Podcasts about Danceteria

Meg investigates the twisted tale of lemur enthusiast Professor John Buettner-Janusch. Jessica follows the star-studded origins of the club hit The Dominatrix Sleeps Tonight.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

This week we take a look back at some of our favourite books which all take place in the vibrant streets of New York City. This leading cultural epicenter gave birth to Debbie Harry, Bob Dylan, The Beastie Boys and Madonna while breakthrough Brits like Billy Idol and Vivienne Westwood set up shop. The seedy glamour of the punk scene to the discotheque and coffee houses of Greenwich Village played host to some of our most enduring icons. Travel back with us once again as we remember why we love New York Support the show

Party promoter, editor, nightlife photographer, and longtime friend of WOW, Trey Speegle recalls life in the early ‘80s East Village scene, creating Straight to Hell magazine, and his iconic Bad Boys parties at Danceteria.

Nueva sesión de DJ de los lunes de Trópico Utópico. Canciones enlazadas sin más locuciones que la introducción, despedida e indicativos intermedios.Escuchar audio

Tim McGeary is a singer-songwriter who started out in the New York club scene playing at CBGB's, Trax, and Danceteria. In 1982 he was signed to A&M records with the band The Rescue - they were together for two years and opened for the likes of Duran Duran, Billy Idol, Simple Minds, Missing Persons, and Stray Cats. Tim has recorded three solo albums, the first two under the name "Wonderful Johnson" called "Authentic Memphis Samich" and "12" and the third under his own name called "Second Hand Saint." In early 2024 he produced and performed on the Robert Paul Band's “Lucky Number Seven.”  Tim is also a retired firefighter/paramedic/flight medic in Collier County; he was deployed to New York City following the September 11th attack and to New Orleans after Hurricane Katrina.See omnystudio.com/listener for privacy information.

Music and Fashion Writer and Editor turned Rupaul co-star, Merle Ginsberg, talks about sharing a scene with Laurie Anderson, Twyla Tharp, and Eric Bogosian, catching The Clash, Television, and Glenn Branca at Danceteria, Mudd Club, and The Ritz, and parlaying Downtown Avant-garde Art into Midtown Corporate Music Media Business at a then-nascent MTV.

MLVC speaks with resident hairstylist Jason Lee about his experience seeing Madonna in Toronto both nights! It's a non-stop gab-fest where two Geminis theorize about what Madonna does each night after the shows, about the meeting of the black cloaks in (new) Frozen moment, about the advantages of being in Danceteria pit versus Sound Factory pit and so much more! Follow MLVC on Instagram, Twitter and Threads: @mlvcpodcast Subscribe to MLVC on our YouTube channel Donate to the podcast on Venmo: mlvcpodcast Listen to more episodes on Spotify/Apple/Amazon/Google Play or here: https://mlvc.podbean.com/

Colin Peters presents… DANCETERIA 2023. Mix No.2 in the bag, covering my top dance records of 2023. Taking in disco, house, spicy pop, tech house, electronica, rave and garage it is a trip across the dance music multiverse with tracks from Sharam Jey, Romy, The Chemical Brothers, Maya Jane Coles, Joe Lewandowski & Daddy Squad. Coming soon: Top Rock and Indie of 2023 Colin Peters presents... DANCETERIA 2023. Os presento mi segunda sesión de Tops de 2023, para la que he elegido mis temas dance del año. Con sonidos de disco, house, spicy pop, tech house, electrónica, rave y garaje. Se trata de un viaje a través del multiverso de la música dance, con temas de Sharam Jey, Romy, The Chemical Brothers, Maya Jane Coles, Joe Lewandowski y Daddy Squad. Próximamente: Top Rock e Indie de 2023 Siddhartha Khosla / Daddy Squad / Sleaford Mods / HiFi Sean/ Hall & Oates / Avangart Tabldot 7 Purple Disco Machine / Sharam Jey Boys Shorts / Joris Voorn / Claptone / Troye Sivan / SG Lewis / Romy Bruise / Maya Jane Coles / Eliza Rose + Calvin Harris / Lion Babe /Joe Lewandoski / Capricorn / The Chemical Brothers / Picard Brothers Joy Anonymous & Sugababes / Riton X Belters Only / Confidence Man /Christine and the Queens / Romy / TDJ / Patrick Prins / Solardo

Debut episode of There Is No Planet Earth Stories.This episode features  an interview  with  guest Richard Alvarez - Artist, Door Person, and  a fixture in the NYC downtown club & House music scene for decades.  We discuss a range of topics from his experiences in legendary 80's NYC clubs including Paradise Garage, Mudd Club, Danceteria, and Area. As well as his experience working the door at many clubs and parties over the years.Support the show

For the Record is a conversation series where we speak with all manner of music heads — DJs, music journos, indie label captains, record shop owners, listening bar kingpins, et al — about their stories + the music that makes them. As a bassist in the band Moot back in early-'80s NYC, Bruce Tantum's formative years were spent soaking up club culture in such hallowed halls as Mudd Club, Pyramid and Danceteria. Later in the decade, his time spent in those downtown dance dens, and those that that followed, inspired him to get step into the DJ booth — and over the ensuing years, he's played at pretty much any club willing to have him, as well as at more dingy basement parties than he can remember. For over two decades, Bruce has served as a music journalist, toiling for Time Out NY (where he served as the longtime Clubs editor), Resident Advisor, Red Bull Music Academy, XLR8R, Mixmag and more. He currently holds it down as North American editor of DJ Mag, while still heeding the call of the decks for the occasional night of record-spinning fun. Explore more of this conversation and others: https://www.greymatter.fm/community/ftr006-bruce-tantum --- Send in a voice message: https://podcasters.spotify.com/pod/show/greymatterfm/message

Ellen Kinnally was the Fashion Editor of Details Magazine. She first appeared as a child on 4 Vogue children's covers. IG: ⁠⁠@ellen_kinnally⁠ ⁠⁠| ⁠⁠⁠Americanvalues2024.org |⁠ Later, she was Marc Jacob's first "muse". A fashion/performance artist at Studio 54, the Mudd Club, Area, Danceteria, CBGBs LimeLight, and many others. She pioneered the black bra and leggings and the Marie Antoinette looks that were later picked up / co-opted by Madonna. She was the first to wear a black bra and leggings on the downtown club scene and made history the night she went out as (channelled) Marie Antoinette to the clubs. Pictured in Patrick McMullan's So 80s book with Boy George, Michael J. Fox and Kate Harrington. Ellen has had a diverse career. Fashion Model, Fashion Editor, Makeup Artist, Beauty Editor, Fashion Stylist, Tiger Trainer's Assistant, Elephant Groomer, Activist, Organic Gardener, Private Chef, Political Consultant, News Analyst, Media Liaison. American Values 2024 Pro Robert Kennedy Jr. Super PAC.⁠Americanvalues2024.org ⁠| ⁠https://www.kennedy24.com⁠ | ⁠https://www.instagram.com/ellen_kinnally⁠➔Please check out our Sponsors: Try ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BlueChew⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ FREE when you use our promo code MSCS at checkout--just pay $5 shipping. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BlueChew.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, promo code MSCS to receive your first month FREE ➔ZBiotics: 15% off on your first order with code: MSCSMEDIA Go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://sponsr.is/biotics_mscsmedia_0723⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ➔MAGIC SPOON: ⁠⁠⁠⁠⁠⁠⁠https://www.magicspoon.com/MSCS⁠⁠⁠⁠⁠⁠⁠ to grab a variety pack and try it today! And be sure to use our promo code MSCS at checkout to save $5 off your order! ➔Hormone levels falling? Use MSCSMEDIA to get 25% off home test: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://trylgc.com/MSCSMEDIA⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ➔Manscaped: Get 20% Off and Free Shipping with the code MSCSMEDIA at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://Manscaped.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ➔Fiji: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://Fijiwater.com/mscs⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠$5 off free shipping Unleash ➔Monster Energy: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.monsterenergy.com/us/mscsmscsmedia ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ➔Aura: See if any of your passwords have been compromised. Try 14 days for free: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Ellen Kinnally was the Fashion Editor of Details Magazine. She first appeared as a child on 4 Vogue children's covers. IG: ⁠⁠@ellen_kinnally⁠ ⁠⁠| ⁠⁠⁠Americanvalues2024.org |⁠ Later, she was Marc Jacob's first "muse". A fashion/performance artist at Studio 54, the Mudd Club, Area, Danceteria, CBGBs LimeLight, and many others. She pioneered the black bra and leggings and the Marie Antoinette looks that were later picked up / co-opted by Madonna. She was the first to wear a black bra and leggings on the downtown club scene and made history the night she went out as (channelled) Marie Antoinette to the clubs. Pictured in Patrick McMullan's So 80s book with Boy George, Michael J. Fox and Kate Harrington. Ellen has had a diverse career. Fashion Model, Fashion Editor, Makeup Artist, Beauty Editor, Fashion Stylist, Tiger Trainer's Assistant, Elephant Groomer, Activist, Organic Gardener, Private Chef, Political Consultant, News Analyst, Media Liaison. American Values 2024 Pro Robert Kennedy Jr. Super PAC. ⁠Americanvalues2024.org ⁠| ⁠https://www.kennedy24.com⁠ | ⁠https://www.instagram.com/ellen_kinnally⁠ ➔Please check out our Sponsors: Try ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BlueChew⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ FREE when you use our promo code MSCS at checkout--just pay $5 shipping. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BlueChew.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, promo code MSCS to receive your first month FREE ➔ZBiotics: 15% off on your first order with code: MSCSMEDIA Go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://sponsr.is/biotics_mscsmedia_0723⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ➔MAGIC SPOON: ⁠⁠⁠⁠⁠⁠⁠https://www.magicspoon.com/MSCS⁠⁠⁠⁠⁠⁠⁠ to grab a variety pack and try it today! And be sure to use our promo code MSCS at checkout to save $5 off your order! ➔Hormone levels falling? Use MSCSMEDIA to get 25% off home test: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://trylgc.com/MSCSMEDIA⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ➔Manscaped: Get 20% Off and Free Shipping with the code MSCSMEDIA at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://Manscaped.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ➔Fiji: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://Fijiwater.com/mscs⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠$5 off free shipping Unleash ➔Monster Energy: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.monsterenergy.com/us/mscsmscsmedia ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ➔Aura: See if any of your passwords have been compromised. Try 14 days for free: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://au⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ra.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MSCS⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Thank you to Aura Clips of all episodes released: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/mscsmedia⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠| ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠mscsmedia.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠| ⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.reddit.com/r/mscsmedia⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠ ➔ Stay Connected With MSCS MEDIA on Spotify Exclusive: ALL ► ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://spoti.fi/3zathAe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ► All Links to MSCS MEDIA:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://allmylinks.com/mscsmedia⁠⁠⁠⁠⁠⁠ ⁠⁠⁠ Chapters & Transcript: @ ⁠⁠⁠⁠https://www.mscsmedia.com⁠

An interview with Rafe Gomez of "Danceteria REWIND" on Twitch, which streams Thursday evenings from 7-9 p.m. U.S. Central Time.  He talks about his first Danceteria experience in New York, choosing the music for each night's set, the nature of remixes from that era, hearing songs in the clubs at that time before they became mainstream pop hits, and much more.See omnystudio.com/listener for privacy information.

Danceteria wasn't just a nightclub. It was an artistic incubator at the heart of New York's early 80s cultural renaissance. It became a space for musicians, artists, and activists to seek inspiration.  It was the club where Madonna performed on stage for the first time and Keith Haring painted art straight onto the walls, And in the midst of the AIDs crisis, it became the place New Yorkers escaped to find community, joy and the chance to lose themselves on the dancefloor.See omnystudio.com/listener for privacy information.

Danceteria wasn't just a nightclub. It was an artistic incubator at the heart of New York's early 80s cultural renaissance. It became a space for musicians, artists, and activists to seek inspiration.  It was the club where Madonna performed on stage for the first time and Keith Haring painted art straight onto the walls, And in the midst of the AIDs crisis, it became the place New Yorkers escaped to find community, joy and the chance to lose themselves on the dancefloor.See omnystudio.com/listener for privacy information.

Multiple nights a week for the last four decades, Kevin Carpet has rolled himself up in a body-sized custom carpet and placed himself in bars, clubs, and the streets of NYC for folks to step on, bounce on, take pictures with or... whatever they want really. We talk to Kevin about stepping out at legendary '80s nightspots like Danceteria and the Peppermint Lounge, the ins and outs of his profession/obsession, fashion, kink and consent, how he compares to other human carpets worldwide, and his wildest and most famous encounters. It's everything you wanted to know about being a human carpet but were afraid to ask! Hosted by Vivian Host (aka DJ Star Eyes). For more info and extras, visit Ravetothegrave.org or Instagram @ravetothe.grave.

Queda poco para comenzar a celebrar el Pride de este año, por lo que el siguiente podcast está dedicado al colectivo LGTBI+. Durante los 80s poco a poco el movimiento LGTBI+ fue ganando visibilidad y, sobre todo, un gran consumidor de música, y en grandes discotecas como Paradise Garage, Danceteria, The Haçienda formaban parte de su clientela, adoptando canciones como himnos de su colectivo y hoy en día son verdaderos clásicos de las pistas de baile del mundo entero. En este podcast podréis escuchar parte de aquellos clásicos que sonaron y seguirán sonando en los principales discos gay, orgullos, bares, etc. TRACKLIST: 01 - Bronski Beat - Smalltown Boy 02 - Jimmy Somerville - You Make Me Feel (Mighty Real) 03 - The Communards - Never Can Say Goodbye 04 - Electric Light Orchestra & Olivia Newton John - Xanadu 05 - Liza Minnell - Love Pains 06 - Pet Shop Boys - Heart 07 - Queen - I Want To Break Free 08 - Modern Talking - Brother Louie 09 - Samantha Fox - Touch Me (I Want Your Body) 10 - Madonna - Express Yourself (Remix) 11 - Dead Or Alive - Lover Come Back To Me (7' Bonus Mix) 12 - Divine - I'm So Beautiful (Divine Mix Edit) 13 - Sinitta - So Macho 14 - Deborah Harry - I Want That Man (Original Version) 15 - Inner Life - Ain't No Mountain High Enough 16 - Gloria Gaynor - I Am What I Am 17 - Diana Ross - Chain Reaction 18 - Wham! - I'm Your Man

Queda poco para comenzar a celebrar el Pride de este año, por lo que el siguiente podcast está dedicado al colectivo LGTBI+. Durante los 80s poco a poco el movimiento LGTBI+ fue ganando visibilidad y, sobre todo, un gran consumidor de música, y en grandes discotecas como Paradise Garage, Danceteria, The Haçienda formaban parte de su clientela, adoptando canciones como himnos de su colectivo y hoy en día son verdaderos clásicos de las pistas de baile del mundo entero. En este podcast podréis escuchar parte de aquellos clásicos que sonaron y seguirán sonando en los principales discos gay, orgullos, bares, etc. TRACKLIST: 01 - Bronski Beat - Smalltown Boy 02 - Jimmy Somerville - You Make Me Feel (Mighty Real) 03 - The Communards - Never Can Say Goodbye 04 - Electric Light Orchestra & Olivia Newton John - Xanadu 05 - Liza Minnell - Love Pains 06 - Pet Shop Boys - Heart 07 - Queen - I Want To Break Free 08 - Modern Talking - Brother Louie 09 - Samantha Fox - Touch Me (I Want Your Body) 10 - Madonna - Express Yourself (Remix) 11 - Dead Or Alive - Lover Come Back To Me (7' Bonus Mix) 12 - Divine - I'm So Beautiful (Divine Mix Edit) 13 - Sinitta - So Macho 14 - Deborah Harry - I Want That Man (Original Version) 15 - Inner Life - Ain't No Mountain High Enough 16 - Gloria Gaynor - I Am What I Am 17 - Diana Ross - Chain Reaction 18 - Wham! - I'm Your Man

My final 1983 gig-going-entry recaps a couple of shows I took in during a crazy/nuts four-day trip to NYC.   While I will be discussing the performances by hardcore titans The Circle Jerks and post-Throbbing Gristle offshoot Psychic TV, I'll also be looking at the madcap trip to Manhattan as a whole, recounting the hijinks that MZ, Miss B, myself, and others got up to.   If you've heard or read EP 25 on the Flipper show at Fryfogle's, then you'll have somewhat of an idea of what to expect.Tune in for destroyed hotel rooms; terrified cousins; "Peace, Love and Groove!"; Danceteria bathroom hallucinations; Brooke Shields' husband, Broadway Bob; and pterodactyls and manifestations.You can also read the original blog entries for The Circle Jerks and for the Psychic TV show on the mylifeinconcert.com blog. Next On Stage –> I am jumping back further into the past as I recall a cabaret show that happened between my first and second “official” gigs (Roxy Music at the London Arena on February 5, 1975 and Bob Seger at the London Gardens on May 19, 1978). I saw the cabaret in Portsmouth, England, in August 1977, and it featured early-60s popster Susan Maughan, she of the 1962 hit, “Bobby's Girl,” and possibly the legendary Tessie O'Shea. I had initially planned to discuss it as part of upcoming compilation episode but have instead decided to make it a stand-alone episode. The EP's Special Guest is my 96-year-old mother—we'll call her Vera Various Artists—who attended the cabaret along with me and my late father.   My mum shares her vague memories of the evening, including that she feels the legendary Tessie O'Shea was on the bill.  If my mother is right, then boy do I wish I could remember that.  I wouldn't have known who she was then but I sure do now. We do both remember humourist Pam Ayers and the Famous People Players being part of the show. My mother also recalls the venue itself, the Portsmouth The Hippodrome but also The King's Theatre in Southsea, as she grew up in Petersfield, but later moved to Portsmouth after marrying my dad, and both my elder siblings were born there.   In the interview, she discusses listening to the radio as well as records in the UK as a girl in the ‘30s, and also music and live shows she enjoyed after to moving to Canada in the mid-50s and onwards. I also talk about my experiences on this trip in the ultimate UK punk year—1977—amid the Queen's Silver Jubilee. Tune in for dangerous radio batteries, hanging out in British record stores to hear the latest releases, what double album of my mum's drove me nuts in the ‘70s, punk rock mania, not seeing The Sex Pistols, and what Ethel Merman was really like live. That's all coming up in Episode 31, Concert no. 001.5, entitled UK 1977: VA's Mum on Ethel Merman and Susan Maughan at the Portsmouth Hippodrome and the Music of Her Life + My UK Trip Amid the Year of the Punk Rock Explosion and Silver Jubilee mylifeinconcert.com

