Podcasts about Knitting Factory

Big J gets a decent grade despite being miserable all weekend. We announed an awesome show at the Knitting Factory, Garbage! Oct 17th!

On this episode, Aries and Andy talk about Marc the Magnificent, the Knitting Factory, "is Marc a secret-homo", Point Break, Bo Jangles, Gabby, the Feminist movement, made man, The Last One Left, reaction, and figuring Andy out. Social Media Instagram: @SpearsBergPod Twitter: @SpearsBergPod Facebook: SpearsBergPod Patreon: SpearsBergPod Youtube: SpearsBergPod  Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, the Spotlight shines On New York live music and venue impresario Michael Dorf.In addition to founding The Knitting Factory and City Winery, Michael has brought legendary artists together at Carnegie Hall for over twenty years, raising millions for music education while creating unforgettable tribute nights. He launched his first tribute show in 2004 after seeing how school music programs were vanishing.Now, he's put together what might be his most powerful lineup yet. Michael Stipe, Courtney Barnett, Chrissie Hynde, and others will perform on March 26th to celebrate the music of Patti Smith. The show will raise funds for over a dozen music education programs nationwide.–Dig DeeperVisit Michael Dorf at michaeldorf.comLearn more about People Have the Power: A Celebration of Patti Smith, happening March 26 at Carnegie Hall, at musicof.orgCity WineryIndulge Your Senses: Scaling Intimacy in a Digital World - a book by Michael DorfMichael Dorf Uncorked (email newsletter)Remembering the Original Knitting FactoryMichael Dorf and The Philosophy of IndulgenceShlomo Lipetz'Feedback Howled Every Night': Back to the Knitting Factory on East HoustonFounder Michael Dorf: How City Winery Survived the RecessionDig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our new online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, the Spotlight shines On New York live music and venue impresario Michael Dorf.In addition to founding The Knitting Factory and City Winery, Michael has brought legendary artists together at Carnegie Hall for over twenty years, raising millions for music education while creating unforgettable tribute nights. He launched his first tribute show in 2004 after seeing how school music programs were vanishing.Now, he's put together what might be his most powerful lineup yet. Michael Stipe, Courtney Barnett, Chrissie Hynde, and others will perform on March 26th to celebrate the music of Patti Smith. The show will raise funds for over a dozen music education programs nationwide.–Dig DeeperVisit Michael Dorf at michaeldorf.comLearn more about People Have the Power: A Celebration of Patti Smith, happening March 26 at Carnegie Hall, at musicof.orgCity WineryIndulge Your Senses: Scaling Intimacy in a Digital World - a book by Michael DorfMichael Dorf Uncorked (email newsletter)Remembering the Original Knitting FactoryMichael Dorf and The Philosophy of IndulgenceShlomo Lipetz'Feedback Howled Every Night': Back to the Knitting Factory on East HoustonFounder Michael Dorf: How City Winery Survived the RecessionDig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our new online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

On this episode of the Soundtrak Interview Series, Jaeda talks about her journey in Spokane hip-hop, her new album Light Up The Moment, and her epic release show at The Knitting Factory this Saturday! But your tickets here ⁠www.soundtrak.org⁠

Liquid Laughs is BACK! Krystal Moore dropped in to talk about the shows coming. We also announced that Nothing More is coming back to Boise, May 6th at the Knitting Factory.

Letha M. Francis is a versatile and accomplished artist whose career spans various creative disciplines, including acting, singing, poetry, writing, lyricism, and music. She holds degrees in English and Political Science from The Johns Hopkins University and has honed her craft as an actress at Studio Theatre Conservatory, Black Nexxus with Susan Batson, and with Gail Charee. As an actress, Letha is recognized for her significant roles in films such as *S.O.U.L of a Black Woman* (2019) and *Deceived* (2013), as well as in the television series *Rose Anglade* (2013, Episode 1). Her dynamic stage presence has captivated audiences at prestigious venues, including Central Park SummerStage, BAMCafe Live, Nuyorican Poets Cafe, the Congressional Black Caucus, SOBs, Joe's Pub, The Knitting Factory, and The Canal Room. Letha's television appearances include features on TV One, the Oxygen Network, and *Finding the Sweet Spot*, as well as her contributions to the national promotional campaign for *Tootsie* on Broadway and professional voice-over work for Al Jazeera America Network TV. A talented musician, Letha has showcased her original song “Travel the World” at the Julliard Fringe Festival as part of the stage show *Ugly* and served as a vocalist in a production of Shakespeare's *The Merchant of Venice*. Her music uniquely fuses elements of Soul, Reggae, Jazz, and Poetry, often accompanied by intense lyrical imagery aimed at inspiring and healing. An advocate for mental health and wellness, Letha's work is informed by her belief in the therapeutic power of creativity—an idea she explored further after learning about occupational therapy during auditions. Currently, she is participating as a lyricist in the Lehman BMI Musical Theater Workshop and is in the process of completing a musically driven screenplay that sheds light on the experiences of BIPOC individuals. Letha is also the founder of L-inkwell, LLC, a multimedia content-producing company. Her latest offering, *Declutter Like a Mutha* is a self-love package that encourages relaxation and creativity through a thoughtful collection of items, including her poetry book which emphasizes the importance of clearing emotional clutter. Additionally, she offers the Core Writing Lab, a course that inspires self-affirmation and expression through various writing techniques. For more about Letha M. Francis, visit her website at https://www.lethamfrancis.com/

Cristina Allen is the cofounder of Volans Tequila and it's no lie to say that she rocks! Born and raised in Mexico, she brought her love of tequila to the US when she arrived to study sound engineering. She spent 5 years in LA working the boards at such legendary venues as the Roxy and the Troubador, and moved with her husband Chad to Boise where she took the reigns at the Knitting Factory. The pandemic caused her to shift gears and soon she & Chad were devoted to their other love - tequila! They now produce additive free and small batch tequilas, and yes, she still loves heavy metal and classic rock. Check out her playlist here: https://open.spotify.com/playlist/4FfZ1mddfF8OvtiWby3jXa?si=0tLY2eSSSmmVorkI7mSTzw

Still with out Nic, but joined by the GM of a new Resturant that is owned by the Knitting Factory. Matt Gary hopped on to talk about El Tajno which is now connected to Knitt Boise.

Jim Powers is one of the most prolific directors of our time who's always been known for being controversial and once told Forbes he wants to be the Warren Buffett of porno. Growing up in the Valley in the 1970s, Jim was influenced by comic books, horror movies, fan magazines, and skateboarding, and in the 1980s, all he wanted to do was be a punk rocker and skateboarder. After graduating from Cal State Northridge, he became a stockbroker, a DVD distributor, and a part-time pornographer.   With 50 performer credits and thousands of scenes as a director, Jim won Director of the Year (Body of Work) and Best Director - Non-Feature from the AVN Awards and was inducted into the AVN Hall of Fame in 2005. He's also scored countless AVN Awards nominations for Best Director, Best Director – Feature, Director of the Year: Individual Project, Best Directing Portfolio – Specialty, Best Director – Parody, Director of the Year (Body of Work), Director - Non-Feature, and Best Videography, as well as Gonzo Director of the Year from the XBIZ Awards, Best Producer Nominee from the TEAs, Best Director – Parody from XRCOs, and Top BDSM Release from AEBN's VOD Awards.   During the Black Flag era, Jim sported a mohawk and toured in punk rock bands. He still plays bass in the punk rock band Killroy at high-end venues like Roxy, Viper Room, and Knitting Factory. Follow his adventures on set, learn more about his upcoming scenes and features, and when he plays punk rock live on stage by checking out his Twitter/X @JimPowersXXX. This episode is brought to you by Olipop, a new healthy brand of soda. Go to https://drinkolipop.com/ and use code Marcela15 at checkout to get 15% off your first order. This episode is brought to you by Shopify. Shopify can help you take your business to the next level. Click HERE to set up your Shopify shop today and watch your business soar! This episode is brought to you by BranditScan, the best defense you have against social media fraud. Click HERE to get started with BranditScan today and get your first month for free. There is no better service to protect your social media accounts and your name and likeness. This episode is brought to you by Playboy. Click HERE to get a membership today and unlock a premium Playboy experience like no other. This episode is brought to you by Skillshare. Click HERE to start exploring all the courses Skillshare has to offer, from drawing and music, to graphic design and marketing, start expanding your knowledge today. This episode is brought to you by Fiverr. Click HERE to start hiring professionals to help you in various areas and take your business to the next level. This episode is brought to you by PodMatch. Click HERE to bring your podcasting journey to the next level by getting set up with guests to book matched directly for you!  Merch & More Get our podcast merch HERE Check out Marcela's Amazon Shop HERE Subscriptions Subscribe to Marcela's Only Fans  VIP Membership HERE Free Membership HERE  

Back in March, 2021 when TRGMH was still a two-man operation, musician & human Bob Fay (Sebadoh, Deluxx, Folk Implosion) joined Rob and Barry to discuss The Frogs and their controversial 1989 cult classic 'It's Only Right and Natural'. That episode was never released. Until now... Songs discussed in this episode: Homos - The Frogs (Live at The Knitting Factory, Los Angeles CA 05-16-2003); Not Too Amused - Sebadoh; I'm Just A Bill - Deluxx Folk Implosion; I've Got Drugs (Out Of The Mist), I Don't Care If U Disrespect Me (Just So You Love Me), Hot Cock Annie, These Are the Finest Queen Boys (I've Ever Seen), Rosy Jack World - The Frogs; Songs For Swinging Larvae - Renaldo & The Loaf; Someone's Pinning Me to the Ground, Baby Greaser George, (Thank God I Died in) The Car Crash, Gather 'Round for Savior #2, Richard Dick Richards, Men (Come on Men), Christian With A Gun, Dykes Are We - The Frogs; Diary Of A Shiteater (Excerpt) - Girls Who Hate Their Mothers and The Chicken Fucks; Been a Month Since I Had a Man - The Frogs; Homos (Live) - The Lemonheads; Homos - The Frogs; Sforzando! - Bob Fay

In this episode of Spokast!, I had the pleasure of sitting down with the talented crew of Nothing Shameful—Ethan Harrison, Jackson Romney, Dylan Huser, and Devin Garcia. We dive into the band's journey from their early days in Spokane to the release of their debut album, Never Be The Same. Talk about their creative process, the importance of visual storytelling, and how community engagement has shaped their music. Don't miss out on their upcoming performance at the Thanksgiving Throwdown at the Knitting Factory, and be sure to stream their album on your favorite platforms.

  Clark was born and raised in downtown Chicago. At age 10, Clark decided to follow in his brother's footsteps and pursue a career on the stage. Studying at The Piven Theatre Workshop, Chicago's Latin School, and Northwestern University, he started compiling a compelling list of theatrical performances. Rounding out his training, he also worked for The Chicago Shakespeare Repertory Theatre, Steppenwolf, and Clark also taught at Northwestern Universities National High School Institute, otherwise known as "Cherubs." Clark went on to Middlebury College in Vermont, where he majored in theatre, and minored in film and music. After graduating Cum Laude and with honors in the Middlebury Theatre Department, he moved to Los Angeles to pursue his acting career on screen. Clark has also played with numerous bands (Kindle, WAV, Special Opps, and now The Real D'Coy) at numerous LA venues (The Viper Room, The Knitting Factory, B.B. Kings, 14 Below, and others). Look for The Real D'Coy's Sophomore album, Boys Against Girls, on iTunes.

Having marketed, mentored and developed over a thousand artists and projects within the highest levels of the music industry, R Wayne Martin is the prolific strategic executive behind the careers of recording artists and music producers signed to his boutique management firm, mthree. And as the host of the Small Plates Podcast (with subscribers in nearly 40 countries), he is the artist development authority that guides independent artists and their teams through mission critical challenges facing todays professional musicians (and musicians as entrepreneurs). Wayne's experience and expertise was honed as an artist development leader in multiple key roles inside major and independent labels (Warner Bros, Sony Music, Knitting Factory & others) and as an executive managing intellectual property licensing for music publishers and music industry organizations (The Harry Fox Agency / National Music Publishers Association).  Martin often shares his voice with music entrepreneurs on college campuses such as Harvard Law, NYU, and Berklee School of Music, and as a career development expert in the pages oof Billboard, Forbes, The Wall Street Journal, and others. www.moneymaestroblog.com/ep-74

Bath salts make a return to "We're Going To Hell". Will Pompey from DynaDuo Presents stopped in to talk about the big ass locals metal show that is happening tomorrow night at the Knitting Factory.

Stand up comedian Jared Freid dropped in to talk about his first time coming to Boise which is this Thursday at the Knitting Factory.

