Podcasts about Frank Zappa

This episode took longer than normal to come up because, as you’ll see from the episode itself, I’m releasing it simultaneously with the next episode, on Frank Zappa. These two make up two parts of a three-part story, and I’m hoping to have part three, on Captain Beefheart, up before the end of the month. There will also be, between this and the next episode on the feed, a trailer for an exciting project I’m a minor part of. This episode is on “The Captain’s Fat Theresa Shoes” by the GTOs. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on “My Pal Foot-Foot” by the Shaggs. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ (more…)

This episode follows on from the episode on the GTOs. These two make up two parts of a three-part story, and I’m hoping to have part three, on Captain Beefheart, up before the end of the month. This episode is on “Peaches En Regalia” by Frank Zappa. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifty-five-minute bonus episode available, on “Song to the Siren” by Tim Buckley. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ (more…)

In this episode of the Crazy Wisdom Podcast, host Stewart Alsop speaks with Aaron Neyer, founder of Parachute and community organizer in Boulder, about knowledge management, extended minds, and the intersection of AI with human consciousness. They explore how Parachute functions as a digital brain tool for organizing thoughts and information across fragmented systems, discuss the dangers of AI psychosis and over-reliance on technology, and debate open source AI development versus controlled releases by companies like Anthropic. The conversation weaves through topics including the limitations of metrics-driven business thinking, consciousness and relevance realization, the value of technological sabbaths, and Aaron's hope for locally-run open source models that protect personal data while still accessing more powerful gated models when needed. You can find Aaron's writing at unforced.org and unforced.substack.com, and learn more about Parachute at parachute.computer and parachute.computer/blog.Timestamps00:00 Stewart welcomes Aaron Neyer, founder of Parachute and Boulder community organizer, discussing the origin of Parachute's name from Frank Zappa's quote about open minds.05:00 Aaron explains Parachute as an extended mind tool for organizing notes, contacts and information across multiple platforms, emphasizing the distinction between primary mind and extended mind as interconnected systems.10:00 Discussion shifts to metrics-driven business culture and the limitations of pure rationality, exploring how Google's data-driven approach misses subjective experience and the whole picture of relationships.15:00 Aaron discusses AI's ability to help identify relevant variables across different domains and the dangers of AI psychosis, comparing it to cult dynamics and belief systems.20:00 The conversation covers AI sabbaths and nineties retreats as intentional breaks from technology, plus Aaron's experiences with electrical engineering and using AI to design circuits with Arduinos.25:00 Exploring forbidden knowledge and open source AI, Aaron discusses Anthropic's guardrails around powerful models while arguing for distributed access to prevent concentration of power.30:00 Deep dive into open source AI strategy, with Aaron highlighting NVIDIA's approach and the potential for running capable models locally while reserving ultra-intelligent models for complex research tasks.35:00 Aaron shares his vision for local Sonnet-class models handling personal data while accessing Fable-class models for deep research, and directs listeners to unforced.org and parachute.computer for his writing.Key Insights1. The philosophy behind Parachute stems from Frank Zappa's quote that the mind is like a parachute and doesn't work if it isn't open. Aaron Neyer explains that having an open mind is valuable, but it must be balanced with deep roots to avoid becoming untethered. He has experienced periods in his life where excessive openness led him to feel disconnected, teaching him that creativity and expansion need to be grounded in something substantial. This same principle applies to how we organize information digitally, where openness and interoperability allow our extended minds to become more connected and coherent, which in turn helps our primary minds think more clearly.2. Parachute is designed as an extended mind tool that addresses the fragmentation problem in how we currently manage information. Most people use multiple disconnected tools like Obsidian, Notion, Apple Notes, Google Keep, and various CRMs to organize their thoughts, notes, and relationships. These systems don't communicate well with each other, creating inefficiency and confusion. Parachute aims to create a simple, intuitive system where all this information can be organized in one place with true interoperability, allowing users to own their data and have it speak effectively with other tools, ultimately making our entire extended mind more functional.3. Understanding ourselves as unified body mind organisms rather than fragmented parts is essential for effectiveness. Living systems theory shows that any living system is three things: a membrane bound dissipative structure, a self regulating autopoietic network, and a cognitive process actively knowing the world. Western civilization since Descartes and Galileo has created artificial separation between body and mind, and between subjective and objective experience, which limits our effectiveness. The same fragmentation affects our digital technology, and recognizing both our biological and digital systems as coherent wholes rather than disconnected parts makes us vastly more capable.4. The relationship between data driven approaches and holistic thinking reveals important limitations in modern business and science. While working at Google, Aaron observed how data driven decision making can be powerful, but over reliance on metrics like ROI creates blindness to crucial unmeasurable factors like goodwill and relationship quality. This reflects a broader Western tendency to exclude subjective experience because it's difficult for objective science to measure. However, emotions, relationships, and other subjective elements are essential parts of reality, and focusing only on quantifiable metrics means missing the whole picture and ultimately becoming less effective despite appearing more rational.5. AI accelerates the ability to work with technical complexity by helping with relevance realization across domains where we lack expertise. In any specialized field, experts develop intuitive senses for which variables matter and can quickly identify problems, whether in computer troubleshooting, music, or cooking. AI's ability to generalize allows it to point people toward relevant solutions in areas where they haven't developed that intuitive expertise, effectively democratizing technical capability. This means people can direct their creativity more effectively across more domains, though it also raises concerns about giving powerful capabilities to those who may lack the wisdom to use them responsibly.6. The question of open source AI versus gated access involves complex tradeoffs between democratizing power and preventing harm. Aaron respects Anthropic's approach of creating guardrails around powerful models like Mythos, which would likely have caused significant system hacks if released without restrictions. However, this creates concerning power dynamics where only wealthy companies, governments, and their allies have access to the most powerful tools. NVIDIA offers hope through their truly open source approach including full training pipelines, and there may be a viable path where open source models at the Sonnet capability level handle most tasks locally while more powerful Fable class models remain gated for the most demanding work.7. Creating intentional breaks from AI and technology is essential for maintaining clear independent thinking. Aaron practices an AI Sabbath at least one day per week when he doesn't interact with AI, and he finds these are the days when he does his best thinking and journaling. Without these breaks, he finds himself constantly jumping between journaling and prompting AI rather than giving himself space for deep reflection. This pattern mirrors broader concerns about AI consistency creating cult like dynamics similar to organized religion, where constant immersion in a belief system or technology can lead to losing the ability to think independently, making periodic disconnection crucial for maintaining cognitive autonomy and clarity.

The legendary Swamp Dogg returns to Songcraft after more than a decade to talk about, well, whatever he wants. And we're here for it! PART ONE Paul and Scott contemplate their second visit with Swamp DoggPART TWO Our in-depth interview with the original D-O-double G! ABOUT SWAMP DOGG R&B cult favorite Jerry “Swamp Dogg” Williams is best known as the co-writer, with Gary U.S. Bonds, of the cross-genre classic, “She's All I Got,” which became a Top 10 R&B single for Freddie North and a #2 country hit for Johnny Paycheck in 1971. Williams' career began in 1954 when, at the age of 12, he made his first record, “HTD Blues.” He found success in the 1960s, recording the Top 40 R&B hit “Baby You're My Everything” under the name Little Jerry Williams, and writing songs for other artists, including Gene Pitney's Top 20 Pop single, “She's a Heartbreaker.” He became Atlantic Records' first African American staff producer in 1968 but left the following year to pursue independent projects in Muscle Shoals, Alabama and Macon, Georgia. By the 1970s Swamp was an in-demand producer and songwriter, penning Top 40 R&B hits for Doris Duke, Arthur Conley, and Dee Dee Warwick.  Around the same time, he reinvented himself as Swamp Dogg, releasing a series of eccentric soul albums with lyrics marked by frank sexuality, biting satire, radical politics, and provocative social observations. His debut LP, Total Destruction to Your Mind, was eventually certified Gold, while subsequent releases, including Gag a Maggott, I'm Not Selling Out – I'm Buying In, An Awful Christmas and a Lousy New Year, and The White Man Made Me Do It garnered considerable accolades among underground music lovers and earned Swamp what one journalist described as “a cultural niche somewhere between Rudy Ray Moore and Frank Zappa.” In recent years, his vast catalog has been sampled by Kid Rock, Talib Kweli, DMX, and others. Having just turned 84, Swamp shows no signs of slowing down. Since we last spoke with him in 2015, he has released five albums, including a bluegrass-inspired project called Blackgrass and his most recent release, Swamp Dogg Contemplates the Afterlife.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this Record of the Week, John and Stewart dig into "Peaches en Regalia" by Frank Zappa, the opening track from his 1969 masterpiece Hot Rats. They break down the recording techniques Zappa used across the album and how those techniques shaped one of the most celebrated instrumentals in rock history. Along the way, John shares his own story of accidentally reinventing the same trick decades later, and why Hot Rats still sounds like nothing else ever made.