This is the big one! THE ultimate! The single most anticipated show I ever attended, when I—along with my co-hort Miss B—and 60,000 other fans, all of whom who were going Absolutely Freakin' Bananas, moseyed on down to a packed CNE Exhibition Stadium during a sweltering Labour Day weekend in 1983, for David Bowie. He was on his global Serious Moonlight tour for his worldwide smash hit album, Let's Dance, with the great Rough Trade opening the show and warming up the troops. On the exact same weekend a year earlier, I had seen The Clash at this same venue (EP 18).  Now I was back and seeing an even more hotly anticipated show.  And he surpassed my expectations. In Part One, Episode 29A, Changes: Bowie, The ‘70s, and Me—a prelude to this episode about the show—I look back on first hearing David Bowie on the cusp of 1973 as well as take an in-depth journey through his recording career, from 1964's “Liza Jane” through 1983's Let's Dance, but also examine his impact on me and the larger culture throughout the rest of that decade. In this Part 2, join me in returning back to this CNE show on that gorgeous Labour Day weekend in 1983—ending one of the most memorable summers of my young life with an unforgettable climax. Tune in for being caught up in the rush of crushing crowds, Hamlet references, bamboo steamers among the Bowie masses, and the most exciting show of my life.  Go to the mylifeinconcert.com blog to read the original entry. Next On Stage –> My final 1983 gig-going-entry recaps a couple of shows I took in during a crazy/nuts four-day trip to NYC.   While I will be discussing the performances by hardcore titans The Circle Jerks and post-Throbbing Gristle offshoot Psychic TV, I'll also be looking at the madcap trip to Manhattan as a whole, recounting the hijinks that MZ, Miss B, myself, and others got up to.   If you've heard or read EP 25 on the Flipper show at Fryfogle's, then you'll have somewhat of an idea of what to expect. Tune in for destroyed hotel rooms, terrified cousins, "Peace, Love and Groove," Danceteria bathroom hallucinations, Brooke Shields' husband: Broadway Bob, and Pterodactyls and Manifestations in Episode 30, Back Against the Wall and Discopravity: The Circle Jerks at the Reggae Lounge on Wednesday November 26th, and Psychic TV at Danceteria on Thursday November 17, both in New York City, 1983.Click on the links above to read the original blog entries at mylifeinconcert.com.

On Prime Time Jukebox Episode 82, Dave and Coop discuss the career of Madonna. We will cove beginnings on the scene at Danceteria in New York to becoming one of the biggest pop musician starts of all time – and discuss all of the music in between. Plus the Philadelphia Phillies have discovered a unlikely song for their improbable run in the 2022 MLB Playoffs. Win Butler of Arcade Fire could be facing legal trouble; and Advent Calendar fever has gripped the cigar industry. For this show, Dave smokes the Powstanie SBC 20 while Coop smokes the Dapper Cigars' La Madrina. As always you can follow along with our Spotify Playlists: Episode 82 Playlist References Taylor Swift's Vigilante Shit: 1989's Dark Cousin who Drinks Vodka and Likes to Fight Why Philadelphia adopted 'Dancing on My Own' as its unofficial anthem Dancing on My Own (Tiesto Remix) Beck bails on Arcade Fire tour amid Win Butler sexual misconduct allegations Madonna TikTok Video Developing Palates Team Cigar Review: Crowned Heads Le Carême Belicosos Finos 2022 LE  Madonna Gambler

On Prime Time Jukebox Episode 82, Dave and Coop discuss the career of Madonna. We will cove beginnings on the scene at Danceteria in New York to becoming one of the biggest pop musician starts of all time – and discuss all of the music in between. Plus the Philadelphia Phillies have discovered a unlikely song for their improbable run in the 2022 MLB Playoffs. Win Butler of Arcade Fire could be facing legal trouble; and Advent Calendar fever has gripped the cigar industry. For this show, Dave smokes the Powstanie SBC 20 while Coop smokes the Dapper Cigars' La Madrina. As always you can follow along with our Spotify Playlists: Episode 82 Playlist References Taylor Swift's Vigilante Shit: 1989's Dark Cousin who Drinks Vodka and Likes to Fight Why Philadelphia adopted 'Dancing on My Own' as its unofficial anthem Dancing on My Own (Tiesto Remix) Beck bails on Arcade Fire tour amid Win Butler sexual misconduct allegations Madonna TikTok Video Developing Palates Team Cigar Review: Crowned Heads Le Carême Belicosos Finos 2022 LE  Madonna Gambler

"Danceteria Rewind" is a show on TWITCH that recalls & remixes the halcyon days of one of NYC's edgiest dance clubs, the place where Madonna got her start, Basquiat showed his art and the Beastie Boys dropped beats. DJ Rafe Gomez is bringing back the essence of the place for a new generation and the generation that experienced it the first go around.

Superstar DJ Keoki's Exclusive TDJS Mix presented by The DJ Sessions 5/18/22 About Superstar DJ Keoki - Keoki Franconi was born in El Salvador but moved to Kihei, Maui, when he was 8.[1] After graduating from Kailua High School he moved to the mainland to study at an airline school in California. Franconi enjoyed a brief career with several airline operations in New York, among them the now defunct Trans World Airlines, while also being a busboy at the city's trendy Danceteria club. It was at Danceteria that he got his start. Soon was signed to Moonshine Records and established the alias SUPERSTAR DJ KEOKI as his own title for the world to know. For several years , Keoki teamed up with producer Dave Aude and wrote hit after hit under the moonshine label. After Moonshine retirement from the record industry , Keoki signed a major record deal with Cleopatra , Hypnotic records and released his ELECTRO CLASH collection.  Within this label , Keoki met Electronica mega producer Decoding Jesus; both clicked in an instant and started producing music as the dynamic duo we know today as KEOKI vs. DECODING JESUS. Both signed this new project to major dance label Moist Music and released there first full length album "TALKING TO YOUR SELF."  Presently , Keoki works with in the indie label of Edgar L. Montiel - let's beat milo records and release his own material , and material for other artist as well! From the words of the bad boy of techno himself, " I AM LEGENDARY! The undisputed first and most legendary DJ of all time, this Superstar boasts a resume that other DJs can't even dream about. A visionary turned iconic pioneer, Keoki spearheaded the movement and spawned the growth of electronic music around the world. Over two million records sold… Limelight, Party Monster, Ego Trip… five million miles traveling around the world… the ups, the downs, and the fame and fortune; Keoki is truly a living legend - the first, last, and only of his kind. Keoki, now more than ever, still rocks out with the most wicked mind blowing sets you will ever hear always sprinkling in that special Superstar showmanship and signature theatrics. His supporters are understandably fanatical traveling and coming out in flocks from all over if Keoki is playing anywhere remotely close.   About The DJ Sessions - “The DJ Sessions” is a Twitch/Mixcloud "Featured Partner” live streaming/podcast series featuring electronic music DJ's/Producers via live mixes/interviews and streamed/distributed to a global audience. TheDJSessions.com The series constantly places in the “Top Ten” on Twitch Music and the “Top Five” in the “Electronic Music", “DJ", "Dance Music" categories. TDJS is rated in the Top 0.11% of live streaming shows on Twitch out of millions of live streamers. It has also been recognized by Apple twice as a "New and Noteworthy” podcast and featured three times in the Apple Music Store video podcast section. UStream and Livestream have also listed the series as a "Featured" stream on their platforms since its inception.  The series is also streamed live to multiple other platforms and hosted on several podcast sites. It has a combined live streaming/podcast audience is over 125,000 viewers per week. With over 2,300 episodes produced over the last 12 years "The DJ Sessions" has featured international artists such as: BT, Youngr, Sevenn, Boris, MJ Cole, Lady Waks, Arty/Alpha 9, Miri Ben-Ari, Party Shirt, Plastik Funk, ENDO, John Tejada, Superstar DJ Keoki, Swedish Egil, Martin Eyerer, Robert Babicz, Elohim, Hausman, Yves V, Ayokay, Leandro Da Silva, The Space Brothers, Jarod Glawe, Jens Lissat, Lotus, Beard-o-Bees, Luke the Knife, Alex Bau, Camo & Crooked, ANG, Amon Tobin, Voicians, Florian Kruse, Dave Summit, Bingo Players, Coke Beats, MiMOSA, Drasen, Yves LaRock, Ray Okpara, Lindsey Stirling, Mako, Distinct, Still Life, Saint Kidyaki, Brothers, Heiko Laux, Piem, Tocadisco, Nakadia, Protoculture, Sebastian Bronk, Toronto is Broken, Teddy Cream, Mizeyesis, Simon Patterson, Morgan Page, Jes, Cut Chemist, The Him, Judge Jules, DubFX, Thievery Corporation, SNBRN, Bjorn Akesson, Alchimyst, Sander Van Dorn, Rudosa, Hollaphonic, DJs From Mars, GAWP, Somna, David Morales, Roxanne, JB & Scooba, Kissy Sell Out, Massimo Vivona, Moullinex, Futuristic Polar Bears, ManyFew, Joe Stone, Reboot, Truncate, Scotty Boy, Doctor Nieman, Jody Wisternoff, Thousand Fingers, Benny Bennasi, Dance Loud, Christopher Lawrence, Oliver Twizt, Ricardo Torres, Patricia Baloge, Alex Harrington, 4 Strings, Sunshine Jones, Elite Force, Revolvr, Kenneth Thomas, Paul Oakenfold, George Acosta, Reid Speed, TyDi, Donald Glaude, Jimbo, Ricardo Torres, Hotel Garuda, Bryn Liedl, Rodg, Kems, Mr. Sam, Steve Aoki, Funtcase, Dirtyloud, Marco Bailey, Dirtmonkey, The Crystal Method, Beltek, Andy Caldwell, Darin Epsilon, Kyau & Albert, Kutski, Vaski, Moguai, Blackliquid, Sunny Lax, Matt Darey, and many more along with hundreds of local DJs. In addition to featuring international artists TDJS focuses on local talent based on the US West Coast. Hundreds of local DJ's have been featured on the show along with top industry professionals. We have recently launched v3.1 our website that now features our current live streams/past episodes in a much more user-friendly mobile/social environment. In addition to the new site, there is a mobile app (Apple/Android) and VR Nightclubs (Oculus).   About The DJ Sessions Event Services - TDJSES is a WA State Non-profit charitable organization that's main purpose is to provide music, art, fashion, dance, and entertainment to local and regional communities via events and video production programming distributed via live and archival viewing. For all press inquiries regarding “The DJ Sessions”, or to schedule an interview with Darran Bruce, please contact us at info@thedjsessions.

Superstar DJ Keoki on the Virtual Sessions presented by The DJ Sessions 5/18/22   About Superstar DJ Keoki - Keoki Franconi was born in El Salvador but moved to Kihei, Maui, when he was 8.[1] After graduating from Kailua High School he moved to the mainland to study at an airline school in California. Franconi enjoyed a brief career with several airline operations in New York, among them the now defunct Trans World Airlines, while also being a busboy at the city's trendy Danceteria club. It was at Danceteria that he got his start.   Soon was signed to Moonshine Records and established the alias SUPERSTAR DJ KEOKI as his own title for the world to know. For several years , Keoki teamed up with producer Dave Aude and wrote hit after hit under the moonshine label. After Moonshine retirement from the record industry , Keoki signed a major record deal with Cleopatra , Hypnotic records and released his ELECTRO CLASH collection.    Within this label , Keoki met Electronica mega producer Decoding Jesus; both clicked in an instant and started producing music as the dynamic duo we know today as KEOKI vs. DECODING JESUS. Both signed this new project to major dance label Moist Music and released there first full length album "TALKING TO YOUR SELF."    Presently , Keoki works with in the indie label of Edgar L. Montiel - let's beat milo records and release his own material , and material for other artist as well! From the words of the bad boy of techno himself, " I AM LEGENDARY!   The undisputed first and most legendary DJ of all time, this Superstar boasts a resume that other DJs can't even dream about.   A visionary turned iconic pioneer, Keoki spearheaded the movement and spawned the growth of electronic music around the world.   Over two million records sold… Limelight, Party Monster, Ego Trip… five million miles traveling around the world… the ups, the downs, and the fame and fortune; Keoki is truly a living legend - the first, last, and only of his kind.   Keoki, now more than ever, still rocks out with the most wicked mind blowing sets you will ever hear always sprinkling in that special Superstar showmanship and signature theatrics.   His supporters are understandably fanatical traveling and coming out in flocks from all over if Keoki is playing anywhere remotely close.   About The DJ Sessions -   “The DJ Sessions” is a Twitch/Mixcloud "Featured Partner” live streaming/podcast series featuring electronic music DJ's/Producers via live mixes/interviews and streamed/distributed to a global audience. TheDJSessions.com   The series constantly places in the “Top Ten” on Twitch Music and the “Top Five” in the “Electronic Music", “DJ", "Dance Music" categories. TDJS is rated in the Top 0.11% of live streaming shows on Twitch out of millions of live streamers.   It has also been recognized by Apple twice as a "New and Noteworthy” podcast and featured three times in the Apple Music Store video podcast section. UStream and Livestream have also listed the series as a "Featured" stream on their platforms since its inception.    The series is also streamed live to multiple other platforms and hosted on several podcast sites. It has a combined live streaming/podcast audience is over 125,000 viewers per week.   With over 2,300 episodes produced over the last 12 years "The DJ Sessions" has featured international artists such as: BT, Youngr, Sevenn, Plastik Funk, Party Shirt, Robert Babicz, Jens Lissat, Alex Bau, Elohim, Leandro Da Silva, The Space Brothers, Dave Winnel, Cuebrick, Protoculture, Jarod Glawe, Camo & Crooked, ANG, Amon Tobin, Voicians, Bingo Players, Coke Beats, Yves LaRock, Ray Okpara, Lindsey Stirling, Mako, Still Life, Saint Kidyaki, Distinct, Sarah Main, Piem, Tocadisco, Sebastian Bronk, Toronto is Broken, Teddy Cream, Mizeyesis, Simon Patterson, Morgan Page, Jes, Cut Chemist, The Him, Judge Jules, Patricia Baloge, DubFX, Thievery Corporation, SNBRN, Bjorn Akesson, Alchimyst, Sander Van Dorn, Rudosa, Hollaphonic, DJs From Mars, GAWP, Somna, David Morales, Roxanne, JB & Scooba, Kissy Sell Out, Massimo Vivona, Moullinex, Futuristic Polar Bears, ManyFew, Joe Stone, Reboot, Truncate, Scotty Boy, Doctor Nieman, Jody Wisternoff, Thousand Fingers, Benny Bennasi, Dance Loud, Christopher Lawrence, Oliver Twizt, Ricardo Torres, Alex Harrington, 4 Strings, Sunshine Jones, Elite Force, Revolvr, Kenneth Thomas, Paul Oakenfold, George Acosta, Reid Speed, TyDi, Donald Glaude, Jimbo, Ricardo Torres, Hotel Garuda, Bryn Liedl, Rodg, Kems, Mr. Sam, Steve Aoki, Funtcase, Dirtyloud, Marco Bailey, Dirtmonkey, The Crystal Method, Beltek, Dyro, Andy Caldwell, Darin Epsilon, Kyau & Albert, Kutski, Vaski, Moguai, Blackliquid, Sunny Lax, Matt Darey, and many more.   In addition to featuring international artists TDJS focuses on local talent based on the US West Coast. Hundreds of local DJ's have been featured on the show along with top industry professionals.   We have recently launched v3.1 our website that now features our current live streams/past episodes in a much more user-friendly mobile/social environment. In addition to the new site, there is a mobile app (Apple/Android) and VR Nightclubs (Oculus).   About The DJ Sessions Event Services -   TDJSES is a WA State Non-profit charitable organization that's main purpose is to provide music, art, fashion, dance, and entertainment to local and regional communities via events and video production programming distributed via live and archival viewing.   For all press inquiries regarding “The DJ Sessions”, or to schedule an interview with Darran Bruce, please contact us at info@thedjsessions.

