Podcasts about Clarence Clemons

#realconversations #gardenstatefilmfestival #actors#njfilmacademy #director #producer CONVERSATIONS WITH CALVIN WE THE SPECIESMeet DIANE RAVER: Founder, Garden State Film Festival; Exec.Dir, NJ Film Academy;https://www.youtube.com/c/ConversationswithCalvinWetheSpecIEs432 Interviews/Videos  8100 SUBSCRIBERSGLOBAL Reach. Earth Life. Amazing People.  PLEASE SUBSCRIBE **DIANE RAVER; Founder, Garden State Film Festival; Exec. Dir,NJ Film Academy; LIVE from Monmouth CountyYouTube:BIO: Diane Raver, a proud Sea Girt, NJ native, discoveredher passion for cinema early in life, inspired by countless visits to her localmovie house in Manasquan the Algonquin. With a distinguished career as aproducer and director, she made history in 1987 by becoming the first womanpresident of a TV commercial production company in New York City, founding TheMadison Group. In 2002, Diane co-founded The Garden State Film Festival,(GSFF) which has evolved into an internationally celebrated event held annuallyin Asbury Park. The GSFF attracts over 20,000 global attendees yearly and hashosted a roster of illustrious celebrities, including Bruce Springsteen, GlennClose, Robert Pastorelli, Christopher Lloyd, Ed Asner, Armand Assante, FrankVincent, Paul Sorvino, Budd Schulberg, Kurtwood Smith, James Gandolfini,Celeste Holm, and Clarence Clemons.Diane's contributions to the film industry have beenrecognized with numerous accolades, including the prestigious Alice Guy BlachéAward, the New Jersey Moviemakers Network Award for Excellence, and theAlgonquin Arts Leadership & Legacy Award. She holds a B.S. degree fromThomas Jefferson University, and her commitment to supporting New Jerseyfilmmakers and community initiatives has earned her widespread recognition.Diane is the widow of the award-winning Director/CameramanM. Carroll Raver, Jr. She is not only a proud stepmother to his four childrenfrom previous marriages but also the mother of their three children together.As a pioneer in the film industry and an unwavering advocate for New Jerseyfilmmakers, Diane Raver continues to leave a profound impact on both theentertainment world and her community.**LINKS:  gsff.orgLinkedIn: https://www.linkedin.com/in/diane-raver-b229365/New Jersey Film Academy: https://www.njfilmacademy.org/New Jersey Production Guide: https://www.njproductionguide.org/** WE ARE ALSO ON AUDIOAUDIO “Conversations with Calvin; WE       the SpecIEs”ANCHOR https://lnkd.in/g4jcUPqSPOTIFY https://lnkd.in/ghuMFeCAPPLE PODCASTSBREAKER https://lnkd.in/g62StzJGOOGLE PODCASTS https://lnkd.in/gpd3XfMPOCKET CASTS https://pca.st/bmjmzaitRADIO PUBLIC https://lnkd.in/gxueFZw

A lot of Roy Ayers this afternoon, to mark the passing of the great vibraphonist and band leader — and, sadly, of several other luminaries including r'n'b saxophonist Gene Barge (aka Daddy G, the template for Clarence Clemons), David Johansen (featuring a first-ever appearance on any Jazz show anywhere by the New York Dolls!), and of course jazz, soul and pop singer Roberta Flack.   Two special guests also join Blind Mango in the studio this afternoon:  Ben Fernandez plays his diminutive keyboard and talks about his many upcoming projects  (including Bollywood and Jazz) and ongoing musical ‘Mix Day for Melodies' at ASB Waterfront Theatre, every day until March 23rd.  And Frances swings by to announce the Jazz GigGuide live, and stays to discuss future events and shared jazz memories. 

A lot of Roy Ayers this afternoon, to mark the passing of the great vibraphonist and band leader — and, sadly, of several other luminaries including r'n'b saxophonist Gene Barge (aka Daddy G, the template for Clarence Clemons), David Johansen (featuring a first-ever appearance on any Jazz show anywhere by the New York Dolls!), and of course jazz, soul and pop singer Roberta Flack.   Two special guests also join Blind Mango in the studio this afternoon:  Ben Fernandez plays his diminutive keyboard and talks about his many upcoming projects  (including Bollywood and Jazz) and ongoing play-with-music 'a mixtape for maladies' at ASB Waterfront Theatre, every day until March 23rd.  And Frances swings by to announce the Jazz GigGuide live, and stays to discuss future events and shared jazz memories. 

Clarence Clemons tells Nestor about life after E Street before Hammerjacks show in February 1990 The post Clarence Clemons tells Nestor about life after E Street before Hammerjacks show in February 1990 first appeared on Baltimore Positive WNST.

