Podcast appearances and mentions of John Holmstrom

This episode (S8:E102) we continue our phone conversation with the iconic John Holmstrom.

This weekend, Punk is back! Join us as we celebrate the return of the iconic Punk Magazine in New York City. In today's episode (Season 8: Episode 98), we have a phone conversation with the legendary John Holmstrom, the editor of Punk Magazine, to discuss this soon-to-be legendary event. Get ready for an insider's look at the punk scene, the bands set to take the stage, and the legacy of a magazine that defined a generation. Don't miss out on this punk rock extravaganza!

EYE ON THE EAST VILLAGE Episode 9 features special guest JOHN HOLMSTROM, OG East Village resident artist, designer and creator of PUNK Magazine.  While EV Grieve remains behind-the-scenes, Alex Carpenter & Maegan Hayward of the East Village Vintage Collective are back to guest co-host for an in-depth and hilarious conversation with the iconic magazine's founder and publisher. John tells amazing stories about his early years in the city, creating PUNK and becoming an integral part of the CBGB's scene, his many adventures collaborating with downtown's greatest artists and musicians over the years, being a cartoonist at heart and much, much more. John Holmstrom created PUNK Magazine in 1975, which launched the CBGB/punk rock movement and was instrumental in the success of many bands such as Blondie, the Ramones, and the Dead Boys. Its hand-lettered graphics inspired many crudely-designed fanzines and helped create the “punk art” that inspired the East Village art scene. He has drawn and designed many posters, t-shirt designs, record, book and CD covers for The Ramones, The Dandy Warhols, the Rolling Stones, 50 Kaitenz and Murphy's Law, magazines such as Bananas, High Times, Heavy Metal, and Video Games and has collaborated on films such as DOA: A Right of Passage and CBGB. His archives are housed in Yale University's Beinecke Library and his work is on display at the Rock And Roll Hall of Fame in Cleveland, and in the permanent archives of the Museum of Modern Art. Go to www.punkmagazine.com for more information, and subscribe to John's newsletter at johnholmstrom.com.  Pick up the latest issue of PUNK, the all IGGY "Every Loser" Fanzine (including Iggy's latest CD!) at iggypop.com Don't forget to SUBSCRIBE to EYE ON THE EAST VILLAGE wherever you get your podcasts, or live & direct on jasoncharles.net Podcast Network TALK Channel.See omnystudio.com/listener for privacy information.

IT'S HERE! The OKPOP Radio Hour's LIVE podcast recorded on the 45th anniversary of the Sex Pistols show at Cain's. If you made it out to the event, THANK YOU! If you weren't able to make it, you can still be part of the action by clicking that link below or snagging this ‘cast wherever you pick ‘em fresh. OKPOP will be doing more of these so STAY TUNED, be sure to subscribe and catch a hot, fresh popcast EVERY dang Wednesday. This episode wouldn't have been possible without a collection of punk rock angels - our panel John Holmstrom (founder PUNK Magazine), Larry Shaeffer (Little Wing Productions / previous owner of Cain's Ballroom), Ted Cohen (Warner Bros. marketing for Sex Pistols tour), and Scott Munz (then-manager of Cain's Ballroom). The stories and the insight you shared were pure magic. And our sponsors, Cain's Ballroom, The Outsiders House, Little Wing Productions, Tate Wittenberg, Steve Higgins, Zachary Matthews, and OKPOP's own Tyler Mann.

Host Blayklee Freed dives into January's edition of TulsaPeople magazine, which includes the story of Cain's and the family that built it into the iconic venue it is today. Plus, hear about an event tonight with OKPOP celebrating 45 years since Sex Pistols played at Cain's.Tulsans of the Year: Rodgers family custodians of Tulsa's music historySex Pistols and steer horns: Q&A with John Holmstrom on the Pistols show that happened 45 years ago at Cain'sNo-buzz brews available at Ranch Acres Wine and SpiritsThe places you'll go: Electric bicycles a popular mode of travel in Tulsa