David First “I define immersive as the first time I realized that there was a bigger universe than my daily life.”  David First is a many-sided composer-musician having played in Dead Cheese, a hippie guitar band in his youth, performed with Cecil Taylor in Carnegie Hall, produced many records of minimalist drone music some of which were released on Phill Niblockʼs XI label, he's played in rowdy bar bands, led the no-wavish band the Notekillers, which had a significant influence on Sonic Youth and he has even conducted a Mummerʼs String Band in various Philly parades. The Village Voice once described him as "a bizarre cross between Hendrix and La Monte Young." He's performed at most of the avant garde's hallowed halls including The Kitchen, Bang On A Can, Central Park Summerstage, The Knitting Factory, Tonic, the Deep Listening Institute, CBGBʼs as well as De Ijsbreker in Amsterdam and many festivals throughout Europe.  Other projects include working with the sonification of the atmospheric phenomena known as the Schumann Resonances and human brainwaves and other esoteric projects such as The Western Enisphere, a drone and micro-pulse acoustic-electric ensemble. Samples Playlist Wave Music III - 60 Clarinets & a Boat • Charlie Morrow Tape Letter to Michigan • David First Dead Cheese Twice Daily live @ Cheese Nation 1971 • David First Harmonic Dance • David First The Distant Softening Spirit Wave Pulse Tape Girder Interference Etude • Wreck, First & Morrow  Live at AmbientChaos • David First  Wave Music V - Conch Chorus and Bagpipe • Charlie Morrow Tell Tale • David First Etude 15 • David First Distant Signals • Charlie Morrow Pulse Piece • David First Blossom Dearie Snippet of her Air • Wreck Mix Spirit Voices • Charlie Morrow Subjects touched upon: drones, bar bands, rock & roll bands, Lamonte Young, Dave's Waves, Sunview Luncheonette Greenpoint, psychedelic revolution, poet Jerome Rothenberg, bending notes, Douglas Kahn, minimalist tendencies, free jazz, world music, Meteor Crater AZ, the heavens, the Kitchen, Phill Niblock, guitar, oscillators, signal generators, Muddy Waters, electronic music, Dennis Sandole, Hermann von Helmholtz, ancient voltaic cells, Harry Partch, Charles Ives, the minor third, blues, Gert Stern, new age, pseudo-science, Schumann resonances, improv, Discman, electrical engineer father, heterodyning, pursuit of magic, Canal Street ... 

Let your fingers fly in the fire's glow with Irish & Celtic Music Podcast #654. Subscribe now! Derek Warfield & The Young Wolfe Tones, The Lilies of the Midwest, Nuala Kennedy and Eamon O'Leary, Dàimh, CaliCeltic, Jigjam, Louise Bichan, The Darkeyed Musician, Celtic Wood and Wires, The Whipperginnies, The Walker Roaders, Stout Pounders, Ian Alistair Gosbee, Jimmy & Scots Folk Band, Hayley Griffiths GET CELTIC MUSIC NEWS IN YOUR INBOX The Celtic Music Magazine is a quick and easy way to plug yourself into more great Celtic culture. Enjoy seven weekly news items for Celtic music and culture online. Subscribe now and get 34 Celtic MP3s for Free. VOTE IN THE CELTIC TOP 20 FOR 2024 This is our way of finding the best songs and artists each year. You can vote for as many songs and tunes that inspire you in each episode. Your vote helps me create next year's Best Celtic music of 2024 episode. You have just three weeks to vote this year. Vote Now! You can follow our playlist on Spotify to listen to those top voted tracks as they are added every 2 - 3 weeks. It also makes it easier for you to add these artists to your own playlists. You can also check out our Irish & Celtic Music Videos THIS WEEK IN CELTIC MUSIC 0:06 - Derek Warfield & The Young Wolfe Tones "The Flying Fingers Set" from Let the Free Birds Fly 3:34 - WELCOME 5:52 - The Lilies of the Midwest "Three Deer and a Hare  -  Pangur Ban" from Flora 8:21 - Nuala Kennedy and Eamon O'Leary "Liffeyside" from Single 11:44 - Dàimh "Bog An Lochan" from The Hebridean Sessions 16:48 - CaliCeltic "Hotaling's Whiskey" from Whiskey Mustache 21:23 - FEEDBACK 24:16 - Jigjam "Good Ole Mountain Dew" from Across The Pond 26:56 - Louise Bichan "Coldstream" from The Lost Summer 30:05 - The Darkeyed Musician "Fire's Glow" from Fire's Glow 33:48 - Celtic Wood and Wires "Carraroe Jig & Joy of Life" from Close the Back Door 38:29 - The Whipperginnies "Lady in Grey" from Lady in Grey 46:36 - THANKS 48:10 - The Walker Roaders "Lord Randall's Bastard Son" from The Walker Roaders 52:02 - Stout Pounders "Stark Raving Mad (Live)" from Liver Let Live 55:08 - Ian Alistair Gosbee "Highlands" from Ray of Sunshine 59:17 - Jimmy & Scots Folk Band "THE VIKING IRISHMAN" from The Viking Irishman 1:03:22 - CLOSING 1:04:09 - Hayley Griffiths "Siúil a Ruin" from Far from Here 1:06:58 - CREDITS The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather and our Patrons on Patreon. The show was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. Visit our website to follow the show. You'll find links to all of the artists played in this episode. Todd Wiley is the editor of the Celtic Music Magazine. Subscribe to get 34 Celtic MP3s for Free. Plus, you'll get 7 weekly news items about what's happening with Celtic music and culture online. Best of all, you will connect with your Celtic heritage. Please tell one friend about this podcast. Word of mouth is the absolute best way to support any creative endeavor. Finally, remember. Refuse, reduce, reuse, recycle, and think about how you can make a positive impact on your environment. Promote Celtic culture through music at http://celticmusicpodcast.com/. WELCOME THE IRISH & CELTIC MUSIC PODCAST * Helping you celebrate Celtic culture through music. I am Marc Gunn. This podcast is here to build a diverse Celtic community and help the incredible artists who so generously share their music with you. If you hear music you love, please email artists to let them know you heard them on the Irish and Celtic Music Podcast. Musicians depend on your generosity to keep making music. So please find a way to support them. Buy a CD, Album Pin, Shirt, Digital Download, or join their communities on Patreon. You can find a link to all of the artists in the shownotes, along with show times, when you visit our website at celticmusicpodcast.com. If you are a Celtic musician or in a Celtic band, then please submit your band to be played on the podcast. You don't have to send in music or an EPK. You will get a free eBook called Celtic Musicians Guide to Digital Music and learn how to follow the podcast. It's 100% free. Just email Email follow@bestcelticmusic and of course, listeners can learn how to subscribe to the podcast and get a free music - only episode. THANK YOU PATRONS OF THE PODCAST! You are amazing. It is because of your generosity that you get to hear so much great Celtic music each and every week. Your kindness pays for our engineer, graphic designer, Celtic Music Magazine editor, promotion of the podcast, and allows me to buy the music I play here. It also pays for my time creating the show each and every week. As a patron, you get music - only episodes before regular listeners, vote in the Celtic Top 20, stand - alone stories, and you get a private feed to listen to the show.  All that for as little as $1 per episode. A special thanks to our Celtic Legends: Bill Mandeville, Marti Meyers, Brenda, Karen DM Harris, Emma Bartholomew, Dan mcDade, Carol Baril, Miranda Nelson, Nancie Barnett, Kevin Long, Gary R Hook, Lynda MacNeil, Kelly Garrod, Annie Lorkowski, Shawn Cali HERE IS YOUR THREE STEP PLAN TO SUPPORT THE PODCAST Go to our Patreon page. Decide how much you want to pledge every week, $1, $5, $25. Make sure to cap how much you want to spend per month. Keep listening to the Irish & Celtic Music Podcast to celebrate Celtic culture through music. You can become a generous Patron of the Podcast on Patreon at SongHenge.com. TRAVEL WITH CELTIC INVASION VACATIONS Every year, I take a small group of Celtic music fans on the relaxing adventure of a lifetime. We don't see everything. Instead, we stay in one area. We get to know the region through its culture, history, and legends. You can join us with an auditory and visual adventure through podcasts and videos. Learn more about the invasion at http://celticinvasion.com/ #celticmusic #irishmusic #celticmusicpodcast I WANT YOUR FEEDBACK What are you doing today while listening to the podcast? Please email me. I'd love to see a  picture of what you're doing while listening or of a band that you saw recently. Email me at follow@bestcelticmusic. James OConnor emailed: "Jim from Boston Blackthorne here. St Patricks week will be a fun one for us with a little festival in Northampton MA on March 9 then on the 15th we are opening for the Dublin City Ramblers at the Colony Theatre in Woodstock NY. Next night in the Berkshires at the Heritage House in Lenox MA.  We end the season as usual at Brennan's on the Holyoke Parade route with all 5 original members for our 20th year! Hope you have a wonderful month and thanks for all you have done for Boston Blackthorne!" Darin Wallace emailed: "Hi Marc! And an early Happy Birthday to you! ☘️ Stout Pounders is my band and you know us. We will be celebrating by playing several gigs, starting with a show on March 10 in Spokane, WA at the Knitting Factory with the legendary Young Dubliners. So if you could add one of our songs and one of theirs to your podcast list that would be great!!! We have a newer live album streaming on all major platforms that I submitted to you a little while ago, but anything you like of ours is fine by me. We will also be Headlining a show March 14 at the Spanish Ballroom at the McMenamins Elk Temple location in Tacoma with an opening band called Slainte and accompanied by the Seattle Irish Dance Company who will be dancing throughout the evening to the band's songs and in between. Will be a heck of a Pre - Paddy's Party. We play Shawn O'Donnell's Everett location on Friday the 15th, The Blarney Stone Pub in Seattle on the 16th, and March 17 THE BIG DAY we are the band for the 40th Anniversary of Seattle's longest running (pun intended) 5K St. Paddy's Day Dash. The later that day back at O'Donnell's in Everett to cap off the day and week of fun. Hope yours is a good one too! Thanks for all you do for us Indy Celts!"

It's episode 6 of Ur Welcome America presents THE ASHLEE SIMPSON SHOW! Get ready for a Pizza Hut commercial, hairdresser Ken Paves, and a return to The Knitting Factory. Watch the original episodes on YouTube & listen every week via the Ur Welcome America podcast feed. UR WELCOME!As always please send your feedback to;Insta: @urwelcomeamericaTwitter: @urwelcomeUSAEmail: UrWelcomeAmericaPodcast@gmail.com

I am watching the Taubman Technique videos. Actually, I am absolutely consuming this material. Friends, it's what you are searching for in giving freedom and new levels to your playing.  On those tapes, there is an interesting quote of Dorothy Taubman some of which appears in the publicly available documentary, The Choreography of the Hands. (We have it available on the Golandsky Institute YouTube channel). She says something to the effect that teachers must provide answers and direction to these sincere, talented and earnest people who are studying the piano. It seems that Taubman really wanted to provide answers to students. Like for example, how do you put your finger on the key? Why do you get really tired playing? How do you play scales? How do you move in an arpeggio? The Taubman Approach through the Golandsky Institute and its certified teachers has answers. The Taubman Approach has solutions for jazz pianists. It opens up possibilities never seen before. Today's guest, jazz pianist Adam Klipple, gives us a window into the artistic freedom that this paradigm can give. Listen to the full episode because we talk about a ton of amazing ideas. And - Adam on a fun departure from the conversation, heads to the piano and plays! Wow. “The body is capable of fulfilling all pianistic demands without a violation of its nature if the most efficient ways are used; pain, insecurity, and lack of technical control are symptoms of incoordination rather than a lack of practice, intelligence, or talent."Dorothy TaubmanAdam Klipple is a student of John BloomfieldVisit Adam Klipple's website at: https://adamklipple.com/Adam Klipple, who has been described as "a standout pianist who has gone to school on McCoy Tyner and Cecil Taylor and earned his degree," plays piano, Hammond organ, sampler, and a variety of vintage keyboards. He currently records and performs with Veronica Swift, and is a member of the legendary jazz rock band Blood, Sweat & Tears.Adam has recorded and performed onstage with the likes of Ghostface Killah, Lauryn Hill, Graham Haynes, the Sun Ra Arkestra, Craig Harris, Joe Bowie's Defunkt, Sekou Sundiata, Marc Ribot, John Medeski, Kurt Rosenwinkle, Carla Cook, Dave Fiuczynski, David Gilmore, Josh Roseman, Peter Apfelbaum, Jay Rodriguez, Groove Collective, and Smokey Robinson. He has appeared at renowned venues including the Blue Note, Iridium, the Jazz Standard, Blues Alley, and the Knitting Factory, and at jazz festivals around the world.Also a composer and arranger, Adam has earned grants from Jazz at Lincoln Center, the Kennedy Center, Arts International, Meet the Composer, and the U.S. Department of State, enabling him to tour and teach master classes in southeast Asia, the Pacific Rim, Russia, Kyrgyzstan, Uzbekistan, Central Asia, and the Caucasus.The Golandsky Institute's mission is to provide cutting-edge instruction to pianists based on the groundbreaking work of Dorothy Taubman. This knowledge can help them overcome technical and musical challenges, cure and prevent playing-related injuries, and lead them to achieve their highest level of artistic excellence.Please visit our website at: www.golandskyinstitute.org.