So how can The Dude and The Boss save America? According to the cultural critic, David Masciotra, Jeffrey "The Dude" Lebowski and Bruce “The Boss” Springsteen, represent the antithesis of Donald Trumps's illiberal authoritarianism. Masciotra's thesis of Lebowski and Springsteen as twin paragons of American liberalism is compelling. Both men have a childish faith in the goodness of others. Both offer liberal solace in an America which, I fear, is about to become as darkly surreal as The Big Lebowski. Transcript:“[Springsteen] represents, as cultural icon, a certain expression of liberalism, a big-hearted, humanistic liberalism that exercises creativity to represent diverse constituencies in our society, that believes in art as a tool of democratic engagement, and that seeks to lead with an abounding, an abiding sense of compassion and empathy. That is the kind of liberalism, both with the small and capital L, that I believe in, and that I have spent my career documenting and attempting to advance.” -David MasciotraAK: Hello, everybody. We're still processing November the 5th. I was in the countryside of Northern Virginia a few days ago, I saw a sign, for people just listening, Trump/Vance 2024 sign with "winner" underneath. Some people are happy. Most, I guess, of our listeners probably aren't, certainly a lot of our guests aren't, my old friend John Rauch was on the show yesterday talking about what he called the "catastrophic ordinariness" of the election and of contemporary America. He authored two responses to the election. Firstly, he described it in UnPopulist as a moral catastrophe. But wearing his Brookings hat, he's a senior fellow at the Brookings Institute, described it as an ordinary election. I think a lot of people are scratching their head, trying to make sense of it. Another old friend of the show, David Masciotra, cultural writer, political writer. An interesting piece in the Washington Monthly entitled "How Francis Fukuyama and The Big Lebowski Explain Trump's Victory." A very creative piece. And he is joining us from Highland Indiana, not too far from Chicago. David. The Big Lebowski and Francis Fukuyama. Those two don't normally go together, certainly in a title. Let's talk first about Fukuyama. How does Fukuyama explain November the 5th? DAVID MASCIOTRA: In his. Well, first, thanks for having me. And I should say I watched your conversation with Jonathan Rauch, and it was quite riveting and quite sobering. And you talked about Fukuyama in that discussion as well. And you referenced his book, The End of History and the Last Man, a very often misinterpreted book, but nonetheless, toward its conclusion, Fukuyama warns that without an external enemy, liberal democracies may indeed turn against themselves, and we may witness an implosion rather than an explosion. And Fukuyama said that this won't happen so much for ideological reasons, but it will happen for deeply psychological ones, namely, without a just cause for which to struggle, people will turn against the just cause itself, which in this case is liberal democracy, and out of a sense of boredom and alienation, they'll grow increasingly tired of their society and cultivate something of a death wish in which they enjoy imagining their society's downfall, or at least the downfall of some of the institutions that are central to their society. And now I would argue that after the election results, we've witnessed the transformation of imagining to inviting. So, there is a certain death wish and a sense of...alienation and detachment from that which made the United States of America a uniquely prosperous and stable country with the ability to self-correct the myriad injustices we know are part of its history. Well now, people--because they aren't aware of the institutions or norms that created this robust engine of commerce and liberty--they've turned against it, and they no longer invest in that which is necessary to preserve it.AK: That's interesting, David. The more progressives I talk to about this, the more it--there's an odd thing going on--you're all sounding very conservative. The subtitle of the piece in the Washington Monthly was "looking at constituencies or issues misses the big point. On Tuesday, nihilism was on display, even a death wish in a society wrought by cynicism." Words like nihilism and cynicism, David, historically have always been used by people like Allan Blum, whose book, of course, The Closing of the American Mind, became very powerful amongst American conservatives now 40 or 50 years ago. Would you accept that using language like nihilism and cynicism isn't always associated--I mean, you're a proud progressive. You're a man of the left. You've never disguised that. It's rather odd to imagine that the guys like you--and in his own way, John Rauch too, who talks about the moral catastrophe of the election couple of weeks ago. You're all speaking about the loss of morality of the voter, or of America. Is there any truth to that? Making some sense?DAVID MASCIOTRA: That's a that's a fair observation. And Jonathan Rauch, during your conversation and in his own writing, identifies a center right. I would say I'm center left.AK: And he's--but what's interesting, what ties you together, is that you both use the L-word, liberal, to define yourselves. He's perhaps a liberal on the right. You're a liberal on the left.DAVID MASCIOTRA: Yes. And I think that the Trump era, if we can trace that back to 2015, has made thoughtful liberals more conservative in thought and articulation, because it forces a confrontation and interrogation of a certain naivete. George Will writes in his book, The Conservative Sensibility, that the progressive imagines that which is the best possible outcome and strives to make it real, whereas the conservative imagines the worst possible outcome and does everything he can to guard against it. And now it feels like we've experienced, at least electorally, the worst possible outcome. So there a certain revisitation of that which made America great, to appropriate a phrase, and look for where we went wrong in failing to preserve it. So that kind of thinking inevitably leads one to use more conservative language and deal in more conservative thought.AK: Yeah. So for you, what made America great, to use the term you just introduced, was what? Its morality? The intrinsic morality of people living in it and in the country? Is that, for you, what liberalism is?DAVID MASCIOTRA: Liberalism is a system in and the culture that emanates out of that system. So it's a constitutional order that creates or that places a premium on individual rights and allows for a flourishing free market. Now, where my conception of liberalism would enter the picture and, perhaps Jonathan Rauch and I would have some disagreements, certainly George Will and I, is that a bit of governmental regulation is necessary along with the social welfare state, to civilize the free market. But the culture that one expects to flow from that societal order and arrangement is one of aspiration, one in which citizens fully accept that they are contributing agents to this experiment in self-governance and therefore need to spend time in--to use a Walt Whitman phrase--freedom's gymnasium. Sharpening the intellect, sharpening one's sense of moral duty and obligation to the commons, to the public good. And as our society has become more individualistic and narcissistic in nature, those commitments have vanished. And as our society has become more anti-intellectual in nature, we are seeing a lack of understanding of why those commitments are even necessary. So that's why you get a result like we witnessed on Tuesday, and that I argue in my piece that you were kind enough to have me on to discuss, is a form of nihilism, and The Big Lebowski reference, of course--AK: And of course, I want to get to Lebowski, because the Fukuyama stuff is interesting, but everyone's writing about Fukuyama and the end of history and why history never really ended, of course. It's been going on for years now, but it's a particularly interesting moment. We've had Fukuyama on the show. I've never heard anyone, though, compare the success of Trump and Trumpism with The Big Lebowski. So, one of the great movies, of course, American movies. What's the connection, David, between November 5th and The Big Lebowski? DAVID MASCIOTRA: Well, The Big Lebowski is one of my favorite films. I've written about it, and I even appeared at one of the The Big Lebowski festivals that takes place in United States a number of years ago. But my mind went to the scene when The Dude is in his bathtub and these three menacing figures break into his apartment. They drop a gerbil in the bathtub. And The Dude, who was enjoying a joint by candlelight, is, of course, startled and frightened. And these three men tell him that if he does not pay the money they believe he owes them, they will come back and, in their words, "cut off your Johnson." And The Dude gives them a quizzical, bemused look. And one of them says, "You think we are kidding? We are nihilists. We believe in nothing." And then one of them screams, "We'll cut off your Johnson." Well, I thought, you know, we're looking at an electorate that increasingly, or at least a portion of the electorate, increasingly believes in nothing. So we've lost faith.AK: It's the nihilists again. And of course, another Johnson in America, there was once a president called Johnson who enjoyed waving his Johnson, I think, around in public. And now there's the head of the house is another Johnson, I think he's a little shyer than presidents LBJ. But David, coming back to this idea of nihilism. It often seems to be a word used by people who don't like what other people think and therefore just write it off as nihilism. Are you suggesting that the Trump crowd have no beliefs? Is that what nihilism for you is? I mean, he was very clear about what he believes in. You may not like it, but it doesn't seem to be nihilistic.DAVID MASCIOTRA: That's another fair point. What I'm referring to is not too long ago, we lived in a country that had a shared set of values. Those values have vanished. And those values involve adherence to our democratic norms. It's very difficult to imagine had George H. W. Bush attempted to steal the election in which Bill Clinton won, that George H. W. Bush could have run again and won. So we've lost faith in something essential to our electoral system. We've lost faith in the standards of decency that used to, albeit imperfectly, regulate our national politics. So the man to whom I just refered, Bill Clinton, was nearly run out of office for having an extramarital affair, a misdeed that cannot compare to the myriad infractions of Donald Trump. And yet, Trump's misdeeds almost give him a cultural cachet among his supporters. It almost makes him, for lack of a better word, cool. And now we see, even with Trump's appointments, I mean, of course, it remains to be seen how it plays out, that we're losing faith in credentials and experience--AK: Well they're certainly a band of outlaws and very proud to be outlaws. It could almost be a Hollywood script. But I wonder, David, whether there's a more serious critique here. You, like so many other people, both on the left and the right, are nostalgic for an age in which everyone supposedly agreed on things, a most civil and civilized age. And you go back to the Bushes, back to Clinton. But the second Bush, who now seems to have appeared as this icon, at least moral icon, many critics of Trump, was also someone who unleashed a terrible war, killing tens of thousands of people, creating enormous suffering for millions of others. And I think that would be the Trump response, that he's simply more honest, that in the old days, the Bushes of the world can speak politely and talk about consensus, and then unleash terrible suffering overseas--and at home in their neoliberal policies of globalization--Trump's simply more honest. He tells it as it is. And that isn't nihilistic, is it?DAVID MASCIOTRA: Well, you are gesturing towards an important factor in our society. Trump, of course, we know, is a dishonest man, a profoundly dishonest--AK: Well, in some ways. But in other ways, he isn't. I mean, in some ways he just tells the truth as it is. It's a truth we're uncomfortable with. But it's certainly very truthful about the impact of foreign wars on America, for example, or even the impact of globalization. DAVID MASCIOTRA: What you're describing is an authenticity. That that Trump is authentic. And authenticity has become chief among the modern virtues, which I would argue is a colossal error. Stanley Crouch, a great writer, spent decades analyzing the way in which we consider authenticity and how it inevitably leads to, to borrow his phrase, cast impurity onto the bottom. So anything that which requires effort, refinement, self-restraint, self-control, plays to the crowd as inauthentic, as artificial--AK: Those are all aristocratic values that may have once worked but don't anymore. Should we be nostalgic for the aristocratic way of the Bushes?DAVID MASCIOTRA: I think in a certain respect, we should. We shouldn't be nostalgic for George W. Bush's policies. I agree with you, the war in Iraq was catastrophic, arguably worse than anything Trump did while he was president. His notoriously poor response to Hurricane Katrina--I mean, we can go on and on cataloging the various disasters of the Bush administration. However, George W. Bush as president and the people around him did have a certain belief in the liberal order of the United States and the liberal order of the world. Institutions like NATO and the EU, and those institutions, and that order, has given the United States, and the world more broadly, an unrivaled period of peace and prosperity.AK: Well it wasn't peace, David. And the wars, the post-9/11 wars, were catastrophic. And again, they seem to be just facades--DAVID MASCIOTRA: We also had the Vietnam War, the Korean War. When I say peace, I mean we didn't have a world war break out as we did in the First World War, in the Second World War. And that's largely due to the creation and maintenance of institutions following the Second World War that were aimed at the preservation of order and, at least, amicable relations between countries that might otherwise collide.AK: You're also the author, David, of a book we've always wanted to talk about. Now we're figuring out a way to integrate it into the show. You wrote a book, an interesting book, about Bruce Springsteen. Working on a Dream: the Progressive Political Vision of Bruce Springsteen. Bruce Springsteen has made himself very clear. He turned out for Harris. Showed up with his old friend, Barack Obama. Clearly didn't have the kind of impact he wanted. You wrote an interesting piece for UnHerd a few weeks ago with the title, "Bruce Springsteen is the Last American Liberal: he's still proud to be born in the USA." Is he the model of a liberal response to the MAGA movement, Springsteen? DAVID MASCIOTRA: Well, of course, I wouldn't go so far as to say the last liberal. As most readers just probably know, writers don't compose their own headlines--AK: But he's certainly, if not the last American liberal, the quintessential American liberal.DAVID MASCIOTRA: Yes. He represents, as cultural icon, a certain expression of liberalism, a big-hearted, humanistic liberalism that exercises creativity to represent diverse constituencies in our society, that believes in art as a tool of democratic engagement, and that seeks to lead with an abounding, an abiding sense of compassion and empathy. That is the kind of liberalism, both with the small and capital L, that I believe in, and that I have spent my career documenting and attempting to advance. And those are, of course, the forms of liberalism that now feel as if they are under threat. Now, to that point, you know, this could have just come down to inflation and some egregious campaign errors of Kamala Harris. But it does feel as if when you have 70 some odd million people vote for the likes of Donald Trump, that the values one can observe in the music of Bruce Springsteen or in the rhetoric of Barack Obama, for that matter, are no longer as powerful and pervasive as they were in their respective glory days. No pun intended.AK: Yeah. And of course, Springsteen is famous for singing "Glory Days." I wonder, though, where Springsteen himself is is a little bit more complex and we might be a little bit more ambivalent about him, there was a piece recently about him becoming a billionaire. So it's all very well him being proud to be born in the USA. He's part--for better or worse, I mean, it's not a criticism, but it's a reality--he's part of the super rich. He showed out for Harris, but it didn't seem to make any impact. You talked about the diversity of Springsteen. I went to one of his concerts in San Francisco earlier this year, and I have to admit, I was struck by the fact that everyone, practically everyone at the concert, was white, everyone was wealthy, everyone paid several hundred dollars to watch a 70 year old man prance around on stage and behave as if he's still 20 or 30 years old. I wonder whether Springsteen himself is also emblematic of a kind of cultural, or political, or even moral crisis of our old cultural elites. Or am I being unfair to Springsteen?DAVID MASCIOTRA: Well, I remember once attending a Springsteen show in which the only black person I saw who wasn't an employee of the arena was Clarence Clemons.AK: Right. And then Bruce, of course, always made a big deal. And there was an interesting conversation when Springsteen and Obama did a podcast together. Obama, in his own unique way, lectured Bruce a little bit about Clarence Clemons in terms of his race. But sorry. Go on.DAVID MASCIOTRA: Yeah. And Springsteen has written and discussed how he had wished he had a more diverse audience. When I referred to diversity in his music, I meant the stories he aimed to tell in song certainly represented a wide range of the American experience. But when you talk about Springsteen, perhaps himself representing a moral crisis--AK: I wouldn't say a crisis, but he represents the, shall we say, the redundancy of that liberal worldview of the late 20th century. I mean, he clearly wears his heart on his sleeve. He means well. He's not a bad guy. But he doesn't reach a diverse audience. His work is built around the American working class. None of them can afford to show up to what he puts on. I mean, Chris Christie is a much more typical fan than the white working class. Does it speak of the fact that there's a...I don't know if you call it a crisis, it's just...Springsteen isn't relevant anymore in the America of the 2020s, or at least when he sang and wrote about no longer exists.DAVID MASCIOTRA: Yes, I agree with that. So first of all, the working class bit was always a bit overblown with Springsteen. Springsteen, of course, was never really part of the working class, except when he was a child. But by his own admission, he never had a 9 to 5 job. And Springsteen sang about working class life like William Shakespeare wrote about teenage love. He did so with a poetic grandeur that inspired some of his best work. And outside looking in, he actually managed to offer more insights than sometimes people on the inside can amount to themselves. But you're certainly correct. I mean, the Broadway show, for example, when the tickets were something like a thousand a piece and it was $25 to buy a beer. There is a certain--AK: Yeah and in that Broadway show, which I went to--I thought it was astonishing, actually, a million times better than the show in San Francisco.DAVID MASCIOTRA: It was one of the best things he ever did.AK: He acknowledges that he made everything up, that he wasn't part of the American working class, and that he'd never worked a day in his life, and yet his whole career is is built around representing a social class and a way of life that he was never part of.“Not too long ago, we lived in a country that had a shared set of values. Those values have vanished. And those values involve adherence to our democratic norms.” -DMDAVID MASCIOTRA: Right. And he has a lyric himself: "It's a sad, funny ending when you find yourself pretending a rich man in a poor man's shirt." So there always was this hypocrisy--hypocrisy might be a little too strong--inconsistency. And he adopted a playful attitude toward it in the 90s and in later years. But to your point of relevance, I think you're on to something there. One of the crises I would measure in our society is that we no longer live in a culture of ambition and aspiration. So you hear this when people say that they want a political leader who talks like the average person, or the common man. And you hear this when "college educated" is actually used as an insult against a certain base of Democratic voters. There were fewer college-educated voters when John F. Kennedy, Richard Nixon, Ronald Reagan ran for president, all of whom spoke with greater eloquence and a more expansive vocabulary and a greater sense of cultural sophistication than Donald Trump or Kamala Harris did. And yet there was no objection, because people understood that we should aspire to something more sophisticated. We should aspire to something more elevated beyond the everyday vernacular of the working class. And for that reason, Springsteen was able to become something of a working-class poet, despite never living among the working class beyond his childhood. Because his poetry put to music represented something idealistic about the working class.AK: But oddly enough, it was a dream--there's was a word that Springsteen uses a lot in his work--that was bought by the middle class. It wasn't something that was--although, I think in the early days, probably certainly in New Jersey, that he had a more working-class following.DAVID MASCIOTRA: We have to deal with the interesting and frustrating reality that the people about whom Springsteen sings in those early songs like "Darkness on the Edge of Town" or "The River" would probably be Trump supporters if they were real.AK: Yeah. And in your piece you refer to, not perhaps one of his most famous albums, The Rising, but you use it to compare Springsteen with another major figure now in America, much younger man to Ta-Nehisi Coates, who has a new book out, which is an important new book, The Message. You seem to be keener on Springsteen than Coates. Tell us about this comparison and what the comparison tells us about the America of the 2020s.DAVID MASCIOTRA: Well, Coates...the reason I make the comparison is that one of Springsteen's greatest artistic moments, in which he kind of resurrected his status as cultural icon, was the record he put out after the 9/11 attack on the United States, The Rising. And throughout that record he pays tribute, sometimes overtly, sometimes subtly, to the first responders who ascended in the tower knowing they would perhaps die.AK: Yeah. You quote him "love and duty called you someplace higher." So he was idealizing those very brave firefighters, policemen who gave up their lives on 9/11.DAVID MASCIOTRA: Exactly. Representing the best of humanity. Whereas Ta-Nehisi Coates, who has become the literary superstar of the American left, wrote in his memoir that on 9/11, he felt nothing and did not see the first responders as human. Rather, they were part of the fire that could, in his words, crush his body.AK: Yeah, he wrote a piece, "What Is 9/11 to Descendants of Slaves?"DAVID MASCIOTRA: Yes. And my point in making that comparison, and this was before the election, was to say that the American left has its own crisis of...if we don't want to use the word nihilism, you objected to it earlier--AK: Well, I'm not objecting. I like the word. It's just curious to hear it come from somebody like yourself, a man, certainly a progressive, maybe not--you might define yourself as being on the left, but certainly more on the left and on the right.DAVID MASCIOTRA: Yes, I would agree with that characterization. But that the left has its own crisis of nihilism. If if you are celebrating a man who, despite his journalistic talents and intelligence, none of which I would deny, refused to see the humanity of the first responders on the 9/11 attack and, said that he felt nothing for the victims, presumably even those who were black and impoverished, then you have your own crisis of belief, and juxtaposing that with the big hearted, humanistic liberalism of Springsteen for me shows the left a better path forward. Now, that's a path that will increasingly close after the victory of Trump, because extremism typically begets extremism, and we're probably about to undergo four years of dueling cynicism and rage and unhappy times.AK: I mean, you might respond, David, and say, well, Coates is just telling the truth. Why should a people with a history of slavery care that much about a few white people killed on 9/11 when their own people lost millions through slavery? And you compare them to Springsteen, as you've acknowledged, a man who wasn't exactly telling the truth in his heart. I mean, he's a very good artist, but he writes about a working class, which even he acknowledges, he made most of it up. So isn't Coates like Trump in an odd kind of way, aren't they just telling an unvarnished truth that people don't want to hear, an impolite truth?DAVID MASCIOTRA: I'm not sure. I typically shy away from the expression "my truth" or "his truth" because it's too relativistic. But I'll make an exception in this case. I think Coates is telling HIS truth just as Trump is telling HIS truth, if that adds up to THE truth, is much more dubious. Yes, we could certainly say that, you know, because the United States enslaved, tortured, and otherwise oppressed millions of black people, it may be hard for some black observers to get teary eyed on 9/11, but the black leaders whom I most admire didn't have that reaction. I wrote a book about Jesse Jackson after spending six years interviewing with him and traveling with him. He certainly didn't react that way on 9/11. Congressman John Lewis didn't react that way on 9/11. So, the heroes of the civil rights movement, who helped to overcome those brutal systems of oppression--and I wouldn't argue that they're overcome entirely, but they helped to revolutionize the United States--they maintained a big-hearted sense of empathy and compassion, and they recognized that the unjust loss of life demands mourning and respect, whether it's within their own community or another. So I would say that, here again, we're back to the point of ambition, whether it's intellectual ambition or moral ambition. Ambition is what allows a society to grow. And it seems like ambition has fallen far out of fashion. And that is why the country--the slim majority of the electorate that did vote and the 40% of the electorate that did not vote, or voting-age public, I should say--settled for the likes of Donald Trump.AK: I wonder what The Dude would do, if he was around, at the victory of Trump, or even at 9/11. He'd probably continue to sit in the bath tub and enjoy...enjoy whatever he does in his bathtub. I mean, he's not a believer. Isn't he the ultimate nihilist? The Dude in Lebowski?DAVID MASCIOTRA: That's an interesting interpretation. I would say that...Is The Dude a nihilist? You have this juxtaposition... The Dude kind of occupies this middle ground between the nihilists who proudly declare they believe in nothing and his friend Walter Sobchak, who's, you know, almost this raving explosion of belief. Yeah, ex-Vietnam veteran who's always confronting people with his beliefs and screaming and demanding they all adhere to his rules. I don't know if The Dude's a nihilist as much as he has a Zen detachment.AK: Right, well, I think what makes The Big Lebowski such a wonderful film, and perhaps so relevant today, is Lebowski, unlike so many Americans is unjudgmental. He's not an angry man. He's incredibly tolerant. He accepts everyone, even when they're beating him up or ripping him off. And he's so, in that sense, different from the America of the 2020s, where everyone is angry and everyone blames someone else for whatever's wrong in their lives.DAVID MASCIOTRA: That's exactly right.AK: Is that liberal or just Zen? I don't know.DAVID MASCIOTRA: Yeah. It's perhaps even libertarian in a sense. But there's a very interesting and important book by Justin Tosi and Brandon Warmke called Why It's Okay to Mind Your Own Business. And in it they argue--they're both political scientists although the one may be a...they may be philosophers...but that aside--they present an argument for why Americans need to do just that. Mind their own business.AK: Which means, yeah, not living politics, which certainly Lebowski is. It's probably the least political movie, Lebowski, I mean, he doesn't have a political bone in his body. Finally, David, there there's so much to talk about here, it's all very interesting. You first came on the show, you had a book out, that came out either earlier this year or last year. Yeah, it was in April of this year, Exurbia Now: The Battleground of American Democracy. And you wrote about the outskirts of suburbia, which you call "exurbia." Jonathan Rauch, wearing his Brookings cap, described this as an ordinary election. I'm not sure how much digging you've done, but did the exurbian vote determine this election? I mean, the election was determined by a few hundred thousand voters in the Midwest. Were these voters mostly on the edge of the suburb? And I'm guessing most of them voted for Trump.DAVID MASCIOTRA: Well, Trump's numbers in exurbia...I've dug around and I've been able to find the exurbian returns for Pennsylvania, North Carolina, and Arizona. So three crucial swing states. If Kamala Harris had won those three states, she would be president. And Trump's support in exurbia was off the charts, as it was in 2020 and 2016, and as I predicted, it would be in 2024. I'm not sure that that would have been sufficient to deliver him the race and certainly not in the fashion that he won. Trump made gains with some groups that surprised people, other groups that didn't surprise people, but he did much better than expected. So unlike, say, in 2016, where we could have definitively and conclusively said Trump won because of a spike in turnout for him in rural America and in exurbia, here, the results are more mixed. But it remains the case that the base most committed to Trump and most fervently loyal to his agenda is rural and exurban.AK: So just outside the cities. And finally, I argued, maybe counterintuitively, that America remains split today as it was before November the 5th, so I'm not convinced that this election is the big deal that some people think it is. But you wrote an interesting piece in Salon back in 2020 arguing that Trump has poisoned American culture, but the toxin was here all along. Of course, there is more, if anything, of that toxin now. So even if Harris had won the election, that toxin was still here. And finally, David, how do we get rid of that toxin? Do we just go to put Bruce Springsteen on and go and watch Big Lebowski? I mean, how do we get beyond this toxin?DAVID MASCIOTRA: I would I would love it if that was the way to do it.AK: We'll sit in our bathtub and wait for the thugs to come along?DAVID MASCIOTRA: Right, exactly. No, what you're asking is, of course, the big question. We need to find a way to resurrect some sense of, I'll use another conservative phrase, civic virtue. And in doing--AK: And resurrection, of course, by definition, is conservative, because you're bringing something back.“Ambition is what allows a society to grow. And it seems like ambition has fallen far out of fashion.” -DMDAVID MASCIOTRA: Exactly. And we also have to resurrect, offer something more practical, we have to resurrect a sense of civics. One thing on which--I have immense respect and admiration for Jonathan Rauch--one minor quibble I would have with him from your conversation is when he said that the voters rejected the liberal intellectual class and their ideas. Some voters certainly rejected, but some voters were unaware. The lack of civic knowledge in the United States is detrimental to our institutions. I mean, a majority of Americans don't know how many justices are on the Supreme Court. They can't name more than one freedom enumerated in the Bill of Rights. So we need to find a way to make citizenship a vital part of our national identity again. And there are some practical means of doing that in the educational system. Certainly won't happen in the next four years. But to get to the less tangible matter of how to resurrect something like civic virtue and bring back ambition and aspiration in our sense of national identity, along with empathy, is much tougher. I mean, Robert Putnam says it thrives upon community and voluntary associations.AK: Putnam has been on the show, of course.DAVID MASCIOTRA: Yeah. So, I mean, this is a conversation that will develop. I wish I had the answer, and I wish it was just to listen to Born to Run in the bathtub with with a poster of The Dude hanging overhead. But as I said to you before we went on the air, I think that you have a significant insight to learn this conversation because, in many ways, your books were prescient. We certainly live with the cult of the amateur now, more so than when you wrote that book. So, I'd love to hear your ideas.AK: Well, that's very generous of you, David. And next time we appear, you're going to interview me about why the cult of the amateur is so important. So we will see you again soon. But we're going to swap seats. So, David will interview me about the relevance of Cult of the Amateur. Wonderful conversation, David. I've never thought about Lebowski or Francis Fukuyama, particularly Lebowski, in terms of what happened on November 5th. So, very insightful. Thank you, David, and we'll see you again in the not-too-distant future.DAVID MASCIOTRA: Thank you. I'm going to reread Cult of the Amateur to prepare. I may even do it in the bathtub. I look forward to our discussion.David Masciotra is an author, lecturer, and journalist. He is the author of I Am Somebody: Why Jesse Jackson Matters (I.B. Tauris, 2020), Mellencamp: American Troubadour (University Press of Kentucky), Barack Obama: Invisible Man (Eyewear Publishers, 2017), and Metallica by Metallica, a 33 1/3 book from Bloomsbury Publishers, which has been translated into Chinese. In 2010, Continuum Books published his first book, Working On a Dream: The Progressive Political Vision of Bruce Springsteen.His 2024 book, Exurbia Now: Notes from the Battleground of American Democracy, is published by Melville House Books. Masciotra writes regularly for the New Republic, Washington Monthly, Progressive, the Los Angeles Review of Books, CrimeReads, No Depression, and the Daily Ripple. He has also written for Salon, the Daily Beast, CNN, Atlantic, Washington Post, AlterNet, Indianapolis Star, and CounterPunch. Several of his political essays have been translated into Spanish for publication at Korazon de Perro. His poetry has appeared in Be About It Press, This Zine Will Change Your Life, and the Pangolin Review. Masciotra has a Master's Degree in English Studies and Communication from Valparaiso University. He also has a Bachelor's Degree in Political Science from the University of St. Francis. He is public lecturer, speaking on a wide variety of topics, from the history of protest music in the United States to the importance of bars in American culture. David Masciotra has spoken at the University of Wisconsin, University of South Carolina, Lewis University, Indiana University, the Chicago Public Library, the Lambeth Library (UK), and an additional range of colleges, libraries, arts centers, and bookstores. As a journalist, he has conducted interviews with political leaders, musicians, authors, and cultural figures, including Jesse Jackson, John Mellencamp, Noam Chomsky, all members of Metallica, David Mamet, James Lee Burke, Warren Haynes, Norah Jones, Joan Osborne, Martín Espada, Steve Earle, and Rita Dove. Masciotra lives in Indiana, and teaches literature and political science courses at the University of St. Francis and Indiana University Northwest. Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Guest Host Steve Reading fills in for me and presents the 42nd edition of Variety Hits! In addition to the usual random playlist there is also a Halloween themed portion of the show. Artists include The Beatles, Stevie Nicks, The Thompson Twins, Neil Sedaka,, Queen, Clarence Clemons, Boston, John Carpenter, The Temptations, Styx, Yes, Zone Tripper, Switchfoot, Our Lady Peace, Julian Lennon and more! Steve Reading is our special guest host for this show and is a presenter from Rock Island Radio UK where he hosts the popular Jukebox Heroes series. Steve and I traded shows this past April Fools Day and had a lot of fun. Thank you to Steve for coming back to the show filling in for me! 

