends, family, icy beverages and plumes of smoke wafting from the grills and barbeque pits of backyards everywhere. But it also marks a time of quiet reflection and giving thanks to the men and women in the Armed Forces who have served our country and have, in some cases, given their lives to protect our shores. It is thanks to their bravery and their willingness to put everything on the line that the rest of us have the freedom to over-eat, get sloppy drunk and moon my television while screaming obscenities at whichever NASCAR event happens to be on. Oh, don't tell me you haven't done it. Anyway, even though it doesn't seem like nearly enough, a heartfelt "Thank You" to all those in uniform. Heroes - all of you. On such a patriotic day for us in the states, and with my being one of its inhabitants, I almost feel guilty including songs with foreign lyrics like Vicious Pink's French-inspired Je T'aime and Jurgen Paape's So Weit Wie Noch Nie. The latter song includes samples from an artist named Daliah Lavi, whose lyric appears in a 1972 track called Vielleicht Schon Morgen. Mind you, I have nothing against the French and the Germans. One makes great fries and the other exceptional gummy bears. It's just that on a day like today, I somehow feel like the whole podcast should be nothing but John Philip Sousa samples sprinkled into a mash-up of The National Anthem and Take Me Out to the Ball Game, you know? But because none of those are 80s tunes (or 90s tunes for that matter) that would never happen. Of course, considering that this podcast sort of strayed from a typically unwavering adherence to the 80s & 90s theme anyway, I suppose I could have chosen that path. For instance, the Jurgen Paape track is actually a 2002 release. It just fit so well with New Order's Regret that I couldn't resist. Also, astute listeners will hear an MC5 sample right at the beginning of the KLF track What Time is Love? Yeah, that's lead singer Rob Tyner screaming, "Kick out the jams, M0+#er Fu(k=r!" And if you listen closely and know well your old people music, you will hear a number of other samples including a highly recognizable "1 ... 2 ... 3 ...4" from the Beatles in the remix of Make it Mine by The Shamen; and "It is time ..." a chopped up sample from Chrissy Hynde of The Pretenders in the track Love Baby by Fortran 5. The original lyric appeared in the song Stop Your Sobbing. Back to the KLF … James Cauty and William Drummond have appeared in an earlier episode of CRC. At that time, I mentioned how musically irreverent they were and how glaringly insubordinate they were to the music industry as a whole. It seemed as if everything they did was merely to get a reaction out of the public or to challenge the accepted definitions of art. One read of their hilarious and very tongue-in-cheek book How to Have a Number One the Easy Way will support that notion, but it doesn’t mean they didn’t pen some very infectious and highly danceable tracks in the process. What Time is Love?, despite dripping with mid-range frequencies, is one of them. Now, pay attention because here are some names that you should know as they helped make the song what it is: Isaac Bello: he’s the guy who does the rapping in the song. Wanda Dee: she’s responsible for the “I wanna see you sweat” lyric And then there are P.P. Arnold and Katie Kisson, who yell “Mu Mu!” at various intervals. How’s that for a resume builder? The Sugarcubes make their second appearance on CRC with the excellent remix of Blue Eyed Pop. As most Bjork fans know, the Icelandic collective is where the pint-sized pop star first gained international acclaim, though she had been involved in music from a very young age, even recording her first album at age 11. She has also had a brilliant solo career and contributed vocals to the song QMart on the 808 State album Ex:el. This mix of Blue Eyed Pop was done by S1000. The DJ/production duo consisted of Mike Koglin and Spencer Williams. Koglin has gone on to become a very prominent trance DJ and producer these days, running his own record imprint called Noys Music. To those younger listeners with a larger familiarity with the trance scene, he had a huge club hit in 1998 with a track called The Silence, which was a reworking of Depeche Mode’s Enjoy the Silence.  