Beth Lapides is the creator, host and producer of Un-Cabaret, a live show that has become widely acknowledged as the first alt-comedy show and a critical venue for the Los Angeles "alternative comedy" movement. Un-Cabaret is known for its intimate, conversational style and has been a launching or relaunching pad for some of the most innovative voices in comedy. The Un- stands for un-homophobic, un-xenophobic, un-misogynistic, un-hacky. Un-Cabaret has produced five critically acclaimed CD's including The Un and Only. Spinoff productions from Un-Cabaret have include Say the Word, a story-telling show; The Other Network, a show featuring unaired pilots, and the UnCab Lab, a student workshop. Lapides' podcast Life and Beth is half hour conversations in which guests are asked to talk about the stories that most make them them. Beth's guest have included Lily Taylor, Willem Dafoe, Margaret Cho, Daniel Radcliffe, Ana Gasteyer and others. Her radio show, The Beth Lapides Experience, ran for a year on the short-lived Comedy World Radio. In addition she hosted Radio UnCabaret for the network. Lapides hosted two Un-Cabaret spin off shows, Say The Word and The Other Network Festival of Unaired Pilots. In the former, TV writers read stories of their lives, in which Lapides was also a featured reader. The latter toured nationally and to the Just For Laughs Festival. It featured pilots by Judd Apatow, Bob Odenkirk and others who also told the story of creating the shows and their cancellations. Lapides' inspiration for them was her own failed pilot and the process of seeing her friends hopes swell and be dashed. Lapides hosts an occasional series of conversations for the West Hollywood Lesbian Speaker Series. Her guest have included Stephanie Miller, Allee Willis, Judy Gold, Fortune Feimster and Margaret Cho. Lapides has been a creative force in the solo show arena. She began her career in the downtown NY art scene of the 1980s where she created pieces for The Kitchen, PS 122, Club 57, Danceteria, and others. She received several National Endowment for the Arts grants and toured to theaters, universities and art centers like ICA Boston, ICA London, Oberlin College, University of Iowa, Hallwalls etc. She has continued to create solo work throughout her career and she continues to develop her latest piece "100% Happy 88% of The Time" which has toured to the Improv Lab in LA, 92nd St Y Tribeca and The Triad in NY, Kripalu, The Myrna Loy Center for the Arts, Club Oberon in Boston among others. --- Support this podcast: https://anchor.fm/industry-standard-w-barry-katz/support

Beth Lapides is the creator, host and producer of Un-Cabaret, a live show that has become widely acknowledged as the first alt-comedy show and a critical venue for the Los Angeles "alternative comedy" movement. Un-Cabaret is known for its intimate, conversational style and has been a launching or relaunching pad for some of the most innovative voices in comedy. The Un- stands for un-homophobic, un-xenophobic, un-misogynistic, un-hacky. Un-Cabaret has produced five critically acclaimed CD's including The Un and Only. Spinoff productions from Un-Cabaret have include Say the Word, a story-telling show; The Other Network, a show featuring unaired pilots, and the UnCab Lab, a student workshop. Lapides' podcast Life and Beth is half hour conversations in which guests are asked to talk about the stories that most make them them. Beth's guest have included Lily Taylor, Willem Dafoe, Margaret Cho, Daniel Radcliffe, Ana Gasteyer and others. Her radio show, The Beth Lapides Experience, ran for a year on the short-lived Comedy World Radio. In addition she hosted Radio UnCabaret for the network. Lapides hosted two Un-Cabaret spin off shows, Say The Word and The Other Network Festival of Unaired Pilots. In the former, TV writers read stories of their lives, in which Lapides was also a featured reader. The latter toured nationally and to the Just For Laughs Festival. It featured pilots by Judd Apatow, Bob Odenkirk and others who also told the story of creating the shows and their cancellations. Lapides' inspiration for them was her own failed pilot and the process of seeing her friends hopes swell and be dashed. Lapides hosts an occasional series of conversations for the West Hollywood Lesbian Speaker Series. Her guest have included Stephanie Miller, Allee Willis, Judy Gold, Fortune Feimster and Margaret Cho. Lapides has been a creative force in the solo show arena. She began her career in the downtown NY art scene of the 1980s where she created pieces for The Kitchen, PS 122, Club 57, Danceteria, and others. She received several National Endowment for the Arts grants and toured to theaters, universities and art centers like ICA Boston, ICA London, Oberlin College, University of Iowa, Hallwalls etc. She has continued to create solo work throughout her career and she continues to develop her latest piece "100% Happy 88% of The Time" which has toured to the Improv Lab in LA, 92nd St Y Tribeca and The Triad in NY, Kripalu, The Myrna Loy Center for the Arts, Club Oberon in Boston among others. --- Support this podcast: https://anchor.fm/industry-standard-w-barry-katz/support

Uma briga seguida de um incêndio deixou ao menos 19 mortos em uma discoteca na Indonésia. A tragédia aconteceu em Sorong, na província de Papua Ocidental.De acordo com a polícia local, o confronto envolveu dois membros de dois grupos étnicos indonésios que usaram facas, flechas e coquetéis molotov. Uma vítima foi esfaqueada e outras 18 morreram no incêndio da discoteca Double O.

MLVC is back for its fourth year! For our season premiere, Tony, Stefan and Liberty get together for a chat about what Madonna's been up to recently with a much-needed This Week In Ciccone -- including the music she's working on in the studio. We also harken back to the early days by revisiting Madonna's Danceteria demo (aka Pre-Madonna), and theorizing whether any of that music will be polished up for M's forthcoming biopic. Follow MLVC on Instagram and Twitter: @mlvcpodcast and subscribe to our YouTube channel; Donate to the podcast: https://venmo.com/mlvcpodcast or on our Crowdfunding page: https://patron.podbean.com/mlvcpodcast Listen to more episodes on Spotify/Apple/Amazon/Google Play or here: https://mlvc.podbean.com/

Billie sai à noite com seus amigos. Atenção: o dia seguinte a uma festa pode ser bastante difícil! Em um prédio parisiense, um grupo de vizinhos criou laços de amizade. Hospedada por Rosa, a mais velha dentre os moradores, a jovem estudante brasileira Billie descobre a vida parisiense com ajuda de Zirek, motorista particular, de Diane, Pierre e seus três filhos, e de Amir, um jovem floricultor afegão. Les voisins du 12 bis, uma série de ficção bilíngue em podcast com 13 episódios que propõe uma imersão sonora para aprender francês a partir de situações da vida cotidiana. Roteiro: Alexandra Lazarescou Diálogos: Anne-Claude Romarie e Mariannick Bellot Trilha sonora original: Manon Iattoni, gravada por Ommm Les voisins du 12 bis é uma produção da Radio France Internationale em parceria com France Éducation International, e com apoio do Ministério da Cultura francês. Confira no site RFI Savoirs os episódios do podcast bilíngue, exercícios de compreensão e fichas pedagógicas para aprender francês com Billie. Acompanhe também a versão em quadrinhos da série no Instagram.

Maria Uzor has opened up a world that fuses the subversion and aftermath of the years that followed punk with the after hours, stripped back, defiant underground, counter-culture vibe of Miami's Kitchen Club or New York's Danceteria and flipped it forward to the present day.She is highly creative, open-minded and empathetic and is confronting and understanding her past in order to understand who she is now and celebrate her own uniqueness with no apologies.Maria is one half of the irresistible Sink Ya Teeth. She recently released her second solo EP called Innocence and Worldliness, a fabulous document of discovery, resilience and awareness. She is also a regular collaborator with A Certain Ratio. I Wanna Jump Like Dee Dee is a music podcast that does music interviews differently. I'm Giles Sibbald and I'm talking to extraordinary musicians, DJ's and producers about how they use an experimental mindset in their lives to amplify their own creativity, pursue new challenges, overcome fears and bounce back from mistakes.- brought to you by Hey Sunday, the mothership of the experimental mindset™.- podcast logo and art by Tide Adesanya, Coppie and Paste 

You Might Know Her From Love, Victor; Ugly Betty; Hung; Kristin, Big Mommas: Like Father, Like Son; and Devious Maids. Ana had us in stitches talking about her connection to the LGBTQ community, mastering Marisol's voice for Devious Maids, choosing Kristin Chenoweth over Mariah Carey, dream musical theatre roles, and the authenticity she brought to the Dr. Quinn universe. All that plus Housewives, Drag Race, Smash, and poppers. Sheesh. This one, as Anne would say, is a total barn burner. Enjoy, mon amis! Follow us on social media @damianbellino || @rodemanne  Discussed this week: Jamie Dornan singing “Everlasting Love” Aaron Tveit in Grease Live! (Mario Lopez was Vince Fontaine, Julianne Hough was Sandy) Vince Fontaine in movie was disgusting “Paws up”= “lech” House of Gucci and Gaga's accent James Martinez plays her husband in Love, Victor  Did a play with Garry Marshall: Wrong Turn at Lungfish (co-starring Hector Elizondo) Starred as Marisol on Marc Cherry's Devious Maids  Played Hilda Suarez on Ugly Betty  Member of LAByrinth Theatre and a Stephen Adly Guirgis play got her a role on NYPD Blue Sandy Duncan in Peter Pan changed her life (us too) Ana Ortiz loves Smash like we do   Chose to star in the Chenoweth sitcom, Kristin instead of Glitter (she's a LAMB) BFFs with Mark Indelicato who played her son on Ugly Betty Clubs she frequented: Club 57, Limelight, Danceteria, Save the Robots, Escuelita, Mars Liz Swados was a family friend. Trini Alvarado and Diane Lane in her musical Runaways Vanessa Williams is a pip  Gave birth in the Dr Quinn movie “coño” Worked with Lindsay Lohan twice in Ugly Betty and Labor Pains Ana was in music video for Juan Luis Guerra and Enrique Iglesias “Cuando Me Enamoro” Loves Rupaul's Drag Race and Housewives Dean in Big Mommas: LIke Father Like Son opposite Martin Lawrence in prosthetic drag Sex with Mark Paul Gosselaar in Commander in Chief vs Thomas Jane in Hung  Emma Stone played an Asian woman in Cameron Crowe's Aloha Martin Lawrence is a David Boreanz type (aka doesn't do coverage) 

Influenciados pelos sons das festas dos clubes de Nova York, os integrantes do Parquet Courts fizeram as músicas do seu sétimo disco, o recém-lançado “Sympathy Fo Life”, assunto desse episódio. --- Send in a voice message: https://anchor.fm/musicacronica/message