Stine was born on October 8, 1943[2] in Columbus, Ohio,[3] the son of Lewis Stine, a shipping clerk, and Anne Feinstein. He grew up in Bexley, Ohio.[4][5][6] He comes from a Jewish family. Stine began writing at age nine, when he found a typewriter in his attic, subsequently beginning to type stories and joke books.[7] According to the documentary Tales from the Crypt: From Comic Books to Television, R.L. Stine said that he remembered reading the popular/infamous Tales from the Crypt comic books when he was young and credited them as one of his inspirations. He graduated from Ohio State University in 1965 with a Bachelor of Arts in English.[8] While at OSU, R. L. Stine edited the OSU humor magazine The Sundial for three out of his four years there.[2] He later moved to New York City to pursue his career as a writer.[4] Stine wrote dozens of humor books for kids under the name Jovial Bob Stine and created the humor magazine Bananas.[4] Bananas was written for teenagers and published by Scholastic Press for 72 issues between 1975 and 1984, plus various "Yearbooks" and paperback books. Stine was editor and responsible for much of the writing (other contributors included writers Robert Leighton, Suzanne Lord and Jane Samuels and artists Sam Viviano, Samuel B. Whitehead, Bob K. Taylor, Bryan Hendrix, Bill Basso, and Howard Cruse). Recurring features included "Hey – Lighten Up!", "It Never Fails!", "Phone Calls", "Joe" (a comic strip by John Holmstrom), "Phil Fly", "Don't You Wish...", "Doctor Duck", "The Teens of Ferret High", "First Date" (a comic strip by Alyse Newman), and "Ask Doctor Si N. Tific". In 1986, Stine wrote his first horror novel, called Blind Date.[9] He followed with many other novels, including The Babysitter, Beach House, Hit and Run, and The Girlfriend.[4] He was also the co-creator and head writer for the Nickelodeon children's television series Eureeka's Castle,[10] original episodes of which aired as part of the Nick Jr. programming block during the 1989–1995 seasons. In 1989, Stine started writing Fear Street books.[11] Before launching the Goosebumps series, Stine authored three humorous science fiction books in the Space Cadets series titled Jerks in Training, Bozos on Patrol, and Losers in Space.[12] In 1992, Stine and Parachute Press went on to launch Goosebumps.[4] Also produced was a Goosebumps TV series that ran for four seasons from 1995 to 1998[13] and three video games; Escape from HorrorLand, Attack of the Mutant[14] and Goosebumps HorrorLand.[15] In 1995, Stine's first novel targeted at adults, called Superstitious, was published.[16] He has since published three other adult-oriented novels: The Sitter, Eye Candy,[8] and Red Rain. There is no point in living anymore I want to take my life, I have no personality no hobby. Who am I. I want to die. I truly want to kill myself. $champagnesaucin --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

John Holmstrom is the founder and editor of Punk Magazine, which helped give the name, identity and personality to the music we love and spawned zine culture as we know it. His distinctive art is instantly recognizable to anyone who loves music, appearing on the Ramones ‘Rocket to Russia' and ‘Road to Ruin' albums (among many other places). What's not as well known is the challenges of making a living off of art and how the pursuit of a steady paycheck can be incredibly challenging, even for a ‘famous' artist. We talk about John's love of music, his college years at SVA and learning from iconic artists like Harvey Kurtzman, his transition from art to full-time editor at High Times magazine, and making ends meet in a changing downtown Manhattan neighborhood that no longer looks like home. It's a fascinating, insightful and sometimes extremely funny conversation that gets behind the art that helped define punk rock. For Full Length Episodes And Merchandise Go To https://www.patreon.com/killedbydesk Follow: Killed By Desk Insta: @killedbydeskpodcast Twitter: @killedbydesk Facebook: https://www.facebook.com/killedbydesk LinkedIn: https://www.linkedin.com/company/killedbydesk Links: John Holmstrom website https://www.johnholmstrom.com/index.html/ The sub stack https://jholmstrom.substack.com/ Wikipedia https://en.wikipedia.org/wiki/John_Holmstrom Stalag Luft III https://en.wikipedia.org/wiki/Stalag_Luft_III https://www.youtube.com/watch?v=yaUU-0-4a3g Topps A Team Cards https://i.ebayimg.com/images/g/nswAAOSwXA9eTBvB/s-l640.jpg Will Eisner / Harvey Kurtzman https://www.youtube.com/watch?v=TL6cGcPFVzc https://www.youtube.com/watch?v=R5Ag8KsStOU https://www.youtube.com/watch?v=LXwDwKK7tRg Class of 73 https://www.williamreesecompany.com/pages/books/WRCLIT77229/john-holmstrom-kurtzman-harvey/souvenir-harvey-kurtzmans-class-of-73-74-school-of-visual-arts-wrapper-title CHARAs https://pioneerworks.org/store/charas-the-improbable-dome-builders Dome over Manhattan https://en.wikipedia.org/wiki/Dome_over_Manhattan Steven Heller https://www.hellerbooks.com/docs/times.html Jovial Bob RL Stine https://www.youtube.com/watch?v=54Ojv_L1ifI https://www.youtube.com/watch?v=GQuZYMqUZJk&t=16s Susan Blond https://www.youtube.com/watch?v=1xj_JmCwbxU Tom Forcad - High Times https://cbdnoticias.com/high-times-greats-the-life-and-high-times-of-tom-forcade/ https://hightimes.com/culture/500-issues-of-high-times-a-history-of-the-worlds-most-notorious-magazine/ Operation Green Merchant https://www.youtube.com/watch?v=S06LWujSIEY Keith Haring https://www.youtube.com/watch?v=u1fwS1pp2X4 The Line King: The Al Hirschfeld Story https://www.youtube.com/watch?v=m_S9LwnXt1M