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

Vacaciones en Los Ángeles, verano 1966Viajamos a Los Ángeles en 1966. Los aromas de Laurel Canyon, las playas del Pacífico o el East Side llevan su luz hasta la decadencia Sunset Strip. La banda sonora de la ciudad es una amalgama de folk rock y garage, sunshine pop y psicodelia, guitarras reverberadas y armonías vocales, melodías cristalinas y ritmos oscuros. Disfruta del paseo.Playlist:THE BEACH BOYS “Wouldn’t it be nice”THE MAMAS and THE PAPAS “Got a feelin’”THE TURTLES “Grim reaper of love”THE BYRDS “Eight miles high”BUFFALO SPRINGFIELD “Nowadays Clancy can't even sing”KIM FOWLEY “The trip”FRANK ZAPPA and THE MOTHERS OF INVENTION “Hungry freaks, daddy”CAPTAIN BEEFHEART and HIS MAGIC BAND “Diddy wah diddy”THEE MIDNITERS “Love Special delivery”LOVE “7 and 7 is”THE SEEDS “Pushing too hard”THE STANDELLS “Sometimes good guys don’t wear white”THE LEAVES “Hey Joe”THE MUSIC MACHINE “Talk talk”THE GRAINS OF SAND “She needs me”W.C. FIELDS MEMORIAL ELECTRIC STRING BAND “I’m not your stepping stone”THE WEST COAST POP ART EXPERIMENTAL BAND “I won’t hurt you”THE MISUNDERSTOOD “My mind”THE DOORS “Strange days” (live, mayo 1966)Escuchar audio

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

YUH 262 is our latest installment of Aaron's music series, where he introduces Phil to an album he has never experienced in full before. This time it is Frank Zappa's classic from 1979, Sheik Yerbouti. This innovative masterpiece features such classics as Dancing Fool and Bobby Brown Goes Down in addition to deeper cuts that are sure to trigger your inner freak. This epic episode exceeded 3 hours, time well spent with our friends Maxx and Jeremy #zappa #sheikyerbouti #musicpodcast #profressiverock #guitarrock #Podcast #asn4life #bongofury #bobbybrowngoesdown #dancingfool YUH Theme by David T and Mojo 3 https://www.amazon.com/Insanity-Sobriety-Blues-David-Mojo3/dp/B091N8BJNBManiacal Music Musings on Spotifyhttps://open.spotify.com/show/1JnX3TTMFK1h6gudKtn4s0?si=TdPuFlLqRmW-7Iv1sNh2GwParanormal the new Normal on Spotifyhttps://open.spotify.com/show/5vqLstRlTn2LxBuPT8E5q2?si=A3hmdFaOSfCHnOXK-zamGQThe Payne Layre on the Anti Social Networkhttps://www.youtube.com/live/L8Bj-4WFmWg?is=kpz_YGnWvVvEkjTg Yeah Uh Huh Social Stuff:YUH on Linktr.eehttps://linktr.ee/YeahUhHuhPod?utm_source=linktree_profile_share<sid=eb8544bb-5067-4a1a-98b8-c674b9b2e937  Yeah Uh Huh on TikTok https://www.tiktok.com/@yeahuhhuhpodYeah Uh Huh on Facebookhttps://facebook.com/YeahUhHuhPodYeah Uh Huh on Spotifyhttps://open.spotify.com/show/7pS9l716ljEQLeMMxwihoS?si=27bd15fb26ed46aaYeah Uh Huh on Apple Podcastshttps://podcasts.apple.com/us/podcast/yeah-uh-huh/id1565097611Yeah Uh Huh Website:https://yeah-uh-huh.wixsite.com/yeahuhhuhpod

durée : 00:04:53 - Classic & Co - par : Anna Sigalevitch - Ce matin au programme de Classic & Co, une fresque musico-théâtrale, « 200 motels » de Frank Zappa qui se jouera du 18 au 28 juin à l'Opera de Genève. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

On this episode of The Daily Grateful, Michael takes a joyride straight through the Baby Boomer experience — from transistor radios and handwritten letters to Woodstock, rotary phones, and standing in line for concert tickets like it was a sacred mission from the rock-and-roll gods.Michael reflects on growing up in a world with no smartphones, no internet, and no GPS… just bicycles, neighborhood adventures, and parents yelling your full name when it got dark outside. Along the way, he shares stories about seeing Jerry Lee Lewis, the Dave Clark Five, Frank Zappa, and Jefferson Airplane back when concerts cost less than a large pizza today.But this episode is more than nostalgia. It's about resilience, gratitude, and being part of the last generation to experience an entirely analog childhood before the digital world took over. From polio vaccines to AM radio to the strange realization that radio may actually be making a comeback, this one is funny, heartfelt, quirky, and deeply human.Because maybe growing older doesn't make us obsolete.Maybe it makes us all part of living history.#DailyGrateful #MichaelCrose #BabyBoomers #LivingHistory #ClassicRock #OldSchoolCool #GratitudePodcast #BoomerLife #Storytelling #RadioDays #Nostalgia #WoodstockGeneration

The BOB & TOM Show — June 8, 20266:00 AM Hour 6:00 AM — Kristi discusses a bank-related story. 6:04 AM — Josh and Pat are out; Jeff joins the show. 6:10 AM — Tom talks about using his power washer. 6:14 AM — Discussion of National VHS Tape Day (June 7). 6:25 AM — Conversation about straight-to-VHS movies. 6:28 AM — Listener letter about visiting a local area and seeing donkeys everywhere. 6:30 AM — Listener letter about channeling the show and owning a bidet. 6:36 AM — Jeff talks about meeting his ex-wife at a concert. 6:47 AM — Listener letter about learning to sew from their mother. 6:47 AM — Listener letter about finding a Frank Zappa poster in a garage. 6:48 AM — Listener letter about magazines commonly found in military barracks. 6:53 AM — Chick discusses old advertising slogans. 7:05 AM — Discussion of memorable commercial sayings. 7:07 AM — Listener letter about a vasectomy billboard. 7:08 AM — Chick talks about his vasectomy. 7:10 AM — Listener letter involving a sporting event in Las Vegas. 7:11 AM — Sports update. 7:13 AM — Listener letter referencing sayings from Friday's show. 7:28 AM — Discussion about a woman who could not kiss and a story involving her mother. 7:33 AM — World record discussion involving a large foosball game. 7:34 AM — Tom explains why he dislikes foosball. 7:46 AM — Advice segment regarding body-image concerns. 7:50 AM — Kristi discusses head spas. 7:52 AM — Chick jokes about Tom shaking his head as if he has hair. 7:52 AM — Tom jokes about having phantom bangs. 8:05 AM — Discussion of repair cafés. 8:08 AM — Jeff introduces a character named Bruce Wang. 8:10 AM — Conversation about a local cat café and Tom's daughter. 8:24 AM — Discussion of rejected vanity license plates in Florida. 8:31 AM — Listener letter about a vanity license plate. 8:38 AM — Jeff shares an embarrassing story. 8:39 AM — Discussion about CD players. 8:48 AM — Jeff eats meat on the air. 8:49 AM — Today in History segment. 9:07 AM — Kristi discusses common reasons people cancel plans. 9:22 AM — Chick jokes about Tom's preferences. 9:33 AM — Discussion about what Jeff is doing at work, including a story involving an inappropriate photo message. 9:51 AM — Discussion of a large Lego basilica set containing 12,060 pieces. 7:00 AM Hour8:00 AM Hour9:00 AM Hour Learn more about your ad choices. Visit podcastchoices.com/adchoices

Sure, the worlds may be a bleak grayish hellscape, but there's always music!  We look at 1984 (The Orwell book, not the Van Halen album), Brave New World, the collected works of Philip K. Dick, and Frank Zappa and his rock opera Joe's Garage.  Then we get mad at a comic book.  