What you'll learn in this episode: Why Marc's box art jewelry was inspired by his time working in the theater industry How Marc went from selling his work on the streets of New York City to selling them to Hollywood's biggest celebrities Why artists have always borrowed from each other's work Why box art is a conversation starter that breaks down barriers How every box tells a story Additional Resources: Instagram Photos: Museum of Israel Exhibition  Currently on view at SFO Airport  Marc Cohen and Lisa Berman (no relation)  About Marc Cohen: Marc Cohen is a highly regarded artist known for his wearable box art. As a former actor, stage manager and set designer, Cohen's two-inch-square boxes resemble stage sets with three-dimensional figures and images. His one-of-a-kind pieces sit on the shelves of numerous celebrities and can be worn like a brooch or pin. The archive of Cohen's work is housed at California art jewelry gallery Sculpture to Wear. Transcript: Inspired by his time in theater and created to resemble a stage, Marc Cohen's box art pieces are well-known among rare jewelry lovers and Hollywood's most famous artists, actors and producers. Part three-dimensional art, part jewelry, the two-by-two boxes feature images and tiny figures that reflect our world. He joined the Jewelry Journey Podcast to talk about his process for creating box art; what it was like to work with theater greats like Tom O'Horgan and Paula Wagner; and why his pieces are more than just shadow boxes. Read the episode transcript for part 1 below.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Marc Cohen. Marc is a former actor, set designer and stage manager. He is a highly regarded artist recognized for his box art, which graces the shelves of many celebrities. The box art pieces are often worn as brooches. We'll hear all about his jewelry journey today, but before we do that, I want to thank Lisa Berman of Sculpture to Wear for making it possible for Marc to be with us today. Marc, so glad to have you. Marc: As am I. Thank you for inviting me. Sharon: Great to be with you. Tell us about your jewelry journey. It started with you traveling around the world from what you've said. Tell us about that and how everything worked from there. Marc: I was a 20-year-old young man and I left America, basically, on a freight ship. That's how I started the journey. I have a saying now, which is “Every box art tells a story.” The irony of that is that when I travel, because I was on the road for a very long time, going all over the world, I liked collecting things but I had no place to put them. I found these little, tiny boxes that I used to take candy out of, and when they were empty, I went, “Oh, this is a great thing to put little things inside of.” I already was starting the idea of collecting little objects that I might go back to at some point and use it as a part of the art. But I traveled; I went around the world all the way to India until 1970. Then in 1970, I decided to return to America and relocate myself within the country. Prior to that, I had left in 1966. It was during the Vietnam War.  I was raised in Southern California, so I came back to America and went back to my roots. I have a stepsister, and she had a friend named Tom O'Horgan. Tom O'Horgan is actually very famous in the theater world, primarily because he directed the show on Broadway called “Hair.” He directed many other shows after that, but that is the one he's most known for. In meeting each other for the first time, he asked me about myself, and I said, “I traveled around the world and I don't have any real direction about what I want to do next.” He said, “Well, I need a driver because I'm working on these film projects. Do you drive?” and I said, “Yeah, I drive.” So, he hired me as a driver.  During that period, which was in the mid-70s, I drove him around Los Angeles. I knew Los Angeles like the back of my hand, and we went to all these different studios and met all these different, incredibly famous people; directors, writers and the like, actors and so on and so forth. I was getting a little bit of a background, but what I didn't know at the time, not until many years later, was how I ended up becoming a curator and jewelry maker. I was influenced by the work of Tom O'Horgan. Being a set director, he did plays. The things he worked on in LA ended up getting finished, and he said, “I'm going back to New York. Keep in touch with me. Maybe there's some work for you in New York.”  About six months later, I called him on the phone. He said, “Marc, we're doing this show on Broadway. It's about Lenny Bruce and I have a great job. I'd love you to come and work on it.” I said, “Well, I've never lived in New York, but I do know who Lenny Bruce is. So yeah, I'm coming.” I went to New York and got a room at the Chelsea Hotel. It was during the time of Andy Warhol and a lot of other people living in the Chelsea Hotel. So here I am, in the middle of this incredible epicenter of activity; there was so much different art on the walls of the Chelsea Hotel back in those days, and all these Warhol people and other characters from the avant garde world in New York City. That's the background of how I got to where I got. What I mean is that as a young guy, I didn't know a lot, and I didn't have a lot of background in art per se. I was more like a young guy who was just wandering on the planet, as I said earlier.  So, here I am in New York. I'm in the middle of an epicenter of activity, and Tom says to me, “Well, we're in pre-production for the show, and there are a lot of other things I would like you to do for me.” He gave me a lot of different jobs, and I went around and did that for a while until the show went into production. During those pre-production meetings, he would meet with all these different designers. One of those designers is now a very famous set designer by the name of Robin Wagner. Robin Wagner went on to design “A Chorus Line” and a lot of other incredible Broadway productions. Robin, over the years, became one of my closest friends. The reason I bring him up is because we used to go his studio, which at the time was in a building called 890 Studios, which is owned by Michael Bennett, who was the director of “A Chorus Line.” I'd go to his studio with Tom, and he would have models of shows. I was picking up the incredibly creative process of how you put together an idea for a show and a stage. He would have little characters he would use to put on models of shows. I took note of those little figures, but I kept it hidden in the back of my brain, not knowing anything, nothing preplanned about what I was doing other than being Tom's assistant. We eventually went to Broadway with “Lenny.” “Lenny” opened. It was a big success and for about 30 years, I worked primarily with Tom O'Horgan in theater.  Sharon: Is it Tom O'Horgan? Marc: Yes, it's spelled O-‘-H-o-r-g-a-n. He was an artist. He always considered himself to be one of those people that didn't do things that are the typical Broadway. I mean, when you think about “Hair”—I didn't work on the original. I worked on a later production with Tom, but by that point, I had already worked on “Lenny Bruce,” “Jesus Christ Superstar” and so many other amazing things. We did opera. Tom did a lot of things, and Tom's influences and Robin's influences are guides to what I eventually ended up becoming, which is an artist who creates wearable art.  When you think about jewelry, for me, typically jewelry would be semiprecious stones, silver, gold, pearls, all that kind of stuff. I'm not the kind of creator or designer that would even know where to start to put those things together. I love beads. In the 60s, I made my own beads and necklaces, but I didn't see that as where I wanted to go. Because of my memory of the stage and theater and stories—when I told you earlier about the boxes, during the period I was living in New York, I collected a lot of things in my little East Village apartment.  I happened to be downtown in the Soho area; I was down on Canal Street. I was walking along the street, and all the shops had things out in front of them for sale. I walked by, and there were empty boxes and lots of other things. I was just motivated to buy them, so I bought them. I brought them back to my apartment and I was sitting at my little worktable looking at all these objects. I'm thinking, “Maybe I could make something out of this. I know that this coming year, Tom has this big Christmas party, and usually he's the guy who gives everybody something unique for a present.” There I was, looking at all these things, and I looked at the little box and glued a little figure I had inside the box. For example, this is a box. It's an empty one. Sharon: Like an acrylic, plastic box. Marc: A plastic box, an acrylic plastic box. Most people would take this box. It has a lid. They would put anything in it, but they didn't think they could put a whole story together. When I put the little figures in the box like that, and it has a lid and I put it like that, then I have a box with people standing in front of it, but they're sort of looking through. What are they looking at? I started to figure out I needed to have an image to tell the story. This is the World Trade Center. Sharon: So, you're creating little worlds inside the box. Marc: Right. Since I started the idea in 1985, I have made thousands, and out of those thousands, many of them are one-of-a-kind. How I can I put it? Because of my traveling and because I'm a very sentimental guy—with these boxes, the little characters can't talk; they're little plastic figures. They only way you could tell the story, as jewelry tells a story, is by what you put behind them. So, in this case, I put the World Trade Center. I had a little character standing there looking at it. I actually made this before the World Trade Center fell down.  My meaning of all of this is that it was something in the beginning I was aware of. The one I'm wearing on my lapel—this one is a door. There's a woman standing, looking not at us; she's looking towards the doorway. Anybody who would come up and look at my work, they would say, “Wow, that is amazing! Where did you get that?” This is how it started and how I got into fashion. “Where did you get that?” and I said, “Well, I made it.” And they said, “Really? Where can I get one?” And I said, “You can buy this one.” In the beginning, I used to sell right off my lapel. I love dressing. Double-breasted suits are my favorite attire, so I would have a box on my lapel. As I said, I would go all over New York City to openings, plays and the like. At openings and galleries and museums or wherever I went, people from across the gallery, they would see me dressed and see this thing on my lapel, curious to what it is. They would walk up to me. They wouldn't even look at me; they would look right at the box and go, “Oh my god, what is that?” When I said, “Well, it's a box and I made it,” they would go, “Wow! I want it.”  It got me to the point where—this is the most interesting thing—many years later, after traveling and having lived in Israel—one of the places I did live—after about 25 years, I decided to go back there for a visit. I had friends that had immigrated to Israel, and some of my friends were there to stay. I went to visit them, and they all are in the arts. When I was there, one day they said, “Why don't we go to the Israel Museum up in Jerusalem?” I was in Tel Aviv staying with them. We go up to Jerusalem. I was wearing a box. I'm walking around the Israel Museum—this is so amazing to me—and a woman from across the room, a very tiny lady, walks up to me. She says the same thing many other people said: “Wow! What is that? Where did you get that?” I said, “Well, I made it,” as I said earlier.  The point of it is that these boxes have a story in them. For me, every story leads into another. How I mean that is that a person who I don't even know comes up to me, looks at my work; they're inspired by it; they talk about it; they tell me things about it that I've never myself, as the creator of it, imagined how significant it was or what it meant to them. As in theater, as in my relationship to Tom O'Horgan—who broke the fourth wall when he did “Hair” on Broadway—during the period I was creating these, people in New York and probably everywhere else didn't exactly walk up to each other and start a conversation with strangers. I had the object that changed all that, and I had not realized that until I started going out and wearing them.  Getting back to Israel, this woman, who I later found out was named Tammy Schatz, she was the curator of one of the wings in the Israel Museum. She invites me the next day to come and sit and talk with them, because they were planning this show and exhibition the following year called “Heroes.” So, I went back the next day. I sat with her and bunch of other people and they started telling me what they were planning. They said, “Well, you're an American, and you must know a lot about American pop culture. You know Superman and Batman and all the stuff like that,” and I said, “Yeah, I do.” Once they learned I worked in theater and designed sets—because by this point, I was not only making little box sets, I was also making large set pieces for shows. I have also done installations and the like. So, they invited me based on an illustration I sent to them. The next year, I went back to Israel, and I did this 10-feet-high, 25-feet-long three-dimensional cityscape. It was boxes, another version of boxes. It goes on and on from there, Sharon. It's always been fascinating me, how these boxes have gotten me into all kinds of great trouble. As I continue to say, every box tells a story. Sharon: We'll have pictures of the boxes when we post the podcast, but I want to describe it to people. These are small. What, two by two?  Marc: Two-inch square, three quarters of an inch deep. When you buy them, they're empty; they don't have anything except the lid and the box. I basically invented an idea; up to that point, I never saw anybody else doing what I was doing. Later on, I found that I inspired other people's creativity. There was these little boxes, and every picture tells a story. A picture's worth a thousand words. Sharon: Marc, before all this happened, before you befriended Tom and he befriended you, did you consider yourself artistic or creative? Was that a field you wanted to pursue? Marc: Kind of. I didn't literally say, “Wow, I'm an artist! I'm going to create.” When I was a young guy growing up—I grew up in Philadelphia until I was about 13. My father and mother were in the beauty business. My father was a very well-known women's hairdresser. He had his own beauty parlor. My parents were beatniks back in the 50s in Philadelphia. They were very artistic people, and all their friends were very artistic. When you're a 13, 14-year-old, it doesn't register, “Oh, I'm going to grow up to be like my parents,” but they are influences. They all wore black all the time, and as I was growing up, that was my look; I wear all black. I'm going to high school during the 60s, and it's all surfers and bleach blond hair, and here comes me with skin-tight black pants and Beatle boots and cravats. Kids who were friends, they would come up and say, “Who are you? What do you think you're doing? You must be an artist.” The idea stuck, but as I said about journeys through life, the fascinating thing for me is that I could go around the world, have all these different things happening in my 20s, return to New York and be on this journey where I'm still at.  I know your podcast has to do with why we're here: to talk about jewelry. I came up with a way for people to wear jewelry that has a story in it and it isn't just a beautiful necklace. Most of my clients over the years have been women, and women know something much more than men know about wearing an object that attracts attention. Women know how to find beautiful objects and adorn themselves, whether it's a necklace or earrings or the like. What I also found was interesting—and this actually happened; I neglected to mention this, but at one point when I stopped doing theater with Tom and only focused on making box art, I ended up becoming a street artist.  I was selling in the beginning to every major department store, and I was getting orders for thousands of boxes that I had to come up with. I was a one-man factory, so I was pulling my hair out of my head thinking, “How the hell am I going to get all these boxes out?” Eventually I discovered there's no way I can be a manufacturer of these things; they're all one-of-a-kind. I'm not going to make 12 of the same thing. A friend of my said, “There's a street fair down on Broadway. Maybe you should go there and sell on the street.” That opened a doorway, like this doorway that's on my lapel, into a world that I have never been able to look back on. What I mean by that is that once I discovered going to Soho, which was in the early stages of its evolution to become an epicenter for artists, many of them very famous—Keith Haring, David Hockney, the list is incredible of the people that were living in Soho during this period.  I went down there; on West Broadway there were very few artists, and I was one of them. I would be standing there all dressed, and people would be walking up and down the street. It was the most incredible way for them to find out if I was marketing what I had on my lapel. People would walk by, they'd see this guy with a fedora all in black, wearing a box, and they'd be curious. “What's he wearing?” They'd come up. They wanted to ask me a about them and how much they were. They would say, “I'll take that one, that one and that one,” and that used to happen to me constantly. I never could make enough. The thousands I had made that never got sold in department stores were being sold like crazy on the streets of Soho. I started to get a reputation as the box man. One of the clients that bought from me called me the box man. There were times I would go down to Soho in the early morning on Saturday or Sunday, and there were people milling around where I would stand, waiting for me. They would go, “Here comes the box man.” It was crazy.  Among all those people, some of the people that stopped and looked at my work were people like David Hockney. David Hockney actually came up to me one day, after a lot of people walked away buying my stuff, and he was looking at them real close up. He started talking to me and giving me suggestions about what I could do with them and how I could display them. He said, “You've got this little box. Where are you going to put it? Maybe you should put it in something, like a frame?” That was the most incredibly brilliant selling idea for my boxes. What I did with the frame idea, when I figured out how to do it—there are many of them behind me; they're all frames. The idea was that you can wear it, but you can also put it on your wall, and your wall can wear your art. I made it so the frame had an opening in it that the box sat inside of. If you're going out to an opening or a fashion show or something like that, “I think tonight I'll wear one of the Marc Cohens.” That was the idea, and that took off like crazy from there.  I have to also tell you I didn't have any agents. I didn't have a rep or anything like that. The only rep I had was Marc Cohen. So, it was a cool journey through art. I evolved the idea of being an artist selling on the street, where I just had an easel, to having a pushcart. It was like immigrants coming to America way, way back, my family being some of them that went to Philadelphia. My great, great grandmother, she had a pushcart on South Street in Philadelphia. It's another part of the story of jewelry. It bridged into me getting even more known.  I went back to California where I grew up. I found that in Santa Monica, they had a promenade they were developing. They actually had people with carts they rented they would put out on the promenade. I found out I could rent carts, so I rented one and came up with this idea. It actually came from people on the street. People would walk by and say, “Wow, you're like a tiny gallery with all your art.” I came up with this name, the World's Smallest Art Gallery. I took the cart and turned it into a miniature to scale, like if you went into a gallery, but it was open to the people to see it from all different sides. I had walls and characters that were larger than the ones in my boxes. They were standing looking at the art. It was all on that level; it was very interactive. People would walk by, and there would be a lot of celebrities all the time on the street. Suddenly, not only was it regular people buying work, not only David Hockney, but very famous people in Hollywood. Along the way, I reconnected with a friend of mine who was very famous, Paula Wagner. She's now very famous for being a producer with Tom Cruise; they had a company called Cruise Wagner. She's a friend of mine from all the way back to the “Lenny” days. We rekindled our friendship in LA. She knows everybody in Hollywood, and once she saw my work, she flipped out and said, “We've got to do something with this.” She hired me, and the first thing I did for her was wearable box art in a frame. It was for Oliver Stone.  Sharon: I'm sorry, who it was for? I didn't hear. Marc: Oliver Stone the director. Sharon: Oliver Stone, oh wow!  Marc: She also represented Val Kilmer and Tom Cruise and Demi Moore. Before you know it, she's asking me if I can make a box for this person, on and on. The biggest thing for me at the time was Madonna. I knew Madonna from a long time ago. When I say I knew her, I lived in New York in the early 70s and 80s, and I used to go to all these clubs. I would go to this one called Danceteria. At the time, Madonna was a coat check girl there, and eventually she did a show there, which I saw with a bunch of my friends. Then she went on to do whatever she wanted on her own.  Somehow or another, a friend of hers bought one my pieces to give to her as a gift, but this is the best part of it. I didn't know this until much later on. One night in LA, I went to this private photo exhibition; it was a photographer who had done all the photography for Rudi Gernreich, the fashion designer with those bathing suits. I'm going to the exhibition with friends. I had my box on my lapel. I'm walking around and it's a tiny, little gallery, so people don't follow each other—everybody goes wherever they're going. A bunch of people are coming that way and we're walking, walking, walking. We come to this one, most famous photograph of a topless model. I'm looking at photograph, and standing next to me is Madonna. I turn and right away, she looks at me and goes, “I have one of those boxes.” I said, “I'm the artist. I made it,” and she said to me, “I Iove that box and I have it right by my bed,” and I said, “Oh, how cool.” She asked me a few questions and I filled her in on my background. I didn't bring up the fact that I remember her from Danceteria.  Then it was like an avalanche. I got picked up by Maxfield's Clothing Store in LA when I started the frames. Everybody saw how cool it is as an art piece, but you can wear it. Maxfield loved what I was doing, and he took me on and carried my stuff in his store. This is another amazing thing: the dresser for Arsenio Hall was in the store one day buying things for him to wear on the show. I don't know whether it was a man or a woman, but they bought an outfit for Arsenio, and the salesperson said, “We just got this new wearable art piece in. You've got to see this.” They looked at it and bought one. That night on the Arsenio Hall Show—if you ever watch his talk show, there's intro music, and then the curtain goes away and he stands there; it's Arsenio Hall. On that particular night, he's standing there, wearing a collarless Armani suit, and on his jacket is a square.  From a distance you can't tell what it is. I found out this afterwards. I got the tape. It was amazing; he didn't himself know what it really was, but he came out and the camera zooms up on him. When I saw what the box was, I got a chill. It was a period where I started to not just do people standing in the box, looking at the image or looking out away from the image; it was a period where I was putting images up against the face, so it would be a three-dimensional idea. In this particular one, it was Martin Luther King. I had done part of his face in profile in the foreground, and then I had done some backdrop. It had something to do about racial issues.  I didn't just make cutesy box art. I really am not about cutesy box art. I'm very passionate about a lot of things in life. I'm very political about certain things, and I want people to have an opportunity to talk with each other about things that are meaningful, particularly where we live these days. It's important to have that doorway of how people get through it and interact with each other without being sensitive and thinking you're going to be judged by whatever they say or do. We are in a period where people have to be careful about that. So, it amazes me that this tool—because it is a tool—is, in a way, much different than things made by other jewelry designers that Lisa Berman curates or represents. That is mostly what Lisa represents, like Robert Lee Morris. I knew Robert Lee Morris personally. He's a genius and he's a friend. Thomas Mann is one of my closest friends. I'm friends with others as well because of how we interact with each other.  The image is what it's about. It's how the characters are placed within the box. Along the way, I started thinking, “I want to get out even more than what I've done. I want to try to make work even more original.” We live in a period where they have this thing called a 3D printer. It prints pretty much anything. I can create a series of my own characters, which is something I always wanted to do. I've only just started doing this. I started developing this idea, where I custom make three-dimensional boxes on this scale and a much larger scale. That's where I'm headed. I have lots of collectors. They would be more than happy if I started making little box art again. My newest work is much larger. I make boxes now that are 20 feet big, installation pieces.  Sharon: They're hard to wear. Marc: They're hard to wear, right? I know your program is primarily about jewelry. The thing about that, though, is what I am planning to do. When I do have that exhibition, the large-scale Marc Cohen box art exhibition, I will have miniatures of that exhibition, like many other people do when they market things. The Van Gogh Experience—I don't know if you've seen this, but there's a thing on the road right now that's video mapping Van Gogh's paintings on a building. When you go to the gift shop, they've marketed Van Gogh's work to death. I would do something similar as a collectable.  I had Sotheby's in London; they heard about me through our people in Israel. I was invited to do this big exhibition at Sotheby's. It's a big auction and a silent auction. I got commissioned to make three boxes with lights. There weren't any more wearable, but I did that, and it sold for the equivalent to $10,000. Suddenly, my prices are changing. The people that bought my boxes on the street from the beginning—it's embarrassing to say—but when I first started selling them, my boxes were $20. They're no longer $20. They have been selling at auction for a lot more than $20. Now there's talk about me in way that I never, ever imagined, and it's joyful. After 40 years of doing nothing but making boxes, I don't know what— This is part 1 of a 2 part episode please subscribe so you can get part 2 as soon as its released later this week! Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

TRUE HOUSE STORIES W/ FREDDY BASTONE # 063 - PART 1 Freddy Bastone in part 1 shares his beginning from playing a flying V Guitar and the true admiration of rock music and sharing the appreciation of all types music with his mom and dad. His DJ career begins back in 1979 with his first vinyl purchase of Herb Albert's “Rise” and he begins to play at parties and the move to clubs starts to takes off from there. He also shares how his job at Danceteria begins. This is a true NYC story.

INNMIR, Marsella, Danceteria, Triángulo Inverso, La La Love You, Amaro Ferreiro, La Habitación Roja, Capital Fest, Sonorama Ribera y el Mad Cool. Larga vida a la música.

INNMIR, Marsella, Danceteria, Triángulo Inverso, La La Love You, Amaro Ferreiro, La Habitación Roja, Capital Fest, Sonorama Ribera y el Mad Cool. Larga vida a la música.

Zig At The Gig with Jared Michael Nickerson of Burnt Sugar The Arkestra Chamber   Jared Michael Nickerson is a Grammy-nominated Bold Soul, Rock & Roll Brother from Ohio. He experienced his first taste of live performance at local high school talent shows, one of the”labs” along with the church and basement dens of the legendary Dayton funk scene which spawned the Ohio Players, Slave, Roger Troutman & Zapp, Sun, Dayton, Steve Arrington's Hall of Fame, Faze-O and members of Heatwave. He continued his musical development at the University of Notre Dame under the direction of Father Wiskerchen, (noted for his development of three-fourths of the “Chicago”horn section). After graduating with a B.A. in Business Management, Jared moved to Boston, studied for two years at the New England Conservatory of Music before embarking on his professional music career with a local seven-piece funk band, Hypertension.   After six years in Boston he returned to Dayton, Ohio and a year later joined the Cleveland Ohio band The Human Switchboard. After three years of touring the Midwest & East Coast still based in Ohio, he moved with the band to New York City and back-flipped into the local music scene of CBGBs, Danceteria, The Peppermint Lounge, Maxwells ( Hoboken N.J.) and The World. After HS dissolved Jared started his own band JJ Jumpers; joined the Black Rock Coalition becoming the B.R.C.'s first Director of Operations. His first booking was the B.R.C.'s first, two-day, mini-fest at CBGBs entitled “Stalking Heads” on February 11th and 12th,1987. When he departed a few years later the new Director of Operations and BRC East & West Coast Booking Committees had access to rock & roll venues all across the country. Jared has “laid the bottom” for folks such as Nona Hendryx, Wadada Leo Smith, Human Switchboard, JJ Jumpers, Vernon Reid, Marshall Crenshaw, Melvin Van Peebles, Freedy Johnston, Catie Curtis, Ivan Julian, John Paul Bourelly, Katell Keineg, Bernie Worrell, The The, Gary Lucas's Gods and Monsters, Chocolate Genius, Darlene Love, Jeff Buckley, The Yohimbe Brothers with DJ Logic & Vernon Reid, Tammy Faye Starlite and the Angels of Mercy, Pheeroan akLaff, Divine Pocket Bouncers, Cynthia Sley, Dayton Flic, The Raybeats and the Band of Gypsy's Revisited Band. Jared co-wrote a tune, recorded and toured with Charlie Musselwhite. “Sanctuary”, on Peter Gabriel's Real World label, found itself on numerous critic top ten lists and received a Grammy nomination.   A suggestion from a mutual friend, led to a call from Greg Tate landing Jared among a number of “Badasses” which included Vijay Iyer and Ronny “Wirepuller” Drayton for a jam session that morphed into Burnt Sugar The Arkestra Chamber. Burnt Sugar Index LLC soon followed with Jared handling all BSAC's business affairs such as arranging an eight-week residency with BRIC studios (The organization that presents Celebrate Brooklyn) to workshop and preview Melvin Van Peebles theatrical version of “Sweet Sweetback's Badasssss Song”. The workshop culminated with three sold-out BRIC performances before BSAC departed for Paris to perform two sold-out performances at the Sons D'Hiver Festival in 2010. Jared, overseeing “bookings” throughout the United States, Canada, France, England, Portugal, Spain, Finland, the Netherlands and Italy, just celebrated his twentieth year as BSAC's CEO last year. He's even “dipped his toe” in tour managing having worked with Concord Records Alt-Folk artist Valerie June including the set-up of her August 21st, 2013 debut television appearance on David Letterman. His television appearances include Late Night With David Letterman, The Jools Holland Show, MTV, VH1, The Tonight Show with Conan O Brien, The John Stewart Show and as bassist with The Kennedy Center Honors BB King Tribute Band; jamming with Bonnie Raitt, Dr. John, Etta James, Joe Williams and Steve Cropper to name a few. You'll find him in Nelson George's “Finding The Funk” documentary speaking about growing up while playing music in Dayton Ohio in the late Sixties. Jared has toured extensively performing at venues such as the Toronto Skydome, Red Rocks, the L.A. Forum, the Oakland Coliseum, England's Brixton Academy, Brighton Dome & Reading Festivals, The Beacon Theater, Lincoln Center and Madison Square Garden.   Jared's Info https://www.burntsugarindex.com/ https://burntsugarthearkestrachamber....  

The Kennedys officially lose their edge. Cinnamon's footwear choices incite rage. Young John goes to the Danceteria. And great music! (All podcasts and reviews are on www.hlycrp.com, and you can also follow us on Facebook, Instagram, and Twitter, and Spotify, and Apple Podcasts.)