Dakota Goldman is an alcohol enthusiast and master mixologist currently steering the ship as the bar manager at the newly opened Lorèn Restaurant in the Papillion Building. Dakota brings a wealth of knowledge and passion to every pour. We get into the life of a bartender living in Spokane, from the highs of creativity behind the bar to the intricacies of menu curation. Dakota's experiences shed light on the evolving cocktail culture in the heart of the Lilac City. On January 28th, Dakota, along with her company Padrino Events & Knitting Factory, in their first-ever cocktail competition collaboration! Join the excitement as 15 of your favorite bars battle it out for the title of Spokane's Tiki Master. Get your tickets here. Follow Dakota Goldman on Instagram: @callmedannydavito Spokast! - Our City, Our Stories. --- Send in a voice message: https://podcasters.spotify.com/pod/show/spokast/message

City Winery Founder and Chief Executive Michael Dorf dropped out of law school at age twenty-three to found New York City's Knitting Factory, which The New York Times later called “one of the most influential downtown music clubs of the 1990s.” He was recognized as an Internet music pioneer by webcasting the first live music stream from a club anywhere in the world. In 2008, Michael brought together his love for music and wine by opening City Winery, Manhattan's first fully-functional winery, restaurant, music venue, and private event space. It now has thriving locations in major cities across the United States. Since 2006, his Carnegie Hall tribute concert series has raised more than $1.5 million to benefit music education programs. National media outlets have praised him as an important music impresario and New York Magazine lauded him one of the “10 Most Influential New Yorkers.”    Owning a bar close to Ground Zero left a lasting impact on Michael's worldview. Find out how one of the most difficult events in American history led Michael toward a more meaningful life on the One Away Show.   The One Away Moment:  Michael's inflection point was during 9/11 when he had the profound sense to do something meaningful in his life that eventually got him into starting a city winery.   Three Key Takeaways:   DTC is the best way to go in the wine business to preserve margins. Having a high EQ is a critical trait of a good leader  Communicating clearly as a leader is equally important as being sensitive about the employees emotions.

In this week's episode, we sit down with Angelica Garcia, a talented singer, songwriter, and musician. Angelica discusses her journey from California to Virginia to Brooklyn, how she found herself musically, and what is was like finding out her song was named on Obama's favorites list. Angelica has a new album coming out October 3rd and she will be performing some of the new material at the Knitting Factory, tomorrow night in Manhattan. She is also playing the Joshua Tree Music Festival in California on October 6th. instagram.com/angelicagarcia linktr.ee/angelsings ********************************* Hungry for more? Check us out at ⁠⁠⁠isbreakfast.com⁠⁠⁠ *********************************

Caught up with ZekeUltra at his show in NYC - we chatted about how his music has changed over the years, his influences outside of rap, and his recently released album "Speak to the Jungle in the Hills". Recorded August 2023 in NYC at the Knitting Factory.

Sax tenore ma anche valente polistrumentista, Charles Gayle, afroamericano, nato a Buffalo nel 1939, emerge nel jazz d'avanguardia solo negli ultimi anni ottanta. Nei sessanta insegna musica all'università e a New York partecipa alla scena del free jazz, ma senza cercare di farsi notare. Poi sceglie la vita dell'homeless, e suona per strada e nella metropolitana a New York e dintorni, rarissimamente in bar o club, facendo una musica senza compromessi, completamente libera: nel suo sax tenore è potentemente sedimentata la memoria di Sonny Rollins, Albert Ayler, John Coltrane, ma Gayle ha una sua fortissima personalità. Alla metà degli ottanta però la Knitting Factory gli offre un ingaggio settimanale, e nell'87 una etichetta svedese decide di fargli incidere un album: è il primo di una lunga serie di dischi sotto suo nome, e l'inizio di una carriera che Gayle non aveva mai avuto né cercato di avere. Profondamente religioso, Gayle riversa nelle sue energetiche improvvisazioni tutto il suo trasporto spirituale, ma anche il desiderio di suonare con la potenza e lo scatto con cui si tira di boxe, sua grande passione. Con Charles Gayle, morto a 84 anni il 5 settembre, se ne va quello che assieme a David S. Ware, mancato già da diversi anni, è stato il più importante sax tenore di quell'area free newyorkese che negli ultimi decenni ha ruotato interno a William Parker, e in assoluto uno dei più formidabili sax tenori di tutto il jazz - non solo dell'avanguardia - a cavallo tra secolo scorso e nuovo millennio. Lo ricordiamo col classico Touchin' On Trane (1991), in trio con William Parker al basso e Rashied Ali, il batterista dell'ultimo Coltrane; con Always A Pleasure (1993), in cui è nel gruppo di Cecil Taylor; con Requiem (2004) di William Parker; e con Live in Belgium (2015) in trio con gli italiani Manolo Cabras e Giovanni Barcella.

A chip off the ol door. Zuma Beach, 2023: Attempt #4. My show at the 4th Wall Cafe Friday night. The Flash movie stinks, but it was nice to see Keats back as Bats. Jay Leno at Flappers. The Will Haven show, and the Slayer paradox. 

Rocking the Waves: Bad Mary Unleashes Punk Passion on Long Island Sound

Dance Loud on the Virtual Sessions presented by The DJ Sessions 8/17/23 About Dance Loud - Opposites do more than attract. Their fusion generates friction and sparks energy. Representing opposing sides of the spectrum, Kristin Sanchez [DJ, producer, engineer] and Desereé Fawn Zimmerman [drums, guitar, vocals] comprise one dynamic and diverse whole in Dance Loud. The Chicago duo co-mingles Fawn's live instrumentation steeped in classical training with Sanchez's electronic production and DJ wizardry. Acclaimed by Chicago Tribune and sharpened into a live force via countless shows since their 2008 formation, the pair push the full potential of this union on their 2020 independent full-length debut, The Moment. “Duality seems to be a constant theme in our life together,” states Kristin. “We're each other's creative opposite. Desereé is a total metalhead with jazz and gospel roots. I've always been into bouncy club music and started out as a Latin and soulful DJ. When you put us together, you get Dance Loud. The Moment reflects both halves where the beginning of the track listing is more like me, and the bottom half is super emotional like Desereé. The one thing that never changed is the fact we really like high tempos. It's the midnight BPM at 128.” “We call it ‘Emotional Dance Music',” adds Desereé. “You can experience it together, but it's almost meant to be heard alone.” Initially, Kristin and Desereé caught each other's attention in art school. A relationship blossomed before they found themselves on stage together. As the story goes, Kristin had a DJ gig, and Desereé hopped on the drums, illuminating the potential of their creative chemistry. By taking on real estate projects, they financed a D.I.Y. musical operation as Dance Loud. They dropped their debut single “Spy Vs. Spy” in 2013 and performed across North America, taking over the Artist Lounge at Bonnaroo and packing celebrated venues such as Knitting Factory in New York and The Steady in Toronto. The pair trucked along and quietly built an audience until a horrific accident nearly derailed everything. In 2017, a semi-truck rear-ended their vehicle. Airlifted out of the wreck with internal bleeding, Sanchez broke eight ribs, her collar bone,  sacrum and shattered pelvis. The destruction also claimed an old computer with ten unreleased songs as well as other gear. During a month in the hospital, the future became clear. “Kristin wasn't able to walk for a long time,” sighs Desereé. “Music was the only thing helping her. We started talking about it in the hospital, because we had nothing but time to think.” “It really put a fire up our asses,” adds Kristin. “I shut down the voice in my head telling me not to do this. I said to Desereé, ‘If we're going to die tomorrow, do you want to have one song or an album?'” As soon as they left the hospital, they commenced work on what would become The Moment. The musicians successfully completed a GoFundMe campaign, which was created, hosted, and launched by their friends during the accident. Afterwards, they created the entire body of work independently—thanking funders in the eventual liner notes. Now, Dance Loud introduce the record with the first single “Hollow.” Crafted from analog guitars, drums, and field recordings, distorted synths give way to an angular beat as hypnotic vocals enchant and engage. It blurs the lines between electronic immersion and alternative orchestration. “It specifically speaks on duality,” Kristin explains. “It's about being hollow inside. Every bad person has a good side, and every good person has a bad side. It's a pervasive theme on the record.” Meanwhile, chilling piano and sinewy guitar wrap around “Why Lie.” The downtempo soundscape ebbs and flows alongside the hushed delivery. “It's about a realtor we knew who kept lying for no reason,” Kristin goes on. “There's no need to lie though—ever.” Chirps and buzzing lock into a future-forward groove on “Shady Beach” as the track shuffles towards a bold and blissful refrain. Then, there's “Hear Me Out.” Intense emotion spills out between off-kilter beats as they detail “a real argument in our relationship and how sometimes we need to be alone to heal ourselves.” Meanwhile, they bookend the record with “Time” and “Travel,” which much like the members also complete a full circle. “They're two sides of the same piece,” Desereé elaborates. “We were obsessed with studying time travel at the time. We were also really inspired by Dark Side of the Moon and all of the conspiracy theories about it. We wanted the whole album to represent an endless loop with ‘Time' and ‘Travel'.” In the end, the duality distinguishes Dance Loud forever. “This is our journey together,” Kristin leaves off. “After the accident, it all started to make sense. By embracing who we are and our differences, we're about spreading positivity and karma through this music.” Desereé concludes, “Each song has a lot to tell people. It's like we can't shut up.”   About The DJ Sessions -  “The DJ Sessions” is a Twitch/Mixcloud "Featured Partner” live streaming/podcast series featuring electronic music DJ's/Producers via live mixes/interviews and streamed/distributed to a global audience. TheDJSessions.com The series constantly places in the “Top Ten” on Twitch Music and the “Top Five” in the “Electronic Music", “DJ", "Dance Music" categories. TDJS is rated in the Top 0.11% of live streaming shows on Twitch out of millions of live streamers. It has also been recognized by Apple twice as a "New and Noteworthy” podcast and featured three times in the Apple Music Store video podcast section. UStream and Livestream have also listed the series as a "Featured" stream on their platforms since its inception. The series is also streamed live to multiple other platforms and hosted on several podcast sites. It has a combined live streaming/podcast audience is over 125,000 viewers per week. With over 2,400 episodes produced over the last 12 years "The DJ Sessions" has featured international artists such as: BT, Youngr, Sevenn, Wuki, Scott Slyter, Simply City, Micke, Netsky, Rich DietZ, Bexxie, Boris, MJ Cole, Flipside, Skeeter, Bissen, Katie Chonacas, Hollaphonic, Lady Waks, Arty/Alpha 9, Miri Ben-Ari, DJ Ruby, DJ Colette, Nima Gorji, Kaspar Tasane, Andy Caldwell, Party Shirt, Plastik Funk, ENDO, John Tejada, Hoss, DJ Sash U, Arkley, Bee Bee, Cozmic Cat, Superstar DJ Keoki, Crystal Waters, Swedish Egil, Martin Eyerer, Dezarate, Maddy O'Neal, Sonic Union, Lea Luna, Belle Humble, Marc Marzenit, AthenaLuv, Maximillian, Inkfish, Kidd Mike, Michael Anthony, They Kiss, Downupright, Harry “the Bigdog” Jamison, DJ Tiger, DJ Aleksandra, 22Bullets, Carlo Astuti, Mr Jammer, Kevin Krissen, Amir Sharara, Coke Beats, Danny Darko, DJ Platurn, Tyler Stone, Chris Coco, Purple Fly, Dan Marciano, Johan Blende, Amber Long, Robot Koch, Robert Babicz, KHAG3, Elohim, Hausman, Jaxx & Vega, Yves V, Ayokay, Leandro Da Silva, The Space Brothers, Jarod Glawe, Jens Lissat, Lotus, Beard-o-Bees, Luke the Knife, Alex Bau, Arroyo Low, Camo & Crooked, ANG, Amon Tobin, Voicians, Florian Kruse, Dave Summit, Bingo Players, Coke Beats, MiMOSA, Drasen, Yves LaRock, Ray Okpara, Lindsey Stirling, Mako, Distinct, Still Life, Saint Kidyaki, Brothers, Heiko Laux, Retroid, Piem, Tocadisco, Nakadia, Protoculture, Sebastian Bronk, Toronto is Broken, Teddy Cream, Mizeyesis, Simon Patterson, Morgan Page, Jes, Cut Chemist, The Him, Judge Jules, DubFX, Thievery Corporation, SNBRN, Bjorn Akesson, Alchimyst, Sander Van Dorn, Rudosa, Hollaphonic, DJs From Mars, GAWP, Somna, David Morales, Roxanne, JB & Scooba, Spektral, Kissy Sell Out, Massimo Vivona, Moullinex, Futuristic Polar Bears, ManyFew, Joe Stone, Reboot, Truncate, Scotty Boy, Doctor Nieman, Jody Wisternoff, Thousand Fingers, Benny Bennasi, Dance Loud, Christopher Lawrence, Oliver Twizt, Ricardo Torres, Patricia Baloge, Alex Harrington, 4 Strings, Sunshine Jones, Elite Force, Revolvr, Kenneth Thomas, Paul Oakenfold, George Acosta, Reid Speed, TyDi, Donald Glaude, Jimbo, Ricardo Torres, Hotel Garuda, Bryn Liedl, Rodg, Kems, Mr. Sam, Steve Aoki, Funtcase, Dirtyloud, Marco Bailey, Dirtmonkey, The Crystal Method, Beltek, Darin Epsilon, Kyau & Albert, Kutski, Vaski, Moguai, Blackliquid, Sunny Lax, Matt Darey, and many more. In addition to featuring international artists TDJS focuses on local talent based on the US West Coast. Hundreds of local DJ's have been featured on the show along with top industry professionals. We have recently launched v3.1 our website that now features our current live streams/past episodes in a much more user-friendly mobile/social environment. In addition to the new site, there is a mobile app (Apple/Android) and VR Nightclubs (VR Chat). About The DJ Sessions Event Services - TDJSES is a 501c3 Non-profit charitable organization that's main purpose is to provide music, art, fashion, dance, and entertainment to local and regional communities via events and video production programming distributed via live and archival viewing. For all press inquiries regarding “The DJ Sessions”, or to schedule an interview with Darran Bruce, please contact us at info@thedjsessions.