ATTT has been beyond honored to have had the immortal Fuzzbee Morse as a special guest on 9 of our episodes, and Top Ten Fuzzbee All-Stars is the best possible send off for the man who has everything. Fuzzbee is truly the Zelig of rock n roll, but with as much talent as the luminaries he has chummed around with over the decades. Fuzzbee's got this whole top ten list to himself, and his All-Stars are some true heavy hitters - some of the greatest to ever do it. Picks 5-1 are revealed here in Part 2.If you missed the fun we had in Part 1, go back!https://podcasts.apple.com/us/podcast/episode-723-top-ten-fuzzbee-all-stars-part-1-w-fuzzbee-morse/id573735994?i=1000770565677Please be enjoying the official Top Ten Fuzzbee All-Stars Playlist, featuring all songs heard in parts 1 & 2:https://open.spotify.com/playlist/1a1nl8jMDh4MT9lMmERSzZ?si=abe2d81b11b74f74For more Fuzzbee, consult your local https://www.fuzzbee.com/We've lowered our prices, but not our standards over at the ATTT Patreon! Those who are kindly contributing $2 a month are receiving an exclusive monthly Emergency Pod episode featuring our favorite guests and utilizing our patent-pending improv format in which we miraculously pull a playlist out of thin air. Emergency Pod 28 is out now, June 1st, featuring the Queen Of Emergency Pod, the great Shannon Hurley! Find out more at https://www.patreon.com/c/alltimetoptenWe're having a blast chatting about music over on the ATTT Facebook Group. Join us and start a conversation about music! https://www.facebook.com/groups/940749894391295The official ATTT1000 In Reverse playlist is here, featuring our list of the 1,000 Greatest Songs We've Ever Heard, presented in reverse order - from 1 - 1,000. Follow along here:https://open.spotify.com/playlist/6dlj1XfYJdciz6GIORYWkM?si=74d675e86ba342f8

More than 40 years after her death, the legend of Maria Callas, "La Divina Assoluta," remains unsurpassed. Much has been written about her sensational opera career and fraught private life, from her definitive mastery of iconic opera roles to her love affairs and tantrums. The prototype for the 20th century celebrity diva, Callas emblematizes the cliche of tormented talent - genius in the ring with catastrophe. Her extraordinary voice, in particular, has become an object of cult-like adoration and cultural significance almost with a life of its own: as fetish object, as sophisticated sonic signifier, and most recently, as the lifeblood for a Callas hologram. Such adoration is not without consequences. When Callas is transformed into a vessel for such transcendent magic, it overshadows what is perhaps her most superhuman ability - the masterful technique she deployed to shape and craft her astounding instrument. Singing bodies are working bodies, enacting an intimate and complex form of artistic labor and cultural signification. Using one of Callas's first recital recordings from 1954, Maria Callas's Lyric and Coloratura Arias (Bloomsbury, 2021) envisions each aria as a lens to examine various aspects of vocalization and cultural reception of the feminized voice in both classical and pop culture, from Homer's Sirens to Star Trek. With references to works by Marina Abramovic, Charles Baudelaire, Michel Chion, Wayne Koestenbaum, Greil Marcus, and Farah Jasmine Griffin, as well as films by Pier Paolo Pasolini, Jonathan Demme, and Rainer Werner Fassbinder, each chapter explores phenomena unique to the singing voice, including the operatic screaming point, the politics of listening, and the singing simulacrum. Ginger Dellenbaugh is a musician and historian who has written and lectured on music and politics, vernacular notation systems, and the cultural history of the voice. A trained opera singer, she performed for over a decade in Europe and the United States. Ginger is currently a lecturer at The New School in New York, USA and completing a PhD in musicology at Yale University, USA. She lives in New York City and Vienna, Austria. Ginger Dellenbaugh's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

More than 40 years after her death, the legend of Maria Callas, "La Divina Assoluta," remains unsurpassed. Much has been written about her sensational opera career and fraught private life, from her definitive mastery of iconic opera roles to her love affairs and tantrums. The prototype for the 20th century celebrity diva, Callas emblematizes the cliche of tormented talent - genius in the ring with catastrophe. Her extraordinary voice, in particular, has become an object of cult-like adoration and cultural significance almost with a life of its own: as fetish object, as sophisticated sonic signifier, and most recently, as the lifeblood for a Callas hologram. Such adoration is not without consequences. When Callas is transformed into a vessel for such transcendent magic, it overshadows what is perhaps her most superhuman ability - the masterful technique she deployed to shape and craft her astounding instrument. Singing bodies are working bodies, enacting an intimate and complex form of artistic labor and cultural signification. Using one of Callas's first recital recordings from 1954, Maria Callas's Lyric and Coloratura Arias (Bloomsbury, 2021) envisions each aria as a lens to examine various aspects of vocalization and cultural reception of the feminized voice in both classical and pop culture, from Homer's Sirens to Star Trek. With references to works by Marina Abramovic, Charles Baudelaire, Michel Chion, Wayne Koestenbaum, Greil Marcus, and Farah Jasmine Griffin, as well as films by Pier Paolo Pasolini, Jonathan Demme, and Rainer Werner Fassbinder, each chapter explores phenomena unique to the singing voice, including the operatic screaming point, the politics of listening, and the singing simulacrum. Ginger Dellenbaugh is a musician and historian who has written and lectured on music and politics, vernacular notation systems, and the cultural history of the voice. A trained opera singer, she performed for over a decade in Europe and the United States. Ginger is currently a lecturer at The New School in New York, USA and completing a PhD in musicology at Yale University, USA. She lives in New York City and Vienna, Austria. Ginger Dellenbaugh's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

More than 40 years after her death, the legend of Maria Callas, "La Divina Assoluta," remains unsurpassed. Much has been written about her sensational opera career and fraught private life, from her definitive mastery of iconic opera roles to her love affairs and tantrums. The prototype for the 20th century celebrity diva, Callas emblematizes the cliche of tormented talent - genius in the ring with catastrophe. Her extraordinary voice, in particular, has become an object of cult-like adoration and cultural significance almost with a life of its own: as fetish object, as sophisticated sonic signifier, and most recently, as the lifeblood for a Callas hologram. Such adoration is not without consequences. When Callas is transformed into a vessel for such transcendent magic, it overshadows what is perhaps her most superhuman ability - the masterful technique she deployed to shape and craft her astounding instrument. Singing bodies are working bodies, enacting an intimate and complex form of artistic labor and cultural signification. Using one of Callas's first recital recordings from 1954, Maria Callas's Lyric and Coloratura Arias (Bloomsbury, 2021) envisions each aria as a lens to examine various aspects of vocalization and cultural reception of the feminized voice in both classical and pop culture, from Homer's Sirens to Star Trek. With references to works by Marina Abramovic, Charles Baudelaire, Michel Chion, Wayne Koestenbaum, Greil Marcus, and Farah Jasmine Griffin, as well as films by Pier Paolo Pasolini, Jonathan Demme, and Rainer Werner Fassbinder, each chapter explores phenomena unique to the singing voice, including the operatic screaming point, the politics of listening, and the singing simulacrum. Ginger Dellenbaugh is a musician and historian who has written and lectured on music and politics, vernacular notation systems, and the cultural history of the voice. A trained opera singer, she performed for over a decade in Europe and the United States. Ginger is currently a lecturer at The New School in New York, USA and completing a PhD in musicology at Yale University, USA. She lives in New York City and Vienna, Austria. Ginger Dellenbaugh's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

More than 40 years after her death, the legend of Maria Callas, "La Divina Assoluta," remains unsurpassed. Much has been written about her sensational opera career and fraught private life, from her definitive mastery of iconic opera roles to her love affairs and tantrums. The prototype for the 20th century celebrity diva, Callas emblematizes the cliche of tormented talent - genius in the ring with catastrophe. Her extraordinary voice, in particular, has become an object of cult-like adoration and cultural significance almost with a life of its own: as fetish object, as sophisticated sonic signifier, and most recently, as the lifeblood for a Callas hologram. Such adoration is not without consequences. When Callas is transformed into a vessel for such transcendent magic, it overshadows what is perhaps her most superhuman ability - the masterful technique she deployed to shape and craft her astounding instrument. Singing bodies are working bodies, enacting an intimate and complex form of artistic labor and cultural signification. Using one of Callas's first recital recordings from 1954, Maria Callas's Lyric and Coloratura Arias (Bloomsbury, 2021) envisions each aria as a lens to examine various aspects of vocalization and cultural reception of the feminized voice in both classical and pop culture, from Homer's Sirens to Star Trek. With references to works by Marina Abramovic, Charles Baudelaire, Michel Chion, Wayne Koestenbaum, Greil Marcus, and Farah Jasmine Griffin, as well as films by Pier Paolo Pasolini, Jonathan Demme, and Rainer Werner Fassbinder, each chapter explores phenomena unique to the singing voice, including the operatic screaming point, the politics of listening, and the singing simulacrum. Ginger Dellenbaugh is a musician and historian who has written and lectured on music and politics, vernacular notation systems, and the cultural history of the voice. A trained opera singer, she performed for over a decade in Europe and the United States. Ginger is currently a lecturer at The New School in New York, USA and completing a PhD in musicology at Yale University, USA. She lives in New York City and Vienna, Austria. Ginger Dellenbaugh's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