In this episode we welcome the wonderful Mary Harron, director of cult movies I Shot Andy Warhol and American Psycho. After a brief digression on dating Tony Blair at Oxford, the Canadian relives her memories of the punk rock scene at New York's CBGB club, including her interviews with the Ramones and Talking Heads for John Holmstrom & Legs McNeil's pioneering Punk magazine. Mary also talks about her friendship with ZE's Michael Zilkha and her long fascination with Warhol and the Factory. Along with her hosts, she hears clips from Martin Aston's 1987 audio interview with Tom Verlaine, prompting her recall of his seminal band Television and a general discussion of 1977's classic Marquee Moon album.  Mark & Barney pay heartfelt tribute to tragic blues-guitar hero Peter Green, ruminating on what made the Fleetwood Mac man so much more emotional a player then his UK blues-boom peers. They also say goodbye to the hilarious CP Lee, former frontman with Mancunian satirists Alberto Y Lost Trios Paranoias. After bringing Mary's directorial career up to date – with an aside on the American Psycho soundtrack that affords Jasper a chance to wax lyrical about Huey Lewis & the News – Mark selects his library highlights, including notable pieces about Brian Jones, Labelle, the Bush Tetras and, erm, the Knack. Jasper rounds things up – and brings matters back down to earth – with remarks on pieces about "superstar DJs" and Stock Aitken Waterman teaboy Rick Astley…  Pieces discussed: Mary Harron on the Ramones / on pop art / on Michael Zilkha, Punk Rock, Talking Heads, Shouting Heads, Tom Verlaine audio, Peter Green, Peter Greener, Alberto y Lost Trios Paranoias, Rolling Stones, Labelle, Disco, Bush Tetras, The Knack, Jeff Beck, Superstar DJs, Rizzle Kicks and Rick Astley.

In this episode we welcome the wonderful Mary Harron, director of cult movies I Shot Andy Warhol and American Psycho. After a brief digression on dating Tony Blair at Oxford, the Canadian relives her memories of the punk rock scene at New York's CBGB club, including her interviews with the Ramones and Talking Heads for John Holmstrom & Legs McNeil's pioneering Punk magazine. Mary also talks about her friendship with ZE's Michael Zilkha and her long fascination with Warhol and the Factory. Along with her hosts, she hears clips from Martin Aston's 1987 audio interview with Tom Verlaine, prompting her recall of his seminal band Television and a general discussion of 1977's classic Marquee Moon album.  Mark & Barney pay heartfelt tribute to tragic blues-guitar hero Peter Green, ruminating on what made the Fleetwood Mac man so much more emotional a player then his UK blues-boom peers. They also say goodbye to the hilarious CP Lee, former frontman with Mancunian satirists Alberto Y Lost Trios Paranoias. After bringing Mary's directorial career up to date – with an aside on the American Psycho soundtrack that affords Jasper a chance to wax lyrical about Huey Lewis & the News – Mark selects his library highlights, including notable pieces about Brian Jones, Labelle, the Bush Tetras and, erm, the Knack. Jasper rounds things up – and brings matters back down to earth – with remarks on pieces about "superstar DJs" and Stock Aitken Waterman teaboy Rick Astley…  Pieces discussed: Mary Harron on the Ramones / on pop art / on Michael Zilkha, Punk Rock, Talking Heads, Shouting Heads, Tom Verlaine audio, Peter Green, Peter Greener, Alberto y Lost Trios Paranoias, Rolling Stones, Labelle, Disco, Bush Tetras, The Knack, Jeff Beck, Superstar DJs, Rizzle Kicks and Rick Astley This show is part of Pantheon Podcasts

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.