A rare Hawk/Snake attack. We announce Dragonforce returning to the Knitting Factory in November!

Unveiling the Musical Journey of Lex Grey and The Urban Pioneers Lex Grey and The Urban Pioneers were founded by Lex Grey and Vic “Mix” Deyglio who met at NYC's legendary Power Station Studios. Vic is a renowned recording engineer who has worked with the Rolling Stones, Lena Horne, Guns ‘n Roses, just to name a few. In an effort to make something more stripped-down and organic, they assembled some friends in the back room of a Brooklyn Bar, and The Urban Pioneers were born. Find Lex's music right here on Spotify! Dive into The Long Island Sound

We got the chance to help a listener with "Ask The Morning After!" We also announced a great concert coming in November. Mammouth/WVH and Nita Strauss at Knitting Factory.

For the 20th anniversary of Nada Surf's third album, LET GO, we take a detailed look at how it was made. After Matthew Caws and Daniel Lorca formed the band in 1992, they eventually linked up with drummer, Ira Elliot. They spent several years grinding it out in their hometown of New York City where they worked multiple jobs and hustled to get their music heard. During a chance encounter with Ric Ocasek at a show at the Knitting Factory, Matthew Caws gave him a demo tape. A couple weeks later, Ocasek got back in touch with Matthew and offered to record them if they were able to sign to a label. Luckily, Elektra Records offered them a deal soon after and they went on to release their Ocasek-produced debut album, HIGH/LOW in 1996. Due to the unexpected success of the first single, “Popular,” Nada Surf found themselves under a lot of pressure for their follow-up album. THE PROXIMITY EFFECT was released in Europe in 1998 but Elektra got cold feet and decided not to release the album in the U.S. and ended up dropping the band. With no record contract, they found themselves back in New York, working odd jobs and calling in favors for help recording their third album, which ended up becoming LET GO. In this episode, Matthew Caws joins us for an in-depth conversation about this pivotal moment in the band's history when they went from being a major label success to suddenly being completely independent. Matthew describes how this period of his life was completely music-focused as he worked at a record store and spent all of his time going to shows and writing songs. The low pressure situation that they found themselves in inspired a more diverse group of songs and a more relaxed feel to their recordings than ever before. From sprinting home to remember song ideas to obsessively listening to a Sony Sports Walkman to writing a song in an Amsterdam bathroom to Chris Walla's mixing skills to gratitude for recorded music, we'll hear the stories of how the record came together.

Steven went live Monday to talk about the show he attended at the Knitting Factory in North Hollywood Monday night! This show included Lobate Scarp (you may remember we had Adam Sears on our show about a year ago), Moon Letters, and Behold! The Monolith. A few clips are included (with audio cleaned up a bit since parts became quiet on the phone). Tune in and chat about music! Relevant Links: -https://lobatescarp.bandcamp.com/ -https://moonletters.bandcamp.com/album/thank-you-from-the-future -https://beholdthemonolith.bandcamp.com/album/from-the-fathomless-deep --- Support this podcast: https://anchor.fm/yesshift/support

From the archive: This episode was originally recorded and published in 2020. Our interviews on Entrepreneurs On Fire are meant to be evergreen, and we do our best to confirm that all offers and URL's in these archive episodes are still relevant. Michael Dorf is the founder of the Knitting Factory and City Winery, a 10-location music venue, urban winery and restaurant chain in North America. He is also one of NY's most influential concert promoters. Top 3 Value Bombs: 1. Selecting a unique location is very important for your business. 2. Communicate how you want to operate your business, and make sure everybody understands where you want to go 3. Get outside your comfort zone and do what you believe in. Check out his new book Indulge Your Senses - Michael's Website Sponsors: HubSpot: Learn how HubSpot can help your business grow better and get a special offer of 20% off on eligible plans at HubSpot.com/eof! Podopolo: The best podcast listening app in the world is here! Visit Podopolo.com, download the app for free, mention John Lee Dumas (my Podopolo username) when you sign up, and start listening now!

From the archive: This episode was originally recorded and published in 2020. Our interviews on Entrepreneurs On Fire are meant to be evergreen, and we do our best to confirm that all offers and URL's in these archive episodes are still relevant. Michael Dorf is the founder of the Knitting Factory and City Winery, a 10-location music venue, urban winery and restaurant chain in North America. He is also one of NY's most influential concert promoters. Top 3 Value Bombs: 1. Selecting a unique location is very important for your business. 2. Communicate how you want to operate your business, and make sure everybody understands where you want to go 3. Get outside your comfort zone and do what you believe in. Check out his new book Indulge Your Senses - Michael's Website Sponsors: HubSpot: Learn how HubSpot can help your business grow better and get a special offer of 20% off on eligible plans at HubSpot.com/eof! Podopolo: The best podcast listening app in the world is here! Visit Podopolo.com, download the app for free, mention John Lee Dumas (my Podopolo username) when you sign up, and start listening now!

The Grammy-nominated piano player, organist, and singer wowing crowds at a Monday night Saturn Bar residency has also toured and recorded with EDM star Pretty Lights, the Iguanas, Bonerama, and the Maelstrom Trio, with Skerik and longtime co-conspirator Simon Lott. A classically-trained pianist, he’s equally comfortable with the James Booker/Dr. John/ Allen Toussaint canon or the Hammond B3 organ trio jazz repertoire. While he may be a tall drink of water, BC is relieved that the Troubled Men are sticking to cocktails tonight. Topics include a headphone aversion, Chanukah, a wedding party, DC Harbold, World Cup fever, a birthday party, Debra Howell, the mayor’s recall, a new police chief, deodorant, alternate names, Baton Rouge, supportive parents, the College World Series, a longshot, a childhood autograph, Catholic High, M’s Cafe, the School for Improvised Music, the Knitting Factory, a fist meeting, Glyn Styler, Andy Bourgeois, regionalism, hip hop, self-examination, a novel recording approach, Grammy protocol, playing Red Rocks, a Carlo Nuccio story, a renaissance, Jon Cleary, Liberace, “One Mo’ Time,” and much more. Intro music: "Just Keeps Raining" by Styler/Coman Break Music: "Southern Nights" by BC Coogan Outro Music: "Who's Gonna Help A Brother Get Further" by BC Coogan Support the podcast: Paypal or Venmo Join the Patreon page here. Shop for Troubled Men’s T-shirts & tanks here. Subscribe, review, and rate (5 stars) on Apple Podcasts or any podcast source. Follow on social media, share with friends, and spread the Troubled Word. Troubled Men Podcast Facebook Troubled Men Podcast Instagram Iguanas Tour Dates René Coman Facebook GR8 ESCAPE BAKING COMPANY Promo Code:TROUBLED15 BC Coogan (Brian) Facebook

Brach Rauchle has lived in the New River Valley for the past decade performing in groups such as Urth, Chupacabras, Ripejive & Lazy Man Dub Band as well as in horn sections with many different groups. He is principally a guitarist, saxophone player & vocalist & likes to build strange things to hit with his feet & other appendages. A native of Memphis, Tennessee, Brach spent most of his musical career in the Los Angeles area prior to his life in Virginia. While on the West coast for about 15 years he performed & recorded with many groups on both guitar and saxophone. His funk / progressive trio, Urth, performed their original music regularly at venues such as the Knitting Factory, the Coconut Teaser & the world-renown jazz/fusion nightclub the Baked Potato while also working as the rhythm section of a jazz quartet, performing at many weddings, casuals & various events where he wouldn't normally be allowed to loiter like the Johnathon Club in downtown LA. During his college years Brach began to develop his multi-instrumental approach which led to the formation of the band Urth in it's original trio format in which he played guitar & bass simultaneously on a self modified 7-string guitar while also incorporating his first instrument, the alto saxophone. By building an elevated stand out of some drum stand, guitar stand & sax stand parts, he was able to play the sax along with the 7-string. Some years later, he would ultimately build the world's craziest solo rig in the pursuit of true spontaneous improvisation of form. It was very very heavy... and big. Nowadays Brach is loving playing music with his beautiful brothers and sisters in Chupacabras, Lazy Man Dub Band & Ripejive as well as enjoying working with and getting to hear the music of so many other fantastic musicians in the NRV area, all while carrying as little gear as possible whenever he possibly can.

On our season two premiere episode, the photographer behind Watching New York, Johnny Cirillo, tells us about getting to see his little brother open for Elliot Smith at The Knitting Factory! Heartfelt, sincere, hilarious and FUN, this one is not to be missed! Check out Johnny on Instagram If you want to have fun like Johnny Donate to NYC Saltfind us at They Had Fun & on Instagram