More than 40 years after her death, the legend of Maria Callas, "La Divina Assoluta," remains unsurpassed. Much has been written about her sensational opera career and fraught private life, from her definitive mastery of iconic opera roles to her love affairs and tantrums. The prototype for the 20th century celebrity diva, Callas emblematizes the cliche of tormented talent - genius in the ring with catastrophe. Her extraordinary voice, in particular, has become an object of cult-like adoration and cultural significance almost with a life of its own: as fetish object, as sophisticated sonic signifier, and most recently, as the lifeblood for a Callas hologram. Such adoration is not without consequences. When Callas is transformed into a vessel for such transcendent magic, it overshadows what is perhaps her most superhuman ability - the masterful technique she deployed to shape and craft her astounding instrument. Singing bodies are working bodies, enacting an intimate and complex form of artistic labor and cultural signification. Using one of Callas's first recital recordings from 1954, Maria Callas's Lyric and Coloratura Arias (Bloomsbury, 2021) envisions each aria as a lens to examine various aspects of vocalization and cultural reception of the feminized voice in both classical and pop culture, from Homer's Sirens to Star Trek. With references to works by Marina Abramovic, Charles Baudelaire, Michel Chion, Wayne Koestenbaum, Greil Marcus, and Farah Jasmine Griffin, as well as films by Pier Paolo Pasolini, Jonathan Demme, and Rainer Werner Fassbinder, each chapter explores phenomena unique to the singing voice, including the operatic screaming point, the politics of listening, and the singing simulacrum. Ginger Dellenbaugh is a musician and historian who has written and lectured on music and politics, vernacular notation systems, and the cultural history of the voice. A trained opera singer, she performed for over a decade in Europe and the United States. Ginger is currently a lecturer at The New School in New York, USA and completing a PhD in musicology at Yale University, USA. She lives in New York City and Vienna, Austria. Ginger Dellenbaugh's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices

More than 40 years after her death, the legend of Maria Callas, "La Divina Assoluta," remains unsurpassed. Much has been written about her sensational opera career and fraught private life, from her definitive mastery of iconic opera roles to her love affairs and tantrums. The prototype for the 20th century celebrity diva, Callas emblematizes the cliche of tormented talent - genius in the ring with catastrophe. Her extraordinary voice, in particular, has become an object of cult-like adoration and cultural significance almost with a life of its own: as fetish object, as sophisticated sonic signifier, and most recently, as the lifeblood for a Callas hologram. Such adoration is not without consequences. When Callas is transformed into a vessel for such transcendent magic, it overshadows what is perhaps her most superhuman ability - the masterful technique she deployed to shape and craft her astounding instrument. Singing bodies are working bodies, enacting an intimate and complex form of artistic labor and cultural signification. Using one of Callas's first recital recordings from 1954, Maria Callas's Lyric and Coloratura Arias (Bloomsbury, 2021) envisions each aria as a lens to examine various aspects of vocalization and cultural reception of the feminized voice in both classical and pop culture, from Homer's Sirens to Star Trek. With references to works by Marina Abramovic, Charles Baudelaire, Michel Chion, Wayne Koestenbaum, Greil Marcus, and Farah Jasmine Griffin, as well as films by Pier Paolo Pasolini, Jonathan Demme, and Rainer Werner Fassbinder, each chapter explores phenomena unique to the singing voice, including the operatic screaming point, the politics of listening, and the singing simulacrum. Ginger Dellenbaugh is a musician and historian who has written and lectured on music and politics, vernacular notation systems, and the cultural history of the voice. A trained opera singer, she performed for over a decade in Europe and the United States. Ginger is currently a lecturer at The New School in New York, USA and completing a PhD in musicology at Yale University, USA. She lives in New York City and Vienna, Austria. Ginger Dellenbaugh's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

More than 40 years after her death, the legend of Maria Callas, "La Divina Assoluta," remains unsurpassed. Much has been written about her sensational opera career and fraught private life, from her definitive mastery of iconic opera roles to her love affairs and tantrums. The prototype for the 20th century celebrity diva, Callas emblematizes the cliche of tormented talent - genius in the ring with catastrophe. Her extraordinary voice, in particular, has become an object of cult-like adoration and cultural significance almost with a life of its own: as fetish object, as sophisticated sonic signifier, and most recently, as the lifeblood for a Callas hologram. Such adoration is not without consequences. When Callas is transformed into a vessel for such transcendent magic, it overshadows what is perhaps her most superhuman ability - the masterful technique she deployed to shape and craft her astounding instrument. Singing bodies are working bodies, enacting an intimate and complex form of artistic labor and cultural signification. Using one of Callas's first recital recordings from 1954, Maria Callas's Lyric and Coloratura Arias (Bloomsbury, 2021) envisions each aria as a lens to examine various aspects of vocalization and cultural reception of the feminized voice in both classical and pop culture, from Homer's Sirens to Star Trek. With references to works by Marina Abramovic, Charles Baudelaire, Michel Chion, Wayne Koestenbaum, Greil Marcus, and Farah Jasmine Griffin, as well as films by Pier Paolo Pasolini, Jonathan Demme, and Rainer Werner Fassbinder, each chapter explores phenomena unique to the singing voice, including the operatic screaming point, the politics of listening, and the singing simulacrum. Ginger Dellenbaugh is a musician and historian who has written and lectured on music and politics, vernacular notation systems, and the cultural history of the voice. A trained opera singer, she performed for over a decade in Europe and the United States. Ginger is currently a lecturer at The New School in New York, USA and completing a PhD in musicology at Yale University, USA. She lives in New York City and Vienna, Austria. Ginger Dellenbaugh's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Show #1152 Future Of The Blues 01. Danny Marks - Blues Of The Future (4:30) (Back to the Blues, Cabbagetunes Records, 2026) 02. Brother Jacob - Don't Let The Devil Ride (4:34) (Single, self-release, 2026) 03. Denise La Grassa - Go Bad Mouth Yourself (4:27) (A Crossroads Communion, self-release, 2026) 04. Danielle Nicole - Tug of War (3:46) (Fireflies, Forty Below Records, 2026) 05. Brinsley Schwarz - Nothing Is What It Seems (4:44) (Shouting At The Moon, Fretsore Records, 2025) 06. GA-20 with Charlie Musselwhite - I Can't Hold Out (2:28) (Blues Now, New West Records, 2026) 07. Rory Block - Future Blues (3:09) (Best Blues And Originals, Rouder Records, 1988) 08. Canned Heat - Future Blues (2:58) (Future Blues, Liberty Records, 1970) 09. Delvon Lamarr Organ Trio - Chicken Leg (4:23) (Single, Colemine Records, 2026) 10. Jodi Stapler - Mourning Dove Calling (4:09) (Metamorphosis, self-release, 2026) 11. Joey Quiñones - There Must Be Something (3:30) (Inna Soul Steady Situation, Colemine Records, 2026) 12. Blind Dog Mayer Group - Harley Rider (5:49) (Live Studio Session: From The Shadow Of The Castle, Blues Note Records, 2026) 13. Shaun Murphy - Take My Kiss Up Off Your Lips (3:14) (Brand New Blues, Vision Wall Records, 2026) 14. Harrell "Young Rell" Davenport - I'll Be Tryin' (4:40) (Young Rell, Little Village Records, 2026) 15. Greg Piccolo & Heavy Juice - Who Knows What The Future Holds (4:32) (Who Knows What The Future Holds, MoMojo Records, 2026) 16. Treat Her Right - Picture Of The Future (2:45) (Tied To The Tracks, RCA Records, 1989) 17. TuskHead - Dutchicana (Ain't Country Enough) (2:39) (One Step Forward & Two Steps Back, Migrant Records, 2026) 18. PK Mayo - Arms Of The Blues (9:34) (All Before Yesterday, New Folk Records, 2026) 19. Frank Zappa (ft. Ike Willis) - Bamboozled By Love (5:43) (Tinsel Town Rebellion, Barking Pumpkin Records, 1981) 20. Frank Zappa - Soup 'N Old Clothes (7:56) (Shut Up 'N Play Yer Guitar, Barking Pumpkin Records, 1981) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

NSS's musical direction is stylistically hard to pin down as he refuses to be categorized, bracketed, nailed down, pinpointed, shepherded, or grouped but one might suggest, taking a little Frank Zappa, adding a generous portion of The Allman Brother's Band, throwing in a dash of Harry Chapin then mix thoroughly with the essence of King Diamond, chill, distill through a Jean Michele Jarre filter, and serve with a slice of attitude on the side. Noel visited the Flamingo Lounge on May 13, 2026 to talk about and share his music.