From his School of Visual Arts days being mentored by Will Eisner and Harvey Kurtzman to emergence as the quintessential Ramones artist to co-founding Punk magazine and so much more, John shares a frank and revealing look at his life as an ambitious artist in New York City.

This special show will take a look at Punk and New Wave in New York. We will hear about some of the trend-setting musicians, how Punk and New Wave impacted the music scene, and how the “movement” affected some downtown New York neighborhoods. My guests will be Tish and Snooky Bellomo, original band members of Blondie and the founders of Manic Panic, and John Holmstrom, founder of “Punk” Magazine. Segment 1 Jeff starts off the show by introducing his guests, and discussing the background and history of Punk music. John Holmstrom talks about starting his own punk magazine and Snooky  discusses starting her own record store. The two talk about the Rough Trade Record store that still exists in Brooklyn today. Snooky talks about the bars that she would perform in with the punk band Blondie. Tish talks about the punk scene being very much “DIY” and everyone’s band would go to everyone’s shows.  Segment 2 Jeff talks to Tish and Snooky about trying to get a space for their store Manic Panic in the East Village. John talks about the history he had with the Ramones, and how he got connected with them for his magazine. He continues about how it came to be getting that iconic Ramones cover shot for their first album cover. John talks about getting to know the Ramones, and how they always felt frustrated because they knew the music industry hated punk from the very start. They didn’t want to call it “punk” and instead started calling it “new wave.” Jeff moves on to start talking about the energy of punk and Tish talks about how it was like nothing else. The fans of punk, like the musicians, were rebellious, and they were able to get up close and personal because of the small venues. John talks about the way that punk became “anti-hippies.” Segment 3 Jeff asks Tish and Snooky how they got into the retail scene on St. Marks Place. They started out by selling their old clothes and clothing that they had made. They then talk about how they began with their hair color line. They would also sell band t-shirts, records, and fan zines in their shop. John talks about the various connections he made with artists and musicians with punk magazine. He continues by talking about the influence punk had on the youth, and made kids want to move to NY to start their own band. They talk about how people did not like punk, and that kids would come to the city to beat up punk teens. Segment 4 John starts again by talking about what he’s done post punk magazine. He continues by talking about what he has going on today, including a gallery opening in the Lower East Side. John talks about the film industry and how it has affected his career with punk. They continue to talk about how all kinds of art, from film to comics to music all morphed together with the punk movement.

J.D. King was one of the punk-era cartoonist contingent who briefly ruled the New York City alternative comix world in the early 1980s, joining Peter Bagge, John Holmstrom, Kaz, and ohers, including the SVA crew of Drew Friedman, Mark Newgarden, Paul Jarasik, etc. Here he shares on his collaboration with novelist Alice Sebold, time as editor of the comics anthology Twist and, of course, work on Weirdo magazine, plus lots of discussion on his careers as musician and illustrator and (now) fiction writer!

Jon B. Cooke joins Art Spiegelman, Drew Friedman, Kim Deitch, John Holmstrom, Mark Newgarden, and Glenn Head for a panel discussion on R. Crumb's legendary humor comics anthology.

John Holmstrom (born 1954) is an American underground cartoonist and writer. He is best known for illustrating the covers of the Ramones albums Rocket to Russia and Road to Ruin, as well as his characters Bosko and Joe (published in Scholastic's Bananas magazine from 1975–1984). As the founding editor of Punk Magazine[1] at the age of 21 in late 1975, Holmstrom's work became the visual representation of the punk era. After Punk ceased publication in 1979, he worked for several publications, including The Village Voice, Video Games magazine, K-Power, and Heavy Metal. In 1986, Holmstrom contributed a comic-based chronology of punk rock for Spin magazine's special punk issue.[2] In 1987, Holmstrom began to work for High Times magazine as Managing Editor, was soon promoted to Executive Editor, and in 1991 was promoted to Publisher and President. In 1996 he stepped aside to launch the High Times website. He left High Times in 2000, and went on to work on other projects. He relaunched Punk for a few issues (before the events of 9/11 ended it), published a Bosko comic book, and got involved in several Japanese clothing deals. He was quoted in a September 2007 New York Times article about the CBGB.

John Holmstrom shares music by some of the artists who shaped his life and explains what rock music and comic books have in common.