Miss Heard celebrates Season 6, Episode 266 with Aretha Franklin's “Freeway of Love.” So many connections to artists such as Clarence Clemons with the E Street Band and the motor city Detroit. You can listen to all our episodes at our website at: https://pod.co/miss-heard-song-lyrics Or iTunes, Stitcher, Spotify and many more platforms under Podcast name “Miss Heard Song Lyrics” Don't forget to subscribe/rate/review to help our Podcast in the ratings. Please consider supporting our little podcast via Patreon at https://www.patreon.com/MissHeardSongLyrics or via PayPal at https://www.paypal.com/paypalme/MissHeardSongLyrics #missheardsonglyrics #missheardsongs #missheardlyrics #misheardsonglyrics #podcastinavan #vanpodcast #ArethaFranklin #FreewayOfLove #JeffreyCohen #NarandaMichaelWalden #ClarenceClemons   https://www.youtube.com/watch?v=Ip_pjb5_fgA https://en.wikipedia.org/wiki/Freeway_of_Love https://en.wikipedia.org/wiki/Jeffrey_E._Cohen https://en.wikipedia.org/wiki/Clarence_Clemons

In this episode of 'Set Listing Bruce,' host Jesse Jackson revisits an old episode from 2017 featuring Dan French, a passionate Bruce Springsteen fan and former fanzine creator. Dan shares his introduction to music through Top 40 radio and his older siblings' influence, leading to his discovery of Bruce Springsteen in the late 1970s. Dan recounts his extraordinary journey to see Springsteen live for the first time, which involved hitchhiking from London to Frankfurt, Germany. Throughout the episode, Dan talks about his experiences meeting members of the E Street Band, including a memorable encounter with Clarence Clemons and eventually Bruce Springsteen himself. The conversation highlights the significance of the Springsteen fan community, the creation of his fanzine 'Point Blank,' and the lifelong friendships he has made through his fandom. Dan also reflects on the changing landscape of fan engagement over the years. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's summer of 1989 and for the first time in history not one but TWO former Beatles are on tour! And for the newly sober Ringo Starr, these live shows were a helpful reminder of his skills as an artist and his importance to the world of music -- hitting the road with an all-star band of friends and like-minded creatives for a triumphant North American leg in July. Joe Walsh, Nils Lofgren, Dr. John, Billy Preston, Rick Danko, Levon Helm, Clarence Clemons, Jim Kelter and a host of special guests and rave reviews accompanied this All-Star Band on tour, and reinvigorated a wave of Beatles nostalgia...just in time for Paul McCartney to hit the road himself... Hosted on Acast. See acast.com/privacy for more information.

Making a Scene Presents Gerry Casey's Interview with Jeff PitchellAn internationally acclaimed dynamic singer, songwriter and guitarist, Jeff achieved national recognition when his album Heavy Hitter (Pyramid Records/EMI) reached #7 on the Billboard Charts, outselling Delbert McClinton, Robert Cray, Etta James, Johnny Lee Hooker & Muddy Waters. Jeff has recorded with such greats as J Geils, Rick Derringer, Dave Mason, James Cotton and Clarence Clemons. He received international recognition when he toured Europe, even playing with the Commitments as a special guest. http://www.makingascene.org

Making a Scene Presents an Interview with Jeff PitchellAn internationally acclaimed dynamic singer, songwriter and guitarist, Jeff achieved national recognition when his album Heavy Hitter (Pyramid Records/EMI) reached #7 on the Billboard Charts, outselling Delbert McClinton, Robert Cray, Etta James, Johnny Lee Hooker & Muddy Waters. Jeff has recorded with such greats as J Geils, Rick Derringer, Dave Mason, James Cotton and Clarence Clemons. He received international recognition when he toured Europe, even playing with the Commitments as a special guest. http://www.makingascene.org

National Go fishing day.  Entertainment from 1981.  War of 1812 began, Napolean defeated at Waterloo, Sally Ride 1st US woman in space.  Todays birthdays - James Montgomery Flagg, George Mallory, Paul McCartney, Carol Kane, Isabella Rossellini, Nathan Morris, Blake Shelton.  Clarence Clemons died.Intro - Pour some sugar on me - Def Leppard   http://defleppard.com/I wanna go fishing - Randy HeavinBette Davis eyes - Kim CarnesBut you know I still love you - Dolly PartonBirthdays - 50 Cent   http://50cent.com/She love you - The BeatlesEnd of the road - Boys II MenAustin - Blake SheltonExit - Its not love - Dokken   http://dokken.net/Follow Jeff Stampka on Facebook and cooolmedia.com 

John Cafferty and the Beaver Brown Band hit their stride in the early and mid-1980's with four Top 10 songs.  Many people know the band from the tremendous success of the Eddie and The Cruisers movie soundtrack.  Throughout the years, that band had 11 singles land on the music charts.  Multi-award winning program director Ray White sat down with John in January of 2012, shortly after the passing of his good friend Clarence Clemons - at a tribute show, to talk about The Big Man and the Jersey Shore music vibe.  John's recently released several singles by his band.  In our showcase segment we feature another Jersey band that's in the Rock and Roll Hall of Fame - Bon Jovi.  Their latest album is Forever and it's full of rock songs and power ballads.  We'll also feature the latest from another superstar from just across the border in Pennsylvania who unfortunately split with his longtime musical partner.  Daryl Hall has his first album out since parting with John Oates, which is called "D".  The CAT rocks you on this episode as we focus on the Jersey to the Philly sounds!!   