Eric Olander on how the Global South is reading the Beijing summitsThis week I'm joined again by Eric Olander, founder of the China Global South Project, which runs the most indispensable English-language operation going for understanding China's engagement with Africa, Latin America, Southeast Asia, and the Middle East.I came in with a plan: map, region by region, how the capitals of the Global South were reading the back-to-back Trump and Putin visits to Beijing — relief at a steadier U.S.-China modus vivendi, or foreboding at a G2 condominium squeezing shut their room to maneuver. Eric dismantled the premise within ten minutes. The honest answer, he warned me, is that most of the Global South simply isn't watching the way we are — and the disappointment turned out to be the most interesting thing in the room. What looked like the absence of a story was the story. I'd built my questions around one assumption about what mattered; Eric had built his answers around another, and I cop to being schooled.Once you set the summit framing aside, what Eric's contributors are actually seeing comes into focus: Japan racing to recenter an Asia-Pacific security architecture, a region quietly de-risking from an unreliable United States, fresh cracks in the BRICS, Justin Yifu Lin's “three moves” for Chinese manufacturing, Latin America's “find out” phase, and a Gulf where the Chinese setback so many in Washington insist must exist simply isn't there. We get into all of it — and close on the summit as a remarkable piece of theater, the first since 1945 at which no one quite knew who the most powerful person in the room was.04:27 — The dominant mood: pro forma coverage, exhaustion, and bigger problems at home08:15 — Breaking news: the paused $14B Taiwan arms package and the canceled Colby trip11:15 — The dog that caught the truck: China and the costs of a receding U.S. umbrella13:00 — "Constructive strategic stability" — new equilibrium or just choreography?28:23 — The snub: Beijing sends only an ambassador to the BRICS meeting in New Delhi37:56 — Africa: tariff-free access, the trade imbalance, and Kenya's "collapsed" exports44:34 — Justin Yifu Lin's "three moves": move up-market, localize, move south51:00 — Latin America's "find out" phase in Panama, and very low China literacy57:35 — The Gulf after the war on Iran: who really won?Paying it Forward:Boston University's Global Development Policy (GDP) Research CenterRecommendationsEric: A “rabbit hole” of books on Xi Jinping, currently Party of One by Chun Han Wong (after Kevin Rudd's On Xi Jinping).Kaiser: Angine de Poitrine, a “microtonal math rock” duo from Quebec — think Frank Zappa meets King Crimson — possibly the thing to breathe new life into progressive rock.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week, Red and Jodie are joined by Mike from WFOD to go through "The Songs That Piss Us Off." Can a creepy "Herbert the Pervert" kind of song beat a song about peeing and how much it hurts? YOU be the JUDGE!Steely Dan - Everyone's Gone To The MoviesVSFrank Zappa - Why Does It Burn When I Pee?Follow Mike ⁠on Twitter @WFODShowAnd visit his show's website!!Listen to their show HERE.Vote via ⁠⁠⁠⁠Twitter⁠⁠⁠⁠, ⁠⁠⁠⁠Discord OR under the episode description on Spotify.Join the ⁠⁠⁠⁠Patreon⁠⁠⁠⁠Join the ⁠Discord⁠

This week on Radio Labyrinth Podcast, Tim leads us through another round of pop culture chaos as the entertainment machine continues eating itself.We're talking Dungeon Crawler Carl Book 8 updates, The Boys finale, the passing of Frank Zappa collaborator Ike Willis, and the news that a new Godfather story focused on Connie Corleone is on the way.Plus, Shark Tank is moving production to Atlanta, South Park has a Season 29 premiere date, and AI is now turning vintage adult magazine spreads into movies because apparently we weren't cursed enough already.In Trailer Trash, we check out HBO's Lanterns and the wild South Korean sci-fi thriller HOPE. Then we hit Views or Snooze with Maximum Pleasure Guaranteed, The Boroughs, and Ladies First, before wrapping up with staff picks.Grab your remote, lower your expectations, and join us as we ask: is pop culture evolving, or just rebooting itself into oblivion?Subscribe, like, comment, and step into the Labyrinth.

We kick off with News with Nick! D4VD is getting pulled from streaming services following gruesome murder charges, Kanye owes some royalties, and Weird Al is coming to Broadway. Plus, Nick did his homework and discusses his thoughts on Heavy Metal Parking Lot and updates the guys on his Sopranos progress.Song: Frank Zappa - “Joe's Garage”Next, Greg brings us a Three for Thursday. We listen to Nels Cline's blazing solo on a Wilco track, dig into a Bruce Hornsby classic, and close with some classic Aphex Twin.Songs:Wilco - “Side with the Seeds”Bruce Hornsby - “The Way It Is (Live - 1998/99)”Aphex Twin - “T69 Collapse”We end the show with a hot bowl of Jay's Jambalaya. Ike Willis was a staple of Frank Zappa's ensemble from 1979 until Zappa's final tour in 1988. A versatile guitarist and vocalist, we listen to some of his notable contributions to the Zappa discography. Willis passed last week at the age of 70. Next, we learn about Fender's desperate attempt to prevent other guitar manufacturers' from building ‘S' shaped guitars, despite losing a patent case in the U.S. years ago. Finally, Jay brings us up to speed on his trip to LA.Song: Frank Zappa - “Outside Now (Live)”

Jon tries getting campy while Chris brings up song lyrics inside every round-- PLUS American beef prices-- favorability-- Eddy Arnold-- Elvis Presley-- AI-- the Mascot Hall of Fame-- little known American museums-- Stevie Wonder-- Chad Mitchell Trio-- The Surfaris-- Ike Willis and Frank Zappa-- metacognition-- and so much more!  

The word "like" has been around for centuries, but it reached a new cultural prominence in the 1980s, partially thanks to Frank Zappa's song "Valley Girl." Since then, "like" has taken on a life of its own, inspiring strong emotions. This hour, we look at the meaning and evolution of "like." Plus, how movies like the now 30-year-old Clueless have impacted our language. GUESTS: Megan C. Reynolds: Former editor at Dwell and author of Like: A History of the English Language’s Most Hated (and Misunderstood) Word Kory Stamper: Lexicographer and author of Word By Word: The Secret Life of Dictionaries Veronica Litt: English Professor and author of Ugh! As If!: Clueless The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Join the conversation on Facebook and Twitter. Colin McEnroe, Dylan Reyes, Robyn Doyon-Aitken, and Isaac Moss contributed to this show, which originally aired August 20, 2025.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Peter Dasent is an incredibly versatile pianist, composer, and musical director best known for his long tenure as the resident keyboardist on ABC’s Play School, a role he has held for over two decades. While he is well known for his daily on-set improvisations for children, his impressive resume also includes leading his chamber-jazz ensemble The Umbrellas for over 30 years, as well as composing soundtracks for early Peter Jackson films like Meet The Feebles and Heavenly Creatures. We chat with Peter about that amazing history, his approach to playing and composing across so many different genres, and lots more. To listen / watch: Audio-only: click on the play button in the audio player above, or: Video: watch the embedded video below or check it and previous episodes out on our YouTube Channel Discussion topics covered during the show (links will open in new tab):   The iconic, and Cookie Monster endorsed, Play School, turns 60 Peter’s musical upbringing Forming SPATS alongside Fane Flaws SPATS – New Wave Goodbye Joining The Crocodiles alongside the brilliant Jenny Morris The Crocodiles – Telephone Lover The very interesting Kim Fowley Peter’s admiration of Steve Nieve’s work The Crocodiles – Tears The underadmired (and according to Peter, Mushroom Records’ worst selling album ever): I Am Joe’s Music (Self-Titled) The inimitable Lobby Loyde Formation of The Umbrellas The Umbrellas live Some timely advice from Don Burrows Moving into film composition Peter’s work on Peter Jackson’s Meet The Feebles The composition and recording process for Meet The Feebles Working on Peter Jackson’s  Braindead / Dead Alive The legendary E-mu Proteus 2 Working on Peter Jackon’s Heavenly Creatures Working as the Pianist on Play School Discussion on the level of improvisation required on set of Play School Pivoting on the fly between musical genres on Play School Working with Justine Clarke Peter in action live with Justine Clarke Peter’s solo work including Songs for Solo Piano Peter in action in Studio 3 at Abbey Road Sterling Sound in New York Desert Island Discs: Sgt Pepper’s Lonely Hearts Club Band – The Beatles, Satie: Works for Piano – Aldo Ciccolini, Plays Duke Ellington – Thelonius Monk, The Fellini Album: The Film Music of Nino Rota: Nino Rota, Hot Rats – Frank Zappa. Key links: Become a member of our YouTube channel and receive extra content Buy some keyboard related merchandise Drop us a line via the website, Facebook, Instagram, Reddit, Threads, BlueSky, TikTok or LinkedIn Complete our audience survey to help us improve! Check out our podcast guest playlist on Spotify to get a taste of each guest’s creations.The post Peter Dasent, Pianist / Play School / The Umbrellas appeared first on The Keyboard Chronicles.