Mike Lust of Tight Phantomz discusses why he chose "Danceteria" as the first single off his new album Demented Wings, the studio quarantine time that led to his first solo effort in a lengthy music career, and the challenge of turning recording session inspirations into a live show. Interview by contributor DJ Ninja. You can buy Mike Lust's Demented Wings from Forge Again Records. Production by DJ Ninja Photo Credit: Ryan Bardsley

We made a big return to Harpoon Harry last Thursday night, waving our Attic flag once more for its 'Altar Danceteria' series—a part of the Sydney Solstice winter celebration. It's probably without saying, but the ol' Harpoon holds a very special place in our hearts as we've created some pretty special memories over the years—during which we've welcomed the likes of Cody Currie, Bellaire and Ethyène to our fine shores!—as is evident by an abundance of offerings populating my Soundcloud account. School night or not, we packed the bags and boxes for an evening of tunes, and this particular mix is the opening hour(ish) of the night played by yours truly. I kicked things off low and deep—just as we like to!—steering clear of the typical 4x4 selections often heard a little later! This is very much a "warm-up", and I hope it does the job for you, too. The slo-mo flavours included are illustrative of a style I've really tried to evolve and develop over the last year or so, and something that has become a personal passion. The tracks are often very short, lack a "DJ friendly" comfort taken for granted with a lot of house music, but do offer some "interesting" opportunities for on-the-fly transitions and mixing—it's quite raw and it's honest. Nevertheless, it definitely keeps things interesting... and me on my toes! Within, you'll hear originals and remixes from the likes of Saine @saine, Queen (yep!), Retromigration @retromigration, Inkswell, Boryn @boryn, E-Live @elivebeats and DJ Steef, to name just a handful. Thanks very much to Sim Maree for joining us for the evening, too—she played the house down with a super-fresh disco set and is someone you're likely to see popping up all over Sydney soon! Hope you like! x

On the fifth episode of the Post-Punk Podcast, our Editor-in-Chief Alex Baker spoke to Wayne Hussey of The Mission, a band that formed in wake of The Sisters of Mercy's debut album First and Last and Always, and its aborted follow-up. During the interview, Wayne talks about his work with several other bands, including Pauline Murray and the Invisible Girls and Dead or Alive. Wayne also spoke on what the original Goth scene featured at Planet X in Liverpool was like, as well as his visit to Danceteria in New York, and the origins of some of the iconic Goth fashions of the 80s, including the famous Goth cowboy hat. Wayne discussed all of this and more, including the origins of some iconic songs from both TSOM and The Mission, with more in-depth details on these stories to be found in part one of his autobiography Salad Daze. Wayne also launched The Remission International Charity collaboration, where various artists from the Post-Punk and Gothic Rock scenes came together in support of front-line workers during the COVID-19 Pandemic. You can find more info about the "Tower of Strength 2020" aka "TOS2020" here. Be sure to check out Wayne's Lynchian duet of ‘The Delicate Balance of All Things” with his wife Cinthya for Michael Ciravolo's Beauty in Chaos, a collaborative track that heralds more to come between Mr. and Mrs. Hussey. If you have enjoyed this, please support the Post-Punk Podcast through our Patreon Page, or directly via our Contact Form here. And don't forget to leave a review on the podcast platform of your choice. Thank you to Jason Corbett from Actors for creating our intro music, Korine for creating our outro, and our Editors Frank Deserto and Andi Harriman. --- Support this podcast: https://anchor.fm/postpunk/support

The insane life of Dianne Brill began in Wisconsin, then London in her early twenties, and by some fluke of a visa problem New York City got her, thank God. By 1985 she was featured in the New York Times as the reigning queen of NYC parties. Andy Warhol famously said of Dianne, if you were at a party and Dianne Brill was there, you knew you were at the right party. Her supersonic beauty, skintight rubber fashion, and club appearances drove the paparazzi insane and made her officially known as the queen of the night. She was at the top of what became known as the Fab 500, literally the 500 coolest people that were on any New York city guest list in the 1980s. We're talking Iggy Pop, Robert Mapplethorpe, Jean-Michel Basquiat, Keith Haring, Annie Leibovitz, Steven Klein, Debbie Harry, Mario Testino. And of course Andy Warhol. She was married to Rudolf Pieper the owner of the legendary club, Danceteria where her legendary status was cemented. Everywhere Dianne went she was adored and always made a statement. She’s acted in films like iconic downtown NYC film, Slaves of New York, and For Love or Money with Michael J. Fox. She wrote a book, “Boobs, Boys and High Heels or How to Get Dressed in Just Under Six Hours.” She started a clothing line and she was dressing Duran Duran and Prince, walking in runway shows for Thierry Mugler, Jean Paul Gaultier, Vivienne Westwood. She even has a mannequin created after her figure…She started her own cosmetics line, Dianne Brill Cosmetics, and now she is on Instagram and YouTube with her channel, The Brill of it All. Dianne Brill was truly way ahead of the curve for being famous for being fabulous, way before social media likes followers and the notion that people are just famous for no discernible reason. The thing about Dianne is she's famous because she created a sensation, a fury, she represented what it meant to be everywhere at all times a sensation, and anyone that watched her walk across the room. We had such an amazing time going down memory lane and celebrating her incredible and illustrious life. And don’t forget to wish our Aries queen a Happy Birthday today! Enjoy xo --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/look-behind-the-look-pod/support

Anetts Danceteria fylte 35 år i januar, og i ettermiddagssendingen onsdag fikk vi besøk av Mads Marsteen Helde som sammen med Ida Storvik har vært sjefsdansere siden 2013. Hver ettermiddag fra klokken 15 til 17 får du nyheter, god musikk og gjester på KSU 24/7 - Lyden av Nordmøre. Programleder i dag var Charles Williamsen. Hør på KSU 24/7 på DAB, FM 104,5/107,2, internettradio www.ksu247.no eller i Radioplayer-appen!

ArTEEtude is West Cork´s first art, fashion and design podcast created and produced by Detlef Schlich. He will dive and discover with us and the multi talent Kenny Dread into the unknown and exciting deep ocean of the creative mind. In this podcast, Dread and Schlich speak about Dread´s time as musician, stage-diving into the 1980's Washington D.C. punk-rock scene. He recorded go-go anthem D.C. Groove ( https://www.youtube.com/watch?v=WHS7FYDDEVM ) with Static Disruptors in 1982 and toured the East Coast with go-go punks Outrage until 1987. The Static D's and Outrage brought the funk to new-wave clubs like CBGB and Danceteria and had the skinheads skanking at hardcore hall shows. Kenny Dread got his stage name touring ( https://www.youtube.com/watch?t=3589&v=RjBfz6azC28 ) and recording with the legendary Rastafari punk shaman and Rock & Roll Hall of Fame nominee H.R. ( http://hrdocumentary.com/ ) , lead singer of Bad Brains ( https://www.youtube.com/watch?v=2pUlNfdnsAM ). During the 80's Kenny also promoted concerts and afterhours parties, produced records for D.C. punk groups ( https://www.youtube.com/watch?v=ptlUWdZiXbM ) , performed with nyabinghi reggae godfather Ras Michael ( https://www.youtube.com/watch?v=ixIEgQmbQYs ) , and recorded with English punk goddess Poly Styrene of X-Ray Spex ( https://www.youtube.com/watch?v=DGROSJbCPV8 ). The early 90's found Kenny in the South of France performing with American expatriate rock band The Immigrants ( https://www.youtube.com/watch?v=FmgY4wQgG2M ) , and collaborating with members of that group to create his first solo foray, the dreamy folk-rock Walkin' Down Your Street ( https://www.kennydread.com/music/walkin-down-your-street/ ). A slow motion move to the West of Ireland inspired a more acoustic mode: The rootsy singer-songwriter album Powderhorn ( https://www.kennydread.com/music/powderhorn/ ) was released in 1997 with contributions from Asian-American guitar wizard Levi Chen and Windham Hill harpist Lisa Lynne ( https://lisalynne.com/windham-hill-winter-solstice/ ) , as well as a licensed adaption of poetry by Michael Ondaatje ( https://en.wikipedia.org/wiki/Michael_Ondaatje ) , author of The English Patient. Kirtan yoga chanting became a major focus from the turn of the century: Kenny Dread co-founded and produced Chicago chant ensemble Devi 2000 ( https://open.spotify.com/track/09Pxz5sRahmv2N0VdoGixt ) , and performed with kirtan dignitaries Dave Stringer and Bhagavan Das. Schlich is Visual Artist, Film Maker and Ritual Designer, living and loving in West Cork and best known for his Essay about the Cause and Effect of Shamanism, Art and Digital Culture and the video installation Transodin´s Tragedy. He is mainly working in the field of performance, photography, painting, sound, installations, and film. To research our human condition and create art work from this reflection he is using often the methodology of the digital-shaman as alter ego. Due to the pandemie and the following lock down Schlich had to stop his recent project, which was a digital crossover opera called Tribal Loop. Working on a new podcast concept and design, he produced and finally published the ArTEEtude podcast in August 2020. A new ArTEEtude episode is available twice a week on every common podcast platform. --------------- *WEBSITE LINKS* --------------- *Instagram* ----------- *Detlef Schlich* ( https://www.instagram.com/detschlich/ ) ** *ArTEEtude* ( https://www.instagram.com/arteetude/ ) ** *I love West Cork Artists* ( https://www.instagram.com/ilovewestcorkartists/ ) ** *Facebook* ---------- *Detlef Schlich* ( https://www.facebook.com/Transodin ) ** *I love West Cork Artists Group* ( https://www.facebook.com/groups/WestCorkArt/ ) *ArTEEtude* ( http://www.arteetude.com/ ) *You Tube Channels* ------------------- visual Podcast *ArTEEtude* ( https://www.youtube.com/channel/UCBnOjvvGVETmyPqv-jMCw1g?guided_help_flow=3 ) *Cute Alien TV* ( https://www.youtube.com/channel/UCDN-60zrAMRlZn3rh2bxn7zA ) ** *official Website* ------------------ *ArTEEtude* ( http://www.arteetude.com/ ) ** *Detlef Schlich* ( http://www.detlefschlich.com/ ) ** *Det Design* ( http://www.detdesign.com/ ) ** *Tribal Loop* ( http://www.triballoop.com/ ) ** *Download here for free Detlef Schlich´s Essay about the* *Cause and Effect of Shamanism, Art and Digital Culture* ( https://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_Effect ) ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- *Kenny Dread Social Media* Contact and Videeo Clips --------------------------------------------------- https://www.kennydread.com/ https://www.instagram.com/kenny_dread/ https://www.facebook.com/kennydread/ https://www.youtube.com/channel/UCgeCsEQB_iQquiq6eX-Mu5Q Bad Brains https://www.youtube.com/watch?v=2pUlNfdnsAM ( https://l.facebook.com/l.php?h=AT2YVGGrIqWAoppwB4f9wNoAEpcrss26b0bS8uw7OMBxV0uZmPiVedM_5_XT3FVkurdXBZeSmuXARRXn9PDTkhULHGGPsaJqZSeD4AGp_I5-KcFyUt2saQJEWAUeEW2WT7k&u=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D2pUlNfdnsAM%26fbclid%3DIwAR1daTNnZdN63ww4OR4KFqc7j0Zt0LZ2DnyrMTabtxcdB4dD2_sYlfpguDE ) Static Disruptors https://www.youtube.com/watch?v=WHS7FYDDEVM ( https://www.youtube.com/watch?fbclid=IwAR3U1fW4uXEDEQ7aIW_v8euchaEXSoz48tSYQlExwPCinvDJiKfSwC2hSq4&v=WHS7FYDDEVM ) Kenny Dread https://www.youtube.com/watch?v=t_3aVtK4HRM ( https://www.youtube.com/watch?fbclid=IwAR1j1zXJnQMo7biojONvKdJGA_UQQ2dbp8-4i3W3JcPZLvcFn-ibnwd6uDc&v=t_3aVtK4HRM ) https://www.youtube.com/watch?v=x45AxfdA31o ( https://www.youtube.com/watch?fbclid=IwAR0hHPpwe1-7wVR6tJAiojxwi6ps7745VfswByAJ17LlIUEXtiOFdx8ANGQ&v=x45AxfdA31o ) https://www.youtube.com/watch?v=xDNyRjhVe1Y ( https://www.youtube.com/watch?fbclid=IwAR3U1fW4uXEDEQ7aIW_v8euchaEXSoz48tSYQlExwPCinvDJiKfSwC2hSq4&v=xDNyRjhVe1Y ) Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/donations

ArTEEtude is West Cork´s first art, fashion and design podcast created and produced by Detlef Schlich. He will dive and discover with us and the multi talent Kenny Dread into the unknown and exciting deep ocean of the creative mind. In this podcast, Dread and Schlich speak about Dread´s time as musician, stage-diving into the 1980's Washington D.C. punk-rock scene. He recorded go-go anthem D.C. Groove ( https://www.youtube.com/watch?v=WHS7FYDDEVM ) with Static Disruptors in 1982 and toured the East Coast with go-go punks Outrage until 1987. The Static D's and Outrage brought the funk to new-wave clubs like CBGB and Danceteria and had the skinheads skanking at hardcore hall shows. Kenny Dread got his stage name touring ( https://www.youtube.com/watch?t=3589&v=RjBfz6azC28 ) and recording with the legendary Rastafari punk shaman and Rock & Roll Hall of Fame nominee H.R. ( http://hrdocumentary.com/ ) , lead singer of Bad Brains ( https://www.youtube.com/watch?v=2pUlNfdnsAM ). During the 80's Kenny also promoted concerts and afterhours parties, produced records for D.C. punk groups ( https://www.youtube.com/watch?v=ptlUWdZiXbM ) , performed with nyabinghi reggae godfather Ras Michael ( https://www.youtube.com/watch?v=ixIEgQmbQYs ) , and recorded with English punk goddess Poly Styrene of X-Ray Spex ( https://www.youtube.com/watch?v=DGROSJbCPV8 ). The early 90's found Kenny in the South of France performing with American expatriate rock band The Immigrants ( https://www.youtube.com/watch?v=FmgY4wQgG2M ) , and collaborating with members of that group to create his first solo foray, the dreamy folk-rock Walkin' Down Your Street ( https://www.kennydread.com/music/walkin-down-your-street/ ). A slow motion move to the West of Ireland inspired a more acoustic mode: The rootsy singer-songwriter album Powderhorn ( https://www.kennydread.com/music/powderhorn/ ) was released in 1997 with contributions from Asian-American guitar wizard Levi Chen and Windham Hill harpist Lisa Lynne ( https://lisalynne.com/windham-hill-winter-solstice/ ) , as well as a licensed adaption of poetry by Michael Ondaatje ( https://en.wikipedia.org/wiki/Michael_Ondaatje ) , author of The English Patient. Kirtan yoga chanting became a major focus from the turn of the century: Kenny Dread co-founded and produced Chicago chant ensemble Devi 2000 ( https://open.spotify.com/track/09Pxz5sRahmv2N0VdoGixt ) , and performed with kirtan dignitaries Dave Stringer and Bhagavan Das. Schlich is Visual Artist, Film Maker and Ritual Designer, living and loving in West Cork and best known for his Essay about the Cause and Effect of Shamanism, Art and Digital Culture and the video installation Transodin´s Tragedy. He is mainly working in the field of performance, photography, painting, sound, installations, and film. To research our human condition and create art work from this reflection he is using often the methodology of the digital-shaman as alter ego. Due to the pandemie and the following lock down Schlich had to stop his recent project, which was a digital crossover opera called Tribal Loop. Working on a new podcast concept and design, he produced and finally published the ArTEEtude podcast in August 2020. A new ArTEEtude episode is available twice a week on every common podcast platform. --------------- *WEBSITE LINKS* --------------- *Instagram* ----------- *Detlef Schlich* ( https://www.instagram.com/detschlich/ ) ** *ArTEEtude* ( https://www.instagram.com/arteetude/ ) ** *I love West Cork Artists* ( https://www.instagram.com/ilovewestcorkartists/ ) ** *Facebook* ---------- *Detlef Schlich* ( https://www.facebook.com/Transodin ) ** *I love West Cork Artists Group* ( https://www.facebook.com/groups/WestCorkArt/ ) *ArTEEtude* ( http://www.arteetude.com/ ) *You Tube Channels* ------------------- visual Podcast *ArTEEtude* ( https://www.youtube.com/channel/UCBnOjvvGVETmyPqv-jMCw1g?guided_help_flow=3 ) *Cute Alien TV* ( https://www.youtube.com/channel/UCDN-60zrAMRlZn3rh2bxn7zA ) ** *official Website* ------------------ *ArTEEtude* ( http://www.arteetude.com/ ) ** *Detlef Schlich* ( http://www.detlefschlich.com/ ) ** *Det Design* ( http://www.detdesign.com/ ) ** *Tribal Loop* ( http://www.triballoop.com/ ) ** *Download here for free Detlef Schlich´s Essay about the* *Cause and Effect of Shamanism, Art and Digital Culture* ( https://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_Effect ) ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- *Kenny Dread Social Media* Contact and Videeo Clips --------------------------------------------------- https://www.kennydread.com/ https://www.instagram.com/kenny_dread/ https://www.facebook.com/kennydread/ https://www.youtube.com/channel/UCgeCsEQB_iQquiq6eX-Mu5Q Bad Brains https://www.youtube.com/watch?v=2pUlNfdnsAM ( https://l.facebook.com/l.php?h=AT2YVGGrIqWAoppwB4f9wNoAEpcrss26b0bS8uw7OMBxV0uZmPiVedM_5_XT3FVkurdXBZeSmuXARRXn9PDTkhULHGGPsaJqZSeD4AGp_I5-KcFyUt2saQJEWAUeEW2WT7k&u=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D2pUlNfdnsAM%26fbclid%3DIwAR1daTNnZdN63ww4OR4KFqc7j0Zt0LZ2DnyrMTabtxcdB4dD2_sYlfpguDE ) Static Disruptors https://www.youtube.com/watch?v=WHS7FYDDEVM ( https://www.youtube.com/watch?fbclid=IwAR3U1fW4uXEDEQ7aIW_v8euchaEXSoz48tSYQlExwPCinvDJiKfSwC2hSq4&v=WHS7FYDDEVM ) Kenny Dread https://www.youtube.com/watch?v=t_3aVtK4HRM ( https://www.youtube.com/watch?fbclid=IwAR1j1zXJnQMo7biojONvKdJGA_UQQ2dbp8-4i3W3JcPZLvcFn-ibnwd6uDc&v=t_3aVtK4HRM ) https://www.youtube.com/watch?v=x45AxfdA31o ( https://www.youtube.com/watch?fbclid=IwAR0hHPpwe1-7wVR6tJAiojxwi6ps7745VfswByAJ17LlIUEXtiOFdx8ANGQ&v=x45AxfdA31o ) https://www.youtube.com/watch?v=xDNyRjhVe1Y ( https://www.youtube.com/watch?fbclid=IwAR3U1fW4uXEDEQ7aIW_v8euchaEXSoz48tSYQlExwPCinvDJiKfSwC2hSq4&v=xDNyRjhVe1Y ) Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/donations