Raze were conceived by American producer Vaughn Mason with singer Keith Thompson contributing vocals. Though Break 4 Love was released in 1988, Thompson also did the vocal honors on a track called Jack the Groove in 1986. That song was one of the very first house music chart topping tracks in the UK, creeping into the top 20 at one point. The Pet Shop Boys and Peter Rauhofer, who also performed under the name Club 69, did a cover of Break 4 Love in 2001. Using the name The Collaboration, the track appears on the bonus disc of the album Release and as a b-side to the second disc of their single Home and Dry. The Razormaid! version here is pretty filthy at points, thus the Explicit tag on this podcast. It’s a pretty muddy, steamy affair anyway, but some of the samples might make you squirm a bit if you’re within earshot of your parents while listening. Why on earth you would put yourself into that predicament anyway is beyond me. Then again, as the guy who just admitted he moons his television, I probably don't have much room to judge. You probably don’t want to play this one around your kids either, unless you’re prepared to answer a LOT of questions. Information Society have appeared on CRC several times in the past and they will appear again in the future. I’ll let the band themselves tell you about this particular track. I’m still trying to figure out what S.M.D. stands for. “This was the 2nd single released off the ‘first’ album. It did almost as well as What's On Your Mind, getting to #9 in the top 40 in the fall of '88. The video got a lot of MTV airplay. We had a big problem with this one in the studio. When we were mixing, and we got to the vocals, they sounded distorted in a very strange manner. Of course, the first thing we did was to solo the vocals to hear what was wrong with them. Then we couldn't hear anything wrong with them, so we shook our heads and went back to mixing. Then they sounded distorted again. Only WITH the tracks did they sound distorted. Eventually we realised that the super-heavy TR-808 kick drum sound was creating the ILLUSION of distortion in the vocals, similar to the effect of talking into a fan. We had to remove the super-sub-kick during the vocals sections.” They went on to say, “It was on this single that we began to realise how little control a band, especially a dance band, really has over its re-mixes. We rejected the Shep Pettibone mix outright. It went on the CD anyway. We really didn't like the "The Space Age" samples in the Space Age mix, they stayed.” Hmmmm. I think I’m getting some pretty good ideas about what the S, M, and the D might stand for now! Erasure are no stranger to this podcast nor will they ever be with the sheer volume of catchy dance tracks Andy Bell and Vince Clarke have cobbled together over the twenty-plus years they have been together. Snappy is the b-side to the song Chorus, which appeared on the album of the same name. This 12” mix was produced by uber-producer extraordinaire Martyn Phillips. Fans of Erasure (and Depeche Mode for that matter) might be interested to know that an album collaboration between Vince Clarke (an original member of DM) and Martin Gore is forthcoming. On August 27th of last year, Clark shared via Twitter that he and Gore had recorded a track called “Zaat”, which was to appear on the next Erasure album. The two apparently had enough creative energy together to crank out a full-length. As far as I know, no dates have been set for either release at this point. Last, but not least, I wanted to write a few words about Seona Dancing (pronounced like Shawna). The knowledge has gained a bit of traction with the success of The Office in the UK and all his other pursuits, but Seona Dancing was the musical outlet for one Ricky Gervais when he was but a skinny little gothy/new wavy-looking kid back in the day. They had two single releases: this song and one called More to Lose, but after both achieved only modest (and apparently unofficial) chart positioning, he and friend/bandmate Bill Macrae decided to call it a day in 1984. Gervais is certainly not regretting that move, though any lovers of 80s electronica might beg to differ. As a side note, if you have small kids, do yourself a favor and don't let them listen to Break 4 Love. Did I already say that? In all seriousness though, get Ricky's excellent Flanimals series of children’s books. I happened to pick up the first one a few days ago and it’s really quite funny. It’s a brief biography of a bunch of non-sensical creatures with non-sensical names along with descriptions of their habits and behavioral traits. It’s a very entertaining read, I must admit. I also must admit I think I bought it more for myself than for anyone else. Hey, I do an 80s podcast. What kind of maturity level do you think you’re dealing with here? Thanks to everyone for listening. I hope to be back again soon with another episode. In the meantime, enjoy this one and be sure to support the artists you like. Without their efforts, none of this is possible.