Did you say you want some more? Well here's some more! In part two of our discussion of the drummers of FZ, drummers Joe and Bill school non-drummer Scott about the finer points of Frank's drumming royalty, replete with super-exciting insights and high-level geeking out. It's a good time, don't ya know!

This week Tom and Julie watch clips of John Mellencamp roasting a fan, Cillian Murphy revealing he is a massive Frank Zappa fan, and a deep dive into talk show drill sergeants. Plus a check in with Producer Carson after staying the night in a "murder motel" in Las Vegas, and the reveal of the first Double Threat tattoo from friend of the show Brian!CLIPS FROM THIS WEEK'S EPISODE:-Sgt. Juluhttps://www.youtube.com/watch?v=bPOzalOHLTw-John Mellencamp roasts a fanhttps://youtube.com/shorts/J4oAF_gbt64?si=XhLdCtwfFM8s9Aq6-Cillian Murphy reveals he is a massive Frank Zappa fanhttps://www.instagram.com/reel/DWY-kfmkcOu/?igsh=NTc4MTIwNjQ2YQ==Patreon is the best way to support Double Threat! Your support keeps the show going and we appreciate it more than we can say. Plus you get weekly bonus episodes, access to monthly livestreams, merch store discounts, and more!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://patreon.com/doublethreatpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Our brand new Double Threat merch is AVAILABLE NOW at https://doublethreatpod.merchtable.comWATCH VIDEO CLIPS OF DOUBLE THREAT⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/@doublethreatpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JOIN THE DOUBLE THREAT FAN GROUPS*Discord⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://discord.com/invite/PrcwsbuaJx⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠*Reddit⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.reddit.com/r/doublethreatfriends/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠*Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://www.facebook.com/groups/doublethreatfriends⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SEND SUBMISSIONS TO⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠DoubleThreatPod@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠FOLLOW DOUBLE THREAT⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/doublethreatpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/doublethreatpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PAY PIGS ONLYhttps://www.amazon.com/hz/wishlist/ls/1Y826FGBNP19R?ref_=wl_shareDOUBLE THREAT IS A FOREVER DOG PODCAST⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://foreverdogpodcasts.com/podcasts/double-threat⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Theme song by Mike KrolArtwork by Joe Frontel00:00 Intro01:07 The Devil Wears Prada 203:43 Public domain14:02 Las Vegas32:17 BTS: THE RETURN41:16 Sgt. Julu48:16 Back to Las Vegas56:57 Double Threat tattoo58:51 John Mellencamp roasts a fan01:01:46 Cillian Murphy reveals he loves Frank Zappa 1:05:0001:15:53 OutroSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When things get old, will they still work? If hardware devices depend on software or firmware, will you still be able to use them? Those receivers and active speakers that require software to run; will they work in twenty years? Help support The Next Track by making regular donations via Patreon. We're ad-free and self-sustaining so your support is what keeps us going. Thanks! Show notes Episode #332: Old is New Again The Twilight Zone: The Complete Series Blu-ray Our next tracks: Bernard Herrmann: The Twilight Zone Television Series Score Re-recording Frank Zappa & The Mothers of Invention:One Size Fits All If you like the show, please subscribe in Apple Podcasts or your favorite podcast app, and please rate the podcast.

Nicholas Tochka analyzes the role of rock music in the life of Charles Manson, the Family, and the August 1969 Tate-LaBianca killings, which also gives larger insight into Sixties counterculture. Failed singer-songwriter. Devious cult leader. A rock Pied Piper. The product of a sick society. Just another dime-a-dozen singing hippy mystic. Did the guitar-playing guru personify the violence that the rock counterculture inflicted on America? Or did his music diagnose the dehumanizing effects of that society's broken institutions? For over five decades, commentators have debated the meaning of Charles Manson and the Tate-LaBianca killings. Rock music links their narratives: from the acid drenched singalongs at the Spahn Movie Ranch, to a bizarre theology centered on Beatles songs, to his commune's alleged links with Hollywood's elite, to an album, LIE: The Love and Terror Cult (1970). In this first comprehensive examination of the Manson Family's music, Nicholas Tochka writes with, against, and alongside the many authors-true-crime hacks, gonzo journalists, conspiracy theorists, and rock critics alike-who have told and retold the story of "the Manson murders." Playing the truth games that these postwar Americans helped invent, The Musical Lives of Charles Manson: The Beatles, the Beach Boys, and the Invention of the Sixties (Bloomsbury, 2026) presents a new take on the story of the commune-and on rock's role in fracturing the possibility of writing trustworthy histories after the Sixties. "They are afraid of it, because it tells the truth," Manson once claimed, describing his music. Just what truths did the Manson Family's music-making tell? Nicholas Tochka is Associate Professor of Music (Ethnomusicology) at the University of Melbourne, Australia, and the author of several books including Rocking In the Free World: Music and the Politics of Freedom in Postwar America and Audible States: Socialist Politics and Popular Music in Albania. His work examines the politics of music-making in the postwar world. Nicholas on the University of Melbourne's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Nicholas Tochka analyzes the role of rock music in the life of Charles Manson, the Family, and the August 1969 Tate-LaBianca killings, which also gives larger insight into Sixties counterculture. Failed singer-songwriter. Devious cult leader. A rock Pied Piper. The product of a sick society. Just another dime-a-dozen singing hippy mystic. Did the guitar-playing guru personify the violence that the rock counterculture inflicted on America? Or did his music diagnose the dehumanizing effects of that society's broken institutions? For over five decades, commentators have debated the meaning of Charles Manson and the Tate-LaBianca killings. Rock music links their narratives: from the acid drenched singalongs at the Spahn Movie Ranch, to a bizarre theology centered on Beatles songs, to his commune's alleged links with Hollywood's elite, to an album, LIE: The Love and Terror Cult (1970). In this first comprehensive examination of the Manson Family's music, Nicholas Tochka writes with, against, and alongside the many authors-true-crime hacks, gonzo journalists, conspiracy theorists, and rock critics alike-who have told and retold the story of "the Manson murders." Playing the truth games that these postwar Americans helped invent, The Musical Lives of Charles Manson: The Beatles, the Beach Boys, and the Invention of the Sixties (Bloomsbury, 2026) presents a new take on the story of the commune-and on rock's role in fracturing the possibility of writing trustworthy histories after the Sixties. "They are afraid of it, because it tells the truth," Manson once claimed, describing his music. Just what truths did the Manson Family's music-making tell? Nicholas Tochka is Associate Professor of Music (Ethnomusicology) at the University of Melbourne, Australia, and the author of several books including Rocking In the Free World: Music and the Politics of Freedom in Postwar America and Audible States: Socialist Politics and Popular Music in Albania. His work examines the politics of music-making in the postwar world. Nicholas on the University of Melbourne's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Nicholas Tochka analyzes the role of rock music in the life of Charles Manson, the Family, and the August 1969 Tate-LaBianca killings, which also gives larger insight into Sixties counterculture. Failed singer-songwriter. Devious cult leader. A rock Pied Piper. The product of a sick society. Just another dime-a-dozen singing hippy mystic. Did the guitar-playing guru personify the violence that the rock counterculture inflicted on America? Or did his music diagnose the dehumanizing effects of that society's broken institutions? For over five decades, commentators have debated the meaning of Charles Manson and the Tate-LaBianca killings. Rock music links their narratives: from the acid drenched singalongs at the Spahn Movie Ranch, to a bizarre theology centered on Beatles songs, to his commune's alleged links with Hollywood's elite, to an album, LIE: The Love and Terror Cult (1970). In this first comprehensive examination of the Manson Family's music, Nicholas Tochka writes with, against, and alongside the many authors-true-crime hacks, gonzo journalists, conspiracy theorists, and rock critics alike-who have told and retold the story of "the Manson murders." Playing the truth games that these postwar Americans helped invent, The Musical Lives of Charles Manson: The Beatles, the Beach Boys, and the Invention of the Sixties (Bloomsbury, 2026) presents a new take on the story of the commune-and on rock's role in fracturing the possibility of writing trustworthy histories after the Sixties. "They are afraid of it, because it tells the truth," Manson once claimed, describing his music. Just what truths did the Manson Family's music-making tell? Nicholas Tochka is Associate Professor of Music (Ethnomusicology) at the University of Melbourne, Australia, and the author of several books including Rocking In the Free World: Music and the Politics of Freedom in Postwar America and Audible States: Socialist Politics and Popular Music in Albania. His work examines the politics of music-making in the postwar world. Nicholas on the University of Melbourne's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Nicholas Tochka analyzes the role of rock music in the life of Charles Manson, the Family, and the August 1969 Tate-LaBianca killings, which also gives larger insight into Sixties counterculture. Failed singer-songwriter. Devious cult leader. A rock Pied Piper. The product of a sick society. Just another dime-a-dozen singing hippy mystic. Did the guitar-playing guru personify the violence that the rock counterculture inflicted on America? Or did his music diagnose the dehumanizing effects of that society's broken institutions? For over five decades, commentators have debated the meaning of Charles Manson and the Tate-LaBianca killings. Rock music links their narratives: from the acid drenched singalongs at the Spahn Movie Ranch, to a bizarre theology centered on Beatles songs, to his commune's alleged links with Hollywood's elite, to an album, LIE: The Love and Terror Cult (1970). In this first comprehensive examination of the Manson Family's music, Nicholas Tochka writes with, against, and alongside the many authors-true-crime hacks, gonzo journalists, conspiracy theorists, and rock critics alike-who have told and retold the story of "the Manson murders." Playing the truth games that these postwar Americans helped invent, The Musical Lives of Charles Manson: The Beatles, the Beach Boys, and the Invention of the Sixties (Bloomsbury, 2026) presents a new take on the story of the commune-and on rock's role in fracturing the possibility of writing trustworthy histories after the Sixties. "They are afraid of it, because it tells the truth," Manson once claimed, describing his music. Just what truths did the Manson Family's music-making tell? Nicholas Tochka is Associate Professor of Music (Ethnomusicology) at the University of Melbourne, Australia, and the author of several books including Rocking In the Free World: Music and the Politics of Freedom in Postwar America and Audible States: Socialist Politics and Popular Music in Albania. His work examines the politics of music-making in the postwar world. Nicholas on the University of Melbourne's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