Kirk had his time to shine with the disco episode, but this one is all Paul’s doing. It’s finally time to talk about punk. Cretins hop, Pistols curse, and GG Allin does, well, the things that GG Allin did before he passed on. Knowing that Kirk doesn’t actually like punk music, Paul made sure to load this episode up with interesting archival material, including a fantastic old interview with John Holmstrom and Legs McNeil, and a look at that infamous “battle of the bands” episode of “CHiPs.” To see the videos we watch in this episode, visit musicraygun.com/playlists.

Today's Guest: Legs McNeil, co-author, I Slept with Joey Ramone: A Punk Rock Family Memoir   Order I Slept with Joey Ramone: A Punk Rock Family Memoir by clicking the book cover above! Order Please Kill Me: The Uncensored Oral History of Punk by clicking the book cover above! (MAY 2010) Joey Ramone wasn’t really Joey Ramone. Most people know that the “Ramones” name was for the stage, although few sought out and became their stage persona more completely than the former Jeffry Hyman, a spindly, troubled boy from Queens. If you’re a Ramones fan—or just fascinated with stories of familial disfunction—you’re going to find the new book, I Slept With Joey Ramone: A Family Memoir, an irresistible attraction. LEGS McNEIL AUDIO EXCERPT: "All along, Mickey was writing songs with Joey and never credited. Years and years of frustration came to light when Bud Light used 'Blitzkrieg Bop' in a commercial. I don't think he wanted a lot of money; he wanted recognition. He was there in the studio (when the song was originally recorded), harmonizing with Joey because their voices were almost identical. It was kinda like The Beach Boys, with Carl and Brian Wilson harmonizing with each other." The story was written by Joey’s younger brother, Mitchell Hyman, a.k.a. Mickey Leigh, with help from Legs McNeil, a long-time friend of both brothers and the author of the classic music history, Please Kill Me: The Uncensored History of Punk. Legs, today making his second appearance on Mr. Media, got to know Joey and Mickey in the late ‘70s when he and John Holmstrom co-founded the legendary Punk magazine. I got to know Legs through his later contributions to Spin magazine. His writing always comes with a twist; he’s never dull. Legs McNeil Facebook • Twitter • MySpace • PunkMagazine.com • Please Kill Me website • Legs McNeil's 2008 interview with Mr. Media Order Will Eisner: A Spirited Life (2nd Edition) by Bob Andelman, available from Amazon.com by clicking on the book cover above!     The Party Authority in New Jersey, Pennsylvania, Delaware and Maryland!

I Slept with Joey Ramone: A Punk Rock Family Memoir by Mickey Leigh with Legs McNeil. Order your copy today by clicking on the book cover above! Please Kill Me; The Uncensored Oral History of Punk by Legs McNeil. Order your copy today by clicking the book cover above! Today's Guest:Legs McNeil, author, Please Kill Me: The Uncensored Oral History of Punk, I Slept with Joey Ramone (MAY 2008) When Spin magazine started, its staff included two fascinating characters. First was Bob Guccione, Jr., the magazine’s founder and namesake son of the publisher of Penthouse. And then there was Spin’s senior editor, Legs McNeil. Legs McNeil!?! What the hell kind of stupid name was that for a journalist? I mean, I grew up with kids named "Plinky," "Jiggs," and "Doine," but "Legs"? Well, let me tell you, that guy Legs McNeil could write. Some months, the only copy worth reading in Spin was under his byline. It wasn’t until years later that I learned that in the early 1970s, McNeil was a co-founder, with John Holmstrom and Ged Dunn, of Punk Magazine, which gave name to an entire musical generation. McNeil has since written two remarkable non-fiction books, Please Kill Me: The Uncensored Oral History of Punk, and The Other Hollywood: The Uncensored Oral History of the Porn Film Industry He’s also involved in a new documentary series unspooling across VH1, Spike, and the Sundance Channel in May called "SEX: The Revolution." Because of the nature of these topics, if you’re easily offended – or under 18 - stop listening now. Thank you. Legs McNeil Website • Facebook • Twitter • MySpace • PunkMagazine.com • Please Kill Me website Order The Other Hollywood: The Uncensored Oral History of the Porn Film Industry by Legs McNeil, available right now at a great price by clicking on the book cover above! Order Will Eisner: A Spirited Life (2nd Edition) by Bob Andelman, available from Amazon.com by clicking on the book cover above! The Party Authority in New Jersey, Pennsylvania, Delaware and Maryland!