Hannibal Buress has carved a name for himself in comedy over the past two decades. But now he's foregoing that part of his career for a fresh identity — Eshu Tune, his rap alter-ego. The name pays homage to a “trickster god” in Nigerian mythology.A rap career has been in the back of Hannibal's mind but the career pivot wasn't seriously put into motion until 2020. Earlier that year, he put out a comedy special, “Miami Nights.” While promoting it at home during lockdowns, Hannibal felt a spark missing. That, plus the added alone time from not performing at comedy clubs, finally pushed Hannibal into the studio. Since then, Hannibal has largely dedicated himself to rap and rap only. His eight-track, self-titled EP dropped earlier this year. Live rap show performances followed that. An agency deal was inked with UTA this summer. And soon, Hannibal will hit the studio to prepare for his debut album, which he plans to drop on his 40th birthday next April.Hannibal took me through his comedy-to-rap journey over the past two years on the show. Here's what we covered in our interview:[2:54] Introducing Eshu Tune the rapper[4:17] What led Hannibal to the career pivot[6:53] Goals of debut EP [10:11] Benefits of being independent artist[14:34] Following Too $hort at a Bay Area show[19:52] Getting a performing residency in LA[21:29] Challenging himself with music[26:52] Difference between Hannibal's comedy and rap fanbase[29:08] Will Hannibal still do comedy?[31:36] Has the changing climate of comedy impacted Hannibal?[34:01] Previous comedians that went into music[37:50] Response from rap community to Hannibal's career pivot[38:52] Eshu Tune's next album dropListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Hannibal Buress, @hannibalburess  Sponsors: MoonPay is the leader in web3 infrastructure. They have partnered with Timbaland, Snoop Dogg, and many more. To learn more, visit moonpay.com/trapital Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapital Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. TRANSCRIPTION[00:00:00] Hannibal Buress: I got some stuff, I got 'em locked and loaded, just, you know, got to go get 'em out. That's one thing too, is since I am independent, I don't feel, I just kind of do it when it feels right, when it genuinely feels right to do. It's no pressure. It's just like, okay, do I truly want to do this? Ain't no exec, hey, you got to do, there's nobody doing that, so I have to make that decision, which is a gift. I wouldn't say it's a curse, but it forces that accountability.[00:00:35] Dan Runcie: Hey, welcome to The Trapital podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more, who are taking hip-hop culture to the next level. [00:00:] Dan Runcie: Today's guest is Hannibal Buress. You likely know his name from his comedy and his acting, but this episode is all about his music. Hannibal Buress has released an eight-track EP under the name Eshu Tune, and that is his artist that is creating hip-hop music. And we talked all about why he chose to start this new chapter in his career, why music was important to him, and how he sees things moving forward. Hannibal had had a career of dabbling in music every now and then. He actually had beaten Open Mike Eagle in a rap battle a couple of years back. And it's something that he had tapped into, but it really wasn't until the pandemic, and a lot of us had the time to really think and tap into what was most important to us. And he was able to take this on not only as a new challenge for his career, but as a new opportunity to do something that he always wanted to do, but knowing that he could both continue to leverage the platform that he has as a comedian and as an actor, both from a financial perspective, but also from an exposure perspective. We also talked about his upcoming residency, how he's been positioning himself to get booked on shows and other things, and how important this is for him right now. So it was great to tap in. This was also the first episode recorded in Trapital's new home. I have a new office and studio here, and it's been great to get everything set up, and it's been great to record these in person, too, because, listen, it's great to do things remotely. A lot of them have been that way, but it's just a different chemistry that you get when you can do them in person. So it was great that Hannibal and I could connect while he was in town. Here's our conversation. Hope you enjoy it. All right. Today we got the one and only Hannibal Buress.[00:02:41] Hannibal Buress: What's up, man? [00:02:41] Dan Runcie: Mr. Eshu Tune now, though. [00:02:43] Hannibal Buress: Eshu Tune, yeah, yeah. [00:02:44] Dan Runcie: Last we talked, it was all about comedy. We're getting ready for a special that you had Miami Nights, but now we're about to talk about your music career, man. [00:02:52] Hannibal Buress: Yeah, for sure, man. [00:02:53] Dan Runcie: So who is Eshu Tune? [00:02:54] Hannibal Buress: Eshu Tune is my musical alter ego. Eshu is from Yoruban mythology, Nigerian mythology, the trickster God. I was looking for a stage name there, so I just looked up African mythology and I just connected with that description. It kind of felt like me and some of the things I've done and, yeah, it just felt right. It really was a big help to kind of separate the worlds a little bit just 'cause now I look at, you know, Eshu as, okay, we can build them together 'cause now, I can if I want to do a little bit of comedy on this shows, it's like, Hey, yeah, they'll both be there.[00:03:34] Dan Runcie: Right, right, right. [00:03:35] Hannibal Buress: I changed shirts. You know, I can think of you like, you know, Hannibal's t-shirts. Eshu's in a red shirt or something, you know? So it's been fun. And so I'm excited for the growth, and performing has been really exciting, and a lot of dope stuff coming up.[00:03:53] Dan Runcie: So talk to me through the journey a bit because I know this is something that you spent a lot of time on in the pandemic. And last time we talked about it, you were getting ready to release Miami Nights, and this was around the same time that you had started working on music. So what was your mindset at that time? You got this big comedy special coming out, but you also are thinking about this new career opportunity.[00:04:17] Hannibal Buress: My mindset? 2020, putting out the special during that time was hella weird just because it wasn't the usual motions and movements that you have with putting out a special, doing events, doing press in person. You know, I did The Daily Show, but it was on Skype. And it just felt weird doing television from my place 'cause you still get wired kind of, but then you're just wired at the crib. It's like, man, oh, I'm not getting in the car to go somewhere else, you just there like, oh.[00:04:54] Dan Runcie: Right, right. [00:04:55] Hannibal Buress: I remember doing, I did First Take with Stephen A. Smith. Something for Last Dance, just talking about Last Dance. And I remember just, I kept messing with them changing jackets. [00:05:08] Dan Runcie: Oh, I remember that.[00:05:13] Hannibal Buress: Molly was giving me sass. Oh, thanks for being so professional. I'm trying to, like, you want me to make a great statement about Last Dance? Look, oh, yeah, Last Dance. What's up with that? I'm trying to have some fun, make some real memories here. Nobody will care about my take on... [00:05:30] Dan Runcie: It's a documentary, right? It's not like it's an event that happened last night. [00:05:35] Hannibal Buress: Yeah. If I make a great point about the '96 Bulls, '98 Bulls in 10 years, but people don't care if I'm was chaotic as hell. I need to put that clip back up actually. That was really fun. I was sweating and shit. Yeah, it was a good time. But, yeah, putting out the special then, it was weird, man. And I wanted the music, I started really diving in in November of '20 when I was out in Hawaii. I kind of, it was nice to be able to lock in, focus. I've always wanted to do it and would finally find the time. And the time was always there, honestly, but I wasn't as good as maneuvering time as I am now. 'Cause looking back, I could have been on the road after gigs, instead of going to the club, could have been booking studio time, that type of thing, or, you know, I'm glad it happened when it happened. [00:06:31] Dan Runcie: Yeah, that makes sense. I think, too, I've looked a lot about how you chose to roll this out, right? It's not like you just did one single, let me drop in and see what happens. You had an eight-track LP, oh, EP that you put out specifically for it. What was your goal in terms of the release? Was there a certain response that you wanted to have or a certain emphasis you wanted to have with how you chose to put it out as an EP?[00:06:53] Hannibal Buress: Yeah. And initially, I was going to do singles, the single strategy, but then I had a bunch of songs and I said, let me just get these out and see how I want to do it. Like, if I want to do videos for stuff, which I am still going to do the visuals on things and get 'em out. But it was just after a while. It was just, let me just do it. And I didn't follow the proper practices of, you know, get it to the DSPs with this much time, to the best time, like, all the stuff that I know you're supposed to do to give your release the best chance. But I just feel like it'll get its due when it's due, you know what I mean, whether it is when I put out videos later this month or next month or down the line. It's my first project. So whether it's crazy now or crazy in five years, it's always my first project. So it'll be there and it just felt good to get it out and have it out ' cause then the music got better afterwards, the stuff I started recording. And I still like the song, like 1-3 Pocket. I like 1-3 Pocket. And that was 1-3 Pocket, that's the motherfucker hit. Like when we made it, yeah, this bowling song's going to go crazy. Hell yeah, we made a bowling banger, but now I got other songs. I'm like, okay, I was wrong. Well, maybe I wasn't wrong, but it's just, the music is getting better. And so it's nice to feel that and feel that improvement and the progression. And so that'll keep on happening indefinitely. You know, if you keep on working on it, keep on releasing, keep performing, it's going to get better. So it's nice to have that feeling and, and hear that in the music and like even hearing how the music sounds. If I record the day after a show, that music sounds good 'cause you can kind of hear the clarity, you know, you already got the energy. So it's been exciting, man.[00:08:50] Dan Runcie: Yeah. I get the feeling that 1-3 Pocket was a song you thought was going to be the one and that's a one, but I feel like Veneers is the one that I feel is your anthem. [00:08:57] Hannibal Buress: Veneers worked before I even put it out, and I performed it 'cause the hook is slower and the beat is chill. It feels, yeah, Veneers is the one I think people like more than the song that has really inside bowling terminology in it. Surprise the song about teeth is more accessible than the song about the bowling pins. Like, even people that love bowling have said to me, what is the 1-3 Pocket? [00:09:33] Dan Runcie: 'Cause some people would think you're talking about like billiards or like, you know, like shooting pool or something like that.[00:09:37] Hannibal Buress: Nah, it's just a, yeah, it's the headpin and the pin to the right. I got to put out a video for 1-3 Pocket. I got the lyric video out. I got to get the official video out, a couple of them. I might, you know, we'll see if I get on stubborn mode and start putting out three, four videos for a song. That's when I really, I'll start really lighting up, just going crazy with the visuals. Yeah. I was waiting to see the music videos. I'm glad you mentioned that you got the lyric video up. [00:10:02] Dan Runcie: Yeah. And of course, you know, like that's a great way to get the views and engagement up, but yeah, seeing the Eshu Tune visual character, I feel like that is, you know, the next piece of this.[00:10:11] Hannibal Buress: Yeah, I've been holding off a bit on the music videos 'cause I know when I got to know, when I do officials, that's when things are really shifting in a way. And so I don't want to rush it, but, you know, they come in over the next month or so, is when the visuals start. I got some recorded already. I got some for Back In The City. I recorded in Thailand actually. When I was in Thailand and I looked on Eventbrite and it was a restaurant packaging conference at the convention center. I was like, let's just go here. And I went and it was all this interesting, just different machinery and robotics. Me and my lady just walked through, something just to, you know, just a different environment. I said, man, well, I'm over here. What else am I going to do in Thailand and it's a convention? I have to shoot a music video. So I came back two days later, shot the video there. And so I got that. We got one for Closed Mouths. We got a Pocket video, got a version of the Veneers video, but I want to do a story version. So, yeah, I got some stuff, I got 'em locked and loaded, just, you know, got to go get 'em out. That's one thing too, is since I am independent, I don't feel, I just kind of do it when it feels right, when it genuinely feels right to do. It's no pressure. It's just like, okay, do I truly want to do this? Ain't no exec, hey, you got to do, there's nobody doing that, so I have to make that decision, which is a gift. I wouldn't say it's a curse, but it forces that accountability.[00:11:44] Dan Runcie: Yeah, with that, too, I feel like, with you, you're an independent artist who also has the luxury of this platform of your comedy that has given you not just the resources, but the platform to be able to get booked on shows or to be able to get at festivals or other things like that. How do you look overall in terms of how you view your career as an independent artist and wanting to see that through? Do you see a major label in the future? Do you see building what you have clearly with the resources that you have from your comedy and acting to be able to push off for that? [00:12:19] Hannibal Buress: I think the major label thing isn't something I'm chasing. I would hear them out, you know what I mean? I would take a meeting or a call just to hear the right pitch and see. But before I even would do that, I would have to give myself at least a year or so of operating full speed. [00:12:42] Dan Runcie: Right.[00:12:42] Hannibal Buress: 'Cause now I'm in the coast, I'm doing a good amount of shows and having fun, done a couple of festivals this year with, you know, no visuals out. So I would have to give myself all of 23 of like going, you know, with a full staff, you know what I mean? My whole infrastructure, putting out everything, like really, really going crazy merch, all the whole thing, and then see how I like that. And then see what we could do from there. But for now I kind of got an idea of how I want to do it. And a lot of the things that a label can provide, I've been to some of these spots before while I promoting standup or touring or different things, I've been around. I'm sure there's other things or different cracks and crevices they can operate in, but there's a lot of things that, you know, I'm able to pull off 'cause I'm independent, but it's not a true, like in the same kind of thing. 'cause I've got the visibility. So it's a good help. The music still has to be good, too, and I'm cognizant of that, where I want to be, you know, I don't want to just be in the spots to be in them. [00:13:52] Dan Runcie: Right. [00:13:52] Hannibal Buress: I want to be in the spots and really doing my thing and having a dope show and, you know, justifying the spot.[00:13:59] Dan Runcie: Yeah. [00:14:00] Hannibal Buress: Yeah. [00:14:00] Dan Runcie: Because I think the thing that works out for you with it well is so many folks signed with the record label because they want to be able to get the distribution that can at least get them some global recognition in reach. But then that also gives them to being able to do shows, right? And you are able to get a lot of these shows on your own, just given the connections and the influence that you have. What has that process been like specifically with you getting out? 'Cause I know that you were up in San Francisco a couple of months ago. You did, you know, we had the 420 thing up here. What has that process been? [00:14:34] Hannibal Buress: That's through friends, you know, old friends that I've worked with before or talk with and people that, yeah, my homie Normani helped put that together, the 420. So it's just people that believe in what I'm doing, that I have a history with, that, you know, see some opportunities. So Too $hort went on, I forget who the DJ from the Bay was, but Too $hort went on and I was like, oh man, I'm going on after Too $hort in the Bay? With friends? [00:15:07] Dan Runcie: Blow the whistle finishes and now... [00:15:10] Hannibal Buress: It was crazy and I got brand new music. Brand new. That was two days after the project dropped. But it was a fun time. I enjoy it so much, man. Even that show didn't go how I thought it was going to go, but it still was fun, you know? [00:15:34] Dan Runcie: Wait, how did you think that show was going to go?[00:15:36] Hannibal Buress: How did I think it was? I thought it was going to, in my mind, and it's the blessing of being mostly optimistic on the performance side might just drop the project, it's circulated, two days after, it's the Bay. I'm going to hit the stage going Veneers. Yeah, get out there, and then, you know, they didn't, they was listening, but it just wasn't, you know, it's just new rap sometimes it's tough. And so also then I still, my music performance chops are a bit more developed now, too. It's been some time, so I'm better at engaging the crowd, even if they don't know the music 'cause I think, at first, bringing a lot of standup energy into it, meaning, you know, you get the, Hey, yeah, say, yeah, but, you know, you got to, and so getting used to just monologue and even just the body language, too, microphone holding, body language, like, you know, that whole thing. Still a bit rusty now. And there's a lot of room to grow. I like coming back to spots, too, after you did, so it will be some folks, they had a good time there, too. It was dope. Had another show that night too. I did LA later that night with the full band. So it was just a dope experience to have two shows in the Bay, LA, same night, 420. I'll never forget that at all. [00:17:04] Dan Runcie: Yeah. It's an interesting crowd too, because their crowd is high as hell, and it is a midweek thing, too. So it's not the same way of, let's say a music festival where it's like, oh, three o'clock at the East stage, Eshu Tune is going to be there, right, so that's definitely a little bit of a different vibe than I feel like what that event is. [00:17:21] Hannibal Buress: Yeah, it was. But the one good thing, another good thing about is that I rehearsed right before. Like I landed, went to a rehearsal space, and then I ran through it. So when I got on stage, I felt good 'cause I was freshly rehearsed. So even though I wasn't rocking out, I kind of was in the zone, in a good space. But when I had a show in Philly for Adult Swim Fest, that one we were tapped in, had the band. I love having the band up there just because I feel like, you know, when you got the band, that's just a lot of energy on stage and you got to, I feel like, giving them a reason to be like, okay, why are we playing for this motherfucker? So then you got to bring the energy up even more to justify the band, you know, so that's always fun.[00:18:13] Dan Runcie: Yeah. So how often are you doing shows right now? [00:18:15] Hannibal Buress: My last show was I popped out at this open mic in LA a couple of days ago, then before that was, what? [00:18:24] Dan Runcie: An open mic for music, to clarify.[00:18:26] Hannibal Buress: Open mic for music. Yeah, open mic for music, did a few songs. And doing Wild 'N Out next week in Atlanta and probably do a popup or something in Atlanta, maybe. And then I'm starting up a residency in LA, six weeks at Grand Star Jazz Bar. That's going to start on September 26th, every Monday until October 31st 'cause I wanted to get that structure in. And then, you know, I used to host at Knitting Factory in Brooklyn and that kind of, like, having that consistency of doing a regular spot. I hadn't done that in a minute. And so when I did the last show at Knitting Factory, that location closed down, I did and so it reminded me of that energy and just of that, you know, having that regular spot where people know they can see me 'cause you can't always link up with friends or grab lunch and all of that. So you can kinda have the residency, people know where to find you. So I want to do that. I'm excited about doing that 'cause I think that'll help the writing 'cause it'll be like, okay, I got this show. I definitely have this show on Monday. Maybe I'll try this new song there. And then the rest of the week can kind of flow off of that. So I'm super excited about these six shows. I put 'em all on sale at once and it's nice to see they're flowing, you know? And so it is going to be, it's going to be a good time and then we'll see how we want to operate from there. But definitely doing those six in a row, man. [00:19:47] Dan Runcie: What was it like to get that process going for the residency specifically?[00:19:52] Hannibal Buress: It was, you know, I went to the spot at Grand Star. I saw something there I've been there twice. It is really close to my spot. And then I just reached out to the owner online, walked over there, talked to him, told him what I was trying to do, told him I wanted Mondays. He was like, all right, you take the door, I'll take the bar. I ain't dealing with your ticketing, like this it. And then I was like, all right, let's get it. It was pretty straightforward and simple, you know. ' Cause I realized I wasn't, something about LA, it was making me stagnant on a live performance side and I was doing more gigs out of town. And I've done some stuff, but I wasn't really consistent locally. And so I just realized I had to create that. I couldn't be, you know, annoyed with the nightlife or performing if I wasn't really trying to do something about it. [00:20:45] Dan Runcie: Right, right. [00:20:46] Hannibal Buress: When I have that ability, it's not that tough to like, Hey, this is the place I do a show, you know? So I'm really hyped 'cause they'll be, you know, have a comedian or two and two or three music acts and get the book stuff that I'm a fan of and tape 'em. And the excitement of doing a show, like putting on a regular show after doing it for a while and doing it now with knowledge and knowing how to build the vibe and promote and all those things. It's going to be a blast. [00:21:14] Dan Runcie: Yeah. With that type of show specifically, you are also staying in the same spot. And I know that probably helps from a lifestyle perspective too. You have a young daughter, you know, you're not trying to, you know, be on the road, maybe, to the same extent.[00:21:29] Hannibal Buress: Yeah, just the consistency of this is what, you know, for everybody, for the team, for the camera people, by the third show's, like, okay, this is my spots right here. Everybody being, you know, the timing of it, and it's just, I got to create that consistency for myself and that external pressure to do 'cause they're not all like everything else. 'Cause then once like, okay, Monday, this is what Mondays are no matter what. So then it's like, okay, well, it's Tuesday now since we only got six others. So like, okay, one of those has to be a studio day or this type of day or that. Or, you know, it forces the structure for the rest of it. So it's something I haven't had in a while like that consistency. So, you know, when I did have it in New York, it kind of led to the most productive times in my career and, yeah, the most profitable. [00:22:24] Dan Runcie: Yeah. That makes sense. Yeah, I feel like I'm seeing, hearing more artists talk about that, especially, we're seeing what's happening in Vegas. So many more artists, especially while they're still in their prime, taking the residencies there, too. And you're starting to see them more in different cities. And I like how you did where you're like, yeah, you essentially created your own opportunity where you're at. So and I feel like we're going to start to see more of that as I'm just seeing trends of how artists are thinking about doing things and where it makes sense to monetize in and where it doesn't.[00:22:50] Hannibal Buress: Yeah. Just, you know, it's like, Hey, I booked myself for six, you know, I'm here. But even, you know, with that, it's a bunch of different things. And look, you could change up the core each week, you know what I mean? Change up the merch or change up the drinks or change, you know, all these different elements to keep it fresh since you learn in the space and learning the crowd. And you get to know the fans 'cause I'm sure, you know, folks go return, you know? So and having that data, too, of seeing that, you know, yeah, who you see exactly who I'm seeing, who's buying the tickets and blah, blah, blah, and so can reach out direct. Thank you for your time, who are you listening to, you know? now it's like a kind of, It's going to be a new phase, man. And that's one thing, too, with the music is that younger hunger, 'cause it's a newer thing. It still has that feeling of I don't know what's going to happen. Right. You know, I could try to make things or put things, but the other parts of it, when you do that, make other things happen when you just, you know, action cause reaction. Even going to that open mic that I did the other night and ask this other person, Hey, come to this show, you know, shows beget shows. And so it's nice to have that momentum and that feel because the comedy side, I don't want to say it's predictable, but the goals kind of are, you could change up your special and, and different things, but the goals like, oh, blah, blah, blah, special, blah, blah, blah, move and you do this, too, but it feels super blank canvas a little bit.[00:24:24] Dan Runcie: Yeah. And I get the impression from you that there's part of that that is enjoyable. It's that challenge. It's like what keeps it fresh in a way, because, at least for comedy, you mentioned the predictability of it. Like, you knew what would work, you're getting the calls. Like, you know, you're still getting them up to this point. So this is an opportunity to be like, no, this is something I've always wanted to do. Let me tap in here and explore the unknown because, at least from the comedy side, even though that could be unknown to someone else, but you've been in this for decades now, you know? [00:24:50] Hannibal Buress: Yeah. At the open mic, it was a bunch of other artists, that was having the same conversations. Like, I didn't know you rapped, I didn't know you rapped, I didn't know you rapped. Like, yeah, I guess that's why I'm here. So now you know I rapped. And so to have, you know, it's still building that, you know, through word of mouth, through performing and, you know, a solid amount of time, but it's happening piece by piece where I'm, you know, seeing folks in public. Oh, I see you doing the music, yeah, keep doing, you know. Yeah, it feels good, man. It feels exciting. And it is just going to get better and keep learning and, you know, I got my drum set, you know, practice more, got keys, got to, you know, I want to in five years be full on musician be able to move around the whole kit, the whole, you know, all the instruments and, and really do a show show, you know?[00:25:44] Dan Runcie: Yeah. By show show. What do you mean? [00:25:47] Hannibal Buress: Like, being able to, you know, like even have a band, like this one, I'm on keys, for this one...[00:25:52] Dan Runcie: Yeah, yeah. [00:25:52] Hannibal Buress: But not fucking around on keys. Like, actually killing that shit. This one I'm hopping on the kit and like, not bullshit. I don't want to, you know, half-ass it like, oh yeah, he's up there. He's having fun. Then get the picture. No, I wanted to, you know, actually, be technically proficient at it. And I'm willing to work to get to that spot too. You know, but you got to lock in for that. So that's the real, real goal is to be able to even, in seven years, pop in on somebody's set only for drums and, like, nail it, you know what I mean? Like, okay, like he playing on somebody else's music, you know, and it like, yeah, that's the goal. Even if I'm 47, 50 when I'm able to do it, that's what I want to do. [00:26:37] Dan Runcie: Yeah. And I feel like with you, too, you talked a little bit about the fan base piece of it, and you be able to see who's coming to the shows and seeing who the fans are. Do you feel like the fan base is slightly different in any way from your comedy fan base? [00:26:52] Hannibal Buress: It will be. It will be. Right now, there's a lot of overlap 'cause people that might be thinking, they're getting the comedy show and show up for the music and then they like, oh, okay, that was better than that. I didn't know that was happening. But there'll be some folks that weren't into my comedy at all that was like, okay, I like this I'm seeing some folks, I did Sway In The Morning, the freestyle, some people are like, I like this better than his comedy. And now I'm thinking me too. I do too, yeah. And then there'll be people that never knew I did comedy once, then when the music is discovered, if they find it through the algorithm or something, they'll be some folks like, what? This guy got four comedy specials, you know, especially when things start tapping on an international scale. If When I started touring in Asia, going over, you know, folks that they just find the music through the promoter or whoever, and then they like, what? You do music? So I'm excited for that part of it too, man. It's nice to, you know, and then I might rerelease Miami Nights, but just put music videos in between that shit.[00:28:05] Dan Runcie: Yeah. [00:28:05] Hannibal Buress: Like, oh, y'all want Miami Nights? Well, here. And it'll be like, and so, and then I said 2Chainz and like Veneers, Veeners, 1-3 Pocket, you know. There's a lot of moves to, you know, that just because I have that this older stuff and this older material to be able to maneuver and, you know, run ads against and all these different things, man. So it's just a lot of possibilities and ideas. It is fun, it's a fun time. Every day, I'm lit up, like excited, just because, you know, there's so much to do and so many different ideas. I'm and so it's just, I'm fully locked in, yeah. [00:28:45] Dan Runcie: Yeah. Where do you feel like your comedy itself fits within your career? 'Cause I know I've listened to past interviews you've done and you've said that, nope, I'm locked in on music right now. But I also know that you had said in other interviews that okay, maybe in three years, if I do another comedy special or make it all even stronger. So where does your comedy fit in for you right now? [00:29:08] Hannibal Buress: I could still do it. Because I did it last night at this private gig. And I did it when we did the last night at Knitting Factory, I planned on doing 10 minutes and I ended up going on a couple of tangents, did it in 20, 30. That was partially 'cause of the history of the room and that energy there and that's where I built that soul. And I still can write, you know, I do banter in between. I just don't think I foresee just me kind of grinding out in the clubs or, you know, trying to do for weekends for a while, unless it's just purely to pay for some last-minute music expense. It would be just purely that, if I'm at an improv or doing it if I'm billed as a standup publicly, that's where it's at right now. Even I did for the gig last night, I brought a keys player, Preach Balfour, he plays for my show sometimes, but it was just, I didn't feel like having the emptiness of just pure waiting for laughs. It's not going to be with a keys players the whole time and I'm telling these stories, these jokes, but it's not going to be dead in the room just because. It's like, I'm not giving y'all that as an audience. I'm not giving you the ability to have this shit be silent at the very least after I say something, it's going to be beautiful keys planted as motherfucker. So it's just that exercise of just the grind of what it takes to stay sharp as a standup, I don't feel like doing that anymore. I just find the music to be more enjoyable. And just, it has more, yeah, you just can go into a different direction, like everything don't have to be funny or everything don't have to be one level, you know what I mean? And so maybe down the line now, another one or, but as far as like working, working, I don't see it happening, yeah. [00:31:15] Dan Runcie: Has any of the reaction to how comedians have either been perceived or how they're being called upon to respond to particular things, especially in the past few years with how things happening on Twitter, has any of that impacted how you feel are your relationship to comedy or making it at all?[00:31:36] Hannibal Buress: No, man. 'cause you just have to, you don't have to do anything out here unless you're on a show where you do that and you're contractually obligated. But even that is still a choice, you know what I'm saying? Everything is a choice. We could live in the woods, man, with no electricity if we choose to. We choose to be out here and perform, play video games, move about, you know, born into this, but you don't have to do none of the shit, all of it, all of it's made up. [00:32:11] Dan Runcie: Right. [00:32:12] Hannibal Buress: Yeah. [00:32:13] Dan Runcie: Yeah, because I feel like as you mentioned, yeah, a lot of it being made up probably makes people almost forget that they do have a choice in a lot of this because I feel like what I've seen or what I've heard from other comics sometimes is that just because of how things are with the climate or how people feel like they need to respond to particular things that there are comics that feel different, especially how things have happened, post-pandemic. But I feel like your mentality is a bit more like, Hey, we really don't have to like, just like whether it's people being canceled or people having backlash for things they say like, comics don't need to fit into fall into that.[00:32:51] Hannibal Buress: You can just do what you want, you know? And that's one thing. And it's not to judge or say, oh, it's wrong. I see why people would feel pressure. And I get that, too, but it's, after a while you just really like, oh, it's now that I know exactly what I enjoy, and I know the spots where I am truly having fun and losing track of time and enjoying life. And so I just try to spend as much time in those spots and spaces as I can and leave the other shit alone. It takes practice. It's a great theory. It ain't fully perfect, but it's a solid system for me. [00:33:37] Dan Runcie: Yeah, yeah. Has there been a bit of a connection to other comedians that have went into music? Thinking about something like a Jamie Foxx or someone like that, that, you know, someone else like yourself, multi-talented and has, you know, had success in both areas. Is there kind of like a, okay, you know, you see that others have done this, or do you really feel like, no, this is even more unique thing? [00:34:01] Hannibal Buress: I respect, definitely respect what they've done. The timing is different for how I'm doing it. So that's why it's kind of, it's tough to compare a little bit the approach because it is been a minute. But it makes it interesting for me just from having stuff to talk about, too, for doing it so long 'cause sometimes I'm like, maybe I should have started when I was 23, but I think it happened when it was supposed to happen, and it happened when I was ready for it to really happen. But yeah, I watched, you know, like Jamie is amazing, you know? What Gambino's done, it's really dope. I saw Lil Duval write his Living My Best Life, was popping. I saw him. [00:34:42] Dan Runcie: That was a good song. [00:34:43] Hannibal Buress: He did good with that one. He was at the Stress Factory in Jersey as the song was peaking, and he was definitely too big for that room, but it made the energy...[00:34:54] Dan Runcie: Yeah.[00:34:55] Hannibal Buress: He was, like, crazy. He hit the stage to it. Like it was dope to see, man, like I was genuinely excited, and you could feel that he was hyped about it too, man. So it is dope to see when people just go for it in that way, and then we just making this shit, you can really do anything. I have to remind myself of that, too. Just really do anything, man. Just, you know, just go for this shit. I got this song, No Whip. It is a freestyle. It's a 7-minute freestyle about how I was living in Hawaii last year. I bought a car there,, and then I took a trip and then we ended up moving, but I didn't go back to like send the car and I've been planning to, but it's just kind of one of them things where I just, out of sight out of mind. And it ain't really, you know, causing a strain on my life, right? But it is, it's kind of, I bought this whip left in Hawaii, blah blah. And it's like, it's a loose freestyle. And I'm like, you know what, man, I'm going to shoot this part here, part in Hawaii, and just keep it at seven minutes 'cause you can just do that. The instinct is like, oh no, maybe I need to, I'm being repetitive, so maybe I should cut. I'm like, no, shoot that shit rough. Like, make it look as dope as possible. Like, shoot it rough freestyle dope and have fun and then just let it fly and just don't put the constraints on yourself unnecessarily. It's easy to try to overedit sometimes or get it. And so it's just, getting better at trusting myself, which was the initial hurdle It was just, okay, let me do this. There was nobody like, you can't make music, man. What are you, like? It was kind of me battling initially. And then once I dropped it and then, you know, now, okay. And then just rewiring my brain to, okay, I am doing this and keep doing it. It's like, okay, well, we are doing this for real, you know, no matter, no matter what. That's why I find it, like, absurd when people reach out and like, stop. That's weird. Like, you realize I'm a very, I'm a very stubborn person. Like, I'm not doing it to show you up. Like, this is like, I'm already way more locked in than you could ever imagine. So, you know, why you would ever tell me to stop. It's weird. But then I know that that person's not locked in on whatever they want to do if the time to tell me to stop. Yeah, but it's that I don't even get mad is just more like what, what? That's a weird thing to like, why stop? You realize even if my music was completely trash, I would still be able to figure it out from a marketer standpoint. I'd still be able to work some angle in this shit. But it's, you know, it's exciting, man. [00:37:44] Dan Runcie: Yeah. It's an exciting time, man. What has the response been like from the hip-hop community?[00:37:50] Hannibal Buress: It's been dope, man. Went on Sway In The Morning, did my written freestyle. I bothered Questlove when The Roots were performing at Pitchfork. They let me rock up there. So I got to rap with Black Thought, you know. It's been good, man. The Sway, the Sway interview helped, you know, I got a bunch of friends that I've worked with that I send stuff to sometimes. So the people that really know me, like know me know me, know that I've been working on things for a while and been building. So they've been super supportive and especially the ones that know what the grind has been and know how I've been working. So it is been dope, man. I'm just, I'm excited to just keep pushing, putting together shows and it's a fun time with just lots of possibilities and shit. [00:38:40] Dan Runcie: Exciting time, man. Exciting stuff. So before we close things out, what should the audience stay in tune for? What does the next year look like for Eshu Tune and what should they keep locked in for?[00:38:52] Hannibal Buress: The plan is to drop the full album on my 40th birthday, February 4th, '23. So I got a couple of songs done for it, going to start the sessions for it next month in November and December, hopefully, shoot videos, December. January, drop a single on New Year's Eve. And then 40th birthday album, I don't know what the title is going to be yet. 40-year-old freshman, 4 HB, 4 Eshu, 40, 244. I don't know, something like that, but I feel like 40th birthday is a good, drop date. Yeah, so that's the plan. And so I'll use the time leading up, you know, to start purging old stuff, you know what I mean? Use that to kind of, you know, drop loosies and different things and even drop some of the older comedy stuff I got, I've been hoarding. And so I want to also, in addition to having the Mondays residency, use the Mondays as a drop date, you know, for new content, old content to start just really, really getting stuff out and start just to free my brain up, 'cause there's a lot of, even though I'm making stuff and dropping stuff, there's a lot of other stuff that I think needs to just be let go, let the birds fly and then it'll help the creativity more.[00:40:12] Dan Runcie: I hear that. In terms of other stuff too. I think I remember seeing you, you had a song called Numbers. Is that a kid song? Is that one of those things you're going to be putting out there? [00:40:21] Hannibal Buress: I don't know if I'm going to lean too heavily into the kid songs yet, or maybe under an alias. I might start dropping, but yeah. I've been seeing some of, who's it, Gracie's? [00:40:29] Dan Runcie: Gracie's Corner? [00:40:30] Hannibal Buress: Gracie's Corner and then another one where they got the trap kind of kid stuff. Maybe Numbers was fun to do. I did that, yeah. Shout out to Shaliek on the beat for Numbers. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. One robot, two robots. The robots is an ongoing theme in my music also. [00:40:51] Dan Runcie: Hey, man, we're excited for all of it, man. [00:40:53] Hannibal Buress: Yeah. [00:40:54] Dan Runcie: Tons of respect for you, man. [00:40:55] Hannibal Buress: Hey, thank you, man. Thanks and good talking with you, Dan, for sure. [00:40:57] Dan Runcie: Always been. [00:40:58] Hannibal Buress: Yep.[00:41:00] Dan Runcie: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat, post it in your Slack groups, wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple podcast, go ahead, rate the podcast. Give it a high rating and leave a review. Tell people why you liked the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.Advertising Inquiries: https://redcircle.com/brands