In this engaging episode of Seeing Them Live, hosts Charles and Doug welcome ZouZou Mansour. Along with drummer Brianna Sig and bassist Travis Smith (both musical and visual artists in their own right), ZouZou is the dynamic lead singer and lyricist of Philadelphia's rock band Soraia. Among other artists, ZouZou has co-written songs with Steven Van Zandt and Jon Bon Jovi.Join Charles and Doug as we explore these and other topics with ZouZou:- What was ZouZou's first concert?- What artist influenced ZouZou to change the course of her career?- What happened when she and her band met Alice Cooper backstage at a Bruce Springsteen concert?- What is it like to work with Steven Van Zandt?- What is Soraia's methodology for naming their albums?- What influenced the naming of their “Bloom” album?- Why is ZouZou attracted to the horror genre?- Why does Soraia like to record cover songs?- What is the Soraia “Vault”?- Why does ZouZou love hot dogs?The discussion charts ZouZou's musical journey, beginning with her early concert experiences seeing Hall and Oates to a transformative Iggy Pop performance that reshaped her artistic approach. We delve into Soraia's unique blend of 90s influences and 60s garage rock, their evolution over three impactful albums produced under Little Steven Van Zandt's Wicked Cool Records, and the band's dedicated fan base. ZouZou shares insights into her songwriting process, the raw, uninhibited spirit of rock and roll, and her penchant for horror-themed music videos. Fans can also look forward to Soraia's re-release of 'Shed the Skin' on vinyl and upcoming shows. The light-hearted conversation wraps up with a fun note on ZouZou's love of hot dogs, and where fans can find Soraia's music and merchandise online.BANDS MENTIONED: Alice Cooper, Bee Gees, Billy Falcon, Brianna Sig, Bruce Springsteen, Clarence Clemons, Concrete Blonde, Daryl Hall, E Street Band, Elvis Presley, Hall and Oates, Iggy Pop, Joan Jett, Jon Bon Jovi, Nirvana, P. J. Harvey, The Pretenders, Prince, Soraia, Steven Van Zandt, Stooges, The Kills, Travis Smith, Tropical Fuckstorm, ZouZou Mansoor.VENUES MENTIONED: CBGB (New York), Le Poisson Rouge (New York), Liar's Club (Chicago), Spectrum (Philadelphia) PATREON:https://www.patreon.com/SeeingThemLivePlease help us defer the cost of producing this podcast by making a donation on Patreon.WEBSITE:https://seeingthemlive.com/Visit the Seeing Them Live website for bonus materials including the show blog, resource links for concert buffs, photos, materials related to our episodes, and our Ticket Stub Museum.INSTAGRAM:https://www.instagram.com/seeingthemlive/FACEBOOK:https://www.facebook.com/profile.php?id=61550090670708

Blind Mike and Gus are in studio as Kirk announces that Team Minihane will have a tune up match against Coleman, Gus, and Mut. (10:40) With Klemmer in town on Thursday, Team KMS will be having a team dinner. (11:20) Greg Poehler will be joining Team KMS for a game. (15:40) Gus' wife was hanging with the mime at the last game. (16:20) Kirk remembers Bill Walton. (22:50) Is Josh getting too big for the Team KMS broadcasts. (25:10) Mick thinks the 2017 Warriors are better than the 1986 Celtics. (30:50) A beat reporter for The Athletic was upset that his quote about the game was used by Legion Hoops. (35:38) Kirk thinks Pat Ford is a team cancer. (43:50) Gus talks about tailgating at Bridgewater State. (45:10) Coleman was surprised by Grayson Murray's suicide this weekend. (56:50) Fran claims Kirk is the person she hates the most at Barstool. (01:03:35) Justin wanted to know if there was such a thing as a zone offense. (01:06:25) There was a movie theater stabbing this weekend. (01:07:50) Jeff D. Lowe calls in. (01:13:45) Richard Dreyfuss wore a dress to a screening of Jaws this weekend and went on an angry rant. (01:21:00) Justin questions Bruce Springsteen kissing Clarence Clemons. (01:22:25) There's a new conspiracy theory about Kate Middleton's death. (01:27:50) A tweet claims a Red Sox podcast host is a fan of sucking toes and eating ass. (01:31:50) Trump talk. (01:35:20) Mike Tyson had a medical emergency boarding a plane this weekend. (01:38:40) Gus got a brand-new ten year old TV. (01:39:40) Gus claims he doesn't give his dogs human food. (01:49:35) An update on The Worst Third Chairs bracket.You can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/kminshow

"A Day on the Green: Celebrating 35 Years Since the Legendary Concert"Larry Mishkin  highlights a significant Grateful Dead concert from May 27, 1989, at Oakland Alameda County Stadium, part of an AIDS benefit organized by Bill Graham. The event featured artists like Tracy Chapman, John Fogerty, Los Lobos, Joe Satriani, and the Grateful Dead. Larry delves into Fogerty's set, backed by Jerry Garcia and Bob Weir, sharing insights and historical context. He also touches on the canceled Neil Young concert due to illness, expressing disappointment and hope for rescheduling. The episode mixes personal anecdotes, music history, and current events in the music world. Grateful DeadMay 27, 1989Oakland Alameda County StadiumOakland, CAGrateful Dead Live at Oakland-Alameda County Stadium on 1989-05-27 : Free Borrow & Streaming : Internet ArchiveA Day On The Green: Aids Benefit Concert:Tracy Chapman                an American singer-songwriter, widely known for her hit singles "Fast Car" from her debut album “Tracy Chapman” (1988) and "Give Me One Reason" from her fourth album which on that day was still a few years awat, “New Beginning” (1995).  Fast Car has enjoyed a resurgence thanks to Country star, Luke Combs, who's cover version went platinum in 2023 and by September that year was a No 1 country hit making Chapman the first black woman with a sole songwriting credit at No. 1 on the Country charts.John Fogerty                Of Credence Clearwater Revival fameLos LobosJoe Satriani              an American rock guitarist, composer, and songwriter. Early in his career he worked as a guitar instructor, with many of his former students achieving fame, including Steve Vai, Larry LaLonde, Rick Hunolt, Kirk Hammett, Andy Timmons, Charlie Hunter, Kevin Cadogan, and Alex Skolnick. Satriani went on to have a successful solo music career, starting in the mid-1980s. He is a 15-time Grammy Award nominee and has sold over ten million albums, making him the bestselling instrumental rock guitarist of all time.[3]In 1988, Satriani was recruited by Mick Jagger as lead guitarist for his first solo tour.[4] Satriani briefly toured with Deep Purple, joining shortly after another departure of Ritchie Blackmore from the band in November 1993.[5] He has worked with a range of guitarists during the G3 tour, which he founded in 1995.Tower of Power, and, last but not least Dead INTRO:                                 Althea                                                Track #3                                                4:51 – 6:21                From the Go To Heaven album (April, 1980), Garcia and Hunter masterpiece.  Always a Jerry favorite and loved by Deadheads everywhere, this was the third song of the show following the Touch of Grey opener (of course) and Greatest Story.  Great guitar work, lovely vocals, this song really launches the show and gets everyone in the groove. Played 273 timesFirst:  August 4, 1979 at Oakland Civic Auditorium, Oakland, CA, USALast:  July 8, 1995 at Soldier Field, Chicago          The weather for the Day On The Green concert was perfect. Bill Graham, apparently, had an exclusive arrangement with some greater power, so that it never, ever rained when he was having a major outdoor show, and his deal remained in place for the May '89 AIDS Benefit. Another oddity about the AIDS Benefit was that there were no less than five opening acts for the Grateful Dead, which I think was some kind of record for a Bay Area Grateful Dead show. To see that whole event would mean at least 12 hours in the sun, just to wipe yourself out for what we all really wanted to see at the very end.            It seems shocking today that a Benefit concert for a terrible disease would be seen as a progressive political act, but such was the Reagan 80s. At least in San Francisco, efforts to prevent AIDS and provide care for those suffering from it had finally expanded beyond the gay community into the general culture. Nonetheless it was still significant when major rock bands headlined a large benefit concert in the Bay Area's biggest venue. Concern for AIDS had finally reached parity with Amnesty International and the Rain Forest, which was a welcome thing. The Coliseum benefit was the largest of several events around the Bay Area, all organized by Bill Graham Presents, and meant to raise awareness as well as money.            Originally the Oakland show was supposed to have joint headliners, with both the Grateful Dead and Huey Lewis and The News. A few weeks before the show, however, Huey Lewis had to drop out of the show. Rather sheepishly, his management publicly conceded that the stadium show was cutting into ticket sales for Lewis around Northern California, and they couldn't afford to work for what was effectively nothing.             The Dead, of course, had no such concerns. At a press conference, Jerry Garcia graciously said that Huey had to listen to his management, it was part of the business.  Huey Lewis And The News were the biggest act in the Bay Area at the time with respect to record sales, and yet the Dead outdrew them by several multiples. The Dead were no longer an aging hippie band who hadn't broken up--they were the biggest draw in town.           By 1989, the Dead were huger than ever, thanks to "Touch Of Grey" – which the Dead opened with - and the Coliseum show was an opportunity for a lot of people who had always wanted to see the Dead but hadn't been been able to get tickets. Frost and Shoreline shows sold out pretty rapidly, so regular rock fans who wanted to see the Dead were out of luck. Thus the crowd was very Dead-positive, with plenty of Deadheads, but far less like the insular club of Deadhead veterans that were characteristic of Bay Area shows at the time.            There were many fascinating aspects to this event, but in retrospect the most fascinating was that former Creedence Clearwater Revival frontman John Fogerty was second on the bill, and it was known before the show that Jerry Garcia and Bob Weir would be part of his backing group.            Creedence had been hugely, titanically popular, but Fogerty had been in a bitter dispute with his record company since the mid-70s, and as a result had refused to play any of his great Creedence songs in concert. By 1989, however, although Fogerty's ire towards Fantasy Records had not subsided, for various reasons he had come to terms with his old songs, so it was widely known that not only would Garcia and Weir be backing Fogerty, but that they would be playing Creedence classics as well. Everything pointed towards an event of historic proportions.            There is a You Tube video of the entire Fogerty set that I encourage you to view.                   Fogerty had a unique status in the Bay Area at the time, and everyone was reminded of that when word was unofficially "leaked", I believe through Joel Selvin's Chronicle column, that not only would Garcia and Weir back Fogerty, but that Fogerty would be playing old Creedence songs.            John Fogerty hit the stage in the late afternoon, last up before the Grateful Dead. His band, previously announced, wasJohn Fogerty-lead guitar, vocalsJerry Garcia-guitarBob Weir-guitarRandy Jackson-bassSteve Jordan-drumsJackson and Jordan were well-known and well regarded as session players. Randy Jackson was a working member of Santana's band at the time, among many other gigs. Today, of course, Jackson is best known as a judge for the TV show American Idol, but that was far in his future. Jordan had played the Bay Area recently, on the 1988 tour with Keith Richards, whose album he had co-produced. Fogerty played 11 songs in about 45 minutes. Born On The BayouGreen RiverDown On The CornerRock And Roll GirlCenterfieldProud MaryMidnight SpecialBad Moon RisingFortunate Sonencores with Clarence Clemons-tenor saxophoneSuzie QLong Tall Sally             The question many would most like to have answered about this show is "who rehearsed?" From watching the video, it is clear that John Fogerty had run through the songs with Randy Jackson and Steve Jordan. Now, Creedence songs are delightfully basic, as well as famous worldwide, so pros like Jackson and Jordan hardly needed many takes. On every song, however, Jackson and Jordan both provide a funky bottom and plenty of accent. They knew the tunes, and they knew how to make them swing, so I think they had worked on them with Fogerty.            Jerry Garcia, however, was notorious for never wanting to rehearse. Weir is far less notorious for avoiding rehearsals, though it is also known that he is famously not on time, so it may amount to something similar. Since John Fogerty wasn't particularly close to any members of the Dead, it's clear that Bill Graham was the one who got Garcia and Weir to accompany Fogerty, and in so doing make it "an event," in classic Graham style. Could Graham have persuaded Garcia to rehearse? The alternative is strange, namely playing a show in front of 40,000 people with at least two band members completely flying blind.            On the day of the show the story is that Garcia and Weir had a dressing room run-through with Fogerty and the rhythm section, agreeing on the tempos and the intros. Sandy Rothman has described how the Jerry Garcia Acoustic Band did not really practice songs, they just agreed on an intro and tempo and sang a chorus together. Granted, Rothman, Garcia and David Nelson had played all those songs before, but it was usually twenty years earlier. Still, one chorus run through was sufficient. So I think Fogerty talked Garcia and Weir through the planned songs, but they had never really played together until they got on stage.            Creedence songs have a nice groove, but they aren't jamming platforms, so of course Garcia just plunks away through the entire show, maybe not his most memorable performance.  On one hand, Jerry Garcia's health in 1989 was as good as it had been in at least a decade, nor it would ever be that good again. Yet the stunning success of "Touch Of Grey," gratifying as it must have been, insured that the bubble of Garcia's life meant that he was more insulated than ever. Garcia wasn't just a legend to Deadheads, he was in the pantheon now, the biggest rock star in the Bay Area, in a beautiful cage with no escape.When Fogerty kicks off the familiar, booming riff of "Born On The Bayou," Garcia is tucked back on stage left, next to Steve Jordan's drums. Randy Jackson is on the other side of Jordan, and Weir is right next to Jackson. Although Garcia plays a very simple figure behind Fogerty for "Bayou," his eyes are on Jordan, and Jerry has a big, happy grin on his face. I'm not imagining this--Garcia has a big grin on his face throughout the entire set, and he mugs happily with Jordan as the drummer plays fills and accents through the set. Weir seems to be having the same kind of fun with Randy Jackson over on stage right. Fogerty is the star, front and center, but the band is getting their own groove on behind him. SHOW No. 1:                    Down On The Corner (and Band introductions)                                                John Fogerty (w. Jerry and Bobby)                                                JERRY GARCIA JOHN FOGERTY CLARENCE CLEMMONS AND BOB WEIR 5-27-1989 AIDS BENEFIT OAKLAND CA (youtube.com)                                                10:49 – 12:42                 "Down on the Corner" is a song by the American band Creedence Clearwater Revival. It appeared on their fourth studio album, Willy and the Poor Boys (1969). The song peaked at No. 3 on the Billboard Hot 100 on 20 December 1969. The flip side, "Fortunate Son", reached No. 14 on the United States charts on 22 November 1969, the week before Billboard changed its methodology on double-sided hits.           The Fogerty set isn't a big deal to Deadheads, but it's hard to get around the fact that Garcia is having a great time. Whether Fogerty was "bigger" than Garcia is beside the point. Fogerty is a genuine star, with genuine hits, so he is the center of attention while he is on stage. For any singer less important than Fogerty--as in, just about all of them--Garcia could not hang back, but he can do so here. For 45 minutes, it's like Garcia is at the Keystone Berkeley or something, hanging out with his peers, playing the guitar parts that are dictated by the music, simple though they may be. When they got to "Down On The Corner," Jerry is practically jumping up and down. In a small but fascinating moment, he steps up to the mic to sing the backing vocals. Now granted, the whole English speaking world knows that it goes "Down on the corner/Out in the street/Willie and The Poor Boys are playing/Bring a nickel, tap your feet," but Jerry actually steps up to sing. Over the years, Deadheads have seen and heard Garcia make lots of guest appearances with various artists. Yet how often did he sing the chorus of other people's hit songs? After "Down On The Corner," Fogerty introduces the band, and Garcia's back is turned when it is his turn, as he's tuning up. Fogerty says "wake him up!' and Garcia turns around. "On guitar, Jerry Garcia!" Garcia grins and goes back to tuning, and Fogerty says "Genius at work." This is just musicians goofing around, albeit goofing around on stage in front of 40,000 people, but Garcia gets to be just another dude on stage, perhaps for one of the last times. A few months later (August 2, 1989), he would share the stage with Carlos Santana and Ruben Blades but that was for a TV special where he was a featured guest. At the Oakland Coliseum, he's just a hired gun playing a bunch of top 40 songs.             As Deadheads, we always wanted certain things from Jerry. When Garcia didn't give us what we want, we grumbled, and thanks to the magic of tape and digital recording, we can collectively complain about it for decades. Good times! But we have to keep in mind that what we wanted wasn't always what Jerry wanted. For a Memorial Day Saturday, Garcia wanted to be in a band, playing songs the way they were written, singing his parts when they came around, grooving with the drummer and letting the front man do the heavy lifting. Did it ever come around again that Jerry got to play simple, popular songs with a front man with enough gravitational pull so that it wasn't All About Jerry? In that sense, Garcia's role as John Fogerty's backing musician is a last look backwards for Garcia, a time when he could just be in the band, if only for 45 minutes.             Or, as I like to think of it, the Fogerty set was a big pre-show jam session for Bobby and Jerry who soon came back out with the Dead for their standard 3+ hour performance.  However you look it at it, the Fogerty set was a fun throwback for Deadheads and a chance to see Jerry and Bobby play with another legend.  MUSIC NEWS: Neil Young show in Chicago canceled 90 minutes before show time  May 23, 2024 at Northerly Island in Chicago.Going to see Dead & Co. this Saturday, June 1, at the Sphere with a bunch of good friends including good buddy Marc from St. Louis.  I hope to be able to have a report on the show for next week's episode but with travel the next day, it may be hard to get the story ready in time.  If so, there will be a big report in two weeks.  Very excited to see the boys, the Sphere and all my good buddies.The Music Plays the Band – new Dead cover album  SHOW No. 2:                    Iko Iko w/Clarence Clemmons                                                Track #5                                                5:09 – 6:11                 The classic Dead cover of the Dixie Cups tune joined by the Big Man wailing on the sax.  Clarence had played a few tunes during Fogerty's set and joined the boys for this tune and a few others during the show.  In '89 the Boss was as big as ever and Clarence was a big part of that success.  But he enjoyed playing in the improv style embraced by the Dead.                 Clarence first played with the Dead at their New Year's run on December 27 and December 31, 1988 in Oakland and soon after this how, on June 21, 1989 at Shoreline Amphitheater.  He also played a number of times with JGB.  And it turns out that one of Clarence's final live performance was playing a show with Phil and Friends a few years back.               When the E Street Band went on hiatus at the end of the Eighties, Clemons, who by then had moved to the Bay Area, went in search of work and new musical experiences. In 1989, he toured with the first version of Ringo Starr's All Starr Band, cut an album with producer Narada Michael Walden, and — not surprisingly, given his new home base — befriended members of the Dead.Starting in early 1989, Clemons sat in with both the Dead and the Jerry Garcia Band (JGB) at several shows. With the Dead, he joined in on songs like “Estimated Prophet” and “Eyes of the World” and partook of the overall Dead vibe. “Clarence was an old pal, a soulful bro,” Bob Weir told RS in 2011, right after Clemons' death from complications of a stroke. “He was a good hang. Back in the late Eighties and early Nineties, he was living out here in Marin County. He was in moving-on mode, and he, Jerry, and I mixed it up a bit. We were dropping by clubs like Sweetwater and sitting in with various bands.”The association wasn't just musical. “Jerry and I were both single at that time, and Clarence suggested the three of us move in together and have a bachelor pad,” Weir recalled bemusedly. “Jerry and I almost went for it. It would've been a lot of fun, but I don't think anyone would have survived. Jerry was in good shape, but we were doing a little drinking.”  SHOW No. 3:                    Stuck Inside of Mobile w.the Memphis Blues Again w/Clarence                                                Track #6                                                2:26 – 3:51 "Stuck Inside of Mobile with the Memphis Blues Again" (also listed as "Memphis Blues Again") is a song by American singer-songwriter Bob Dylan from his seventh studio album, Blonde on Blonde (1966). The song was written by Dylan and produced by Bob Johnston. It has nine verses, each featuring a distinct set of characters and circumstances. All 20 takes of "Stuck Inside of Mobile with the Memphis Blues Again" were recorded in the early hours of February 17, 1966, at Columbia Records's A Studio in Nashville, Tennessee, with the last take selected for the album. This version also appears on Dylan's second compilation album, Bob Dylan's Greatest Hits Vol. II (1971). Dylan played the song live in concert 748 times from 1976 to 2010. A live version recorded in May 1976 was included on the live album from that tour, Hard Rain (1976), and was also released as a single with "Rita May" as the B-side. The first live performance was at the University of West Florida, Pensacola, on April 28, 1976,[32] during the Rolling Thunder Revue tour. Played 70 times by the Dead.  Part of Bobby's first set rotation of Dylan tunes with Queen Jane Approximately, Desolation Row, Masterpiece and Ballad of a Thin Man.First:  March 17, 1988 at Henry J. Kaiser Convention Center, Oakland, CA, USALast:  April 2, 1995 at The Pyramid Arena, Memphis, TN, USA  MJ NEWS                 SHOW No. 4:                    Blow Away                                                Track #11                                                7:37 – 9:10                 A Brent tune, lyrics by John Barlow (? – seems like a lot of Brent rapping during the song)                When you listen to (and read, thanks to the transcription efforts of careful listeners like Alex Allan of The Grateful Dead Lyric and Song Finder site) to Brent's closing rap / rant from the version of “Blow Away” captured on Dozin' at the Knick, you have to acknowledge that, whether the words were improvised or not, they come from the heart, and have a strong sense of immediacy and urgency. Played 23 timesFirst:    June 20, 1988 at Alpine Valley Music Theatre, East Troy, WI, USALast:    July 16, 1990, Rich Stadium, Orchard Park (Buffalo), NY – it died with Brent   OUTRO:                               Wharf Rat                                                Track #17                                                3:59 – 5:26                 Not the closer this night, or most nights, but it could have been a perfect closer.  Hunter/Garcia masterpiece. Wharf Rats are a group of concert-goers who have chosen to live drug and alcohol-free. They arose out of the environment around the rock group the Grateful Dead and their followers the Deadheads, both of which were rooted in the drugs-embracing counterculture of the 1960s.[1]Their primary purpose is to support other concert goers who choose to live drug-free, like themselves. They announce their presence with yellow balloons, signs, and the Wharf Rats information table. At a set break during Grateful Dead (and related) concerts they hold self help style meetings but are not affiliated specifically with any 12-Step organization and have no requirement for attendance at one of their meetings besides providing some helpful drug free fellowship.[2] Like Deadheads, members of Wharf Rats come from all walks of life.[3] By 1990, the Wharf Rats mailing list had some 3,000 names.[1]The Wharf Rats began during the early 1980s[2] as a group of Deadheads under the name "The Wharf Rat Group of Alcoholics Anonymous". The Wharf Rats originally came from a small group of Narcotics Anonymous members who went to a Grateful Dead concert in Philadelphia and located each other by their Yellow balloons with the NA symbol drawn on in Magic Marker.[4] However due to operational differences they soon split off from Narcotics Anonymous, and are not affiliated with them, AA, or any other twelve-step program (though many of members of the Wharf Rats are members of AA, NA or other 12-step programs). The Wharf Rats see themselves as "a group of friends sharing a common bond, providing support, information and some traction in an otherwise slippery environment." The relationship between the Wharf Rats and more traditional such groups has been studied in the academic journal Deviant Behavior.[1]While the Wharf Rats originated at Grateful Dead concerts, they now have a presence at other concerts as well. Similar groups include The Phellowship for Phish, The Gateway for Widespread Panic, The Jellyfish for The String Cheese Incident, Much Obliged for Umphrey's McGee, Happy Hour Heroes for moe., the Digital Buddhas for The Disco Biscuits, Better Than Before for The Werks, the Hummingbirds for Bassnectar, and the Sunny Bunny Recovery for Ween, Dustie Baggies for Billy Strings and The Hot Tea Party for Goose—all based on the Wharf Rats, which remain the best-known.[2]The name of this group comes from the 1971 Dead song "Wharf Rat" (written by Jerry Garcia and Robert Hunter and appearing on Skull & Roses), which contains the self-told story of August West, a down-and-out dockside wino Played: 399 timesFirst:      February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:      June 25, 1995 at RFK Stadium in D.C. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Entrepreneurial Equity...Scott Kinka, Chief Strategy Officer of Bridgepointe Technologies, has been an entrepreneur is EVERY job he's been in...and it's literally paid off....as he was also a founding partner and CTO of Cloud Services Innovator and Evolve IP, which exited to Private Equity in 2017. Now he's brings that magic and mindset to his current organization.It's profoundly impactful.You'll discover the power of igniting their entrepreneurial spirit with your team, and how unleashing its potential can propel the entire organization.----Scott also brings this energy and magic to his own Podcast... “Bridge with Scott Kinka” which focuses on personal stories and product development with Executives from some of the largest tech companies in the world.LinkedIn Profile http://www.linkedin.com/in/scottkinkaThe Bridge Podcast with Scott Kinka: https://podcasts.apple.com/us/podcast/the-bridge-podcast/id1643072015 Company Link: https://bridgepointetechnologies.com/You'll Also Discover:What He Learned from Clarence Clemons of the E Street Band.How His First Job Set the Trajectory for his Entire Career.Three Effective Communication Strategies for Every Employee.Power Journaling and Note-Taking Tips.-----Connect with the Host, #1 bestselling author Ben FanningSpeaking and Training inquiresSubscribe to my Youtube channelLinkedInInstagramTwitter