I got more than I bargained for when I interviewed John Holmstrom — which is saying a lot when you know going into things that you’re sitting down with the guy who co-founded Punk Magazine for a couple of hours in an East Village watering hole. We kick things off with a conversation about Holmstrom’s time at SVA, which led to part time gigs working with comics legends Harvey Kurtzman and Will Eisner. In 1975, Holmstrom, publisher Ged Dunn and (past guest) Legs McNeil co-founded Punk, a magazine that helped cement the name for the burgeoning undergrounding music bubbling up around them. Holmstrom edited the magazine and contributed Mad-inspired cartooning that would become a trademark of the scene and also contributed cover art for the iconic Ramones records, Rocket to Russia and Road to Ruin. In the years following Punk’s folding in 1979, the artist has contributed work to a wide range of publications including Scholastic’s Bananas Magazine, Spin, The Village Voice and Heavy Metal, along with an extended stint at pot culture chronicler High Times, where he ultimately served as publisher and president. Holmstrom sat down at a table at Manitoba’s, the East Village bar run by the Dictators front man of the same name. It a long and fascinating look at an artist who bridges a wide range of cultural touchstones and who, thanks to events like the on-going Ramones retrospective at the Queens Museum, appears to finally be getting his due.

Today on the Grow Show Kyle Kushman is joined by John Holmstrom, an illustrator, writer, and seasoned publisher. Some of his most well-known illustrations are the covers of two Ramones albums, as well as a comic-based chronology of punk rock for Spin Magazine in a special “punk culture” issue. You can find some awesome illustrations at his website www.johnholmstrom.com As a publisher he's practically a legend for defining and presenting the best of anti-establishment culture. Founding PUNK Magazine in 1975, his work was quickly picked up as a practical visual representation of the Punk era. You want to know what the difference between “punk” and “glam” is? Ask John Holmstrom – he KNOWS. After the magazine stopped publication in 1979, he began work on a number of collaborative projects with the likes of The Village Voice and Heavy Metal magazines, and then joined forces with High Times in the late 80's. By 1991 he had risen in the ranks of High Times, growing from Managing Editor to Publisher and President. After working with the magazine for 13 years, he moved on to other projects…. we're here today to catch up with John, and maybe reminisce a little about the good ol' days!

On this 40th episode of Dying Scene Radio, Bobby Pickles speaks with John Holmstrom (founding editor/Punk magazine) at Howl! Happening: An Arturo Vega Project (located on the Lower East Side, NYC) during the 40th anniversary exhibition of his pioneering publication. Watch the full video interview HERE! Also, Elena Venetia is back after a bit of a hiatus as she joins Bobby “in-studio” to co-host this week’s show. TONE LO-KI joins the conversation, too. FUN FACT: Don’t step on PEARS or your shoes’ll turn to apple sauce!DISCLAIMER: Dying Scene Radio is not for the overly sensitive. If you’re easily offended by political incorrectness, curse words or sarcasm, then what are you doing listening to a punk rock podcast anyway?! All of the tracks spun and headlines reported on herein are sourced from Dying Scene, but not all of the views and opinions expressed by Bobby Pickles or guests are shared by Dying Scene.With special commentary from Pittsburgh, PA’s No Person, and Italian punks LATTE+.THIS WEEK’S PLAYLISTViolent Femmes - MemoryNo Person - The Cleavers Go CutthroatSafe and Sound - DreamSilver Snakes- GlassWeezer - King of the WorldLATTE+ - It’s OK for UsThe Casualties - Chaos SoundShip Thieves - Born into ThisBasement - Aquasun King Prawn - Smoke That ShitInterview w/ John Holmstrom (founder/Punk magazine)Megadeth - Dystopia River Oaks - Let You Down Love Is a Fist - We Want JusticePiffbreak Arcade - Road RageThe Lucky Eejits- East Bay Ratz  Ignite- You Saved MeGameday Regulars - Pale ReflectionsThe Phenomenauts - I’m With NeilLionheart - PainLetdown- I'm Not Complex, I’m Just From OneCables and Arms- Hang the Moon FORGETABOUTIT - Compete Or DieYou can subscribe to Dying Scene Radio via RSS, on iTunes or with the TuneIn or Stitcher apps for iOS and Android. We also enjoy reading listener feedback on the air, so feel free to send us an e-mail. Or call us on the hotline - (347) 754-PUNK.Follow us on Instagram: @DyingSceneRadioLike us on Facebook: /DyingSceneRadioThis week’s sponsor is, as always, FAT ENZO.