ArTEEtude is West Cork´s first art, fashion and design podcast created and produced by Detlef Schlich. He will dive and discover with us and the multi talent Kenny Dread into the unknown and exciting deep ocean of the creative mind. In this podcast, Dread and Schlich speak about Dread´s time as musician, stage-diving into the 1980's Washington D.C. punk-rock scene. He recorded go-go anthem D.C. Groove ( https://www.youtube.com/watch?v=WHS7FYDDEVM ) with Static Disruptors in 1982 and toured the East Coast with go-go punks Outrage until 1987. The Static D's and Outrage brought the funk to new-wave clubs like CBGB and Danceteria and had the skinheads skanking at hardcore hall shows. Kenny Dread got his stage name touring ( https://www.youtube.com/watch?t=3589&v=RjBfz6azC28 ) and recording with the legendary Rastafari punk shaman and Rock & Roll Hall of Fame nominee H.R. ( http://hrdocumentary.com/ ) , lead singer of Bad Brains ( https://www.youtube.com/watch?v=2pUlNfdnsAM ). During the 80's Kenny also promoted concerts and afterhours parties, produced records for D.C. punk groups ( https://www.youtube.com/watch?v=ptlUWdZiXbM ) , performed with nyabinghi reggae godfather Ras Michael ( https://www.youtube.com/watch?v=ixIEgQmbQYs ) , and recorded with English punk goddess Poly Styrene of X-Ray Spex ( https://www.youtube.com/watch?v=DGROSJbCPV8 ). The early 90's found Kenny in the South of France performing with American expatriate rock band The Immigrants ( https://www.youtube.com/watch?v=FmgY4wQgG2M ) , and collaborating with members of that group to create his first solo foray, the dreamy folk-rock Walkin' Down Your Street ( https://www.kennydread.com/music/walkin-down-your-street/ ). A slow motion move to the West of Ireland inspired a more acoustic mode: The rootsy singer-songwriter album Powderhorn ( https://www.kennydread.com/music/powderhorn/ ) was released in 1997 with contributions from Asian-American guitar wizard Levi Chen and Windham Hill harpist Lisa Lynne ( https://lisalynne.com/windham-hill-winter-solstice/ ) , as well as a licensed adaption of poetry by Michael Ondaatje ( https://en.wikipedia.org/wiki/Michael_Ondaatje ) , author of The English Patient. Kirtan yoga chanting became a major focus from the turn of the century: Kenny Dread co-founded and produced Chicago chant ensemble Devi 2000 ( https://open.spotify.com/track/09Pxz5sRahmv2N0VdoGixt ) , and performed with kirtan dignitaries Dave Stringer and Bhagavan Das. Schlich is Visual Artist, Film Maker and Ritual Designer, living and loving in West Cork and best known for his Essay about the Cause and Effect of Shamanism, Art and Digital Culture and the video installation Transodin´s Tragedy. He is mainly working in the field of performance, photography, painting, sound, installations, and film. To research our human condition and create art work from this reflection he is using often the methodology of the digital-shaman as alter ego. Due to the pandemie and the following lock down Schlich had to stop his recent project, which was a digital crossover opera called Tribal Loop. Working on a new podcast concept and design, he produced and finally published the ArTEEtude podcast in August 2020. A new ArTEEtude episode is available twice a week on every common podcast platform. --------------- *WEBSITE LINKS* --------------- *Instagram* ----------- *Detlef Schlich* ( https://www.instagram.com/detschlich/ ) ** *ArTEEtude* ( https://www.instagram.com/arteetude/ ) ** *I love West Cork Artists* ( https://www.instagram.com/ilovewestcorkartists/ ) ** *Facebook* ---------- *Detlef Schlich* ( https://www.facebook.com/Transodin ) ** *I love West Cork Artists Group* ( https://www.facebook.com/groups/WestCorkArt/ ) *ArTEEtude* ( http://www.arteetude.com/ ) *You Tube Channels* ------------------- visual Podcast *ArTEEtude* ( https://www.youtube.com/channel/UCBnOjvvGVETmyPqv-jMCw1g?guided_help_flow=3 ) *Cute Alien TV* ( https://www.youtube.com/channel/UCDN-60zrAMRlZn3rh2bxn7zA ) ** *official Website* ------------------ *ArTEEtude* ( http://www.arteetude.com/ ) ** *Detlef Schlich* ( http://www.detlefschlich.com/ ) ** *Det Design* ( http://www.detdesign.com/ ) ** *Tribal Loop* ( http://www.triballoop.com/ ) ** *Download here for free Detlef Schlich´s Essay about the* *Cause and Effect of Shamanism, Art and Digital Culture* ( https://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_Effect ) ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- *Kenny Dread Social Media* Contact and Videeo Clips --------------------------------------------------- https://www.kennydread.com/ https://www.instagram.com/kenny_dread/ https://www.facebook.com/kennydread/ https://www.youtube.com/channel/UCgeCsEQB_iQquiq6eX-Mu5Q Bad Brains https://www.youtube.com/watch?v=2pUlNfdnsAM ( https://l.facebook.com/l.php?h=AT2YVGGrIqWAoppwB4f9wNoAEpcrss26b0bS8uw7OMBxV0uZmPiVedM_5_XT3FVkurdXBZeSmuXARRXn9PDTkhULHGGPsaJqZSeD4AGp_I5-KcFyUt2saQJEWAUeEW2WT7k&u=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D2pUlNfdnsAM%26fbclid%3DIwAR1daTNnZdN63ww4OR4KFqc7j0Zt0LZ2DnyrMTabtxcdB4dD2_sYlfpguDE ) Static Disruptors https://www.youtube.com/watch?v=WHS7FYDDEVM ( https://www.youtube.com/watch?fbclid=IwAR3U1fW4uXEDEQ7aIW_v8euchaEXSoz48tSYQlExwPCinvDJiKfSwC2hSq4&v=WHS7FYDDEVM ) Kenny Dread https://www.youtube.com/watch?v=t_3aVtK4HRM ( https://www.youtube.com/watch?fbclid=IwAR1j1zXJnQMo7biojONvKdJGA_UQQ2dbp8-4i3W3JcPZLvcFn-ibnwd6uDc&v=t_3aVtK4HRM ) https://www.youtube.com/watch?v=x45AxfdA31o ( https://www.youtube.com/watch?fbclid=IwAR0hHPpwe1-7wVR6tJAiojxwi6ps7745VfswByAJ17LlIUEXtiOFdx8ANGQ&v=x45AxfdA31o ) https://www.youtube.com/watch?v=xDNyRjhVe1Y ( https://www.youtube.com/watch?fbclid=IwAR3U1fW4uXEDEQ7aIW_v8euchaEXSoz48tSYQlExwPCinvDJiKfSwC2hSq4&v=xDNyRjhVe1Y ) Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/donations

Oh hi! Welcome to our Monthly Movie Review.! Usually Patreon Member only content but since it is our first we decided to share it with everyone! So, join us as we discuss the amazingly fabulous world of the club kids seen through the magnificent eyes of James St. James. P.S. Star was a bit tipsy when recording and her dumb ass mispoke. The famous Club mentioned in the begining was NOT Discoteria, it is named Danceteria. Sorry about it. Great music, Great outfits, a ridiculous amount of drug use and even a murder! Don't forget to subscribe! New episodes every Saturday. xoxxo Bunny and Star LISTENER DISCRETION IS ADVISED **we do not own the rights to the movie or any of the amazing music.

Nesse episódio a pista vai bombar, assim como o seu julgamento após ouvir esse momento tão peculiar da minha vida. E a partir de hoje, mas talvez não sempre, os ouvintes puros de coração podem ouvir algo que podemos chamar de Lado B. Pra quem quiser mandar alguma sugestão, feedback, falar qualquer p... q seja, só vem: k7@meuwalkmanamarelo.com

The Fleshtones special with Peter Zaremba in conversation with David Eastaugh The Fleshtones were formed in 1976 in Whitestone, New York by Keith Streng and Jan Marek Pakulski two roommates who discovered that a previous tenant had left behind some instruments in the basement of the house they were renting. Streng, on guitar, and Pakulski, on bass, were soon joined by neighborhood friends Peter Zaremba (born September 16, 1954), Queens, New York) on harmonica, keyboards, and vocals, and Lenny Calderon (born 1958), New York City) on drums. The Fleshtones debuted at CBGB on May 19, 1976. Starting in 1978, the group was often joined onstage, as well as on record, by Action Combo, brothers Gordon (alto sax and harmonica) and Brian (tenor sax) Spaeth. Gordon Spaeth (September 21, 1951 – March 8, 2005) became an official band member in 1983. In the late 1970s, The Fleshtones earned a local following and played often in Manhattan at CBGB and Max's Kansas City. Later, they found a favorite venue at Club 57 on St. Mark's Place. The Fleshtones were the first band to be booked or to play at several famous venues, including Irving Plaza and Danceteria in Manhattan, Maxwell's in Hoboken, New Jersey, and the original 9:30 Club in Washington D.C. The Fleshtones shared a rehearsal space with The Cramps on the Bowery in 1977. The following year, The Fleshtones signed with Marty Thau's Red Star Records, and recorded their first album. In addition, filmmaker/artist M. Henry Jones and the band produced Soul City, a performance-animation video composed of hand-painted cutouts that is a historic representation of the band and Jones' art form. The Fleshtones' first single, "American Beat" was issued on Red Star in 1979.

SPECIAL SET TO: ZEUS CARPIO @ LA DANCETERIA - REWIND IT FM (LONDON)

La mutua admiración entre las bandas, sumada a la propuesta de su oficina (Hook management), les llevó a dar a luz esta idea de gira combinada: un espectáculo singular con título inspirado en el mítico club Danceteria de Nueva York; pura fiesta sin prejuicios ni etiquetas que refuerza a ambas bandas, firmantes al alimón. El tema “Dancetería (Nadie sabe tu nombre)” ha terminado convirtiéndose en uno de sus más escuchados, y suma ya medio millón de reproducciones. La gira arrancó el pasado 8 de febrero en A Coruña, se dieron un baño de masas en Madrid, y concluye de momento este sábado en Murcia, aunque seguramente se extenderá en un futuro cercano (ya tienen cerrado algún festival) compatibilizando agendas. Varry Brava volverán nuevamente a la carretera para sorprender e invitar a la fiesta con “Hortera” (producido por Andrés Terrón y Pablo Estrella), que sale el 27 de marzo tras el adelanto de un par de singles (“Luces de neón” y “Loco”). Con Oscar y Aarön hemos hablado sobre actitudes desprejuiciadas y el futuro de su carrera.

seguimos deslizandonos por el disco Oscura de Clara Plath, estrenamos Danceteria y cosas nuevas de AA Mama y Nunatak. Secciones como Fikimundo, Cine XL y la nueva sobre cualquier cosa que se le ocurra a Daniel, como hablar de los Monty Python. Recordamos a Freddie, celebramos el cumpleaños de Tina Turner y Concha Velasco...que más queréis?

INNMIR, Marsella, Danceteria, Triángulo Inverso, La La Love You, Amaro Ferreiro, La Habitación Roja, Capital Fest, Sonorama Ribera y el Mad CoolLos Tiempos Modernos de esta semana comienzan con el esperado estreno INNMIR, “Tienes esa luz”. Se trata del primer tema propio de la Dj y productora valenciana al que pone incluso su propia voz. Otros que también de estreno son el dúo Marsella con su primer disco “Aquellas pequeñas cosas que nunca se fueron” y que presentarán hoy viernes en la Sala Sirocco de Madrid. El siguiente estreno de la semana llega de la mano de Varry Brava y Miss Caffeina con “Aquí nadie sabe tu nombre”, el himno oficial de su “Dancetería”, la unión de ambas bandas durante 4 únicas fechas.Seguimos de estreno. Ahora con Triángulo Inverso y el primer single “Seres en movimiento” que formará parte de tu próximo trabajo que verá la luz el 24 de enero. Seguimos hablando de artistas madrileños, ahora, sobre La La Love You, que darán mucho que hablar sobre todo después de escuchar su nuevo single, “El fin del mundo”. Vamos terminando el repaso por los estrenos de esta semana con nuestro querido, Amaro Ferreiro y “Desesperadamente” y “Quiero” de los valencianos La Habitación Roja, que celebrarán el próximo año 25 años juntos y lo van a festejar por todo lo alto.Dejamos...

INNMIR, Marsella, Danceteria, Triángulo Inverso,  La La Love You, Amaro Ferreiro, La Habitación Roja, Capital Fest, Sonorama Ribera y el Mad CoolLos Tiempos Modernos de esta semana comienzan con el esperado estreno INNMIR, “Tienes esa luz”. Se trata del primer tema propio de la Dj y productora valenciana al que pone incluso su propia voz. Otros que también de estreno son el dúo Marsella con su primer disco “Aquellas pequeñas cosas que nunca se fueron” y que presentarán hoy viernes en la Sala Sirocco de Madrid. El siguiente estreno de la semana llega de la mano de Varry Brava y Miss Caffeina con “Aquí nadie sabe tu nombre”, el himno oficial de su “Dancetería”, la unión de ambas bandas durante 4 únicas fechas.Seguimos de estreno. Ahora con Triángulo Inverso y el primer single “Seres en movimiento” que formará parte de tu próximo trabajo que verá la luz el 24 de enero. Seguimos hablando de artistas madrileños, ahora, sobre La La Love You, que darán mucho que hablar sobre todo después de escuchar su nuevo single, “El fin del mundo”. Vamos terminando el repaso por los estrenos de esta semana con nuestro querido, Amaro Ferreiro y “Desesperadamente” y “Quiero” de los valencianos La Habitación Roja, que celebrarán el próximo año 25 años juntos y lo van a festejar por todo lo alto.Dejamos los estrenos para comenzar a repasar las confirmaciones festivaleras que llegan, en primer lugar, con el Capital Fest con nombres como Veintiuno, Fizzy Soup, Delaporte, la...

The Membranes with John Robb in conversation with David Eastaugh  The Membranes are an English post-punk band formed in Blackpool, Lancashire in 1977, the initial line-up being John Robb (bass guitar), Mark Tilton (guitar), Martyn Critchley (vocals) and Martin Kelly (drums). Critchley soon left, with Robb and Tilton taking on vocals, and Kelly moving to keyboards, with "Coofy Sid" (Coulthart) taking over on drums. Their first release was the "Flexible Membrane" flexi-disc in 1980, and over the next 11 years they went on to release six studio albums. Their first single proper, "Muscles", was a single of the week in the UK music press and a big club hit in New York being played in the Danceteria by the Beastie Boys eventual DJ Mojo[clarification needed] and other New York DJs. Kelly left after "Muscles", to be replaced by Steve Farmery on guitar for the follow-up Pin Stripe Hype EP. The band pioneered the avant noise scene of Big Black and Sonic Youth for several years with their critically acclaimed "Spike Milligan's Tape Recorder" single and Death To Trad Rock EP and their debut Gift Of Life album. They were destined to be the first band to be signed to Alan McGee's Creation label, but the deal fell through when McGee could not afford to pay their studio bill for the "Spike Milligan's Tape Recorder" single. The band relocated to Manchester in 1983, and "Spike Milligan's Tape Recorder" was issued on the Criminal Damage label, which met with a positive critical response but distribution problems limited its impact After The Membranes, Robb went on to form Sensurround and later Goldblade. In 2009, the band reformed after My Bloody Valentine asked the band to play their All Tomorrows Parties festival. The Membranes then recorded the critically acclaimed Dark Matter/Dark Energy album and have been playing festivals across Europe since then as well as special event gigs such as at the top of Blackpool Tower. The band received press acclaim for a series of concerts they played with choirs in Estonia and Portugal as well as the BIMM choir in the UK.  