Asbury Park's bluesy-rock sensation – Jarod Clemons – stopped by the APV Studio recently to chat about the new path he's taking with his career. We spoke about his intention to re-brand himself as a solo artist, but our conversation became so much more than that. Jarod took a deep dive and shared personal stories about his life experiences from when he was very young to present day. He spoke about the lessons he learned from his parents, how and where he grew up, the events that guided his decisions with his music career, and much more. Jarod is currently in the production process of recording and completing his debut album of which he is very excited about. He shared that the new music is unlike anything he's ever done before and that it will redefine and rebrand his style in a more authentic way. Take a listen to “Workin' Man” and “In The Shadows” to hear where he's heading! We also invite you to tune in to this intimate podcast episode to get to know Jarod Clemons! Asbury Park Vibes Podcast Available on Spotify, Apple, Google, iHeart, Audible, and PandoraHosted by Diane DiMemmo & Doug DresherCopyright 2020-2024 Asbury Park Vibes. All rights reserved.

It came roaring out of the car radio speakers like a sonic boom, powered by Dave Clark's “Air Hammer” pulsating drum beats and Denis Payton's beefy saxophone.  (Clearly, this was inspirational to Clarence Clemons, when crafting Bruce Springsteen's, E-Street sound.) Mike Smith, on double-tracked lead vocal and Vox organ may have looked like the leader, with his cute Paul McCartney face, but without a doubt this was the drummer's party. Dave Clark, (b.1939) is an entrepreneurial former stunt-man, who parlayed his Tottenham sound into a multi-million dollar concern; he owned all his masters from day one, re-releasing them, to universal acclaim, on CD in 1993;  the other song writers in the group shared writing credits with Clark unquestioningly - even if he hadn't written a line. The Dave Clark 5 started as a teenage skiffle group to raise funds for his school football team to go to the Netherlands, and, fittingly, this song became an anthem for several teams throughout the years. Can't you just picture the screaming hordes bellowing GLAD ALL OVER when their team scores a goal?Glad All Over nudged the indomitable Beatles' I Want To Hold Your Hand off the UK's #1 slot, and the band was inducted into the Rock Hall of Fame in 2008. It's the pinnacle of Sunny Songdom - nothing but pure, adrenalized fun.

Author Gillian G. Gaar is this episode's guest to talk about her brand-new book Springsteen @ 75. Through 75 career releases, performances, and accolades, this book covers it all including Bruce's childhood in New Jersey and his time in early garage bands, The Castiles and Steel Mill. All 20 studio albums are covered along with a selection of his greatest singles. Also included are Bruce's relationships with notable bandmates Steven Van Zandt and the late Clarence Clemons, his legendary concerts, his relationship with his wife and bandmate, Patti Scialfa, his awards, and much more. Get ready for a discussion of the man who, coming up on his 75th birthday, is still "The Boss" after all these years!Purchase a copy of Springsteen & 75   Episode Playlist    Follow Gilliaan G. Gaar on Facebook & X (Twitter)----------  BookedOnRock.com  The Booked On Rock YouTube Channel  Follow The Booked On Rock with Eric Senich:FACEBOOKINSTAGRAMTIKTOKX  Find Your Nearest Independent Bookstore  Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com  The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe

Adam Scott Aukerman go track-by-track through Da Boss's seventeenth studio album, Wrecking Ball—Bruce's most political album since Tom Joad. The Scotts also discuss how new producer Ron Aniello got involved and how Bruce handled the death of Edible Street Band saxophonist Clarence Clemons. Plus, they talk about the types of classes at Margaritaville High School and ask, “Are hammocks more trouble than they're worth?”