NEW FOR MAY 1, 2026 Is it the beat or knock and know all . . . Danger Knocks - The Best Radio You Have Never Heard Vol. 531 1. In The Light (live) - Jimmy Page with The Black Crowes 2. Slippery People (live) - David Byrne 3. Over You / Eight Miles High - Roxy Music 4. Angels (Footsteps) (live) - Jeff Beck 5. All The Rowboats - Regina Spektor 6. Asking For A Friend - Foo Fighters 7. Smuggler's Blues (live) - Eagles 8. Take It To The Limit / All Along The Watchtower (live) - Dave Mason 9. Little One - Jimi Hendrix Experience w/ Dave Mason and Brian Jones 10. Low Spark Of High Heeled Boys (live) - Dave Mason 11. Harlan County Line (live unplugged) - Dave Alvin 12. Reuben's Train (live) - Harry Manx 13. The Torture Never Stops (live) - Frank Zappa w/ Adrian Belew 14. Till Your Mind Is Shining - Peter Gabriel 15. Carnival Of Sorts (Boxcars) (live) - R.E.M. 16. Coyote / Don Juan's Reckless Daughter (live) - Joni Mitchell 17. TNK (live) - 801 18. Pasaquan - Tedeschi Trucks Band The Best Radio You Have Never Heard. Musical danger since 2004 Accept No Substitute. Click to leave comments on the Facebook page.

Sheffield punches well above its weight when it comes to tunes. From #1 synth-pop hits to underground techno classics, clattering industrial funk to accidental Britpop icons, the Steel City might have produced more brilliant music per capita than any other world metropolis.And yet, no one has published the definitive book on the subject – until now! Daniel Dylan Wray is one of the UK's best music writers, and his new book Groovy, Laidback and Nasty: The History of Independent Music in Sheffield chronicles the maverick artists, chart invaders, parties, labels, venues and even Christian cults that shaped the city's musical history.We talked to Dan about why Sheffield wasn't swept away by punk rock but instead loved Kraftwerk and Wendy Carlos, how Peter Stringfellow became a crucial early mover in Sheffield's club scene, and why there are no murals of Jarvis Cocker in the city centre. We also heard about the unlikely chain of events that birthed Warp Records, and one of the most important yet undersung ‘80s club nights, Jive Turkey.We also unveil a major expansion of our Rockufiction canon of ‘music films that bend reality', including Frank Zappa, Daft Punk, Macca and S Club 7. That'll probably be the final update on Rockufiction, but if you have any burning additions then get them in quick…As ever, if you like what we do on No Tags, please do consider signing up to our paid tier for a mere £5 per month! Get full access to No Tags at notagspodcast.substack.com/subscribe

Damon gets to talk to M.B. about Maryland, life adventures, Frank Zappa, film scores and much more. There's also segments like gig alerts, music news, and others. 

U2 is a band from the north side of Dublin that became a global phenomenon-and while its four members have traveled the world over for almost fifty years, some of the most critical points on their journey have been in Southern California. The Joshua Tree is the best-known example of U2's artistic immersion in the Golden State, but the band began drawing inspiration from California's landscape as early as 1981 during their first arrival in the U.S. for the Boy tour. From deserts to beaches to urban streets, Southern California features dozens of sites that are both sacred and significant to U2 history. For the first time, these sites are documented and categorized in a single resource to inform and support the Southern California pilgrimages of U2 fans. I Go There With You (2026) provides the information U2 fans need before embarking on such a quest, whether individually or in groups. Each site has a story, and this book tells those stories-along with must-have details for trips that require extra planning and foresight. In addition to essential information on each site's place in U2 history, author Brook W. Flagg aims to inspire U2's most devoted followers with anecdotes and scrapbooked images. Just as Bono, The Edge, Adam Clayton, and Larry Mullen Jr. traveled through Southern California along the road from innocence to experience, their fans can find catharsis and healing by going into the mystic portals of the past-places where, over the decades, U2 found pieces of what they were looking for. Brook Flagg on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

U2 is a band from the north side of Dublin that became a global phenomenon-and while its four members have traveled the world over for almost fifty years, some of the most critical points on their journey have been in Southern California. The Joshua Tree is the best-known example of U2's artistic immersion in the Golden State, but the band began drawing inspiration from California's landscape as early as 1981 during their first arrival in the U.S. for the Boy tour. From deserts to beaches to urban streets, Southern California features dozens of sites that are both sacred and significant to U2 history. For the first time, these sites are documented and categorized in a single resource to inform and support the Southern California pilgrimages of U2 fans. I Go There With You (2026) provides the information U2 fans need before embarking on such a quest, whether individually or in groups. Each site has a story, and this book tells those stories-along with must-have details for trips that require extra planning and foresight. In addition to essential information on each site's place in U2 history, author Brook W. Flagg aims to inspire U2's most devoted followers with anecdotes and scrapbooked images. Just as Bono, The Edge, Adam Clayton, and Larry Mullen Jr. traveled through Southern California along the road from innocence to experience, their fans can find catharsis and healing by going into the mystic portals of the past-places where, over the decades, U2 found pieces of what they were looking for. Brook Flagg on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Greg has been dissecting and practicing Frank Zappa's Peaches En Regalia for the past few months and he'd like to share what he's learned, in theory.Song: Frank Zappa - “Peaches En Regalia (1969 Rhythm Track Mix)”Jay came upon a piece in The Guardian called “Murder, mystery and a hit record: the unbelievable story of Ike White” (link) and had to learn more. This week, the tragic story of Ike White. Songs: Ike White - “Love And Affection”Ike White - “Changin' Times”Chicago native, Aadam Jacobs is a true music lover. He's been recording and cataloging live shows for the past forty years and has decided to gift these recordings to the Internet Archive (link). With over 10,000 shows recorded, this is quite a collection. We listen to a few of his tapes on the latest round of “Tape Stash.” Songs:Plus/Minus - "Megalomaniac Live at Schubas Tavern 2003-11-13"Ben Folds Five - "Underground Live at Park West 1999-05-03"Nirvana - "Scoff Live at Dreamerz 1989-07-08"