The Loft & The Weather Prophets special with Pete Astor in conversation with David Eastaugh Pete Astor was born in England, in 1960.The Loft formed in 1983, the band signing to Creation Records and releasing two singles, "Why Does the Rain" and "Up the Hill and Down the Slope". The band split at the Hammersmith Palais in 1985. Astor then formed The Weather Prophets, continuing to be managed by Creation founder, Alan McGee, and signing to his short-lived Elevation label under the auspice of WEA4 releasing the album Mayflower in 1987. Returning to Creation for Judges, Juries and Horsemen, the band split in 1989. Astor then embarked on a solo career with the albums Submarine (1990) and Zoo (1991) on Creation. Finding success in France, Astor moved to the Danceteria label to release Paradise (1992, as Peter Astor and the Holy Road), and God and Other Stories in 1992. After becoming disillusioned with the music business, he disappeared from view for a number of years, returning in the late 1990s with his Ellis Island Sound and The Wisdom of Harry projects, both releasing music on 7", 12" and 10"[5][6] for a variety of emerging independent labels such as Static Caravan Recordings,Wurlitzer Jukebox and Astor's own label, Faux Lux. The Wisdom of Harry eventually signed to Matador Records, while Ellis Island Sound, Astor's collaboration with David Sheppard, signed with Heavenly Recordings. In 2005, Astor released Hal's Eggs, a solo album including radical reworkings of folk standards on Static Caravan Recordings. At around the same time, Cherry Red released compilation albums featuring his work: The Weather Prophets' Blues Skies and Freerides (The Best Of, 1986–1989),Injury Time (Solo 89–93), a selection of solo work from his two Creation and Danceteria albums. The label also re-issued The Loft's Once More Round the Fair, a collection of their Creation recordings and session tracks. As well as reforming The Loft at this time for a limited number of shows, Astor continued to write, perform and release records with Ellis Island Sound on the Peace Frog label. The solo album, Songbox was released on the Second Language label in 2011, featuring an extra disc of cover versions of the albums' songs by Let's Wrestle, The Raincoats, Darren Hayman, Comet Gain, The Proper Ornaments, Mathew Sawyer, Dollboy and Piano Magic. He works as senior lecturer at the University of Westminster, where he teaches, researches and writes about music; in 2014, he published his study of Richard Hell and the Voidoids' Blank Generation, as part of Bloomsbury's 33⅓ series. At the beginning of 2015, Astor signed to Fortuna Pop, releasing the single "Mr Music", followed by an album, Spilt Milk, recorded with James Hoare of Ultimate Painting, Proper Ornaments, and Veronica Falls.

The Frenchman has Danceteria in the Cox Plate.

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

On The Rampage w/ Don Lichterman & the new University of Maryland Practice facility, Martha Graham Cracker, Petitions to NJ Representative Andy Kim, Particle & Sound Tribe Sector Nine (STS9)...   Joe Biden finally speaks out against Trump and for the Impeachment Inquiry (and how he should have been out sooner), and then the Unilateral move made by Donald J. Trump in Syria and with the Kurds is heartbreaking as Turkey unleashes air strikes and the Ukraine Situation stinks of Russian money...   Recipe of the Week is a Fall Time Recipe of the Week with Marco Borges, Pasta Puttanesca & Pumpkin Puree...Sunset Music Supervision in store play count along with this week's License Requests and the animal and welfare report includes Maggie Q, Trophy Hunting and the Asshole of the Week!   Studio 54 seeing Madonna lip sync and also going to Limelight, Danceteria and the Underground back in 1983!   Tray Anastasio Band announces January tour, Natalie...I mean Nat Cressman, Jenn Hartswick and new man crush on guy on sax in Trey band, the three (3) for two (2) (and 2 times the two (2) for (1))...   First time doing MDMA, Bobby (Bob) Lowe, Judd Nelson, & finding Ally Sheedy along with the Pee Wee Herman: Pee Wee's Adventures Movie Premier, the second MTV 2nd Anniversary Party with David Lee Roth, Apollonia, Anthony Michael Hall, St. Elmo's Fire at the University of Maryland back in 1985/1986!

Sejam todos bem vindos a Radio Gagá! Hoje Erik Luthor , Clayton “O Novato” e Monica Brida vão abrir seus corações e contar quais são suas influencias musicais. Vejam como são feitos os nomes de dupla sertaneja, como musicas do cocoricó podem ser usadas para trolar sua madrinha e como identificar um adolescente sem personalidade… Read More »Radio Gaga 013: Influenciando com Beatallica na danceteria

Racing Post's Maddy Playle is joined by Graeme Rodway, Nicholas Watts and Paddy Power's Paul Binfield for a look back at the epic clash between Enable and Crystal Ocean in the King George at Ascot as well as giving their tips for day one of Glorious Goodwood. On the show: - The battle between Enable and Crystal Ocean in the King George was one that will be remembered for decades to come as Enable reigned victorious once again. The team assess the race and what discuss what could be next for John Gosden's Enable.  - The team give their take on the rest of the weekend's action including Karl Burke's Laurens winning the Prix Rothschild over in France and Danceteria over in Germany. The team assess the best of the rest.  - The team preview day one of Glorious Goodwood including giving their tips for the feature race of the day, the Goodwood Cup. John Gosden's Stradivarius will be looking for his third consecutive win in the race although the team don't think it'll be straightforward, find out why.  - The team give their best bets for the rest of the action on Tuesday including their NAPs of the day, find out who the team are sweet on.  All prices can be found at Paddy Power: https://bit.ly/2RQ6Nv0 --- Producer: @MrRobertLee45 --- Subscribe on YouTube: https://bit.ly/2l9x35T Website: https://www.racingpost.com Twitter: https://twitter.com/RacingPostTV Facebook: https://www.facebook.com/racingpost Spotify: https://spoti.fi/2KEg3Eo Apple Podcasts: https://apple.co/2vq457o Audioboom: https://audioboom.com/channel/racingpost Google Podcasts: http://bit.ly/31mEQ3T

Episode 79 (Yuppie Nightmares Pt 1) Alec and Derek kick off a series of cautionary tales of Yuppies in danger - particularly those that set foot in the netherworlds of The East Village or SoHo in the mid 80s. Kicking things off with Susan Seidelman’s 1985 Desperately Seeking Susan. Bored New Jersey housewife Roberta Glass (Rosanna Arquette), finds escape imagining the passionate lives of people she reads about in a series of personal ads proclaiming to be “Desperately Seeking” the titular Susan (an impossibly hip Madonna in her screen debut). While taking a trip to Battery Park hoping to encounter her lovers, Roberta tumbles outside the boundaries of her suburban existence, throwing her life and identity into chaos. Featuring a colorful supporting cast of Aidan Quinn, Laurie Metcalf, John Turturro, John Lurie, Richard Edson, Rockets Redglare, and Richard Hell, not to mention great locations like the legendary Danceteria, Seidelman merges the NY underground flair of her debut Smithereens with 1930’s screwball logic and a magical dose of Jacques Rivette, creating a film that is as much a time capsule of a thriving urban culture and the denizens that inhabit it, as it is a timeless ode to living a life less ordinary.Three ways to support this podcast:1. Shout us out on your social media account2. Rate us on the podcast platform you listen to PsychotroniCast on.3. Subscribe to our Patreon! www.patreon.com/psychotronicast

Karen Finley started out performing feminist monologues full of vitriol and fury in the punk clubs of the Bay Area in the late 70s. By the 80s, she’d moved to New York where she was a regular at legendary performance venues like Danceteria. And then in 1990, she became a household name as part of the NEA FOUR—a group of four performance artists whose National Endowment for the Arts funding was revoked because conservative Senator Jesse Helms had a hissy fit about decency. The case went all the way to the Supreme Court in 1998 in National Endowment for the Arts v. Finley and Karen Finley became an icon of the struggle for free speech. She’s a professor of Art and Public Policy at New York University and in this episode of BUST’s Poptarts podcast she unleashes on the current administrations and provides creative guidance for feminists trying to keep our heads up in the time of Trump.

Artist & illustrator Dave Calver joins the show to talk about Limbo Lounge, his first graphic novel! We discuss the ups and downs of his 40+-year career in illustration, his gorgeously pop-surrealism-lowbrow vibe, life in a vintage trailer park, and how he manages to draw macabre without being gross. We also get into his '70s/'80s NYC experience (including witnessing collateral damage at a women's wrestling match at Club 57), his time at RISD with Roz Chast and her club-days at Danceteria (!), the movie he's writing and its Munchkinland-Goth scenery, the loss of era-specific styles, perfecting "nicotine-stained jewel tones" for Limbo Lounge, and how the book started with the image of flowers behaving badly! • More info at our site • Support The Virtual Memories Show via Patreon or Paypal

DJ Red Alert is a member of the hip hop culture that is known for bringing the music to the people.He began his career as part of the Afrika Bambaataa's Zulu Nation and earned the reputation as a top notch DJ. At one point in the early 80's, Red Alert's equipment was stolen. Once he was able to get at new setup Bambaataa and other members of the Nation were moving to clubs in Manhattan. Red Alert continued to draw a following in Harlem.Red Alert channeled his energies and musical talent into two daily shows on the nations #1 radio station, New York's WQHT HOT 97.1 FM.He has received numerous awards and accolades including a special award at the first annual Rap Hall of Fame Awards show. The prestigious Lifetime Achievement Award from IMPACT music trade publication for 1998 and the 1997 Mix Show DJ of the year award from GAVIN. In addition DJ Red Alert was named one of the 50 most influential people in music by Rolling Stone magazine. Red Alert is also featured in an exhibit at the Rock and Roll Hall of Fame in Cleveland, Ohio. The only DJ of this era so honored!He has appeared in over 50 music videos.Red was reared by his maternal grandparents, who were from Antiqua. Red's love for those around-the-way basketball games led him to his high school team at DeWitt Clinton. No doubt this is where he was dubbed the nickname, “RED”; for his red hair and alert response on the court. Red later received a college basketball scholarship. During the last of his high school years, Red hung out at the Saturday night parties thrown by Kool Herc and Coke La Rock at clubs throughout the west Bronx. Red studied the style of music Kool Herc played and the way he blended the vinyl. On Fridays, Red found himself venturing downtown to check out star disco deejays, such as: Grandmaster Flash, Together Brothers, and Pete DJ Jones. It wasn't long before he was jammin' at parties on his own equipment. It was important to be up on what was happening on the New York scene, so Red was now attending legendary parties throughout the Bronx.Red caught Grandmaster Flash at the Back Door and the Dixie Club, Kool DJ A.J. at the Morehouse Center and Afrika Bambaataa at JHS 123. By this time, Red had gathered enough record selection and record spinning insight to teach his cousin DJ Jazzy Jay the basics of the art. Jazzy Jay in turn introduced Red to Bambaataa. Bambaataa taught Red about rock, reggae and new wave music. Learning about the various styles of dance oriented music, Red soon became the deejay for Bambaaata and his Zulu Nation, joining the likes of Afrika Islam, the Soul Sonic Force, Grandmixer DST and the Rock Steady Crew. Through this association, Red began to spin records downtown at such clubs as Negril and Danceteria.While deejaying at the Roxy, he met Barry Mayo, then program director of NY's WRKS 98.7 KISS FM. A man of considerable taste, Mayo hired Red to inaugurate the “Dance Mix Party.” Red remained at 98.7 KISS FM for 11 years, becoming the top DJ at the station. During his tenure at KISS, Red became the first individual to popularize dancehall music at a major radio station! Before you knew it, Red met up with producer Vincent Davis, of the Vintertainment Record label, through DJ Chuck Chillout, to produce Red's First record, “Hip Hop On Wax, Volume 2.” (Part 1 was made by DJ Chuck Chillout of the B-Boys and Part 3 was by DJ Born Supreme Allah).Another record was “He's My DJ (DJ Red Alert Goes Berserk)” which featured Sparky D on vocals and was released on NIA records produced by Spyder D.He also became a member of the Boogie Down Productions, touring the country with KRS One.Since then, Red has done super mixes for compilation albums on Next Plateau Records and Epic Records.Now a seasoned veteran as radio jock, club jock and studio man, Kool DJ Red Alert has established his place as one of the world's premier DJ's. To top it off Red Alert owns a production and management company, Red Alert Productions (RAP). The company garnered a reputation for developing and promoting new talent. RED is responsible for launching the career of such widely acclaimed acts as the Jungle Brothers, Tribe Called Quest, Black Sheep and Queen Latifah to name a few.In addition DJ Red Alert was the first to introduce numerous hit records including “Soul II Soul” by Jazzy B and “Hold On” by the group En Vogue!Red says, “You have to learn how to break a new artist on record by working it in and out with familiar records. People are scared to fall. It's OK to fall. You must learn how to fall and be strong so you can come back. A DJ is like the pied piper.”Since his break on the radio, Red Alert has had the opportunity to expand hip hop's audience as well as break the careers of Boogie Down Productions, Black Sheep, the Jungle Brothers, and A Tribe Called Quest. He has had cameos on countless albums, and has also released various compilation albums.Lately he has undergone some professional changes after leaving his radio show. Well all wait to see what he has in store for us next. See acast.com/privacy for privacy and opt-out information.

In this episode host Peter Agoston sat and spoke with guest Michael Alig in a candid look back on New York City nightlife - somewhere between the years 1985 and 1992, give or take. They talked about Alig's first parties at The Danceteria and his infamous work within Peter Gatien owned clubs: The Limelight, Palladium, Tunnel, Club USA. The Building, The Cooler, The World, and more. Established around this period was the nightlife-centric zine 'Project X', where Alig was co-editor (w/ Club Kid queen, Julie Jewels) documenting the scene from his vantage with the wry 'Club Rub' column. They spoke of Leigh Bowery, Tiny Tim, Vito Bruno, DJ Keoki and more. Illustrating further the deep-rooted NYC nightlife narrative. All while the two sift thru boxes of vintage party invitations. Learn more about your ad choices. Visit megaphone.fm/adchoices

March 25 -31, 1978 Today Ken welcomes comedian Wendy Liebman to the show. Ken and Wendy discuss L.A. rain, growing up in Long Island, low tolerance for New England snow, inventions, Walk-Muffs, Shark Tank, inventions, Steven Wright, appearing on Late Night TV, Ding Ho, Boston Comedy, seeing "Match Game '74" taped live, seeing Madonna at the Danceteria, The Midnight Special with Wolfman Jack, Maytag vs. Friends, Bob Newhart, Stitches, following the rules of stand up, "Ass Blank", To Tell the Truth, Let's Make a Deal, Plinko, Hollywood Squares, Tom Bergeron, Celebrity Feuds, Dick Van Dyke Show, Carl Reiner, Phyllis Diller, Kojak, Love Boat, Bud Friedman, The Improv, Bluefish, Mary Tyler Moore, Robert Blake's murderous intent, Banachek, Burn Notice, Milton Berle, Opening for Bob Hope, Dr. Theater, Marlo Thomas in That Girl, St. Jude, The Monkees, Mickey Dolenz, Austin City Limits, Norman Lear, Dick Cavett, CBS, All in the Family, opening for Jerry Seinfeld, Carol Burnett, the wonders of live to tape and horror stories about George C. Scott.

It's a Schrodinger's Goth episode of We Have A Technical! Bruce and Alex Pick Five goth records by non-goth artists. What is goth? What is not goth? These are the angels on the head of a pin type questions the Senior Staff are coming at from a variety of musical angles this week.

It's now 6 months since the last episode of our 1210 sister series, so first a recap of the concept: named after Technics 1210 turntables, this is all about the Oldskool. The DJ is to select exactly 12 records that are 10+ years old. For Mk7 we welcome Perseus Traxx (real name Nigel Rogers) from York, England, who has had vinyl releases on Bunker, M>O>S, Photic Fields, Boe Recordings, BoomChik, Chiwax, Sequencias and Future Flash to name a few. Here Nigel has delivered a portrait of the ground-zero early 80's House music that is now commonly referred to as "Proto-House". The rest is from the man himself... "Ahhhh, sweet rebellion. I did this mix on a pair of 1200s. Podcasts and mixes forming a document which can be re-visited numerous times fill me with dread. Hearing things in my flat is a nightmare, not helped by the anxiety of whether the tone arm will be stuck or the bass pot on the other channel will play up, though I'm quite happy with this. My concern was that it would become too house based, but I think the balance is about right. Actually the J.M. Silk record is the first record to vocally use the term 'House'. I got the Hanson & Davis record after Chris Duckenfield posted a link from Youtube called 'How People Originally Cut Shapes To House In The UK' which was shot in Manchester in 1986 (https://www.youtube.com/watch?v=vBYvWPdUOHM). I thought it was immense and he told me what it was, so I hit discogs, also picking up a copy of the house record he'd made using the bass line. This clip shows a legacy of music pre-dating the oft-told narrative of acid house emanating from London when a group of DJ's came back from Ibiza. It also shows how some weird ass funk sat so neatly next to house. Music is for what the crowd are doing. Similarly, I picked up a copy of 'I Love You' by Yello the other week after hearing it on an episode of New York Dance Stand filmed at Danceteria in 1983 which was embedded in an article about Mark Kamins, the DJ there, and how he fused all kinds of music together as electronic music was starting to become even more prevalent (http://daily.redbullmusicacademy.com/2014/02/mark-kamins-interview). Inspiration comes from all over and some things just click into place. I wanted to do something different and I suppose this is the sort of thing I've been filling my head with. Listening back, the content of the records used is pretty much about love, sex and dancing, the main reasons people go to nightclubs. I hope you enjoy the mix and check out the links once you've finished." Nigel Rogers, August 2015 https://soundcloud.com/perseus-traxx ===== 01 Hanson & Davis - Tonight (Love Will Make It Right) (Vocal) // Fresh Records (1985) 02 NV - It's Alright (Extended Version) // Sire (1983) 03 Yello - I Love You // Stiff Records (1983) 04 Modern Mechanical Music - Persia // Sunset Records Inc. (1986) 05 Tantra - Hills Of Katmandu (Disco Mix) // Automatic Record Co. (1979) 06 Mario Reyes - What Ever Turns You On (Club Mix) // D.J. International Records (1986) 07 J.M. Silk - Music Is The Key (House Key) // D.J. International Records (1985) 08 The Revelation - Your Love Is A Special Thing (Club Mix) // Stride Records Inc. (1987) 09 Risqué III - Essence Of A Dream // Stride Records Inc. (1987) 10 Fingers Inc. - Mystery Of Love (Club Mix) // D.J. International Records (1986) 11 Frankie Knuckles - Bad Boy (feat. Jamie Principle) // Trax Records (1987) 12 Talking Heads - Pull Up The Roots // Sire (1983)