Born in Fairborn, Ohio and raised in California Josiah Woodson started his musical journey under the tutelage of his mentor Khalil Shaheed in Oakland Ca at the age of 14. Beginning in Shaheed's own Oaktown Jazz Workshop among the now prominent musicians like Ambrose Akinmusire, Dayna Stevens, Jonathan Finlayson, and Geoffrey Countrymen, Josiah later went on to complete his undergraduate degree at the prestigious Oberlin Conservatory of Music. The late founder and director Wendell Logan alongside Marcus Belgrave, Billy Hart, and Donald Byrd among other mentors helped prepare Woodson for the masters program at New England Conservatory where he graduated with academic honors under the continued instruction of John McNeil, Cecil McBee, Jerry Bergonzi, and Danilo Perez.Since graduating, Josiah has gone on to pursue his career in New York, performing with such greats as Branford Marsalis, the late Mulgrew Miller, Ben Williams, and the late Clarence Clemons as well as recording with rappers Yasin Bey (formerly Mos Def) and Curren$y as well as recording on the grammy winning album “4” with Beyoné Knowles .Woodson's career has flourished after moving overseas to Paris, France where he has worked with musicians such as Mario Canonge, Gregory Privat, Arnold Doleman, Swaele Mbappe, Logan Richardson, Hermon Mahori, China Moses, and Blitz the Ambassador (Samuel Bazawulé).Notable performances include a season-opening performance of Woodson's own “Suite Elemental” (written, arranged, and scored for symphony orchestra by Josiah) with the Oakland Symphony, winning the 2019 Sibiu Jazz Competition, tours in Lebanon and Niger with Woodson's own projects, the unveiling of Moncer's fashion line with Pharrell Williams and Tobé Nwingwe in Milan, and the Scoring of Samuel Bazawule's first film “The Burial of Kojo” which went on to international success.Discography:Josiah Woodson “Suite Elemental”Beyoncé “4” (grammy winning)Mario Canonge “Zouk Out”Andy Narell “Like a Child”Olivier Robin title tbd release 2024David Garlitz - Cobra Fantastic title tbd release 2024Curren$y - “Pilot Talk”Mario Canonge/Michel Zenino “Quint'up”Mario Canonge/Michel Zenino “Quint'up II”David Levy's Out to Lunch “Melvin's Rockpile”David Levy's Out to Lunch “Excuse me while I do the Boogaloo”David Levy's Out to Lunch  “Uptown 6”David Levy's Out to Lunch  “Out to Lunch presents Etson”Sarah Thorpe title tbd release 2024Netflix's “The Eddy” series soundtrack “Falling” + appearance in ep #1https://www.facebook.com/josiah.woodson/Support the show

Colossal Street Jam has a new album coming out in January, 2024. We had to the chance to sit down with lead singer Gene Potts to learn all about this exciting band! We take a listen to the title track, No Way To Live as well. Join us as we talk Rock and learn all about Colossal Street Jam!Rock and Roll music that DESERVES to be heard!Here's a little background on the band:It's once been said that all roads lead to home… That's precisely where this long-time band of brothers & creative soulmates found themselves, when their well-traveled musical roads converged. It was at this poignant juncture that COLOSSAL STREET JAM was born. One may define their electrifying synergy as the cosmic melding & explosive concoction of abstract minds, unique talent, inherent soul, and tireless passion for their beloved craft. Having a deep & mutual admiration for one another, as well as having tremendous respect for their many, and diverse collective influences, who helped shape their gritty, melodic, psychedelically tinged hard rock stylings, each member truly brings their own individuality, and nuance to the mix. An eclectic potpourri for the senses, CSJ ultimately, and seamlessly fuse their independent ideas to deliver a singular vision & signature sound that can easily be coined as “New Classic Rock” for the ages. This hard-driving, 70's inspired, 5-piece ensemble is comprised of Gene Potts (vocals)… Sal Marra (guitar/vocals)… Tony Flora (bass)… Dave Halpern (drums)… and Eric Safka (keys). With their roots firmly planted and their musical heritage tightly in place, CSJ has long been an integral part the legendary Asbury Park, NJ music scene. Always proud to honor these roots, and the place that gave them their start, the band forever carries with them that feeling of tradition, and heart that has endeared them to growing audiences both nationally and internationally. In 2016, the band's release, “Living Free”, was met with critical acclaim and worldwide press. The albums single, “Songbird” received extensive radio airplay both locally, and globally. In 2018, that same record won an award for Australian Indie Album of The Year For Internet Radio. It subsequently remained on the Indie charts, Down Under, for 6 months. Later that year, in November of 2018, CSJ released their follow up album, “Just Take Hold”… Once again, they were greeted with extensive Indie and College radio airplay for that record's namesake single, “Just Take Hold”, as well as for their cover version of the Sugarloaf classic, “Green Eyed Lady”. In May and December of 2019, CSJ completed two successful European tours, which journeyed them throughout The Netherlands, Belgium, and Germany. COLOSSAL STREET JAM has shared stages nationwide with the likes of Mark Farner, of Grand Funk Railroad, Robbie Krieger of The Doors, The Black Crowes, Kings X, Stone Temple Pilots, Rival Suns, Blackberry Smoke, The Drive By Truckers, The Hold Steady, Gov't Mule, Johnny Winter, Sebastian Bach, Bruce Dickinson, Screamin' Cheetah Wheelies, Ritchie Blackmore, Steve Morse, Zebra, Deep Purple, Leslie West, Clarence Clemons, and countless others.

Jackie 'The Joke Man' Martling returns for his fourth guest spot, bringing us insights into his documentary 'Joke Man.' Get ready for an engaging discussion about his contributions to the Howard Stern Show and an incredible story about his friendship with Willie Nelson.   My guest, Jackie "The Joke Man" Martling, and I discuss: Jackie's latest documentary, "Joke Man," where he shares insights into the decision to capture his life story and offers a glimpse behind the scenes of the documentary's production. An in-depth exploration of Jackie's departure from the Howard Stern Show, along with revelations about the financial battles that played a crucial role in his decision to leave. Jackie's comprehensive description of his role on the Howard Stern Show and the significant contributions he made to the show's success. Exciting stories about "The Losers," the Howard Stern Band, and Jackie's memorable experiences playing alongside icons like Willie Nelson and James Brown. Heartwarming anecdotes that showcase Jackie's enduring friendship with Willie Nelson. Jackie's innovative and distinctive approach to guerrilla marketing. Engaging stories featuring Clarence Clemons and more!   You're going to love my conversation with Jackie "The Joke Man" Martling WATCH THE MOVIE: https://amzn.to/3PFxLW3 https://www.jokemanmovie.com/ https://posthillpress.com/book/the-joke-man-bow-to-stern https://www.jokeland.com/ https://twitter.com/jackiemartling https://www.instagram.com/jackiemartling/ https://www.facebook.com/jackie.martling https://www.cameo.com/jackiemartling Jackie's books: https://www.jokeland.com/books (516) 922-WINE (Jackie's Joke Line)    Follow Jeff Dwoskin (host): Jeff Dwoskin on Twitter The Jeff Dwoskin Show podcast on Twitter Podcast website Podcast on Instagram Join my mailing list Buy me a coffee (support the show) Subscribe to my Youtube channel (watch Crossing the Streams!) Yes, the show used to be called Live from Detroit: The Jeff Dwoskin Show Love the books I talk about on the show? Here is my Amazon store to shop.  

ABOUT DESMOND CHILD AND LIVIN' ON A PRAYER: BIG SONGS, BiG LIFEDesmond Child is the iconic Grammy® Award winning and Emmy nominated songwriter / producer who has contributed to some of the biggest global hits that helped ignite the success of music icons KISS, Bon Jovi, Aerosmith, Alice Cooper, Ricky Martin, Katy Perry, and countless others. Desmond is gearing up for the release of his first-ever memoir, “LIVIN' ON A PRAYER: BIG SONGS BIG LIFE” (out Sept. 19) – his personal story of anguish and struggle that reveals how he climbed his way to the top and beyond amid extraordinary circumstances. Sharing his very intimate and unbelievable journey that shaped him into an artist of international renown, the book features a foreword by Paul Stanley, in collaboration with legendary music biographer David Ritz.Having co-written over 80 Top 40 hits and selling over 500 million records worldwide, Desmond's contributions to the music industry have earned him induction into the Songwriters Hall of Fame, the Latin Songwriters Hall of Fame, and multiple prestigious awards. For over half a century, Desmond has collaborated with the world's most celebrated artists creating timeless classics, such as Bon Jovi's "Livin' On A Prayer" and "You Give Love A Bad Name," as well as Ricky Martin's "Livin' La Vida Loca" and "The Cup Of Life," amongst his vast catalog. But in "LIVIN' ON A PRAYER: BIG SONGS BIG LIFE," Desmond himself takes center stage to share his transformational story of a misfit outsider to cultural pacesetter.In the upcoming title, Desmond recounts his unconventional upbringing as his colorful family fled revolutionary Cuba for Florida in the 1960s and fell into poverty. He details his shocking discovery at age 18 that the man he called "dad" was not his biological father after all, and he courageously bares his soul about navigating the trials of being a Latino gay man in the macho world of Rock 'n' Roll. His is a story of willing himself to succeed and overcoming impossible odds to establish himself as one of the most influential composers and lyricists of all time.In an interview, Desmond can discuss the following:The triumphs, challenges, and lessons he's learned throughout his career * Inspiring others to embrace their own creative pursuits, overcome obstacles, and live their dreams to the fullestRevealing untold stories about the making of the hit songs that have become the soundtrack of our lives.Recounting the magic and inspiration behind each composition, while shedding light on what it's like to collaborate with music legends.Lessons from a maestro with invaluable resources for aspiring artists and industry professionals alike to understand songwriting, production, and the music industryDESMOND CHILD BIOGrammy-winning and Emmy-nominated songwriter Desmond Child is one of music's most prolific and accomplished hitmakers. He's a film, television, theater and music producer, recording artist, performer, and author. His credits appear on more than eighty Billboard Top 40 singles spanning six decades, including "Livin' On A Prayer," "You Give Love A Bad Name," "I Was Made For Lovin' You," "Dude Looks Like A Lady," "How Can We Be Lovers If We Can't Be Friends," "I Hate Myself For Loving You," "Livin' La Vida Loca," "The Cup Of Life," "Waking Up In Vegas," "Kings & Queens" and many more.From Aerosmith to Zedd, his genre-defying collaborations also include KISS, Bon Jovi, Cher, Barbra Streisand, Ricky Martin, Alice Cooper, Joan Jett, Michael Bolton, Katy Perry, Kelly Clarkson, Carrie Underwood, Garth Brooks, Cyndi Lauper, Christina Aguilera, Ava Max, Mickey Mouse and Kermit the Frog, selling over 500 million records worldwide with downloads, YouTube views and streaming plays in the billions.Desmond Child was inducted into the Songwriters Hall of Fame in 2008 and serves on its Board of Directors as well as the Board of ASCAP. In 2018 he received ASCAP's prestigious Founders Award celebrating 40 years as a proud member of ASCAP. In 2012 he also co-founded the Latin Songwriters Hall Of Fame where he serves as Chairman Emeritus. In 2022, he was inducted into the Latin Songwriters Hall Of Fame and "Livin' La Vida Loca" was inducted into the National Archives of the Library of Congress for its cultural significance to America. In 2023, "Livin' On A Prayer" was certified to have reached 1 billion streams on Spotify.Personal HistoryBA in Music Education from New York University 1976AA of Art from Miami Dade Community College 1974Graduated Miami Beach High School 1972Born John Charles Barrett October 28th, 1953Artist HistoryThe single, "Love on a Rooftop" charts Top 40 1990Released, "Discipline" through Elektra Records 19901st Top 40 hit, "Our Love Is Insane" Spring of 1979Musical guest on Saturday Night Live (original cast) Xmas show of 1979First U.S. Tour including legendary performances at The Bottom Line in NYC and The Whisky a Go Go in LA 1979Released first self-titled album, "Desmond Child & Rouge" 1979First signed to Capitol Records with group Desmond Child & Rouge 1978Billboard #1 Hits4th Billboard #1 "Livin' La Vida Loca" 19993rd Billboard #1 "Bad Medicine" Bon Jovi 19882nd Billboard #1 "Livin' On A Prayer" Bon Jovi 19871st Billboard #1 "You Give Love A Bad Name" Bon Jovi 19861st International #1 "I Was Made For Lovin' You" KISS 1979Honors & AwardsASCAP Founders Award 2018Songwriters Hall of Fame Inductee 2008Miami Beach High Wall of Fame (alongside Barbara Walters, Mickey Rourke, Andy Garcia)TAXI Lifetime Achievement Award 2004Emmy Award nomination for "Everyone Matters" The Muppets 2003Latin Grammy Award - Rock Album of the Year Alejandra Guzman 2001NARAS Florida Chapter Heroes Award 2000Grammy Nomination - Best Pop Album, Ricky Martin 2000Grammy Nomination - Record of the Year, "Livin' La Vida Loca" 2000Grammy Nomination - Song of the Year, "Livin' La Vida Loca" 2000Honored with Key Of The City of Miami Beach 1999El Premio Award - Song Of The Year "Livin' La Vida Loca" 1999Official World Cup Song - "La Copa De La Vida", "The Cup Of Life" 1998El Premio Award - Song Of The Year, "La Copa De La Vida", "The Cup Of Life" 1998Songs Recorded By:Aerosmith, Christina Aguilera, Clay Aiken, Animotion, Baha Men, Jimmy Barnes, Robin Beck, Beggars & Thieves, Stephanie Bentley, Petra Berger, Bif Naked, Blackhawk, Michael Bolton, Bon Jovi, Bonfire, Boyzone, Flavio Cesar, Bill Champlin, Chayanne, Judy Cheeks, Cher, Chicago, Kelly Clarkson, Clarence Clemons, Alice Cooper, Carlos Cuevos, Paul Dean, Diana DeGarmo, Desmond Child & Rouge, Dudes of Wrath, Dream Theater, Hilary Duff, Evil Stig, FM, Ellen Foley, Ace Frehley, The Gufs, Haddaway, Hall & Oates, Hanson, Chesney Hawkes, Ty Herndon, INXS, Joan Jett, Cletus T. Judd, KISS, Patti La Belle, Nikki Leonti, La Ley, Dan Lucas, Cyndi Lauper, Mitch Malloy, Amanda Marshall, Ricky Martin, Jesse McCartney, Stephanie McIntosh, Meat Loaf, Megadeth, Mika, Millie, Billie Myers, Alannah Myles, Vince Neil, Ru Paul, Chynna Phillips, Phoenix Down, Iggy Pop, Jason Raize, The Rasmus, RATT, LeAnn Rimes, Kane Roberts, Rosco, Roxette, Jennifer Rush, Richie Sambora, Saraya, Scorpions, Shakira, Sia, Sisqo, Southgang, Billy Squier, Paul Stanley, Barbra Streisand, Swirl 360, 3rd Faze, Bonnie Tyler, Kris Tyler, Carrie Underwood, Steve Vai, Maria Vidal, Anna Vissi, John Waite, Tim Weisberg, Robbie Williams, Peter Wolf and Trisha YearwoodLivin' On A Prayer: Big Songs Big Life available on Amazon: https://www.amazon.com/Livin-Prayer-Big-Songs-Life-ebook/dp/B0BZT9MK68?ref_=ast_author_mpb

This episode of Books for Men features Born to Run by Bruce Springsteen. An all-encompassing autobiography about a rock and roll legend that tackles everything from his struggles to successes—both personally and professionally. So good. Listen for more!If you enjoyed this episode, please consider supporting the podcast. Any of the three things below will help provide awareness for the initiative—inspiring (more) men to read and bringing together men who do. (Ladies, of course, you're always welcome!)Share with a friend or on social mediaSubscribe or follow on your favorite podcast platformLeave a rating or reviewVisit BooksforMen.org to sign up for the Books for Men newsletter, a monthly round-up of every episode with full book and author info, all the best quotes, and newsletter-only book recommendations!