262 - Jim Kimo West (Solo, Weird Al Yankovic) In episode 262 of “Have Guitar Will Travel”, presented by Vintage Guitar Magazine, host James Patrick Regan speaks with guitarist Jim “Kimo” West who is a slack key guitarist and plays guitar with Weird Al Yankovic. In our conversation Jim discusses his current tour schedule with George Kahumoku and with Weird Al later in the summer. Jim takes us through his musical history growing up in Canada and moving to Florida at a young age playing in bands and eventually moving to LA and quickly becoming a member of Weird Al's band. Jim tells us how he came to embrace slack key guitar after a post tour trip to Maui and how playing and writing slack key songs for fun started a second career. Jim talks about meeting Frank Zappa and Glen Frey while playing guitar in a cover band in Tampa. Jim takes us through his gear early on Telecasters, Les Paul's and Fender Bassmans and Marshalls and his gear now Tom Anderson Strat types and Fractal AX FX 3 and the FM 9 and Taylor guitars for his slack key gigs he also takes us through his pickup system for his Taylor's and the banjo tuners he uses. Jim discusses working with Rick Derringer who produced Weird Al's early albums and eventually became a mentor to Jim. Jim describes what it's like to work and tour with Weird Al and the special gear he's used for different gigs throughout the years. Finally Jim tells us about his collaboration with Joss Jaffe and their latest album “Delphinus”. To find out more about Jim you can go to his website: jimkimowest.com Please subscribe, like, comment, share and review this podcast! #moogguitar #VintageGuitarMagazine #JimKimoWest #WeirdAl #SlackKeyGuitar #Delphinus #taylorguitars #TomAndersonGuitars #GeorgeKahumoku #JamesPatrickRegan #theDeadlies #haveguitarwilltravelpodcast #HGWT #tourlife https://www.patreon.com/cw/HaveGuitarWillTravelPodcast Please like, comment, and share this podcast! Download Link

Show #1147 Repeat Of #89 Another cover show with Beardo & Spinner (April 2005) Beardo Takes Off: 01. Danny Gatton - Apricot Brandy (original by: Rhinocerous) 02. Michael Powers - Bird On A Wire (original by: Leonard Cohen) 03. Clarence Spady - Bad Axe (original by: Son Seals) 04. Brian Templeton w/Monster Mike Welch - Trouble Man (original by: Marvin Gaye) 05. Monster Mike Welch - Masters Of War (original by: Bob Dylan) 06. Sugar Ray & the Bluetones w/Monster Mike Welch - Funk-Shun (original by: Albert King) 07. The Imperial Crowns - You Don't Miss Your Water (original by: William Bell) 08. The Persuations - The Meek Shall Inherit Nothing (original by: Frank Zappa) 09. Toru Oki & The Nighthawks (Live In Japan) - Pretty Girls And Cadillacs (original by: B. Johnson) Spinner's Section: 10. Big Twist & the Mellow Fellows - I Live The Life I Love (original by: Muddy Waters) 11. Eric Ambel - Vampire Blues (original by: Neil Young) 12. Cuby+Blizzards - Five Long Years (original by: Eddie Boyd) 13. Elvis Costello - Everybody's Crying Mercy (original by: Mose Allison) 14. Willy DeVille - It's Too Late She's Gone (original by:Chuck Willis) 15. Crazy Willy - Hound Dog (original by: Big Mama Thornton) 16. Walter Rossi - Malaguena (original by: …you tell me…) One more from Beardo: 17. The Pork Roll Project - The Letter (original by: The Box Tops) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Grab your proton pack and join Zeth to talk all about the 1984 film ‘Ghostbusters’ and how it is the perfect fodder for anti-authoritarians and DIY’ers alike. Plus we make a mixtape inspired by the film featuring songs by Frank Zappa, The Specials, King Missile, and more. Become an All Access member and get ad-free listening by visiting disgracelandpod.com.See omnystudio.com/listener for privacy information.

Gilbert and Frank visit the George Burns Room at the historic New York Friars Club, where they're joined by actor, singer and musician Micky Dolenz for a fun and fascinating look back at “Monkeemania” and his own unlikely journey from 1950's child star (“Circus Boy”) to 1960's pop/rock icon. Also, Micky drops in on a “Sgt. Pepper” recording session, makes movies with Jack Nicholson and Frank Zappa and hits the town with fellow “Hollywood Vampires” John Lennon, Keith Moon and Alice Cooper. PLUS: Lon Chaney Jr.! Micky's mom meets “The Creeper”! The Monkees take on “Faust”! Harry Nilsson quits his day job! And Sgt. Bilko sings “Yesterday”! Learn more about your ad choices. Visit megaphone.fm/adchoices

This is an excerpt from a patrons-only episode. To hear the full thing, plus dozens more, become a patron from £3 a month at Patreon.com/LoveMessagePod.In this patrons episode we rejoin Arthur Russell in NYC as he takes up musical directorship of the supremely influential downtown arts centre The Kitchen. Jeremy and Tim discuss the Minimalist and Post-Minimalist stylings of the retinue of composer-performers in the area, including Christian Wolff and Rhys Chatham. We hear how Arthur - never a rock lover - became enamoured with the vernacular communication of the Modern Lovers, inviting them for a semi-legendary performance at his venue, and more broadly how their aesthetics of everydayness came to influence a slew of subsequent artists including Arthur himself.Elsewhere in the episode the guys discuss the curious case of Frank Zappa, gong baths, and share some personal reflections on their experiences with Arthur's music.Tracklist:Christian Wolff - For 1,2 or 3 People Rhys Chatham - Two Gongs Arthur Russell - Eli The Modern Lovers - Old World Arthur Russell - I Forget and I Can't Tell The Modern Lovers - Roadrunner (Live at the Kitchen) Frank Zappa - The Chrome Plated Megaphone of Destiny Peter Gordon - Machomusic

A LONG time in the making, this one! Join drummers Joe and Bill, and non-drummer Scott, as they discuss the drummers of FZ, from the 60s to the 80s! This is a highly informative and entertaining discussion, in which the strengths of each drummer get their deserved appreciation, allowing us to chart the development of the drum position in the music of Frank Zappa! This is part one of two!

Over the last seven decades, some of rock 'n' roll's most celebrated figureheads have flirted with the imagery and theater of the Third Reich. From Keith Moon and Vivian Stanshall kitting themselves out in Nazi uniforms to Siouxsie Sioux and Sid Vicious brandishing swastikas in the pomp of punk, generations of performers have associated themselves in troubling ways with the aesthetics, mass hysteria, and even ideology of Nazism. Whether shock factor, stupidity, or crass attempts at subversion, rock 'n' roll has indulged these associations in a way not accepted in any other art form. But how accountable should fans, the media, and the music industry be for what has often seemed a sleazy fascination with the eroticized perversions of a fascist regime? In This Ain't Rock 'n' Roll: Pop Music, the Swastika, and the Third Reich (Akashic Books, 2026), award-winning music historian Daniel Rachel navigates these turbulent waters with extraordinary delicacy and care, asking us to look anew at the artists who have defined us, inspired us, and given us joy--and consider why so many have been drawn to the imagery of a movement responsible for some of the twentieth century's worst atrocities. Rachel asks essential questions of actions often overlooked or underplayed, while neither casting sweeping judgment nor offering easy answers. In doing so, he asks us to reassess the history of rock 'n' roll, and he sheds new light on the grim echoes of the Third Reich in popular culture and the legacy of twentieth (and twenty-first) century history as it defines us today and sheds new light on the grim echoes of the Third Reich in popular culture--and the legacy of twentieth (and twenty-first)-century history as it defines us today. Daniel Rachel is a former musician turned award-winning and best-selling author. His previous books include Too Much Too Young, the 2 Tone Records Story; Isle of Noises: Conversations with Great British Songwriters; and The Lost Album of the Beatles: What If the Beatles Hadn't Split Up? He has also written sleeve notes for many artists including the Kinks, Madness, Ocean Colour Scene, Ray Davies, and Bryan Ferry. He lives in London. Daniel Rachel's website and Instagram. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network