On this 96th Episode of Bobby Pickles' Podcast (40th Episode of Dying Scene Radio),Bobby Pickles speaks with John Holmstrom(founding editor/Punk magazine) at Howl! Happening: An Arturo Vega Project (located on the Lower East Side, NYC) during the 40th anniversary exhibition of his pioneering publication. Watch the fullvideo interview HERE! Also, Elena Venetiais back after a bit of a hiatus as she joins Bobby “in-studio” to co-host this week’s show. TONE LO-KI joins the conversation, too. FUN FACT: Don’t step on PEARS or your shoes’ll turn to apple sauce! DISCLAIMER: Dying Scene Radio is not for the overly sensitive. If you’re easily offended by political incorrectness, curse words or sarcasm, then what are you doing listening to a punk rock podcast anyway?! All of the tracks spun and headlines reported on herein are sourced from Dying Scene, but not all of the views and opinions expressed by Bobby Pickles or guests are shared by Dying Scene. With special commentary from Pittsburgh, PA’s No Person, and Italian punks LATTE+. THIS WEEK’S PLAYLIST Violent Femmes - Memory No Person - The Cleavers Go Cutthroat Safe and Sound - Dream Silver Snakes- Glass Weezer - King of the World LATTE+ - It’s OK for Us The Casualties - Chaos Sound Ship Thieves - Born into This Basement - Aquasun King Prawn - Smoke That Shit Interview w/ John Holmstrom (founder/Punk magazine) Megadeth - Dystopia River Oaks - Let You Down Love Is a Fist - We Want Justice Piffbreak Arcade - Road Rage The Lucky Eejits- East Bay Ratz   Ignite- You Saved Me Gameday Regulars - Pale Reflections The Phenomenauts - I’m With Neil Lionheart - Pain Letdown- I'm Not Complex, I’m Just From One Cables and Arms- Hang the Moon FORGETABOUTIT - Compete Or Die You can subscribe to Dying Scene Radio via RSS, on iTunes or with the TuneIn orStitcher apps for iOS and Android. We also enjoy reading listener feedback on the air, so feel free to send us an e-mail. Or call us on the hotline - (347) 754-PUNK. Follow us on Instagram: @DyingSceneRadio Like us on Facebook: /DyingSceneRadio This week’s sponsor is, as always, FAT ENZO.

1978 saw stations packing their trunks and moving homes up and down the band, both commercial and BBC. My good friends at Trent quietly moved 1kHz from 998 to 999 AM – as the separation between channels became a neat 9 kHz - but other changes, not least at the BBC, were more substantial. On 23th November 1978. Radio 2 waved farewell to Long Wave, making way for Radio 4. 693 and 909 kHz became Radio 2; and Radio 1 moved off its old 247 wavelength – over to 275 and 285; leaving 247 for poor old Radio 3. I use wavelengths, rather than frequencies, in the latter clause as the digits are but so familiar, thanks to generations of jingles. The UK was also given 227 kHz, but did not rush into using it. I recall during my time at the Radio Authority, the regulator debated, rather quickly, whether to bother. The frequency changes were a major project. The BBC plonked little stickers through the doors of all households. Indeed, some lucky old radio sets may still have them on. Enjoy here a beautifully cynical view of the whole thing from John Holmstrom on Radio 3 as it looked forward to a new home on Radio 1's former home at 247.

Ant Man, Daniel Karhunen and Snow Manilas, Julian Lytle’s Ants, Will Pfeifer and Red Hood and the Outlaws, the awesome Dick Picasso Presents Avant Garde anthology and 1 2 Space from Timothy O’Briant, Harry Moyer, John Dudley, Dave Frank, Jon O’Briant, John Karnes, and Robert Hafferman, David Lapham and Stray Bullets at Image (Cerebus, Queen and Country, Age of Apocalypse, Deadpool MAX, Young Liars, Valiant, Dark Dominion and Defiant, Warriors of Plasm, and much more), John Holmstrom and Cometbus #53 by Aaron Cometbus (The Ramones, Blondie, Sex Pistols, High Times, Screw, The Mutant Monster Beach Party, The Legend of Nick Detroit, The Clash, and…Journey? More, too!) and outstanding Best of Punk Magazine hardcover from !t and Harper Collins, The Artist Within from Dark Horse (Wrightson, Art Adams, Neal Adams, Moebius, and lots more), PLUS Ron Richards crashes the party to throw down on the Image Expo (January 9, 2014 in San Francisco), Black Science #2, Matt Fraction, Howard Chaykin, lingerie, and BJs in Satellite Sam, Ian Churchill and Revenger, Joe Casey’s SEX, Marvel Knights Hulk, All-New X-Men, Year Zero, Arrow, Jonathan Hickman and Nick Dragotta’s East of West, Walking Dead, Ryan Browne and God Hates Astronauts, Dennis Hopeless and Mike Norton’s The Answer, Inhumanity #1, Game of Thrones, Family Guy, Kiss Me Satan from Victor Gischler and Juan Ferreyra from Dark Horse, Parker’s Slayground by Darwyn Cooke and IDW, Brain K. Vaughn and Fiona Staples’ SAGA, Joe Hill’s Thumbrint, Afterlife with Archie #2 by Roberto Aguirre-Sacasa and Francesco Francavilla, Jeff Lemire’s Trillium from Vertigo, and a whole mess more!