The Existential Terrier??? Twelve Little Killers From Max Vanderwolf Discussion#newmusic #eclecticmusic #psychedelicmusic #bluesmusic #progrock Born in NYC, working in London and as of 2020 residing in Los Angeles, Max Vanderwolf has recorded several albums and countless songs. Most of them remain unreleased. Notably, he was vocalist and creative-force behind the semi-legendary London band, Last Man Standing, whose sole album in 2008 received plaudits from many including Mojo and Uncut.Concurrent to his life in music, Vanderwolf has worked under an assumed name as a music programmer and concert producer in some of the worlds' most celebrated clubs and venues. He went from overseeing the legendary underground downtown NYC's Knitting Factory to overseeing London's Royal Festival Hall, where for 9 years he produced the Meltdown Festival where he worked closely with David Bowie, Patti Smith, Jarvis Cocker, Massive Attack and others. He has produced concerts in Brooklyn, Rome and Paris working closely with John Cale, Sparks and the Residents.Official website: https://www.vanderwolfmusic.comYoutube: https://www.youtube.com/channel/UC5VCMMZZYJ0QKriJy07ZJCgFacebook: https://www.facebook.com/vanderwolfmusicInstagram: https://www.instagram.com/vanderwolfmusic/Twitter: https://twitter.com/VanderwolfbandThe Vibes Broadcast Network - Podcasting for the fun of it! Thanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: thevibesbroadcast@gmail.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/Twitter: https://twitter.com/TheVibesBrdcstTruth: https://truthsocial.com/@KoyoteAnd Now!!! The Bandmates' club, Supporters of the channel: Matthew Arrowood Host of The ONLY Brocast podcast:https://youtube.com/channel/UCsfv1wWu3oUg42I2nOtnMTADon Hahn of In the Margins: https://www.youtube.com/c/InTheMarginsBukas Siguro: https://www.youtube.com/c/BukasS%C4%ABgur%C3%B8Will Scoville of Ranch Rehab DIY: https://www.youtube.com/c/RanchRehabDrew Lee Nicholas of DN-TV: https://www.youtube.com/channel/UC8TVqL9mn6NzPkXOLOZSX-A