Play Pause Support the PodcastDownloadShare var srp_player_params_677258c10b031 = {"title":"","store_title_text":"","albums":[],"hide_artwork":"true","sticky_player":"true","show_album_market":0,"show_track_market":"true","hide_timeline":0,"player_layout":"skin_boxed_tracklist","orderby":"date","order":"DESC","hide_album_title":"true","hide_album_subtitle":"true","hide_player_title":"true","hide_track_title":"true","show_publish_date":"false","show_skip_bt":"false","show_volume_bt":"false","show_speed_bt":"false","show_shuffle_bt":"false","use_play_label":"true","use_play_label_with_icon":"true","progressbar_inline":"true","spectro":"","hide_progressbar":"true","main_settings":"||"} var srp_player_params_args_677258c10b031 = {"before_widget":"","after_widget":"","before_title":"","after_title":"","widget_id":"arbitrary-instance-677258c10b031"} if(typeof setIronAudioplayers !== "undefined"){ setIronAudioplayers("arbitrary-instance-677258c10b031"); } From the pulsating underground clubs of New York to the glamorous international stage, Hex Hector has been a transformative force in dance music. If you're wondering where the king of club anthems has been, let me tell you: after electrifying crowds throughout the early '90s, Hex took a detour into the studio. For a decade, he was like a master alchemist, converting tracks into gold hits with that deep, sexy, underground sound that became his signature. New York's iconic nightclubs like the Paradise Garage, the Roxy, and the Funhouse served as Hex's musical playgrounds, where he honed his craft. Inspired by radio legends like KISS-FM's Shep Pettibone, Hex quickly ascended the ranks. At the apex of his influence, he was a mainstay at famed venues such as the Tunnel, Limelight, Palladium, Sound Factory Bar, Nell's, Club USA, and Danceteria. It was around this time that he crossed paths with Jennifer Lopez, a meeting that would later inspire his Grammy-winning remix of "Waiting for Tonight." * Now, let's talk about some of the iconic tracks that have been graced by Hex's Midas touch. Songs like "Everyday" by Kim English and Toni Braxton's "Spanish Guitar" have taken on a new life with his unique remixes. Lara Fabian's "I Will Love Again," a timeless anthem for anyone navigating the aftermath of a short-term breakup, shines even brighter under Hex Hector's creative lens. In our second installment celebrating Hex Hector's transformative influence on dance music, we've got a selection that encapsulates his genre-defining sound. For example, Shannon's "Give Me Tonight" adds that nostalgic flair to the set, making us long for those classic New York club nights. However, not all tracks are equally iconic. Case in point: O-Town's "Liquid Dreams." While it might not share the same acclaim as hits from the Backstreet Boys or N'Sync, Hex's remix gives it a fun, whimsical vibe that's irresistibly danceable. It's clear that Hex Hector is not just a DJ or a remixer; he's a musical renaissance man. Despite all his accomplishments, which include a Grammy for Remixer of the Year in 2001, Hex maintains a relaxed and confident demeanor that makes his illustrious career appear almost effortless. It's like he's saying to the world, "Nice guys can, indeed, finish first." So as we wrap up today's journey through Hex Hector's illustrious musical realm, remember that this is just part two. We'll be back on Thursday to dive deeper into his discography, celebrating the man who's been a beacon of innovation for dance music. Until the next time...ENJOY! * Excerpted from TSoNYC Album : Hex Hector Mixology v2Genre : Circuit House ClassicsYear : 2015Total Tim...

New Music weekly Report #1336 1.SixDegrees - Audiofly.Fiora.TaleOfUs 2.ToBeAlone - YolandabeCool.Omar.JamesCurd 3.TakeMyHand - Terranova 4.RunSlowly - Chopstick.Johnjon.AndreLodeman 5.Misted. - MetodiHristov 6.WhatDoYouWant -MiguelMigs.MeshellNdegeocello.RodriguezJr 7.ThisTime - Lovebirds.Novika.George 8.Lightweight - JasonBurns.SarahWinters.Kiwi 9.MusicISRulingMyWorld -Kutiman.Karolina. 10ColbyNekk – RobagWruhme 11.SomethingLikeThis - AlekSolterov 12.DanceForMe - KennySummit 13.MillionDollarBill.Dub - WhitneyHouston.FrankieKnuckles Please "Follow" me on podomatic. If you click "Follow" you will receive a notice every time i post a new mix. All of my CDJ live mixes… are made with no sequencing... no auto sync. No particular genres, no particular destination... just a smooth JOURNEY into Beats . My style is Ultra-Eclectic House Music and EDM. no matter what the flavor is. The Mix is just long enough to fit on an 80 min CD-R which you can make yourself by downloading the mix to your iTunes.... making it into playlist and then burning it to a blank CD You will find the Download click on the bottom of the link page.All tracks herein were purchased from download stores or gifted me by the artists. Please do me a few favors. Find at least one track that you love and download the track from a digital download record store… like iTunes, Traxsource or Beatport. In this day where everyone expects free music, it is the ethical thing to do to support the genius artists who create this music. The other thing I humbly would ask you to do is to click on the "Follow" box in Podomatic and if it is not asking too much… a little comment would be such an exciting reward for me.

Tracklist for #427 1.Urges - ThomasDolby.TimFriese-Greene (Harvest) 2.HowMuchAreThey - JahWobble.AndyWeatherall (FFRRRecords) 3.HighAboveTheClouds - NaradaMichaelWalden. (Atlantic) 4.EarthCanBeJustlikeHeaven - TwoTonsOfFun 5.ILoveTheNightlife – AliciaBridges 6.StopYourTeasing - Hydro 7.BabyBabaBoogie - GapBand.LonnieSimmons (Mercury) 8.Shame - EvelynChampagneKing 9.TheLandOfLovelyLadies - IdrisMuhammad.DavidMatthews.TonySarafina 10.MightyReal - Sylvester 11.SAlsoul3001 - SalsoulOrchestrea 12.SolarFlight - Mandre This the kind of music I played at the great NY Clubs of the Eighties: Danceteria.Pyramid.Berlin.TheChoice.SaveTheRobots.RedZone LimboLounge.CatClub.Studio54.Palladium.Area.Youthanasia.Renegade.ETC

Danceteria was the place to party in the 1980’s. The bands and personalities that frequented the 4 floor night club went on to become legendary. Everybody from Keith Herring to The Smiths could be spotted at Danceteria, and fortunately there’s an entire library of video footage from those days that have been digitized and preserved at NYU’s Fales Library. Pat Ivers is responsible for most of the videos in this collection and she’s this week’s guest on Arts & Seizures. Tune in to hear what the scene was like, how NYC has changed and why it’s so important that these videos were preserved. This program was sponsored by Robertas. “The first thing that went wrong is Studio 54 closed and rich people came downtown with their cocaine and money. Every time has its time. It [the early NY Club Scene] had it’s time and went away.” [15:00] –Pat Ivers on Arts & Seizures

Signal Podcast 010 Part 3: Juice Tracklist: Function “Voiceprint” Benjamin Damage “End Days” Function “Gradient I” Untold “Caslon” Benjamin Damage “Swarm” Dave Clarke “Wisdom to the Wise” (Red 2) (Marcel Dettmann Remix) Function “Psychic Warfare” Redshape “Goom” Primitive World “Danceteria” Xhin “Dark Tiled Landscape” Untold “Motion The Dance” ASC “Carrier” Cosmin TRG “Auster” Lowtec “The Rhythm” (Remix 2)

1. American Dream - L.A. Style 2. X, Y & Zee (Sensory Amplification Mix) - Pop Will Eat Itself 3. W.F.L. (Think About the Future Mix) - Happy Mondays 4. Never Let Me Down (Aggro Mix) - Depeche Mode 5. It's Over Now - Cause & Effect 6. Again ('90 Remix) - Do Piano 7. Prisoner to Desire - Psyche 8. Don't Argue (Dance) - Cabaret Voltaire 9. Hyperreal (Remix) - The Shamen 10. Life on Your Own (Extended) - The Human League 11. Hip Hop Be Bop (12" Mix) - Man Parrish 12. State of the Nation - New Order 13. Around My Heart (Razormaid! Mix) - Sandra 14. It's Alright Now (Back to Basics) - Beloved 15. State of Shock (L'Pool Edit) - Revenge   Notes and other random things: Greetings from Charlotte, NC. I'm DJ Tintin and this is my retro podcast. Glad you've found it. Feel free to stay as long as you like. Sorry for the re-introduction, but I've been away for so many weeks between my last podcast and this one that I almost feel like stranger to many of you. If you're tuning in for the first time, I am. And if you are, in fact, a newbie, I recommend going back and re-reading the first sentence, making sure to apply a tone of sincerity to the voice in your head instead of a sarcastic one. Before you do, however, I need to add a few more adjectives. That first sentence should read: Greetings from bread-less, milk-less, power generator-less Charlotte, NC. What the hell am I talking about? Well, for those listeners in the U.S., (and possibly abroad) you are probably well aware of the recent hurricane that hit the eastern seaboard over the past week. (If you're not, may I suggest the internet?) As such, there is neither bread, nor milk, nor power generator to be found anywhere as these are the desirable items for which panic-stricken residents spend hours in check-out lines hoping to buy the week leading up to the event.  Now, as a mid-west transplant living in the Carolinas for 14 years, I get the fear associated with hurricanes. I do. They are analagous to the fear we mid-westerners have in regards to tornadoes. The difference is you have about 10-15 minutes maximum to prepare for a tornado as opposed to a week or so for a hurricane. What that means is after a tornado passes, I can at least emerge from the twisted pile of tinder that used to be my house, go down to the local market (if it’s still standing) and celebrate my continuing to live with a bowl of cereal. In the Carolinas, that’s an impossibility because the shelves have been completely wiped out.   If I were a guy who actually bothered to prepare for catastrophe instead of worrying about posting his next podcast, I'd actually scoop up all the lunch meat, cereal and lightbulbs from the nearby food emporium at the first word of impending doom. Surely, someone with bread, milk and a power generator would be willing to barter for shelter should I be left homeless. Methinks the guy with the cache of mustard or mayo would probably be sitting pretty as well. On to the music … L.A. Style make their first appearance on CRC. They were a rave group that toured extensively between 1991 and 1995, when they eventually split up. The group was founded by radio host Wessel van Diepen, also the most successful dance-pop producer in Dutch history having assembled the groups Nakatomi and the Vengaboys as well. The band was fronted by Frans Zid Merkx, a multi-tool artist going by the moniker FX. Best known for their huge club hit James Brown is Dead, L.A. Style were the first group to land a rave track on Billboard’s Hot 100 Airplay chart. The song here, American Dream, is the last track on L.A. Style’s self-titled album from 1993. The sample contained within comes from the first inaugural speech of President Richard M. Nixon, delivered Monday, January 20, 1969. See the excerpt below: “The American dream does not come to those who fall asleep. But we are approaching the limits of what government alone can do. Our greatest need now is to reach beyond government, and to enlist the legions of the concerned and the committed. What has to be done, has to be done by government and people together or it will not be done at all. The lesson of past agony is that without the people we can do nothing; with the people we can do everything.” Pop Will Eat Itself have appeared a couple times in earlier CRC episodes (#13 and #20) and both times the tracks used were taken from their Cure For Sanity album circa 1990. If you believe the past is a good indicator of the future, you won’t at all be surprised to learn that X, Y & Zee, the track here, also appeared on that amazing album. I say amazing because I have vivid memories associated with it, trucking home from Texas to Kansas over fall break my sophomore year in college. I took my roommate to see the Kansas/Kansas State football game and then we stayed in Manhattan (also called "The Little Apple", which is home to the KSU campus) with friends drinking and carousing well into the night after a KSU victory (though truth be told I’m a KU fan). This album received heavy rotation on that 1200-mile round trip and deservedly so, though you won’t find much agreement among those haters of what was called the “grebo” movement. Mostly a product of the music media who have an unfailing compulsion to label clusters of similar-sounding music, grebo started in the late 80s and continued on into the early 90s before “Brit Pop” took over. PWEI were forerunners of the subculture, which encompassed bands whose sound blended garage rock, hip hop, pop and electronica. Dreads, partially shaved heads and high ponytails, torn jeans, boots, lumberjack shirts, army surplus clothing, and eclectic hats defined the fashion (if you can call it that), a look dubbed by the Trouser Press as “slimy-looking lowlifes playing retrograde raunch”. Ned’s Atomic Dustbin, Jesus Jones, The Wonder Stuff and others were all part of that short-lived movement. The remix appearing here, though taken from the single, also appears as a hidden track at the end of the Cure for Sanity CD. A little PWEI trivia: the band was headed by Clint Mansell, a fine musician who has gone on to score many Hollywood films including the Darren Aronofsky films Pi and Requiem for a Dream, The Wrestler and Black Swan. Music writing credits on PWEI albums are all listed as Vestan Pance, a pseudonym for the entire band. At one time, after the addition of drummer Robert “Fuzz” Townshend to their line-up, they proposed the name Vestan Pance and Socks, which was summarily rejected by their label RCA. Speaking of heading up an artistic movement, The Happy Mondays would most certainly qualify. Lead by one-time smack user Sean Ryder, the Mondays charged headlong into what would become the Ecstasy-fueled club scene in Manchester, England. Dubbed “Madchester” by those who were there, the Mondays became poster boys for the “haves” of the sonic landscape, diving into excess so severely that they nearly drove their label, Factory Records, into financial oblivion. The whole thing is pretty well-chronicled in the excellent film 24-Hour Party People, directed by Michael Winterbottom, which is sort of a dramatized account of Factory Records head man, Tony Wilson, and the rise of Joy Division, with some attention given to other Factory bands including: New Order, A Certain Ratio, The Durutti Column and, of course, the Mondays. The track here, W.F.L. (which stands for Wrote For Luck) was remixed by Paul Oakenfold and appears on the mini-album Hallelujah. Hallelujah was originally a four-song EP called the Madchester Rave On EP, but was renamed after three bonus dance mixes were added before its release in the U.S. For Erasure buffs, a Vince Clarke remix of W.F.L. also appears on the CD version of the Mondays’ second full-length album called Bummed. When close-knit bands lose a member to tragic circumstances there exists a time of deep reflection followed by a re-evaluation period where remaining members make the critical decision to fold up the tent or to carry on. After losing singer Ian Curtis to suicide on the eve of their first U.S. tour, Bernard Sumner, Peter Hook and Stephen Morris of Joy Division decided to continue on, though they decided a name change was in order to escape the long shadow left by Curtis. Out of the ashes came New Order. For Rob Rowe of Cause & Effect, the untimely death of friend and co-founder Sean Rowley too put his hopes for the future in serious doubt. The tragic loss in many ways eclipsed the success of their self-titled debut album on Exile Records (which was later re-issued as Another Minute by BMG). That album spawned two top ten dance singles, including You Think You Know Her, which stands as the group’s pop chart high point. Unlike Joy Division, Rob made the decision to move forward under the C&E banner. He enlisted Keith Milo, a California-based electronic musician and, along with drummer Richard Shepherd, the band released their second full-length album, Trip, in 1994.             “Performing the tribute to Sean at the KROQ Acoustic Christmas Show in LA was a turning point,” explains Rowe in the band’s Offical bio, “The overwhelming support from the fans and audience made me realize that giving up just wasn’t an option.” “Coming in to Cause and Effect after Sean’s death was a scary thing to do,” adds Milo. “There was so much uncertainty. Sean was a genius with melody, he was irreplaceable. I think there was solace in the fact that we became a very different band at that point and we all felt that we were doing the right thing by continuing on.” Produced by the great Martyn Phillips, Trip contains the brilliant track appearing here, It’s Over Now. It ultimately climbed to #7 on Billboard’s modern rock charts, and was the band’s fourth release to appear on Billboard Hot 100 singles chart. The last artist I want to touch upon this go-round is Man Parrish. An Andy Warhol, Club 54 “freakazoid”, Man Parrish is responsible for a couple of the most enduring, innovative and influential tracks in the history of electronic music. I say a couple because as quickly as he arrived he vanished once again into relative obscurity. Arriving right at the juncture of the evolutionary electronic music tree where legendary producers like Arthur Baker and John Robie split from the Kraftwerk-infused trunk to create a portion of the hip-hop foundation with Soul Sonic Force’s track Planet Rock, Manny Parrish would split the other way, building upon the notes of Kraftwerk’s Autobahn that were no doubt trapped somewhere in his brain. Using a Roland TR-808 drum machine and two keyboards, he crafted Hip Hop Be Bop in his bedroom. In doing so, he became one of the early producers-turned-artists on the electronic music scene. In an interview, Man said of the track, “It was played in a really wide spectrum: in black hip-hop clubs, in white underground places like Danceteria, in after-hours clubs. The radio station pumped it like crazy because I did vocoder spots for them and in exchange for payment, they put my stuff into heavy rotation. When you first hear it, you think, ‘Huh, weird instrumental track.’ But the more you listen to it, it's like, 'This is really interesting.' It even happened to me: I used to hate it at first." Hip Hop Be Bop went on to sell over two million copies, but Parrish received almost nothing for his groundbreaking efforts. Much like innovation, ripping off artists was commonplace back then. As Parrish explains, “When I first started out I was so broke I made this song called Heatstroke as a soundtrack for a porno movie. Some DJ had sampled it off the movie, made an acetate, and somebody told me, ‘Hey they're playing your music at this club.’ I ran down to the club and all of a sudden my song came on. I asked the DJ, ‘Wait a minute, where'd you get that record? It's my music.’ He told me, ‘That's your music? Come down to the record company, they'll sign you on the spot.’" He goes on to say, “I got nothing--it was the classic first record rip-off deal. I would go to the label and literally beg for rent. The guy who owned it bought a plane, a house in Vermont, and a Porsche with a hand-carved dashboard. It was how everyone did it back then.” After suffering so many disappointments and massive burn-out, Parrish ended up a male prostitute for a spell to pay the bills. As many musicians as were influenced by him, Man Parrish inadvertently may have influenced thousands of lawyers as well as his story reads like a textbook case of copyright infringement, an issue which would come to the forefront of music as technology and sampling began to take hold during the 80s. That’s it for this episode. Thanks to everyone for tuning in and be sure to support the artists as they make this all possible. Barring any more hurricanes, I’ll be back soon with another episode. Cheers!