GGACP once again pledges support for striking TV and film writers by revisiting this 2019 interview with comedy writer and showrunner Don Reo. In this episode, Don regales Gilbert and Frank with anecdotes about Jack Benny, Milton Berle, Redd Foxx, Jackie Gleason and Bob Hope and shares backstage stories from classic shows like "Rhoda," "Sanford and Son" and "Rowan & Martin's Laugh-In." Also, Groucho takes a call, Tom Waits provides inspiration, Robert Altman cuts to the chase and Don joins forces with the legendary Slappy White. PLUS: ”Action”! Phil Spector Week! "The Rifleman" loses his cool! The return of "The Honeymooners"! The comedy stylings of Elton John! And Don remembers the late, great Clarence Clemons! Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on NSTS I welcome Chris Sisam, formerly an executive with Corus Radio and The Edge and manager of 90s pop band Wild Strawberries, who's now doing some very interesting things in the music publishing and royalties space.  Chris offers some interesting insights into how the financial aspect of the music business works, and touches on Clarence Clemons' sax solo in Jungleland, Springsteen's rehearsal requirements, Don Henley's acerbic comment to the crowd at an Eagles Toronto show, and one of his favourite lyrical lines of all time.              

In this episode of Influenced, we take a look at the career of the iconic Bruce Springsteen and especially his work in the 70's and 80's with his group the E Street Band. Bruce has been an indebted part of the Jersey Music scene since he got a guitar in the mid '60s inspired by Elvis and the Beatles. Joining with musicians like his friend Steve Van Zandt and Clarence Clemons on Saxophone, Bruce was able to to craft some of the most iconic songs of the decade with his albums Born to Run, Darkness of the Edge of Town, and The River. Each more successful then the previous album, he also struck gold as a songwriting making chart-topping music with acts like the Pointer Sisters and Patti Smith. His success continued into the eighties as he embraced the music technology of the decade with hit albums like Born in the USA. One of the most iconic songwriters ever, he has influenced countless artists from The Killers and War on Drugs to pop superstars like Lady Gaga. Check out this episode of Influenced to dive into his incredible career

Steve has hi-jacked the show for two episodes of in depth Boss Talk. Thankfully the other hosts are game and a Bruce time is had by all. Bruce is for everyone, and if you don't already believe that - you will. Part 1 is all Bruce all the time with Plugs and News that are all E Street. Followed by the hosts personal history with the boss, Pop Culture E Street band musings, Clarence Clemons, and the bulk of the episode which is an end to end capsule review tour through Bruce  and the E Street bands albums. Join us next time for the main event in Part 2 as we cover Darkness on the Edge of Town with a track by track discussion of Badlands and Promised Lands. RIP Big Man. PLAH Links Like this episode and want to buy us a cup of Joe in thanks? www.ko-fi.com/podlikeahole Facebook (The only reason to visit that site) https://www.facebook.com/podlikeahole/   Instagram (Unfortunately, no pics of the hosts wearing short shorts) https://www.instagram.com/pod_like_a_hole_podcast/   Twitter (self-promo or oh no) https://twitter.com/podlikeahole Patreon (Until we muster up the courage for an OnlyFans site) https://www.patreon.com/join/podlikeahole Artwork by Greg Wolgast https://www.instagram.com/g.wolgast/

Paulie Mac, Creative Tony & Shannon Koehler of the Stone Foxes regroup after the Niners' season-ending loss in Philly; plus an interview with renowned Bay Area musician Jimmy Dillon, who counts Clarence Clemons among his former bandmates.See omnystudio.com/listener for privacy information.

Paulie Mac, Creative Tony & Shannon Koehler of the Stone Foxes regroup after the Niners' season-ending loss in Philly; plus an interview with renowned Bay Area musician Jimmy Dillon, who counts Clarence Clemons among his former bandmates.See omnystudio.com/listener for privacy information.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! "All I Want for Christmas Is You" es el gran éxito musical de las Navidades desde que lo publicara Mariah Carey en 1994. Un tema que ella compuso junto a Walter Afanasieff (a pesar de las desavenencias que han surgido entre ellos en los últimos años). Walter es un músico de larga trayectoria que ha trabajado también junto a estrellas como Celine Dion o Barbra Streisand. Y también ha creado temas para algunos de nuestros artistas favoritos. Repasamos algunos de ellos protagonizados por Peabo Bryson, Kenny G, Michael Bolton, D'Atra Hicks, Trey Lorenz, Kirk Whalum, Daryl Hall, Clarence Clemons y George Benson.Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170

Legendary singer P.P. Arnold returns with the sensational festive tune ‘It Won't Be Christmas Without You', an instant classic for the holiday season produced by Mark Taylor & Patrick Mascall for Metrophonic Production Ltd.Living legend and queen of soul Pat ‘P.P.' Arnold needs no introduction, having accumulated a lifetime of show-stopping performances in the studio and on stage, whether through her successful solo work with '60s hits like ‘The First Cut Is The Deepest' & ‘Angel Of The Morning' and her critically acclaimed 2019 solo album ‘The New Adventures Of…' or as the go-to voice for rock and soul legends like Ike & Tina Turner, Small Faces, Stevie Wonder, Roger Waters and Nick Drake amongst others.Following the release this year of her best-selling autobiography ‘Soul Survivor', the next chapter in P.P. Arnold's story is her glorious first-time Christmas single ‘It Won't Be Christmas Without You'. Produced by Mark Taylor & Patrick Mascall from Metrophonic Productions Ltd. who also share writing credits alongside Paul Barry, the opportunity to record the track was a joy for Arnold after the isolation of lockdown. “I wasn't thinking ‘Christmas' originally I just wanted to be in the studio recording and being able to do that. I went to meet Mark and Patrick and they were so cool, and I hadn't been in a studio since 2019 because of Covid. It was nice being in the studio with really good producers who know what they wanted.”Once Arnold heard the track she knew she could bring her own distinctive vocal sound to the festive party, “I loved the track when they played it to me! I thought this is cool, it has that whole soulful sixties vibe and everything that a Christmas record should have!”Taking its cue from the fabled sound of Phil Spector's ‘A Christmas Gift For You…' album, ‘It Won't Be Christmas Without You' is a stunning ‘wall of sound' production that's set to become an instant seasonal classic. Opening with a flourish of sleigh bells before giving way to a sky-scraping euphoric chorus, it's shot through with a lyrical melancholy that immediately puts it amongst the pantheon of great Xmas songs. Throw in some saxophone that recalls E-Street band legend Clarence Clemons and you have a timeless classic to light up people's hearts and minds during the holiday season.It also proves that time hasn't diminished the power and resonance of P.P. Arnold's voice, which soars and touches the soul with the same power that it did years ago when she first burst onto the global music scene. “It stretched me because I'm singing like I'm seventeen again in that key, I gotta be working to sing in that key to keep all that stuff going, so I'm giving thanks and praise that I can still do that. When they played the track back in the studio I was like ‘oh yeah!'”Arnold's skill with her vocal delivery is something which many other vocalists would find hard to match, a talent fine-tuned over decades of professional singing work, but true to her loving spirit she understands the significance of connecting with the hearts and minds of people at one of the most important times of the year “I started stretching out but not too much, it's Christmas, everybody wants to be able to sing it! It's not just about me, I sang it for everybody.”“Mariah please, give somebody else a break!” jokes Arnold, but this festive chapter in the continuing adventures of a soul survivor proves that P.P. Arnold continues to hold her own alongside her contemporaries, and reminds us all to cherish her beautiful talents as she forges her own unique path into a bright future. Hosted on Acast. See acast.com/privacy for more information.

Face Dances is the ninth studio album from the Who, and the first release after the death of drummer Keith Moon three years earlier.  During those three years the Who would release the film Quadrophenia and the concert retrospective film The Kids Are Alright.  Front man Roger Daltry would try out acting, and Pete Townshend would release his second solo studio album.  When the group got back together for Face Dances, Phil Collins expressed an interest in joining the band.  However, Kenny Jones (Small Faces, Faces) had already been asked to join.  John “Rabbit” Bundrick also contributed keyboard work on this album, and would eventually join as a full time member of the Who.  These joined previous members Daltry, Townshend, and bassist John Entwistle.  The album was highly anticipated, and was a commercial success, reaching number 4 on the U.S. Billboard 200 and number 2 on the UK Albums chart.  Critical reviews were mixed at the time, and the band has expressed some friction with producer Bill Szymczyk who conducted the final mixing without the full band's input.  Regardless, the album is a staple of early 80's rock and many of the songs have achieved a timelessness about them.Brian brings us this album for today's podcast. You Better You BetThe first single and lead-off track to the album was a staple of the new cable station - MTV.  It was the Who's last top 20 single, reaching number 18 on the Billboard Hot 100.  Townshend developed the song during a period of clubbing with the daughter of a friend.  The video was a black and white studio session.  Don't Let Go the CoatThis deeper cut was the second single, and was inspired by Townshend's guru Meher Baba and his statement that his followers “hang fast to the hem of my robe,” meaning to stay true to his teachings.  It also may have been inspired by Townshend's parents who would pick him up after his binges on drugs and alcohol.The Quiet OneBassist John Entwistle takes an unusual turn as lead singer on this self-referential deep cut.  It was the B-side of the single “You Better You Bet.”  Entwisle said it was a song trying to explain that he wasn't really quiet, but that he started being quiet and got stuck in the pigeon hole of that label.Another Tricky Day“This is no social crisis, just another tricky day for you...fella!”   John Bundrick inspired this song, and it claims that what we're going through is nothing unique, but is just another tricky day.  The song is the final track on the album, and the video is in the same style as the first single - a black and white studio session. ENTERTAINMENT TRACK:Main theme from the television series “Dynasty” John Forsythe, Linda Evans, and Joan Collins starred in this prime time soap opera. STAFF PICKS:Skateaway by Dire Straits Bruce brings us a song about a girl who skates around the city, ticking off the drivers, weaving in and out of traffic, and listening to the local rock and roll station on her headphones.  This is the lead single from the Dire Straits album Making Movies,  and the album title is pulled from the lyrics of this song.Precious to Me  by Phil SeymourDrummer, singer-songwriter, and guitarist Phil Seymour wrote this song with a throwback doo-wop feel.  This is the first single from his first solo album.  It hit number 22 on the Billboard Hot 100.  Seymour also contributed backing vocals to Tom Petty's “American Girl” and “Breakdown.”He Can't Love You by the Michael Staley Band Wayne features a one hit wonder featuring saxophonist and E. Street Band member Clarence Clemons.  It made it to number 33 on the Billboard Hot 100, and was the 40th song played on MTV.  The Michael Stanley Band is big regionally in Ohio.I Love a Rainy Night by Eddie RabbitBrian's staff pick is a crossover country hit.  It hit the top of both the Billboard Hot 100 and Hot Country charts.  It describes the feeling that comes from a good rain at night.  Rabbit started writing the song in the 60's, but didn't develop it until this album.   INSTRUMENTAL TRACK:Toccata by SkyThis prog rock group covers the classical piece "Toccata and Fugue in D minor" by J.S. Bach made it on the British singles charts. 

After a short break from a busy era 1999-2010, Bruce came back in 2012 with his first album since the passing of Clarence Clemons. 'Wrecking Ball' Listen in to hear my thoughts on this album and a deep dive into the title track. www.apodcastandacd.com @APodcastandaCD

Mohegan Sun's Tom Cantone was on to talk about the Bruce Springsteen show coming in March. Tom admitted there's still a big name performer on his "to-do" list, and shared a great story about booking Clarence Clemons on his birthday.