Chris talks about a recent one-nighter, The Knitting Factory closing, and the film Where The Crawdads Sing. Website: ChrisLamberth.com Twitter: @MundaneFestival  @ChrisLamberth Patreon: Mundane Festival Email: mundanefestivalpod@gmail.com    

Happy Father's Day & Happy Juneteenth. HAPPY FATHERSTEENTH…. iThink. The boys are biddack for another amazing edition of Media Mondays by TRPE to discuss a myriad of hot topics tearing up the net at large. They start the show with a MAJOR SALUTE to all the fathers in the world. A tried and true group of amazing men who rarely get the love and the credit they deserve. The meat of the show revolves around Chad breaking down this latest Drake mixalbumplaylistprojecttapevibe and explaining why this shit absolutely sucks outside of a handful of songs. He makes sure to give historical reference to other recent and not so recent dance, electronic and world music that impacted much harder than this diet edm (Sorry Carnage) and stood the tests of time. The show cant go by without the guys giving BIG LOVE to the 2022 NBA Champs the Golden State Warriors and the Finals M-V-Fuckin P Chef Curry who cooked Boston 5/6 games and willed his team to victory. Not to be forgotten they show BIGGER LOVE to unsung finals hero Andrew Wiggins who stepped into the Andre Iguodala role and played it to perfection. The show raps with a recap of last week's masterpiece of a show that featured Herman & Kevin Dolce.  And before we go we CANT FORGET that the final show of the TRPE Tour is this Sunday June 26th at the legendary Knitting Factory in Brooklyn, NY co-starring our brothers in pod, THE OFFICE.  Get your tickets neowwwww at this link right hurr: https://bit.ly/trpekfbk