In 1975 John Holmstrom co-founded PUNK magazine with Ged Dunn, JR. It spear-headed the punk movement and was instrumental in the success of Blondie, The Ramones, the Dead Boys and other New York City punk bands. Its hand-lettered graphics inspired many crudely-designed fanzines in its wake, and its feature-length photo comics predated the graphic novels of today. PUNK also created the punk art, a short-lived but long-forgotten movement that inspired the East Village art scene a few years later. John Holmstrom has also drawn posters, t-shirt designs, record, book and CD covers for The Ramones, Blondie, The Dandy Warhols, Murphy's Law, MeatDepressed, The Kowalskis, The Cooties and Mykel Board. He also produced work for Scholastic, the Village Voice, High Times, Heavy Metal, Video Games and many other magazines. In 2000, 25 years after starting it, Holmstrom re-launched PUNK magazine, publishing several new issues, a comic book (Bosko), and in 2013 a book: The Best of PUNK Magazine.He's currently licensing PUNK- and Holmstrom-related images and artwork for clothing everything from baby clothes to high-end fashion-around the world. He also contributed art, graphics and animation to the upcoming CBGB Film, which will be released on October 10th in theaters around the country.*Monte A. Melnick was the Ramones Tour Manager (and much more) throughout their entire 22 year career (1974-1996, 2,263 live shows). His book “On The Road with the Ramones” is an insider's look from the people who were actually there, witnessing and experiencing all the extreme highs and lows of one of rock's greatest bands. The book is packed with interviews from the Ramones and people who where very close to the band. There are over 250 photographs and pictures of memorabilia Monte collected along the way.  Monte now works at The New York Hall of Science in Corona Queens New York as their 3D Theater Audio/Visual Supervisor.

John Holmstrom, punk cartoonist and writer, brings The Best of Punk Magazine to The Mike & Judy Show. Tune in to hear John, Mike Edison, and Judy McGuire talk about the parallels between punk rock and comic books. Hear about the glory days of CBGB, and why Mike thinks that Boulud’s DBGB is a real disgrace to punk culture. John shares some stories from The Sex Pistols’ disastrous U.S. tour, and wonders why The Beatles never embraced punk. Hear about the upcoming CBGB movie; who plays John Holmstrom’s character? Also, make sure to pick up a copy of The Best of Punk Magazine! This program has been sponsored by Roberta’s. “I always thought that comics and rock ‘n’ roll were kindred art forms.” [2:45] “I really appreciated rock photography. In other magazines, photos were just there to take up space.” [30:00] — John Holmstrom on The Mike & Judy Show

Maximum Rock 'n' Roll #332 (Gary Panter, Jaime Hernandez, Ted May, John Holmstrom, Kaz, Shawn Kerri and the Circle Jerks, and more), Top Cow's Artifacts #4, Avatar's Neonomicon #4 by Alan Moore and Jacen Burrows, 100 Bullets, John Byrne's return to Next Men from IDW, Ryp and Huston's Wolverine: The Best There Is #1, Dick Briefer's Frankenstein (the first volume in Craig Yoe's The Chilling Archive of Horror Comics from IDW), Borders' financial troubles and the potential impact on the comics industry, our 2011 comic book-centric resolutions, Weird Worlds #1 from DC, Batman INC., James Stokoe's Orc Stain out of Image Comics, Axe Cop, Black Panther: The Man without Fear and Eddie Murphy, Stan Sakai's Usagi Yojimbo, the Alan Moore/Jason Aaron brouhaha, and a whole mess more! plus, the Hotline kicks into high gear!