Chaz and AJ asked the Tribe how they made the news, or a family member wound up in the headlines. Rose's story about her cousin, would've been perfect for Dumb Ass News. (0:00) Movie Critic Joe Meyers was on to talk about the best on-screen movie villains of all time. AJ wound up reciting most of a Lethal Weapon movie from memory. (5:47) Mohegan Sun's Tom Cantone was on to talk about the Bruce Springsteen show coming in March. Tom admitted there's still a big name performer on his "to-do" list, and shared a great story about booking Clarence Clemons on his birthday. (13:24) Jon Anderson of Yes talked about his show at the Ridgefield Playhouse this weekend, which has a pretty cool twist. Plus, Jon admits that records companies were always asking the band to please record shorter songs. (31:09) Image Credit: Reuters

We've got a big, big, BIG episode for ya! Mitch Slater joins me for this E Street Band spotlight! We're goin' through a timeline of musical moments and career highlights, paying tribute to Big Man Clarence Clemons. Listen to Tramps…

Episode 1- is about growing up in Maine, joining a top forty band, meeting Clarence Clemons on an airplane, watching Springsteen record "The River"  in New York City, and preparing for my move to Los Angeles. On this episode,  you will hear “Don't Wake Me Up” from the album Quiet Girl, featuring Clarence Clemons on sax, available at all streaming platforms or directly from me at judejohnstone.com.Support the show (https://www.buymeacoffee.com/jjohnstoneI)

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Jake Clemons joins us and goes deep into his life from growing up in a musical family, learning along the way not to have fear. From a Clarence Clemons Tribute and what it is like to fill his position with Bruce Springsteen and The E-street Band. Some incredible stories from backstage to on tour with Bruce and the E Street Band to singing and going solo. Life as a father on Tour and off. His new album and touring. An amazing performance from 2012: Bruce Springsteen & The E-street Band - Jungleland The first live version performed since Clarence Clemons passing. Very beautiful and emotional version. Please give credit to the orginal uploader/editor: dvddubbingguy (https://www.youtube.com/user/dvddubbi...) additional footage by Henrik Berström (https://www.youtube.com/user/ljusboll)

The saxophone, a single-reed woodwind instrument usually made of brass, was designed around 1840 by Adolphe Sax, a Belgian instrument maker, flutist, and clarinetist. As an outgrowth of his work improving the bass clarinet, Sax began developing an instrument with the projection of a brass instrument and the agility of a woodwind. Initially created for classical music, the use of the sax expanded exponentially with the introduction of jazz becoming very popular across the US.  As the jazz age died down, the sax took on new roles in popular music with folks like Clarence Clemons, Grover Washington Jr, Phil Woods, Ronnie Ross, and David Bowie using it in a variety of new styles and ways.On today's show we are gonna take a look at the sax in popular music a bit closer and give you our Favorite Sax-ey songs.Spotify Playlist “Sax-ey Songs”www.rightfiction.com

Welcome to The 80's Montage! (music, mateys and cool shit from the 80s) Your Hosts Jay Jovi & Sammy HardOn, singers from Australia's 80's tribute band Rewind 80's. We take you back to living in the 80's: music, artists, TV commercials and video clips. Episode 113 : Stickin' Your Dick In The Till - Artists That Screwed The Crew..  It's a ripper! Please rate, review and enjoy! Music licensed by APRA/AMCOS Theme music ©2019 M. Skerman see Facebook for links to videos & songs mentioned in this episode! Email: planet80sproductions@gmail.com Rewind 80's Band: www.rewind80sband.com Facebook: the80smontagepodcast twitter: 80_montage instagram: the80smontage Links from Episode 113 : Stickin' Your Dick In The Till - Artists That Screwed The Crew..Patreon Link With Thanks x https://www.patreon.com/the80smontagepodcast www.the80smontage.comLinks: https://www.youtube.com/watch?v=aCWCF19nUhATom Tom Club - Genius Of Love (Official Music Video)https://www.youtube.com/watch?v=mwgg1Pu6cNgFleetwood Mac - Gypsy (Official Music Video)You're watching the official music video for Fleetwood Mac - "Gypsy" from the 1982 album "Mirage". The new Fleetwood Mac collection '50 Years – Don't Stop' is available now. Get your copy here https://lnk.to/FM50 and check out North American tour dates below to see if the band is coming to a town near you.The video for 'Gypsy', directed by Russell Mulcahy, was the very first 'World Premiere Video' on MTV in 1982.Subscribe to the channel! http://bit.ly/SubscribetoFleetwoodMacWatch all the Fleetwood Mac videos http://bit.ly/FleetwoodMacVideosStay in touch with Fleetwood Mac...Official Website https://www.fleetwoodmac.comFacebook https://www.facebook.com/FleetwoodMacTwitter https://twitter.com/fleetwoodmacWhite Boy - Culture Clubhttps://youtu.be/YGEj68bEjNQProvided to YouTube by Universal Music GroupWhite Boy · Culture ClubGreatest Hits℗ 2003 Virgin Records LimitedReleased on: 2005-01-01Associated  Performer, Piano, Keyboards, Guitar, Electric  Sitar: Roy HayProducer, Studio  Personnel, Mixer, Engineer: Steve LevineAssociated  Performer, Saxophone, Flute, Harmonica: Nick PayneAssociated  Performer, Background  Vocalist, Keyboards: Phil PickettAssociated  Performer, Background  Vocalist: Denise SpoonerAssociated  Performer, Vocals: Boy GeorgeStudio  Personnel, Mixer, Associated  Performer, Drum  Programming, Drums, Percussion: Jon MossAssociated  Performer, Bass (vocal): Michael CraigAssociated  Performer, Background  Vocalist: Colin CampsieAssociated  Performer, Trumpet: Terry BaileyAssociated  Performer, Bass (vocal): Michael Emile CraigAssociated  Performer, Background  Vocalist: Colin CampsieProducer, Studio  Personnel, Engineer, Mixer: Steve LevineAssociated  Performer, Background  Vocalist, Additional  Keyboards: Phil PickettComposer: George O'DowdComposer, Composer  Lyricist: Roy HayComposer: Michael CraigComposer, Composer  Lyricist: Jon MossComposer  Lyricist: Boy GeorgeComposer  Lyricist: Michael Emile CraigListen to the new album: https://abba.lnk.to/VoyageAlbumListen to more music by ABBA: https://abba.lnk.to/musicIDFollow ABBA:Facebook: https://www.facebook.com/ABBA/ Instagram: https://www.instagram.com/abba/Twitter: https://twitter.com/abbaTikTok: https://www.tiktok.com/@abba Read More About ABBA: http://www.abbasite.com/(Benny Andersson and Björn Ulvaeus)© 1979 Polar Music International ABPublished by: Universal/Union Songs ABVideo produced by: Lasse Hallström#ABBAhttps://www.youtube.com/watch?v=WkL7Fkigfn8Bruce Springsteen - Out In The Street [Philadelphia, August 14, 1985]https://www.youtube.com/watch?v=9TTLxfeJhGgVeterans Stadium, Philadelphia, PA, August 14, 1985Bruce Springsteen (vocals, guitar)Roy Bittan (piano, keyboards)Clarence Clemons (tenor and baritone saxophones, backing vocals, percussion)Danny Federici (organ, accordion, keyboards)Nils Lofgren (guitar, backing vocals)Patti Scialfa (backing vocals, percussion)Garry Tallent (bass, percussion)Max Weinberg (drums)#BruceSpringsteen #BornInTheUSA #ClassicRockBruce Springsteen - Born in the U.S.A. (Official Video)https://www.youtube.com/watch?v=EPhWR4d3FJQPrince - Computer Blue #prince #wendyandLisahttps://www.youtube.com/watch?v=szs4bWoul8wComputer Blue Band - Sammy & Boys Australia ( Rewind 80's Band)https://www.youtube.com/watch?v=wqVACqFpkawMother Of Pearl · Wendy & LisaEroica℗ 1990 Virgin Records LimitedReleased on: 1990-01-01Associated  Performer, Vocals, Producer: Wendy MelvoinAssociated  Performer, Vocals, Keyboards, Producer: Lisa ColemanAssociated  Performer, Drums, Percussion: Carla AzarProducer: Tony BergAssociated  Performer, Vocals: K.D. LangStudio  Personnel, Mastering  Engineer: Bob LudwigComposer: Lisa ColemanComposer: Wendy MelvoinComposer: Michael PennComposer: Tony Berghttps://www.youtube.com/watch?v=5AqLpE4Jh-8The Cars - Drive (Official Music Video)You're watching the official music video for The Cars - "Drive" from the album 'Heartbeat City' (1984). "Drive" reached No. 3 on the Billboard Hot 100 and was The Cars' biggest international hit.Subscribe to the Rhino Channel! https://Rhino.lnk.to/YouTubeSubID Check Out Our Favorite Playlists:Classic Rock https://Rhino.lnk.to/YTClassicRockID80s Hits https://Rhino.lnk.to/YT80sHitsID80s Hard Rock https://Rhino.lnk.to/YT80sHardRockID80s Alternative https://Rhino.lnk.to/YT80sAlternativeID90s Hits https://Rhino.lnk.to/YT90sHitsIDStay connected with RHINO on...Facebook https://www.facebook.com/RHINO/Instagram https://www.instagram.com/rhino_recordsTwitter https://twitter.com/Rhino_Recordshttps://www.rhino.com/Thanks for listening! www.the80smontage.com

How To Play Merry Christmas Baby On The SaxophoneMerry Christmas Baby !  (Do you often get called "baby" ?)Are you looking to learn How To Play Merry Christmas Baby On The Saxophone ? Bruce Springsteen had a huge hit with this song.  He also had a huge hit with his saxophonist Clarence Clemons, who played this riff on his saxophone as part of Bruce Springsteen and the E Street Band.In this Merry Christmas Baby saxophone lesson podcast, we have a look at the riff made famous by Clarence Clemons and Bruce Springsteen in their Christmas song....and play it on our saxophones.Merry Christmas Baby Saxophone.Merry Christmas Baby Saxophone Lesson.How To Play Merry Christmas Baby On The Alto Saxophone.Bruce Springsteen Merry Christmas Baby.Bruce Springsteen Saxophone Lessons.Online Saxophone Lessons.Beginner Saxophone Lessons.How To Play The Saxophone.How to Play the Sax.:-)At howToPlayTheSax.com we are all about quick wins, tips, hints and suggestions, as well as helping you take your saxophone playing to the next level.And we have some fun along the way.Even if you have never played the saxophone before, we can get you started with learning how to play the saxophone and have you rocking and rolling in no time.The Cheat Sheets inside the Members Area (and the Members Forums) at HowToPlayTheSax.com make learning how to play the saxophone easier too.This is an edited and abbreviated saxophone lesson.  The full video saxophone lesson for this song inside the Members Area at HowToPlayTheSax.com runs for just under 12 minutes.Please don't forget to Have Fun, Play Saxophone, Be Awesome and Repeat

We are celebrating the one year anniversary of  The City's Backyard Podcast featuring classic rock stars each week for the rest of the year throughout the month of December. In each interview we talk a little bit about each artist and then go back in time to  a decade or more ago  with the interview of each iconic rock star. This week we chat with guitarist Nils Lofgren from Bruce Springsteen and The E Street Band. Nils has a new Christmas EP out! Let's go back to 2011 with Nils and chat about his show being dedicated to longtime friend and bandmate Clarence Clemons who at the time had just recently passed away. It was the same month we were chatting with Nils about his upcoming show that the Big Man had left the E Street band for good. It was a sensitive subject at the time but Nils is a nice guy and class act. He handled the questions like a champ. https://www.nilslofgren.com/https://www.facebook.com/nilslofgrenfans

Veteran NY/NJ Bassist John Thompson from NJ Bass Academy talks of his life as a musician and playing with amazing legends including Tom Jones, Clarence Clemons of the E Street Band, and studied under Jaco Pastorius of Weather Report! John also shares more great stories, tips, advice and how to sign up at the NJ Bass Academy! Check out the amazing John Thompson on all streaming platforms and inquire about the NJ Bass Academy today! #johnthompson #bassist #bassplayer #njbassacademy #newyork #newjersey #tomjones #clarenceclemons #estreetband #brucespringsteen #jacopastorius #weatherreport #amazon #audible #iheartradio #spreaker #spotify #itunes #googleplay #applemusic #youtube #anchorfm #mikewagner #themikewagnershow #mikewagnerjohnthompson #themikewagnershowjohnthompson --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/themikewagnershow/message Support this podcast: https://anchor.fm/themikewagnershow/support

How To Play Merry Christmas Baby On The SaxophoneMerry Christmas Baby !  (Do you often get called "baby" ?)Are you looking to learn How To Play Merry Christmas Baby On The Saxophone ?  Bruce Springsteen had a huge hit with this song.  He also had a huge hit with his saxophonist Clarence Clemons, who played this riff on his saxophone as part of Bruce Springsteen and the E Street Band.In this Merry Christmas Baby saxophone lesson podcast, we have a look at the riff made famous by Clarence Clemons and Bruce Springsteen...and play it on our saxophones.Merry Christmas Baby Saxophone.Merry Christmas Baby Saxophone Lesson.How To Play Merry Christmas Baby On The Alto Saxophone.Bruce Springsteen Merry Christmas Baby.Bruce Springsteen Saxophone Lessons.Online Saxophone Lessons.Beginner Saxophone Lessons.How To Play The Saxophone.How to Play the Sax.:-)At howToPlayTheSax.com we are all about quick wins, tips, hints and suggestions, as well as helping you take your saxophone playing to the next level.And we have some fun along the way.Even if you have never played the saxophone before, we can get you started with learning how to play the saxophone and have you rocking and rolling in no time.The Cheat Sheets inside the Members Area (and the Members Forums) at HowToPlayTheSax.com make learning how to play the saxophone easier too.This is an edited and abbreviated saxophone lesson.  The full video saxophone lesson for this song inside the Members Area at HowToPlayTheSax.com runs for just under 12 minutes.Please don't forget to Have Fun, Play Saxophone, Be Awesome and Repeat

In this episode our hosts discuss tiny pancakes. Then we discuss one Dead related song, not just one song, but one version of one song.    Version: JGB - 9/16/1989 Poplar Creek Music Theatre (w/ Clarence Clemons)     

Check out our special impromptu birthday edition of Al-bum Sides as we connect 2 GREAT side men of rock-n-roll.