Nate is back with an all new episode and fights through a damaged voice to interview Andy Hurwitz (3:53)! And and Nate talk about growing up, his father's music room, meeting Jonathan Shecter & becoming obsessed with hip hop, going to law school and realizing he could work as a music lawyer, finding a mentor in Brad Rubens, working with Pearl Jam in their battle with Ticketmaster, how Eddie Vedder gave him the idea to leave law and solely work in music, the Big Valentine's Day Pitch and getting hired at the Knitting Factory, releasing DJ Logic's album and starting Ropeadope Records, King Britt and the Sister Gertrude Morgan Experience, the Ropeadope ethos, the ever changing ways we consume music, Napster, the origins of 30 Amp Circuit, the revitalized Philly Scene, the virtual Love From Philly livestream during COVID lockdown, G. Love creating a theme song for the fest, the upcoming Love From Philly live fest, Schoolly D., and Questlove. All before going through the Jawntlet!! 30 Amp Circuit website Love From Philly website --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/ytmj/message Support this podcast: https://anchor.fm/ytmj/support

Joe Uehlein is the founding President of Voices for a Sustainable Future and the Labor Network for Sustainability. Joe is the former Secretary-Treasurer of the AFL-CIO's Industrial Union Department and former director of the AFL-CIO's Center for Strategic Campaigns. Joe spent 35 years doing bargaining, organizing, public policy, and strategic campaign work in the labor movement. Joe also served on the United Nations first commission on global warming from its founding in 1988 until 2003. In the early 1970's he worked in an aluminum mill in Mechanicsburg, PA as a member of the United Steelworkers of America, and then on heavy and highway construction projects as a member of the Laborer's International Union of North America. Joe is most often seen fronting The U-Liners, his band of 19 years: www.uliners.com. Joe's been playing (guitar & vocals) in bands for nearly 54 years, since the age of 13, and has played all across the U.S., as well as in Japan, Germany, Switzerland, Canada, Great Britain, and Venezuela. Joe's music over the years has spanned genres from rock'n roll to bluegrass, folk to jazz, country to Motown, and more. From his early days growing up along the banks of the great Lake Erie, and working in an aluminum mill in Central Pennsylvania and on heavy and highway construction, and playing with Billy Wray & the Expressions, Joe developed a keen interest in Rock & Roll, Soul, and the Folk and Country sounds of working class music. Joe has performed with Pete Seeger, Lester Chambers of The Chambers Brothers, Dave Alvin, Steve Earle, Tom Morello, Boots Riley, Jill Sobule, Cathy Fink & Marcy Marxer, Emma's Revolution, John Kadlecik, Billy Bragg, John McCutcheon, Si Kahn, and with the punk band, the Dropkick Murphys. Joe has also performed at all of Washington, DC's finest venues, including Gypsy Sally's, the Kennedy Center's Millennium Stage, The Birchmere, Strathmore Music Hall, IOTA Club, Jammin' Java, the Hamilton, Howard Theater, the Black Cat, and more. Joe has also played NYC's Knitting Factory, Starlight Ballroom, The Rock & Roll Hall of Fame in Cleveland, Bally's in Las Vegas, among other fine venues. http://joeuehlein.com/

This time it's personal. Many of my happiest music memories are of performances at Michael Dorf's Knitting Factory between the mid-Eighties and the early-2000's. Michael must have heard thousands of bands in those years but when I asked him who we should hail on Deep Focus, he answered immediately: Sonny Sharrock.  Sonny, who reinvented the guitar to suit his own extravagant purposes every time he played it, left us nearly 28 years ago but he is not forgotten. His music is indelible and we've got the goods to prove it!  In this rebroadcast from 2019, the WKCR archives deliver the kind of jaw-dropping annihilations that make Sonny Sharrock a cult hero to this day.   This Monday night (4/11) from 6pm to 9pm NYC time on WKCR 89.9FM, WKCR HD-1 and wkcr.org.  Tuesday morning it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   #WKCR #JazzAlternatives #DeepFocus #SonnySharrock #MichaelDorf #MitchGoldman #JazzRadio #JazzInterview #JazzPodcast #NoWave    Photo credit: no publishing information available. 

This time it's personal. Many of my happiest music memories are of performances at Michael Dorf's Knitting Factory between the mid-Eighties and the early-2000's. Michael must have heard thousands of bands in those years but when I asked him who we should hail on Deep Focus, he answered immediately: Sonny Sharrock.  Sonny, who reinvented the guitar to suit his own extravagant purposes every time he played it, left us nearly 28 years ago but he is not forgotten. His music is indelible and we've got the goods to prove it!  In this rebroadcast from 2019, the WKCR archives deliver the kind of jaw-dropping annihilations that make Sonny Sharrock a cult hero to this day.   This Monday night (4/11) from 6pm to 9pm NYC time on WKCR 89.9FM, WKCR HD-1 and wkcr.org.  Tuesday morning it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   #WKCR #JazzAlternatives #DeepFocus #SonnySharrock #MichaelDorf #MitchGoldman #JazzRadio #JazzInterview #JazzPodcast #NoWave    Photo credit: no publishing information available. 

This time it's personal. Many of my happiest music memories are of performances at Michael Dorf's Knitting Factory between the mid-Eighties and the early-2000's. Michael must have heard thousands of bands in those years but when I asked him who we should hail on Deep Focus, he answered immediately: Sonny Sharrock.  Sonny, who reinvented the guitar to suit his own extravagant purposes every time he played it, left us nearly 28 years ago but he is not forgotten. His music is indelible and we've got the goods to prove it!  In this rebroadcast from 2019, the WKCR archives deliver the kind of jaw-dropping annihilations that make Sonny Sharrock a cult hero to this day.   This Monday night (4/11) from 6pm to 9pm NYC time on WKCR 89.9FM, WKCR HD-1 and wkcr.org.  Tuesday morning it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   #WKCR #JazzAlternatives #DeepFocus #SonnySharrock #MichaelDorf #MitchGoldman #JazzRadio #JazzInterview #JazzPodcast #NoWave    Photo credit: no publishing information available. 

Poet, Spark Central Executive Director and general purpose badass Brooke Matson joins Luke and special co-host Elissa Ball to discuss the historic (and current) stigma around ADHD and the steps individuals and (hopefully, some day) society itself can take to reimagine and reframe day-to-day life to help people harness and come to love their unique brains, and the tremendous drive for experimentation and incandescent creativity they're capable of, if given the space to flourish. Brooke's recent TEDxSpokane talk is a great primer for this episode. “https://www.youtube.com/watch?v=pcNLwWhsgaQ&ab_channel=TEDxTalks (ADHD Redefined | Brooke Matson | TEDxSpokane)” If you want to support Spark Central, April 15th is “https://spark-central.org/spark-salon (Amplify Us),” Spark Central's annual salon and benefit show. This year's gala will be a hybrid online and in-person event held at The Knitting Factory. The evening features an interview with best-selling author Jess Walter and a silent auction, plus live musical performances by T.S. The Solution, Atari Ferrari, and other music acts — including one of Spark's own Girls Rock Lab bands.  

  Michael Dorf was born and raised in Milwaukee, WI. After studying Psychology and Business at Washington University, he founded New York City's go-to venue for independent music, the Knitting Factory, in 1986. As Knitting Factory Chairman and CEO, Dorf helped bring the concert house to global prominence by expanding into Europe and Asia via tours, branded festivals, and record production and sales. Dorf was recognized as a pioneer in producing music on the Internet, through a variety of strategic relationships with Apple Computer, Intel, MCI, and Bell Atlantic. During his Knitting Factory tenure, he produced over 200 recordings, a television series, and built a new venue in Los Angeles. In 2002, he left his operating responsibilities and sold his equity position to pursue other endeavors, including a Carnegie Hall concert fundraiser series, founding a Hebrew school, and winemaking. By 2008, Dorf had conceptualized a venue that brought his love for both the making and enjoyment of wine under one roof and created City Winery –Manhattan's first fully-functional winery, restaurant, music venue and private event space. City Winery offers a wide selection of wines, exquisite cuisine and intimate performances from iconic performers. Dorf expanded his company in 2012 with the opening of City Winery Chicago. Subsequent years have brought new venues to Nashville, Atlanta, Boston, and Washington DC, with Hudson Valley and Philadelphia. Check out Indulge Your Senses:  Scaling Intimacy in a Digital World by Michael Dorf Today's feature affiliate: Bentobox. In need of a restaurant website? Click this link to find out why so many of my guests use Bentobox! Show notes… Calls to ACTION!!! Join Restaurant Unstoppable Network and get your first 30 days on me!  Connect with my past guest and a community of superfans. Subscribe to the Restaurant Unstoppable YouTube Channel Join the private Unstoppable Facebook Group Join the email list! (Scroll Down to get the Vendor List!) Favorite success quote or mantra: "You gotta love what you do." "Indulge your senses." In this episode with Michael Dorf we will discuss: Starting out in the music industry Marketing Making wine Unique challenges with an urban winery Numbers come first! Today's sponsor: 7shifts is a modern labor management platform, designed by restaurateurs, for restaurateurs. Effectively labor management is more important than ever to ensure profitability and restaurant success. Trusted by over 400,000 restaurant professionals, 7shifts gives you the tools you need to streamline labor operations, communicate with your team, and retain your talent. Best of all 7shifts integrates with the POS and Payroll systems you already use and trust (like Toast!) turning labor into a competitive advantage for your business. Restaurant Unstoppable members get 3 months, absolutely free. Talk To The Manager – Nowadays, most guests don't want to call you on the phone or give you their feedback face-to-face. With TalkToTheManager, guests can avoid making a scene by sending you comments and questions anonymously by text message, allowing you to respond and handle issues in real-time. It's easy to set up and simple to use for both staff and visitors. No software integration. No downloads, and no apps to install. Diageo Bar Academy equips bartenders, servers, managers, and hospitality professionals with the insights, stories, and tools to be better - raising the bar on industry standards. Diageo Bar Academy reaches a diverse audience, with backgrounds and skill levels of all ranges- providing them with skills, knowledge, and the techniques they need to improve their personal and professional lives. Knowledge bombs Which "it factor" habit, trait, or characteristic you believe most contributes to your success? Endorphins What is your biggest weakness? Over-indulgence What's one question you ask or thing you look for during an interview? Uniqueness What's a current challenge? How are you dealing with it? People/labor Share one code of conduct or behavior you teach your team. Considerate What is one uncommon standard of service you teach your staff? Empathy What's one book we must read to become a better person or restaurant owner? The Overstory by Richard Powers GET THIS BOOK FOR FREE AT AUDIBLE.COM  What is something restaurateurs don't do well enough or often enough? Take care of their employees What's one piece of technology you've adopted within your restaurant walls and how has it influence operations? Pre-order your beverages before you arrive at the restaurant on our website Name one service you've hired. Fox Greenberg PR - NYC If you got the news that you'd be leaving this world tomorrow and all memories of you, your work, and your restaurants would be lost with your departure with the exception of 3 pieces of wisdom you could leave behind for the good of humanity, what would they be? Think outside the box Selfish philanthropy Team leader Contact info: Website: citywinery.com Email: michael@citywinery.com Thanks for listening! Thanks so much for joining today! Have some feedback you'd like to share? Leave a note in the comment section below! If you enjoyed this episode, please share it using the social media buttons you see at the top of the post. Also, please leave an honest review for the Restaurant Unstoppable Podcast on iTunes! Ratings and reviews are extremely helpful and greatly appreciated! They do matter in the rankings of the show, and I read each and every one of them. And finally, don't forget to subscribe to the show on iTunes to get automatic updates. Huge thanks to Michael Dorf for joining me for another awesome episode. Until next time!   Restaurant Unstoppable is a free podcast. One of the ways I'm able to make it free is by earning a commission when sharing certain products with you. I've made it a core value to only share tools, resources, and services my guest mentors have recommend, first. If you're finding value in my podcast, please use my links!

In the '90s you could not avoid Steve Keene paintings. Everyone seemed to have a Keene. In New York, they decorated tiny apartment walls, clubs, record stores and dive bars including Brownies, CBGB's Gallery, the Knitting Factory, Kim's Underground, and Other Music, The New York music scene of the 1990s embraced the do-it-yourself aesthetic and Keene was the unofficial king of that. His democratic approach to making and selling artwork allowed young people to buy original artwork for the first time.Photographer Daniel Efram has put together the definitive book on Keene and his work, and talks to us about Keene's paintings of famous covers, and covers of albums he likes, as well as covers that have no particular meaning to him other than being an artistic challenge. “I'm making kind of a history of albums,” Keene says. “They're monuments to something that doesn't exist anymore.” Tune in.